IntroductionWelcome/demo| 00:00 | (Music playing.)
| | 00:03 | Hi, I'm John Derry and I'd like to
welcome you to Painter 11 Essential Training.
| | 00:09 | I'm here to get you familiar with
Painter so you can use this program to
| | 00:12 | express the creative artist in you.
| | 00:14 | To start off, we'll take a
detailed look at the interface.
| | 00:17 | I'll show you how to use a Wacom tablet,
so you can see what an invaluable tool it is.
| | 00:22 | We'll get into creating and importing
images, exploring the expanse of brushes
| | 00:26 | and painting styles Painter has to
offer, plus layers, cloning, effects and
| | 00:31 | integrating your work with Photoshop.
| | 00:33 | Whether, you are new to Painter or an
old hand, I'm going to show you all of the
| | 00:37 | basics and the upgrades that have been
put into this version of Painter to get
| | 00:41 | your creative juices flowing.
| | 00:43 | As one of the original authors of Painter,
I'm happy to have this chance to show
| | 00:47 | you how the program has grown.
| | 00:49 | Now, let's get started with
Painter 11 Essential Training.
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| Using the exercise files| 00:00 |
If you are a premium member of the
lynda.com Online Training Library or if you are
| | 00:05 |
watching this tutorial on a DVD-ROM,
you have access to the exercise files used
| | 00:10 |
throughout this title.
| | 00:11 |
You will find these exercise files in
a folder named Exercise Files and once
| | 00:16 |
you open it up, you will find a sub-
folder for each of the various chapters
| | 00:19 |
found in this title.
| | 00:21 |
And within each of these sub-folders,
you will find any pertinent content that
| | 00:25 |
is associated with that particular chapter.
| | 00:28 |
I may be asking you to open up a
certain file or if I have done something and
| | 00:32 |
you'd like to look at the results,
I have saved my files into these various
| | 00:36 |
sub-folders so that you will have
access to those files to look at within
| | 00:40 |
Painter or even another application.
| | 00:43 |
If you are a monthly subscriber or
annual subscriber to lynda.com,
| | 00:47 |
you don't have access to the exercise
files, but you can follow on from scratch
| | 00:51 |
or use your own assets.
| | 00:53 |
Let's get started.
| | 00:56 |
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1. Painting on the ComputerWhat Painter can do| 00:00 | Painter is driven by the artist's hand.
| | 00:03 | By utilizing the hand's motions,
the artist can express him or herself through
| | 00:08 | the mark-making process.
| | 00:10 | The human hand is an
amazing expressive instrument.
| | 00:13 | Painter captures the hand's unique
expressive motion via the pen tablet,
| | 00:18 | a special input device allowing you to use
a pressure sensitive stylus to draw and
| | 00:23 | paint directly on your digital canvas.
| | 00:26 | Through the stylus, you are able to
express yourself through Painter's wide
| | 00:29 | range of mark-making tools.
| | 00:32 | Painter is stocked with natural-media tools.
| | 00:34 | It's like having a complete
art store available at any time.
| | 00:38 | Use a traditional approach
to create art from scratch.
| | 00:41 | Treat digital photographs as wet oil
paint and apply natural-media tools to
| | 00:46 | create a painted result.
| | 00:49 | Apply expressive hand input to unique
non-traditional, out of the box media
| | 00:53 | like the image hose.
| | 00:54 | Painter's brushes are unmatched in
their ability to emulate traditional media.
| | 00:59 | Besides creating imaginary from scratch,
these tools can be applied to existing
| | 01:04 | images like photographs to imbue them
with a natural media characteristic and
| | 01:09 | don't forget those not so natural
tools for a totally unique experience.
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| Let's paint!| 00:00 |
Do you remember the excitement you
experienced the first time you sat in the
| | 00:03 |
driver seat of your parents or
perhaps a willing friend's car?
| | 00:07 |
Your first time in Painter
can produce similar emotions.
| | 00:10 |
With a few basic instructions, you can
quickly experience the thrill of creating
| | 00:14 |
personally expressive marks on your own.
| | 00:16 |
Now we're going to go through a few
short instructions here, and as soon as
| | 00:20 |
I get you up and running, you're
going to be wanting to find out everything
| | 00:24 |
you can about Painter.
| | 00:25 |
So the first thing we have to
do is create a new document.
| | 00:28 |
Go up to the File menu at the top,
click on it, select New, and just hit OK.
| | 00:34 |
All right, we've got a
canvas. We're ready to go.
| | 00:38 |
The next thing we need to do is select a brush.
| | 00:41 |
So I'm going to go up to the upper-
right corner of the interface, and I'm going
| | 00:46 |
to click and I want to go to
the Artist's Oils category.
| | 00:50 |
If it's not already on it,
just locate it and click on it.
| | 00:53 |
Then go to the right icon, click on it
and go down and locate the Wet Brush.
| | 00:59 |
Okay, we've got our brush.
| | 01:02 |
We want to get a color now.
| | 01:04 |
So go ahead and use the color wheel to
visually find some favorite color of yours.
| | 01:09 |
You use the large circle to find a
particular hue and then you locate in the
| | 01:15 |
triangle the particular color
within that hue you want to use.
| | 01:18 |
The last thing we need to do is go over
to the Tool palette on the left side and
| | 01:22 |
make sure that the Brush icon is selected.
| | 01:25 |
And after that, all it is
is a matter of painting.
| | 01:28 |
So if you start playing with this,
you'll see right away that this brush already
| | 01:33 |
has some very interesting
characters going with it.
| | 01:36 |
It runs out of paint for one thing and
if you select a new color, you'll see
| | 01:43 |
that there is even a little bit of
mixture that goes on between colors.
| | 01:48 |
And the more colors you select and the
more you apply it to the canvas, the more
| | 01:53 |
you're going to end up with a painting.
| | 01:55 |
So you can either play abstractionist
or realist or impressionist, any kind of
| | 02:01 |
paint style you're interested in.
| | 02:02 |
It's just a matter of picking up the
brush and selecting the color and going.
| | 02:07 |
So without any knowledge, you can
create some pretty interesting results,
| | 02:12 |
but you're going to soon realize that you
need some instruction and practice to be
| | 02:16 |
able to express yourself without
constantly thinking about the interface and
| | 02:19 |
where all the tools are.
| | 02:20 |
That's what this training title is all about.
| | 02:23 |
And by the time we're done, I'm going
to have you painting better than you
| | 02:26 |
ever thought you could.
| | 02:28 |
So let's get started.
| | 02:30 |
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2. File BasicsStarting Painter for the first time| 00:00 | You've purchased Painter 11 from the
web, in a store, you have brought it home
| | 00:04 | or downloaded it, you've unwrapped it,
opened it up, you get the CD or the file
| | 00:10 | that holds all the information, you
have put it in your computer, you have
| | 00:14 | installed it, you have clicked the
application to launch it... now what?
| | 00:18 | This chapter is going to tell you
about your first experience with Painter,
| | 00:22 | what to expect and how some of the
introductory material is going to be helpful to you.
| | 00:27 | Let's get started.
| | 00:29 | Here we are, sitting at the gates of Painter.
| | 00:31 | We are ready to enter and see
what's going on. It's installed.
| | 00:35 | It's ready to go.
| | 00:36 | I'm going to go down to my launch
application, start it up and we get a little
| | 00:41 | bit of a splash screen and here we are.
| | 00:43 | The first time you open Painter this
is basically what you are going to see.
| | 00:47 | And the thing we are going to
concentrate on right now is the Welcome Screen.
| | 00:50 | There is some helpful information in
here that is useful and at some point
| | 00:55 | you are probably not going to want
the Welcome screen to come up.
| | 00:58 | So I'm going to show you how to do that as well.
| | 01:00 | The first thing I would tell you to do is go
right down here and enable Check for updates.
| | 01:06 | Now, it's not going to go out and
automatically install an update without you knowing it.
| | 01:11 | When an update is ready for download,
you will be presented with a screen to let
| | 01:15 | you know that it's available and
you have the option of downloading and
| | 01:19 | installing it or not.
| | 01:20 | So, we have taken care a
little bit of housekeeping there.
| | 01:23 | The next thing let's look at is the image here.
| | 01:25 | You can see down here
below it, there is the name.
| | 01:28 | Now I'm probably going to butcher this artist's
name but it looks like it's Ad van Bokhoven.
| | 01:34 | Probably Dutch.
| | 01:35 | He is the artist that did this.
| | 01:37 | He has a website as well.
| | 01:38 | So if you like his work, you can go
and see it and there's this little Reset button
| | 01:42 | and each time you click on it,
we are going to see another artist's work.
| | 01:47 | So, what this is intended to do is just
be some instant inspiration for you to
| | 01:51 | kind of give you some ideas
about what can be done with Painter.
| | 01:54 | One of the things I have always said, if you
want to improve your art, look at good art.
| | 01:59 | The more you look at good art, the better
your ideas about what you want to do get.
| | 02:04 | So, that's the first thing I wanted to show you.
| | 02:06 | Secondly, you get over here and some
of this is kind of training wheel stuff.
| | 02:11 | If you haven't even gone into Painter,
you have no idea how do I create a new
| | 02:14 | document, you just click on this and
it instantly brings you up to the New dialog,
| | 02:18 | so you can create a new document.
| | 02:20 | So, you have to do nothing more than
click OK and you have now got that.
| | 02:24 | Now, if you want to get back to that
Welcome Screen, just go to the Help menu
| | 02:28 | and drop down to Welcome and click
on it and it will bring it back up.
| | 02:32 | So, you can bring this up anytime you want.
| | 02:35 | Now, I'm not going to click on all of
these because it will dismiss it each time,
| | 02:38 | but if I click on Open an Existing
Document, it's going to launch the Open
| | 02:43 | dialog and let you open an existing document.
| | 02:46 | You can select Recent Documents.
Like I have been going through a lot of
| | 02:49 | different files as we have been
creating this title and so all of the recent
| | 02:55 | files I've had opened up appear in this list.
| | 02:57 | So, it just gives me a shortcut rather
than have to go back and try to remember
| | 03:01 | where was floating world.
| | 03:02 | It was recently in here.
| | 03:04 | So, it retains a list of several of
the last opened documents to make it
| | 03:08 | convenient to return to them.
| | 03:10 | You can also open a template and we
describe in one of the movies how to
| | 03:15 | create your own templates.
| | 03:16 | This is a new feature in Painter 11.
