IntroductionIntroduction| 00:00 | (Music playing.)
| | 00:03 | Hi! I'm John Derry and I'd like to welcome
you to Painter 11: Mastering Brushes.
| | 00:08 | In this course, we'll explore
everything you need to know to take complete
| | 00:12 | control of the versatile and
expressive brushes in Painter 11.
| | 00:16 | We'll talk about important
characteristics of real world art media and how those
| | 00:21 | characteristics are recreated inside of Painter.
| | 00:23 | We'll clarify essential terminology and
techniques for creating and configuring
| | 00:28 | the hundreds of brush variants.
| | 00:30 | I'll show you how to get the best
performance from your brushes by showing you
| | 00:34 | which brush control adjustments are
most effective with which brushes.
| | 00:38 | Finally, we'll explore techniques for
designing and organizing your own custom brushes.
| | 00:43 | Painter 11 offers a wealth of
expressive tools that simulate the tools
| | 00:48 | that artists depend on.
| | 00:49 | Often surpassing their real world counterparts.
| | 00:52 | I am excited to be your guy to
mastering brushes in Painter.
| | 00:55 | Now let's get started with
Painter 11: Mastering Brushes.
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| Using the exercise files| 00:00 | If you're a premium member of the
lynda.com Online Training Library or if you're
| | 00:05 | watching this tutorial on a DVD-ROM,
you have access to the Exercise Files used
| | 00:10 | throughout this title.
| | 00:12 | You'll find the exercise files in the
Exercise Files folder and they're just
| | 00:16 | divided by chapters.
| | 00:17 | So each chapter that I have any content
associated with that chapter, you'll find within it.
| | 00:24 | Some of them are going to be
photographic images that we use for cloning.
| | 00:28 | I've got a few test files to work in here.
| | 00:31 | You've also got some color sets
that you can load up into Painter.
| | 00:36 | I've got some PDF files
| | 00:38 | that are visual guides to some of the
areas I talked about where there is much
| | 00:42 | more depth to it than we can
possibly allocate in the videos.
| | 00:46 | And also a Brush file that we'll load
up in Chapter 9, and that's basically it.
| | 00:51 | If you're a monthly subscriber or an
annual subscriber to lynda.com,
| | 00:55 | you don't have access to the Exercise
Files, but you can follow along from
| | 00:59 | scratch with your own assets.
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|
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1. Brush Engine TerminologyDefining categories and variants| 00:00 | When you visit an art supply store,
the various media are organized into
| | 00:04 | aisles and shelves.
| | 00:05 | Then within these specific areas,
you'll find various flavors of the tool
| | 00:09 | you're looking for.
| | 00:10 | This organization makes it easy to
quickly find what you're seeking as well as
| | 00:15 | offer associated variations that may be useful.
| | 00:17 | Painter organizes all of its art-
making tools into two primary organizational
| | 00:22 | aisles and shelves, the
Category and the Variant.
| | 00:26 | Now the Brush Selector bar is the
front door to Painter's art supply store.
| | 00:31 | The Brush Selector bar's aisles are
the categories, and that's the first icon
| | 00:36 | you find here on the left.
| | 00:37 | So all of the various aisles within
Painter that represent all of the different
| | 00:42 | types of media are going to be
in this first drop-down menu.
| | 00:46 | So these are our categories.
| | 00:48 | Now let's select the category.
| | 00:50 | For example, let's say
you want to get some chalk.
| | 00:52 | We'll go to the Chalk aisle.
| | 00:54 | So now we're in the Chalk aisle, or in
this case in Painter, the Chalk category
| | 00:59 | and now we want to look on the
shelves and find a specific type of chalk.
| | 01:04 | That's where the Variant drop-down comes in.
| | 01:07 | That's the one on the left.
| | 01:08 | So when we click on this,
we're going to find all of the variants within
| | 01:12 | the Chalk category.
| | 01:14 | So let's select Square Chalk for example.
| | 01:16 | So I'll go down and I'll select it.
| | 01:19 | Now you've got a specific variant
from a specific category, or to use the
| | 01:24 | analogy, you've got a specific
type of chalk from a specific aisle.
| | 01:29 | This is the way that all of Painter's
brushes are organized. It's that simple.
| | 01:34 | So the Brush Selector bar basically
reduces all the complexity of brush
| | 01:38 | libraries down to a couple clicks.
| | 01:41 | So one of the things you're going to
hear me say is "variant," and sometimes
| | 01:45 | I'm going to say "brush" and I just
want to point out it's very easy to use
| | 01:50 | both of those terms for essentially what is
the current variant or brush that you're using.
| | 01:56 | So don't get too confused when you hear me
use brush in place of variant or vice versa.
| | 02:01 | They really mean the same thing, but
in terms of the vocabulary of Painter,
| | 02:05 | variant really is the correct
terminology for what that specific brush is.
| | 02:12 | That's all there is to it.
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| Understanding dabs| 00:00 | A brush variant's business end is the dab.
| | 00:04 | The dab is what establishes the graphic
quality and character of a brush stroke.
| | 00:10 | So they're very important in terms
of how brushes are made when the pin
| | 00:17 | touches the canvas.
| | 00:19 | I'm going to show you where we find brush dabs.
| | 00:22 | So we're going to go up to the Window
menu and we're going to go down to Brush
| | 00:26 | Controls > General and this will pop-
up the entire Brush Control palette, but
| | 00:31 | the one that's really important is General and
it's actually located at the top for a reason.
| | 00:37 | It's almost like a top-down view of the
importance of what makes up a brush stroke.
| | 00:42 | So right from the get-go Dab Type is
very important and the drop-down menu is
| | 00:48 | how you access all of these various dabs.
| | 00:51 | Now don't be too confounded by the
number of dabs you see here. Some of them are
| | 00:55 | actually duplications.
| | 00:56 | For example, Water Color, Liquid media,
they're the same dab types.
| | 01:01 | They're just designed for specific media,
but we'll be looking at these in-depth
| | 01:06 | throughout the entire title.
| | 01:08 | To show you exactly what I'm talking
about though, I'm going to use an airbrush
| | 01:12 | and I'm just going to do a one dab and
you'll see that basically that is an
| | 01:18 | individual hit of the brush on the canvas.
| | 01:22 | If we go to the Size menu, we'll see
that there is the actual dab and in the
| | 01:28 | case of airbrushes, these dabs are
actually kind of canned within Painter to be
| | 01:33 | various density distributions,
like you'll find in an airbrush.
| | 01:39 | What's happening is the Painter takes
this one dab, and I've actually got to kind
| | 01:43 | of jiggle here to make it build
up a few times so you'll see it.
| | 01:46 | It takes that dab and spaces them so
closely that when you paint, it looks like
| | 01:51 | it's a continuous brush, but actually
those are very closely spaced dabs that
| | 01:58 | create the illusion of a complete stroke.
| | 02:00 | Based on these various profiles I'll get
a different kind of quality for the way
| | 02:06 | that the dab and its appearance
along a stroke path is going to appear.
| | 02:12 | So Profiles are just specific built-in
examples of dabs within Painter and as
| | 02:18 | we'll see later on in the title there
are a whole number of various ways to make
| | 02:23 | and create dabs to get that really wide
range of character that Painter is known for.
| | 02:30 | The last thing we're going to
look at right now is Jitter.
| | 02:33 | Jitter is something that actually
controls where this dab appears along a stroke.
| | 02:39 | I'm going to temporarily close these
up and go down to the Random palette and
| | 02:44 | you'll see here we have the Jitter slider.
| | 02:47 | When I turned this up, you'll see now
what's happening is I'm still on the same path,
| | 02:51 | but what's happening is those
dabs are being randomly thrown off of the
| | 02:56 | center line of the stroke.
| | 02:59 | This is such an important control for
many brushes to introduce a different
| | 03:03 | kind of quality into it that this control is
actually mirrored up in the Brush Selector bar.
| | 03:09 | So you don't necessarily have to go
down into the Brush Control palette to
| | 03:14 | get to this control.
| | 03:16 | You'll find it up here.
| | 03:17 | In fact, many of the very standard
highly used controls within Painter will
| | 03:21 | appear in the Brush Control bar.
| | 03:23 | So Dabs, and Profiles, and Jitter, are
all various aspects of how to control
| | 03:30 | where and when a dab happens along a stroke.
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| Manipulating grain| 00:00 | Grain refers to the appearance of an
irregular surface within a variant's stroke
| | 00:06 | and Painter utilizes a built-in library
of paper grains to provide grain-aware
| | 00:11 | media with a virtual three-dimensional surface.
| | 00:14 | What do I mean by grain-aware media?
| | 00:17 | When I say grain-aware, I'm referring
to various tools within Painter that are
| | 00:23 | aware of this 3D surface and in the next
movie, I'll show you how to distinguish
| | 00:29 | between when a media is
grain-aware and when it's not.
| | 00:33 | But for the most part, it's the ones
that you would think they are, like chalk,
| | 00:38 | charcoal, conte crayons, pencils,
anything that you associate with interacting
| | 00:43 | with grain is a grain-aware media.
| | 00:45 | But I'll show you very specifically how you
can determine what a grain-aware media is.
| | 00:51 | One of the important factors of how
you access these grains in Painter is
| | 00:55 | through pressure sensitivity, and
the Wacom tablet is probably the
| | 01:00 | premiere tablet that is used in
concert with Painter for being able to
| | 01:05 | access this pressure.
| | 01:07 | So it's a combination of the fact
that Painter is aware of paper grain and
| | 01:12 | information being delivered from a
tablet like the Wacom that is able to utilize
| | 01:18 | pressure and in turn send that data
to Painter so that it knows how to take
| | 01:24 | advantage of the artist's varying
pressure and utilize paper grain to make it
| | 01:30 | visualized as part of the artwork.
| | 01:32 | I'm going to start off with a little
bit of chalk here to show you how this works,
| | 01:36 | and I'm going to start with very
light hand pressure and you'll see that
| | 01:41 | I'm just barely touching the top of this grain.
| | 01:45 | One way to think of it is it's like a
little mountain range and there are peaks
| | 01:49 | and there are valleys.
| | 01:50 | Right now, I'm just addressing the
peaks, but as I start to bear down in
| | 01:55 | pressure with my hand via the Wacom
tablet, I'm adding more and more depth to
| | 02:01 | that pressure so that at my full
pressure I've now completely obliterated the
| | 02:07 | mountain from the peak
all the way into the valley.
| | 02:10 | And it's this ability to have this
scale from very light pressure to very
| | 02:16 | full pressure that gives me this continuum
of varying degrees of appearance of the grain.
| | 02:23 | So when drawing, you'll start to see
how much it starts to play apart in the
| | 02:28 | character of a particular variant.
| | 02:31 | So you can see how this really makes a
difference in the way that the character
| | 02:36 | of a single brush or variant can be
varied based on the hand pressure.
| | 02:41 | Now by being able to adjust what grain
is used we can even get more variability,
| | 02:48 | and so we're going to take a look
at where do we access these grains.
| | 02:52 | I'm going to go up to the Window menu
and drop-down to Library palettes and
| | 02:57 | you'll see within the
library of various media is Papers.
| | 03:02 | So you can access it this way, but I'm
going to show you the way that I like
| | 03:05 | to get at it and that's over at the
bottom of the toolbar. We have access to
| | 03:09 | the Library palettes right here as
well and you'll see this upper-left icon,
| | 03:15 | which actually is a graphic representation of
the current paper grain, is the Paper Selector.
| | 03:20 | When I click on this, I can quickly
get to just the grains themselves.
| | 03:25 | If I want to access the palette however,
I can go up to the fly-out menu and go
| | 03:31 | to Launch Palette and that brings up
the Papers palette and once again, I now
| | 03:37 | have access to all of these grains.
| | 03:39 | And if we select a different one,
you'll see now I get a very different
| | 03:44 | character based on that paper grain
and that's one of the really nice things
| | 03:50 | about the way paper grain works is
which paper grain you happen to select makes
| | 03:55 | a big difference on the way it's going to look.
| | 03:58 | As a result paper grain is really
responsible for delivering a wide range of
| | 04:05 | expression to various grain-aware
media and I will show you within the next
| | 04:12 | movie how you can identify what is
specifically a grain-aware media, but you can
| | 04:17 | see very quickly here that just by
changing grains, one simple tool takes on a
| | 04:23 | very many different kinds of characters.
| | 04:26 | That's why grain is such an important
component of the grain-aware media within Painter.
| | 04:32 | I'll show you quickly what happens
when you use a non-grain aware media and a
| | 04:38 | good example of that would be
something simple like the Airbrush.
| | 04:42 | So let's go to Airbrushes here and I'll
just kind of paint and you can see that
| | 04:47 | this is also a brush.
| | 04:49 | It's making a mark, but it has no grain.
| | 04:52 | So it's not a grain-aware brush and
that's why you get a very different kind
| | 04:57 | of quality of stroke.
| | 04:58 | The good news is that there are some
cases where grain awareness is very
| | 05:03 | important, but with a tool like an
Airbrush it's totally non-important, so you
| | 05:08 | wouldn't want grain to appear in there
and that's why there's a variety of tools
| | 05:12 | that do sense grain and then there's a
variety of tools that don't, and you want
| | 05:16 | to have both types available.
| | 05:19 | So think of grain as even though it's
not part of the brush per se, it interacts
| | 05:24 | with the brush in such a profound way
that it's key to widening the expressive
| | 05:30 | capability of many of Painter's brushes.
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| Defining brush stroke methods and subcategories| 00:00 | The brush method defines the most
basic level of dab behavior and is the
| | 00:05 | foundation on which all
other brush variables are built.
| | 00:09 | You can think of the method and the
method's subcategory as attributes of
| | 00:14 | the stroke's appearance.
| | 00:15 | If you come from a Photoshop point of
view, you might want to think of methods
| | 00:19 | and sub-methods as blending modes but
on steroids, because they contribute so
| | 00:25 | much to the way a brush looks.
| | 00:28 | So, let's take a look at
methods and subcategories.
| | 00:32 | I am going to go up once again to the
Window menu and we will go down to the
| | 00:35 | Brush Controls > General and here we
have once again our General palette and
| | 00:41 | right below Dab Type, there
is Method and Subcategory.
| | 00:46 | Methods have a drop-down menu.
| | 00:48 | You see there are many different
types here. We are just going to explore a
| | 00:51 | couple, so you can see the basic
difference between methods and we will look in
| | 00:56 | greater depth to all of these,
as we go throughout the title.
| | 01:00 | But let's take the Cover method, which
happens to be assigned in this case to
| | 01:04 | the Digital Airbrush and
I will just do a few sample strokes.
| | 01:09 | So, let's draw with one color and
I am going to take a second color and you
| | 01:14 | can see that the Cover method is called that
because it covers up what's underneath of it.
| | 01:20 | So Cover is a basic building block of
the way Painter brushes are constructed.
| | 01:27 | If we switch it though to Buildup, what
will happen is the brush is not going to
| | 01:34 | cover up that underlying color in this case.
| | 01:37 | It's going to allow it to be seen
through, but notice how it's changing colors.
| | 01:42 | It's getting darker and moving towards black.
| | 01:45 | This is because the Buildup method is based
more on a dye model of how color builds up.
| | 01:51 | A good example are markers. Markers,
if you have ever played with them, will
| | 01:56 | typically work in a very similar manner.
| | 02:00 | So Buildup methods are a completely
different way of applying color than Cover
| | 02:06 | methods and as you have seen there are
even more methods available depending on
| | 02:12 | the kind of behavior you want.
| | 02:14 | Now, once you go to a method it is
further subdivided by the subcategories.
| | 02:20 | So these are refinements of a method.
| | 02:24 | Now we are back at Cover method and I am
going to click on the Brush Reset tool,
| | 02:29 | right here in the Brush Selector Bar.
| | 02:31 | It just brings me back to my default
behavior and we can see that subcategories
| | 02:37 | are a further refinement of methods.
| | 02:39 | So here we are back at Cover method
and we have many different refinements
| | 02:45 | of the Cover method.
| | 02:47 | By default, the Cover method for the
Airbrush is Soft Cover and as we can see we
| | 02:53 | are getting a nice, Soft Cover method
that covers up the underlying color.
| | 02:59 | However, I can add more or a different
kind of character to it by selecting a
| | 03:05 | different subcategory, which will still
cover but it will add a different flavor
| | 03:09 | to it, and you can see there are
several here named Grainy. This is one way to
| | 03:14 | tell when a medium is grain-aware.
| | 03:17 | It will utilize the word
Grainy within its subcategory.
| | 03:21 | Let's just take Grainy Hard Cover for example.
| | 03:24 | When I switch to it, notice
the behavior of the airbrush.
| | 03:27 | It's still soft, it still covers, but
now it has grain being imparted into the
| | 03:34 | look of the stroke, and that is all
because we have switched to a subcategory
| | 03:39 | that has Grainy in it.
| | 03:41 | Flat, on the other hand, tends to produce a
harder edge to it, instead of having soft edges.
| | 03:49 | So methods and their subcategories are
key components of Painter's brush DNA.
| | 03:55 | It's for this reason that they appear in
the top most brush control's General palette.
| | 04:01 | They determine a brush's most basic
behavior. Everything else is built upon this
| | 04:06 | basic structural building block.
| | 04:08 | We will take a look at various methods
and subcategories in the various media
| | 04:12 | chapters as we go through the title.
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| Modifying stroke behavior with Expression| 00:00 | The Expression Settings drop-down menu
is found in several of Painter's brush
| | 00:04 | control palettes as we will
see throughout this title.
| | 00:07 | This setting is used to utilize a
specific form of real-time input to
| | 00:13 | dynamically control a brush stroke's behavior.
| | 00:16 | For example, pressure is often used
to dynamically control brush size.
| | 00:21 | Lighter pressure results in smaller stroke and
heavier pressure results in a lighter stroke.
| | 00:26 | By constantly expressing pressure to
adjust a brush's width in this case,
| | 00:31 | the artist's expressive intent is
communicated via the stroke.
| | 00:35 | So, we are going to take a look at how
size controls a brush in this case and we
| | 00:41 | will go to the Window menu, drop down
to Brush Controls, and this time I will
| | 00:45 | select the Size palette and we're
going to examine how size specifically
| | 00:51 | controls the Scratchboard
tool in the Pens category.
| | 00:55 | And if we look at Size, we will find
that Expression, which is always the way you
| | 01:00 | will discover where this is if it
controls an aspect of a brush, will be located
| | 01:07 | with the word Expression and then a drop
-down menu and we can see that pressure
| | 01:12 | is controlling this brush.
| | 01:13 | If I draw with this very lightly to a
very hard pressure, I get a nice change
| | 01:19 | from a very fine line to a slightly wider line.
| | 01:23 | So this gives me a very nice thin to
thick ratio when I draw with this pen using
| | 01:29 | pressure from my Wacom tablet.
| | 01:32 | Let's change it to something else like Random.
| | 01:35 | What happens when I do that?
| | 01:36 | Well, now pressure is not doing
anything but the size of the pen is being
| | 01:43 | randomly changed between its smallest and
largest size as it's adjusted in the Size palette.
| | 01:51 | So I get a completely different
character based on the expression.
| | 01:56 | In this Random, just throws out
various sizes of each dab as it goes and
| | 02:02 | gives it a very different look than I
get when it's set to Pressure, where I
| | 02:07 | get precise control through my hand to
adjust the thick to thinness of that pen stroke.
| | 02:15 | So Expression is another control for
specifying a particular expressive quality
| | 02:22 | into a brush stroke.
| | 02:23 | When it's used in concert with a pen
tablet, many dimensions of the artist's
| | 02:27 | hand motion can be applied to a brush.
| | 02:30 | We will be taking a look at Expression
in greater detail throughout the media
| | 02:34 | chapters of this title.
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| Cloning images| 00:00 | Cloning is a concept that revolves
around an original or source image in a clone
| | 00:06 | or destination image.
| | 00:07 | Cloning begins with an existing image,
the source, and creates a clone file,
| | 00:13 | which is the destination image.
| | 00:15 | By using Cloning brushes or setting a
brush to act as a Cloner, the color of the
| | 00:20 | source omage is funneled through the
cloning brush to the destination omega
| | 00:25 | imparting expressive character of
the brush to the resulting imagery.
| | 00:29 | We will take a look at this file and
create a clone of it in a couple different ways.
| | 00:34 | So I'm going to go up to the File menu
and go to the command Clone and when I
| | 00:40 | click on it, what happens is we get
an exact copy of that original image.
| | 00:46 | This is why I like to use the terms
source and destination image because it can
| | 00:50 | be a little conceptually
confusing as to what is going on here.
| | 00:54 | As long as you always think of your
original imagery as the source image and the
| | 00:59 | clone that is created as the
destination image, it's a much easier way to keep
| | 01:04 | track of what's going on with these two files.
| | 01:08 | Now I'm going to show you how you can
make this a little clearer. I'll close
| | 01:12 | this and will go up to the File menu once again.
| | 01:15 | This time I am going to
use the Quick Clone command.
| | 01:18 | The difference is Clone simply makes
the exact copy and for that reason, it can
| | 01:24 | be somewhat confusing.
| | 01:26 | By using the Quick Clone command,
it creates a copy of the image but something
| | 01:31 | different has happened here, as you can see.
| | 01:33 | In this case, it's made a copy of the
image but there's nothing on this image
| | 01:39 | and if I turn off Tracing Paper, which
is located up here in the upper-right corner,
| | 01:44 | I can toggle this Tracing
Paper on and off, and you can see that this
| | 01:50 | destination image does not have the
source image in it and it actually showed up
| | 01:54 | with Tracing Paper on.
| | 01:56 | So some settings were created to have
this set up in a certain way and the way
| | 02:03 | that's done is in the
Preferences menu, under General.
| | 02:07 | You have some controls here about
how you set up Quick Clone to behave.
| | 02:13 | And as you can see, we have it
delete the image from the clone.
| | 02:17 | It turned on Tracing Paper and it
actually switched to the Cloner Brushes in
| | 02:21 | the Brush Selector Bar.
| | 02:23 | But you have control over these, so
if I didn't want to switch to those
| | 02:27 | brushes, maybe I didn't even want to
turn on Tracing Paper, but I wanted to
| | 02:31 | leave the image devoid of the original
imagery, I could set up my behavior as
| | 02:36 | I've just done here and say OK, and
let's go and shut this off and we will
| | 02:42 | switch back to some other brush.
| | 02:45 | And now, when I go and use Quick Clone,
it respects the behavior that I have
| | 02:50 | just assigned to it.
| | 02:51 | So now I get a copy of the image.
| | 02:54 | There is still a unique association
between the source and the destination.
| | 02:58 | It's just now when I apply a brush
to it, if it's set up as a cloner,
| | 03:04 | it's going to pick up the underlying color
from that source image and apply it to
| | 03:09 | the blank destination image.
| | 03:11 | So you have many options in the way
that you can set up the way a Source and
| | 03:16 | Destination image are created and the
behavior of what's going to happen once
| | 03:21 | you've created this relationship
between the source and the destination.
| | 03:25 | So the Clone command when it's used in
concert with brush variants, for example
| | 03:30 | in the Cloners category, it offers a
way of quickly duplicating an existing
| | 03:34 | image, rendering the character of that
selected cloner variant, and you could
| | 03:39 | also as I've just done here, actually
turn any brush into a cloner by simply
| | 03:45 | going to the Colors palette and
clicking on the Clone Color button to indicate
| | 03:50 | that you want color to
come from the source imagery.
| | 03:54 | So you've got all of these
possibilities bound up in the way that cloning works
| | 03:59 | and it's just, as I've said, the best
way to keep track of a clone image is
| | 04:04 | really to think of a original image as
your source and the image that you have
| | 04:08 | created as a clone as the destination,
and we will be looking more at cloning
| | 04:13 | when we get to the Utility Media chapter.
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2. Two Methods of Control: The Brush Controls Palette vs. the Brush CreatorUnderstanding the anatomy of a variant| 00:00 | When you are working in Painter and
selecting brushes, you are selecting
| | 00:04 | variants and a variant has a lot of
components to it that are underneath the
| | 00:09 | hood and not exposed to you.
| | 00:12 | But what I would like to do here is
go through and show you these various
| | 00:16 | components to give you a better
understanding of how Painter keeps track of the
| | 00:21 | various brushes within Painter and if
you are inclined to go into the operating
| | 00:26 | system and noodle around in the
folders, you can actually find all of these
| | 00:31 | files and have a greater
understanding of what they are.
| | 00:34 | So let's start at the top and the Brush
Selector bar is where you are exposed to a variant.
| | 00:42 | What happens?
| | 00:43 | The first thing is a variant is
essentially a recipe that is all of the settings
| | 00:49 | that are in the Brush Control palette.
| | 00:51 | So, every slider, every drop-down menu,
every radio button, is a menu item that
| | 00:58 | becomes part of a recipe and all of
those end up being encoded into an XML file.
| | 01:06 | This is prescribed list that
details every setting within Painter.
| | 01:12 | So the heart of a variant is the XML
file and in this case we are taking a look
| | 01:18 | at the Square Chalk variant
within the Chalk category.
| | 01:22 | So the first thing that has to happen
here is it's got to create that XML file
| | 01:27 | when you save a variant.
| | 01:28 | It will use whatever name you
give it, in this case, Square Chalk.
| | 01:31 | So we have got one file, Square Chalk.xml.
| | 01:35 | That's one component of a variant.
| | 01:37 | Now the next thing that happens is
there are a couple of graphic elements that
| | 01:43 | are associated with the file.
| | 01:44 | For example, up in the Brush Selector
bar under the Variant dropdown menu there
| | 01:50 | is a little graphic representation
of the dab of that particular variant.
| | 01:55 | That is stored in what's called a nib file.
| | 01:57 | So it's just a small graphic
that represents what it looks like.
| | 02:01 | Also, you can alternatively set up
the dropdown menu for variants so that it
| | 02:06 | shows a sample stroke.
| | 02:08 | That is a stroke file, which is another graphic.
| | 02:11 | So those two files are stored along
just to make it efficient for Painter to
| | 02:16 | display those when you choose to
look at either one of those graphic
| | 02:20 | representations of the Square Chalk.
| | 02:24 | So we have got a couple of more elements now.
| | 02:26 | All these files will always share the same name.
| | 02:28 | So in every case it's Square Chalk.nib
or Square Chalk.xml, but whichever it is,
| | 02:34 | it's always going to share the same name.
| | 02:37 | So now we have got three
files associated with our variant.
| | 02:40 | In some cases, as is the case with the
Square Chalk, you have a captured dab.
| | 02:47 | That dab actually represents the mark
that is put onto the canvas and used to
| | 02:54 | make the stroke and whenever there is
a captured dab, that file must be also
| | 02:59 | kept along with the other files.
| | 03:02 | Now, just to make a fine point here,
the nib and stroke files are not required
| | 03:08 | if you want to give a variant to another user.
| | 03:12 | If it's a captured dab, that JPEG
file certainly has to go with it.
| | 03:17 | Painter won't know what to do with a
variant that specifies it uses a captured dab
| | 03:22 | and if the file isn't there,
it will fail to be able to use it.
| | 03:27 | But the nib and stroke files, Painter
automatically creates those the first
| | 03:31 | time a variant is opened up.
| | 03:34 | So those are important files to show
you what they are in the makeup of a
| | 03:39 | variant, but they're not important to
travel with the essential files that
| | 03:44 | another user would have to have, which
is the XML file always and if it happens
| | 03:49 | to be a captured dab, that JPEG
file has to go with it as well.
| | 03:54 | Now where does all of this go?
| | 03:56 | All of the variants within a category,
and we are looking at Chalk this time,
| | 04:00 | go into a folder, the Chalk folder.
| | 04:03 | From there that Chalk folder
resides in the Painter Brushes folder.
| | 04:08 | The Painter Brushes folder is then
nested into another folder called Brushes.
| | 04:13 | The reason for that is you may have
more than one brush library, so all of
| | 04:18 | Painter's brush libraries are
stored in the Brushes folder.
| | 04:21 | If you have Painter 6 Brushes folder,
it would be underneath the Brushes folder itself.
| | 04:28 | So there could be multiple Brush
libraries within your Brushes folder.
| | 04:32 | Then above the Brushes folder
it finally goes into the Painter 11 folder and
| | 04:38 | this path hierarchy is found
within the user folder on your system.
| | 04:43 | So this is how a variant is organized
within Painter and what you see as the tip
| | 04:50 | of the iceberg is just that simple
selection you make in the Brush Selector Bar,
| | 04:54 | but underneath the hood, Painter is
managing all of these different files and
| | 04:58 | keeping track of them for you, so that
you don't have to do the heavy lifting.
| | 05:02 | So when you click on that variant
button the Brush Selector bar, keep in mind,
| | 05:07 | Painter is doing a lot of work for you.
| | Collapse this transcript |
| Modifying a brush with the Brush Creator| 00:00 | The Brush Creator is a set of
tools that provides a visual method for
| | 00:05 | experimenting with Painter's brush
engine and all of the various associated
| | 00:09 | controls that make up a variant.
| | 00:13 | The nice thing about the Brush
Creator is that it whittles down all of the
| | 00:16 | dozens of variant settings and
adjustments and focuses on one expressive aspect
| | 00:21 | at a time or lets you play
around and just see what develops.
| | 00:25 | Let's go ahead and take a look at this up close.
| | 00:27 | I am going go up the Window menu and we
are going to down to Show Brush Creator.
| | 00:31 | So we will go to a separate area
and this is one aspect of the way the
| | 00:36 | Brush Creator works.
| | 00:37 | We are still in the application Painter,
but this is a separate room of sorts.
| | 00:43 | We are in a different space right now and
as such I can't work directly on the image.
| | 00:49 | I could click and I could be
there, but now I've hidden that and
| | 00:52 | I'd have to find some way to get back to this.
| | 00:56 | But the basic idea here is that it
isolates you from your workspace and puts you
| | 01:01 | in a brush adjustment space.
| | 01:03 | One of the things that's nice about the
way the Brush Creator works is that not
| | 01:09 | all pallets in this case are active, as
you can see, and depending on what brush
| | 01:14 | I used there will always
be some of these turned off.
| | 01:18 | That's because it looks at the
variant and determines what palettes have
| | 01:22 | settings in them that are active
in contributing to this variant.
| | 01:27 | If they're not on or don't work with a
particular method or dab type, it grays them out.
| | 01:33 | So right away, it whittles down exactly
what of these palettes are important to
| | 01:40 | this particular variant,
in this case Captured Bristle.
| | 01:45 | And as such you can then only focus
on those aspects of the brush that are
| | 01:50 | important. But this can break down in some
cases and I am going to give you an example.
| | 01:55 | This is a bristle style brush that
actually uses a separate palette to control
| | 02:01 | things like the thickness and the
various dimensions of control that are
| | 02:06 | possible with this dab.
| | 02:08 | If I go back now, you will see
that this preview has changed.
| | 02:13 | Well, where this doesn't really work is
that it doesn't let me have this preview
| | 02:17 | open while I'm in this particular control.
| | 02:21 | So I can make radical changes and I'll
only know what I've done when I come back
| | 02:27 | to the Size palette, so I can see the changes.
| | 02:30 | If things were in a perfect world, they
really should have that same preview in
| | 02:35 | this palette, but because of the way
it's set up, it doesn't work that way and
| | 02:39 | so this sort of hobbles the ability
to use the Bristle palette to make
| | 02:43 | adjustments, because I can't see
what's going on with the visual preview.
| | 02:48 | But the other aspect of this is that
each one of these as their open isolates
| | 02:54 | you from all the other
areas of the brush controls.
| | 02:58 | So if I go to the Random palette for
example, I'm only able to look at those
| | 03:02 | controls and each time I click on one
of these, I am presented with only the
| | 03:07 | controls that are going to make any
sense to adjusting this particular variant.
| | 03:12 | The other nice aspect of the way the
Brush Creator works is that when I make
| | 03:17 | adjustments, it actually shows me what
happens with a sample stroke down here so
| | 03:24 | that as I make adjustments to say
Thickness or Hair Scale, any of these
| | 03:29 | adjustments actually show up as a
preview stroke and that's a nice aspect of
| | 03:36 | being able to make these adjustments
and have that sort of preview available.
| | 03:41 | So the Brush Creator is one way
of making your brush adjustments.
| | 03:45 | It even goes so far as to provide you
with a sample area to work in so that you
| | 03:50 | do have all the controls
and tools available to you.
| | 03:55 | It's in a different environment or
a different space than the actual
| | 03:59 | painting space and that's probably
the primary difference between this and
| | 04:04 | the Brush Control palette.
| | 04:06 | So in the next video, we are going to
take a look at the Brush Control palette
| | 04:10 | and then finally we will take a look
at both of these and determine which one
| | 04:14 | do you want to use.
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| Modifying a brush with the Brush Control palette| 00:00 | The Brush Control palette is a way to
access all of Painter's brush control elements.
| | 00:05 | The Brush Control palette is used
while you're in the actual Painter painting
| | 00:10 | environment and to get to it we're go to
the Window menu and we go down to Brush
| | 00:15 | Controls > General and open it up
and you'll see that all of the various
| | 00:22 | controls that we saw when we were
in the Brush Creator are also here.
| | 00:27 | It's just that now we're in the same
space as where we typically paint.
| | 00:32 | I am going to show you a couple ways to
access and get various palettes open and closed.
| | 00:38 | And the first one I am going to show
you is if you happen to have multiple
| | 00:42 | palettes open, which can happen
frequently, if you hold on your Shift key and
| | 00:47 | just click on any one of these
disclosure arrows that are associated with each
| | 00:51 | palette, it will immediately
collapse it down to its smallest state.
| | 00:57 | Conversely, I can hold the Shift key
down when these are closed or if only some
| | 01:01 | are open and it will open all of the palettes.
| | 01:05 | Now you can see you can get into a
situation where you can have more palettes
| | 01:10 | open than fit on your screen.
| | 01:13 | You can certainly use the scrollbar,
but one issue you find with Painter's
| | 01:18 | scrolling is that it's not live.
| | 01:20 | So nothing happens until I let up and
it makes a little less than easy sometimes
| | 01:25 | to get to a specific spot that you want to.
| | 01:28 | I find a far easier way to do it is by
putting your cursor in any non-control area,
| | 01:34 | typically the gray areas within a
palette by clicking-and-dragging, you can
| | 01:38 | instantly adjust your palette and
give it more of a live scroll feel.
| | 01:44 | So just remember that it's very easy to
just grab any gray area and click to get
| | 01:50 | to a specific area
within a set of open palettes.
| | 01:54 | I'm once again going to hold the Shift
key and close all these up and start to
| | 01:58 | look at some of the things we can do here.
| | 02:00 | Unlikely the Brush Creator, I can have
multiple palettes open as you saw and in
| | 02:06 | the case of the captured Bristle brush,
there are times when I want to see both
| | 02:12 | of these open, because as you can see
right away I instantly get feedback up in
| | 02:18 | the Size palette preview when I make
these adjustments and that's something you
| | 02:23 | just can't do over in the Brush Creator.
| | 02:26 | So there is a benefit to being able to
have multiple palettes open at the same
| | 02:31 | time, especially in a case like this
that you'll find yourself quite frequently
| | 02:36 | needing to have several palettes
open and it's just very nice to be able
| | 02:40 | interact with these various
controls when you're adjusting a brush.
| | 02:45 | Another thing that you can do is you
can actually take palettes and move them
| | 02:50 | out of the main stack.
| | 02:52 | So if I wanted to work with the
Bristle and Size palette, I could put them
| | 02:57 | together and close this and
have just these controls out.
| | 03:01 | Now I normally wouldn't do this, but
if I was going to be working in a set of
| | 03:06 | brushes that are all static bristles,
which use this model of the Bristle
| | 03:11 | controls, I would probably
want to set it up this way.
| | 03:14 | However, there are times where
you're not going to want it that way and
| | 03:18 | basically just by going back to your
controls and replacing them will let you
| | 03:24 | put them all back together.
| | 03:26 | But you can also do something here
that you can't do elsewhere and that is I
| | 03:31 | can set where I want these
to be next to one another.
| | 03:35 | You saw I just placed the Bristle control up
closer to the Size control than it was before.
| | 03:41 | So by clicking-and-dragging these I can
just place these somewhere else within
| | 03:47 | this stack of palettes and there is a
default set up the way that it comes
| | 03:53 | from the factory, but you may find
certain controls make more sense being
| | 03:57 | closer to another control at times
just as I did here where sometimes Bristle
| | 04:02 | to me makes more sense being immediately next
to the Size palette than being removed from it.
| | 04:08 | So you have the means to edit how these
are presented when the full palette is open.
| | 04:14 | So the Brush Control palette then
gives you the advantage of being able to
| | 04:18 | see multiple palettes at the same time while
you're in the creation space of your painting.
| | 04:25 | In the next video we're going to go
ahead and compare the Brush Creator and
| | 04:30 | the Brush Controls palette and see which
one is better and in which situation it
| | 04:35 | makes sense to use it in.
| | Collapse this transcript |
| Which is best?| 00:00 | So you have got two basic
methods of brush control in Painter.
| | 00:04 | Which one is better?
| | 00:05 | You've got the Brush Creator,
which we are looking at here.
| | 00:08 | I would have to weight the Brush
Creator towards new users, because it has
| | 00:13 | this way of being able to whittle down
what the actual relevant palettes are
| | 00:19 | is a very good way for a new user to
start to learn which palettes work with
| | 00:26 | which kinds of brushes.
| | 00:28 | The other thing that it does very well
is it only allows you to open one palette
| | 00:33 | at a time, which we've seen can be
problematic, but for the most part it forces
| | 00:38 | you to focus on specific
aspects of a brush as you're working.
| | 00:43 | So as I said Brush Creator,
I give the nod to beginner users.
| | 00:48 | However, I would say after working
with the Brush Creator for a while the
| | 00:53 | similarity in the way that things are
organized and with individual palettes
| | 00:57 | themselves basically are all available and
over in the Brush Control palette as well.
| | 01:04 | The advantage here as we saw is
being able to have multiple palettes open
| | 01:09 | and being able to work within the same
exact space that you are actually painting in.
| | 01:15 | So the nod for the Brush Control
palette goes to the experienced user and for
| | 01:22 | this title I am going to err on the
side of using the advanced technique by
| | 01:27 | using the Brush Control palette.
| | 01:29 | The one thing that it lacks, however, is
the ability to do a preview stroke and
| | 01:35 | in the next video were going to take a
look at how to simulate the same effect
| | 01:42 | while we're working within
Painter's primary creation space.
| | Collapse this transcript |
| Setting up a stroke testing palette| 00:00 | In this video, I'm going to show you
how to be able to create a sample stroke
| | 00:05 | that you can replay as
you're working on a brush.
| | 00:08 | It's a very useful visual feedback that
lets you see how individual changes to a
| | 00:15 | brush are affecting the way that the
brush is going to look when you use it.
| | 00:21 | To do this, we're going to go up to the
Window menu and go to Custom Palette and
| | 00:26 | we're going to go to Add Command.
| | 00:29 | So, as we go in here, we don't
have a custom palette at this point.
| | 00:33 | So the first thing we have to do is
select an item we want to work with.
| | 00:39 | So, I'm going to go up to the Brush
Selector Bar and I can select any of the
| | 00:44 | commands found within this particular palette.
| | 00:49 | The one I want to get here is Record Stroke.
| | 00:51 | So I'm going to say Record Stroke.
| | 00:54 | I've now got that menu item, and for
the time being, we're going to add it to
| | 00:58 | New, because we don't have any current
custom palette already created. So we'll say OK.
| | 01:05 | Now I've just created a custom palette
with the Record Stroke command as a button.
| | 01:12 | I want to also add a second command here.
| | 01:14 | So I'll back once again to Custom
Palette > Add Command and we want this to go
| | 01:21 | to Custom 1, which is the
default name given to a new palette.
| | 01:25 | I'm going to go back to the Brush
Selector Bar, go down to Playback Stroke,
| | 01:31 | click on it and add it.
| | 01:33 | So, now I've got a pair of commands here.
| | 01:36 | Finally, what I can do is go back
once again to Custom Palette, go to the
| | 01:40 | Organizer and I'm going to save this.
| | 01:42 | So I'm going to go ahead andrename this
and I'm going to call it Stroke Testing.
| | 01:48 | And we're done.
| | 01:52 | Now, as you saw in the Brush Control
Palette movie, we can actually nest various
| | 01:58 | palettes within other palettes.
| | 01:59 | So I'm just going to take this and I'm
going to put it right above the Colors palette.
| | 02:04 | So, now I've got built in to my interface
a way to record and playback a stroke.
| | 02:10 | Now when would you use this?
| | 02:12 | Well, let me show you how it works.
| | 02:14 | I'm going to go ahead and say Record
Stroke and now I'm just going to draw a
| | 02:18 | sample stroke. We happened to have
Captured Brush, our current brush.
| | 02:21 | So I'm just going to draw that stroke.
| | 02:24 | I've now recorded it.
| | 02:26 | I can now go back to Playback Stroke,
and when I click on this, nothing is going
| | 02:29 | to happen immediately, but when you've
clicked on that, what happens is wherever
| | 02:34 | I press on the screen, it centers
that stroke on my current cursor.
| | 02:40 | So I can sit here and play
this back as many times as I want.
| | 02:43 | In fact, this can actually be kind of a
neat way to take a stroke and replay it
| | 02:48 | many times for various
kinds of interesting effects.
| | 02:51 | But in our case, we're going to take this.
| | 02:53 | I'm doing Select All. Delete.
| | 02:55 | I'm also going to double-click
the Magnifier to get back to 100%.
| | 03:00 | So we're not getting any
distortion in the appearance of the strokes.
| | 03:03 | I'm going to go ahead and now open up
the Brush Controls and let's say that
| | 03:11 | my task here is to see how the Bristle
Controls are going to affect my brush stroke.
| | 03:18 | I can see in here, but I'm going to go
ahead and select my brush, then click on
| | 03:23 | the screen to see how it looks
currently, but I can go ahead and make some
| | 03:27 | adjustments here and then click again
and now I see that same stroke, but I see it
| | 03:35 | with the adjustments I made.
| | 03:36 | So, each time I make an adjustment,
I just come over and click and I'm seeing
| | 03:41 | the various changes to the brush stroke as I go.
| | 03:45 | What this tends to do is it's very easy
to make brush strokes by hand and I do
| | 03:50 | that sometimes as well.
| | 03:52 | But what happens when you make them by hand?
| | 03:54 | Every time you make a brush stroke,
you're introducing variables into how
| | 04:00 | that brush stroke looks.
| | 04:02 | By being able to record a stroke, and
it records all of your pressure and any
| | 04:07 | other dimensions of control, say tilt
or bearing or anything that are part of
| | 04:12 | the way the brush is setup when you record
that stroke, are all part of that recording.
| | 04:18 | As a result, each time I just go in and
change one aspect of the brush and then
| | 04:23 | click on it, I'm reducing the amount of
variables as to what's changing the look
| | 04:28 | of that stroke that we're playing
back to just the change I've made.
| | 04:32 | So it gives you a very organized way to
go through and see what each change is
| | 04:39 | going to do to the stroke.
| | 04:40 | Now, once you get to some point that you
may find a brush you like, then go back
| | 04:44 | to Playback Stroke and click on it
again, and now I can try drawing with that
| | 04:49 | stroke to see what it's like.
| | 04:51 | But I can go back at anytime to
Playback Stroke and I've still got that
| | 04:55 | particular stroke there.
| | 04:57 | Each time you record a new stroke, of
course, you're going to lose the old stroke,
| | 05:01 | but this whole method right
here gives you a way to very kind of
| | 05:06 | scientifically go through and make
adjustments and see precisely what each one
| | 05:12 | of those adjustments is doing.
| | 05:13 | In fact, this is exactly the same way
that this works over in the Brush Creator.
| | 05:18 | It's just kind of programmed into the
interface to do it automatically for you here.
| | 05:23 | We're just taking advantage of this
recording feature to be able to do it over
| | 05:28 | in the actual interface of
the painting area itself.
| | 05:31 | So, being able to create sample
strokes and have this little special palette
| | 05:36 | that we've created while we're working,
just gives us a quick way to do this and
| | 05:40 | not have to constantly be going up to
the Windows menu and going to Custom
| | 05:45 | Palette and doing all of that.
| | 05:47 | This puts it right in the main part of the
interface and makes it very easy to access.
| | 05:51 | So we'll be using this throughout the title.
| | 05:54 | I think you'll find it a very useful way
to be able to stay in the main area and
| | 05:59 | work with the brush creation at the same time.
| | Collapse this transcript |
| Manipulating pressure adjustments| 00:00 | Pressure, as it relates to the Wacom
tablet, is the single most important
| | 00:05 | dimension of expressive control
communicated by the tablet to Painter.
| | 00:10 | The artist's hand pressure imparts a great
deal of expressive character to the brush strokes.
| | 00:16 | Many of Painter's newer brush dab
models actually respond more subtly to
| | 00:20 | pressure than in the past.
| | 00:22 | As such, it is important to periodically
adjust your stylus' sensitivity as you're working.
| | 00:27 | Let's go ahead and take a look at
the Brush Tracking palette where this
| | 00:31 | sensitivity is adjusted.
| | 00:33 | I'm going to go to the Corel Painter
11 menu, which in the Mac is where you'd
| | 00:37 | get to Preferences.
| | 00:38 | On Windows, you'll find it under the
Edit menu. And let's go to Brush Tracking.
| | 00:44 | Before we even go any further,
I want you to take a look at the
| | 00:48 | keyboard shortcut here.
| | 00:49 | On Mac it's going to be Shift+Command+K.
On Windows, it will be Shift+Ctrl+K.
| | 00:55 | But you want to memorize this
keyboard shortcut, because I'm going to be
| | 00:59 | going back and forth between Brush
Tracking palette and the image, so it
| | 01:04 | makes great deal of sense to be able
to quickly access it rather than going
| | 01:08 | the long way through the menu.
| | 01:09 | So let's go ahead and we'll open it up,
but from henceforth, I'm going to be
| | 01:13 | using the keyboard shortcut to open it up.
| | 01:15 | You've probably used this before and
the idea is that if you draw a sample
| | 01:21 | stroke in the style of the way you
feel like you're going to be working,
| | 01:25 | it adjusts these parameters for how to
provide pressure to the tools in Painter.
| | 01:33 | But I want to show you how you can
take the Pressure Scale and Pressure Power
| | 01:37 | sliders and even use them a little more
finitely than you can get when you use
| | 01:41 | the Scratch Pad up here.
| | 01:43 | Just to give you an example, I'm going
to turn this down and let's go ahead and
| | 01:48 | I'm going to draw now with the
Scratchboard tool, which is a pen that has a very
| | 01:52 | nice thin-to-thick ratio.
| | 01:55 | I'm going to go ahead and
just draw a sample here.
| | 01:59 | Right away, it's very hard to get to
the fine end of this scale. If I try
| | 02:04 | really hard, I mean I'm literally
just dragging without any other pressure
| | 02:08 | input to get in there.
| | 02:09 | It's hard to get to that thin
end of the scale. Why is that?
| | 02:14 | Well, that's because the Pressure Scale
slider relates to how many iterations of
| | 02:20 | pressure are being applied to the
tools in Painter and with a short Pressure Scale,
| | 02:26 | there are not very
many iterations available.
| | 02:29 | That's why I can't get to
the full range of pressure.
| | 02:33 | If I turn this up, now I've
elongated or created a longer scale with more
| | 02:38 | iterations of pressure throughout the scale.
| | 02:41 | Now when I go in here, I have a very
nice control over the thick-to-thin ratio.
| | 02:47 | So, when you're working with tools in
Painter, I find that a lot of times you just
| | 02:52 | need to go in here and adjust this up or
down a little bit to get the exact feel
| | 02:57 | that you want, and for my money,
it's far better to get used to using the
| | 03:03 | Pressure Scale slider to get the
control over how you're delivering that full
| | 03:09 | range of pressure than you're ever
going to get using the Scratch Pad.
| | 03:13 | So that's a very important
aspect of pressure control in Painter.
| | 03:19 | The other thing I want to show you
quickly is I'm going to go to the Control
| | 03:23 | Palette for the Wacom tablet.
| | 03:25 | That will be in your Control Panel on Windows.
| | 03:29 | The thing I want to show you here is you
do have this thing, Tip Feel, and you can
| | 03:34 | make it Soft or Firm. My advice is
to just keep that centered in the null
| | 03:39 | position, so it's neither soft nor hard,
because Painter actually has a more
| | 03:43 | sophisticated control in the Brush
Tracking palette than you have here.
| | 03:49 | If you set this to something different,
it's going to bias the way that that
| | 03:52 | control was acting, because you're
actually controlling it at two different times.
| | 03:56 | So, I find it best to just leave the
Wacom Setting in its default null setting
| | 04:03 | and let Painter handle the heavy
lifting of changing that scale for you.
| | 04:07 | So, you don't want to tweak both the
Wacom tablet and Painter's controls,
| | 04:13 | otherwise you'll be double-controlling
them, and you won't know for sure when
| | 04:17 | you actually have an accurate setting.
| | 04:19 | So using the Brush Tracker to adjust
various brushes is the single best way I
| | 04:25 | know of to get the maximum performance
out of Painter and your Wacom pen tablet.
| | 04:30 | Whenever a brush doesn't seem to be
delivering its full expressive character,
| | 04:35 | it's time to go check the Brush Tracking.
| | Collapse this transcript |
| Saving a brush variant| 00:00 | We are going to be creating a few new
brush variants as we go through this title.
| | 00:04 | So you may want to save some of these as we
go along so you can add them to your library.
| | 00:09 | In this video, I am going
to show you how to do this.
| | 00:11 | Later in the Expressive Design chapter
we'll go into more depth on this subject.
| | 00:17 | So let's just do an example.
| | 00:19 | We actually played with this earlier.
| | 00:20 | I have the Scratchboard tool and I am
going to go in here and I'm going to
| | 00:25 | open up the Brush Control and I am
going to go to switch the Expression to Random.
| | 00:32 | So what does that do?
| | 00:34 | Well, that gives us this funny
little brush that kind of looks like an
| | 00:36 | interesting necklace or something.
| | 00:38 | Let's say that that's a
brush that we wanted to save.
| | 00:42 | So all I have to do is go up to the
Brush Selector bar, go to Save Variant, and
| | 00:49 | give this a new name.
| | 00:51 | So I might want to call this Funky
Necklace, not that that's a good name,
| | 00:55 | because we will even be talking about
what makes a good name later, but just for
| | 00:59 | now let's give this a name.
| | 01:00 | So Funky Necklace,
and I'll go ahead and say OK.
| | 01:05 | So I've now saved that variant, but here's
the second part of this you need to know.
| | 01:10 | Right now we've got an altered
version of the Scratchboard tool.
| | 01:14 | So what we want to do is return it to
its default behavior rather than keep it
| | 01:19 | as this newly designed brush.
| | 01:21 | And the easy way to do this is to go up
into the Brush Property bar and at the
| | 01:25 | far left you've got this Reset button.
I often call this the panic button.
| | 01:30 | Whenever you get into some form of
adjustment you're not sure how to get back,
| | 01:34 | this is the panic button.
| | 01:35 | So I am just going to click this and now
this returns my brush to its default state.
| | 01:41 | If I go now into the list, however,
we can go and look and we'll find that Funky
| | 01:47 | Necklace is now there.
| | 01:48 | So now I can select it,
and I've got this new brush.
| | 01:51 | And I can always go back to my
original Scratchboard tool and I've got it.
| | 01:56 | So now we've got the original brush
as well as the newly added variant.
| | 02:02 | So knowing how to save variants is going
to enable you to be able to expand your
| | 02:07 | library as you create new brushes.
| | 02:09 | And as I said, we are going to be
doing a few that will also be included with
| | 02:13 | the materials for the title.
| | 02:15 | But you may actually want to save them
as we go as well, and who knows?
| | 02:19 | You may come up with some interesting
variations that you want to save that no one
| | 02:22 | else in the world has.
| | 02:23 | So saving variants is a very
good way of expanding your library.
| | Collapse this transcript |
|
|
3. Bristle MediaBristle Media in action| 00:00 | For bristle media we are
going to take a look at brushes.
| | 00:04 | Brushes are really the basic form of
tool used within all bristle media.
| | 00:08 | Basically, what we were talking about
are stylus based instruments that use
| | 00:11 | bundle of hairs as a reservoir to contain
or hold a medium like oil or acrylic paint.
| | 00:17 | The idea behind the bristle reservoir
is that it is able to dispense fluids on
| | 00:21 | a medium over time.
| | 00:24 | Another characteristic of the brush is
the way that the brush tip shape changes
| | 00:27 | based on the artist's hand pressure and
rotation of the stylus, which contribute to
| | 00:32 | the expressive qualities of the brush.
| | 00:34 | Now the first thing you want to do with
a brush is load the bristles with paint.
| | 00:42 | Once you have the paint on the brush
you can apply this medium to a surface,
| | 00:46 | which is typically canvas like this.
| | 00:49 | Depending on the constitution of the
paint itself, this can be a very opaque
| | 00:53 | medium or it can be thinned out
to where it's very transparent.
| | 00:56 | These are qualities that can alter
or change the expression of the marks
| | 01:00 | made with the brush.
| | 01:01 | The amount of paint applied to a
brush's reservoir directly affects the
| | 01:05 | character of the resulting stroke.
| | 01:07 | The reservoir is not
infinite and eventually runs out.
| | 01:11 | The artist can intentionally use
this fact to charge the reservoir with
| | 01:14 | smaller amounts of paint.
| | 01:20 | The applied strokes will run out of
paint quickly leaving a short stroke with a
| | 01:24 | tail of decreasing color until it tapers out.
| | 01:28 | This is a standard look in painting.
| | 01:30 | There are different types of brushes,
which could be used in the service of
| | 01:34 | creating different kinds of mark making.
| | 01:35 | For example, a fan brush is not as good
at applying paint as it is for spreading
| | 01:41 | already applied wet paint on a canvas.
| | 01:51 | This lets you create subtle gradations
of color or tonal variations not easily
| | 01:56 | accomplished by direct application.
| | 01:59 | For this reason it is made in a wide
flat shape optimized for light brushing.
| | 02:05 | You've also got brushes with
round tips that taper to a point.
| | 02:09 | This brush shape can go from a very
fine stroke to a wider stroke depending on
| | 02:13 | the level of pressure from your hand.
| | 02:21 | In addition, there are wider flat
brushes that are generally used to apply
| | 02:25 | paint to larger areas.
| | 02:27 | Each of these brushes allows you a
different way to control how you apply
| | 02:31 | paint onto your medium.
| | 02:32 | One of the techniques that artists will
use is to mix multiple colors of paint,
| | 02:37 | and then do what's called loading the brush.
| | 02:40 | This is where the artist will pick
up these multiple colors across the
| | 02:43 | bristles of the brush.
| | 02:44 | When the brush is applied to the
canvas the resulting stroke will contain
| | 02:49 | striations of the loaded colors,
introducing greater complexity.
| | 02:54 | The ability to vary the stroke width
and the deposition of color within the
| | 02:58 | stroke provides a wide
range of expressive potential.
| | 03:02 | You've also got a technique
that can be done with a dry brush.
| | 03:05 | The artist can take a very light amount
of paint and then apply it to a textured
| | 03:09 | medium and apply paint only to the
topmost portion of the surface by using
| | 03:13 | light pressure strokes, leaving the
lower areas of the canvas untouched.
| | 03:19 | This accentuates the texture of the
canvas weave, which visually creates a
| | 03:23 | partial screen of one color over another.
| | 03:26 | The two colors are then mixed
optically by the viewer's eye.
| | 03:29 | For example, when yellow is lightly
applied over some existing blue the optical
| | 03:34 | result is the appearance of green.
| | 03:41 | In reality there are two distinct
colors, but the eye and brain optically mix
| | 03:45 | them together to perceive green.
| | 03:47 | A majority of Painter's brush controls
are dedicated to various bristle effects
| | 03:52 | as we'll discover in this chapter.
| | Collapse this transcript |
| Painting with acrylics| 00:00 | In this video, we are going to
take a look at the Acrylics category.
| | 00:04 | This is a great place to start
learning about brush customization.
| | 00:08 | We are specifically going to look at
the Captured Bristle within the Acrylics
| | 00:12 | category, and the reason I'm going to
use this brush is it has a dab type which
| | 00:18 | is a very useful because of the
way it visualizes this dab type.
| | 00:23 | This is a bit unique. None of the other
dab types have this much visualization.
| | 00:28 | That's why this one is really good to
start on, because it's going to be a great
| | 00:31 | way to build on what we are going to do later.
| | 00:33 | So let's go ahead and take
a look at the Captured dab.
| | 00:36 | I am going to go up and go to Acrylics
category at the very top, and select the
| | 00:43 | Captured Bristle, which is
at the very top of the list.
| | 00:46 | And let's just do a sample stroke or two here.
| | 00:50 | So you can see this brush has some
striations within it to indicate that it's
| | 00:55 | made up of brush hairs.
| | 00:56 | So that's a very nice quality, but I am going
to show you how we can play around with this.
| | 01:02 | So let's go to the Window menu, and go
to Brush Controls palette and open it up.
| | 01:08 | And the three palettes we are going to
want to open up for this particular video
| | 01:12 | are the Size, the Bristle,
and the Spacing palette.
| | 01:17 | Now this may or may not be already
opened so I am letting you know that you may
| | 01:21 | have to click in the preview in order
to see this little bundle of hairs that's
| | 01:26 | associated with the bristle brush.
| | 01:28 | And the first thing we are going to do
is I like to create a sample stroke so I
| | 01:33 | am going to go over, and use my
Stroke Testing palette that we created in
| | 01:37 | Chapter 2, and go ahead
and just do a quick sample.
| | 01:43 | Now when I hit the Playback
button, I can now replay this.
| | 01:46 | And we are doing this quite a bit, but
I am going to do Command+A and Backspace
| | 01:50 | or Delete to clean up my screen.
| | 01:52 | So let's go ahead and do a
sample stroke as our baseline.
| | 01:56 | And now we are going to go ahead
and let's enlarge this brush a bit.
| | 01:58 | I am going to go take it up to around 40 or so.
| | 02:01 | And we'll do another Playback, and
notice what's happening here, I wanted you
| | 02:06 | to see that when this brush starts to get larger
it starts to exhibit what I call tire tracks.
| | 02:11 | And those are the little artifacts
that happen because the dabs aren't quite
| | 02:16 | spaced close enough together.
| | 02:18 | And what we want to do is be able to
adjust this so that we eliminate this
| | 02:22 | undesirable artifact.
| | 02:24 | So we are going to go down to the Spacing
palette, and the current Spacing is set at 12%.
| | 02:28 | I am going to reduce this down a bit.
| | 02:31 | So I am just going to tap down and get to
about half, 6%, and now let's see what happens.
| | 02:37 | Okay, now we've eliminated the tire tracks.
| | 02:40 | So the Spacing palette is very important
to get rid of this little artifact when
| | 02:45 | you see it, just by lowering
it you get a better result.
| | 02:48 | I do want to indicate too that this is very
tied to your system's processor and performance.
| | 02:55 | You may or may not be able
to adjust it to this setting.
| | 02:57 | I always call the correct setting the
sweet spot. For each processor you want
| | 03:03 | to nudge this down as far as you can and
still not notice, when you start using the brush,
| | 03:08 | see any performance loss. If it starts
to lag you are going to have to play with
| | 03:12 | the Spacing to find that sweet spot so
that you minimize the Spacing enough to
| | 03:18 | make it visually clean, but at the
same time not lower it so much that it
| | 03:22 | impinges on your performance.
| | 03:24 | So that sweet spot is always going to
happen right in the Spacing palette.
| | 03:28 | Next, we are going to take a look
at the character of the makeup of the
| | 03:32 | Bristles within the stroke, and that's going
to happen once again within the Bristle palette.
| | 03:37 | We have two things to deal with here.
One is Thickness, and Clumpiness.
| | 03:42 | Thickness, if you watch up in the
preview as I adjust this up and down, controls
| | 03:47 | how thick all of the dabs
together are going to get.
| | 03:50 | So I am going to thin it down a ways.
| | 03:53 | And now we are going to
take a look at Clumpiness.
| | 03:55 | Clumpiness plays with the differences
between all of the individual clumps.
| | 04:00 | And you can see how you can make them
almost all the same, or very different.
| | 04:04 | So how you adjust this also
controls the character of the brush.
| | 04:09 | Let's go ahead and do a sample here.
| | 04:11 | So that one is still pretty similar.
Let's go ahead and lower our Thickness a bit.
| | 04:15 | And this is how this works.
| | 04:17 | It's just one change at a time and try it out.
| | 04:20 | Now we've got a much thinner stroke, but
with a lot of variation in the hairs themselves.
| | 04:26 | Finally, let's play around with Hair
Scale a little bit, and you can see how
| | 04:30 | now I am decreasing the total number of hairs,
but I am also enlarging each one of them.
| | 04:37 | And let's see how that looks.
| | 04:39 | Now there is a look that I like.
| | 04:40 | So this iterative process is one of
making a change, testing the stroke,
| | 04:46 | examining what you like, going back.
| | 04:49 | And you can see how it's an iterative
process that as you go along you are
| | 04:53 | observing one change per Playback of the stroke.
| | 04:57 | And this is an excellent kind of
forensic for creating a brush to get it to the
| | 05:02 | exact way you'd like it to look.
| | 05:04 | Then eventually, you're going to want to turn
off Playback Stroke, Select All, and Delete.
| | 05:11 | And now I can play with it as the
brush and not so much as an isolated
| | 05:17 | experiment by playing it back.
| | 05:19 | So this is the basis for how we go through
and test brushes to get them the way we want.
| | 05:26 | The iterative process is really a
very organized way to go about this.
| | 05:31 | So let's go on and keep
trying some different brushes.
| | Collapse this transcript |
| Painting with gouache| 00:00 | In this video, we are going to take a look
at the medium of gouache. What is gouache?
| | 00:05 | Gouache is basically an opaque
watercolor and it's used a lot by commercial
| | 00:10 | artists for things like posters,
illustrations, comics, a lot of different types
| | 00:15 | of design work, and it's
used in fine art as well.
| | 00:18 | But the principle aspect of it is that
it's an opaque color medium as opposed to
| | 00:23 | one that is transparent.
| | 00:24 | And we are specifically going to take a
look what's in the Gouache category at a
| | 00:29 | dab type that it uses and that is the
Continuous Stroke, and within that we are
| | 00:35 | going to look at Camel Hair.
| | 00:36 | So let's go ahead, take a look at Gouache.
| | 00:39 | So I am going down to the Gouache
category, and we are going to be looking at
| | 00:43 | the Fine Round Gouache 30.
| | 00:45 | And if we go over to the General
palette, I want to show you this.
| | 00:49 | The Dab Type here is Camel Hair.
| | 00:51 | And this is completely different than
the dab type we looked at in Acrylics
| | 00:56 | where that's actual individual dabs
that are closely spaced together, so that
| | 01:01 | you get the appearance of a continuum
of overlapping dabs to make the illusion
| | 01:06 | of a single brush stroke.
| | 01:08 | With the continuous brush stroke,
these actually are continual brush strokes,
| | 01:13 | there is no real dab.
| | 01:14 | It's actually a bunch of anti-aliased
one-pixel lines that make up all the
| | 01:18 | individual hairs that are the brush
bundle of these continuous strokes.
| | 01:23 | And there are several of the dab types
that use this technology. The Camel Hair
| | 01:28 | is one, and that's the one
we are going to be looking at.
| | 01:30 | But also the Flat, which is the same brush.
| | 01:33 | It's just, instead of circular,
it's an elliptical shaped brush.
| | 01:37 | Then you get the Palette Knife, the
Bristle Spray, and the Airbrush. These all
| | 01:41 | are continuous strokes and as such
they use the same controls that we will be
| | 01:45 | looking at when we are
adjusting the Camel Hair brush.
| | 01:48 | But I just want you to be aware of
what looks like lots of different types in here,
| | 01:52 | really they are bundled together.
The whole group of these actually makeup
| | 01:55 | this one category known
as the continuous stroke.
| | 01:58 | So let's take a look at it.
| | 01:59 | And I am going to go ahead and just
draw a sample stroke or two here, and
| | 02:03 | right now, you can just start to see
that there's some hairs within these
| | 02:07 | bundles but it's very dense.
| | 02:09 | So what we want to play with here is
how do we adjust the density of the bundle
| | 02:15 | of brushes, and that's done in the
Size palette, and where this is typically
| | 02:20 | grayed out with dab types that are
overlapping dabs, all of a sudden we now have
| | 02:24 | this Feature slider that's available to us.
| | 02:27 | And I am going to go ahead and I am
going to turn it up to a higher number and
| | 02:30 | let's see what happens.
| | 02:31 | See now how it's a much more sparse
bundle of hairs and let's go back and do
| | 02:36 | our stroke test that we want to do here.
| | 02:38 | So I'm going to take advantage of the
same stroke I was using earlier, there it is.
| | 02:43 | So now as I start to go through and make
adjustments, I can watch what happens here.
| | 02:47 | So let's just try turning Feature size
down a bit. See how the hairs are now
| | 02:52 | getting more dense? As I keep taking
this down you see what happens is as
| | 02:58 | Feature size decreases, the number
of hairs within a brush increase.
| | 03:03 | So this is also another performance issue.
| | 03:06 | You can get this down to some very small
number and I even saw it right there,
| | 03:11 | it took it longer to draw that stroke.
| | 03:13 | If I were to try to draw this stroke
by hand it would lag and be very slow.
| | 03:17 | So, what you have to do on various
systems because of the performance level of
| | 03:22 | the processor in a specific system,
Feature size may have to be adjusted
| | 03:26 | upwards or downwards.
| | 03:27 | And again, that's what I call the sweet spot.
| | 03:29 | So when you're making brush adjustments,
you sometimes have to sacrifice the
| | 03:33 | absolute look of hairs that you'd
want in a bundle for a brush that is
| | 03:38 | performing adequately.
| | 03:39 | And so there's always going to be some
sweet spot in here but I always find, I
| | 03:43 | actually like this brush with some
available air in between the brush strokes.
| | 03:48 | So I am going to turn this up a little bit more.
| | 03:50 | And now I am getting a nice
distribution but I am going to show you another
| | 03:55 | characteristic that we can enter into
this, and just so we can see this I am
| | 03:59 | going to go ahead and Select All > Delete.
| | 04:02 | And let's go through one other change
here, and that is in the Random palette.
| | 04:07 | So I am going to open that one up as
well. We are going to play with Jitter.
| | 04:10 | And watch what Jitter does.
| | 04:12 | Let's put our sample up here.
| | 04:14 | Now I am going to turn this up to some
high number, like around 1. Oh, look at that.
| | 04:18 | Now that is really wild.
| | 04:20 | What it's doing is its really taking
these individual lines and randomizing them
| | 04:25 | but because they are continuous
lines, they will always stay connected.
| | 04:29 | But you can see what happens as we
get an overabundance of randomness.
| | 04:33 | Now, for some brushes, this actually
may be a desirable characteristic,
| | 04:37 | but for my brush I want it to look more
realistic, so I am going to turn this down
| | 04:42 | and just try it again.
| | 04:43 | Now see I am still getting quite a bit
of randomness in there, so I am going to
| | 04:47 | keep turning it down. Even that's quite a bit.
| | 04:50 | So now I am going to really refine it
down, and take it somewhere below about a 6th
| | 04:54 | or 8th, so let's see what we get there.
| | 04:55 | Now I'm almost not seeing it.
| | 04:57 | Let's take it up one more, there.
| | 04:59 | Now there's a little bit of what I
call Analog Glow being introduced into
| | 05:04 | this brush, rather than it being
perfect, there's just some randomness being
| | 05:08 | introduced into it.
| | 05:09 | So let's go ahead and turn off the
Stroke Playback and Select All > Delete.
| | 05:14 | And see now I get a brush that has
some randomness in the hair but not
| | 05:20 | necessarily too much.
| | 05:22 | That might be a little bit much.
| | 05:23 | So I will make another refinement,
take it down a little bit, there.
| | 05:26 | Now I am getting a brush
that I like the way it looks.
| | 05:29 | Another characteristic of the way
Jitter works, notice if I draw real fast,
| | 05:34 | there's not much change in that line
whereas when you draw slow, it has more
| | 05:39 | time to do the Jitter effect.
| | 05:41 | And so it's also based on kind
of how fast you draw as well.
| | 05:45 | So you've got the characteristic of
both being able to adjust the Feature size
| | 05:50 | of a brush as well as Jitter to
play around with how you get a variable
| | 05:56 | characteristic into the brush hair
bundle that you're working with when you
| | 06:00 | work with continuous stroke brushes.
| | 06:03 | So now you've got both static dabs
and continuous strokes under your belt.
| | 06:08 | You're starting to now see how the
different types of dabs have different
| | 06:13 | effects in the way they look.
| | 06:15 | And it's all of these different dab
types that really give Painter the wide
| | 06:19 | expressibility that it has.
| | 06:22 | So now that you are starting
to learn how to adjust these,
| | 06:25 | you are going to start to see that
you can customize these variants so that
| | 06:29 | you're not using just the plain vanilla
ones that came with Painter, but you are
| | 06:33 | starting to add your own
flavor into these brushes.
| | Collapse this transcript |
| Modifying resaturation and bleed with oils| 00:01 | In this video, we are
going to take a look at oils.
| | 00:03 | Oils are the archetypal painting
medium, so they justifiably get a lot of
| | 00:08 | attention in Painter.
| | 00:10 | One desirable characteristic of oils
is the way that you blend colors.
| | 00:15 | The result is this very creamy quality.
| | 00:18 | Now I am going to show you how some of
the Oil category variants play around
| | 00:22 | with this creamy quality so you
can add it to your own bag of tricks.
| | 00:26 | So we are going to go to the Oils
category, and I am specifically going to work
| | 00:31 | with the Fine Camel 30 and what we
really are going to be paying attention to in
| | 00:36 | this video is the Well. What is the Well?
| | 00:40 | Well, well, well, I'm going to tell you.
| | 00:43 | The Well is composed of two
characteristics, Resaturation and Bleed.
| | 00:48 | Resaturation is the color coming or
flowing from the brush. So Resaturation
| | 00:56 | controls color coming from the brush.
| | 00:59 | Bleed on the other hand controls
picking up any color that is found underneath
| | 01:05 | the brush and I am going to go through
a couple little short exercises here to
| | 01:09 | explain how each of these work.
| | 01:11 | The first thing we are going to do is
let's just eliminate Bleed altogether, so
| | 01:15 | I am turning it off.
| | 01:17 | And all we are dealing with is
Resaturation at this point and if I have a very
| | 01:22 | little Resaturation or none, well
then the brush can't lay down any color.
| | 01:27 | All it can do is it will pick up some
color even at 0, which we will get into a
| | 01:32 | little bit of detail later.
| | 01:33 | But the idea here is no color, no
matter what I pick, is coming from the brush.
| | 01:38 | As soon as I give it any ability to
apply color, color starts flowing through
| | 01:43 | the brush and the higher
Resaturation is, the more it will flow.
| | 01:47 | So at 100% it's just
coming completely off the brush.
| | 01:52 | So you control the flow of
color through Resaturation.
| | 01:57 | Then we've got Bleed and as you saw
a little hint up there a moment ago,
| | 02:00 | if there is no Resaturation but
there's Bleed, even at 0 it will pick up
| | 02:05 | whatever color it finds.
| | 02:07 | What's a little non-intuitive about the
way the Bleed slider works is the higher
| | 02:12 | it is the less it bleeds and I'll show you.
| | 02:15 | If we turn this all the way up to 100%
and I go through here, you see how it is
| | 02:19 | pulling the color a bit
but not very aggressively.
| | 02:22 | As this Bleed number goes down,
it starts to get more and more aggressive till
| | 02:27 | the point that when you get to 0 it just
will infinitely pick up whatever color.
| | 02:31 | And I could sit here and draw all day,
and it will keep pulling this color forever.
| | 02:35 | But even at 1% I can pick up a color, and
you'll see how it's fading out over time.
| | 02:41 | So at 0 Bleed is infinite pull of color
underneath of it and as that number gets
| | 02:47 | higher and higher, it actually gets
less aggressive in the way it pulls.
| | 02:52 | So we've got two factors.
| | 02:53 | We've got the ability to add color to
the canvas by Resaturation and we've got
| | 02:59 | the ability to pull or pick
up underlying color with Bleed.
| | 03:04 | Now here's the interesting thing.