You can create an entire list of commonly
| | 03:21 | used file formats, dimensions,
resolution settings that you use for documents
| | 03:27 | and rather than hand create them by
the New Document dialog, you can go in and
| | 03:32 | just instantly open a document that
is set to your template settings that
| | 03:36 | you've provided it.
| | 03:38 | You also have Set-up. For example, you
go into Brush Tracking and again, we are
| | 03:42 | going to get into this in greater
detail but you could just read the little
| | 03:47 | description down here.
| | 03:48 | What it wants you to do is basically
go in and just draw a stroke that is
| | 03:51 | somewhat indicative of your hand
pressure and velocity, and to be honest,
| | 03:55 | that changes day-to-day, hour-to-hour.
| | 03:56 | You may find sometimes it's useful to
go back into the Brush Tracking dialog
| | 04:03 | and just draw another stroke.
| | 04:05 | And again, we are going to show you
more about this in the forthcoming chapter.
| | 04:09 | So, I'm not going to get into in-depth
here but it's just another nice thing to
| | 04:12 | have immediately available
when you first launch Painter.
| | 04:17 | Another thing is Color Management.
| | 04:19 | New to Painter 11 is a Color
Management dialog that is much more aligned with
| | 04:25 | Photoshop style Color Management dialog.
| | 04:27 | In fact, another feature now is that
if you use Adobe tools, you can actually
| | 04:32 | have the Adobe Color Management Module
as your color engine, and that even makes
| | 04:37 | working back and forth between
Photoshop and Painter even more easy because
| | 04:43 | you are going to have total accurate
color when working in both applications.
| | 04:48 | We also have a little bit of
assistance here, like you can ask what's new and
| | 04:52 | it's just going to open up a little
quick file here that gives you just a quick
| | 04:55 | overview of the new features.
| | 04:57 | Now, let's jump back to Painter here.
| | 05:00 | Finally, it gives you access
to online training and help.
| | 05:03 | This is going to go ahead
and open up a browser here.
| | 05:06 | What it's going to do is go
to Corel's Painter website.
| | 05:10 | Now, we can go in here and
find out things about features.
| | 05:14 | We can go down here and it
tells you what's included.
| | 05:18 | It gets into all the various aspects of it.
| | 05:21 | You can get into resources.
| | 05:23 | For example, there's tutorials here
and these are tutorials for all of the
| | 05:27 | different applications, which you can
jump in here and go to the Painter ones.
| | 05:30 | In fact, I have got a set of three
tutorials right here that goes through how I
| | 05:34 | go through the workflow that I do to do
my layer painting process, which again,
| | 05:38 | we are going to talk about in this title.
| | 05:40 | So, you have access to a bunch of training
information as well while you are in Painter.
| | 05:46 | So, the Welcome dialog is really just
there to kind of get you started and
| | 05:51 | get you on your way.
| | 05:52 | It's set up for you are right here so
that you can go ahead and get started.
| | 05:56 | Now, the last thing I'm going to show
you, I mentioned as nice as this is when
| | 06:00 | it comes up, especially as a new user,
you are eventually going to say that's
| | 06:04 | just an additional thing I have to go
through and dismiss every time I launch.
| | 06:08 | You can actually stop it from coming up.
| | 06:10 | If you just go right here and disable
this, now when you launch Painter,
| | 06:15 | you won't be presented with this dialog.
| | 06:18 | I don't want to make it go away forever.
| | 06:19 | There are times when I want to get to it.
| | 06:21 | So, once again, going to the Help menu and
going down to Welcome will bring that back up.
| | 06:27 | So, that's the Welcome Screen in Painter.
| | 06:30 | That's what's going to happen the first
time you open it up and it just is a way
| | 06:34 | for the people at Painter and
myself to all say hello, we are here.
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| Creating, opening, and saving files| 00:00 | In the last video, we saw how to
save a file from the Welcome Screen.
| | 00:05 | Now I'm going to show you how to do the
same thing but inside of Painter itself.
| | 00:08 | And to do this file management, we go
up to interestingly enough the File menu.
| | 00:12 | So we'll click on File and what we are
going to do here is create a new file.
| | 00:17 | If you are doing this on the keyboard,
then you will see throughout the tutorial
| | 00:20 | and throughout Painter itself that all
the little keyboard shortcuts are notated
| | 00:25 | to the right of the commands.
| | 00:26 | So for the New command on the Mac, we'd
use Command+N and on Windows, we'd use
| | 00:32 | Ctrl+N. So either way, we'll open a new file.
| | 00:35 | So by clicking that, this brings up
the new dialog and this is where I can
| | 00:40 | now enter the information about what
I want my file to be in terms of the
| | 00:44 | size and resolution.
| | 00:46 | You have several options here, so you
can either work in inches or pixels or the
| | 00:49 | various other measurement
systems that are common.
| | 00:52 | I'm going to stay in pixels right now
and I'm going to make my file 800x800.
| | 00:58 | So I'll just enter in 800x800.
| | 01:01 | I'm also going to stay with the default
resolution right now but a little later,
| | 01:06 | we'll talk about resolution and how to
determine what that correct resolution
| | 01:10 | would be for a project you are working on.
| | 01:12 | We'll stick with the rest of the defaults at
this point and click OK and here is my new file.
| | 01:18 | Now you have got a new file,
you are going to do something with it.
| | 01:21 | So I'm just going to play around with
the brush here and just kind of draw,
| | 01:24 | nothing fancy unless you are really
into abstract expressionism and after we
| | 01:29 | have worked on the file for a little
while, you are going to want to save it.
| | 01:32 | So once again, I'm going to go back to
the File menu and this time, we are going
| | 01:36 | to say Save and you can see here that
the shortcut for this is Command+S or
| | 01:41 | Ctrl+S. So click Save.
| | 01:44 | This brings up the Save dialog.
| | 01:45 | Now, I can go ahead and give this file a name.
| | 01:48 | So I'm just going to call it myfile and
you'll see that there is some letters here.
| | 01:53 | This is the file extension.
| | 01:55 | By default, this normally isn't on.
| | 01:57 | I have turned it on and I
recommend that you do the same thing.
| | 02:00 | If it's not on, you will see it would
save a file with no file extension and
| | 02:03 | it's just good information.
| | 02:05 | As a first time Painter user, I say
click that on and then just forget about it.
| | 02:09 | It will always be on from that point on.
| | 02:11 | We'll leave everything else in its
default state right now and we'll click Save
| | 02:16 | and that's now saved this
file. So let's close it.
| | 02:20 | Some point later, you want to work on that file.
| | 02:22 | So we go back to the File menu and now
I'm going to say Open and once again,
| | 02:27 | if you are using the keyboard, you can
use Ctrl+O or Command+O to do that.
| | 02:30 | This will present you with the
Open dialog. There is my file.
| | 02:35 | So I go ahead and I can either double-
click it or click on the Open button and
| | 02:40 | that will open the file that I was working on.
| | 02:42 | So those are the basics of creating a
new file, saving a file and opening it.
| | 02:47 | But you also have some options here.
| | 02:49 | I'm going to show you one that's very useful.
| | 02:51 | Let's say I have started on this file.
| | 02:53 | I saved it, I went out to lunch or
whatever, and now I'm going to go back in and
| | 02:58 | actually create some other work on it.
| | 03:02 | So I'm continuing to work.
| | 03:03 | One of the things that's nice is if you
are working on a file and you are going
| | 03:07 | to be stopping and starting, you can
save iteratively, which means Painter will
| | 03:12 | automatically assign a number to it.
| | 03:14 | So if I have worked on my file and I
go up to File now, I can go to Iterative
| | 03:20 | Save and you will see that is
Option+Command+S on the Mac or it'd be
| | 03:25 | Alt+Ctrl+S on Windows.
| | 03:27 | So let's go ahead and say Iterative
Save and you'll see it just automatically
| | 03:31 | saves it, but you will see what it did
at this point is it called that myfile
| | 03:36 | but it appended a 001 on it.
| | 03:39 | So let's say I want to continue to work.
| | 03:41 | So now I do some more work on this file.
| | 03:43 | I wanted Iterative Save again.
| | 03:46 | So I go up or use the keyboard shortcut,
hit Iterative Save and this bypasses
| | 03:52 | the need to go to the dialog.
| | 03:54 | It just automatically saves that for me.
| | 03:56 | So if I happen to go back to my Open,
we'll see that I have the original file
| | 04:02 | but now I have also got iteratively saved
files that are automatically numbered for me.
| | 04:07 | Now why would you use this?
| | 04:08 | Well, a lot of times in a project, you
will find that it's just good practice to
| | 04:13 | save a file along the way, especially
when you are doing work where you may need
| | 04:18 | to make a change later on.
| | 04:20 | If you save your file iteratively
during that process, each time you get to a
| | 04:25 | critical junction, if the unfortunate
circumstance that it happened you had to go back,
| | 04:30 | rather than having to go all the way
back and start over again, you could go
| | 04:34 | back to the iterative
saved file then continue on.
| | 04:37 | Iterative Save is a very good way to
be able to give yourself a bit of a
| | 04:42 | safety net as you work.
| | 04:43 | I recommend that you take
advantage of Iterative Save when you can.
| | 04:47 | That's the basics of
creating, opening and save files.
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| Sizing image resolution for output| 00:00 | Depending on where your image is going
to end up, you'll need to consider the
| | 00:04 | document's resolution and knowing
this can avoid potential disasters later.
| | 00:09 | And I can tell you a little story that
I've heard many, many times and that is
| | 00:13 | working with people, they were
confused by resolution or they didn't consider it,
| | 00:18 | and they created a file that
they later on wanted to reproduce,
| | 00:22 | typically at a larger scale.
| | 00:23 | And when I find out what the actual
data of the file was, I have to tell them
| | 00:27 | the sad news that image is not
going to reproduce at that scale.
| | 00:31 | So I happen to know, I hate to say it,
but probably dozens of people
| | 00:35 | have patches of hair torn out
around the world that have gone through this
| | 00:39 | experience and I want to help you
not to go through that experience.
| | 00:43 | So let's talk a little bit about resolution.
| | 00:46 | Now resolution is critical because it
directly relates to the image's output medium.
| | 00:51 | The output could be the web, an inkjet printer
or offset four-color printing like in magazine.
| | 00:58 | Those are typical forms of output,
and each of these output mediums has a
| | 01:02 | different resolution requirement.
| | 01:05 | So the first thing to consider is that
in Painter, imagery is made up of pixels.
| | 01:10 | That's a contraction for picture element.
| | 01:12 | They are the little squares that you
see when you magnify into an image.
| | 01:16 | And the resolution is based on the
density of those pixels and that is normally
| | 01:21 | expressed in pixels per inch or
you'll see it abbreviated as ppi.
| | 01:26 | We are now going to go up to the
File menu and we are going to go to New,
| | 01:30 | which is Command+N or Ctrl+N, and I'm
going to talk a little bit about what we
| | 01:34 | are looking at here.
| | 01:35 | So first of all, you'll see that
we've been talking in the last movie and
| | 01:39 | currently it's set to pixels.
| | 01:40 | We are going to go ahead and switch
this to inches, and Painter isn't automatic.
| | 01:45 | Like if you are a Photoshop user,
you need to set each of these manually.
| | 01:49 | I'm going to go ahead and I'm going to
set this to 10 inches, 10x10 square at
| | 01:54 | this point for demonstration purposes.
| | 01:57 | Now 72, that's a perfect resolution for the web.
| | 02:00 | I'm going to just slightly up it here
because we are going to do a little math
| | 02:03 | and I want to keep it in a number
that's going to be easy to work with.
| | 02:06 | So I'm switching this to 75 pixels per inch.
| | 02:09 | Now let's go ahead and look at this
in pixels because now I have got this
| | 02:13 | information in here.
| | 02:14 | I can't temporarily switch back.
| | 02:15 | And if we go to pixels, we'll see that
is 750 pixels on an edge of that image
| | 02:22 | and you can notice here it's 10
inches at 75 ppi. Most apply that.
| | 02:27 | That's where this 750 pixels come from.
| | 02:30 | So for web work, if you want an image
that is acceptable for web, you'd probably
| | 02:35 | work in pixels, but I'm doing this in
order to give you an idea of how the
| | 02:39 | different resolutions
affect the size of the image.