These things are always going to work in a
| | 03:08 | ratio with one another.
| | 03:09 | So how these two values are set are
always interrelating to one another and
| | 03:14 | if whichever one of these two values
is higher, it's going to have precedence
| | 03:20 | over the other one.
| | 03:21 | So if Resaturation is higher here,
it's going to tend to want to apply color,
| | 03:25 | and picking up color is something
that you can hardly do at this point.
| | 03:29 | But if Resaturation is lower than Bleed,
then Bleed has some ability to pick up color
| | 03:36 | and we are almost not seeing it there.
| | 03:38 | But at some point Bleed-- there is
just a little bit of it going on right there.
| | 03:43 | I almost got to zoom up to see
it but you can see how there's actually
| | 03:46 | some red in that stroke
until it becomes completely blue.
| | 03:51 | So in this case Bleed actually is
taking precedence over Resaturation because
| | 03:57 | the ratio is set that this
value is higher than this value.
| | 04:01 | Okay so far so good but now we can
introduce the notion of pressure into these,
| | 04:08 | and it's already been set that way,
but at lighter pressure these things will
| | 04:12 | sometimes do more or less than the other.
| | 04:16 | And a good example is if Bleed is set
very low, you see how I am starting to
| | 04:22 | pick up a bit more color and again
because it's so small of a brush, you can see
| | 04:27 | how some color is getting picked up and
as Bleed gets lower and lower, that pull
| | 04:33 | becomes a bit higher.
| | 04:36 | Now the whole stroke is
starting to look a little purple.
| | 04:39 | These are very subtle kinds of changes that
can be made but it does appear in the brushes.
| | 04:46 | Now we are going to show you one other
change that can happen here and you'll
| | 04:49 | see that in each Expression control
there's a little checkbox after it.
| | 04:55 | What this checkbox does is it reverses
what I call the polarity or the meaning
| | 05:01 | of Pressure, and by that I mean that I
will show you quickly by going to Size.
| | 05:08 | If we go to Size, and what I want to
make sure is that we're not doing anything
| | 05:12 | funny here so I am just going to
temporarily make this brush be a color applying brush.
| | 05:17 | It's set so that at light pressure not
much happens but as I press harder and
| | 05:21 | harder I get a larger brush.
| | 05:24 | If I Invert that meaning, now at the
lightest pressure I am getting the biggest
| | 05:29 | brush but as I press harder and
harder, the brush actually gets smaller.
| | 05:33 | So it's kind of Alice in Wonderland
where it's doing the opposite of what you
| | 05:36 | normally would think it would do.
| | 05:38 | But this ability to invert the meaning
of a expression actually can have a lot
| | 05:44 | of use, and that's what I'm
working towards showing you here.
| | 05:47 | We are going to do is we are going to
Invert Bleed. I am going to turn it all
| | 05:51 | the way up to 100% and we are going to
take Saturation back down to some low
| | 05:56 | level. I think we will leave this
setting to 7 that it was set at earlier.
| | 06:00 | So we're going to now have a
situation where at light pressure, I'm mostly
| | 06:07 | picking up and moving color but as I
pressed harder, I'm now applying color.
| | 06:11 | Let's get a third color here
so it's a little more obvious.
| | 06:13 | See, right now, the brush is almost
entirely dedicated at light pressure to
| | 06:19 | moving color, but as I press down,
it slowly turns and transitions into a brush
| | 06:24 | that's picking up color to a
brush that's only applying color.
| | 06:28 | The net result of this, if we go back
to our 100% view, is a brush that has a
| | 06:34 | very interesting characteristic.
| | 06:37 | And I don't mean so much change in size
here. I'm going to adjust my Size up a
| | 06:41 | little bit so that I don't
have a very small minimum size.
| | 06:46 | Now I have a brush that at light pressure
| | 06:48 | is very creamy and it mixes the
colors but as I start to press down, I'm now
| | 06:53 | mixing those colors together until I get
to a point where I am totally applying colors.
| | 06:58 | So this is kind of an Alice in
Wonderland brush but the idea of it is that
| | 07:02 | you can get these very creamy blends of color
that just wouldn't be possible any other way.
| | 07:09 | In fact this setting is so important
that if we go to some other variants,
| | 07:13 | like the Smeary Round variant, you'll
see that the Well is set the exact same
| | 07:18 | way we just did it in the other brush.
| | 07:20 | It's designed to be a brush that moves
color at light pressure but then applies
| | 07:26 | color at heavier pressure.
| | 07:27 | And the result is almost tactile.
| | 07:30 | You all must have to experience this
brush by playing with it to get the
| | 07:33 | sensation of this creaminess that is
a behavior of this brush, that is made
| | 07:39 | possible within the usage of
the Well within the oil brushes.
| | 07:43 | So oils exercise a very interesting
characteristic of the way the Well is set up,
| | 07:48 | and in showing you how to do this
it gives you not only the ability to
| | 07:53 | understand how the characteristics of
Resaturation and Bleed work but how you
| | 07:57 | can even play around with polarity with
one of the expression characteristics to
| | 08:02 | invert it to do some very interesting things.
| | Collapse this transcript |
| Painting with Artists' Oils| 00:01 | One of the long-term goals of Painter
has been to duplicate the look and feel of
| | 00:05 | brush paint, and the Artists' Oils
category and its attendant Artists' Oils dab
| | 00:10 | type strive to offer a highly
realistic brush media experience.
| | 00:15 | It's probably the most advanced
one that is currently in Painter.
| | 00:19 | The simulation involves a
sophisticated approach to creating and
| | 00:24 | controlling this behavior.
| | 00:25 | So fasten your seatbelts, and
let's take a look at Artists' Oils.
| | 00:28 | I am going to go to the Artists' Oils
category and we are going to be working
| | 00:33 | with the Oily Bristle brush. My goal
here is to show you how to adjust this
| | 00:38 | brush to alter its behavior so that by
the end of this you will understand how
| | 00:42 | you can adjust brushes
to get a desired behavior.
| | 00:46 | The other thing we want to do is open
up the Artists' Oils palette and I am
| | 00:49 | going to start off by telling you that
what can make the Artists' Oils category
| | 00:54 | frustrating sometimes is these
sliders, these various controls, share some
| | 00:59 | interrelationships that sometimes
aren't obvious. In fact it's even possible to
| | 01:04 | have two different settings and
end up with the same appearance.
| | 01:07 | And because of this interrelationship
and this kind of reciprocal behavior
| | 01:11 | between some of the various
characteristics, you can easily get confused in
| | 01:16 | what's controlling what.
| | 01:18 | And so we're going to try to make that
much more clearer by the end of this video.
| | 01:22 | The first thing you'll notice is that they
divide up the controls into three categories.
| | 01:27 | You have Paint.
| | 01:28 | And Paint really is concerned with how
color is being applied to the canvas.
| | 01:34 | Secondly, you have the Brush and this
controls the actual appearance of the
| | 01:39 | brush stroke itself.
| | 01:41 | And finally, you have Canvas, which
controls how wet is the underlying color that
| | 01:46 | the brush strokes are being applied to.
| | 01:48 | Now we are going to work with a file
that I've created and it will be in
| | 01:52 | your Exercise folder.
| | 01:53 | It's called color_bars.
| | 01:55 | And it's a layered file. I've done
that just so it's easy to be able to
| | 01:59 | work without actually painting on my
color bars in case I need to go back
| | 02:04 | and do something again.
| | 02:05 | But the one thing you do want to notice
about the Layers palette is be sure you
| | 02:09 | have Pick Up Underlying Color enabled.
| | 02:11 | That way your results will
mirror what I'm showing you here.
| | 02:15 | And typically you'd want this on any
way when you're working with layers and
| | 02:19 | color so that you're
impacting what's underneath of it.
| | 02:23 | Now I'm going to go ahead and record a
stroke, so we have a sample and let's
| | 02:28 | just do a sample like this.
| | 02:29 | Now I am going to be able to play back
that stroke so we're going to use this as
| | 02:36 | our baseline and then we are going to
begin to make changes and see what happens
| | 02:39 | with each change that we make.
| | 02:41 | The first thing I am going
to talk about is Viscosity.
| | 02:44 | Viscosity is concerned with how much
does the paint being applied want to stick
| | 02:49 | to the canvas, and that is a natural
media parameter that really happens.
| | 02:54 | I am going to increase Viscosity, what
that is going to do is going to make it
| | 02:58 | want to stick more aggressively.
| | 03:01 | So we've got a much shorter stroke
because the paint wants to stick to the
| | 03:05 | canvas more quickly than it did in the past.
| | 03:07 | If I turn it way down, we are
going to get a different appearance.
| | 03:10 | Now it wants to play out longer but
you also get this kind of unusual gray
| | 03:15 | that's happening at the end of the stroke.
| | 03:17 | What's happening there is
Viscosity is interrelating to Wetness.
| | 03:22 | If I turn Wetness down and do the same thing,
you can see now we don't get that appearance.
| | 03:29 | So Wetness and Viscosity can
be interrelated to one another.
| | 03:34 | And the other thing that's related is
the Paint Amount. If I turn down the Paint
| | 03:39 | Amount watch what happens.
| | 03:41 | Now the stroke gets shorter so that I
can now control very precisely my stroke
| | 03:47 | to be either long or short.
| | 03:48 | But here's where it gets interesting.
If we turn Viscosity up, which wants to
| | 03:52 | apply quicker, and now I turn this up
even a little bit more, even a little bit more,
| | 03:59 | you can see that a very different setting
is almost the same as the one we did here.
| | 04:05 | And that's why this can appear to be
confusing because one slider impacts what
| | 04:11 | happens with another one and different
settings can actually arrive at the same end result.
| | 04:17 | And that's why, as I said,
you can get a little mixed up.
| | 04:21 | Now I am going to do Select All and delete
everything off this layer so we can continue.
| | 04:25 | Now let's take the stroke as we have it.
| | 04:27 | It's very short, but now if we started to
turn Wetness back up, watch what happens.
| | 04:32 | Now we're starting to get some
mixture of the applied paint with
| | 04:37 | the underlying paint.
| | 04:38 | It's very low right now.
| | 04:40 | So in order to make this mixture
happen what we want to do is turn down
| | 04:44 | Viscosity but we are also going to
turn up Blend because Blend, well, you can
| | 04:48 | see right here it affects how the
oil is mixed between the colors.
| | 04:52 | So by turning this up it's now really
starting to interact with the underlying
| | 04:57 | color as well as applying color
at the beginning of the stroke.
| | 05:01 | So Wetness and Blend tend to
interrelate to one another directly and Amount and
| | 05:07 | Viscosity tend to relate
to one another directly.
| | 05:10 | But you also get these secondary
relationships that can happen as well as I've shown.
| | 05:16 | Now the other thing that you can
control is the actual look of the stroke
| | 05:21 | itself, and let's go ahead and turn
the Wetness down a bit and I want to turn
| | 05:27 | Blending down and we will turn Amount
down a little bit here, so I want to get a
| | 05:32 | bit of a shorter stroke, maybe
turn the Wetness all the way down.
| | 05:35 | You can see how you can start to control
these so that you get exactly what you want.
| | 05:40 | I am going to go ahead and turn
Bristling all the way up, and you can start to
| | 05:45 | see that there are more apparent
divisions in the brush hairs starting to
| | 05:50 | happen within that stroke.
| | 05:52 | And Clumpiness then also adjusts kind
of the inner gaps between those strokes.
| | 05:59 | So through the Brush Controls, the
Bristling, Clumpiness, you can start to get
| | 06:04 | the effect of multiple brush
hairs occurring within the stroke.
| | 06:10 | What you're starting to see here is
that all of these different controls have a
| | 06:14 | wide range of variability in what can
happen to the stroke and the Artists' Oils
| | 06:19 | brush dab is probably the most finitely
adjustable brush simulation in Painter.
| | 06:25 | This realism does come at a price
though and that is the fact that there are a
| | 06:29 | lot of multiple control interactions
that can make it perplexing as to how to
| | 06:33 | achieve a specific behavior.
| | 06:35 | My advice is it's definitely worth the
trouble to wrap your head around this dab
| | 06:40 | type and how these various
controls are going to react.
| | 06:42 | And along the way be sure to save
lots of variants, because you might not be
| | 06:47 | able to get back to what you did, but
if you've got the variant, you've got the brush.
| | Collapse this transcript |
| Modifying the bearing expression with palette knives| 00:01 | Palette Knives in Painter are applied to
the canvas primarily to blend and smear
| | 00:05 | existing color, but a
little bit can go a long ways.
| | 00:09 | I tend to use the Palette Knives
sparingly and for subtle embellishment, but you
| | 00:13 | may find them to be your ideal tool.
| | 00:16 | Let's go ahead and take
a look at Palette Knives.
| | 00:18 | So I am going up and we are going to
select from the Palette Knives category.
| | 00:23 | I've selected Loaded Palette Knife.
| | 00:25 | Now this is the one Palette Knife in
the category that actually applies paint.
| | 00:30 | And I want to show you something, because
I think this probably stymies a lot of users.
| | 00:35 | I am going to go ahead and just
draw a sample stroke or two here.
| | 00:38 | And you can see it's applying the
current color, but I am changing my angle and
| | 00:44 | doing all kinds of things.
| | 00:45 | And all I can get is a wide angle when
I go up and down and a narrow angle when
| | 00:51 | I go back and forth.
| | 00:52 | That's all it seems to be able to do.
| | 00:54 | Well, for whatever reason, the
Palette Knives, almost all of them, were
| | 00:59 | shipped with a bad setting.
| | 01:00 | And so we're going to go over to the
Angle palette and open it up and you'll
| | 01:05 | see Expression is set to None.
| | 01:07 | That's why we're getting no
interesting change going on with this brush.
| | 01:11 | I am going to switch it and we are going to
switch it so that it's adjusted to Bearing.
| | 01:16 | Now what happens?
| | 01:17 | Let's just take a different color.
| | 01:19 | See it on top of here.
| | 01:20 | Now the brush actually is based totally
on my bearing and I can keep it so that
| | 01:26 | I can always have that long stroke
pointing out directly away from my pen.
| | 01:32 | And now it feels like a
palette knife and I can control it.
| | 01:36 | But as I said, any brush that you get
that unusual behavior in the Palette
| | 01:41 | Knives that are not seeming to have
much control, what's happened is for
| | 01:46 | whatever reason, the angle
setting is not correct for it.
| | 01:50 | And you want to go into the Angle
palette and adjust it from None to Bearing,
| | 01:55 | and then you'll get the proper
behavior associated with these brushes.
| | 02:00 | Now, let's take a look at the
Palette Knives just in particular and know
| | 02:04 | what else you could do.
| | 02:05 | And what I want to show you is you
can see there is some variation in color
| | 02:11 | going on within the stroke.
| | 02:13 | So whenever I select a color, in fact
let's find on where it's a little more obvious,
| | 02:18 | and you'll see that this
current color is not a solid color.
| | 02:21 | It's actually got little
flecks of different color in it.
| | 02:25 | What's controlling this is Color Variability.
| | 02:28 | If we open up this palette, we'll see
that the Value Setting has been turned up.
| | 02:34 | You can adjust Hue or Saturation
or Value or any combination of them.
| | 02:38 | And this is what is throwing in some
variation within these currently selected colors.
| | 02:44 | If I exaggerate it by turning it up,
you'll see now these little flecks of
| | 02:49 | color that are giving me an indication of
variations in the color are much more accentuated.
| | 02:54 | And as a result, I get a very varied
set of colors across the palette knife.
| | 03:00 | But you probably, typically, want to
keep this down tool to a lower setting.
| | 03:04 | Although once again, these are all
designed to be totally adjustable by you.
| | 03:08 | So if for some reason you want to play
around with having wild situations like this,
| | 03:14 | we see now it's like throwing a
whole set of hues across, as well as some
| | 03:19 | value change, you're free to do that.
| | 03:21 | And then once these settings are set,
whatever color you select, it keeps those
| | 03:26 | Hue and Value variability settings
as part of the color you're selecting.
| | 03:30 | And so you can get some very
interesting kinds of things going on with the way
| | 03:35 | you utilize Color Variability.
| | 03:38 | The other thing I wanted to show you
that is important. Once you make this change,
| | 03:42 | you going to want to go up to
the brush selector bar and go to the
| | 03:47 | drop-down fly-out menu
and say Set Default Variant.
| | 03:51 | When you click on this, this updates
the variant itself, and you say yes.
| | 03:57 | Now that brush has permanently got the
correct setting associated with it.
| | 04:01 | And that way you're updating the library
so that you now have a brush that will
| | 04:06 | act the way it was really intended to perform.
| | 04:09 | And that's something you
want to make sure that you do.
| | 04:13 | Now the other thing we are going to look
at is some of these, almost in fact all
| | 04:17 | of them other than the loaded palette
knife, are really designed to actually
| | 04:22 | move existing color rather than apply it.
| | 04:25 | So you could see here. See now here's
another one notice how it's not working.
| | 04:28 | Look at the Angle setting.
| | 04:30 | It needs to be set to Bearing.
| | 04:32 | Once it's set to Bearing,
now I can control it totally.
| | 04:36 | So again I am going to want to go
up here and say Set Default Variant.
| | 04:40 | Now, I find that you can use this too
much and I tend to use it on already
| | 04:45 | colored backgrounds and areas where
I want to introduce a little bit of
| | 04:49 | complexity into the already applied strokes.
| | 04:52 | So I'll adjust a few places, kind of
smear color with it rather than paint a
| | 04:57 | whole image with it.
| | 04:59 | I just find it's more of an
embellishment tool, than actually trying to use the
| | 05:03 | entire tool for a complete painting.
| | 05:06 | Finally, this is a variation on
one of the continuous brush strokes.
| | 05:10 | So Feature, which normally we've been
looking at in the Size palette, whenever
| | 05:15 | Feature is part of the control of a brush,
it will show up in the Brush Property Bar.
| | 05:21 | So you can see right here we've got
Feature available. So you don't have to go
| | 05:26 | to the Size palette.
| | 05:27 | But if I just turned this up a little
bit you'll see, see now I get a much
| | 05:31 | finer-- there's less teeth if you
want to think of that within the actual
| | 05:37 | palette knife itself.
| | 05:38 | So you can also change and play around
with the character of the palette knife
| | 05:42 | by playing with the Feature size.
| | 05:44 | So the Palette Knife is really a good
tool to use in concert with other painting tools,
| | 05:49 | and it adds a sense of really
nice hand interaction along with the rest
| | 05:54 | of what's going on, on your canvas.
| | 05:55 | So take advantage of it but don't overuse it.
| | Collapse this transcript |
| Using RealBristle brushes| 00:00 | As I've been mentioning throughout this
title, one of the goals of Painter over time
| | 00:04 | has been to match the reality and
realism of traditional brush behavior.
| | 00:12 | And in Painter 10, Corel introduced
the real bristle control over brushes.
| | 00:18 | This isn't a dab type per se.
| | 00:20 | It's actually a control over the continuous
brush strokes that we took a look at earlier.
| | 00:25 | And we are going to go ahead
and take a look at real bristle.
| | 00:29 | So I am going to down here to
the Real Bristle Brushes category.
| | 00:33 | And we'll take a look at Real Round
and at the same time let's open up the
| | 00:38 | Real Bristle category.
| | 00:39 | I am just going to draw a
few sample strokes here.
| | 00:42 | And one thing I want to bring up about
the way these brushes work is that rather
| | 00:47 | than hold your pen, and I do this with
almost every other tool in Painter that I
| | 00:52 | work with, I hold it more
like a pencil or pen style grip.
| | 00:57 | I found with these brushes in
particular, it really makes sense to hold it
| | 01:02 | almost like you would a real paintbrush
in your hand, and hold it more from the
| | 01:06 | rear of the barrel of the pen.
| | 01:08 | And I've just switched to do that now.
| | 01:10 | And now I'm painting more stroke
style as I would if I was holding the
| | 01:16 | paintbrush in my hand.
| | 01:17 | And I have found one way to get the best
look out of the Real Bristle brushes is
| | 01:22 | by holding it in this fashion.
| | 01:24 | It tends to highlight the controls over
the shape of the brush tip much better
| | 01:31 | than if you hold it in a grip pen style.
| | 01:33 | Now, I'm going to call up the Help file
just to show you visually what's going on here.
| | 01:39 | The Real Bristle palette that we have
opened in Painter actually deals with
| | 01:44 | aspects like controlling the roundness
of the brush, and then there are many
| | 01:48 | brushes that are round but there's
also flat and wide style brushes in the
| | 01:52 | real world as well.
| | 01:54 | You also get into the length of
bristles within the way a brush is designed.
| | 01:59 | Shorter brushes are going to not hold as
much of a reservoir of paint for example.
| | 02:04 | And the way they interact with the
canvas as opposed to a long bristle, which
| | 02:09 | has more bending possible as it's
applied force-wise to the canvas, will alter
| | 02:15 | the behavior of that brush.
| | 02:17 | You also get into how tips and
rigidity, fanning, all of these controls are
| | 02:23 | built into the Real Bristle palette itself.
| | 02:27 | And what I found through practical
experiences that these controls are so
| | 02:31 | subtle that attempting to make gross
changes to the brushes as they already are set.
| | 02:38 | It's so subtle, the differences,
you are going to find that it makes more
| | 02:42 | sense to just to use the brushes as they are.
| | 02:45 | And as such, I don't recommend getting
in and starting to change these around.
| | 02:50 | Because of the interaction of the
various controls and the way that they
| | 02:54 | actually are as subtle as they are.
| | 02:57 | You could find yourself getting quite
frustrated trying to alter the behavior
| | 03:01 | from the way that they are designed.
| | 03:03 | So my best advice with these brushes
is to hold the brush barrel as I've
| | 03:08 | described earlier and don't get into trying
to do a lot of adjustments to these brushes.
| | 03:13 | They are fine just as they are from the factory.
| | 03:16 | And I think you'll get the best
results out of these brushes by using them at
| | 03:20 | their factory settings.
| | Collapse this transcript |
| Painting with impasto| 00:00 | Painting as a physical medium
includes the presence of surface and texture.
| | 00:06 | These are part of what makes up the
look of a painting to our eyes and brain.
| | 00:11 | And our displays that we paint
on in Painter are two-dimensional.
| | 00:15 | But Painter manages to provide a convincing
simulation of 3D with its Impasto feature.
| | 00:21 | Now let me warn you, painting with
Impasto enabled will often produce a very
| | 00:25 | giddy feeling along with
uncontrollable laughter.
| | 00:29 | And I want to show you
exactly what I am talking about.
| | 00:31 | So let's get into looking at
this remarkable visual treat.
| | 00:35 | We're going to go ahead and I am going
to select the Impasto category here and
| | 00:40 | let's go ahead and utilize to
start off with the Texturizer-Heavy.
| | 00:45 | And we also want to open up the Impasto
palette to be able to see what's going
| | 00:49 | on here as we get into this.
| | 00:50 | And I am first going to introduce you to
just the way the 3D sensation works here.
| | 00:55 | So let's start to paint.
| | 00:57 | Maybe I'll do it with a bit of a darker color.
| | 01:00 | And you can see what's happening is
the illusion of 3D is happening, because
| | 01:05 | there is a virtual light source
up in the upper left corner here.
| | 01:09 | And what's happening is on all of
those lit surfaces, we are getting the
| | 01:13 | high-lit color and on
the non-lit site it's dark.
| | 01:17 | And so the brain reads highlight and
shadow as 3D and that's what's happening here.
| | 01:22 | Now Painter's Impasto has
a limited degree of height.
| | 01:26 | You can see as I apply here,
it does appear to get taller.
| | 01:30 | But if I take it too far what will happen
is exactly what you see here. It plateaus.
| | 01:35 | It reaches that invisible top of the
height and it flattens out against it.
| | 01:42 | So there is a limit to the height.
| | 01:44 | Also if I take another tool here, Acid
Etch, this actually kind of drills down
| | 01:49 | into existing 3D and it will go
beyond. I will even do it out here.
| | 01:54 | It's actually creating a
depth beneath the canvas.
| | 01:58 | So we've got a kind of three
basic levels to deal with here.
| | 02:01 | And you can see the same thing
happening at the bottom here.
| | 02:04 | It is also plateauing when
it reaches that limited depth.
| | 02:08 | So you've got the canvas represents,
if you want to think of it as the
| | 02:11 | ocean, that's sea level.
| | 02:13 | And then the bottom of the ocean is
this very bottom plateaued area that's down
| | 02:19 | in the depth of the canvas.
| | 02:21 | And the tops of the mountains above
the water are this plateau above the
| | 02:28 | virtual 3D surface.
| | 02:29 | So you have got kind of three kind of
height areas that will make up the limited
| | 02:34 | 3D depth of Impasto.
| | 02:36 | And there are even tools in here
that lets you kind of play around with
| | 02:40 | adding or subtracting.
| | 02:41 | Like if I go to the Depth Eraser,
you'll see I'm actually taking away and
| | 02:46 | dropping back down and
smoothing that out, until I go below.
| | 02:51 | You can see now it's
actually below sea level there.
| | 02:54 | I can do the opposite and use the Depth
Lofter to raise either areas below sea
| | 03:00 | level or just any area on the canvas.
| | 03:03 | You can see right here this is starting
to bring up the depths to above sea level.
| | 03:09 | And then I can get into using the
Depth Equalizer, which is a tool that just
| | 03:16 | brings everything back.
| | 03:18 | So this will just negate
any height and any depth.
| | 03:21 | And it will eventually just flatten out.
| | 03:23 | So now here we are at sea level in this
area where you can see this little edge.
| | 03:28 | So you've got the ability within
Impasto and its various tools to push and pull
| | 03:33 | on this virtual 3D depth
that makes up the Impasto layer.
| | 03:39 | Now let's take a look at a brush
working within this and we will go to Smeary Round,
| | 03:44 | and we just grab a color here.
| | 03:46 | And I'll just like to paint on this
surface and you can see how the brush
| | 03:50 | strokes are implied now into this 3D surface.
| | 03:53 | As I paint out on the canvas, it's pretty flat.
| | 03:56 | But as I bore into this supposedly
existing 3D depth, there is more of
| | 04:01 | an enhanced effect.
| | 04:03 | And as I apply brush strokes,
they are going to slowly build up.
| | 04:07 | So each stroke builds upon the last one and
starts to increase the height in this case.
| | 04:13 | Now you can play around with some of
the controls within the Impasto palette.
| | 04:18 | You will notice that, for example, Draw
To is a control. Most brushes in Painter
| | 04:23 | are set to just draw in color, okay.
| | 04:26 | Now we did, however, look at the Acid Etch.
| | 04:29 | That was set to only to draw to depth.
| | 04:32 | But within most of the brushes in the
Impasto category, you're dealing with,
| | 04:37 | painting with both color
and depth at the same time.
| | 04:40 | So not only are we applying color to
the canvas, but we are also applying the
| | 04:45 | virtual depth at the same time.
| | 04:47 | You can also play around with the actual
depth that the brush wants to paint at.
| | 04:52 | If I crank this all the way up, what
happens is I start to get a very kind
| | 04:57 | of exaggerated height.
| | 04:59 | It's almost cartoon like.
| | 05:00 | Especially, it's starting to get bad anti
-aliasing in areas of the brush stroke.
| | 05:05 | And that's definitely not something you want.
| | 05:07 | So it's better to keep depth at a lower
level so that the appearance of depth is
| | 05:13 | subtle rather than overtly obvious.
| | 05:17 | You can also go to the Canvas menu and
Surface Lighting is what controls this
| | 05:22 | illusion of three-
dimensional depth based on lighting.
| | 05:26 | If I move my lighting source around,
you can see how it's changing the
| | 05:31 | appearance of the lighting
that's lighting this up.
| | 05:34 | And you can start to get it around to
where no lights actually even impacting on it.
| | 05:39 | But how the lighting is set plays a
great deal into how your final image is
| | 05:46 | going to look, or how you adjust it.
| | 05:48 | I can also control the
appearance of depth from here.
| | 05:52 | This is actually setting the depth for
the brush, how much to paint in the scene.
| | 05:56 | But this is an overwriting effect
that actually controls how the whole 3D
| | 06:03 | scene itself looks.
| | 06:04 | So I can eventually take it all
the way down to no depth information.
| | 06:09 | And now we are just looking at
only the paint that's been applied.
| | 06:12 | But this again is another kind of
season to taste control that you can use to
| | 06:17 | find what looks right for the
type of painting you are doing.
| | 06:22 | So the Surface Lighting is a great way
to alter your painting even after the
| | 06:28 | painting work is done. How it's lit can
make a great deal of difference in the
| | 06:32 | look of the image itself.
| | 06:34 | Now, if you're intent on working on a
painting and you want to go back and work
| | 06:39 | on it later, if you want to save
this file, you must save it in Painter's
| | 06:44 | native RIFF format.
| | 06:46 | Any other format will just discard the
height information and it will no longer
| | 06:50 | be part of the image.
| | 06:52 | The other thing you might want to do
is you may want to take this image into
| | 06:55 | something like Photoshop
and retain this look of 3D.
| | 06:59 | There's no obvious control anywhere
in the interface that tells you how
| | 07:04 | to flatten this down.
| | 07:05 | The only way to do it is to go
to the File menu and say Clone.
| | 07:10 | When you clone, this is now a
flattened image and there's no extra 3D
| | 07:16 | information saved with it.
| | 07:18 | So you could save this image and it will
appear visually just as you see it here.
| | 07:23 | It's just no longer has any 3D data
associated with it that you can manipulate.
| | 07:28 | That's where by saving it as a RIFF
file, you could open this back up and
| | 07:32 | continue to manipulate the
3D surface of the Impasto.
| | 07:37 | So Impasto is just a great way of taking
your painting in a different direction,
| | 07:43 | where you really are actually starting
to play with the sense of depth that the
| | 07:48 | physical medium of paint often
actually has associated with it.
| | 07:52 | So I would really say this is one of
the areas you would like to probably spend
| | 07:57 | some time in, and just be prepared to
get a little giddy along the way and maybe
| | 08:02 | laugh uncontrollably at the same time.
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| Using loaded brushes| 00:01 | There's a technique in painting
that's known as loading the brush or a
| | 00:05 | loaded brush technique.
| | 00:07 | What happens is the artist uses his
brush or palette knife to pick up a series
| | 00:14 | or a number of different colors off of
his palette so that when he paints with
| | 00:18 | the brush, rather than painting with a
solid single color, there is actually
| | 00:22 | striations of color across the width of
the brush and this imparts into imagery
| | 00:29 | an added level of
complexity that the eye picks up.
| | 00:32 | In nature for example when we look at
the landscape, there are many little
| | 00:37 | differences of color that
happen within even foliage.
| | 00:41 | So rather than one shade of green, there
are many different shades happening in there.
| | 00:46 | In some cases, sunlight is hitting.
In other cases you've got shadow or you have
| | 00:51 | got variation within each
of the leaves themselves.
| | 00:54 | So in nature, in a landscape
painting, the use of a loaded brush
| | 00:59 | technique provide that density of
detail that the landscape artist often
| | 01:06 | will try to emulate.
| | 01:07 | So Loaded Brush technique is just a
great way to impart an extra level of
| | 01:12 | detail into your image.
| | 01:13 | And I'm going to work with the Artists
Oils here initially to show you this.
| | 01:18 | Let's take the notion of some green maybe.
| | 01:20 | When I paint with this brush,
it appears that all I can do is paint with one
| | 01:26 | color and if I want to get variations,
I have got to literally change my color
| | 01:30 | in the palette every time.
| | 01:32 | Actually, in Painter there's a second
way to pick up color from one of the color
| | 01:38 | palettes and that's the Mixer palette.
| | 01:39 | So I'm going to open this up and here is
the default mixed paint on the palette.
| | 01:45 | However, you're free to mix up any
colors you want, and I'm just going to
| | 01:49 | use this as my sample.
| | 01:50 | But there are two color pickers at the bottom.
| | 01:53 | The one that looks like the normal
color picker in the Tool palette acts just
| | 01:58 | like the original one.
| | 01:59 | It picks up a single color just as you'd expect.
| | 02:02 | But the second one with this little
circle around it is indicating that it
| | 02:06 | actually picks up a group of
colors wherever it's placed.
| | 02:09 | So if I put this in this obvious spot
here, where there's a division between the
| | 02:13 | lighter green and the darker green, well
now I have got a brush that I've loaded
| | 02:17 | it with those two colors.
| | 02:20 | And so here's where I can start to get
that extra detail into my painting just
| | 02:25 | by having a more complex set of
colors loaded on to the brush.
| | 02:29 | And each time I pick this up, it just
depends on where I do it within this
| | 02:33 | particular area. I am going to pick up a
difference of color based on where I've
| | 02:39 | placed it within the Mixer palette.
| | 02:42 | Now, this works really great with all
of the Artists Oils, but I wanted to show
| | 02:47 | you that it also works and if we
temporarily open up our Brush Controls and look
| | 02:54 | at the General palette, we're
using the Artists Oils dab type here.
| | 02:58 | This also works very well with
the continuous stroke brushes.
| | 03:02 | So that would mean the Camel Hair, the
Flat, the Palette Knife, Bristle Spray,
| | 03:07 | and will work with the Airbrush but
that's a little bit unusual, because an
| | 03:11 | Airbrush typically doesn't
spray out multiple colors.
| | 03:13 | So the most useful set of dab types would
be right here, these continuous dab types.
| | 03:19 | And if we go to the Oils category, I'm going
to just use the Smeary Round as an example.
| | 03:25 | If I go in here now and use the loaded
pick up color indicator, you can see I
| | 03:32 | now am painting with
multiple colors across my brush.
| | 03:37 | And again I'm not going to go to the
point of painting new colors in here.
| | 03:41 | But any colors you can mix on the
palette will allow you to pick them up and
| | 03:46 | then use them as your brush color.
| | 03:48 | So if you want to emulate the look of
a loaded brush, you really want to work
| | 03:54 | with the Mixer and you want to work
with the multiple Color Sampler within the
| | 03:58 | Mixer palette to be able to do that.
| | 04:00 | Just make sure you're working with the
brushes that either use the Artists Oils
| | 04:05 | or the continuous brush strokes and
those will enable you to be able to do the
| | 04:09 | loaded brush technique.
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|
|
4. Utility MediaUtility Media in action| 00:01 | Utility media really
represents a lot of different tools.
| | 00:04 | If you visit an artist's studio, you
will find there are all kinds of implements
| | 00:09 | and instruments that you wouldn't
even consider to be art materials.
| | 00:12 | But artists will find all kinds of
expressive uses from a variety of items
| | 00:17 | that are quite diverse.
| | 00:19 | One item that I am going to discuss
that you will probably associate with
| | 00:22 | traditional art media are erasers.
| | 00:25 | While you might think of erasers as
mostly related to dry media like pencils,
| | 00:29 | in Painter, the eraser can be
used for all forms of media.
| | 00:32 | It's kind of the universal
tool for removing things.
| | 00:35 | But you can also use the eraser as
an expressive arts tool unto itself.
| | 00:40 | For example, you can
actually use an eraser to draw with.
| | 00:44 | If you've got some existing tonality
applied via a dry medium like pencil on
| | 00:48 | a surface, you can actually draw with an
eraser to bring back the underlying white.
| | 00:53 | In this usage, the eraser is a mark
making tool and not a mistake removing tool.
| | 01:06 | Sponges are another tool you wouldn't
expect to be in the artist's studio.
| | 01:10 | However, it makes an excellent
tool to apply a nice natural texture.
| | 01:14 | I'm going to daub some of it in to
some acrylic paint and when I apply it
| | 01:18 | to this paper several times, I can
create a very complex texture that has a
| | 01:22 | very organic feel to it.
| | 01:31 | The last tool we're going
to look at is rubber stamps.
| | 01:34 | These are graphic tools
you're probably familiar with.
| | 01:37 | I'll take a stamp pad and apply some ink
to the stamp and create a predetermined
| | 01:41 | complex pattern that would be very
time-consuming to create by hand.
| | 01:49 | The more I apply and overlap this graphic
element, the more complex the texture becomes.
| | 01:55 | Like the sponge, this is a way to make
something very complex without having to
| | 02:00 | do a lot of handwork.
| | 02:02 | Painter has the equivalent of a
rubber stamp with the Image Hose.
| | 02:05 | While I can easily duplicate what you see here
using the Image Hose, it goes far beyond this.
| | 02:10 | The Image Hose enables the artist to
create a stamp out of virtually any content.
| | 02:16 | Unlike the traditional stamp, which is
limited to the one image on the rubber stamp,
| | 02:20 | the Image Hose is capable
of using multiple image elements.
| | 02:24 | It can go so far as to use
photographic content as the source material.
| | 02:28 | Utility media is really designed to
fill all of those nooks and crannies of
| | 02:33 | specialty forms of mark making tools
that are used within the other mediums
| | 02:36 | we're looking at in this title.
| | 02:37 | We'll be looking at Painter's
various utility media in this chapter.
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| Painting with airbrushes| 00:00 | The airbrush is one of the 20th
century's contributions to cool
| | 00:03 | pre-digital graphic tools.
| | 00:05 | Using air to propel atomized ink or
paint creates a mark making tool that is
| | 00:10 | capable of producing smooth even
gradations of density and color.
| | 00:14 | Because of this ability, the airbrush
has long been identified with specialty
| | 00:18 | areas like photographic
retouching and automotive detailing.
| | 00:22 | Painter could produce perfectly
smooth digital airbrush strokes, but it can
| | 00:25 | additionally utilize a bit of tilt and
bearing to add some analog glow as well.
| | 00:30 | Let's take a look at airbrushes.
| | 00:32 | I am going to go up to Brush Selector
Bar and we are going to go up here at
| | 00:36 | the very top two airbrushes and I am going
to start by showing you the Digital Airbrush.
| | 00:40 | This is the 21st century equivalent of
airbrushes, and because it's digital
| | 00:45 | it can be very perfect and very
smooth which is useful for many things.
| | 00:49 | Let's just draw a couple of strokes
here, and you'll see that it does have a
| | 00:54 | nice smooth rolloff of density and by
overlapping just like you would with a
| | 00:59 | traditional airbrush, you can start
to build up a wide range of density.
| | 01:04 | And it's because of this that it's so
good for going into photographic art which
| | 01:08 | is also continuous tone, density,
and color, and enables you to go in and
| | 01:13 | retouch areas very invisibly
because it matches the same kind of tonal
| | 01:18 | characteristics that you find in the photograph.
| | 01:21 | So that's one of the reasons it's so
popular amongst the photo retouching folks.
| | 01:25 | Now let's take a look in the Size
palette, and I just want to point out to you
| | 01:29 | that the profiles that you find in the
upper-right are the various profiles that
| | 01:34 | can be used with the airbrush, and I'm
going to Select All, Delete, and what I
| | 01:39 | want to show you is
probably with a sample stroke here.
| | 01:42 | I am just going to draw that, so I can
play that stroke back, and I am going to
| | 01:47 | change the profile, so you can see
how it's different for various media.
| | 01:51 | I may turn up Opacity over here too, just to
give it a little bit more oomph on the screen.
| | 01:56 | So let's start over here and as I have
described earlier, what these profiles
| | 02:00 | represent are side profiles of density.
| | 02:02 | So at the outer edges the density is
very low, but as we move in towards the
| | 02:07 | center on this cross-section profile
of density, it comes up to a point of
| | 02:12 | complete density, and then it drops back
off, so that's why you get this shading
| | 02:16 | from no density up to a high
density and then back down.
| | 02:19 | So that is what each of these
cross-section profiles represent.
| | 02:23 | So let's go ahead and try this one now,
and you'll see that this one has the
| | 02:28 | most density in the center.
| | 02:30 | As it gets up to more-and-more
pressure, it's going to fill in that area.
| | 02:33 | But watch how each one of these has
a different kind of weighting to the way
| | 02:36 | the strokes are made.
| | 02:37 | See now this one is much heavier.
| | 02:40 | This one is going to have a linear
rolloff of density and then we get into one
| | 02:45 | where it's much more rounded.
| | 02:47 | And then the last two actually are
used for other types of profiling.
| | 02:50 | For this one, this is actually used for
watercolor, where you want a dark edge.
| | 02:55 | You can do some interesting things with it.
| | 02:57 | You'll notice that because airbrushes
tend to use the overlapping density in the
| | 03:01 | manner that they do, you don't have to
worry as much about spacing very closely
| | 03:06 | together, so whereas with
these profiles it's no problem.
| | 03:10 | You'll see in another profile that
really isn't intended for airbrush, you will
| | 03:14 | see how there is a definite lack of
tight spacing in airbrush strokes, but that
| | 03:19 | is part and parcel of the
way these profiles work.
| | 03:22 | So these profiles in the Size palette
do let you adjust the character of the
| | 03:26 | airbrush strokes. Of all of them
identifying that the linear dropoff is the best
| | 03:32 | one, but depending on the kind of
airbrush work you are doing you do have an
| | 03:35 | option to change these profiles.
| | 03:37 | Now, let's take a look at Painter's
more advanced airbrushes and compared to
| | 03:42 | what we had here where this airbrush is always
as if I'm pointing straight down with my pen.
| | 03:47 | There is no tilt and bearing going on here.
| | 03:50 | It's always straight ahead,
representing that profile.
| | 03:53 | But in the more advanced airbrushes,
let's take a look at Fine Spray and we can
| | 03:58 | go ahead and close this.
| | 03:59 | We are going to open up
the actual Airbrush palette.
| | 04:02 | Let's just see what happens with this one.
| | 04:04 | This one does use tilt and spray,
because I have my enhanced cursor on,
| | 04:07 | you'll be able to see what happens as
I adjust my tilt and bearing.
| | 04:11 | Right now I'm pressing straight down.
| | 04:14 | Another thing we might want to look at
here is, that we've noticed before, is in
| | 04:17 | Spacing you'll see that
Continuous Time Deposition is turned on.
| | 04:22 | So this is a case of a brush where
as long as I'm pressing it's going to
| | 04:25 | continue to fill that dab area up and
that's part of the way that the airbrush
| | 04:31 | works in the real world.
| | 04:33 | As long as you are pressing or
depressing the button on the airbrush, it's going
| | 04:36 | to continue to deliver media.
| | 04:39 | So that's the first thing.
| | 04:40 | I am going to just do
a Select All, Delete here.
| | 04:43 | The other thing is that
this is tilt and bearing aware.
| | 04:46 | So as I move and adjust my tilt and
bearing, this is almost akin to a flashlight
| | 04:51 | where instead of shooting light out
based on the angle I am holding the
| | 04:55 | flashlight, it's dispensing media
based on the angle I'm doing it.
| | 04:59 | It's not so perfectly fine
like the Digital Airbrush.
| | 05:03 | As you can see, it's made up of very
fine droplets that represent each of
| | 05:07 | the little droplets
| | 05:08 | that would be the ink or paint that
is being sprayed out of the airbrush.
| | 05:14 | And as such it's definitely a noisy tool.
| | 05:15 | However, just like continuous tonality
is great in photographic retouching for
| | 05:22 | example, the ability to have this
grainy tonality actually makes for a very
| | 05:27 | good brush with a lot of energy because in the
real-world gradations are not perfectly smooth.
| | 05:33 | There's always some kind of visual noise
or texture generally associated with it.
| | 05:38 | So to have this ability to have some
texture in the airbrush actually could be
| | 05:41 | a desirable feature.
| | 05:43 | I am just going to draw a little bit
just to make some dark tonality, and then
| | 05:47 | just by switching to a lighter color,
you could go and move back and forth
| | 05:51 | within your tonality, so that you can
find out or adjust exactly what you want
| | 05:57 | to happen within an area of the brush.
| | 05:59 | But you can see how just-- I am not
even tying to make anything here but as I
| | 06:03 | kind of really just go back and forth
between black and white, very quickly you
| | 06:07 | start to get the kind of complex tonal
variations going on here that are not
| | 06:12 | dissimilar from a photograph.
| | 06:14 | So once again that's why you get the
combination of tonality, but in this case,
| | 06:19 | it's actually made up of tiny little
dots that are fooling the eye into thinking
| | 06:24 | it's seeing a wide range of tones.
| | 06:27 | That visual complexity of using actual
little elements to create the illusion of
| | 06:33 | tonality is something that the eye and
the brain pick up on as a lot of detail.
| | 06:37 | So the adjustments that you can do
in the Airbrush palette are, you can
| | 06:41 | play with the spread.
| | 06:42 | Let's once again Select All, Delete,
and I will just do a little sample here.
| | 06:47 | You can see that there is a definite angle here.
| | 06:49 | It's got a spread of 40 degrees.
| | 06:51 | So I can adjust the spread.
| | 06:53 | If I want a narrower spread, I will get it.
If I want a wider spread, I can get that as well.
| | 06:58 | So playing around with spread for
minimum and maximum amount of spread based on
| | 07:04 | pressure is something you can do.
| | 07:06 | The other thing you control is Flow,
and that's how much media is coming
| | 07:10 | through the airbrush.
| | 07:12 | So if I turn this up, I am going to get
much more media coming through the brush.
| | 07:17 | If I turn it down, I can get it
to where it's a very weak flow.
| | 07:21 | And just depending again on the kind of
work you are doing, you may find that a
| | 07:25 | very minimal flow allows you to build
up tonality very slowly, as opposed to the
| | 07:31 | default setting where it's up here and it's
fairly quickly moving all the way to black.
| | 07:35 | So being able to adjust the flow is
something that you can do and when you are
| | 07:39 | in the Brush tool with an airbrush, you
have flow available in the Property Bar.
| | 07:44 | And Feature size finally, you may
remember,we talked about brushes that use
| | 07:48 | Feature size all the way from the camel
hair and all these different dab models
| | 07:52 | here rely on Feature size.
| | 07:55 | So if I increase Feature size, well,
I am going to get correspondingly larger
| | 08:00 | droplet elements within the airbrush.
| | 08:03 | So this allows me to very finely
tune how fine the droplets are.
| | 08:07 | I get down to a very fine spray.
| | 08:09 | If I take it all the way down to even 0,
you will get just the minimum smallest spray.
| | 08:14 | However, because they are covering less
surface area it's going to take longer
| | 08:18 | to build up an area, but it is a finer spray.
| | 08:21 | So like many tools in Painter you can
play around and find the sweet spot for
| | 08:25 | the exact density of spray and size
of droplets that you want to work with.
| | 08:30 | So the digital airbrushes in Painter
offer interesting control that is much
| | 08:35 | closer to the analog version where
tilt and bearing of the airbrush in the
| | 08:41 | artist's hand makes a great deal of
impact on how the strokes are constructed.
| | 08:46 | So airbrushes with noise
in them is not a bad thing.
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| Using an eraser as a mark-making tool| 00:00 | The eraser is the ultimate utility tool.
| | 00:03 | Unlike traditional erasers the digital
eraser can completely eradicate anything.
| | 00:08 | The Eraser tool in the Tool palette,
which is separate, is by default the tool
| | 00:12 | that is assigned to the Wacom pen's
eraser end, which other the pens have.
| | 00:18 | The Eraser category however offers some
additional marked erasing variants. Let's take a look.
| | 00:23 | I'm going to start off by just doing a
little bit of simple drawing with my 2B
| | 00:27 | pencil in this case, and like the real
world as you're working, you may find
| | 00:32 | that there are elements that you wish to erase.
| | 00:36 | The Eraser can actually be used for
more than simply getting rid of something
| | 00:40 | you don't want, but it can be used
to bring back a different level of
| | 00:43 | tonality for example.
| | 00:45 | Now in the real world you have on a
pencil an eraser on the other end and
| | 00:49 | interestingly enough on many Wacom pens,
you've actually got a second eraser tip.
| | 00:55 | Here I'm going to turn my Wacom pen
over now and I've now switched over as you
| | 00:59 | can see to the Eraser.
| | 01:01 | By default that is how Painter is set up.
| | 01:04 | So if you're using a Wacom stylus that
has an eraser end on it, you can take
| | 01:09 | advantage of the fact that
just by flipping over your pen,
| | 01:12 | just like you would on a
traditional pencil, you have the eraser
| | 01:16 | immediately available.
| | 01:17 | So I can flip my pen back over and it
goes immediately back to the tool that
| | 01:21 | I had before, which in
this case was the 2B pencil.
| | 01:24 | I can also alternately just go over to
the Tool palette, click on the Eraser
| | 01:29 | tool and eraser that way as well.
| | 01:31 | It's kind of up to you which makes more
sense for your particular workflow, but
| | 01:36 | I'm going to show you something else you
can also do as well as show you how you
| | 01:39 | can get some variability in the
look of the erasers that you do.
| | 01:43 | If we switch over to the Eraser category,
there are several variations here as
| | 01:49 | you can see and one that's very
interesting for example is Bleach.
| | 01:54 | Now Bleach, as opposed to the regular
eraser, kind of erases more slowly and it
| | 02:00 | just feels different.
| | 02:01 | It might not look that different on
screen but it feels different in the way
| | 02:04 | that it actually erases.
| | 02:07 | So if you want a different kind of
character of eraser by choosing one of these
| | 02:12 | other ones and in fact we've even got
some of the real variants here, so this
| | 02:16 | one is nice because as I change my angle,
I can get to a different level of size
| | 02:22 | of the eraser on the screen.
| | 02:24 | All of these different types of
erasers just offer different qualities, but I
| | 02:29 | wanted to show you that you can in
fact kind of modify your pen on the fly.
| | 02:34 | So if I'm back working with my pencils
and I say you know, I really wish I had
| | 02:40 | the real eraser from the Eraser
category on the end, rather than just the
| | 02:45 | default eraser, I can flip my pen
over so now I'm in the Eraser tool.
| | 02:49 | It automatically switches to the Eraser
category, but I'll go down here and
| | 02:53 | as long as I'm using my eraser end of my
Wacom pen, I can say I want to use the
| | 02:58 | Real Soft Eraser and now it's
assigned to that into the pen.
| | 03:02 | When I flip back over, well once
again, I'm back to my 2B pencil.
| | 03:06 | But as soon as I flip over, if you watch
up here in the corner when I flip over,
| | 03:10 | you'll see that it's now
switched to the Real Soft Eraser.
| | 03:13 | So I've essentially programmed the pen
to recognize that the tool I want on the
| | 03:18 | eraser end, in this case,
is the Real Soft Eraser.
| | 03:21 | So you can have the benefit of having
the eraser end of the Wacom pen be an
| | 03:25 | eraser, but you can even go so far as
to decide which eraser out of the Eraser
| | 03:29 | category you'd like to
assign to the end of that pen.
| | 03:33 | So take advantage of this technology on
the Wacom pens that have the eraser end
| | 03:38 | and use it to assign the particular
kind of eraser quality you want to it.
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| Using blenders| 00:00 | Blending colors and varying the
tonalities within an image has been associated
| | 00:05 | with several traditional forms
of media, particularly dry media.
| | 00:09 | Tissue, cotton, even your finger can
be pressed into service to smooth out
| | 00:13 | colors and tones within an image.
| | 00:16 | The Blenders category offers a whole
range of blending tools from smooth
| | 00:20 | blenders to grungy smears.
| | 00:22 | So let's take a look at Blenders.
| | 00:24 | Now we're in the Blenders category and
I'm going to start off with Just Add Water.
| | 00:29 | Just Add Water is in some ways the
king of blending within Painter because of
| | 00:35 | the very smooth transitions from
one color to another there possible.
| | 00:39 | I'm going to work with a file that I created.
| | 00:42 | You'll find it in your Exercise folder.
| | 00:44 | It's called colorblend.
| | 00:46 | I'm actually going to zoom up here a
bit, so we can see what's going on.
| | 00:51 | I'm going to start to blend this color
and you'll see at first it doesn't seem
| | 00:56 | like it's doing anything but as you
continue to blend and start to migrate one
| | 01:00 | color to another, you can start
to get a very nice smooth blend.
| | 01:05 | In a way, I almost think of all of
these pixels underneath your brush as if
| | 01:10 | they are grains of sand and you're
literally kind of doing a pushing activity
| | 01:15 | to help migrate the pixels to the new location.
| | 01:18 | So just doing this in
one location will not work.
| | 01:21 | As you can see what happens, it pushes
one set of pixels to the other side and
| | 01:25 | the other color to the other side.
| | 01:26 | So you end up with kind of an
optical illusion or incorrect blend.
| | 01:31 | So you need to work both sides of the
blend and I'm subtly moving my brush
| | 01:36 | towards each of those
colors to soften the blend out.
| | 01:40 | You can also enlarge your brush and in this
case I'm using my Right Bracket key to do that.
| | 01:45 | Let's try it over here.
| | 01:47 | A larger brush sometimes will work a
bit quicker and again, see I'm slowly kind
| | 01:52 | of transitioning over it to the green
and then I transition over to the blue.
| | 01:57 | And in doing so, I can really
get this nice blend of colors.
| | 02:01 | We're also looking at a very perfect
situation here, two absolutely different
| | 02:06 | colors divided by a line of
demarcation of those two colors.
| | 02:11 | In real world painting and drawing,
you're often going to find gradations of
| | 02:15 | colors and colors in different
orientations that you need to work with.
| | 02:19 | The one thing that is very important to
remember is that if it's a gradation or
| | 02:23 | two colors in this case, you need to go
with the trend in the color, because if
| | 02:27 | you go this way, you can see what happens.
| | 02:29 | I'm pulling the wrong color into the
wrong field and so that does not work.
| | 02:34 | You have to go with the color and then
just work to smooth out each of these.
| | 02:39 | So being able to blend does take a
little bit of practice and I urge you to
| | 02:44 | take this file and just practice with
blending these colors because it does
| | 02:50 | take a little bit of orientation to
learn how to get as smooth of a blend as
| | 02:55 | you're seeing me do here.
| | 02:56 | So practice it and then when you
get into actually drawing or painting
| | 03:01 | activity, you'll find that the
knowledge you've gained in this kind of
| | 03:04 | exercise will help quite a bit.
| | 03:06 | Now the one thing I wanted to point
out that I've mentioned elsewhere in the
| | 03:10 | title here but it's really the
perfect spot to show it is this brush is a
| | 03:15 | blender by the fact that
Resaturation is turned down to 0.
| | 03:19 | As we learned elsewhere, if you turn
this up this starts to apply color and
| | 03:25 | the reason I'm bringing this up is a lot
of times when I'm working with Just Add Water
| | 03:29 | rather than switch between an
airbrush, which is very commonly used to work
| | 03:35 | with softening colors, and my Just Add Water,
| | 03:38 | I go up to Resat and change this on the fly.
| | 03:41 | One way I think of this particular in
this instance is in a way with brushes
| | 03:46 | that use the well and Resaturation and
Bleed, Resaturation is painter's color clutch.
| | 03:52 | When the clutch is disengaged,
no color comes out of the brush.
| | 03:55 | It's just a blender at this point.
| | 03:57 | All it's doing is moving underlying color.
| | 03:59 | As soon as I engage the clutch,
well now it's a color-applying brush.
| | 04:03 | So using something like the Option or
Alt key to grab color, allows me to paint
| | 04:09 | with the colors to help work in a
blending situation as well as disengage the
| | 04:14 | clutch and then refine it even more.
| | 04:17 | So I'm just bringing this up because
of the use of the Resat slider as this
| | 04:21 | color clutch is a great way to use
Just Add Water as both an airbrush, which
| | 04:27 | essentially Just Add Water is.
| | 04:28 | It's only been an airbrush by picking
up the underlying color most of the time,
| | 04:33 | but the addition of the slider gives
you a way to transition back and forth.
| | 04:37 | I want to just spend a minute or
two on a couple of other brushes.
| | 04:42 | Another one that's in here is Smudge.
| | 04:44 | This is one of the ones I was talking
about that it's a little more gritty or
| | 04:47 | grainy and this has texture in it.
| | 04:50 | So sometimes it's nice to have a little
bit of noise in a gradation and the use
| | 04:56 | of the Smudge tool allows you to
blend, but blend utilizing whatever your
| | 05:01 | current paper texture is.
| | 05:03 | The last one I'm going to show you
that's an interesting one is Coarse Smear.
| | 05:07 | This one actually imparts a trend of
moving the pixels in such a way that
| | 05:12 | it almost looks like you're taking the brush
with no paint on it and moving the color around.
| | 05:18 | And it's just another
character of blending that you can do.
| | 05:22 | So to wrap this up, there are a
number of variations on smearing within the
| | 05:26 | Blenders category and depending on what
quality you want, you'll definitely be
| | 05:31 | able to find it within this category.
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| Using cloners| 00:00 | The Cloners category variants
work in concert with source and
| | 00:04 | destination imagery.
| | 00:06 | With this relationship established,
the colors of the source image can be
| | 00:09 | funneled through a cloner brush,
and impart that brush's expressive
| | 00:13 | characteristics to the destination file.
| | 00:16 | Beyond the Cloners, almost any brush
in Painter can be easily called into
| | 00:20 | service as a cloner.
| | 00:22 | Let's go ahead and take a
look at cloning brushes.
| | 00:25 | I'm going to start off by giving you
a little demonstration of what often
| | 00:28 | happens when people first encounter
cloning and aren't aware of this source and
| | 00:32 | destination image relationship.
| | 00:35 | They'll though often get to a cloner
brush, which we've got here in the Cloners
| | 00:39 | category and start drawing.
| | 00:41 | And without any knowledge of what's
going on, they'll wonder where are these
| | 00:45 | funny colors coming from?
| | 00:47 | And the way that cloning works in
Painter, there must always be a clone
| | 00:51 | source established.
| | 00:53 | So if you haven't even gone in and
created a source and destination file,
| | 00:57 | Painter still has to have that
connection established and when one has not been
| | 01:02 | user created, it's going to
utilize the current pattern.
| | 01:06 | And the Pattern that is there by
default is called Hens & Chicks and it's this
| | 01:11 | pattern that typically people will
start to see these colors and they'll wonder
| | 01:15 | why am I getting this?
| | 01:17 | And this is the reason. That Hens &
Chicks, which is the default pattern, tends
| | 01:21 | to be the one that without any dictation
from the user will start to come out of
| | 01:27 | the cloning brush itself.
| | 01:29 | So I just wanted to let you know if
you've encountered this, why and where these
| | 01:33 | particular colors and patterns are
coming from and it just relates to the way
| | 01:37 | Painter works with the cloning in general.
| | 01:40 | Now just to review, I'm going to call
up the clone chart here and show you
| | 01:45 | what I'm talking about.
| | 01:46 | If you have an image and it can be any image.
| | 01:49 | It can be a photograph or artwork you've done.
| | 01:51 | Whatever that image is,
you create from it a clone.
| | 01:55 | So the original image is what I
always refer to as the source image.
| | 01:59 | This is where the color information
will come from and it goes through one
| | 02:03 | of these cloner brushes and whatever
that brush is set up expressively to do,
| | 02:07 | it will take those colors and
impart it to the dabs that it's applying
| | 02:12 | to the destination image.
| | 02:14 | So this unique relationship between
these two files is what creates the ability
| | 02:20 | to do cloning of in this case a
photograph through to a second image.
| | 02:25 | They're two separate images but they
are linked by the fact that the cloning
| | 02:30 | command has been used to
create this relationship.
| | 02:32 | So let's open up an image, and this is an
image you'll find in your Exercise Files.
| | 02:38 | It's called autumn and we're
going to create this relationship
| | 02:43 | by going to the File menu and I'm
going to take advantage of the Quick
| | 02:47 | Clone command here.
| | 02:49 | And in this case, it's automatically
erasing the image from the destination file
| | 02:55 | but don't be fooled. There is still a
relationship established between these two.
| | 02:59 | The quickest way to see that is to go
up to the Tracing Paper icon here and
| | 03:03 | when you turn it on, we're now seeing a ghosted
version of the source image in the destination.
| | 03:10 | This can actually be used as tracing
paper if you'd like to use it that way.
| | 03:14 | But it's just a way to able to
see the imagery as you apply it.
| | 03:18 | And in this case, we've got this Flat Cloner.
| | 03:20 | So I'm going to use the fact that I can
now see this, so that I can go in here
| | 03:25 | and I'm doing it very roughly, but I am
placing these strokes not just anywhere.
| | 03:30 | I'm placing them based
on the underlying imagery.
| | 03:33 | So the fact that I can see through to
this and yet have it as a separate file
| | 03:38 | gives me this remarkable ability to
paint from the source image and not worry
| | 03:43 | anything about where the color's coming from.
| | 03:46 | I'm just taking advantage of the
particular quality of this brush and the fact
| | 03:51 | that in the same resolution source file,
it knows how to constantly pick up the
| | 03:56 | color from that location in the
source and apply it to the destination.
| | 04:00 | Now if we turn this off, you'll see
that it's by no means a finished image but
| | 04:04 | the strokes that I'm placing are
somewhat intelligently placed, because I'm
| | 04:08 | using the reference of the
source image to create that image.
| | 04:12 | If I turned off cloning, and
I'm going to show you this now.
| | 04:15 | In the Colors palette, there
is a little icon right here.
| | 04:18 | This is the Clone Color button.
| | 04:20 | If I disable this, you'll see that
know the Color palette is back to its full
| | 04:26 | colors and what that means is the
color is now coming from the Color palette.
| | 04:31 | As soon as I enable the Clone Color
button, it grays out because we're
| | 04:35 | telling the brush to ignore the Color palette
and now get the color from the source imagery.
| | 04:41 | With this knowledge, this means that
almost any brush in Painter, and I'll
| | 04:45 | qualify that, not every brush but almost any
brush in Painter can be turned into a cloner.
| | 04:51 | So let's go to a non-cloning category.
| | 04:54 | I'll go to Chalk for example
and here is the Real Soft Chalk.
| | 05:00 | So I'm just painting with it and it's a
brush that utilizes texture and there is
| | 05:05 | some qualities that are
happening based on my tilt and bearing.
| | 05:09 | So this brush has particular expressive
capabilities but it's being used at this
| | 05:15 | point in tandem with the colors on the palette.
| | 05:18 | But by simply clicking on that Clone
Color button, we're now saying ignore the
| | 05:23 | colors in the palette and instead
get your colors from the source image.
| | 05:27 | And once again, I'll go ahead here
quickly and delete the current imagery and by
| | 05:32 | turning this on, I can once again go in
here, but now unlike the more Oil style
| | 05:37 | brush you saw earlier, I'm now
creating an image in the style of chalk.
| | 05:42 | It's using texture.
| | 05:44 | It's playing with the ability of
turning the different angles and applying
| | 05:48 | different widths to it.
| | 05:50 | So now I am funneling this source image
through the medium of chalk and whatever
| | 05:57 | kind of capabilities this particular
variant has been set up to do, I can
| | 06:01 | interpret the source photograph in
this case to this piece of chalk.
| | 06:06 | So if we close it off, you'll see
once again nowhere near a final drawing,
| | 06:10 | but now this does look like chalk and
you can almost think of the source image
| | 06:14 | as your color palette.
| | 06:16 | That is where the color comes from and
you're relieved of having to think about
| | 06:20 | establishing the colors you're
painting with, because that heavy lifting is
| | 06:23 | being done by the cloning activity.
| | 06:25 | You're still applying your expressive
sensibilities to the way you're using this
| | 06:29 | particular brush and the way that
you're applying it and combined, you get a
| | 06:34 | very unique way to create imagery
using a separate image as your source.
| | 06:39 | The cloning brushes were one of the
first features of the original version of
| | 06:43 | Painter and it really garnered a lot
of attention at the time. It was very
| | 06:47 | revolutionary to be able to do this.
| | 06:49 | Cloning techniques have evolved in
Painter, particularly with regard to the
| | 06:53 | smart stroke brushes, which
we'll be looking at shortly.
| | 06:56 | But the cloners still provide a very
useful technique for transforming an image
| | 07:01 | into a different style.
| | 07:03 | So if you want to take advantage
of that, visit the Cloner category.
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| Distorting an image with the Distortion brush| 00:00 | The Distortion category and the
brushes associated with it have its roots in
| | 00:04 | media like a Polaroid film manipulation.
| | 00:08 | You may remember back in the era of
Polaroid film that while the film was still
| | 00:13 | developing, you could actually press on
the Dye layers as they were setting and
| | 00:18 | manipulate the imagery around quite a bit.
| | 00:21 | This is something that is very
similar to what goes on in Distortion.
| | 00:25 | But with digital media now, it's so
malleable, there is just a whole range
| | 00:30 | of image bending possibilities that you could
have never done in the era of Polaroid film.
| | 00:35 | In this movie, we'll take a look at
some of the painter distortion variants and
| | 00:39 | I'll show you a technique that
I use to jazz them up a bit.
| | 00:42 | I'm going to go to the Distortion
category, and I'm going to start with
| | 00:46 | the Distorto brush.
| | 00:48 | This is probably the archetypal
distortion brush in Painter and basically what
| | 00:53 | this does is when I drag it through an
image, it's almost like taking a needle
| | 00:58 | in a wet photograph and being able to
move it around, and you get, as you can see,
| | 01:04 | a very interesting visual
result from what happens here.
| | 01:07 | I'm going to introduce you to one
concept that sometimes throws people off.
| | 01:12 | I'm going to undo here.
| | 01:14 | And I want to show you that if I attempt
to do this on a layer, nothing happens.
| | 01:19 | In fact, I believe almost all, if
not all, of the Distortion category is
| | 01:24 | restricted, and I want you to
understand this because people will sometimes try
| | 01:28 | to do things on layers and get very
frustrated when nothing seems to happen.
| | 01:32 | The problem or, in this case, the issue
is if we go to the General palette,
| | 01:37 | this particular method is Drip.
| | 01:40 | And the way the Drip method works is it
has to directly interact with the pixels
| | 01:46 | in an image to work.
| | 01:47 | And as such, when you attempt to
do this on a layer, nothing happens.
| | 01:51 | There are many brushes in Painter that
are aware of what's going on underneath
| | 01:55 | its layer, and it will work fine,
but this is the exception to the rule.
| | 02:00 | In fact, when we start looking
at some of the other brushes,
| | 02:03 | you'll find that many of them are
composed of the method that's called Plug-in.
| | 02:08 | These are a set of brushes that are
basically defined in their subcategory, that
| | 02:13 | do all kinds of interesting things.
| | 02:15 | But once again, these brushes
only work on the actual pixels.
| | 02:20 | So, trying to use brushes that use the
Plug-in or the Liquid method in Painter
| | 02:25 | on layers simply won't work.
| | 02:27 | The one exception to that rule is if
I take another pixel painting brush,
| | 02:32 | and paint on a layer,
| | 02:33 | well, I can certainly go in on
this layer and if there are any pixels
| | 02:38 | somewhere on it, if I then return to the
Distortion Brushes and go in here with Distorto,
| | 02:45 | well, I can move those pixels around,
but you can see they have no interaction
| | 02:50 | whatsoever with what's
going on underneath of it.
| | 02:53 | But once you understand this, there are
some interesting possibilities that can
| | 02:56 | be done with this method as well.
| | 02:58 | It's just that you must understand you
have to directly interact with the pixels.
| | 03:02 | Otherwise nothing happens.
| | 03:04 | So, let's go ahead and get
rid of our layer for now.
| | 03:08 | And what I want to show you is we've
been using the Stroke Testing palette that
| | 03:12 | we've created as a way to test brushes out.
| | 03:14 | But it actually can be called in
this service as a creative tool.
| | 03:18 | So, I'm going to go ahead and record a stroke
here and I'm just going to do a little twirl.
| | 03:23 | And now I can go back to Playback Stroke.
| | 03:26 | We'll go ahead and eliminate
this so we can see the image.
| | 03:28 | Well, every time I click this,
you can see what's happening here.
| | 03:32 | It's applying that brush stroke which
is manipulating the actual pixels so that
| | 03:39 | each time you do it you get a different
composition of color within the stroke,
| | 03:43 | but it's a very unique way to take
an image and with very little effort,
| | 03:47 | completely obliterate it from its
original look to something very different, and
| | 03:51 | with just a little bit of work here,
already this is a very interesting abstract
| | 03:55 | composition that most people looking
at would not even be aware of that it
| | 03:58 | started from a photograph.
| | 04:00 | You can actually go a step further and
one of the things you can do when you've
| | 04:04 | used up all of your Undos, one quick
way to get back to the original is to just
| | 04:09 | use the Revert command in the File menu,
and this will just immediately bring it
| | 04:13 | back to the state it is on the disc.
| | 04:16 | Let me just try another stroke.
| | 04:17 | I am just going to do a little bit
smaller, so it affects the smaller area.
| | 04:21 | We certainly could use Playback Stroke
to individually place these, but there is
| | 04:25 | another command associated
with Record and Playback Stroke.
| | 04:28 | That's up in the Brush Selector Bar,
and you'll see that you have Record and
| | 04:32 | Playback, which we've been using, but
there is also one called Auto Playback.
| | 04:36 | When you click on this, this just
randomly places that stroke throughout the image,
| | 04:42 | and anytime you want to stop, just
by clicking in the image, it'll stop it.
| | 04:46 | But once again here's another
interesting way to almost create your own filters.
| | 04:52 | You basically have control over what
brush you're using-- let's undo this or
| | 04:56 | in this case, use Revert.
| | 04:59 | But let's try another brush here
and I'm going to select Turbulence.
| | 05:05 | And I'll show you how this
one is a little different.
| | 05:07 | It is almost like taking a
blender and putting it into your image.
| | 05:10 | And as long as I'm moving my brush
around, it continues to twirl with multiple
| | 05:15 | little blender blades parts of the image.
| | 05:18 | So, you can see once again how this
starts to take the original imagery and do a
| | 05:22 | very interesting kind of distortion to it.
| | 05:25 | Now, we can go a little farther and the
Hurricane version of this is a much more
| | 05:30 | aggressive version of the brush.
| | 05:32 | But just like we did before, I could go
to Auto Playback and now that that brush
| | 05:36 | is current, it will apply this brush to it.
| | 05:39 | You can see here once again we
are getting a very different look.
| | 05:42 | So, by combining whatever Distortion
brush you want along with the strokes that
| | 05:48 | you make and then using Auto Playback,
it gives you a very interesting way to
| | 05:52 | create a filter of sorts
you can apply over your image.
| | 05:56 | And once again, the complexity within
this, it hides what it originally was
| | 06:00 | and yet the color nuances and all of
the almost fractal like breakup of the
| | 06:05 | image through the way that the
hurricane brush applies itself and then doing
| | 06:10 | it repeatedly by using Auto Playback,
you get a pretty interesting textural result.
| | 06:16 | So, the thing that is important to
understand here is that these brushes are
| | 06:21 | very different in the kinds of
operations they'll do, and you can choose to use
| | 06:25 | them very selectively or you can do as
I've shown you here, take advantage of
| | 06:30 | Record Stroke and Playback Stroke and
then its extension, the Auto Playback.
| | 06:35 | In fact, if you wanted to, you
could add that as another button on
| | 06:39 | this particular palette.
| | 06:40 | So you add a whole all set of controls
to Record Playback and Auto Playback,
| | 06:45 | any kind of stroke that you want to do
particularly in relation to Distortion.
| | 06:50 | We've only scratched the surface of
what is possible with the distorting tools.
| | 06:54 | A bit of time investigating the Plug-in
method as well as its subcategories is a
| | 06:58 | gold mine waiting to be discovered.
| | 07:00 | So, you might want to start with some of
the existing variants within Distortion
| | 07:04 | and then start playing around with
what happens when you start changing the
| | 07:08 | subcategories within the Plug-in methods
to see what kind of results you'll get.
| | 07:12 | I think you'll be pleasantly surprised.
| | Collapse this transcript |
| Simulating artist brush styles with the Artist category| 00:00 | The Artists category has been used as a
container over time for various brushes
| | 00:05 | that provide or exhibit aspects of
either a well-known artist's style or just a
| | 00:10 | painting style in general.
| | 00:13 | Now, while I'm going to focus on the
Impressionist brush, I urge you to play
| | 00:16 | around with the other variants as well.
| | 00:18 | Now on to the Impressionist brush.
| | 00:21 | We're going to go up to the Artists
category and one of the brushes you will
| | 00:25 | find in here is the Impressionist.
| | 00:28 | And I'm just going to do a few
sample strokes here so you can see
| | 00:31 | basically what's going on.
| | 00:33 | This brush uses what's called a
captured dab and I'm going to open up the Brush
| | 00:40 | Controls General palette here to show you this.
| | 00:42 | I'm not going to go into great depth
about the captured dab here, but in a
| | 00:46 | couple movies from now, we're going to
take a really close look at it in the
| | 00:49 | Sponges category, but this will at
least introduce you to it and you'll see how
| | 00:54 | it can be applied to a specific brush
and then later on I'll show you how you
| | 00:58 | can get in and customize
these to your heart's desire.
| | 01:01 | The idea behind the Impressionist
brush is that it's using an individual
| | 01:06 | captured dab, a piece of graphic that
was created to emulate the look of a dab
| | 01:11 | of color from a paintbrush, and it's
using Jitter to move that brush around.
| | 01:17 | The third thing it's doing is-- and
perhaps it would make sense for us to see
| | 01:21 | this within the Brush Controls.
| | 01:24 | One of the things that's happening if
we go to Angle, you'll see that this dab,
| | 01:28 | and there's the actual graphic of it,
is being controlled by direction.
| | 01:32 | So, whatever direction I go you can see
it's just like a little school of fish.
| | 01:36 | It always follows the direction I'm going.
| | 01:39 | So, that means that as I paint with it,
I'm always going to get a series of
| | 01:43 | randomly placed strokes along my
single stroke to give this illusion of many
| | 01:49 | individual strokes being applied.
| | 01:50 | And yet it's actually pretty simple to
create the illusion of a great deal of
| | 01:54 | complexity just by stroking a few times.
| | 01:57 | The other thing that's happening is if
we look here at Color Variability, you'll
| | 02:01 | see that the value component
of the color has been turned up.
| | 02:05 | So, it's not changing Hue, but it's
adjusting the Lightness to Darkness values
| | 02:10 | within whatever color is selected.
| | 02:12 | So, if I select a different color,
we're going to see some value variations
| | 02:16 | within that color as I paint with it.
| | 02:18 | So, the combination of this directional
stroke along with some Jitter added to
| | 02:23 | randomize where these little
individual dabs are placed along the stroke,
| | 02:27 | as well as some variability built within
the color itself, all add up to a brush
| | 02:32 | that gets you a very impressionist style brush.
| | 02:36 | And as I said, gives you this ability
to start to paint and get a very nice
| | 02:41 | impressionist quality and the
workload is actually somewhat minimal.
| | 02:45 | I'll just do a quick little sketch of
a tree and you'll see how quickly this
| | 02:49 | starts to have a very impressionist
style about the way it's constructed because
| | 02:54 | of these dabs and the slight
change in color that's happening.
| | 02:58 | But think of drawing this with
chalk or pencils or whatever. You wouldn't
| | 03:02 | nearly get the amount of information
that we're seeing here happen so quickly,
| | 03:07 | because this is doing a lot of heavy
lifting for us by actually moving around
| | 03:11 | all of these little individual dabs
and randomly changing some of the colors
| | 03:16 | within them to give a very
nice impression of Impressionism.
| | 03:22 | I'll go in here and add a little bit of
shadow detail and then when I'm finished
| | 03:27 | with this, we'll just toss in a little
bit of sunlight hitting the tops of these
| | 03:32 | clusters of the Impressionist leaves.
| | 03:35 | But you can see there, I didn't have to
spend very much time and I've gotten a
| | 03:39 | nice little rendition of a tree done in a style
that is very reminiscent of the Impressionists.
| | 03:44 | I'll show you a couple
of things you can do here.
| | 03:46 | One is, as we were looking at angle,
you'll notice that it was set by direction.
| | 03:50 | Well, an interesting little change we
could do here is we could say let's do
| | 03:53 | this so it's random.
| | 03:55 | Now, instead of following direction,
we get strokes that are in every direction randomly.
| | 04:00 | So, this provides a different kind of
flavor to the way the brush strokes look
| | 04:04 | as they're applied, but it's also equally valid.
| | 04:07 | So, just depending on the kind of
look you're going after, you may want to
| | 04:12 | switch this to a random
angle as opposed to directional.
| | 04:16 | The other thing we'll quickly look at,
and I'm going to open up an image that is
| | 04:20 | in the Exercise folder for this chapter.
| | 04:22 | And I want to show you we can clone this
image as we've already done previously.
| | 04:27 | So I'm going to go up to the
File menu and just hit Clone.
| | 04:31 | And I can instantly turn this into a
cloner file, and what I want to do with
| | 04:36 | this in particular is go ahead and
Select All and Delete and now when I start to paint,
| | 04:41 | you'll see what's happening is
I'm getting an instant Impressionist image
| | 04:47 | done with this particular underlying photograph.
| | 04:51 | In fact, if we wanted to take advantage
of a command we've used earlier, I could
| | 04:55 | record just a simple little stroke
like this and since it's random, when I go
| | 04:59 | and take advantage of the Auto Playback,
it'll just start applying this and it's
| | 05:04 | constantly sampling the
particular location in the image.
| | 05:08 | Now, there's not much detail in this so
one of the things you could do is start
| | 05:12 | to decrease the size of this brush.
| | 05:16 | So, if I go up to Size and just lower
it by about half and then Auto Playback a
| | 05:21 | second time, I'll start to get
more detail within the image.
| | 05:25 | And one of the things that happens in
cloning is the size of the brush is almost
| | 05:31 | like an aperture is in photography.