| | 02:42 | So this is a perfectly acceptable web image.
| | 02:44 | Now, let's change this.
| | 02:47 | And I'm going to say I'm going to double it.
| | 02:48 | I'm going to go to 150 pixels per
inch, which gets into the range of
| | 02:52 | acceptability for say inkjet output.
| | 02:55 | Now, let's look at this and look at the pixels.
| | 02:58 | Well now it's 1500 pixels.
| | 03:00 | So it's actually 10 times larger and
once again, 10 times 150 gives us that
| | 03:04 | 1500-pixel wide or tall image.
| | 03:08 | Let's go one greater. Let's take this
up to 300 dpi, which is in the range you
| | 03:12 | do for offset color or magazine quality
output and once again we'll look at this
| | 03:17 | and switch from inches to pixels.
| | 03:19 | Now it's 3000 pixels.
| | 03:21 | So you can see how the difference in
the density of the pixels per inch is
| | 03:27 | going to change based on your resolution and
that's why now we are up to a 3000-pixel image.
| | 03:33 | So each one of these resolutions
is very different based on what your
| | 03:38 | resolution setting is at.
| | 03:40 | So ultimately the computer and
Painter only know about pixels.
| | 03:44 | It has no idea that you want it to
be a 10-inch large image, say, in print.
| | 03:48 | You have to tell it that and that's
why it's very important to know what your
| | 03:53 | output medium is and what you are
intending the size of that image to be
| | 03:57 | because it all starts here.
| | 03:58 | And if you don't consider that and
say you wanted this to be an image
| | 04:02 | destined for the magazine and you
didn't consider the resolution and you put
| | 04:06 | it down here, well, all of a sudden, you are going
to have a image that's only 750 pixels across.
| | 04:11 | And that, as you can see it's only a quarter
of the resolution necessary for a good image.
| | 04:16 | In fact, let's go ahead and create this image.
| | 04:18 | And the other thing is when the image
opens, sometimes it will open up and
| | 04:21 | it would look exactly like this, but you
wouldn't be obviously aware of the fact
| | 04:26 | that you are dealing
with a low resolution image.
| | 04:29 | Now I'm just going to draw a little
bit here, and that looks a little funny
| | 04:32 | because it wasn't at 100%.
| | 04:34 | So I'm just putting something in here.
| | 04:36 | So let's say now, I found out, oh,
this is going to a magazine, I'll go ahead
| | 04:41 | and res it up, which means you are
going to somehow resize this image.
| | 04:45 | And you certainly can resize it, but
let's change this now to inches and
| | 04:50 | I'm going to say well, geez, I want it at 300 dpi.
| | 04:52 | Okay once again, if we
look here in pixels, oh good.
| | 04:55 | It's going up to the resolution I need.
| | 04:57 | Well, when I res that up, as they say,
you can see what's happened here is it's
| | 05:02 | gotten very soft and so you can't
necessarily go back retroactively and re-res
| | 05:08 | an image up for the proper resolution,
because what's going to happen is
| | 05:12 | you are going to deteriorate and soften that
image up and it would be unacceptable quality.
| | 05:16 | So the real lesson here that I want you
to learn is when you are going to work
| | 05:21 | on a project, if at all possible, find
out what is the output medium and what
| | 05:27 | is the size that is destined for that
output, because with that information,
| | 05:33 | you'll know-- say it's a magazine illustration.
| | 05:35 | You want it to be four
inches wide by five inches tall.
| | 05:39 | And oftentimes you can even ask in the
situation that you're working with the
| | 05:43 | person responsible, "What resolution
do you want this at?" and they'll say,
| | 05:47 | "Well, do it 300 dpi."
| | 05:49 | So that will automatically set it up
for you so that you'll have an image that
| | 05:53 | is the proper number of pixels or
pixel resolution for that output medium.
| | 05:58 | So find out that required resolution
and find out what the final size is going
| | 06:04 | to be and with that information, you
will not find yourself among the ranks of
| | 06:08 | people with patches of
hair missing from their scalp.
| | 06:11 | So follow my directions and you'll
maintain a nice healthy head of hair.
| | Collapse this transcript |
| Extending the canvas| 00:00 | One of the situations you can
encounter after you've created a piece of work,
| | 00:03 | which I have got an image here I have
done as an example, I may realize,
| | 00:06 | I really wish I had a little bit more space on
the left side, and what can you do about that?
| | 00:12 | Well there is a command in Painter,
and if we go to the Canvas menu and go to
| | 00:17 | Canvas Size, we can click on this and
this actually gives me the ability to add
| | 00:23 | extra canvas to an edge or
multiple edges of the image.
| | 00:27 | In this case, it's the left
edge that I want to go here.
| | 00:31 | You can't change the units of measurement here.
| | 00:33 | It's always going to think in pixels.
| | 00:35 | So sometimes you may need to do a
little conversion in your head or a lot of
| | 00:38 | times I just kind of do it visually.
| | 00:40 | I'm just going to make a
guess here and try 100 pixels.
| | 00:44 | So let's put that in there. That's a bit much.
| | 00:47 | So I'm going to undo, which is Command+Z
or Ctrl+Z, and I'll go back to my Canvas Size
| | 00:51 | and I think maybe about half
of that is what I want to work with.
| | 00:55 | So I'll go ahead with 50 pixels and
okay that's more what I want to do there.
| | 00:59 | So now I have got the extra
canvas width but what do I do with this
| | 01:04 | white unfinished canvas?
| | 01:05 | Well there is multiple ways to deal with this.
| | 01:08 | You can go back in with brushes and
continue to paint whatever content is at
| | 01:12 | that edge of the image and fill it in.
| | 01:16 | I am just going to quickly take the
Cloning Brush in Painter here and I'm just
| | 01:20 | going to sample a bit of the
existing Canvas or a painted area here.
| | 01:24 | I can just go in here and very
quickly in this case just for the purpose of
| | 01:28 | showing you how this
works kind of fill this in.
| | 01:32 | Whatever technique is going to work
that's appropriate for the imagery is
| | 01:35 | certainly how you do that and in this
case I might do a little cleanup here to
| | 01:39 | get rid of these little areas.
| | 01:41 | We'll be covering the Clone Brush in
a later chapter, so don't worry about
| | 01:44 | the specifics right now. Just understand that
you can use it as a way to fill in this area.
| | 01:49 | But you can see this is a very handy
technique for adding a little extension of
| | 01:54 | imagery onto your Canvas.
| | 01:56 | So under the Canvas menu, the Canvas Size
menu can be your friend in these situations.
| | 02:01 | One little bit of advise I'll tell you,
if you happen to be working in a layered image,
| | 02:05 | if you are on a layer and not
the Canvas, Painter doesn't understand
| | 02:09 | what's going on there, and
this command would be grayed out.
| | 02:12 | So if you encounter the situation where
you go to Canvas and this is grayed out,
| | 02:16 | what it means is you are on
a layer and not the Canvas.
| | 02:19 | In our situation,
I'm just working with the Canvas.
| | 02:22 | So it's automatically going to be highlighted.
| | 02:24 | But that could be a situation where
you may see this grayed out and that's
| | 02:27 | because you happen to be on a layer.
| | 02:29 | So you just want to go back down,
select the Canvas, go back up, and you'll be
| | 02:32 | able to go to that command.
| | 02:33 | So Canvas Size.
| | Collapse this transcript |
| Creating and using templates| 00:00 | You may find yourself in the situation
where you have a certain file size that
| | 00:04 | you commonly use and previously in
Painter, each time you wanted to create that file,
| | 00:08 | you have to go to the New dialog,
and put the dimensions and resolution
| | 00:13 | and you would go from there.
| | 00:14 | However, starting in Painter 11, there
is a nice new feature called Templates
| | 00:19 | that enable you to have commonly used
file sizes that you can add to and create
| | 00:25 | your own library, which makes it very
easy to be able to call that file size up
| | 00:29 | and bypass the New dialog.
| | 00:31 | So to do that, you are going to go up
to the File menu and let's just look
| | 00:35 | at this feature here.
| | 00:36 | If I go to Open Template, you'll see
that there is one that's just installed by
| | 00:40 | default from the factory.
| | 00:41 | It's a file of 810x500 pixels at 72 dpi.
| | 00:46 | So when I click on that, what will
happen is it will open up a file at that size.
| | 00:51 | So that's very convenient. I can keep
going back here and open that file up as
| | 00:55 | many times as I want and never have
to go through the typical New dialog.
| | 01:00 | So that's very nice that's in
there, but how do you add additional
| | 01:04 | templates within there?
| | 01:06 | Well what you would do is create a
file with the particular sizing and
| | 01:10 | formatting, the resolution you want to
work with by going to the New dialog.
| | 01:15 | Let's say for the sake of how I'm
working here, the image resolution I'm working
| | 01:20 | at is 1280x800 pixels.
| | 01:23 | I am working in Screen Resolution.
| | 01:26 | So here I'm going to put this down to
72 dpi and click OK and now I have got a
| | 01:32 | file that is the exact size of my screen.
| | 01:35 | What I want to do is save this as a template.
| | 01:38 | So that I don't have to go
through the little process I just did.
| | 01:41 | So to do that, I'm going to go to the
Save As menu and what I want to do here is
| | 01:47 | navigate to the Templates folder.
| | 01:50 | So on the Mac, you would go to
Applications/Corel Painter 11/Support Files/Templates.
| | 01:59 | So by placing the file in there,
that is going to add it to the library.
| | 02:03 | I'm going to go ahead, and you can use
any naming convention you want, but I'm
| | 02:07 | going to use similar to the
one that was installed here.
| | 02:09 | So I'm just going to say
1280x800 and I know that that's at 72.
| | 02:15 | So basically by putting that in there,
and you need to save it in the native RIF
| | 02:19 | format, and go ahead and hit Save.
| | 02:22 | After we have created the file,
we need to exit Painter and relaunch it.
| | 02:28 | So I'm going to Quit and let's go
back down and we'll relaunch Painter.
| | 02:33 | Let's go to Open Template and there
is my new template that I have created.
| | 02:37 | So now I can open this up and not
have to go through the New dialog.
| | 02:40 | So I can imagine maybe having several
specific file types in terms of their
| | 02:45 | dimensions and resolution
that you may want to put in here.
| | 02:48 | So Templates is a nice new
feature that streamlines your workflow.
| | Collapse this transcript |
|
|
3. Painter's InterfaceNavigating Painter| 00:00 |
Imagine yourself driving.
| | 00:02 |
How do you get around?
| | 00:03 |
Drivers rely on standardized signage
for example, or they might take advantage
| | 00:07 |
of customs like driving on the
right or the left side of the road.
| | 00:11 |
Applications employ a similar technique to
aid the user in navigating around the interface.
| | 00:16 |
We are going to take a road test in
Painter and try it out and see how
| | 00:19 |
we can get around in it.
| | 00:21 |
Let's go for a test drive now.
| | 00:22 |
Well, here we are, sitting in
front of Painter with an image open.
| | 00:26 |
What's the first thing
you are going to want to do?
| | 00:28 |
Well, the first thing is going to be
navigating this image. Before we even start
| | 00:33 |
talking about the interface the
elements around an image, we want to talk about
| | 00:37 |
just how do you control and adjust the
appearance of the image on the screen as
| | 00:43 |
you are working with it?
| | 00:44 |
Consider the way an artist works on a canvas.
| | 00:46 |
When he is working up close, he is only
a foot or two away from the image and he
| | 00:50 |
is painting and creating detail.
| | 00:52 |
However, at one point, he is going to
move back and get several feet from the
| | 00:57 |
canvas, so that he can get an overview
of what he has done and how the entire
| | 01:01 |
composition is working and a painter
will continue to work back and forth up
| | 01:05 |
close and at a distance
during the creation of the image.
| | 01:09 |
You want to be able to do the same thing
when you are working on a digital image.
| | 01:13 |
In Painter, there are several ways
that you can basically accomplish the same
| | 01:17 |
technique that the traditional painter
uses of moving in and out of your image.
| | 01:22 |
It's typically referred to as zooming
and the tool that is most associated with
| | 01:27 |
it is not surprisingly the Magnifier
tool down at the bottom-left corner of the
| | 01:33 |
tools in our Tool palette.
| | 01:34 |
So I'm going to click on that and you
will see where I put it out onto the screen
| | 01:37 |
that there is a little plus in it.
| | 01:40 |
That means that when I click now, you will
see that it zooms in or magnifies the image.
| | 01:45 |
So the first thing you will probably
ask is well now I have gotten very close,
| | 01:49 |
how can I get away from the image?
| | 01:51 |
Basically if you hold down the Option
or the Alt key, you will see that the
| | 01:55 |
little indicator in the
cursor changes to a negative sign.
| | 01:59 |
That now indicates that you can
zoom out or away from the image.
| | 02:03 |
So simply using the Magnifier and your
finger with the Option or Alt key gives
| | 02:09 |
you a very quick way to be able
to move in and out of an image.
| | 02:13 |
So that is the first
thing you want to understand.
| | 02:15 |
Now secondly, you can be at a very
extreme magnification in or out of an image
| | 02:20 |
like I am now, and one way to get
back at the full resolution is to just
| | 02:24 |
double-click on the Magnifier.
| | 02:25 |
So I'll double-click and
now the image is at 100%.
| | 02:29 |
But as you can see in the
case of this image, it's at 100%.
| | 02:33 |
I'm actually not seeing the entire image.
| | 02:35 |
So how can I get it so that it
fits on the screen very quickly?
| | 02:39 |
Well the companion to the magnifier is
right to its immediate right, and that
| | 02:43 |
is the Grabber tool.
| | 02:44 |
The little hand, so if I click on that,
you will see I now have a little Hand Cursor,
| | 02:49 |
and what I can do with this is
if I click and drag, you will see that
| | 02:53 |
I'm moving this image around.
| | 02:56 |
So if I pick up, and click, and drag, this
lets me navigate the image when I'm up close.
| | 03:01 |
So how do I get my image
back to fit on the screen?
| | 03:03 |
Well, just like we double-clicked on
the Magnifier to get to 100%, if you
| | 03:08 |
double-click on the Hand tool, it makes
the image fit within the allocated space
| | 03:14 |
available minus the interface itself.
| | 03:17 |
So with this pair of tools, the
Magnifier and the Hand, you have got two quick
| | 03:21 |
ways to be able to quickly zoom in and
by holding down that all important Alt or
| | 03:26 |
Option key, zoom out and you have
got the Grabber tool which even if it's
| | 03:31 |
zoomed-out lets me move it around, or
by double-clicking on the Grabber tool,
| | 03:36 |
I can instantly get it to fit the screen.
| | 03:38 |
So that is the basics of just being
able to move in and out of your screen.
| | 03:42 |
However, Painter does offer multiple
ways to do the same task and another one is
| | 03:48 |
right down at the lower-left
corner of the current image.
| | 03:52 |
You will see there is a slider here
and a value associated with it.
| | 03:55 |
If I move this to the left or right,
I can zoom in and out this way.
| | 03:59 |
So this is yet another way you can
close in on your image and you can then use
| | 04:04 |
your Grabber tool to pick
up and move the image around.
| | 04:08 |
Here is another thing that can happen.
| | 04:10 |
You might be working and you are
doing some detailed work up close.
| | 04:14 |
A lot of times what I like to
avoid is what I call Navigation Time.
| | 04:19 |
If I have to start now, I want to pick this up.
| | 04:21 |
I want to move this over.
| | 04:22 |
Now, I have to go and get my Brush.
| | 04:23 |
If I was doing a little work,
I'd do it, then I want to move it again.
| | 04:27 |
This takes up a lot of navigation time.
| | 04:29 |
You really want to focus on the task
of painting, and not be spending a lot
| | 04:33 |
of time driving back and forth from
your image over to the Tool palette to
| | 04:37 |
change these tools.
| | 04:39 |
So one thing you can do in many of the
tools and probably the most this will
| | 04:43 |
happen is when you are in the Brush
tool is, if I hold down the Spacebar,
| | 04:48 |
you will see that automatically
switches me to my Grabber tool.
| | 04:52 |
So this is an excellent way to be able
to be painting, if I'm painting in the
| | 04:56 |
image and then I want to move just by
holding that Spacebar, I instantly now
| | 05:00 |
can navigate to other areas of my
image and continue to paint or work on
| | 05:04 |
whatever I'm going to do.
| | 05:06 |
The second keyboard shortcut that's
important is you also want to be able to
| | 05:10 |
zoom in and out while you are in the
Paint tool, and what I can do is by holding
| | 05:15 |
down the Spacebar just as I did before
that changes me to the Grabber, but if I
| | 05:19 |
also at the same time hold down the
Spacebar and the Command or the Ctrl key,
| | 05:24 |
that changes to my Magnifier.
| | 05:26 |
Now, I'm already zoomed in, so I'm
sure some of you are saying,
| | 05:29 |
"Well, how can I zoom out?"
| | 05:30 |
Well, if you have got one more finger
left here and if you put it on the Alt
| | 05:33 |
or Option key, that does change it to the
Magnify or zoom out version of the Magnifier tool.
| | 05:40 |
So this is what I call cording.
| | 05:43 |
What you are starting to do is use 1, 2
and 3 finger combinations to be able to
| | 05:47 |
quickly change the function of the cursor.
| | 05:50 |
So I can have my Brush tool, I can
quickly change it to be able to zoom in.
| | 05:55 |
I can also quickly move to zoom out.
| | 05:58 |
So I have a trio of commands here that
are worked out by the combination of the
| | 06:02 |
Spacebar, Command or Ctrl and Option or
Alt keys that enable me to very easily
| | 06:08 |
navigate throughout my image.
| | 06:11 |
So those tools are very important and
ones that you are going to use all the time.
| | 06:15 |
The final version of zooming in and out
I'll mention to you is you can use a
| | 06:19 |
pair of keyboard commands and these
are consistent as are the cording
| | 06:23 |
techniques I just showed you with Photoshop.
| | 06:25 |
So if you are a Photoshop user, you
are going to find these fit right in with
| | 06:29 |
what you already know in Photoshop, and
like the cording scenario I just showed you,
| | 06:34 |
you can also use the Command
or Ctrl and Plus and Minus keys.
| | 06:39 |
If I do Command or Ctrl+Plus, that zooms in.
| | 06:43 |
If I do Command or Ctrl+Minus, that zooms out.
| | 06:47 |
So some people are very keyboard oriented.
| | 06:49 |
They want to do it that way.
| | 06:51 |
Some people want to use the
icons and they work that way.
| | 06:55 |
Some people like to use the slider.
| | 06:57 |
There is no right or wrong way.
| | 06:59 |
Whichever method you prefer, that's the
way that works best for you and don't
| | 07:03 |
let anybody tell you
you are doing it the wrong way.
| | 07:05 |
There is multiple ways built-in here
for different types of workflows and for
| | 07:09 |
you it's just a matter
of taking advantage of it.
| | 07:11 |
Now, the last thing I'm going to show
you that's another important feature is
| | 07:14 |
something that is called Full Screen Mode.
| | 07:17 |
One way to get to it is you can go up
to the Window menu and you will see right here,
| | 07:21 |
Screen Mode Toggle.
| | 07:23 |
If I click on this, what this does is
it eliminates my desktop, so that I no
| | 07:27 |
longer see anything but this gray background.
| | 07:30 |
What it helps you do is focus on the image.
| | 07:33 |
That's an important thing. You don't
want to be distracted by a lot of icons
| | 07:38 |
or file folders or whatever in the background.
| | 07:40 |
I work most of the time
in this Full Screen Toggle.
| | 07:44 |
But as you saw, we also have a keyboard
shortcut associated with it, Command or
| | 07:50 |
Ctrl+M. By using that, you can see here
I can very quickly toggle between being
| | 07:56 |
able to see my desktop or
completely working in Full Screen Mode.
| | 08:00 |
So that's yet another
command that is very useful.
| | 08:04 |
The final one I'm going to leave you
with is there are many times when I'm working
| | 08:08 |
even the interface is a bit distracting.
| | 08:11 |
So I can use the Tab key
to turn that on and off.
| | 08:16 |
So if I want to get into Full Screen
Mode and have my Paintbrush,
| | 08:19 |
I'm just kind of drawing here.
| | 08:20 |
So you can see I can work without any
interface elements on the screen and
| | 08:26 |
I can also have no distractions
around the image at the same time.
| | 08:30 |
So I can completely focus on my image.
| | 08:33 |
So these are basic navigation skills
that you are going to want to learn,
| | 08:37 |
because as you incorporate them into
your workflow, you are going to find that
| | 08:41 |
you are going to become much more efficient.
| | 08:43 |
So navigation, learn it.
| | 08:46 |
| | Collapse this transcript |
| Rotating the canvas| 00:00 |
Imagine you are sitting at a desk and
you have got a sketchpad and pencil.
| | 00:04 |
You are going to begin
to draw on that sketchpad.
| | 00:07 |
As you begin to draw you are not
going to treat that sketch pad as if it's
| | 00:11 |
cemented down to the table. You are
going to rotate and move that as you sketch,
| | 00:15 |
because you have got to
accommodate your hand, wrist and arm motion, so
| | 00:20 |
that as you draw certain angles are
going to far easier to accomplish with the
| | 00:24 |
sketch pad oriented the way
that's most comfortable for your hand.
| | 00:29 |
And the same thing can be done in Painter.
| | 00:31 |
There is actually a command and a
tool called the Page Rotate tool that
| | 00:36 |
enables this to happen.
| | 00:38 |
Now it is actually on the Tool
palette and I'm going to click and hold the
| | 00:43 |
grabber so that I can call this up.
| | 00:45 |
You will see there is actually this
little Rotate tool and what happens is if I
| | 00:49 |
click and drag, I can actually
rotate this page to any angle.
| | 00:54 |
Well that's great, but just like the
Hand and Grabber tool I was showing you before,
| | 00:58 |
there is actually a way to do
this without having to bother going in and
| | 01:03 |
locating and unearthing the Rotate
tool itself and that is actually another
| | 01:09 |
cording action and let's put ourselves
in the Brush too because this is most
| | 01:13 |
likely when you are going to
encounter wanting to use this tool.
| | 01:16 |
If I hold down the Spacebar as well as
the Option or Alt key, you will see I
| | 01:21 |
get that same cursor and now without
actually going to that tool I can go in
| | 01:26 |
here and quickly rotate to accommodate
my hand and I'm going to show you why I
| | 01:30 |
would want to do that.