The smaller the brush size, the more detail
| | 05:36 | you're going to get in your image.
| | 05:37 | So, if I go down one more time, about
half of that, and use my Auto Playback, in
| | 05:42 | this case to just apply it to the
image, you'll see now we are even getting
| | 05:46 | finer detail in there.
| | 05:48 | So, the Artists category just basically
has several different brush types that
| | 05:52 | relate to different artistic styles and
I've kind of taken it off in a different
| | 05:57 | direction here by actually ultimately
turning it into a cloner and having it
| | 06:01 | Auto apply from the source image.
| | 06:04 | But you can see how a brush with
certain characteristics can be called into
| | 06:09 | service to be used in a
number of different ways.
| | 06:12 | This could be hand applied or in this case
we're using an automatic function to do it as well.
| | 06:17 | But take a look at the Artists brushes
and I think you'll find that you've got a
| | 06:21 | wide range of possibilities in both
image creation, as well as interpreting
| | 06:26 | existing imagery as we're doing here.
| | Collapse this transcript |
| Making common photo adjustments with the Photo category| 00:00 | Painter has a category of tools
referred to as the Photo tools and these are a
| | 00:05 | set of tools that do some fairly basic
photo manipulation type tasks and let's
| | 00:10 | just take a quick look at them.
| | 00:12 | If we go up to the Brush Selector Bar
and drop down to Photo, we'll find that
| | 00:17 | we've got a set of tools here.
| | 00:19 | I'll show you a few of them but I'll be
honest in telling you that if you're a
| | 00:22 | casual user, these will work fine.
| | 00:24 | However, if you're looking for a more
high-powered results, there are other
| | 00:28 | solutions available that are better
than this. But for just casual use,
| | 00:32 | these will get you by.
| | 00:33 | One for example are the Dodge and Burn tools.
| | 00:36 | Now while they're in this menu,
they've actually been added over into
| | 00:39 | the toolbar itself.
| | 00:40 | So rather than go to the actual category,
you can just go right here to get to
| | 00:46 | the Dodge and Burn tools.
| | 00:47 | So, I'll take Burn and we'll just darken
kind of a side area here and you'll see
| | 00:52 | that it introduces a bit of darkening
of density to the image, so you could use
| | 00:56 | this easily as a way to
vignette this image a bit.
| | 00:59 | But you can see one of the limitations of it is
| | 01:01 | it does start to want to saturate
colors well, and there is certainly other
| | 01:05 | tools that won't
introduce that saturation into it.
| | 01:08 | Conversely, we can take the Dodge
tool here and lighten up some of the
| | 01:12 | central area of the image.
| | 01:14 | But once again, this is a very basic
approach to doing it and you may find
| | 01:18 | you want to move on to more
sophisticated tools if you're beyond a simple
| | 01:22 | approach to things.
| | 01:23 | One that does work really well is the Blur tool.
| | 01:26 | This let's me go in and add a sense of
blur, so if I want to kind of throw this
| | 01:30 | foreground out of focus, problem solved.
| | 01:37 | So, the basic idea of the Photo tools
are they are a set of tools that are
| | 01:41 | designed to work with photo
imagery and for casual use they're fine.
| | 01:45 | If you're beyond the casual stage,
you may find better tools elsewhere.
| | Collapse this transcript |
| Using sponges and modifying captured dabs| 00:00 | One of the novel uses of sponges as a
mark-making tool is as a graphic stamp.
| | 00:05 | A natural sponge's structure is made
up of a complex cellular arrangement,
| | 00:10 | contained within a three-dimensional volume.
| | 00:13 | The surface of this material
presents a complex organic structure.
| | 00:16 | Dabbed with paint and used as a stamp,
the surface can create an amazing
| | 00:21 | texture, especially when
overlaid with multiple colors.
| | 00:25 | In this movie, we'll take a look at
how this variant is able to apply this
| | 00:29 | texture as well as discover what a
gaping opening it makes for creating a wide
| | 00:34 | variety of other brushes.
| | 00:36 | Let's take a look at sponges.
| | 00:39 | I'll go up to the Brush Selector Bar
and we will drop down here Sponges and
| | 00:43 | we're going to work specifically
with the Sponge tool and the first thing
| | 00:47 | you want to know about this brush
is that it takes advantage of what's
| | 00:52 | called the captured dab.
| | 00:54 | And if you look at the Size palette,
you'll see that rather than just a simple circle,
| | 01:00 | we've got a very complex
pattern or something going on here and if we
| | 01:05 | reduce the size of this, you'll see
that this is actually a sponge-like texture
| | 01:11 | that is the dab of this brush.
| | 01:14 | And you can capture any graphic element
and make it into a dab for a brush and
| | 01:21 | this means in some ways, this is the
most customizable brush possible within
| | 01:27 | Painter, because what that dab is
totally impacts everything else about
| | 01:32 | how the stroke is going to look and
then you have, as well, all the little
| | 01:36 | stroke controls to do
things with this particular dab.
| | 01:41 | So, let's take a look at how the Sponge
utilizes this dab and then I'll show you
| | 01:44 | how you can actually create your own dabs.
| | 01:48 | So, I'm going to just take a color here
and as I'll start to paint, you'll see
| | 01:54 | it's taking that dab shape and it's just
applying it to the surface of the image
| | 02:00 | and just by changing colors, you'll get
an interesting buildup because some of
| | 02:04 | the original colors shows through the
transparent parts of the stamp and other
| | 02:10 | parts are clouded with the new color,
so just a few passes of color will start
| | 02:16 | to build up interesting textures
based on the combination of color and
| | 02:22 | overlaying textures, as they're applied.
| | 02:25 | So, right off the bat, I think you
can see how a captured dab can be a very
| | 02:31 | powerful tool to create any wide-
ranging ideas that you may have for a
| | 02:37 | particular kind of graphic
image or brush you want to create.
| | 02:42 | So, let's take a look at
how this is actually created.
| | 02:46 | I'll go ahead and clear off my canvas
and let me explain that when you create a dab,
| | 02:52 | it can only be black and white.
| | 02:54 | You would never see color within this
window and that's because the way the dab
| | 02:59 | works is black areas are considered
opaque, white areas are considered
| | 03:04 | transparent and any gray scale in
between black and white are considered varying
| | 03:10 | levels of transparency.
| | 03:12 | So with that knowledge, you can
use this to create a brush that has
| | 03:16 | very opaque parts, very transparent parts
and all levels of transparency in between.
| | 03:22 | So, for this exercise, I'm just going
to make something like a cloudy, foggy brush
| | 03:29 | and I'm not sure what it's going
to end up looking like, but let's try
| | 03:33 | and see what we get.
| | 03:33 | So, I'm going to use my airbrush to do this.
| | 03:38 | And I'm going to start with some black and
I'm just going to apply some texture here.
| | 03:43 | I'm also going to turn
down my Opacity quite a bit.
| | 03:45 | So, I've dropped it down to 10. I will
probably just go ahead and start over,
| | 03:49 | because I want to make
sure, yeah this is better.
| | 03:52 | So, I'm just going to create interesting
kind of textural thing using kind of a
| | 03:58 | wavy type stroke pattern here.
| | 04:02 | The thing about this is there is
somewhat of an experimental aspect to it,
| | 04:06 | because it's hard to know exactly what a dab is
going to do once it's on the end of our brush.
| | 04:13 | And you may have to do multiple
iterations in order to find out what works.
| | 04:18 | So, I'm just building up density
here to get just an interesting kind of
| | 04:22 | organic style pattern.
| | 04:24 | Let me go back in with some white
here and just kind of break it up even a
| | 04:28 | little bit more, maybe with
some direction in this way.
| | 04:31 | Since we're going to put it right in the
same slot basically that the Sponge dab was in.
| | 04:36 | So, all of the other behavior
associated with the brush will remain.
| | 04:41 | Maybe a little bit of size change here
will also adjust it. That's too small.
| | 04:46 | Maybe a little bit of
intermediate size here will work.
| | 04:53 | So, we are not going to spend too much
time to make the perfect brush, but I
| | 04:57 | just want you to see what happens when
we take this and put into the placeholder
| | 05:04 | that right now is the sponge texture.
| | 05:08 | So, let's go back. We want to go back
to the sponge because we want to make
| | 05:11 | sure that's the brush we're going to
apply this to and to capture this we use a
| | 05:15 | rectangular selection.
| | 05:17 | And if I just click and then hold down the
Space key, this will constrain this to a square.
| | 05:24 | And I'm just going to make sure that
I've gotten enough space in this to fit my
| | 05:28 | entire graphic and then I
will fit it in here this way.
| | 05:33 | Now that we've got that, we're going to
go ahead and go up to the Brush Selector Bar,
| | 05:36 | and right here at the
top we've got Capture Dab.
| | 05:40 | So, I say Capture Dab and you can see
what's instantly happened is it's changed
| | 05:44 | what was the sponge texture for
our new texture we've just created.
| | 05:49 | Let's open up a new image and every
other bit of behavior will be the same here.
| | 05:55 | It'll just be that the dab is now changed.
| | 06:00 | So, let's go ahead and draw with
this and we will just try some color.
| | 06:04 | Now, you'll see that sometimes this
happens and what you have to do, it's
| | 06:08 | still in memory what the old brush is.
Just by changing this slider at all will update it.
| | 06:15 | So now it's using the new texture.
| | 06:18 | That's something that if you don't know
that, you could wonder why didn't it take.
| | 06:22 | And the reason is it needs to be
updated by just adjusting that Size slider
| | 06:28 | in order to see it.
| | 06:29 | I'm going to reduce the Scale a bit,
so that we are not looking at such a
| | 06:33 | large brush, and what may be not working
really well for this is the particular method.
| | 06:40 | So, this is where everything we've been
learning about in this title starts to come into play.
| | 06:44 | I can try different methods, like I'm
thinking Soft Cover might be better.
| | 06:50 | So, there is a nice kind of soft cover
and you know this may not end up being
| | 06:54 | a brush that you would particularly
want to save, but you can see how the fact
| | 06:58 | that this is automatically rotating
every time it's applied, and it's even
| | 07:03 | changing scale a little bit starts to
create a very complex pattern that there
| | 07:09 | was no brush in the world that did this
before and now we've got a brush that does this.
| | 07:15 | So, the world of brushes are
available to you in terms of customizing and
| | 07:21 | I've found over time that the most
customizable aspect of brush making is the captured dab.
| | 07:30 | It just really opens up a very major
opportunity for creating a very wide range
| | 07:37 | of expressive possibilities.
| | 07:39 | So, definitely check out the captured dab
and my best advice is do what we just did here.
| | 07:45 | Take an existing captured dab brush,
because it's already been set up with a
| | 07:49 | certain set of behaviors that are
intended to work with a captured dab,
| | 07:54 | so it's probably your best starting point.
| | 07:56 | And then from there, you can start to
make the adjustments as we did here and
| | 08:00 | just tweak it till you get
the brush you're looking for.
| | Collapse this transcript |
| Using FX brushes| 00:00 | There are several novel variants within
the F-X category, and I urge you to take
| | 00:05 | a look at all of them.
| | 00:06 | But I have selected one for
improvement that I feel has the most broad usage.
| | 00:10 | It's the Fairy Dust variant.
| | 00:13 | There are many types of imagery,
where the addition of a mystical,
| | 00:16 | magical quality is desired, and Fairy Dust is
perfect for sprinkling into these situations.
| | 00:22 | Let's see how we can improve this variant.
| | 00:24 | The first thing I am going to do is that
we want an image to work on in this case.
| | 00:30 | So I am going to bring up the image
we have been using throughout this
| | 00:33 | chapter, our autumn image.
| | 00:35 | And I want this to be more of a
twilight or early evening image, so we are just
| | 00:39 | going to do a quick adjustment here.
| | 00:41 | I am going to take some Brightness/
Contrast and just push it all the way down,
| | 00:44 | so we get an image that
seems to be later in the day.
| | 00:49 | Let's go to the F-X category and we are
going to work with, as I said, Fairy Dust.
| | 00:55 | Now, this can work on a layer, so I am
also going to do that just so I am not
| | 00:58 | actually applying pixels
to the actual image itself.
| | 01:02 | Let's just see what this currently does.
| | 01:05 | Now, it is based on color, so what
we are going to get is a set of little
| | 01:11 | highlight blips that appear to be
little sprites within the image.
| | 01:18 | You can play around and color them
as well, but I think we can improve on
| | 01:23 | this particular look.
| | 01:25 | The first thing I want to take a look
at here, just do it right down here in a
| | 01:29 | corner, maybe let's do it with some white.
| | 01:32 | If we go up and look at this up close,
you will see that these little pings of
| | 01:36 | light are-- it's actually one captured
dab element, but it's rotating to be at a
| | 01:41 | different angle every time,
which in some cases would work well.
| | 01:44 | But I think in this case, I want this
to actually always be consistent, because
| | 01:49 | I want it to look somewhat photographic,
and what happens with little highlights
| | 01:53 | in photography is the little radiant
arcs that you get off of the highlights
| | 01:57 | will always be exactly the same.
So we want to correct that.
| | 02:01 | If we go in and take a look at the Brush
Controls, let's go to the Angle palette
| | 02:07 | here and we will see right now that
dab is being randomly rotated around.
| | 02:13 | I am going to change it so that it's
None and what will happen now is now every
| | 02:18 | one of those is exactly the same.
| | 02:20 | It's subtle, but it does kind of
connect with the brain for being a little bit
| | 02:25 | more of a photographic style highlight,
like you would see whenever we all go
| | 02:31 | out and see fairy dust.
It does look somewhat like this.
| | 02:35 | So that takes care of one
aspect of how I want this to look.
| | 02:39 | The other thing that's sort of
problematic right now is it's just all too bright
| | 02:44 | in the scene and so I want to correct that.
| | 02:47 | And randomness is a good thing, but
maybe the place we want to take advantage
| | 02:51 | of it is in the Opacity.
| | 02:53 | So I am going to go ahead and say I
want my Opacity to be Random, and now you will see
| | 02:58 | now I get nice differences
in the apparent brightness of these.
| | 03:02 | If we Select All, Delete, and do a
little bit here, you will see what happens is
| | 03:06 | that apparent brightness fools the eye
into thinking it's seeing these objects
| | 03:11 | closer and farther away in the scene.
| | 03:13 | So it actually integrates in with the
scene even a little bit better here,
| | 03:18 | because we now have the feeling that
these are floating in a 3D space,
| | 03:22 | as opposed to the way they looked before.
They were just flat in one plane and
| | 03:27 | it defied the look of 3D here.
| | 03:30 | So we have got that going for us.
| | 03:32 | The other thing is I can change the
individual color, but what if these could be
| | 03:37 | different colors themselves? And we can
do that by going to Color Variability.
| | 03:42 | I am just going crank up the Hue
Variability, and let's try that a little bit.
| | 03:47 | Now you can see it's starting to get
different colors within each one of
| | 03:51 | those little highlights.
| | 03:53 | I can now control the Saturation value
of those, just by where I place my cursor
| | 04:00 | within the Color palette.
| | 04:02 | So let's go ahead and delete all this one
more time and we can get rid of this now.
| | 04:05 | Now I am just going to paint in here a
bit, just so we have got some of this
| | 04:11 | kind of floating around in this environment.
| | 04:15 | I could even go back with my Eraser
here quickly and just if I want some of
| | 04:18 | this to look like it's more behind some
of these elements, I can just erase them
| | 04:23 | so that they are in the foreground,
but they seem to be going back into the
| | 04:27 | scene a little bit more.
| | 04:29 | The other thing we could do is even add a
second layer and go back and paint some more.
| | 04:35 | I can take this layer and just by
reducing its Opacity a bit, you can see I can
| | 04:39 | season to taste here, now where they
seen more back into the scene a bit.
| | 04:45 | I will go to this one, this layer, and also
maybe make my brush just a little bit larger.
| | 04:51 | So this will have the effect of
making these seem even more closer to the
| | 04:55 | foreground, and I can see what I
could do here. I am going to undo those.
| | 05:00 | I am going to turn my Opacity up
to 100%, so that will increase their
| | 05:05 | brightness just a little bit.
| | 05:06 | So now we have got some of these that seem
to be actually floating closer to the camera.
| | 05:12 | So this is a rather fanciful usage of
Fairy Dust, as if there were actual
| | 05:18 | real world situations you would use it in.
| | 05:21 | But the idea here is that this brush has
been taken from,what was a good brush,
| | 05:25 | and in this particular case we have
actually enhanced it and made it a really
| | 05:29 | good brush for the kind of look that we want.
| | 05:32 | So by making selective adjustments, as
I said, you can take a good variant and
| | 05:37 | make it into a great one.
| | 05:38 | This selective adjustment is
mainly what I call "season to taste."
| | 05:42 | The decisions are up to the
individual making the adjustments.
| | 05:45 | Painter is full of variants just
waiting to be adjusted to suit your tastes.
| | 05:50 | Go forth and adjust.
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| Painting with pattern pens| 00:00 | Pattern Pens have a bit of what I
call an Alice in Wonderland quality.
| | 00:05 | On one hand, these pens are back in
accordance with the usual pen behavior.
| | 00:09 | Smooth edges or a nice-looking thick
to thin ratio, as pressure is applied.
| | 00:14 | On the other hand, the ink that comes
out of these pens is anything but normal.
| | 00:18 | Let's pierce through the
looking glass at Pattern Pens.
| | 00:21 | I'm going to go up to the Brush Selector
bar and we'll drop down here to Pattern Pens.
| | 00:27 | Let's just try one out and see what we get.
| | 00:29 | Well, you can see right away,
this is not your mother's pen.
| | 00:32 | This actually uses an imagery to paint with.
| | 00:37 | So the first quality that's noticeable
about this is that it's not just a simple color.
| | 00:43 | It's a graphic imagery that makes it up.
| | 00:45 | The other thing about the Pattern Pen
is that it knows how to stretch whatever
| | 00:50 | the content is. And where
is that content coming from?
| | 00:54 | Well, it's actually a pattern and based
on the pattern that you select, you can
| | 01:00 | get a lot of different kinds of qualities.
| | 01:02 | Some of them can be based on
photographic material or they can be hand-drawn
| | 01:08 | but the idea is that anything that can
be encoded into a pattern can become a
| | 01:14 | pattern to fill an area but it can also
become content for the Pattern Pen itself.
| | 01:20 | Now there is another quality about the Pattern
Pen that's very interesting as well as useful.
| | 01:25 | You can see this pattern that I'm
drawing right now and I'm going to do a Select All,
| | 01:29 | Delete, so we can
just look at it clearly here.
| | 01:32 | You can see it just does a band of this
graphic, but if I switch from the normal
| | 01:36 | Pattern Pen to the Pattern Pen Masked,
now what happens is it knows that there
| | 01:43 | is a mask associated with
this, that it was created with.
| | 01:47 | And when that mask is being detected,
it masks off everything but the area of
| | 01:53 | the graphic that is unmasked.
| | 01:56 | So now I can paint with this
in an even more interesting way.
| | 02:01 | So not only can you have bands of
graphics but you can have irregular shaped
| | 02:06 | graphics along the strip of your Pattern Pen.
| | 02:10 | What's not too well known is how can you
construct one of these masked Pattern Pens.
| | 02:15 | So I'm going to go through the process
to show you how that's done so that you
| | 02:19 | can start creating your own content.
| | 02:21 | It's easy to create a basic pattern but
to mask it off takes an additional step
| | 02:26 | and let's take a look at that.
| | 02:27 | So I'm going to Select All, Delete,
and all patterns basically are are a
| | 02:32 | repeating seamless pattern.
| | 02:34 | By seamless, I mean there is no
beginning and there is no end.
| | 02:37 | So there is no obvious separation
between the pattern at any point and it takes
| | 02:42 | a special technique to create that.
| | 02:44 | Normally, what I'll do is I'll start
with a rectangular horizontal area.
| | 02:49 | So I'm just going to use
in this case my Crop tool.
| | 02:52 | You could also create a new file of
dimensions that you want to work with, but
| | 02:55 | this is just a quick and easy way to get to
that shape of imagery that I want to work with.
| | 03:00 | The first thing you want to do is
from the dropdown menu in the patterns
| | 03:04 | selector is go over to the Pattern fly-
out menu and you want to say Define Pattern.
| | 03:09 | You have to do that first.
| | 03:11 | So we've now defined a pattern and
there are no fireworks or anything showing
| | 03:15 | up here to tell us it's been done, but I'll
show you in a minute how you know it's happened.
| | 03:20 | The next thing that has to happen is,
in order to create a Masked Pattern Pen,
| | 03:24 | you must work on a layer.
| | 03:25 | So I'm going to create my layer.
| | 03:27 | Now here is the really interesting part.
| | 03:30 | Any tool can be used to create this
content and what I'm going to do is go to
| | 03:35 | the Liquid Ink category, just because
it does an interesting graphic quality.
| | 03:41 | I'm going to use the Graphic Camel.
| | 03:43 | So let's go up here and grab Graphic
Camel and I'll paint with it and what I
| | 03:49 | want you to notice is when I get to
the edge, I'm going to kind of do it here
| | 03:54 | in an olive green color.
| | 03:57 | I'm going to start to draw with it.
| | 03:59 | When I go off the right side, watch
over on the left side. See how that just
| | 04:04 | came up and allowed me to join it?
| | 04:06 | That's what tells you that this is a
pattern that's been defined because it
| | 04:12 | understands that the edges
are seamless more or less.
| | 04:16 | So now I can play around with
going off the edges, if I want to take
| | 04:20 | advantage of that technique.
| | 04:23 | So I'm just going to fill in
the pattern a little bit more.
| | 04:26 | I might go in with the Graphic Camel
Resist here and just kind of scrounge it up
| | 04:31 | a bit more but I just want to get an
interesting graphic quality going here.
| | 04:36 | The one thing I said you had to create a layer.
| | 04:39 | I did create a layer but in the case
of the Liquid Ink Pen, it has to create
| | 04:42 | its own layer type.
| | 04:43 | So it happened to do that there and
that's fine but the idea is that you have to
| | 04:48 | work on a type of layer.
| | 04:51 | Normally, you would work with most
tools on a normal layer. With Liquid Ink,
| | 04:55 | it just happens to be a special
tool that requires its own layer type.
| | 04:59 | That's the reason we've got that going there.
| | 05:01 | And just to keep things simple,
I'm going to go ahead and delete this so
| | 05:04 | we're not confused by it.
| | 05:05 | So I've got a layer, in this case a
Liquid Ink layer, and what I want to do is
| | 05:10 | from the Layers palette, go
in and say Drop and Select.
| | 05:14 | Now you must use this command.
| | 05:15 | You can't just drop it.
| | 05:16 | You must drop and select because
what's going to define that mask that the
| | 05:20 | Pattern Pen Masked is
going to use is this selection.
| | 05:24 | So if we save this without a selection,
it wouldn't recognize any mask at all
| | 05:29 | because it is the
selection that's defining the mask.
| | 05:31 | I'm going to go back over to my Pattern
Selector, go to the flyout menu and now
| | 05:36 | I want to say Capture Pattern.
| | 05:39 | Now this is where I can go and give it
a name and I'll just call it My Pattern
| | 05:47 | and now we've got a new pattern.
| | 05:48 | Now let's test it out.
| | 05:49 | I'm going to go and create a new file
and let's go into the Pattern library.
| | 05:56 | There is My Pattern.
| | 05:57 | I'm going to grab it.
| | 05:58 | I'm going to go back to
the Pattern Pens library.
| | 06:02 | We've got Pattern Pen Masked.
| | 06:04 | Go up to 100% here so you can see it,
but now I've got this really cool new
| | 06:15 | pattern that I've created and it's masked.
| | 06:20 | I challenge you to look in the Painter
documentation and find out how to do that
| | 06:23 | because you won't find it.
| | 06:25 | So that's a really cool little aspect of
Pattern Pens that you now have under your belt.
| | 06:30 | So have some fun with some of this.
| | 06:32 | Pattern Pens enable some pretty
remarkable mark-making capabilities.
| | 06:36 | With the knowledge of how to construct
your own ink or content, these pens open
| | 06:40 | up a rabbit-sized hole you can explore.
| | 06:42 | Bon voyage!
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| Painting with the image hose| 00:00 | We've already entered
Wonderland in the Pattern Pens movie.
| | 00:03 | Now we're going to go a little bit
deeper into the rabbit hole by visiting the
| | 00:07 | Image Hose category.
| | 00:08 | The Image Hose works in conjunction with
nozzle files, which are ordered content
| | 00:14 | that is sprayed from the
hose in a variety of methods.
| | 00:17 | Anything can become nozzle
content. And the mind reels.
| | 00:22 | Let's visit the land of hoses and nozzles.
| | 00:25 | So we're going to be working in the
Image Hose category and I'm going to work
| | 00:31 | with a Spray variant, which Size is
controlled by Pressure and Angle is
| | 00:37 | controlled by Randomness.
| | 00:39 | I'm not going to spend a lot of time
on the standard usage of Image Hose but
| | 00:43 | instead I want to use this video to
show you something that isn't well known
| | 00:48 | about the way it works.
| | 00:49 | A property that's very
useful but it is kind of buried.
| | 00:53 | So to do this, we're going to work with this
image and I'll temporary create a layer here.
| | 00:59 | So I'm going to spray with the current
nozzle file, which is Bay Leaves, and
| | 01:03 | we'll just paint with it a little
bit so you can see what we've got here.
| | 01:07 | So this is your basic set of
photographic elements being sprayed out randomly
| | 01:14 | onto the layer above the background.
| | 01:18 | So that's the way it normally works but
let's look up at the Brush Property Bar
| | 01:23 | and you'll notice that there is a Grain
setting here but in reality, Grain has
| | 01:28 | nothing to do with the Image Hose.
| | 01:29 | It doesn't have any
control over it whatsoever.
| | 01:33 | So here is this apparently
useless control sitting here.
| | 01:37 | Because of the way the interface works
in Painter, sometimes you have to assign
| | 01:41 | a function to an area of the
interface without being able to label it.
| | 01:46 | And this is such a case. Because this
slider actually does something other than
| | 01:51 | control grain and I'm going to turn
it down a little bit and let's see if we
| | 01:55 | get a difference here.
| | 01:57 | Okay, well now, we're not
getting the same saturated colors.
| | 02:01 | Somehow white is entering into the
equation and where is that coming from.
| | 02:04 | But if we go over to the Colors
palette and take a look at it, you'll see the
| | 02:08 | secondary color square here is white right now.
| | 02:11 | Let's take that and change it to
another color and now I'll spray.
| | 02:17 | Now, it makes a little bit of sense.
| | 02:19 | What's happening is when you turn the
Grain slider down when you're in the Image Hose
| | 02:25 | it starts to impart the secondary
color into the content of the Image Hose.
| | 02:31 | So depending on where this is set, you can
skew the content with more or less of a color.
| | 02:39 | The reason this does this is back
when we originally designed this,
| | 02:43 | we thought it would be kind of
interesting to be able to use the same content
| | 02:47 | but add a color to it so that we
could, for example, give the illusion of
| | 02:52 | shadowing happening.
| | 02:53 | So in this case, this is a bit like
a shadowed version of the Bay Leaves
| | 02:58 | and then when I turned my Grain back up to
100%, now I've got my fully sunlit leaves.
| | 03:05 | And so it's just a way to introduce
some more variability into what is really
| | 03:10 | one set of content and that's
the original usage for this.
| | 03:15 | But I'm going to show you another way
to take advantage of this and to do this,
| | 03:19 | I'm going to go ahead and fill this
layer with white and I'm going to set the
| | 03:26 | background color to black.
| | 03:28 | Now when I paint with this, when I turn
down the Grain, we're going to get this.
| | 03:36 | I'm getting this very nice
silhouette based on the Bay Leaves.
| | 03:40 | So all of a sudden, we don't have color
content but we have a silhouette of all
| | 03:45 | of these various leaves
being sprayed out onto our layer.
| | 03:49 | Well, if we go and change the
Composite method to Screen, what happens is the
| | 03:56 | white remains opaque but the black
becomes transparent and so this gives me a
| | 04:02 | really nice tool for vignetting and
it especially works well in this image
| | 04:07 | because leaves are in the content of
the original image and we've got this
| | 04:13 | nice set of leaves that we can spray
out and use it as a way to bring through
| | 04:20 | the underlying content.
| | 04:22 | So this is a great tool for being able
to create vignettes with very interesting
| | 04:29 | graphic edges that would be
otherwise kind of difficult to do.
| | 04:32 | So this isn't a huge feature of the
Image Hose but it's something that was
| | 04:36 | hiding in plain sight and most people
are not aware of it, due to the fact that
| | 04:41 | this Grain slider actually is
controlling how much of this color, the secondary
| | 04:45 | color in the Color palette, is
going to run through the Image Hose.
| | 04:49 | And by turning it down to 0, I've got a
way to apply black, which in this case
| | 04:54 | is actually transparent in
conjunction with the Screen method.
| | 04:58 | So it's kind of connecting a few dots
that aren't obviously there, but once you
| | 05:02 | understand all the dots and connect them,
you can get a very interesting result.
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|
|
5. Dry MediaDry Media in action| 00:00 | In this chapter we will be
taking a look at dry media.
| | 00:04 | Dry media is largely
associated with the activity of drawing.
| | 00:08 | One of the key aspects of dry media is
the way in which the medium, which is
| | 00:12 | normally graphite or compressed pigment,
interacts with the surface that it is applied to.
| | 00:18 | Paper in this case.
| | 00:19 | The surface generally has somewhat of a
tooth to it so that the abrasive quality
| | 00:24 | of the media being applied creates the
imparting of that media onto the surface.
| | 00:30 | Because of this you can get some
interesting expressive variability within the
| | 00:34 | marks applied to the paper.
| | 00:36 | We will start with pencils, which
are the granddaddy of dry media.
| | 00:40 | While we normally think of the pencil
is a line making tool, depending on how
| | 00:44 | you orient its tip to the receiving surface,
it can also be used to create a range of tonality.
| | 00:50 | As you can see depending on how lightly
I press, I can get what appears to be a
| | 00:55 | full range of tonality.
| | 00:56 | When you think about it though what's
really happening down at the micro scale
| | 01:00 | is that one color, black in this
instance, is being applied to the upper grain of
| | 01:05 | the surface in varying amounts.
| | 01:07 | This creates the illusion of varying tonality.
| | 01:10 | Painter has built-in surface
textures that duplicate this ability to use
| | 01:14 | pressure to create these
varying amounts of tonality.
| | 01:17 | We are also going to take a look at chalk.
| | 01:21 | With chalk you have the introduction of
color just beyond a simple graphite pencil.
| | 01:26 | I will start to draw a bit with some chalk.
| | 01:29 | What happens here is that you have
the ability to impart color, which is a
| | 01:33 | very expressive addition to the
artist's visual vocabulary. Because chalk is a
| | 01:38 | dry compressed medium,
| | 01:39 | you can see here that it is very
easy to use my finger to blend colors.
| | 01:44 | This makes chalk very attractive for paper-
based projects in which blended color is desired.
| | 01:50 | Final dry medium we will
look at here is oil pastel.
| | 01:53 | The unique quality of oil pastels
is that it is a pigment bound by wax.
| | 01:58 | Because of this it is capable of building up
multiple colors with a very creamy appearance.
| | 02:04 | You can see here that the harder I press
the thicker of an application of color I get.
| | 02:09 | Then if I apply another color like
yellow, there is a very creamy quality that
| | 02:14 | results when the yellow interacts
with the already applied under color.
| | 02:18 | You can see how I can use my finger to
begin to blend these colors together.
| | 02:22 | So oil pastels offer the
ability to apply and blend color.
| | 02:27 | Once again Painter duplicates
these behaviors via the Wacom tablet.
| | 02:32 | You can even simulate the extreme
tilting of a pastel or chalk to increase the
| | 02:36 | applied surface area of a medium to the paper.
| | 02:40 | Using a Wacom tablet to sense the
artist's hand motions enables a wide range of
| | 02:45 | expressability, just like
its traditional counterparts.
| | 02:48 | Now let's go ahead and take a
look at Painter's dry media.