| | 01:31 |
Now I'm going to do this a little
artificially, but imagine once again, if I
| | 01:36 |
have got my tab at right at front of me
here, when I want to draw a horizontal
| | 01:41 |
line across the screen, I have got to
somewhat tuck my elbow up to the side of
| | 01:46 |
the my body and then draw back and
forth this way and it's a bit unnatural.
| | 01:52 |
Now I'm going to go ahead and use
the page Rotate tool and once again I'm
| | 01:56 |
holding down the Spacebar and the Option
or Alt key and I can rotate this now so
| | 02:01 |
that this is a much better way for me
to draw those lines and that's why this
| | 02:06 |
Page Rotate tool is so important.
| | 02:09 |
There are just many, many times you are
going to find where it's very difficult
| | 02:13 |
to draw a particular angle.
| | 02:15 |
For example, I'm left handed and for me
to draw kind of a circle sometimes this
| | 02:20 |
way is very difficult, but if I rotate
the page around to an angle like this
| | 02:25 |
that's much easier for me to do and
again what you are going here is you are
| | 02:29 |
accommodating your hand, wrist and arm,
just so you are in the most comfortable
| | 02:34 |
position to accomplish that angle
and artists use this all the time.
| | 02:38 |
If you ever sit and try to sketch
without ever rotating your sketch pad around
| | 02:43 |
you will find it's very difficult to
be able to accomplish and have the same
| | 02:46 |
freedom to draw that you get when you
do rotate the sketch pad around, and the
| | 02:50 |
same holds true here.
| | 02:52 |
Being able to rotate the page is a
very key component of natural drawing and
| | 02:57 |
fortunately it's built into Painter
with the Page Rotate tool, so take advantage of it.
| | 03:03 |
| | Collapse this transcript |
| Using the Tool palette and Property bar| 00:00 | In this video, we are going to start
taking a look at the components of the on
| | 00:04 | screen interface in Painter and I'm
going to begin by taking about the toolbar,
| | 00:08 | which is right here, the Tool palette and
I'm going to also discuss the Property Bar.
| | 00:14 | So, this is normally where you wouldn't
put them but I'm just pulling them out
| | 00:17 | so you can see the components I'm talking about.
| | 00:20 | Interestingly, the Tool palette and the
Property Bar are almost two faces of a coin
| | 00:26 | and the reason that is, is that
you will notice if I switch from my Brush tool
| | 00:30 | by clicking over here on the
Layer Adjuster you will notice that the
| | 00:34 | Property Bar changes and in fact,
every time I click to a different tool the
| | 00:39 | contents of that Property Bar update.
| | 00:42 | Why is it doing that?
| | 00:43 | Well, one way I think about the Property Bar,
it's almost like the dashboard on your car.
| | 00:48 | When you are driving down the road,
you don't spend 20%, 30%, 40% of your
| | 00:52 | time looking down at the dashboard.
In fact you would probably spend less
| | 00:56 | than 1% looking at it.
| | 00:57 | But at the same time it gives you
vital information about the status of your car,
| | 01:02 | so you know how much gas you have,
you know how fast you are going, you can
| | 01:06 | tell what radio station you are
listening to, the time, they are all there but
| | 01:10 | they are laid out in such a manner
that you can pretty much glean that
| | 01:13 | information from a single glance.
| | 01:16 | And that's exactly how the Property Bar
works in conjunction with the Tool palette.
| | 01:22 | So, each one of these tools has bits
of information that is very useful to be
| | 01:27 | able to almost in a glance be able to find out.
| | 01:30 | We'll begin with the Brush because
that's literally the heart of Painter.
| | 01:34 | You will be in these other tools at
various times but you are going to spend
| | 01:38 | the majority of your time in Painter in the
Brush tool since that what Painter is all about.
| | 01:43 | And so, the Property Bar reflects the
fact that you are using the Brush tool.
| | 01:47 | What you will find up here are various
elements that tell you the status of that
| | 01:53 | brush at the current time.
| | 01:55 | Now, it's not my intent in this video
to go through and describe for you what
| | 02:00 | every component of every Property Bar
setting is going to look like for every
| | 02:05 | tool but the idea here is to let you
know that you can get the key information
| | 02:11 | you need about a tool from the Property Bar.
| | 02:14 | And the way the Brush tool is set
up in particular is it gives me some
| | 02:18 | very vital information.
| | 02:20 | For example, I can find out right away
what size brush I'm working on right now
| | 02:24 | and it's listed in pixels.
| | 02:25 | So, this is a 20 pixel brush.
| | 02:27 | I also can find out what's the
Opacity of this brush at the moment.
| | 02:32 | It's a 70% Opacity.
| | 02:34 | Finally, and we'll talk about this in
greater detail in a later video but the
| | 02:39 | Paper Grain interact with some tools,
and this gives me a indication of what's
| | 02:44 | the current setting of the Paper Grain.
| | 02:47 | And then you are going to get into some
more a little bit esoteric things here
| | 02:50 | like Resat, Bleed, Jitter.
| | 02:52 | You know they are not common word that
you encountered in everyday conversation,
| | 02:56 | but to the brush they are important.
| | 02:57 | For example, Resat is a contraction
of re-saturation, and re-saturation and
| | 03:03 | bleed as we'll find out later are two
components of the brush that very much
| | 03:08 | control how color comes off of the brush.
| | 03:12 | And you can adjust them to get a wide
variety of looks with the color that's
| | 03:17 | coming off the brush and once again, we'll
investigate that in depth at a later chapter.
| | 03:22 | Jitter is another one.
| | 03:23 | It allows me to play around with
the stroke that is made by a brush.
| | 03:29 | In fact, let's just temporarily switch
to a different tool and I'll show you
| | 03:33 | a little bit of this.
| | 03:34 | If I draw with this brush right now
you will see that it in fact draws us a
| | 03:38 | very nice straight line.
| | 03:40 | However, if I go in and adjust my
Opacity down and this is an important feature
| | 03:47 | to show you, you can adjust the
Opacity or any these boxes in several ways.
| | 03:52 | I could go in here and
this is an editable field.
| | 03:55 | I want to do 90% and you can see that
the brush is not quite 100% opaque anymore.
| | 04:01 | Another way to adjust it is to click on
the little down arrow on the rectangle
| | 04:07 | on the right side, if I click on
that you will see what pops up here is a
| | 04:11 | slider and I can now use this slider to
adjust very coarsely or I can actually
| | 04:16 | use these little right and left arrows to
very precisely adjust exactly the level I want.
| | 04:21 | Now, I have a brush that is 55% transparent.
| | 04:25 | The other thing though that is very
useful to know about the way this little
| | 04:28 | drop-down menu that brings the slider
up is you don't have to go through one,
| | 04:34 | two, three actions in order to adjust opacity.
| | 04:38 | I can instead just click and drag,
just clicking and dragging instantly make
| | 04:42 | this adjustable so that you are
not having to do three clicks.
| | 04:46 | The only time you would use the three
click method, the one and then two and
| | 04:51 | then finally three to slide or to
adjust this when you really want to make very
| | 04:55 | precise adjustments.
| | 04:56 | Normally I don't, especially with opacity.
| | 04:58 | It's not something you
necessarily need an exact level of Opacity.
| | 05:02 | Many of the sliders in Painter
employ what I call season to taste.
| | 05:07 | There is no particularly correct Opacity level.
| | 05:10 | It's all in what your intention is and what
kind of expression you are trying to make.
| | 05:14 | So like a chef many of these sliders
are really season to taste, you just get
| | 05:19 | into roughly where you want.
| | 05:20 | So, if I'm not at 50%
exactly that's close enough for me.
| | 05:24 | I don't need to spend the time
threading the needle here to find exactly 50%,
| | 05:29 | I can just basically click and drag
and get to a percentage within a range
| | 05:34 | that I want to work with.
| | 05:35 | So, that's one way to
very quickly work on these.
| | 05:38 | Another way to do this what's you are
going to happen to do when you are in the
| | 05:42 | Brush tool is the 1 through 0
keys, work in 10% increments.
| | 05:47 | So if I want to get to 80% right now,
if I just click the 8 key you can see it
| | 05:52 | immediately moves up.
| | 05:53 | So I can go like 10, 20, 30, 40, 50, 60
and so on just by using those numeric keys.
| | 05:59 | So you do have one way to quickly kind
of move in 10% increments and often times
| | 06:04 | that's totally useful.
| | 06:05 | So what I'm talking about here that's
specific to the Brush Property Bar is
| | 06:11 | going to apply in basically any
one of the palettes you are in.
| | 06:14 | So if I want to change the Brush Size
clicking and dragging is a way to do that.
| | 06:19 | The basis, as I said though, is that
the Property Bar acts as if it were a
| | 06:23 | dashboard for the particular
tool that is active in the toolbar.
| | 06:28 | So, you want to use this two sides of
this coin to be able to give yourself a
| | 06:34 | instant status check on what a
particular tool setting is at any given moment.
| | Collapse this transcript |
| Understanding Tool palette selectors| 00:00 | Painter comes with several forms of
content and these are in the form of
| | 00:04 | Libraries and the different kind of
content you have access to are Paper Grains,
| | 00:10 | Gradients, Patterns, Weaves, Brush
Looks and Nozzles, and for each one these
| | 00:17 | categories there are number of
existing variations on there particular type of
| | 00:22 | content available to you.
| | 00:25 | The thing is, how would you get to them?
| | 00:27 | Well, if we take a look at the tool
palette on the left side of the screen here
| | 00:31 | and go down to the bottom, you will see
these six icons and you've probably been
| | 00:36 | staring at and wondering what are those.
| | 00:38 | Basically, these are the content
selectors and each icon represents the various
| | 00:43 | form of the content we talked about.
| | 00:44 | So the upper left here is the Paper
Selector and then we have the Gradient
| | 00:48 | Selector, we get to the Patterns
Selectors, the Weave Selector, and then this a
| | 00:54 | little bit of variation on the actual
Libraries themselves that we have the
| | 00:58 | Brush Looks Selector and finally the
Nozzle Selector and it's not my intent here
| | 01:02 | to go through and
describe in depth all of these.
| | 01:05 | We'll be doing that later on in the title.
| | 01:07 | But I'm going to use the Paper Grains
as one way to show you how the mechanism
| | 01:12 | of content selectors works in Painter,
because of we work with one, you will
| | 01:16 | have the tools to be able to work with
any of these Libraries, and to be quite honest
| | 01:21 | you probably are going to be
spending most of your time in the Papers
| | 01:24 | Library in terms of these
various form of content.
| | 01:27 | So let's begin by just clicking on
the Paper Selector and you will see what
| | 01:32 | we immediately get is a drop-down list of
the current contents of the Paper Library.
| | 01:38 | So I have got both a small iconic
representation as well as the name of a
| | 01:43 | particular element in that library.
| | 01:45 | If I, for example, click on Basic Paper
now, you will see that icon has slightly
| | 01:50 | changed to indicate that I'm now
using that particular Paper Grain.
| | 01:54 | And a small of the sample as this is,
once you get to know Paper Grains, you can
| | 01:58 | actually look at this and just by
looking at that Grain you can almost instantly
| | 02:02 | tell that working with basic paper right now.
| | 02:04 | So somewhat like the property bar,
this is a bit of dashboard for you as well
| | 02:08 | that quickly tell you what's the
current status of a particular content element
| | 02:12 | that you are working with.
| | 02:13 | So let's open this back up and you may
have seen this that there is a little
| | 02:17 | arrow and if I click on it, a
small fly out menu of options shows up.
| | 02:22 | And for example one of the things
I can do is change the view of this
| | 02:26 | particular drop down menu.
| | 02:28 | So if I switch to Thumbnails for example,
you will see that I now get all of the
| | 02:33 | Paper Library, but in a thumbnails form.
| | 02:36 | The thing that I don't particularly
care for is that I don't know the names of
| | 02:40 | them, for example like this
one which is a favorite of mine.
| | 02:42 | I have to hold the cursor over to find
out, oh, yes that's Coarse Cotton Canvas.
| | 02:47 | So to my way of thinking,
I prefer the List view.
| | 02:49 | It's up to you which way you want to
use it, but I find this one a little more
| | 02:52 | informative as opposed to a
strictly iconic view of it.
| | 02:57 | Now once you start working with one of
these library elements, and I'm going
| | 03:01 | to switch to Coarse Cotton Canvas
because that's one that I like, you're going
| | 03:05 | to work specifically on it and again this
is going to apply to all of these libraries.
| | 03:09 | What I'm going to do here is go to the
Window menu and I could go down to the
| | 03:13 | Library palettes here and I want to go
to the Papers and if I click on this,
| | 03:17 | this brings up my Paper palette.
| | 03:19 | So this is where I can start to
control and adjust this palette.
| | 03:23 | But as I mention earlier with regards
to changing other tools that navigation
| | 03:28 | time, you are having to go all the way
up to the Window menu, click it, drop
| | 03:31 | down find the Library palettes, go to over here.
| | 03:34 | I'm spending lot of time navigating
interface and I want to minimize my
| | 03:38 | navigation time, if possible and
just focus on the task on hand.
| | 03:41 | So another way to get to this, and we'll
click on to little red button that closes it.
| | 03:46 | If we click on this one more time and
once again go over to our fly out menu,
| | 03:50 | you will see that Launch palette is right there.
| | 03:52 | So if I click on that, that let's me
get to this palette, which I think is the
| | 03:57 | much quicker way to do.
| | 03:59 | So that's the another way to get to it,
and once again just depending on of
| | 04:02 | you are a menu person or you a quick
navigation person, you will find the way
| | 04:06 | that works best for you.
| | 04:08 | Now while we were in here another
thing we want to talk about, I'm going to
| | 04:12 | pop this open one more time is
important command down here which is the Paper
| | 04:17 | Mover and Open Library.
| | 04:19 | Both are important, but I think the
one that you really are going to be
| | 04:22 | interested in is the Paper Mover.
| | 04:24 | Once again there is a Mover
associated with each of the content Libraries.
| | 04:28 | I am going to click on this and you
will see that what I get is the current
| | 04:32 | library over here and now I have got
the opportunity to open another library,
| | 04:37 | and one of the reasons I'm bringing
this up is many people don't know this that
| | 04:40 | when you get Painter on the CD, you
actually get several other Paper Libraries.
| | 04:45 | So you are not relegated to the 20 or
so textures that happen to be in the
| | 04:50 | current Paper Library.
| | 04:51 | There are multiple libraries available.
| | 04:53 | And I have just selected one here.
| | 04:55 | I believe this is from Painter 4
or Painter 5, which is one of the
| | 04:58 | libraries available to you.
| | 05:00 | I can go ahead and click and open this
and now I have got some Paper textures
| | 05:04 | that I don't have in the current
library and I can actually add this to my
| | 05:09 | current library, if I wanted.
| | 05:10 | So if I want to click on this rather
unusual type texture, I can just grab it
| | 05:14 | and take it over here and that's
now been added to my Paper library.
| | 05:18 | So I can actually retrieve content from
other libraries and just click-and-drag
| | 05:24 | to bring it over to the current library.
| | 05:26 | Sometimes you will get
textures in there you don't want.
| | 05:29 | Well, I can also go in here and select
that and see now I have the option to if
| | 05:33 | I want to delete it, I can
remove it from the library.
| | 05:36 | So the Paper Mover is really a
management tool that lets you aggregate and
| | 05:42 | organize various content Libraries so that
you can get them to exactly the way you want.
| | 05:47 | You could even close this and
create a new library for example.
| | 05:50 | I'd give it some name like MyPaper and
we'll save that and now I have got this
| | 05:56 | library and I could go ahead and say
well, you know I really like this texture.
| | 06:00 | I'm going to put that in there and I
want to take this and put it there.
| | 06:03 | Whichever Pattern of Paper texture in
this instance you want to do, you could
| | 06:07 | go ahead and do that and hit Done and now I
have got the new library with my content in it.
| | 06:12 | So once again the Movers
within each of the Selectors.
| | 06:16 | So for example I'll just
pop open Gradients here.
| | 06:20 | You can see right there,
there is the Gradients Mover.
| | 06:21 | So you will find that is mirrored
in all of these content Libraries and
| | 06:25 | it's just a great way to manage and actually
add additional content to your Paper Library.
| | 06:32 | Because as I have said I have
mentioned to many students that there are other
| | 06:35 | libraries available and they are
surprised to know that they have actually have
| | 06:38 | access to these libraries.
| | 06:40 | So once you have a library palette
open as we do here, it gives me the
| | 06:45 | opportunity to start to make adjustments.
| | 06:48 | For example, one of the things I can do
here is I can actually adjust the Scale
| | 06:52 | of this and why does this make a difference?
| | 06:54 | Well, I just happen to have this
Square Chalk Brush current, and that's the
| | 06:59 | brush that is sensitive to the Paper Grain.
| | 07:02 | So I'm going to press very lightly with
my tablet and you will see I'm just now
| | 07:06 | kind of skipping on the top of the Grain.
| | 07:08 | Whereas I press down, I can
work all the way down into that.
| | 07:12 | But why does this look like a chalk?
| | 07:14 | Because it's interacting with the paper
texture and I can alter the character of
| | 07:18 | that texture so that I can adjust how it looks.
| | 07:21 | Another nice feature of this is
it's even got contrast and brightness
| | 07:24 | associated with it.
| | 07:25 | Why would you use that?
| | 07:26 | Well, you can see how the
paper texture looks right now.
| | 07:29 | If I increase that contrast, I'm going
to start to get out different appearance
| | 07:33 | just by changing, you see now the
appearance of that same texture looks very
| | 07:38 | different than it did in its default.
| | 07:40 | So being able to adjust the various
forms of content give you the option to not
| | 07:46 | be stuck with just a
particular look of the Paper Grain.
| | 07:48 | You can actually change it quite a bit.
| | 07:50 | In fact, for Paper in particular, if
I click on this icon, this reveres it.
| | 07:55 | So one way to show you this is
I'll Select All, which is Command+A or
| | 07:58 | Ctrl+A, and Delete.
| | 07:59 | I'm going to go ahead and draw
with this in the inverted state.
| | 08:03 | Now I'm going to change it, and let's
change to an opposing color here and now
| | 08:07 | I'll draw and you could see what's
happening there is because of the medium of
| | 08:10 | the Paper Grain has been inverted, it's
now treating what it considers the peaks
| | 08:14 | in the valley of that
Grain to actually be reversed.
| | 08:18 | So you can even change the character
further by actually inverting the Grain
| | 08:22 | through that particular icon.
| | 08:25 | So you have got several controls
available for each of your content Libraries
| | 08:29 | and by exploring and adjusting the
various type of controls that are available
| | 08:34 | you can dramatically alter the
character of even a single texture.
| | 08:37 | So one texture can actually be called
into service in many different ways
| | 08:41 | depending on the
particular look that you are after.
| | 08:45 | So the content Selectors are a great
gateway to a variety of content that can be
| | 08:51 | applied with various tools through
Painter and as I mentioned that we'll be
| | 08:54 | looking at some of these other
categories later on in the title.
| | Collapse this transcript |
| The Brush Selector bar: an art store in a palette| 00:00 | When you open Painter and just click
on the Brush icon and you start drawing,
| | 00:04 | you're certainly going to most likely
start drawing with something, but how do
| | 00:08 | you know what it is that
you are drawing with here?
| | 00:11 | That's where Painter's Brush
Selector bar comes into play.
| | 00:15 | This is the main interface for all of
Painter's brushes and the way you tell
| | 00:19 | what you are painting on is in a couple of ways.
| | 00:22 | One, you can see it says Oil Pastels and
then underneath that it says Oil Pastel 30.
| | 00:27 | Well, what this is is a category, Oil Pastels.
| | 00:32 | It's also represented over here by
an icon and then Oil Pastel 30 is also
| | 00:38 | represented by an icon that gives
somewhat of an indication of the shape of the tip
| | 00:42 | and underneath each of these are
actual scrollable lists that contain all of
| | 00:49 | the Categories and all of the Variants.
| | 00:52 | The Categories are almost like art store
aisles and so when you walk into an art store,
| | 00:58 | you are going to find an aisle
with chalk and it's not going to have just
| | 01:02 | one box of chalk sitting there.
| | 01:04 | It's going to have many
different kinds of chalk there.
| | 01:07 | So here is a square chalk.
| | 01:09 | But if I want to get to a different type of
chalk that's in that aisle, how do I find it?
| | 01:14 | Well, we go to the Variant list.
| | 01:16 | These are all the different kinds of chalk
in the chalk aisle or on the chalk shelf.
| | 01:22 | So I could go and get a different type of chalk.
| | 01:25 | It just depends on the characteristic
you want, how a piece of chalk is going to work
| | 01:30 | and it's a matter of trying each
of these out over time and finding out
| | 01:36 | what works as the kind of
character of chalk I want.
| | 01:40 | So you have basically got Categories
and let's say I want to go to Oils now.
| | 01:46 | If I go to Oils, I'm going to have
many different brushes available that are
| | 01:51 | designed to paint with an oil type of stroke.
| | 01:55 | So if we get Smeary Round for example.
| | 01:57 | I'll take this and you see now I have
got a very different stroke going on than
| | 02:03 | we had with chalks and once again,
in here, you are going to find several
| | 02:07 | different kinds of brushes that are
going to work based on the characteristics
| | 02:12 | they were set up for.
| | 02:14 | Most of the time, the name indicates
pretty close to what it suppose to do,
| | 02:19 | but there's no way you can know for
sure what Bristle Oils is going to do
| | 02:23 | until you try it out and so the only
way to really experience all these is to
| | 02:29 | ultimately go through and try them and
that's something that at the outset of
| | 02:33 | Painter is a good idea to do.
| | 02:35 | Just go through the Categories and try them.
| | 02:37 | You are going to find some brushes you
don't like, you will find other brushes
| | 02:40 | that are great and you
will use them all the time.
| | 02:43 | It's just a matter of experimenting and
finding out which brushes are the ones
| | 02:47 | that suit your particular feel or
outlook or media that you want to work with.
| | 02:52 | It's all a matter of trying things out.
| | 02:55 | Now a secondary part of the Brush
Selector bar is this little triangle here.
| | 03:00 | You will see these in
many places in the interface.