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| Drawing with pencils and colored pencils| 00:00 | Pencils are the universal drawing tool.
| | 00:03 | I guess that more doodles, drawings, and
sketches are done with pencils than any other medium.
| | 00:09 | As a result, it is a look
and feel that we all know well.
| | 00:13 | Painter's had pencils since version 1.0,
but it is only with Painter 11 that the
| | 00:18 | fidelity of a simulated
pencil is so close, it's scary.
| | 00:22 | Let's take a look at
pencils and how to adjust them.
| | 00:25 | I'm going to go up the Brush Selector
bar, go down to the Pencils category, and
| | 00:30 | we're going to work with the Real 2B Pencil.
| | 00:32 | Now 2B Pencil is a model of pencil
that practically everyone uses, both in
| | 00:39 | school and just anywhere and it's a
very good example to start with to look at
| | 00:44 | how well Painter's pencils
now look in the virtual world.
| | 00:48 | The other thing we are going to take
a look at is the Hard Media palette.
| | 00:52 | This is the new technology built
into Painter 11 that enables the look of
| | 00:56 | pencil to be so accurate.
| | 00:59 | Let me just draw few sample strokes
and draw a little bit so you can see
| | 01:02 | what I'm talking about.
| | 01:04 | As I draw, I'm thinking consciously
about it now but the real power behind the
| | 01:09 | way this tool works is that as you
start working with it, you don't even think
| | 01:13 | about the technology underneath of it.
| | 01:15 | It just works like a pencil and one of
the things I'm doing for example is as I tilt,
| | 01:20 | I start to address more of that
exposed lead on the tip of the pencils so
| | 01:26 | that I can actually use it as a way to
apply tonality to my image and then as I
| | 01:31 | point more straight up and down
I get a very fine pencil point.
| | 01:35 | So tilt and bearing play a big part
in the way that this particular Hard
| | 01:40 | Media category of tool works and I
want to show you one thing that you can do
| | 01:46 | to enhance it a bit.
| | 01:47 | I' going to go ahead and tilt as far
back as I can and still make a mark and
| | 01:51 | just do a sample so you can see the
width of the exposed lead that I'm getting.
| | 01:57 | I'm now going to go and go to my System
Preferences and look at the Wacom driver.
| | 02:03 | By default Tilt Sensitivity is set to
Normal. I advise you to turn this up
| | 02:08 | because what's going to happen is, and
let's look at the comparison, now when I
| | 02:11 | tilt and do the same thing see how
I'm getting a greater sense of what's
| | 02:16 | happening on the tilted pen. Turning up
the Tilt Sensitivity in the Wacom driver
| | 02:21 | is a way to squeeze a bit more
performance out of both your Wacom pen as well as
| | 02:28 | what's going on in Hard Media.
| | 02:30 | Now, Hard Media has a preview and
I want to show you how this works.
| | 02:35 | You'll see there's this
thing called Preview Tilt.
| | 02:37 | This actually does not have a control
over the way the brush works on the canvas.
| | 02:43 | It has to do with how the little
preview of it looks so that you can make
| | 02:47 | adjustments to it and I'm
going to exaggerate it here
| | 02:50 | so you can see this and you'll notice
that we get a tip, and maybe if I just
| | 02:55 | temporarily enlarge it up.
| | 02:56 | It's a tip that's very dense at one edge, but
as it moves away, it gets less and less dense.
| | 03:02 | That's what causing this edge to be
able to perform the way that it does and so
| | 03:08 | this tilt angle, as I said, does not do anything.
| | 03:11 | Don't get mixed up.
| | 03:13 | So I'm going to keep it turned up, so
that I can see this elongated edge and
| | 03:18 | show you how some of
these controls actually work.
| | 03:21 | The Squeeze controls are set so
there is a pair for vertical control
| | 03:26 | and horizontal control.
| | 03:27 | The vertical controls adjust how wide
this brush is going to be up and down or
| | 03:34 | vertical and the horizontal controls
adjust how elongated this is going to be.
| | 03:40 | In fact you can see that the horizontal
maximum here is set to 100%. Watch as I reduce it.
| | 03:46 | See what's happening to the width of
that stroke at the top? And so if I make
| | 03:51 | it shorter, I will still get a
stroke, but it's just going to behave
| | 03:55 | differently than it did before.
| | 03:58 | Now I want to get back to the original
settings of this pen so I'm going to take
| | 04:02 | advantage of the Brush Selector
Bar's panic button, as I call it here.
| | 04:06 | And just reset my pen back to its
default settings, because the other setting
| | 04:11 | that's pretty important here is
in this Transition Range setting.
| | 04:15 | This is where you control based on
the tilt of your pen, when does the
| | 04:20 | transition from the fine point to the
exaggerated point start to happen and so
| | 04:27 | with respect to this particular
tool, it's set at 20% of an angle.
| | 04:32 | So that at a 20% angle, that's when
it's going to start to make the transition
| | 04:37 | and it and it will finish at 60%.
| | 04:39 | I find another way to sometimes get
as much performance out of the pen as
| | 04:45 | possible is to reduce this finish point.
| | 04:48 | So I'm going to take it more like 40% and
I'll show you how it makes a difference.
| | 04:53 | Actually, it's not something you're going
to see but I can tell you by the feel of it.
| | 04:57 | I feel like I can get to that wide edge
relatively easy and it's all a matter of
| | 05:02 | preference how this is set.
| | 05:04 | It's really kind of up to you but you
should be aware of the fact that if you
| | 05:09 | don't sense you're getting the
performance out of what you want a Tilted Hard
| | 05:14 | Media tool to do, you'll want to go
into the Transition Range and play around
| | 05:18 | with this start and finish point.
| | 05:20 | Another key area of Hard
Media are these profiles.
| | 05:25 | This is what's determining what's
happening in the look of the mark being made
| | 05:30 | and you can see that the
way this has transitioned.
| | 05:32 | It's set to be dark very quickly but
then it ramps off and reduces in density.
| | 05:38 | So what these profiles are, are just a
graphic display of density as viewed in a
| | 05:45 | 2D side-view manner.
| | 05:47 | If we take this one, you'll see that the
look of the pen is changing because now
| | 05:52 | it's got a soft edge, transitions to a
hard edge, and then it goes back out to a
| | 05:57 | soft edge and each one of these is
going to provides a slightly different
| | 06:02 | profile that it is going to
change the look of the pen.
| | 06:05 | You can see on this one now where its
highest density is in the center, so it's
| | 06:09 | got a very shallow amount of density at
the outer edges but it's complete in the
| | 06:13 | center and that's exactly
what we're seeing in this pen.
| | 06:16 | You can see the greatest amount of
density lies right in the center of the
| | 06:20 | stroke but either edge is
softened out to less density.
| | 06:24 | So you can also play around with how
the stroke looks based on the actual
| | 06:29 | profile that it's using.
| | 06:32 | So to finish up the real category of
pencil, it is what makes such a profound
| | 06:37 | difference in the way that tools work
and you'll find throughout many categories
| | 06:42 | that a variant will start with the name Real.
| | 06:45 | That signifies that it's using the Hard
Media tools to adjust how its shape is made.
| | 06:53 | The one exception to that rule happens
to be in Real Media, which was an earlier
| | 06:58 | category, and those happen
to start with Real as well.
| | 07:01 | But as a category and as the way those
tools are set up, they have nothing to
| | 07:05 | do with Hard Media.
| | 07:06 | So other than the Real Media category,
anywhere else you find a variant preceded
| | 07:11 | by the term Eeal will indicate to you
that it is a hard media-based brush that
| | 07:17 | you're about to use.
| | 07:19 | The new Hard Media palette in Painter 11
is what enables this very sophisticated
| | 07:24 | control over the look of media that
have a non-regular edge and the pencil is a
| | 07:30 | great example of that but we'll find
out in the rest of the Dry Media category
| | 07:34 | that it applies to other tools as well.
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| Painting with chalk and using directional paper grain| 00:00 | As we continue our investigation of
dry media, we're going to take a look at
| | 00:04 | chalk, charcoal and Cont?.
| | 00:06 | These are all pigment-based mediums
that are compressed into a stick form and
| | 00:11 | held together with some form of
binder and they're all sufficiently alike.
| | 00:16 | There's really no reason to investigate
every category. I think we can cover it by
| | 00:20 | just looking at chalk alone.
| | 00:22 | But I want you to know that within
all of these categories you'll find some
| | 00:26 | variants to begin with Real and
whenever it's says Real, as I've mentioned
| | 00:31 | before, that means that that
particular variant is utilizing the Hard Media
| | 00:36 | palette within Painter 11.
| | 00:38 | So just to take advantage of the Real
based brushes because they offer the
| | 00:45 | greatest simulation of these particular tools.
| | 00:48 | We're going to start off by looking at
how these various mediums interact with
| | 00:55 | paper grain and I'm going to take
advantage of the Small Dots paper texture.
| | 01:00 | I'm also going to open up the
palette here, and this is a somewhat of an
| | 01:04 | artificial paper texture but it's
excellent for showing off this effect I'm
| | 01:08 | about to demonstrate to you.
| | 01:10 | So we're going to create a bit of a
test bed to work on. I'm going to use
| | 01:15 | the Fill command, which is either
Command or Ctrl+F, and fill it with a
| | 01:19 | neutral mid-tone gray.
| | 01:21 | Then let's go ahead and get our chalk.
So I'll go to the Chalk category.
| | 01:25 | I'm going to use Real Hard Chalk and then
just paint in here, with a bit of a darker gray.
| | 01:31 | So we can very readily see this paper
grain and within the paper grains, you've
| | 01:39 | got a feature here that is
called Directional Grain.
| | 01:43 | I'm going to enable this and what this
is going to do, unlike what I just drew here,
| | 01:48 | this is without Directional Grain.
| | 01:50 | It's just a one-dimensional approach to
revealing grain and you'll see here in a
| | 01:56 | moment when Directional Grain is
enabled, you get a much more realistic
| | 02:01 | approximation of the way that
media works in the real world.
| | 02:05 | So let's take some various colors.
I'll start with a kind of a red-orange here
| | 02:10 | and I'm going to stroke just in a down
direction from the upper-left towards the
| | 02:16 | lower right and we might even want to
zoom up on this little bit, so you can see
| | 02:19 | what's going to happen.
| | 02:21 | As I do this, this is only going
to apply to one side of the screen.
| | 02:27 | Remember this is like a little mini
mountain range and if there was a storm
| | 02:31 | coming in with orange snow from the
Northwest up here, it would only be applying
| | 02:36 | that snow to the northwest face of the
mountains and that's what's happening.
| | 02:40 | Now let's take a complementary color.
I'm going to come in from the opposite
| | 02:44 | direction from the lower right and
you'll see that what happens is now the blue
| | 02:49 | snow from this storm is only falling on
what would be the southeast face of
| | 02:55 | these little mountains.
| | 02:57 | Let's take another one and now I'll
come up from the northeast here and you'll
| | 03:01 | see that once again it's only
applying to the face of the texture in the
| | 03:06 | direction that I'm stroking.
| | 03:08 | So each time I select a new color and
come from a different direction,
| | 03:12 | I'm actually applying that color only to
that face of the texture that I'm stroking
| | 03:19 | in the direction towards.
| | 03:21 | And a lot of people do this in many
different dry mediums where they'll take
| | 03:25 | advantage of a textured surface to apply
color to a certain angle of the texture
| | 03:33 | to build up some interesting color variations.
| | 03:35 | So let's erase all this and now I'll just
take a more natural texture, like Basic Paper.
| | 03:43 | Now it's not going to necessarily
appear as obvious as it did in that perfect
| | 03:47 | sample that I showed you before but it
still works and you can turn this on and
| | 03:52 | really not necessarily even think about
it because once it's on, it's just going
| | 03:57 | to work based on whatever direction
you're stroking in and so you can turn this
| | 04:03 | on and just start to draw-- if I go back
and forth both ways just like in a real
| | 04:07 | medium, it's eventually going to cover-
up both sides of the faces of the texture
| | 04:14 | that I've painted on and if I come in
from a different direction, I'm going to
| | 04:17 | lay down texture in a different manner.
| | 04:19 | So this isn't something that you
necessarily are going to take obvious usage of
| | 04:24 | but it's a subtle way to introduce
more reality into your textures with Dry
| | 04:30 | Media than you've been able to
do with just the normal setting.
| | 04:35 | In fact, if I turn the normal setting
back on and paint with some black, you'll
| | 04:38 | see that once again it's non-directional.
| | 04:40 | Now it's just coming straight down
from the top and touching those grains
| | 04:45 | directly, which is also a very useful
way of working with texture, but now with
| | 04:51 | the knowledge of directional grain,
you've got actually two different methods
| | 04:55 | for applying dry media to your textured
surfaces and end up with different kinds of results.
| | 05:02 | So directional grain, very
important in concert with dry media.
| | 05:07 | The other thing I want to show you is-- and
we'll look at this in the pastels as well.
| | 05:12 | What color the media is actually
sometimes it's what makes a medium look more
| | 05:17 | like that medium than anything else
and a good example that is Cont? crayons.
| | 05:22 | I'm going to open up the Cont? and what
happens with a lot of dry media drawings
| | 05:28 | is they happen on a non-white surface
and so I'm just going to do maybe kind of
| | 05:33 | a cool charcoal gray here, just a little
bit color in it, and fill my canvas with
| | 05:40 | that color and one thing I could do
here too to enhance this, you never know
| | 05:44 | when you're going to want
to erase or undo this stuff.
| | 05:47 | So creating a layer to do this on is
one way to preserve my paper color and not
| | 05:52 | necessarily have to always start from scratch.
| | 05:55 | What I'm going to do now is shut down
the Colors palette and go to my Color Sets.
| | 06:01 | So now we've got Color Sets open,
I'm going to take advantage of the little
| | 06:05 | Library icon down here and I'm going
to say Open Color Set and we're going to
| | 06:10 | just load it and I'm now going to
go to my Exercise Files, in Chapter 5.
| | 06:17 | You'll find that I've created some
color sets for usage with some of the
| | 06:21 | media that we're exploring.
| | 06:22 | So I'm going to go to the Cont? crayon
color set, open it up and this is a set
| | 06:29 | of colors associated with Cont? crayons.
| | 06:32 | So I've now got my non-white surface.
| | 06:35 | This enables me to start to use these on
that surface and I'm just going to take
| | 06:41 | one of the real variants here.
| | 06:42 | Let's take the Real Soft Cont? and
I can go in here now and use it like a
| | 06:47 | mid-tone for example.
| | 06:48 | I'm just going to kind of noodle
around here. I'm not going to try to do
| | 06:51 | anything spectacular but what's going
to make this look like a Cont? crayon
| | 06:55 | rendering more than anything else is
the combination of the texture as well
| | 07:00 | as the colors that I'm using because these
colors come in a particular set almost constantly.
| | 07:07 | There is very limited
numbers of colors for Cont?.
| | 07:10 | You don't buy a 50 color set of Cont? crayons.
| | 07:13 | You usually get them in a very narrow
set of colors and what I'm proposing here
| | 07:18 | is that in order to look like Cont?,
the best thing to do is to limit your
| | 07:23 | palette of colors to only those colors
that are typically associated with a
| | 07:28 | Cont? crayon drawing.
| | 07:30 | For example, if I went in here now
and went in and got a bright green and
| | 07:35 | painted on here, that doesn't look like
Cont? crayon because you never see that
| | 07:40 | color associated with it.
| | 07:42 | If I stay strictly within the colors
that are in this color set however,
| | 07:47 | I'm going to limit my colors to only the
ones that you would ever see a Cont?
| | 07:51 | crayon drawing done in.
| | 07:53 | This is the best way to make a
category like Cont? crayon, which is very
| | 07:57 | specific to certain colors that it's
known for, to get a believable result that
| | 08:03 | looks like the medium.
| | 08:05 | So take advantage of this Color Set
that I've created as a way to keep your
| | 08:10 | colors limited to only colors that you
would find in a set of Cont? crayons.
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| Painting with pastels| 00:00 | Pastels are largely
distinguished by their vibrancy of color.
| | 00:04 | This is due to the high amount of
pigment content used within their manufacture.
| | 00:09 | Soft pastels contain the highest amount
of pigment, whereas oil pastels employ
| | 00:14 | more binder, which leads to a
creamy consistency when they're applied.
| | 00:18 | Painter's pastels and oil pastels dab-
wise aren't really much different from
| | 00:22 | chalks and charcoals.
| | 00:24 | What does set them apart, however,
are the actual colors traditionally
| | 00:28 | associated with the medium.
| | 00:30 | Let's go ahead and take a look at pastels.
| | 00:32 | I'll go to the Brush Selector bar drop
down to the Pastels, and we're going to
| | 00:37 | take a look at the Real Soft
Pastel variant in this case.
| | 00:41 | I'm also going to go to the Paper
palette and I'm going select my palette and
| | 00:48 | one of the things I can do here is
select a paper that is naturally going to
| | 00:54 | complement the medium I'm working
in, which in this case is pastel.
| | 00:58 | There is a Pastel Paper grain
available in the Library and unlike some other
| | 01:03 | paper grains, which may not look
consistent with the look of pastel,
| | 01:08 | this paper certainly will.
| | 01:09 | So I'm going to take advantage of it,
and I'm just going to draw a little bit here,
| | 01:13 | and I want to show you something
that can happen with some paper grains.
| | 01:17 | You'll see that no matter how hard I
press, some of the highest peaks of the
| | 01:22 | paper grain are not getting addressed by
the brush, and that just is a vagary of
| | 01:28 | how this particular texture was created.
| | 01:32 | It's contrasty and it doesn't have any
intermediate values in it right now, but
| | 01:38 | I can use the Contrast slider
within the Papers palette to adjust that.
| | 01:42 | So I'm just going to turn this down a bit.
| | 01:43 | You can see how it's getting
more mid-tone grays within it.
| | 01:46 | Now, when I use it, you'll see I'm starting to
get all the way to the top of my paper grain.
| | 01:51 | So just a slight adjustment in the paper
grain's contrast or sometimes brightness
| | 01:58 | can be a way to adjust the paper
grain to your particular liking.
| | 02:02 | And a lot of people don't take
advantage of these controls, but they're very
| | 02:05 | useful particularly in a situation like
this where you might get an undesirable
| | 02:09 | artifact within your strokes.
| | 02:12 | So take advantage of this when you can.
| | 02:14 | The other thing I mentioned is the way
that color plays a large degree of making
| | 02:19 | pastel look like pastel.
| | 02:21 | I could certainly go in here and
paint with any color I want to, however,
| | 02:26 | pastels tend to come in sets and those
sets are created by the manufactures to
| | 02:32 | be a set of colors that work very closely
and blend together very well with one another.
| | 02:38 | So to just pick random colors off of
the color wheel is not going to give me as
| | 02:44 | realistic of a look of pastel, as I'm
going to get if I use colors designated
| | 02:49 | specifically for pastels and are made to match
the kinds of colors you find in a set of pastels.
| | 02:56 | The other thing we can do is we can go
in and change the color of our paper.
| | 03:01 | I'm just going to go in here and maybe
just give it a slight warm feeling, so
| | 03:06 | it's almost gray, but I'm going to
leave just a little bit of hue within that color
| | 03:12 | and I'm going to do Command+F
or Ctrl+F to fill, and we'll fill.
| | 03:16 | So now we've got a toned or a colored
paper that we'll work on top of, and I'm
| | 03:22 | also going to do this on a layer. This
just gives me a safety net, so that if I
| | 03:26 | don't like what I'm doing, I still
have my blank paper that I can return to.
| | 03:30 | I'm also now going to shut down the Colors
palette and we're going to open up Color Sets.
| | 03:36 | And I'm working with color sets that
are associated with their various mediums.
| | 03:42 | In this case, this was a set of colors
that works with Cont? crayons, but I've
| | 03:46 | also got a set for pastels.
| | 03:49 | So I am going to go in now and
say I want to open the color set.
| | 03:52 | So we will load this color set and if
you go to your Exercise Files in Chapter 5,
| | 03:57 | you'll find that I've got some color
sets I've made that are associated with
| | 04:02 | the kinds of colors you
find in traditional pastels.
| | 04:06 | So let's take the Soft Pastels and open it up.
| | 04:09 | And now this gives me a set of
colors very commonly used within pastels.
| | 04:15 | And now, I can go in and start selecting
colors and start to paint with this and
| | 04:19 | the combination of working on a toned
color and using colors associated with
| | 04:26 | pastels is going to give me a more
traditional look than I would get from just
| | 04:30 | choosing colors at random.
| | 04:31 | One of the things that happens in
pastels is you'll work with middle tones and
| | 04:38 | then you can even start to use colors
that are lighter and darker than your
| | 04:42 | paper color to build up
a greater sense of depth.
| | 04:45 | For example, if I go in here now and
use a dark color, I can get some nice darks
| | 04:51 | on here, but I can also apply lighter
colors than are lighter than the paper.
| | 04:56 | And this gives me a wider tonality than
I would get, if I were working on white paper,
| | 05:00 | where that already is the brightest color.
| | 05:03 | You can also take advantage of the fact
that the various colors in the pastels
| | 05:09 | are part of the Hard Media controls.
| | 05:11 | So that means that when I go and tilt,
I'm going to get a broader stroke and
| | 05:17 | this is an excellent way to allow me to
start to apply tonality into an image.
| | 05:22 | Not just line, but tonality.
By combining my pressure in the side of this piece
| | 05:28 | of pastel along with the paper grain,
I can institute what appears to be a wide set
| | 05:33 | of tonalities within this particular image.
| | 05:38 | So despite all of the different
control and adjustments you can make to
| | 05:41 | variants in Painter,
| | 05:43 | sometimes the simplest solution is the
one that will provide the best answer.
| | 05:48 | And in this case, to get as close to a
traditional medium like pastels as you can,
| | 05:53 | it really is more a case of using
the proper colors with the medium more
| | 05:58 | than anything else and hopefully my
library of pastel colors as well as a set of
| | 06:05 | oil pastels I've included, will help
you create pastel and oil pastel drawings
| | 06:11 | that appear more realistic because
they are staying in tune with the kinds of
| | 06:15 | colors you normally associate with that medium.
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| Drawing with crayons| 00:00 | Who among us hasn't experienced crayons?
| | 00:03 | As a child, this was probably the first
color medium we were introduced to and
| | 00:09 | since Painter is that library of all
traditional media, crayons are included in
| | 00:14 | its pantheon of various art tools.
| | 00:16 | Let's take a look at the Crayon category.
| | 00:19 | We'll go down here and I'm
going to take a look at Waxy Crayons.
| | 00:23 | And one of the things I want to show you,
unlike other dry media that we've looked at,
| | 00:29 | one of the things about crayons is
you'll see how they build towards a dark
| | 00:34 | and almost a black.
| | 00:36 | That's because unlike all of the
other dry media we've looked at, this is
| | 00:40 | composed of the Buildup method, and if
you remember from our vocabulary section,
| | 00:47 | we looked at methods and Buildup is a
method that does use a dye-based model
| | 00:52 | that will eventually work towards black.
| | 00:55 | And crayons certainly are one
of the art media that will exhibit
| | 00:58 | this characteristic.
| | 01:00 | So I'm not going to try to draw
anything really complex here, but I just want
| | 01:05 | to show you how the crayons really are
pretty good at synthesizing the look of
| | 01:10 | a traditional crayon. Because these
are Waxy Crayons, I'll draw a couple of
| | 01:14 | light yellows here, and even kind of get into
some darker black colors and then take maybe a cyan.
| | 01:21 | You can see here the waxiness
component of it enables it to actually pick up
| | 01:26 | some of these underlying colors, so
you can see as this light cyan is passed
| | 01:31 | over the darker marks,
| | 01:32 | it actually picks up and
contaminates the color for a while.
| | 01:37 | So one of the things you can
do with a medium like this,
| | 01:41 | I've seen people use it to
simulate the look of little kids drawing.
| | 01:44 | So if you want to create some artwork
or design work that looks very much like
| | 01:50 | the way a little child draws, using
a medium like crayons is one way to
| | 01:55 | certainly be able to do that.
| | 01:57 | I'm just showing you here very quickly
that it just takes a medium that's very
| | 02:02 | simple like crayons in order to be
able to actually get the look of what we
| | 02:09 | associate with something like child art.
| | 02:11 | So Crayons are in here and available for
either your kids to play with or if you
| | 02:16 | want to get back to your inner child,
basically crayons are available for you to
| | 02:21 | sit down on a rainy day and have some fun.
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|
|
6. Ink MediaInk Media in action| 00:00 | In this chapter we'll take a look at ink media.
| | 00:03 | Ink as an art medium has
been around for a very long time.
| | 00:06 | One of the principal visual
components of ink is line.
| | 00:09 | Traditionally, the combination of a
nib and a penholder have acted as the
| | 00:14 | stylus-based instrument
used to apply ink to a surface.
| | 00:17 | The nib itself acts as a reservoir for the ink.
| | 00:20 | Hand pressure causes the ink to
flow from the nib's point to the paper.
| | 00:25 | There are a variety of nib profiles that
enable a wide range of expressive line qualities.
| | 00:31 | The type of line quality the artist
wants will depend on the nib used.
| | 00:34 | I'm going to place a bit of ink on this pen nib.
| | 00:42 | Now when I start to draw with it, I get a very
nice fine line. Depending on how hard I press,
| | 00:48 | I can vary the width of the line.
| | 00:50 | Many of the pens in Painter also
utilize pressure to accomplish the same kind
| | 00:55 | of line width control.
| | 00:57 | Another ink based medium is markers.
| | 01:01 | These are more contemporary ink
tools that originated in the 50s.
| | 01:05 | Markers used a transparent ink colors
that employ a subtractive color model.
| | 01:10 | I'll apply a stroke of yellow.
| | 01:16 | And now some blue.
| | 01:22 | The result is green, which is
consistent with the subtractive color model.
| | 01:27 | You can get quite an expressive range out
of markers that have angled chiseled tips.
| | 01:33 | How I position the angle and rotate
the marker will vary the line quality.
| | 01:39 | Painter's Marker category mimics this
same multidimensional control along with a
| | 01:44 | subtractive color model.
| | 01:46 | Finally, we're going to take a look at a
unique property of ink, surface tension.
| | 01:50 | Another way to think of surface tension
is ink's tendency to be self attractive.
| | 01:55 | I'll put a bit of ink on
the paper with this dropper.
| | 02:04 | Then place another drop nearby.
| | 02:06 | You can see how when the second drop
is close enough to the initial drop,
| | 02:10 | they touch and combine.
| | 02:12 | Painter's Liquid Ink layer employs a
simulation of surface tension to visually
| | 02:16 | re-create the same behavior.
| | 02:18 | You often see this behavior with beads of
water on a windshield or a waxed surface.
| | 02:23 | The ink media tools and Painter cover
all of the tools that make marks in the
| | 02:27 | style of ink with a variety of
different tips that simulate traditional nibs as
| | 02:32 | well as getting into subtractive
color like you can find in markers.
| | 02:35 | Finally, the Liquid Ink layer let's
you play around with the surface tension
| | 02:39 | based physics of ink.
| | 02:41 | In this chapter, we'll take a
look at how Painter recreates these
| | 02:44 | traditional tools.
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| Configuring the Leaky Pen| 00:00 | In terms of ink media, pens are
probably at the top of the list in terms of a
| | 00:04 | tool that utilizes ink.
| | 00:06 | Pens can be used for precise line work,
expressive calligraphy, finely-tuned
| | 00:11 | artwork, writing, and on and on.
| | 00:14 | The bulk of the pens in this category
are so finely designed that there really
| | 00:18 | isn't much need for adjustment in them.
| | 00:20 | But one that stands out is the Leaky Pen.
| | 00:24 | This pen actually is kind of not very
cool and we're going to make it a little
| | 00:27 | better and along with that you're
going to see how to make several different
| | 00:31 | adjustments that can be applied to many
other tools throughout Painter as well.
| | 00:35 | So, let's get started.
| | 00:36 | We're going to go to the Pens category and
the pen I want to look at here is the Leaky Pen.
| | 00:43 | Let's just take a look at what it does.
| | 00:45 | When you draw with it, it creates a set of
dots that are supposed to simulate a Leaky Pen.
| | 00:51 | But it fails in a couple of ways.
| | 00:53 | The primary one to me is the fact
that every drop is exactly the same.
| | 00:57 | I don't know about you, but I
don't know of a Pen that does that.
| | 01:01 | They are random and they are different sizes.
| | 01:04 | So, we're going to go through the
exercise of taking this pen and making some
| | 01:09 | adjustments to it to make it a
little bit more realistic than its current
| | 01:13 | implementation and I'm going to
Command or Ctrl+A and then hit Delete or
| | 01:18 | Backspace, and the first thing we're
going to do is look at the General palette.
| | 01:22 | Let's just see what we're dealing with here.
| | 01:25 | So we're dealing with a circular dab.
That's something we've taken into account before.
| | 01:30 | Let's also open up the Size palette and
we'll see that supposedly this brush is
| | 01:35 | supposed to change size
based on velocity, but let's see.
| | 01:39 | I guess if I really draw fast I can
make that happen, but it still has this
| | 01:44 | issue of all of the drops being the same.
| | 01:47 | Let's see if we can still use velocity,
but in a more intelligent manner and
| | 01:51 | also adjust the size of this
brush so that it's not the same.
| | 01:54 | So the first thing we're going to do is
go into the Expression palette for size
| | 01:59 | and let's change this to
Random and let's now take a look.
| | 02:02 | Now to my eye that's much more like a
real brush just from the fact that it's
| | 02:08 | changing the size as it drips.
| | 02:10 | That's how real dripping media tends to work.
| | 02:13 | So we've corrected that.
| | 02:16 | The next thing we're going to take a
look at is in the Spacing palette and what
| | 02:21 | you see here is something
called Continuous Time Deposition.
| | 02:25 | It's a really fancy term.
| | 02:27 | All it means is that when this is
enabled, the brush is going to continually
| | 02:32 | deposit paint or its dab on the surface.
| | 02:35 | So, if I just click and hold this,
eventually you can't even see it happening anymore
| | 02:40 | but this brush is now continuously dripping.
| | 02:44 | So when it's held in one spot,
it's going to fill up with more and as I move
| | 02:48 | around I get less, but we
can improve on that as well.
| | 02:53 | Remember how we looked at velocity.
| | 02:55 | Why not use velocity to
control the randomness in this brush?
| | 03:00 | So that when it's sitting still one
event is happening but when it's moving
| | 03:05 | another behavior is happening.
| | 03:07 | So, I'm going to now close this up and
go to the Random palette and there's a
| | 03:13 | couple of things we can do here.
| | 03:14 | One is I can widen the offset of
these dabs from the actual stroke by
| | 03:19 | increasing Jitter all the way.
| | 03:21 | So this will just make it a little bit
wider of field from it's actual stroke
| | 03:26 | that we're drawing with.
| | 03:28 | Now let's change this to velocity and
I'm going to Command+A or Control+A,
| | 03:34 | Backspace or Delete and
now let's see what we get.
| | 03:37 | So now, we've got a brush that drips
continuously, so the more I hold it in one spot,
| | 03:42 | the more it's going to
obliterate what's underneath of it.
| | 03:46 | But as I draw faster, you can see how
less randomness happens and all of the
| | 03:52 | dots tend to stay right along that
stroke or much more closer than it does when
| | 03:58 | slow motion is happening and if you
think of a dripping medium when you move
| | 04:03 | quickly, it doesn't have much
time to do a lot of wandering.
| | 04:07 | So the fact that it stays closer to
the center point of the stroke gives it a
| | 04:12 | little bit more dynamic
quality than we had before.
| | 04:15 | So, now we've got a brush that actually
to my eye is a much better candidate for
| | 04:20 | a dripping brush than the actual
Leaky Pen that they showed before.
| | 04:25 | So if you like this, you can either
name it under a different name and save it
| | 04:29 | or in my case, I'm just going to go
ahead in here and just say set this as my
| | 04:33 | default variant, because I really
wouldn't have used the earlier variant in
| | 04:37 | it's original state.
| | 04:38 | This is much better and now I can get
in and even play with different colors,
| | 04:43 | if I want to, but this is a much more
natural looking, more complex mark that's
| | 04:48 | ultimately being made by all of the
randomness in the deposition as well as the velocity.
| | 04:54 | So, what we've done in here is gone in
and improved on an already existing pen.
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| Drawing with calligraphy pens| 00:00 | Calligraphy is often
referred to as the art of writing.
| | 00:04 | Calligraphic pen nibs offer a unique
form of expression that combines flowing
| | 00:09 | artistic lines with words.
| | 00:10 | The combination can be a truly
powerful message or sentiment.
| | 00:14 | In this video, we'll take a look at how
to control the appearance of a pen from
| | 00:18 | the Calligraphy category and maybe
even do something not possible with its
| | 00:22 | traditional counterpart.
| | 00:23 | So I'm going to go to the Calligraphy
category and I'm just going to show you a
| | 00:28 | couple of examples of what are in here.
| | 00:30 | For examples, just
Calligraphy, what would you get there?
| | 00:33 | Okay, it's a nice pen and you'll see as
we work that all of these pens work with
| | 00:38 | a set angle so that you've always
got a thin and a wide dimension.
| | 00:43 | Well, you can see how this one has
kind of got a gritty edge to it and I can
| | 00:46 | see that might be something I'd want
to use some time, but let's try something
| | 00:51 | like Smooth Edge 15.
| | 00:54 | Okay, well even it still seems to have
somewhat of an irregular edge on it and
| | 00:59 | what I want in this case is a very nice
flowing smooth edge without any trace of
| | 01:06 | integration of paper grain
or anything going on with it.
| | 01:09 | So let's see how we can remove that
from it and then I'll show you another
| | 01:12 | interesting little trick we can do.
| | 01:13 | So I'm going to do Command+A or Ctrl+A
and Backspace or Delete and to figure out
| | 01:18 | what's going on here,
let's first record a stroke.
| | 01:21 | So I'm just going to record a sample stroke.
| | 01:24 | That way I can now play this back and
we'll delete everything and just put our
| | 01:29 | sample stroke up there.
| | 01:30 | I'm going to go to the General palette
and what's happening here is this is a
| | 01:34 | cover method but there's that word Grainy.
| | 01:36 | This is using the Grainy Hard Cover method.
| | 01:40 | That's why some sense of grain
is being imparted into the stroke.
| | 01:45 | So because we have that grainy factor,
that's why we keep getting this edge with
| | 01:50 | a bit of irregularity to it.
| | 01:52 | I'm going to go in and change to
Soft Cover and let's give it a try.
| | 01:57 | Okay, now it is softer but it's
actually too soft, so what can I do about that?
| | 02:02 | Well, let's go to the Size
palette and here's what's happening.
| | 02:06 | The profile it's using is very dense in
the middle but it rounds off so that it
| | 02:11 | gets less dense and that's
what's happening at these outer edges.
| | 02:14 | It's just rolling off, so
that there is a nice crisp edge.
| | 02:19 | We can get that with this profile.
| | 02:21 | So let's try that and now
I'm closer to what I want.
| | 02:25 | It's not perfect but it's a better edge.
| | 02:28 | I'm going to now delete everything
here and start to play around with another
| | 02:33 | factor and what that is, is introducing
some color into these strokes and what I
| | 02:39 | want to do in this case is change color
based on orientation and the other thing
| | 02:46 | I can do is I can actually in the
Angle palette, change the angle of my pen.
| | 02:52 | So let me just do like a
different angle and let's do a sample.
| | 02:56 | You can see where the thick-and-thin ratio
is happening is different as I change this.
| | 03:02 | So each time I adjust this to a new
angle, I'm going to get a different kind of
| | 03:07 | splaying of the thick-and-thin areas of
this pen stroke, based on how that angle is set.
| | 03:14 | Because the angle is ever changing
throughout the drawing of whatever
| | 03:17 | strokes it's making.
| | 03:19 | Each time it's set, we're going to get
a slightly different set of angles based
| | 03:23 | on where we've set this.
| | 03:25 | So we have control over this angle.
| | 03:27 | The other thing I want to do is to
introduce color into the stroke as it's being drawn.
| | 03:33 | Now how do we do that?
| | 03:34 | Well, if we go to the Color Expression
palette-- this is one that doesn't get used a lot.
| | 03:39 | We're going to take this controller
and instead of saying None, which almost
| | 03:44 | literally all of Painter's brushes
use, we're going to set this so that
| | 03:48 | direction dictates the color.
And what color is it using?
| | 03:52 | It's actually going to use a
combination of the foreground and
| | 03:56 | background elements here.
| | 03:57 | If I now go in and change this, so that
my foreground color is, say, a shade of
| | 04:02 | red and my background color is a shade
of green, I now have the ability to have
| | 04:10 | those colors based on what direction
the pen happens to be at any given time
| | 04:15 | change to that color.
| | 04:17 | Because we get a continuously changing
direction as this pen is being drawn,
| | 04:22 | the colors are going to transition
back and forth between the two ends of the
| | 04:27 | direction and that's why it's
oscillating between this pair of colors, because
| | 04:32 | direction is dictating when to use
which of these two colors and we end up with
| | 04:36 | an interesting ribbon effect in
this pen stroke as it's drawn.
| | 04:41 | Let's turn off Playback Stroke now and
I'll just draw a few strokes with it.
| | 04:46 | But you can see how you can get a very
interesting look based on the fact that the
| | 04:51 | ink in this case is actually changing
color based on the direction I'm going.
| | 04:56 | Do a little bit of my signature and
just little embellishments but you can see
| | 05:00 | that you can get a very interesting look here.
| | 05:02 | You can further use this direction slider
to kind of bias where that's going to happen.
| | 05:07 | So in this case I'll draw like this.
You can see the green's at the top,
| | 05:12 | the red's on the sides, but if I move this
to a different angle, now it's biased to
| | 05:17 | a different location.
| | 05:18 | So now the red is basically happening
on the top and the green on the sides.
| | 05:22 | So after you've set all this up, you can
use the Direction slider itself to kind
| | 05:26 | of play around with where within your
strokes the red and green are occurring.
| | 05:31 | So what we've done is taken the Smooth
Edge 15 calligraphy pen, adjusted its
| | 05:38 | stroke edge to be a little bit smoother
and then we've also taken away just the
| | 05:43 | basic single color drawing that ink
normally does and invested this with a
| | 05:47 | unique look of the ability to change
colors within the stroke and that's
| | 05:52 | something you can't even do
easily within a traditional pen.
| | 05:56 | As I mentioned at the outset,
calligraphy is generally a very expressive form of
| | 06:01 | writing and combining that with color,
you can even take your calligraphy to
| | 06:05 | another degree of expression that
you can't do in the normal sense of the
| | 06:10 | traditional tool itself.
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| Using felt pens and markers| 00:00 | Markers, as a medium, are great for
spontaneous loose sketches and comps.
| | 00:05 | They see a lot of use in design environments.
| | 00:08 | Many design markers come in a
wide spectrum of color to enable
| | 00:11 | broad visualization uses.
| | 00:14 | Painter's Marker category does an
impressive job of emulating the look and feel
| | 00:18 | of traditional markers.
| | 00:20 | Let's take a look at how to fine-tune them.
| | 00:22 | I'm going to start off by showing you the
Felt Marker from Painter's Felt Pens category.
| | 00:29 | This was the original marker in Painter
for several generations of the product
| | 00:33 | and I'll just do a little bit of
drawing here and you'll see like real markers,
| | 00:37 | it does tend to move towards black but
a lot of people over the years kind of
| | 00:41 | complained that it changed colors too
quickly and even in real markers that's
| | 00:48 | sometimes not a desirable attribute.
| | 00:51 | If I want to fill this in, you can see
it's very hard to get a consistent, solid,
| | 00:55 | same color within the area
that I've filled with the marker.
| | 01:01 | So what the engineers at Corel did
is they came up with a new method.
| | 01:05 | You can see this old method uses
just the simple circular dab type and a
| | 01:10 | Buildup style method but if we go to
the new Markers category, you'll see that
| | 01:16 | there actually is a new method called
Marker and this is a dramatic improvement
| | 01:21 | over what we had here.
| | 01:22 | Now I'll use the same color and
show you what the difference is.
| | 01:25 | When I go in here and start to do
in area, you can see what happens.
| | 01:30 | When I go back over it, it
doesn't change color at all.
| | 01:33 | As soon as I lift up and start drawing
again, it will darken that area but this
| | 01:38 | is actually the idealization of
what many artists want a marker to do.
| | 01:44 | They wanted to stay in a very solid
color and build up density by applying
| | 01:50 | color multiple times.
| | 01:51 | This new Marker category almost
works similar to the way that some of the
| | 01:55 | Photoshop brushes work, where once
you've touched an area it doesn't change color
| | 02:00 | and that's exactly what's happening here.
| | 02:02 | But as soon as I generate a new stroke,
well now it's starting afresh and adding
| | 02:07 | a second layer of density to that.
| | 02:09 | But the result of this is that it
actually is closer to getting the look of
| | 02:14 | markers than previously were
possible with Painter's old Felt Pens model.
| | 02:19 | So if I'm going to do just a simple
idea of a maybe a box or something just
| | 02:23 | like you do in real comps. And I'm
going to do this very loose because this is
| | 02:28 | often the kind of look that initial
just rough drawing off the top of an artist's head
| | 02:33 | will end up as.
| | 02:35 | It's not a final fine art making tool.
| | 02:38 | It's much more used to just visualize
for someone what is it you're trying to
| | 02:43 | get across in terms of packaging or
how things are going to be laid out.
| | 02:48 | As such it enables a very just
spontaneous approach to drawing very simple kinds
| | 02:53 | of ideas without investing a whole
lot of time or technique into it.
| | 02:57 | And the one thing that this does
rely on is the Hard Media category.
| | 03:02 | So this is another brush that when I
am drawing straight up and down with my pen,
| | 03:07 | I get kind of the chiseled end tip
of the marker but then as I bear sideways
| | 03:14 | with my pen, now I get a much wider mark.
| | 03:17 | So this ability to actually go in and
change shape just like a real marker is
| | 03:23 | another reason why this is such a good
tool for this kind of quick spontaneous
| | 03:28 | style work, and I by no means am an
expert of the use of this particular medium
| | 03:33 | but I think you can see how just even
noodling around with it, I'm getting a
| | 03:37 | very good quick look that has that spontaneity
that many people associate with marker work.
| | 03:44 | So markers in Painter have been improved
and have a much better fidelity when it
| | 03:50 | comes to emulating the look of
traditional markers and the other really nice
| | 03:54 | thing is the way that one applied
stroke will not overwrite itself until you
| | 04:00 | start a new stroke and that's when
you'll start to build up your density.
| | 04:04 | So markers are great for doing design
and drawing work in a very casual fashion.
| | 04:09 | Their look promotes spontaneity.
| | 04:11 | I actually know of a storyboard
artist that has for years done traditional
| | 04:16 | marker work for his clients.
| | 04:18 | Now, he's moved on to digital but
the clients' still want the marker look.
| | 04:22 | He's transitioned, he is using Painter
for this work and his clients don't even
| | 04:26 | know that he's no longer
using the traditional medium.
| | 04:30 | So these markers really enjoy the
benefits of working digitally and satisfy
| | 04:34 | the clients' desire for a traditional marker look.
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| Exploring surface tension with liquid ink| 00:00 | An interesting property
of ink is surface tension.
| | 00:04 | This quality relates to the manner in
which the surface portion of one liquid is
| | 00:09 | attracted to another similar liquid.
| | 00:12 | For example, when two water drops on
the surface of a car's hood come within a
| | 00:16 | close enough distance of one another, the two
drops will touch and merge into a single drop.
| | 00:21 | Likewise, ink is repelled by waxy surfaces
and will bead up, resisting that waxy surface.
| | 00:28 | This attraction and repulsive behavior is part
of why marks made by ink have the look they do.
| | 00:35 | The Liquid Ink category and by
extension the Liquid Ink layer are modeled to
| | 00:40 | behave in the same manner.
| | 00:42 | This result is a type of brush that
offers some very interesting graphic results.
| | 00:47 | I'm going to go up to the Brush Selector
Bar and select the Liquid Ink category.
| | 00:52 | Let's take a look at Drops of Ink 4 and
we'll just do some black ink for now and
| | 00:58 | I'm just going to draw with this and
you'll see what's happening here is you get
| | 01:03 | a very interesting behavior.
| | 01:05 | When I get close to one of these edges,
they tend to start to simplify together.
| | 01:11 | This behavior is very much about the
surface tension and how it interacts with
| | 01:18 | like fluids that it's near.
| | 01:20 | So we get this very interesting kind
of ink quality within the Liquid Ink.
| | 01:25 | I want you to notice too that when you
create anything with a Liquid Ink brush,
| | 01:30 | it automatically creates a Liquid Ink layer.
| | 01:34 | The reason for this is that this
is more than a dab or a stroke type.
| | 01:40 | This is actually a whole medium and
this was one of the first introductions to
| | 01:45 | Painter of what I like to
refer to as a media layer.
| | 01:49 | This layer actually encapsulates
within it all of these physical
| | 01:54 | properties about ink.
| | 01:56 | You can still apply brushes to it but
all of this inking and repulsion and
| | 02:02 | surface tension is going on because of
the knowledge of the Liquid Ink layer
| | 02:07 | about this physical medium.
| | 02:10 | Now I'm going to show you another thing
here and we're going to go into Liquid
| | 02:14 | Ink once again and I'm
going to select the Eraser.
| | 02:17 | Now I'm going to erase in here and
unlike a normal eraser, watch what happens.
| | 02:21 | You can see how there is some resistance.
| | 02:23 | In fact, the more ink is applied in an
area, there'll be some resistance and
| | 02:27 | it'll take a little longer to actually
erase an area but you can already kind of
| | 02:32 | get a sense of how there is this
movement towards simplification.
| | 02:36 | All of the strokes and things that
happened in Liquid Ink, it always tends to
| | 02:40 | want to find the simplest
shape to reduce itself to.
| | 02:44 | And once again that's kind of what
you're seeing in here when I go through and
| | 02:48 | you see this interesting
kind of reaction to the Eraser.
| | 02:52 | Now I'm going to go to another
brush here that shows a little bit of a
| | 02:55 | different behavior.
| | 02:57 | We're going to go down to Soften Edges
and this actually has the ability to once
| | 03:03 | again kind of simplify things.
| | 03:05 | You can see it just actually wants to
find nearby elements and it'll actually
| | 03:09 | coalesce them into a single drop.
| | 03:12 | So you get this very interesting
behavior with the way that these existing marks
| | 03:18 | are being simplified by the Soften Edges brush.
| | 03:23 | Now I'm going to go and select
another brush here and this gets into this
| | 03:28 | resisting factor, the fact that a waxy
material and an oily material don't interact.
| | 03:35 | So let's go down and get
the Sparse Bristle Resist.
| | 03:39 | Now you're not going to
see anything happened here.
| | 03:42 | I'm going to go ahead and use Command+A or
Ctrl+A, and select Backspace to show this off.
| | 03:47 | I'm going to draw here and you're not
going to see anything happen but it's as
| | 03:51 | if I'm taking a wax and
applying it to this surface.
| | 03:56 | So we've now applied some wax.
| | 03:59 | I'm now going to go in, get another brush, and
let's take something like the Graphic Camel.
| | 04:06 | Now remember, there has
been something applied to here.
| | 04:09 | So when I draw through here, you'll
see what happens is it's resisting.
| | 04:14 | Eventually, the ink will overcome what
I've done there but that resistive factor
| | 04:21 | allows you to build up some very
interesting textures and surfaces that there is
| | 04:26 | no other way you could do this.
| | 04:28 | If you look over here, this is how
this brush normally looks, but it's acting
| | 04:32 | very different over here because it's
got that resistive media applied to it.
| | 04:39 | So the combination of being able to
work with this graphic inky quality and be
| | 04:44 | able to add and remove from it are all
the things that are possible within ink.
| | 04:50 | It also works within color as well.
| | 04:54 | In fact, there is another thing we
can do here that is even a bit more
| | 04:57 | exciting in some cases.
| | 04:59 | I'm going to go back to my Layers palette
and double-click on the Liquid Ink layer.
| | 05:04 | This brings up the Liquid Ink Layer
Attributes dialog and you'll see that
| | 05:09 | there're a couple of sliders here.
| | 05:11 | I'm going to turn Amount up and let's
shut this off and you'll see what happens
| | 05:16 | here is it starts to add a three-
dimensional apparent height to the Liquid Ink
| | 05:23 | drawing that we've done.
| | 05:25 | One of the things that is a bit daunting
about this is unfortunately as you make
| | 05:31 | these adjustments, we can't
see what's happening here.
| | 05:34 | So it is a little bit of hunt-and-
peck and try different settings and going
| | 05:39 | back and forth to see exactly what a
good setting is but you can see here, as I
| | 05:44 | keep turning this down, I'm going to
take it down to less and less and a little
| | 05:48 | bit more refined look.
| | 05:50 | So just like we looked at Impasto, it's very
similar here in that less is probably more.
| | 05:57 | You can see now I've got a nice feeling.
| | 05:59 | Once again, I'm just going to delete
everything and just draw a little bit more now.
| | 06:04 | But you're once again seeing this
very interesting kind of graphic quality
| | 06:09 | that's going on here and like Impasto,
you can go into the Canvas layer and use
| | 06:14 | the Surface Lighting to adjust
where the light is coming from.
| | 06:18 | I accidentally created a second light there.
| | 06:22 | Let's move this and once again, you're
not going to see anything happen in real
| | 06:26 | time but as soon as I shut this
down, the lighting is applied to it.
| | 06:30 | So if you're willing to have to do a
little bit of this hunting and pecking to
| | 06:35 | make your adjustments and not get a real-
time update as you adjust them, you can
| | 06:40 | get some very interesting effects here.
| | 06:42 | The last thing I'll mention is
that none of these Appearance of Depth
| | 06:46 | sliders are functional.
| | 06:47 | These are related to Impasto and while
they look enabled in this dialog,
| | 06:52 | they actually make no difference.
| | 06:53 | The only controls that really germane
to Liquid Ink are the Light Controls.
| | 06:59 | So if I for example reduce the
concentration of my light, I'll get a different
| | 07:04 | look to the way that these are
appearing on this particular layer.
| | 07:09 | So Liquid Ink has a lot of different
factors that let you play around with it
| | 07:15 | and in fact, there are so many
adjustments you can make with this that I've
| | 07:19 | actually written a visual guide to
Liquid Ink that goes into much more detail
| | 07:25 | than I can expend here and you can find
that in the Exercise folder for the Ink Media.
| | 07:32 | I advise you to take a look at that and
you'll get a much more in-depth detail
| | 07:37 | of how Liquid Ink works.
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|
|
7. Watercolor MediaWatercolor in action| 00:00 | In this chapter, we're going to
take a look at watercolor media.
| | 00:04 | Watercolor is very interesting.
| | 00:06 | I tend to think of it as
the medium of happy accidents.
| | 00:09 | Of all the 2D mediums, watercolor is
probably the most difficult to control.
| | 00:14 | If we examine it a little bit, we'll
see that there are a lot of physics going
| | 00:18 | on when watercolor is applied to paper.
| | 00:21 | Watercolor is a pigmented
colorant suspended in a liquid medium.
| | 00:25 | We'll begin by applying some
clean water to our watercolor paper.
| | 00:40 | It is this wetted surface that
provides the medium of watercolor with one of
| | 00:44 | its signature looks.
| | 00:46 | I'll take a bit of color and
apply it to the dampened paper.
| | 00:56 | Notice how the applied stroke
diffuses when it interacts with the surface.
| | 01:00 | This diffusion is controlled by
the degree of wetness of the paper.
| | 01:04 | Painter's watercolor tools
mimic this quality as well.
| | 01:08 | Another key look of watercolor is the
influence of gravity on the wet surface
| | 01:13 | and applied pigment.
| | 01:15 | I'll apply a bit more color to the paper.
| | 01:28 | And now we'll tilt this pad downward.
| | 01:32 | The pigment begins to migrate it downward.
| | 01:34 | This unique facet of watercolor
allows the artist to create subtle blends
| | 01:38 | and washes of color.
| | 01:40 | Another key quality of watercolor is
translucency. Because the carrying medium is clear,
| | 01:45 | there is only so much
coverage that watercolor can provide.
| | 01:49 | To accentuate watercolors' rich color
translucence, the artist will work wet
| | 01:54 | over dry to build up layers of color.
| | 02:01 | I'll take a bit of orange and yellow and apply it.
| | 02:07 | Painter can dry its watercolors to
duplicate this visual appearance as well.
| | 02:12 | One other well-known look of watercolor is
a combination of absorption and diffusion.
| | 02:17 | This is the way in which pigment tends
to migrate to the area of most wetness as
| | 02:21 | the water is slowly absorbed by the paper.
| | 02:24 | The result is that signature darkened look
along areas of color often seen in watercolors.
| | 02:29 | You can see a good example
of it right in this area here.
| | 02:34 | What happens is that the pigment
continuously moves away from the driest areas
| | 02:39 | of laid down watercolor and is
eventually deposited at the outer edge, producing
| | 02:44 | that signature darkened edge.
| | 02:45 | Painter is capable of duplicating this
behavior as part of its watercolor bag of tricks.
| | 02:51 | As you can see, there are a number of
influencing factors that dictate the
| | 02:55 | behavior of watercolor.
| | 02:56 | All of these factors conspire to
make watercolor a challenging medium.
| | 03:01 | The reward of this physical
complexity is a wide range of unique
| | 03:04 | visual appearances.
| | 03:06 | An artist controls
watercolor only up to a point.
| | 03:09 | After that, watercolor
tends to do what it wants to do.
| | 03:11 | An experienced watercolorist knows
how to work within this situation and a
| | 03:16 | successful watercolor is one
that balances control with randomness.
| | 03:21 | Let's take a look at Painter's watercolors.
| | Collapse this transcript |
| Painting with digital watercolor brushes| 00:00 | Digital Watercolor is
Painter's original watercolor media.
| | 00:04 | Its simple approach to emulating some
of watercolors primary visual features
| | 00:09 | makes Digital Watercolor an excellent
tool for putting together a predictable
| | 00:13 | watercolor looks without tearing your hair out.
| | 00:16 | Let's go ahead and take a
look at Digital Watercolor.
| | 00:19 | So we are going to go up
to the Brush Selector Bar.
| | 00:22 | Here is Digital Watercolor, but I want
to point out that there is also the other
| | 00:27 | category Watercolor.
| | 00:28 | We are going to look at Watercolor in
the next video, but I just wanted to point
| | 00:33 | out that both of these are in here
and sometimes this confuses people.
| | 00:37 | Digital Watercolor is the
simple version of Watercolor.
| | 00:41 | So be sure you to select Digital Watercolor.
| | 00:44 | I am going to show you a couple of the
features that make this a very simple to
| | 00:48 | use yet correct to the look of
watercolor media to work with.
| | 00:53 | And I am just going to draw a little
bit here, and what I want you to notice
| | 00:57 | is a couple of things.
| | 00:59 | One is you'll see along the outer edge
of this is a little darkened edge and
| | 01:04 | that's one of the hallmarks
of traditional watercolor.
| | 01:07 | What happens is the water media is
evaporating and absorbing into the paper.
| | 01:13 | There's a migration of pigment towards
wherever the most water is and just the
| | 01:17 | way watercolor dries on the surface.
| | 01:20 | Pigment will typically migrate out
towards the edges and create this little
| | 01:23 | signature darkened edge.
| | 01:26 | And so what you've got
here is a simulation of that.
| | 01:30 | You can control that with the Wet Fringe
slider and I can actually make it more
| | 01:36 | enhanced or I can remove it all the way.
| | 01:38 | And as long as you're in Digital
Watercolor and you save this images as a RIF file,
| | 01:44 | these live properties that I am
going to show you will be maintained.
| | 01:49 | So the ability to adjust the Wet Fringe
on-the-fly as you're working to either
| | 01:54 | emphasize it or reduce is
something that you can do.
| | 01:58 | So this is one of the aspects of
Digital Watercolor that's nice and something
| | 02:03 | that you can quickly take advantage of
to adjust the look of your watercolor.
| | 02:08 | The other thing I want to show you is--
let's go to a different brush here.
| | 02:12 | I will use Diffuse Water in this case
and let's take a different color.
| | 02:16 | I am going to draw with this and
you'll see what happens is that it diffuses.
| | 02:22 | Now in Painter, this is called post
diffusion because you can see what's
| | 02:26 | happening as I draw.
| | 02:27 | Nothing happens until I lift up,
and then diffusion happens.
| | 02:31 | This diffusion is controlled here.
| | 02:34 | Once it's been applied, unlike
the Wet Fringe, I can't eliminate.
| | 02:38 | It is part of the image now, but
I can control how aggressive it is.
| | 02:43 | So if I turn this down, you'll see I get
very little migration of the pigment.
| | 02:49 | What this is doing is it is utilizing
the current paper grain, and as we've
| | 02:54 | talked about before, there is a height
field associated with all of the papers,
| | 02:58 | so you've got peaks and valleys.
| | 03:00 | What this is attempting to do is using
the valleys of the current paper grain to
| | 03:05 | diffuse the pigment along those valleys.
| | 03:08 | The more aggressive this gets,
the greater the diffusion.
| | 03:12 | So see now there's a much
more aggressive diffusion.
| | 03:16 | But depending on what the current paper
grain is, you'll get a different look,
| | 03:20 | because it's going to use those valleys
in that paper grain to determine where
| | 03:25 | to leak the media out to as it diffuses.
| | 03:29 | You can also, after you've already done an
image, take advantage in the Layers palette.
| | 03:36 | You can go down and say Diffuse
Digital Watercolor and whatever the setting
| | 03:41 | currently is, is the degree of
diffusion it will apply to it.
| | 03:46 | So I am going to leave it really strong,
and if we go down here and say Diffuse
| | 03:51 | Digital Watercolor, it has to think for
a minute, but then it uses the current
| | 03:55 | paper grain and diffuses
everything that it finds here.
| | 03:59 | So in a way, this is almost like
spraying some water on your watercolor to get
| | 04:04 | some more diffusion to happen.
| | 04:06 | So Diffusion and Wet Fringe are two
of the key elements of watercolor.
| | 04:12 | The last thing I want to show you is if
you create a new layer and draw on it,
| | 04:19 | what happens is it immediately assigns
the Gel layer to it, and this shows up in
| | 04:24 | the little icon here.
| | 04:25 | Rather than a default layer, which is
gray and white, a Gel layer has red on it.
| | 04:31 | This is to let you know in the layer
stack that you are using a layer type that
| | 04:38 | respects the build up method of watercolor.
| | 04:42 | The other thing that I want to mention
here is even though there is no apparent
| | 04:47 | layer on the canvas, there really
is a layer of sorts that's going on
| | 04:51 | underneath the hood.
| | 04:52 | It is not visible within the layer
stack itself, but the indication of the Gel
| | 04:57 | layer is what's telling us that this
is associated with the watercolor to
| | 05:02 | preserve its look, because if it
isn't you see you get a very unusual
| | 05:07 | unpredictable kind of
look and you don't want that.
| | 05:09 | So Digital Watercolor is simple
but it is also very predictable.
| | 05:13 | Now in the next video, we are going
to look at the Watercolor layer and its
| | 05:17 | brushes, and you'll see that while it's
much more realistic, it's also much more
| | 05:21 | unpredictable like the actual medium.
| | Collapse this transcript |
| Painting with the traditional watercolor brushes| 00:00 | Where the Digital Watercolor category
that we just looked at is very simple and
| | 00:04 | predictable, the Watercolor category and
its attendant Watercolor layer are full
| | 00:10 | of happy accidents just waiting to happen.
| | 00:13 | This category so successfully
emulates its traditional counterpart that it
| | 00:17 | can be just as frustrating to
control, but then that's a nature of real
| | 00:21 | watercolor as well.
| | 00:22 | Let's go ahead and take a look
at Painter's advanced watercolors.
| | 00:26 | So one of the first things I want to be
sure to reiterate here is that there are
| | 00:30 | two categories in here.
| | 00:31 | There is Digital Watercolor, which is
the simpler version that we looked at a
| | 00:35 | bit ago, and then there's Watercolor.
| | 00:38 | Watercolor is the more
sophisticated modeling of watercolor in Painter.
| | 00:43 | Let's open up the Watercolor category and
I'll just select a color here to work with.
| | 00:49 | I am going to create a stroke
here so you can see how this works.
| | 00:53 | The first thing to notice is
that a Watercolor layer was created.
| | 00:58 | Now we talked about Liquid Ink in the
ink media chapter, and like Liquid Ink,
| | 01:04 | Watercolor actually is a media layer.
| | 01:07 | And by that I mean all of the physical
modeling that is involved with the look
| | 01:12 | of watercolor is in this layer.
| | 01:15 | So the smarts about how the
watercolor behaves is part of the layer.
| | 01:20 | The brushes themselves you still
control through the Brush palette in the
| | 01:24 | normal way in terms of the dabs and
spacing and all of that, but the behavior of
| | 01:30 | watercolor is embodied in the layer itself.
| | 01:35 | One thing you may notice,
there's a little droplet here.
| | 01:38 | It's similar to what we do in
Liquid Ink when I do a drop.
| | 01:42 | While it's drawing, that little
icon is acting like it's dripping.
| | 01:46 | So that lets you know that it's
processing to create the watercolor look.
| | 01:50 | Now I am going to go over to the Brush
Controls palette and even though this is
| | 01:54 | actually associated with the layer,
which you'll find here in the Water palette
| | 01:59 | are all that controls that are
associated with the Watercolor layer.
| | 02:04 | This is one of the mediums that's
really good to use the record and playback
| | 02:10 | method to take a look at how these strokes work.
| | 02:12 | So I am going in and record a simple stroke.
| | 02:15 | We're going to use the Bleach Runny
variant here, because it has several
| | 02:19 | characteristics that are turned
on in this particular variant.
| | 02:22 | Let's just do a sample stroke.
| | 02:26 | So we've recorded that and the first I
want to talk about is you'll see right
| | 02:29 | here there is a little clipping
going on at the bottom of the stroke.
| | 02:34 | That just happens in the
way that the screen updates.
| | 02:37 | That information is actually there, but
what you'll find happening when you draw
| | 02:41 | strokes, you'll continue to get those
anywhere below the stroke that you painted
| | 02:47 | but above you'll get the full stroke.
| | 02:49 | Now it's just a phantom clipping.
| | 02:52 | If I just hold down the spacebar and
move the screen at all it updates and
| | 02:57 | those clips are gone.
| | 02:59 | So don't be distraught if you see an
imperfect or a not completely rendered stroke.
| | 03:05 | It's just a part of the screen updating
and by simply as I have mentioned,
| | 03:11 | hold the spacebar and move the screen at all,
and that forces the entire screen to
| | 03:15 | redraw and it will
eliminate those little artifacts.
| | 03:19 | So I am going to go ahead and clear
the screen, and let's turn on playback.
| | 03:24 | Now I am going to change the paper here,
because I noticed it was a little aggressive.
| | 03:31 | I don't want the paper to be
too visually in the way here.
| | 03:34 | So I am using the basic paper at this point.
| | 03:37 | Let's playback stroke, and the other
thing that might help us is if I zoom up a
| | 03:42 | level here to see a little
more closely what's going on.
| | 03:45 | Now you can see this stroke has a lot
of different attributes happening,
| | 03:50 | I'll draw another one here.
| | 03:52 | One of the things about Watercolor
is it actually occurs in real time.
| | 03:57 | If I turned down the Dry Rate, for
example, this is actually going to take
| | 04:02 | longer to dry and we'll see a
bit more of what's going on.
| | 04:06 | Just to keep this from being
problematic, I am going to do a stroke way down
| | 04:10 | here at the bottom and that will let
us look up here without seeing that
| | 04:14 | clipping all the time.
| | 04:15 | Okay so let's go ahead and do this and
you'll see what's happening is there is a
| | 04:20 | dripping or a motion
towards the bottom of the screen.
| | 04:24 | This is controlled by the lower part of
the Water palette and that is the Wind Force.
| | 04:30 | If I turn this down I am going to get less
Wind Force so it's not going to tend to go as far.
| | 04:36 | It's a little hard to see the
difference here, because in some cases it's
| | 04:40 | sensitive quite a bit to
where it is on the scale.
| | 04:43 | There you can see that with very little
Wind Force not much is happening, and if
| | 04:48 | we turn Wind Force off altogether,
it's as if the board that you have your
| | 04:52 | watercolor paper attached to, like
traditional watercolor many artists will
| | 04:56 | actually tilt it for the effect of
gravity, but when its flat you're going to
| | 05:01 | get diffusion equally in all directions
and that's what's happening here now.
| | 05:05 | I am not going to go through all
of these because there are so many
| | 05:09 | interactions possible.
| | 05:12 | We could spend hours just talking about this.
| | 05:14 | My goal here is just to show you some
of the basic controls, but I do have a
| | 05:19 | visual guide to watercolors that will
be in the exercise file that goes into
| | 05:24 | much more detail than I can allocate here.
| | 05:27 | So whatever I miss here, you should be
able to pick up in the written visual
| | 05:32 | guide to watercolor.
| | 05:33 | Now let's take this back to default,
and if you remember by going up to the
| | 05:37 | Brush Selector Bar and clicking on
the Reset tool or what I call the panic
| | 05:41 | button that gets us back to the default.
| | 05:44 | We will try another stroke here.
| | 05:47 | Another feature of this is the way
that diffusion occurs, how much there is.
| | 05:53 | Right now it's diffusing quite a
bit. You can see it up to 100%.
| | 05:57 | If I turn this down to a very low
amount, there's literally no visual
| | 06:02 | diffusion occurring.
| | 06:04 | As you turn this up, you're going to see
a bit more diffusion and the higher you
| | 06:09 | go with this value, the greater the diffusion.
| | 06:13 | You've also got a checkbox, Accurate
Diffusion, and if we once again go back to
| | 06:18 | the default and do the original stroke
, the difference here is when Accurate
| | 06:22 | Diffusion is turned off, you can see it
doesn't have as much integrity in terms
| | 06:29 | of doing all of the physical modeling.
| | 06:32 | This isn't nearly as useful as it used
to be, but when we originally came out
| | 06:37 | with this, machines were slow enough
that on slower machines you literally had
| | 06:41 | to enable a kind of draft mode in order to
have it at any performance level that was useful.
| | 06:49 | Nowadays machines are so fast that
you probably aren't even going to
| | 06:53 | take advantage of that.
| | 06:55 | I am also going to show you Delay Diffusion.
| | 06:59 | This is another feature that you can
enable or disable, and once again it
| | 07:03 | depends on the processor
that your machine is working on.
| | 07:06 | It used to be more important and
it's still on by default, but for many
| | 07:09 | machines, it's not even required anymore.
| | 07:12 | What it does is when I draw, notice
until I lift up no diffusion happens and
| | 07:18 | that means that all of the processing
that has to go on to make this happen is
| | 07:24 | delayed until you pick up the stroke.
| | 07:26 | But you can shut that off, and with
many machines now it's not a requirement.
| | 07:31 | And in fact it's a little more realistic
looking, because it's all happening as you stroke.
| | 07:38 | So depending on your machine, you may
or may not choose to turn this off but
| | 07:43 | it's just one way to increase your
performance if you're having a problem with
| | 07:48 | seeing a performance loss when it's
not turned on. If so, turn it on and that
| | 07:54 | your performance will be enhanced.
| | 07:57 | So there's a lot going on with the
Watercolor layer, and the category can be
| | 08:02 | somewhat difficult to control, but
that's because it does offer a complete
| | 08:06 | physical simulation of the real thing.
| | 08:09 | There's nothing stopping you from
working with both Digital Watercolor,
| | 08:13 | the simpler form, and Watercolor layers in a
single image to balance out truly happy
| | 08:18 | accidents that you can find in this
form of watercolor along with the more
| | 08:23 | controlled image that you'll
find in the Digital Watercolors.
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| Painting with the Tinting brush| 00:00 | The Tinting category is designed to
apply color to grayscale imagery, like a
| | 00:05 | black-and-white photograph.
| | 00:06 | These variants are used in tandem with
either a Gel or Colorize layer. By using
| | 00:11 | multiple layers and layer opacity, an
amazingly rich colorization can be applied
| | 00:16 | to an otherwise colorless image.
| | 00:18 | Let's go ahead and take a look at tinting.
| | 00:20 | So I'll go up to the Brush Selector
Bar and down at the bottom we'll find
| | 00:24 | the Tinting category.
| | 00:26 | And as I said at the outset,
this really has to happen on layers.
| | 00:30 | It's only through the layers that
you get the translucent, transparent
| | 00:34 | quality that is required.
| | 00:37 | And if you don't switch to one of the
preferred methods, this is what will happen.
| | 00:41 | You'll just get kind of an opaque
over color, and that's not what we want.
| | 00:46 | So let's try the two layer types here.
| | 00:48 | There is Gel, which in this case is
very dark, and there is no hard and fast
| | 00:53 | rule to this, but it always pays to
kind of look at both of them and see
| | 00:56 | which one works correctly, and in this case
Colorize is going to make quite a bit of difference.
| | 01:02 | And you may also need to adjust your
color, so that-- in some cases it's
| | 01:07 | not very intuitive.
| | 01:08 | You can see here a darker color
actually gets lighter just by the way that the
| | 01:12 | Colorize layer works, so what I'll
do sometimes is just kind of try a few
| | 01:17 | different strokes until I find the one
that really works, and that's working for me.
| | 01:21 | So I can Select All, Delete, and
then kind of go in here to apply it.
| | 01:27 | And what you'll find is where this works
very well for this combination of color
| | 01:33 | and tonality that it finds underneath of it.
| | 01:37 | Let's say if I want to do the lily
pads, I'll create a new layer and get a
| | 01:41 | green in the range that I'm
thinking I want to paint it in.
| | 01:45 | It just depends on what's happening.
| | 01:47 | Now first of all, we're still in the default
layer, so it's going to pay to try both of these.
| | 01:52 | Now, if we try Colorize, you
can see what's happening here.
| | 01:55 | It's just way too light.
| | 01:56 | But if I switch to Gel,
that's closer to what I want.
| | 02:00 | And if you want to get the sweet spot,
if this is too dark, you can play
| | 02:04 | around with the opacity to determine
how strong you want that color on there.
| | 02:09 | So you've also got opacity as a factor
to play with here, to start to adjust
| | 02:15 | what you want in terms of the colorization.
| | 02:18 | And another thing you're going to
probably want to do is, if you just use one
| | 02:22 | color in regions like the water or the
lily pads, it starts to look rather flat.
| | 02:29 | Because nature really is made up of many,
many much more complex color than just
| | 02:34 | a flat shade on here.
| | 02:35 | So I'll very often just take and
slightly offset either the color or the hue a
| | 02:41 | little bit and just start throwing some
variation into this, so that it doesn't
| | 02:46 | all come out looking like one flat color.
| | 02:49 | And tinting is somewhat of an art.
| | 02:52 | You're not just going to pick these
up and instantly turn a black-and-white
| | 02:55 | photograph into looking precisely like
a color photograph on the first time.
| | 03:00 | It takes time, if that's
exactly what you're after in a piece.
| | 03:04 | But by using multiple colors, you start
to get a little more natural feel within
| | 03:09 | an element that would naturally
have some variation of color going on.
| | 03:16 | The same goes for something like the water.
| | 03:18 | I would probably want to try
putting couple of extra colors there.
| | 03:22 | Now, once again, what I don't want to
do here is I'm painting on the wrong
| | 03:25 | layer, so I want to switch back.
| | 03:27 | And one of the things I do when I start
building up one of these is you want to
| | 03:31 | go in and start to name your layers,
and double-clicking on a layer will
| | 03:36 | bring up this Layer Attributes dialog.
| | 03:39 | So I'm just going to call this Water.
| | 03:42 | And if you go through each one of these
and do this, as you go and get more and
| | 03:48 | more layers, it's far more easy to
play around with the layers, knowing what
| | 03:53 | exactly each layer is assigned to.
| | 03:56 | Without it you'll very quickly find that
it's very confusing to keep track of things.
| | 04:00 | I want to go to the Water layer.
| | 04:03 | Once I go ahead and start to apply
some different color, I have tools like
| | 04:07 | a Blender, for example, that I can go in
here and start to blend these colors together.
| | 04:13 | And by doing that, once again, you'll get that
more kind of natural mixture of varying colors.
| | 04:20 | In some case it's the water,
in some case it's the sky here.
| | 04:23 | I'm not going to try to do a super-
duper job on this, but I just want to
| | 04:27 | do enough techniques so that you can see
exactly how these different tools interact.
| | 04:32 | Another option to the
Blender are the two Diffuser tools.
| | 04:35 | And they just apply a diffusion
that is hard to see unless I switch to
| | 04:41 | default temporarily.
| | 04:42 | You can see that it just softens the
edges up, and it is something that you can
| | 04:48 | use to blend colors with, almost in a
watercolor kind of style, but once we go
| | 04:53 | back to the correct layer type, it's much
more subtle, but it also acts as a way to blend.
| | 05:00 | So the whole idea of tinting is to
take advantage of the Colorize and Gel layers,
| | 05:05 | that is, the layers that enable the
colors on those layers to interact with
| | 05:11 | the grayscale imagery underneath of it.
| | 05:13 | And using one of the two types of
layers, Colorize or Gel, along with the
| | 05:19 | opacity of these layers, you can
get some pretty amazing results in
| | 05:23 | colorizing an image.
| | 05:26 | One of the great places this works is
in imagery that comes from the era of
| | 05:30 | black-and-white photography.
| | 05:31 | It was very popular back then to do
hand tinting, and this enables you to do
| | 05:36 | some of the very same techniques.
| | 05:38 | You probably won't be using the Tinting
category on a daily basis, but for the
| | 05:43 | specific task of adding color to
black-and-white imagery, Tinting is the perfect choice.
| | Collapse this transcript |
|
|
8. An Approach to Expressive Brush DesignSelecting and modifying an existing variant| 00:00 | In this chapter, we're going to go
through the process of creating a new variant
| | 00:05 | and I'm going to show you the
approach that I take to this.
| | 00:09 | I've done a lot of them and I've kind
of got a way that seems to be a good
| | 00:13 | format for how to come up
with a new brush design.
| | 00:17 | So we'll be looking through
that in the next few videos.
| | 00:21 | To start off with, I am going to talk a
little bit about how you even approach this.
| | 00:26 | The first thing you have to have
somewhat in your mind is what is it you want to
| | 00:30 | accomplish, what is the look you want
to go after, and I typically try to find
| | 00:36 | some brush that is close to what I want to do.
| | 00:41 | And for me, this is actually going to be
a little different, because the brush
| | 00:45 | I am choosing has more to do with the
fact that I have not shown off one of the
| | 00:50 | stroke types anywhere else within this
title, and so I'm going to use the Rake stroke
| | 00:56 | as the seed for my new brush.
| | 00:59 | I'll work with it and kind of show you
how I divide up into different thought
| | 01:05 | processes how this brush comes into being.
| | 01:09 | The first thing we're going to do is
go to a brush that is a rake brush, and
| | 01:13 | there happens to be one in the Pens category.
| | 01:17 | If we go in here, we'll find the
Scratchboard Rake and let's just try a few
| | 01:22 | sample strokes with it.
| | 01:24 | And what you get is a very
interesting type of brush.
| | 01:27 | This brush actually has several
strokes that follow the primary stroke
| | 01:34 | the artist is drawing, and the way
this came into being was, as we were
| | 01:38 | developing more and more what we
wanted to get to be natural brushes,
| | 01:42 | we started experimenting with how
can we have multiple brush hairs and by
| | 01:47 | today's standard of course this is
very crude, but this is one of the first
| | 01:51 | steps in trying to emulate more
complex behavior than just a circular dab.
| | 01:57 | And so we had built into this a number
of things and what I want to do before I
| | 02:01 | go any further is I am going to start
with this, but I like to always save my
| | 02:06 | variant that I'm going to change.
| | 02:07 | That way there's no possibility that I
am going to somehow turn Scratchboard
| | 02:12 | Rake into some completely
unrecognizable tool, although you can always get
| | 02:15 | back to your originals.
| | 02:16 | It's just a good idea to
create what I call a seed variant.
| | 02:19 | So I always like to start with a seed variant.
| | 02:23 | That's what I call it.
| | 02:24 | And I don't want to use the original.