| | 03:02 | Whenever you see that, that's a
disclosure triangle that pops open a little
| | 03:07 | options menu about what's going on or
different kinds of commands or options you have.
| | 03:12 | I'm not going to go into these in depth
right now because elsewhere I'm going to
| | 03:16 | describe this in detail.
| | 03:18 | But I just want you to know that
that's where a lot of the options are stored
| | 03:22 | for the Brush Selector bar.
| | 03:24 | You have also got a small
disclosure triangle for each of the pop-ups.
| | 03:28 | So if I want to switch this to
thumbnails, for example, I could.
| | 03:32 | I would recommend it
because this is like an IQ test.
| | 03:35 | What does this mean, what does
this mean, what does this mean?
| | 03:38 | It's kind of a hard to recognize these
strictly by their icons and so normally,
| | 03:43 | I keep it set to the list.
| | 03:44 | It's just easier to view this in
alphabetical order where the text is there to
| | 03:50 | help you recognize what these icons mean.
| | 03:53 | So the Brush Selector bar is your
friend and even though it takes up a small
| | 03:58 | amount of real estate, it's
packed with a lot of power.
| | Collapse this transcript |
| Configuring palettes| 00:00 | Well, as we have taken our grand tour
of the interface elements in Painter,
| | 00:04 | we've kind of made our way over here
from the left, looking at the Tool palette,
| | 00:07 | and the Property bar.
| | 00:09 | We have also taken a look at the Brush
Selector bar, but we've got this big area
| | 00:13 | over here on the right.
| | 00:15 | And what's going on over here?
| | 00:17 | Well, these are various palettes that
we'll talk in depth about in some of
| | 00:22 | the later chapters, for example,
this basically has to do with color and
| | 00:26 | we'll explain that.
| | 00:27 | We've got layers and channels. Those
are also going to be covered in later
| | 00:31 | chapters but where I want to go over
specifically now is just the behavior of
| | 00:35 | these palettes, because there are some
interesting things going on here that
| | 00:38 | makes it very configurable.
| | 00:40 | So that you don't have to stick
with the so-called factory setting.
| | 00:43 | You can make some adjustments to
these palettes and I want to go through
| | 00:48 | exactly how that works.
| | 00:49 | Now, you'll notice that at the top of
the Colors palette for example and
| | 00:53 | it's identified by its name,
| | 00:54 | you have got this little gray bar. In
fact, each one of these is a palette bar
| | 00:59 | and I can use the little disclosure
triangle to the left of each palette title,
| | 01:05 | to open and close these various parts of,
in this case Color tools, within Painter.
| | 01:11 | So, right away you've got the ability
to decide which one of these is open and
| | 01:15 | which one of them is closed.
| | 01:17 | And whatever actions you do to this,
Painter remembers it so that the next time
| | 01:22 | you open Painter up,
it will be exactly as you left it.
| | 01:25 | And some of these controls like this, I
think it's almost like a pair of jeans.
| | 01:29 | When you first buy them they
are kind of stiff and blue.
| | 01:32 | As you wash them and wear them they
slowly sort of mold to your particular frame
| | 01:37 | and so the palettes are much like that.
| | 01:39 | As you adjust them and you sort of grow
into them, they kind of take on the
| | 01:43 | shape that fits your workflow.
| | 01:45 | So, that's the first thing.
| | 01:47 | We can collapse these all down and
minimize it if we want to, or we can open up
| | 01:51 | to get to various areas
of the interface as needed.
| | 01:55 | The next thing I want to show you here is that
and let's open one of these up to show you this.
| | 02:00 | I can actually rearrange these.
| | 02:02 | For example, if I think the Mixer is
really something I want to use all the time.
| | 02:06 | If I click-and-drag this, I can
bring this up and place it up there.
| | 02:10 | So now, I could set this up so that if
I'm a person who uses the Mixer all the
| | 02:14 | time, I could have that be my primary
form of color selection rather than the
| | 02:19 | Color palette itself.
| | 02:20 | So you can organize these according
to the way that you want to prioritize
| | 02:25 | what's important and what's not.
| | 02:27 | You also have the ability to
decide what you want to open or close.
| | 02:31 | You'll see each one of the palettes
has a little box, with an x in it.
| | 02:34 | If for example, if I just never used
Color Expression, I can just click and
| | 02:38 | close this and now it's
not even there to work with.
| | 02:42 | But fear not, you can always go back to
the Window palette and in this case, if
| | 02:46 | I go to the Color palettes, I can
see right here this Color Expression is
| | 02:50 | unchecked, if I click on that it now shows up.
| | 02:54 | So you never lose a palette by turning it off.
| | 02:57 | You just disable its visibility.
| | 02:59 | It's always retrievable back through
the Windows menu to determine, if you want
| | 03:04 | to turn it on or off.
| | 03:05 | So, you have complete control over
what palettes show up in Painter.
| | 03:10 | Here is another interesting feature.
| | 03:12 | Let's take for example layers.
| | 03:14 | I can take a palette and if I click-and
-drag it, I actually can detach it, so
| | 03:19 | here it was in this palette container,
I've actually detached it, so now, I have
| | 03:23 | got it as a separate palette and one of
the things that's nice about that is the
| | 03:27 | way it comes from the factory
which would set up like this.
| | 03:30 | I find a little cumbersome because,
like obviously, well now that's lost I've
| | 03:34 | got to close this to
find that there is Channels.
| | 03:37 | It's actually-- I find it works a
little better when it's not so broken up.
| | 03:41 | So what I do is I take Layers and I put
it right in the bottom of this palette.
| | 03:46 | And I do the same thing with Channels.
| | 03:49 | Now they didn't quite pop into
the right spot, so I'm just going to
| | 03:51 | click-and-drag that and I'm organizing this now.
| | 03:54 | So, now all my palettes
are in one palette stack.
| | 03:57 | I have no longer got two palettes.
| | 03:59 | I just find putting this in a single
what I call layer stack is a much more
| | 04:03 | elegant way to work.
| | 04:04 | Because as you open and close it,
it's kind of like an accordion.
| | 04:08 | It will collapse and open.
| | 04:09 | So that whatever you are opening up, it
will accordion open or close the other
| | 04:15 | particular palette, so that this
becomes the palette that's now your focus.
| | 04:19 | And in fact, talking about the notion
of an elevator, if I close these, like
| | 04:25 | this, I could go in and this is
like an elevator instead of buttons.
| | 04:30 | Now, say I want to go to the Colors
floor, let's open another title up here.
| | 04:35 | By clicking on the title itself
it will close that or open it.
| | 04:40 | So you can see here by clicking on
each on one of these, it will close in the
| | 04:44 | other palettes and focus on just that palette.
| | 04:47 | So, you can almost use this like an elevator.
| | 04:49 | I want to go to the color variability
floor or I want to go to the Mixer floor
| | 04:53 | or I want to go to the Colors floor.
| | 04:55 | So you can keep this basically collapsed
and only deal with one palette open at a time.
| | 05:00 | But to be honest, you are going to find
times where you want the Colors palette
| | 05:03 | and the Layers palette open and that's
why it's nice to be able to determine
| | 05:08 | when you want to open and
close multiple palettes.
| | 05:11 | Now here is another little power
secret that a lot people don't know.
| | 05:14 | If you hold down the Shift key and
click on one of these disclosure arrows.
| | 05:19 | It will open all of the palettes.
| | 05:21 | Now obviously, it's larger than can
fit on the screen, but you can instantly
| | 05:26 | open all of the palettes with that
little trick and conversely, if I hold Shift
| | 05:31 | key and click it again,
it collapses them all down.
| | 05:34 | So, through this mechanism of being
able to move palettes around, turn
| | 05:39 | palettes On and Off, determines which
ones are open and close, you can really
| | 05:44 | organize the palettes to exactly suit
your working style and what you want
| | 05:50 | open at any given time.
| | 05:52 | So, the palette behavior is just a nice
way to customize the interface to your
| | 05:57 | particular workflow.
| | 05:59 | So definitely take advantage of this
ability and don't just think of the factory
| | 06:03 | setting is the way you have to work.
| | 06:06 | As you get acclimated to Painter,
you are going to find that certain palettes
| | 06:09 | are open more often and
other ones you never use.
| | 06:11 | So edit your palette stack and
organize it to suit your needs.
| | Collapse this transcript |
|
|
4. Color Your WorldAccessing and controlling color with the Color palette| 00:00 | Color is a major component of Painter.
| | 00:02 | In fact, you need it in order to paint.
| | 00:05 | In this chapter, we are going to take
a look at Painter's various methods for
| | 00:08 | controlling and accessing color.
| | 00:10 | Because without them you are dead in the water.
| | 00:12 | So, let's get started before we start drowning.
| | 00:15 | Besides Painter's brushes themselves,
the other key component to being able to
| | 00:19 | express yourself is color.
| | 00:22 | Color connotes a lot of emotion and
feeling and so it's that combination of the
| | 00:27 | expression of the marks made by the
brush along with the color that is applied
| | 00:32 | to the canvas that really is the
carrier of emotion or feeling that you are
| | 00:38 | going to be applying and
communicating through your imagery.
| | 00:41 | So, we are going to talk in
depth about color in this chapter.
| | 00:45 | And I'm going to start off by
talking about the Color palette.
| | 00:48 | I'm just going to pull it off here for a
moment so that we can actually look at it.
| | 00:52 | We are going to take a look at what's
going on in here in the mechanics of
| | 00:56 | the palette itself.
| | 00:58 | So, first and foremost, you'll see
you have this display of a circle with a
| | 01:03 | triangle inside of it.
| | 01:05 | And the outer circle is
actually what we call the Hue ring.
| | 01:09 | This is where your redness, your
yellowness, your greenness, all of those
| | 01:13 | various colors that if you remember Roy
G. Biv from grade school, all of those
| | 01:18 | colors are contained in here.
| | 01:20 | And I can actually take this little
indicator and you can see I can move it
| | 01:23 | around and that is how I can dial in
a particular kind of blue or cyan or
| | 01:29 | whichever color I'm after.
| | 01:31 | Secondly, you have the triangle in the center.
| | 01:34 | And this triangle actually at the
far right corner, whatever hue you
| | 01:40 | currently have selected, this far right
corner indicates that color at its full saturation.
| | 01:46 | If I take this indicator and kind of
drag it along the top edge of the triangle,
| | 01:51 | what I'm doing is
controlling the tint of this hue.
| | 01:54 | So, as I go more increasingly towards
white I'm tinting that color, so that it
| | 02:00 | becomes more and more tinted with
white and similarly, as I drag this little
| | 02:04 | indicator along the bottom edge of
the triangle, I'm shading this color.
| | 02:09 | That means I'm adding more and more black to it.
| | 02:12 | And then finally, the left edge
of the triangle is a grayscale.
| | 02:16 | So, I go from 100% white through to 100% black.
| | 02:20 | So, what I have got inside of this
triangle are all the possible combinations of
| | 02:26 | shade and value within this particular Hue.
| | 02:29 | And that's basically how you select
color using this. New in Painter 11 is
| | 02:35 | they've added what was the Color
Information palette is now actually part of this.
| | 02:40 | And it's nice because it's gives you a dual
way to control what's going on with color.
| | 02:47 | You can see right now it's set to
RGB, which is the Red, Green and Blue
| | 02:50 | components of color.