There's no way you can ruin a brush,
| | 02:29 | but it's just a good idea to star
with a different brush or a different
| | 02:34 | version of the same brush.
| | 02:35 | So I'm just going to call this Seed Variant.
| | 02:40 | And now I can leave the Scratchboard
Rake and go to my Seed Variant, which is at
| | 02:44 | this point is exactly the same, but
it's completely differed than the original.
| | 02:48 | So the first thing we're going to do is
just play around with the quality of the brush.
| | 02:54 | And for one thing what will
happen when I adjust size here?
| | 02:58 | It's kind of interesting to just play
around a little bit and see what happens.
| | 03:02 | Okay, so you can see right here
the way the Rake Stroke works.
| | 03:06 | As you increase the brush size,
it actually scales up the entire brush.
| | 03:11 | So just where you set this at is going
to enlarge both the individual strokes as
| | 03:17 | well as the size of the stroke itself.
| | 03:20 | So we've got that happening.
| | 03:23 | The next thing I want to look at, and
throughout this I'm going to be doing
| | 03:25 | Command+A or Ctrl+A and Delete or
Backspace, and I'll be doing that several
| | 03:30 | times just to keep the screen
clear so I can see what I'm doing.
| | 03:34 | I want to take a look at the Rake palette
because this is where you can control
| | 03:38 | the Rake, and I want to just
play around it a little bit.
| | 03:41 | So one other things you can adjust
here is the rake scale itself, and we'll
| | 03:46 | just turn it up a little bit and
you'll see what happens is the entire
| | 03:50 | distribution of the bristles that
make up a rake, how they become
| | 03:55 | distributed. So higher numbers are
going to distribute this more and more and
| | 03:58 | you can see you can literally get to a
brush that's so large, we can't even see
| | 04:02 | the entire stroke on screen.
| | 04:04 | So I am going to reduce this down to a
more manageable level, and I am going to
| | 04:09 | go down just a little bit more here.
| | 04:10 | And a lot of this is just trial and error.
| | 04:12 | You just to have to play
around to see what is happening.
| | 04:16 | The last thing I want to take
a look at here is the spacing.
| | 04:20 | Now what's happening with the spacing?
| | 04:23 | So let's go to the Spacing palette.
| | 04:25 | For example, if I turn up Minimum Spacing.
| | 04:29 | Well now, you can see I am starting to get
individual dots, which is kind of interesting.
| | 04:33 | So I kind of see the
direction I might want to go here.
| | 04:36 | I am just going to play around with these
a little bit and see what happens.
| | 04:44 | Okay. This is kind of getting interesting,
but now the other thing I could see that
| | 04:48 | could be useful here as all of these dots are
exactly the same on every tooth of the rake.
| | 04:54 | And so I am going to go back to Size here
and then introduce a little bit of randomness.
| | 05:01 | Okay, now that's looking pretty cool.
| | 05:04 | I might want a little bit more smaller
to larger scale here, so let me turn this
| | 05:08 | down and that might-- yeah, now we've
got a little bit more-- but you could see
| | 05:12 | a lot of this is a bit of
play that's going on here.
| | 05:15 | I am just trying out different aspects
of what can control the brush and when I
| | 05:20 | see something I like, then that's
the direction I tend to work in.
| | 05:24 | So this is actually looking pretty nice.
| | 05:27 | So at this point, we've kind of
selected the major character of what this brush
| | 05:32 | is going to look like.
| | 05:33 | It's obviously largely based around the
notion of a rake that has multiple paths
| | 05:40 | along the stroke, and we've also
introduce some interesting randomness by
| | 05:45 | changing the Size parameter, so that
they're just distributed randomly along
| | 05:49 | each one of these strokelets
that are part of the entire brush.
| | 05:53 | So we'll go that far at this point.
| | 05:56 | What I want to do next in the next
movie is start to play around with the
| | 06:00 | character of how is the color on this
brush, how is it going to behave when it's
| | 06:06 | applied and what's going to
happen with underlying color.
| | 06:09 | So we'll look at that in the next movie.
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| Adjusting the color behavior of the new variant| 00:00 | In this movie we're going to
continue on building the variant that I started
| | 00:05 | in the last movie.
| | 00:06 | In that movie I basically concentrated
on the stroke and graphic appearance of
| | 00:13 | the brush and that's where we are
now. You can see it on the screen.
| | 00:17 | It uses the Rake stroke and the along
each of the rake teeth in that stroke,
| | 00:23 | it has a random circular dab that's been applied.
| | 00:27 | You get a very interesting almost
like an abacus look to the stroke.
| | 00:32 | Now in this movie I want to concentrate
on playing with how color is going to be
| | 00:37 | dispensed from the stroke as well as
what happens as it's applied to color
| | 00:42 | that's underneath of it.
| | 00:43 | I'm going to go ahead make a new layer
that I can work on and I'm going to take
| | 00:48 | some color and I just want to lay it
down here quickly, so I have some sample
| | 00:53 | color underneath that I can test
when I play around with how I'm going to
| | 00:58 | organize the color behavior.
| | 01:00 | And the best way to do that is to go to
the Well palette and I already have an
| | 01:05 | idea what I want to here.
| | 01:07 | When we were in the bristle media
chapter in the Oils movie, I've showed a
| | 01:11 | technique where you can basically use
pressure with a brush so that at light
| | 01:17 | pressure it wants to move color, but
at heavier pressure it applies color.
| | 01:21 | So I'm going to set up my
settings to do just that just that.
| | 01:25 | I want these to both be pressure based and
Resaturation I'm going to take down a bit here.
| | 01:31 | I want to have Bleeds all the
way at 100 and then I'm going to do this
| | 01:35 | little trick and again if you want to
find out more about this, go to the Oils
| | 01:38 | movie in the Bristle Media chapter.
| | 01:40 | This is an Invert checkbox that has some
interesting characteristics that it will create.
| | 01:45 | So let's try this out and okay, I'm
picking up color. I want to put up a
| | 01:49 | third different color here.
| | 01:54 | It's basically working.
| | 01:56 | It's not quite the way I want it.
| | 01:58 | I can further tweak this by playing with
the type of method I'm going to use on this.
| | 02:03 | The thing I want to indicate here too
be that I like a brush and not every brush,
| | 02:09 | but some brushes like this one
where I have it be very creative, you want
| | 02:13 | a bit of unpredictability in it.
| | 02:15 | That's one reason the
random size works well here.
| | 02:20 | You never know what one stroke or
another size is going to be with those little
| | 02:25 | beads along each one of them.
| | 02:27 | So that's somewhat unpredictable.
| | 02:29 | It falls within a basic set of rules
that it's not going to do anything crazy,
| | 02:33 | but there's some randomness in
it and right now I've got a bit of
| | 02:36 | unpredictability in the
way the color is picking up.
| | 02:40 | I want to have some more control over
it, but I don't mind the fact that you
| | 02:44 | don't always know exactly what you're
going to get. That just makes it a much
| | 02:48 | more expressive creative brush.
| | 02:50 | So let's go to the General palette and
I know from experience that using a Drip
| | 02:56 | method here can do a very interesting thing.
| | 02:58 | So I'm going to do Drip and I'm
going to try Grainy Hard Drip here.
| | 03:03 | You can see what starting to happen is
it really breaks up the stroke and again
| | 03:07 | in a fashion that is somewhat random.
| | 03:10 | So now I can slowly move towards
getting my color and I've got even there,
| | 03:19 | right there you see a
really nice quality that happens.
| | 03:21 | What's happening is the Drip method is
interacting with the paper because it's a
| | 03:26 | Grainy subcategory and it imparts even
more complexity into the stroke so that
| | 03:33 | it's even more gnarly and
gritty if you want to use that term.
| | 03:37 | So now I've got the brush where I have it
picking up and applying paint the way I want it.
| | 03:44 | In the next video we will go through
the fine-tuning process where I've got the
| | 03:48 | basic character of the brush
established and it's just a matter of kind of
| | 03:53 | tweaking the knobs a bit to
get to exactly what I want.
| | 03:56 | So we'll look at that in the next video.
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| Fine tuning and naming the new variant| 00:01 | In the last two movies,
we've been building this variant.
| | 00:04 | In the first one, I basically created
the graphic look of the brush and then in
| | 00:09 | the second one, we adjusted
principally the well, as well as the method that
| | 00:13 | we're using here to control and adjust
the color behavior of the brush,
| | 00:19 | what happens when it's applied to color
and what kind behaviors do you get.
| | 00:24 | Now it's time to fine-tune.
| | 00:26 | I always find this is kind of the fun
part, because this is where you can start
| | 00:31 | to apply some what-ifs to various
behavioral aspects of how the brush works.
| | 00:37 | At this point sometimes it's just
serendipity. We'll run into an interesting
| | 00:42 | combination that you hadn't even thought of.
| | 00:45 | One thing I do want to point out here,
because it could be confusing, it looks
| | 00:49 | as if I've been painting on this layer,
and before I switch to the Drip method,
| | 00:54 | I was painting on a layer.
| | 00:55 | However, let me make a new
layer, I'll show you this.
| | 00:58 | Using the Drip method cannot operate
on a layer and I went into this kind
| | 01:04 | of knowing that I wasn't going to
necessarily have a brush that was capable
| | 01:09 | of working on a layer.
| | 01:11 | The Drip methods and the Plug-in
methods are the two methods that basically
| | 01:15 | don't understand what a layer is.
| | 01:17 | So this brush is really designed
primarily to work on the Canvas layer.
| | 01:22 | Although, I may be able to make an adjustment
and have a second brush that is layer aware.
| | 01:28 | To avoid getting mixed up here, I am
going to eliminate the layers and let's
| | 01:32 | just try what we've got so far.
| | 01:36 | The one thing that I think might
help this is to put a bit of color
| | 01:40 | variability into the stroke.
| | 01:43 | So I am going to crank this up,
and now this starts to introduce some
| | 01:48 | interesting variation within all of
the little abacus dots, so to speak, and
| | 01:54 | maybe even some color variation.
| | 01:58 | Yes, now we're really getting to an
interesting kind of behavior here.
| | 02:03 | I'm going to Select All, Delete.
| | 02:08 | You can see that there is a
really interesting color here.
| | 02:09 | Now one thing I recognize I could do
is, this has a very hard edge on both sides,
| | 02:14 | which may be something that's
desirable, but I actually want it to have
| | 02:19 | kind of a softened edge.
| | 02:20 | If I go back to the Rake palette, there
is a control here where I can do what's
| | 02:29 | called Soften Bristle Edge, and
what this will do is you can see now the
| | 02:34 | edge is kind of taper off in Opacity.
| | 02:38 | So that helps us quite a bit.
| | 02:40 | I want to play with this with some
various colors at this point just to see
| | 02:44 | how they're playing.
| | 02:46 | What I like about this particular
brush is that when I've have done enough of
| | 02:54 | this that looks, in many ways, very
much like a smeared and loaded brush type oil,
| | 03:01 | but other levels, you see these
individual dots, so it's an obvious digital brush,
| | 03:07 | and it's kind of interesting
that it exhibits both the traditional look
| | 03:13 | but it's also got some hallmarks
and they tell you well, this isn't a
| | 03:17 | traditional brush, there is
something unusual going on here.
| | 03:20 | And that's kind of unique that it
exhibits a little bit of both worlds.
| | 03:23 | It's digital and it's got a lot of the
character that you find in a traditional brush.
| | 03:28 | Now the other thing I can do, because I
was using the Drip and this Grainy Hard Drip,
| | 03:34 | that means that I can even
introduce some more variability into the
| | 03:40 | equation by what paper I use.
| | 03:43 | Let's use something that's fairly
regular, this Artist Canvas for example.
| | 03:47 | I'll open up the palette, and one thing
I can do here is I can adjust and play
| | 03:53 | with the contrast of this, and by
pushing the contrast, so I've got more
| | 04:00 | distinct light and bright areas.
| | 04:04 | It's starting to do something
different than it did before.
| | 04:13 | The other thing I can do, if we go to
the Random palette, you can have the Brush
| | 04:20 | Stroke Grain be randomized.
| | 04:21 | Right now there is a very-- let's
take a darker color so you can see it.
| | 04:27 | The grain pattern is very regular and
it's showing up as a very regular element
| | 04:31 | within in there, which can be
desirable, but I'll show you another kind of
| | 04:34 | randomizing factor here is to turn on this
Random Grain pattern and I'll do it a little bit here.
| | 04:40 | What's happening now is that grain is
changing for every dab of the brush to a
| | 04:46 | new random location within it.
| | 04:47 | So instead of lockstep kind of grid
pattern that makes it up, it's actually
| | 04:53 | being thrown around and randomized.
| | 04:55 | So I get another unpredictable element.
Within some limit I know what it's going to do
| | 05:00 | but I never know at any application
of the stroke exactly what I'm going to get.
| | 05:04 | And then I can play around with the
brightness and whatnot to get a very
| | 05:08 | different character if I want.
| | 05:09 | So just by changing how the brush
interacts with the paper through its
| | 05:18 | brightness and contrast can
get very different results.
| | 05:21 | So now we are seeing very little
grain because it's so flattened down in
| | 05:25 | contrast, there is not much before the
Grainy method to actually do anything with it.
| | 05:32 | But as soon as I give it a more contrast,
ee now it's having an influence on it.
| | 05:37 | The more aggressive the grain gets,
the more of a role that plays into look.
| | 05:43 | So this brush has a lot of
different characteristics going on.
| | 05:47 | To make it a fairly complex brush that
you can pick up and use but you never
| | 05:52 | know from one stroke to the other
exactly what you're going to get.
| | 05:55 | And as I said, I really like that quality.
| | 05:58 | It makes it a very interesting brush to work
with, and it's much like a real paintbrush.
| | 06:02 | You can't know exactly how a loaded brush
is going to decide the drop off of the
| | 06:07 | brush and onto the canvas.
| | 06:09 | So the artist has some control, but to
another degree he is at the mercy of the medium.
| | 06:15 | This is a digital media, but it's got
those random aspects built into it so
| | 06:19 | that it does have a behavior
similar to a traditional media.
| | 06:24 | Now the last thing I want to do
is I want to give this a name.
| | 06:28 | The naming convention in Painter has
typically been-- if this was a Painter brush,
| | 06:33 | it'd be called like a Grainy Rake
Variable brush, because you want to apply
| | 06:38 | vocabulary elements that kind of
describe what the meaning of the brush is.
| | 06:43 | But I also like to give brushes more
interesting names that make people want to
| | 06:48 | see like what is that? And because of
this kind of abacus quality, I figure a good
| | 06:53 | name for this is the Abacus Brush.
| | 06:55 | So I'm going to go ahead and save this now.
| | 06:58 | I'll save my variant and
I'll call it the Abacus Brush.
| | 07:05 | When I go to what is the Abacus Brush
in this category, its default settings are
| | 07:10 | exactly what I see here.
| | 07:12 | So we've gone through the process of
taking an existing variant, which is a good
| | 07:17 | way to start because you can take some
of the characteristics that you already
| | 07:21 | know you want by choosing a variant
that has some of those characteristics, and
| | 07:25 | then go on to modify the behavioral
aspects of it, especially when it comes to
| | 07:32 | how the colors interact.
| | 07:34 | Finally, I find that there is a
fine-tuning process that goes on.
| | 07:37 | I may even get away from a brush and
I'll try it and leave it and come back and
| | 07:43 | I'll find just a different mindset.
| | 07:45 | You may decide oh, I want
to adjust here or there.
| | 07:47 | So there are probably some more
adjustments I will do to this and some
| | 07:51 | brushes are never final.
| | 07:52 | You're always somewhat adjusting them.
| | 07:54 | But hopefully, this methodology I've
gone through gives you a roadmap for how to
| | 08:00 | start constructing your own variants.
| | 08:02 | So I hope you'll tape this
together and start doing your own brushes.
| | Collapse this transcript |
|
|
9. Customized Brush Library OrganizationCreating a new category and copying variants into it| 00:01 | As you get into brush design, you're
eventually going to get to a point where
| | 00:04 | you probably have several variants
scattered around the various libraries within
| | 00:10 | Painter that you'd like to put into a
custom library that you have and possibly
| | 00:16 | share with other people.
| | 00:18 | In this video I'm going to go through
how you create a new category and move
| | 00:23 | your variants into that category.
| | 00:26 | So the first thing we need to
understand is that every category in Painter has
| | 00:31 | an icon associated with it.
| | 00:33 | We can even switch to a Thumbnail
View here, so you can see these thumbnail
| | 00:39 | icons a little bit more closely.
| | 00:42 | The one factor that is very important
about these is these have to be 30X30 pixels.
| | 00:49 | Any other size is going to cause problems.
| | 00:52 | In fact, Painter won't recognize
them if they're not 30X30 pixels.
| | 00:56 | So that's the first thing you need to
understand and the second thing which is
| | 01:01 | mostly up to you, but you want to
consider is that with a set of icons you
| | 01:06 | somehow want to create your icon to be
identifiable and not too close to the
| | 01:11 | other icons just for the purposes
of enabling a user to locate it.
| | 01:17 | I typically don't look at
the categories like this.
| | 01:20 | I prefer to see the icons in the
List view so that I have both a small
| | 01:25 | representation and the name so that I
have a choice between identifying it
| | 01:30 | visually or by a text name.
| | 01:32 | But just be aware of that you want to
make sure your icon is somewhat unique.
| | 01:37 | So let's create an icon and what I've
done is I've placed three variants that
| | 01:41 | I've created in three different
libraries here and it's going to be a small
| | 01:45 | library, but it could be one brush or it
could be a hundred brushes, but we will
| | 01:51 | use this as our sample so you
can see how the process works.
| | 01:54 | So the first thing we have
to do is create a 30x30 file.
| | 01:58 | So I'm going to go in here and you
want to make sure that your dimensions are
| | 02:01 | set to pixels and just put in 30x30 and say OK.
| | 02:10 | It's a really small space and some
people get a little claustrophobic in
| | 02:14 | this small of a file.
| | 02:17 | What you want to remember is that you
have to be careful in icon design do not
| | 02:23 | try to get too complex,
because this is such a small space.
| | 02:27 | Less is usually more and I would
recommend if you haven't done icon design,
| | 02:32 | keep it very simple.
| | 02:33 | If you're comfortable and have done
some icon work, the sky is the limit.
| | 02:37 | You can do anything you want as long as you
stay within the requirement of 30x30 pixels.
| | 02:42 | I'm just going to give it a background color.
| | 02:44 | So I'm using the Command+F or
Ctrl+F just to fill it here.
| | 02:49 | To do this quite easily I can just
take advantage of a font for example.
| | 02:54 | I'm going to go in here and grab--
I'll use a Garamond Italic and I'm going to
| | 03:02 | just use J for my name.
| | 03:03 | What I'm going to call this library is
John's brushes and so and so there I've
| | 03:09 | got my J. I'm just going to
center it here and say OK.
| | 03:16 | What I want to do at this point
is just go ahead and flatten this.
| | 03:20 | So I'm going to the drop-down menu for
the Layers palette and just say Drop.
| | 03:25 | So now it's become a pixel image and if
we look at it at 100%, we've got a nice
| | 03:31 | simple little icon that is different
from everything else and gives us the
| | 03:36 | ability to recognize it.
| | 03:38 | So you must now select this 30x30 icon
and what we'd do now is go to the Brush
| | 03:44 | Selector Bar and here you
can see Capture Brush Category.
| | 03:48 | So I'll go ahead and say OK and this is where
I want to give it a name for my new library.
| | 03:53 | So I'll call it John's Brushes. OK.
| | 03:58 | So there it is.
I've got a new library.
| | 04:02 | Now there has to be a least
one variant in the brush library.
| | 04:07 | So what it will do is take whatever the
current brush was and just make a copy
| | 04:11 | of it and name it John's Brushes, just
so there is a default variant in there.
| | 04:17 | We can get rid of it later, but
that's why that appears in there.
| | 04:20 | It's just a temporary placeholder so there
is at least one variant within the library.
| | 04:26 | Now what I want to do is get to the brushes
that I created and put them into that library.
| | 04:32 | So I've got one for example
in the new John's Brushes.
| | 04:36 | So I'm going to go to one of
the categories I have a brush in.
| | 04:41 | One of them is the Artists' Oils and if
we go here there is John's Dry Bristles.
| | 04:47 | So I'm going to select it and now once
again go to the Brush Selector Bar and
| | 04:51 | you'll see here that you can copy a variant.
| | 04:53 | So I'm going to say Copy and I wanted to
go to my new category, which by default
| | 05:01 | will always appear at the bottom of the list.
| | 05:03 | I will show you in a video in this
chapter how you can move that around, but for
| | 05:07 | now it just appears at the bottom.
| | 05:09 | So I say Copy to John's Brushes.
| | 05:12 | I say OK and if we go back to John's
Brushes, which are down here at the bottom,
| | 05:17 | we'll find that now that
appears within the library.
| | 05:21 | So we'll go on to the other two.
| | 05:24 | I've also got one in Oils.
| | 05:28 | So we'll go here and
there is John's Smeary Round.
| | 05:32 | We do the same thing.
We go here. We say Copy Variant.
| | 05:37 | Once again we want it to go
to the John's Brushes library.
| | 05:42 | The final one is in the Chalk category.
| | 05:45 | So we'll go here and we'll get John's
Square Chalk and once again same technique here.
| | 05:53 | Move it to John's Brushes.
| | 05:58 | Now let's go back and check, so we'll
go down to John's Brushes and check and
| | 06:03 | there are all of my variants.
| | 06:05 | Now I don't want this one in here.
| | 06:07 | So I'm going to select it and this is
where I can go in and I'll use Delete Variant
| | 06:12 | and I just want to make sure
do I want to get rid of it.
| | 06:15 | Yes, it was just a dummy variant placed there
to have the library be active. There we go.
| | 06:20 | So now I've copied my brushes to my new library.
| | Collapse this transcript |
| Packaging brushes for distribution| 00:00 | Once you've made some brushes and
finally get to the point of having a library
| | 00:05 | of your own as I've done here, you may
want to share these with other people.
| | 00:10 | Some people actually will place these
on the web and then widely distributed to
| | 00:15 | many users who enjoy playing around and
using different brushes that have been
| | 00:21 | created for Painter.
| | 00:22 | I am going to show you how you can
package up these brushes so that they can be
| | 00:26 | easily distributed and show you a
couple pieces of software that will help you
| | 00:32 | to make this a very painless process
for both you and users who want to access
| | 00:37 | your brush libraries.
| | 00:39 | So there are couple external
applications that will help you here and I'm going
| | 00:44 | to show you in Safari these applications.
| | 00:48 | Now, if you're on Windows you don't
need to worry about this, but if you're on Mac,
| | 00:52 | there is a little gotcha that you
need to be concerned with and that is, if
| | 00:57 | you choose to use the default zip
encoding that is part of the Mac operating
| | 01:03 | system, it creates a zip file that
sometimes is not 100% valid for PC users.
| | 01:11 | In many cases, it will open up fine,
but there are some small differences that
| | 01:16 | particularly with the technique I'm
going to show you here, you need to ensure
| | 01:20 | that you are creating a PC compatible
zip file and there's a nice little piece
| | 01:26 | of free software on the web,
YemuZip, and you can get it.
| | 01:31 | It's free and basically it gives you the
option of creating a PC compatible file.
| | 01:37 | So I'm going to be taking advantage of
this on my Mac system here so that the
| | 01:43 | zip file I give to people and use the
second piece of software to put it into
| | 01:48 | their system will work without any issues.
| | 01:52 | If you give people a Mac zip
file, there will be problems.
| | 01:56 | So this is a piece of the puzzle that
Mac users need to be concerned with.
| | 02:01 | On the Window side, no problemo.
| | 02:02 | The other application we're going to take
a look at is Studio|chris Brush Manager.
| | 02:09 | This is a really nice application that
uses the Adobe AIR language to be able to
| | 02:14 | have a cross platform compatible
solution for being able to place brushes into
| | 02:20 | the proper location for Painter users.
| | 02:24 | A lot of people get a little antsy when
they have to start moving things around
| | 02:28 | in the file system and Painter's
brushes are legendary. If you go on the
| | 02:33 | Internet and look,
many people just have problems with it.
| | 02:36 | There is a very prescribed way to do it,
but even with the directions written
| | 02:40 | out which I've done and many other
people have done, they still run into
| | 02:44 | problems and Chris's solution here
really offers a very nice solution for the
| | 02:50 | non-technically savvy user who wants to
put brushes in their file, but doesn't
| | 02:55 | want to get messing around
too much within the file system.
| | 02:59 | So let's take a look at
how these applications work.
| | 03:02 | Now the one thing you do need to understand is,
how do I get to these files that I've created?
| | 03:09 | I'm going to show you on the Mac, but
I will also show you on screen where the
| | 03:13 | same path is for Windows' users.
| | 03:16 | But I'm going to my user folder and I'm
going to go to the Library folder, then
| | 03:23 | I go to Application Support, I go to
Corel and there is my Painter 11 folder.
| | 03:29 | Now we need to dig a little bit deeper.
| | 03:31 | So I am going to go to Painter 11 folder
and you'll see most people are going to
| | 03:35 | have a default folder, but some of you
who have created alternative workspaces,
| | 03:40 | you'll find the name of those
workspaces in this area as well.
| | 03:44 | And you want to make sure you go to
the folder that has the brushes that
| | 03:49 | you want to retrieve.
| | 03:50 | For us, it's Default.
| | 03:52 | So I am going to go to the Default
library, go to Brushes, finally go to Painter
| | 03:57 | Brushes and here are all of the files
that represent the user folder, and right
| | 04:04 | there is my John's brushes
and John's brushes JPEG file.
| | 04:09 | These are the two files I need.
| | 04:10 | Inside of here are the files that
represent the brushes themselves, but I need
| | 04:15 | to make sure that I can get these two files.
| | 04:18 | I am going to select both of
them and copy them to the desktop.
| | 04:22 | So I haven't disturbed the ones that I
already have in my library, but now I've
| | 04:27 | got copies of these two files.
| | 04:29 | So I am going to go use the YemuZip
file and it just brings up this nice little
| | 04:34 | dialog here, and let's go ahead and
take these and just drop them on here and
| | 04:40 | this is the important part.
| | 04:41 | You want to make sure that you have PC
Compatible enabled and I'm going to call
| | 04:46 | these johns_brushes and I typically
for Internet distribution leave out
| | 04:52 | punctuation and just make a very simple
file name variant of johns_brushes that
| | 04:57 | will easily be read by
any system. So there we go.
| | 05:02 | I've now got a zip file that will open
up on both Mac and Windows utilizing the
| | 05:08 | Studio|chris software.
| | 05:10 | So let's go ahead and we can shut this,
open up Studio|chris Brush Manager.
| | 05:17 | Now the first thing you want to do
is go and open up the little icon that
| | 05:23 | represents the adjustments you can make to
the Preferences and you want to set these.
| | 05:28 | You want to make sure that it's already
detected your operating system, so you
| | 05:32 | typically don't have to handle this,
but you may want to, depending on the
| | 05:36 | version of Painter you have, you're
going to want to specify which version you have.
| | 05:40 | And this may come up with nothing there,
but if you say Set to Default Location
| | 05:46 | it will automatically find
that path that the brushes belong in.
| | 05:50 | If for some reason you've got some
custom location that you want to place it in,
| | 05:55 | you can set it up for that, but
for most of us we're just going to go to
| | 05:59 | the default location.
| | 06:01 | So we say Save and Close.
| | 06:03 | Now we just take the zip file and
before I do this, however, I want to show you
| | 06:08 | how this is going to work.
| | 06:10 | So I want to be sure that we don't have
this library in the system so that you
| | 06:15 | can see it does get installed.
| | 06:17 | So I am going to go ahead and quit Painter.
| | 06:20 | I am going to go back to the same
library where those brushes were and I am
| | 06:28 | going to remove them.
| | 06:29 | So we can see that they do get installed.
| | 06:33 | So here we are, we want to
go and remove these files.
| | 06:38 | Let's go ahead and move those to the Trash.
| | 06:40 | So they are now gone and in fact, I'm
going to relaunch Painter and let's just check.
| | 06:47 | We can see now that I no longer
have that library in my system.
| | 06:52 | So if you were user who wanted to use
these brushes, this would be your library.
| | 06:57 | You don't have these brushes.
| | 06:58 | You want them in there.
| | 06:59 | So I'm going to close Painter, because
it's best to install brushes in Painter
| | 07:03 | when it's not operating.
| | 07:06 | Let's close it and now we're just
going to take the zip file that we have
| | 07:09 | created, drop it in here.
| | 07:12 | That's it, we're done.
| | 07:13 | So we say OK, we can go ahead and
close the Studio|chris Brush Manager.
| | 07:19 | Let's launch Painter and let's go to
our Library and sure enough, there is
| | 07:25 | John's Brushes installed
and ready for you to use.
| | 07:27 | So using this packaging method of
setting up a PC Compatible zip file gives you
| | 07:34 | the ability to distribute these to
other people and if you inform people that
| | 07:38 | they go ahead and also install the
Studio|chris Brush Manager, the combination
| | 07:44 | of a PC compatible zip encoder as well
as the Studio|chris Brush Manager makes
| | 07:49 | it brain-dead easy to
distribute your brushes to other people.
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| Pruning a library| 00:01 | In this movie, I want to show you how
you can do a little bit of housekeeping
| | 00:04 | with your brush libraries.
| | 00:06 | If we look at Brush Selector Bar and
open up the categories, one of the things
| | 00:11 | you could see on this monitor anyway,
I have so many categories open that I
| | 00:16 | can't even see them all.
| | 00:18 | I would guess it's most likely that you
don't use or will not be using every one
| | 00:22 | of these categories.
| | 00:24 | So I want to show you both how to shut
some of these categories off--
| | 00:29 | They'll still be available but rather than
having there everyday, why have them visible
| | 00:34 | if you don't use them?
| | 00:35 | And also I want to show you how we
can move this Brush category down here
| | 00:40 | to another location.
| | 00:41 | You may want to put it in alphabetically.
| | 00:43 | You may want it at the top, but
I will show you how we can do this.
| | 00:48 | So we are going to take a look in the
Window menu, at the Customized Workspace command.
| | 00:53 | And this brings up Painter 11's
customization of the workspace dialog.
| | 00:58 | We are going to go to Brushes, and we
are going to say Painter Brushes here.
| | 01:02 | And here we have all of those brush
categories, and you'll see right now John's
| | 01:08 | Brushes is at the bottom.
| | 01:09 | I can click-and-drag this
and place it where I want.
| | 01:18 | I like my brushes at the top, so
I am going to put always at the top.
| | 01:21 | But where you place it is totally up to you.
| | 01:24 | You just have to move it and then
scroll to eventually get all the way up here.
| | 01:29 | But now that is located at
the top, We'll check in a moment.
| | 01:32 | I'm also going to shut off some of these
libraries. That's what the little eye icon is for.
| | 01:38 | For example, I don't use the Art Pen Brushes.
| | 01:42 | I am shutting that off.
| | 01:44 | I don't use Cont? Crayons.
| | 01:47 | I don't use Crayons.
| | 01:49 | What else, I don't use Felt Pens.
This is all up to you which ones you want
| | 01:54 | to turn on and off.
| | 01:56 | But you can see here that the ones
that you are not interested in can be
| | 01:59 | instantly turned off so that you
don't have to see them in the interface.
| | 02:04 | It makes a lot of sense because once
you've done this you are eliminating some
| | 02:09 | of the confusion of all of the
brushes, so here I can even close this up.
| | 02:13 | So now they all fit within the
screen resolution and I don't have as many
| | 02:18 | brushes to look at when I go to select them.
| | 02:21 | Some people trim these
down to a very small amount.
| | 02:24 | But the basic idea here is to
just get them a little pruned down.
| | 02:27 | The other thing we can do if we go
back to the Customization is we can go in
| | 02:33 | and open this up and go to here.
| | 02:37 | And this is where I can actually
go into each of the categories.
| | 02:41 | And one of the things I advise people to
do is there are duplications that go on.
| | 02:46 | For example Glazing Acrylic. The
little numbers afterwards are just an
| | 02:51 | indication of the size of the brush.
| | 02:53 | And I find it rather useless to have
multiple sizes of the very same brush
| | 02:58 | because I am going to
probably be resizing it anyway.
| | 03:01 | So I typically go through my libraries and
turn off all of the multiples of the same brush.
| | 03:08 | And I am just going to center on the
medium one, so I'll shut off any ones that
| | 03:12 | are 10 and 30 in here.
| | 03:14 | And even here I don't need
both of those, so do that one.
| | 03:19 | The idea here is you just want to
prune down the number of brushes visible.
| | 03:24 | It makes navigating the brushes much
simpler and quicker in order to get the job done.
| | 03:30 | So a little bit of pruning like this
can make life much easier, particularly
| | 03:34 | when you're doing production style work where
you don't want to have a lot of distraction.
| | 03:40 | I will say Done, and we'll go to
Acrylics, and look how short that list is now.
| | 03:45 | I still have all the functionality
but I don't have all of the duplication.
| | 03:50 | And so being able to prune these
libraries down is a good exercise to go through.
| | 03:55 | Should you need a specific brush or
category, you can always go back to the
| | 04:00 | Workspace Manager and turn the variants back on.
| | 04:04 | So pruning is a good exercise
to go through with your brushes.
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| Understanding the Master Brush Library and the User Brush Library| 00:01 | I am going to talk about the fact that
Painter actually has what appear to be
| | 00:05 | two of the same library on your system,
and I am showing it to you on Mac, but
| | 00:11 | we will also show you the Windows
path for both of these libraries as well.
| | 00:17 | The concept is that there is a
master library and a user library.
| | 00:22 | The master library is the factory
settings of all of Painter's brushes and if
| | 00:29 | we look at the bottom here, if you go
to Applications and to Corel Painter
| | 00:35 | and Brushes, and then finally Painter
Brushes, here's what you'll find the
| | 00:40 | library of brushes.
| | 00:41 | However, you can also go to your user
folder and go to Library / Application
| | 00:49 | Support / Corel / Painter 11,
this is a little longer here.
| | 00:53 | Then we will go to Brushes, finally
Painter Brushes and it looks like we've
| | 00:59 | basically got the same list.
| | 01:02 | There is a difference however.
| | 01:04 | The master library as I said actually
contains all of the factory settings.
| | 01:09 | So it's got a complete library
of brushes that come with Painter.
| | 01:14 | It's like a read-only disc or a read-
only folder that you can't change and
| | 01:20 | you wouldn't want to change it because
this is where the source of the brushes
| | 01:25 | always resides untampered.
| | 01:28 | However, as a user you may go in to a
library like the Captured Bristle here and
| | 01:36 | I may decide to make some changes to it.
| | 01:38 | If I even do something so
simple as to change the size of it,
| | 01:42 | I have altered that brush from its
factory setting, or I may additionally change
| | 01:47 | something like the Opacity, but any
changes I've made need to reside somewhere.
| | 01:52 | So if we go into the Acrylics category
we'll see that unlike the actual original file,
| | 01:59 | Captured Bristle.xml, there is the
file in the User folder for Acrylics that
| | 02:04 | has a little c preceding it.
| | 02:06 | That stands for cached and what this
information is, is the changes you made to that brush.
| | 02:12 | And Painter is smart. Whenever you go
and select a brush in Painter it will
| | 02:18 | first check to see is there a
changed brush. If there is it will use this
| | 02:22 | file so that your changes are
automatically encoded or are part of that brush
| | 02:28 | when you open it up.
| | 02:29 | If you've never changed it before, this
won't exist. So the next thing it does is
| | 02:33 | it goes to the master library
and loads up the original file.
| | 02:37 | Then if you make any changes to it, well,
that's where these changes will be made.
| | 02:41 | So the user library is really a list
of differences of what has been done to
| | 02:48 | the master library.
| | 02:49 | The other thing that will happen is in
the case of the John's Brushes that we
| | 02:53 | created, they are not part of the
original library, so they won't show up there.
| | 02:57 | They are going to show up in the User library.
| | 03:00 | So any new categories that get added
will get added to the User library and
| | 03:06 | it is the User library that contains all of
your brush modifications and new categories.
| | 03:12 | And for that reason it's important to
realize that this folder, within a specific
| | 03:19 | workspace, is very important to know
about because if you are going to have to
| | 03:24 | reinstall Painter or do something,
you want to go and save this library.
| | 03:29 | Because if you don't do that Painter
when it reinstalls, it's going to get rid
| | 03:34 | of all of the differences that you
did and you are back to square one.
| | 03:38 | So another reason to know that this
library is here is to understand that all of
| | 03:43 | your sweat equity that you've put into
changing brushes is in this folder, and
| | 03:48 | by putting it aside when a update or a
reinstall or a new version happens,
| | 03:56 | you can preserve all of your work by
knowing where those brushes are.
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Conclusion Goodbye| 00:00 | Thanks for joining me for Corel
Painter 11: Mastering Brushes.
| | 00:04 | I hope that after this course, you no
longer look at Painter's Brush Controls
| | 00:08 | palette as if it were a 747 cockpit.
| | 00:11 | Now after being afraid of all those
knobs and dials you've learned that you can
| | 00:15 | use them to adjust the brushes
to match your personal style.
| | 00:19 | I hope to see some great artwork from
you on the web, based on some of the
| | 00:22 | techniques you've learned here.
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