| | 02:52 | So as I move this around, you'll see
that those sliders are updating and the
| | 02:55 | values are changing to reflect the
particular RGB value these pair of
| | 03:00 | indicators are focused on.
| | 03:03 | Another way to look at it and probably
a little bit more intuitive in terms of
| | 03:06 | the hue saturation value triangle here
is if I switch this to Display as HSV,
| | 03:12 | which is Hue/Saturation Value,
now you'll see as I move the Hue Indicator,
| | 03:17 | I'm only addressing the dimension of Hue
you can see in the slider. The Saturation
| | 03:22 | values are not changing.
| | 03:24 | I'm only addressing hue then once again,
if we go here and drag this along here,
| | 03:29 | you can see I'm only altering
the value. Same here as well.
| | 03:32 | But I'm controlling one dimension.
| | 03:34 | When I get into here, I'm actually
intermixing both the combination of
| | 03:39 | Saturation and Value.
| | 03:40 | Remember the farther we get to the
right corner of the triangle, the more fully
| | 03:44 | we are saturating this particular
Hue and the farther to left I go,
| | 03:48 | I'm desaturating and as I go up
and down, I'm adjusting the value.
| | 03:53 | So, the nice thing about this is it's
a totally visual way to select color.
| | 03:58 | So, if I want a dark blue, well I just
navigate to blue and then I visually say
| | 04:04 | well, that's what I'm looking for.
| | 04:06 | You'll notice we have two little squares here.
| | 04:08 | The front one is the Main Color and
then the one in the background is called
| | 04:12 | the Additional Color.
| | 04:13 | So don't confuse this with the way
Adobe, they do this as a foreground
| | 04:17 | and background color.
| | 04:18 | These are used a little differently
and when we talk about some of the other tools
| | 04:22 | like Gradients for example, these
colors become important in the way they work.
| | 04:27 | But you'll notice within this square
that there is a black outline and if I
| | 04:33 | click on this one, there is now a black outline.
| | 04:35 | So, this black outline inside the
square is telling you which one of these
| | 04:40 | happens to be the active
color you are adjusting.
| | 04:43 | So, if I click on here and then start
making adjustments, you can see that it's
| | 04:47 | now focused on that secondary color square.
| | 04:51 | When I click here, now I'm
addressing the front-most square.
| | 04:55 | So this tells me at any given time
what my current color is and that is
| | 04:59 | reflected over here as well.
| | 05:01 | So, even if I don't have the Color
palette open, I can still in kind of
| | 05:06 | dashboard view, see what my current color is.
| | 05:09 | But I tend to keep this open
over on the right as I'm working.
| | 05:12 | Another new feature of the Color palette
in Painter 11 is that is now resizable.
| | 05:17 | Now why would you want to resize it?
| | 05:19 | Well, it turns out that when it's at
this scale, that's actually not a lot
| | 05:23 | of room for all of the possible colors that
are actually able to be created with this system.
| | 05:29 | Internally it knows about all these
colors, but you can't get to them.
| | 05:32 | When we can now enlarge this, this
actually gives me far much more of a
| | 05:37 | scale to work with.
| | 05:39 | So that I can actually get to many
more values within this triangle, for
| | 05:43 | example, and there is even more iterations or
increments of color within the Hue circle itself.
| | 05:49 | So, being able to enlarge it is something
that I'm not going to use all the time myself.
| | 05:54 | But it is nice to know that when I do
want to have really precise color control,
| | 05:58 | I can temporarily enlarge the
palette to be able to get to it.
| | 06:02 | And if you do happen to have like a two
-monitor setup, you may end up having
| | 06:06 | this over in your second monitor at a
larger scale for the purpose of higher
| | 06:10 | color resolution basically
with respect to the Color palette.
| | 06:14 | Now, another new feature in Painter 11
is the little indicator inside of here.
| | 06:19 | Actually it can be controlled by the arrow keys.
| | 06:21 | So, I'm going to click on my Up
arrow and you'll see I'm now changing
| | 06:26 | where that's located.
| | 06:27 | So, by using the various left, right,
up and down arrow keys, it gives me
| | 06:32 | another very precise way to
get into specific colors I want.
| | 06:37 | Now, another way to do something similar is
you can also go in here and type in a value.
| | 06:42 | Now in respect to Hue/Saturation value,
that's probably not as logical as RGB
| | 06:47 | but somebody may say oh!
| | 06:48 | This color is certain value of H and
S and V. And then you can go ahead and
| | 06:53 | actually type them in there rather
than trying to play around with this and
| | 06:57 | lock it in that way.
| | 06:58 | So, you do also have the ability to
actually type in a specific value.
| | 07:03 | Now you can only do this enlargement
when this palette has been torn off from
| | 07:08 | the main palette stack.
| | 07:09 | As soon as you put it back in here,
it's now going to become this smaller size.
| | 07:14 | And you can't resize it because there is
a constant width to all of the palettes
| | 07:18 | when they are in a stack.
| | 07:19 | This also does have an Options menu here,
so I could hide it, which I can also
| | 07:24 | do through the little x in the box.
| | 07:27 | If you don't want to have these
sliders here, you could turn that off.
| | 07:30 | This looks more like the
older version of Color palette.
| | 07:34 | You can also determine whether you
want to Display as RGB, so I can click on here
| | 07:39 | and once I open my Color Info
back up that's now switched to RGB.
| | 07:44 | So, you have some options
in here that you can use.
| | 07:47 | I'll just mention this now but we'll
get into it in greater depth when we are
| | 07:50 | discussing cloning and to be honest,
I'll mention this enough to tell you that
| | 07:53 | this is what I think of as
a major point in Painter.
| | 07:56 | We'll go into an in depth at the
cloning chapter, but this is where you can
| | 08:00 | disable this so that it's no longer
using these colors as the current color.
| | 08:05 | It's instead going to use the current
clone source and I just want you to
| | 08:10 | understand that this is a very valuable
component that we'll go into depth a little later.
| | 08:15 | So, the Color palette is really a very
major tool that you are going to spend a
| | 08:20 | lot of time in and it really gives
precise control over the colors that you are
| | 08:25 | applying with your brush.
| | Collapse this transcript |
| Mixing color in the Mixer palette| 00:00 |
In the last movie, we took a look at
the Color palette, which as you may
| | 00:04 |
remember is very good for very
precisely dialing in a color and it is also a
| | 00:10 |
nice visual way to find a color.
| | 00:12 |
But if you come from the traditional
world, particularly in painting, this may
| | 00:17 |
seem a little alien to you.
| | 00:18 |
It's definitely a very good color
selecting tool, but in the traditional world,
| | 00:23 |
color is arrived at very often in a
very different way and folks from that side
| | 00:27 |
of track are going to be very
interested in Mixer palette.
| | 00:30 |
The Mixer palette behaves very much like
a traditional painter's palette in that
| | 00:35 |
I can mix colors in this mixing area
and you can actually control what the
| | 00:41 |
background color is.
| | 00:42 |
Now, I'm working on white, so I'm going
to go ahead and change this and this is
| | 00:46 |
the first thing I'll show you is if
you go up to the disclosure triangle on
| | 00:50 |
the Mixer palette bar and click on it,
this is where I can do various options
| | 00:54 |
and the one I want to do right now is down
at the bottom, Change Mixer Background.
| | 00:58 |
So, this is going to call up a Color
Picker and depending on your system and
| | 01:02 |
how you've got a set up, you may or
may not see something exactly like this,
| | 01:06 |
but I'm going to use this one in this case to
just dial it down to white and I'll say okay.
| | 01:12 |
And now I have got in mixing area that
matches the background I'm going to work with.
| | 01:16 |
I do have a set of colors that I can
work with across here, so I'm just going
| | 01:21 |
to select one for now.
| | 01:22 |
This orange and you will see that the
tools down here provided a great deal of
| | 01:27 |
functionality in what I can
actually do in the mixing area.
| | 01:31 |
The primary mixing tool is actually the
second one here, this Apply Color, and
| | 01:35 |
the one on the immediate left is the Dirty
Brush mode and I'm going to show it you
| | 01:40 |
both ways, so you can see why you
would and wouldn't want to use it.
| | 01:43 |
So, this is basically an
option to the Mix Color tool.
| | 01:47 |
You know turning it on and off.
| | 01:49 |
It's off right now.
| | 01:50 |
Turning it on, changes the
behavior of the Mix tool itself.
| | 01:53 |
So, we are going to start with Dirty Mode on.
| | 01:56 |
I'm going to apply a few strokes, grab
a different color, start to mix and I'll
| | 02:00 |
just mix a bit here so, you
can see and it works very nicely.
| | 02:04 |
In fact this is very faithful to the
way real mixing works because what's
| | 02:07 |
happening here when Dirty Mode is on
is when I take a color and paint into an area,
| | 02:12 |
it smears and blends but now my brush
has whatever was at the end of that stroke.
| | 02:17 |
That's on my brush.
| | 02:18 |
So the next time I stroke,
you can see it's contaminating.
| | 02:21 |
Even though I have blue on my brush,
it is now going to each time, it is
| | 02:24 |
going to pick up the color from the last stroke.
| | 02:27 |
So, as traditional painters know,
you can very quickly kind of turn your
| | 02:31 |
colors to mud when this happens because
your brush is contaminated with the last stroke.
| | 02:36 |
And you can also use that to its
benefit and mix in a way that you get very
| | 02:41 |
subtle color gradations.
| | 02:42 |
But I also, you know, a lot of times
where I don't necessarily have to
| | 02:46 |
stay in this traditional model.
| | 02:48 |
So, I can disable the Dirty Color Mode.
| | 02:52 |
Now, when I select a color and while
I'm up here I want to show you, you can
| | 02:56 |
use this in concert with the Color palette.
| | 02:58 |
You are not relegated to these
little color chips in the Mixer itself.
| | 03:01 |
I can actually select a color here
and sure enough that is my color.
| | 03:05 |
But notice it's no longer dirty.
| | 03:07 |
Each time I stroke into an existing
color area, the brush doesn't remember it.
| | 03:11 |
It's always starting as
if it were a fresh stroke.
| | 03:15 |
So, I find that sometimes for mixing
purposes, I like to disable this Dirty Mode
| | 03:20 |
because it gives me a little bit more control.
| | 03:22 |
But if you want the sensation and the
look and the feel of actually mixing
| | 03:27 |
colors like you would traditionally and you
get that Dirty Mode, by all means turn it on.
| | 03:31 |
That's exactly how you get that look.
| | 03:33 |
The next tool we'll look at here,
it looks like a little palette knife, is the
| | 03:37 |
Mix Color tool and this lets me go in
and unlike the brush which applies color,
| | 03:42 |
this just mixes color that's on the mixing pad.
| | 03:46 |
So, this just gives me a way to start
to create more color by just gradating
| | 03:50 |
them together with the Mix tool.
| | 03:52 |
I can move back and forth, get a very
different color here and mix it in, do
| | 03:57 |
a couple more here and then go to my
Mix tool and once again, I'm going to
| | 04:01 |
use just kind of blend is to get
intermediate values between the colors that
| | 04:05 |
have been laid down.
| | 04:07 |
So, we have got several ways here
to add and blend and modulate color.
| | 04:11 |
The next thing you are going to want to
do is select color from your mixing area.
| | 04:15 |
So, you have got what is very similar to
the basic eyedropper in the Tool palette.
| | 04:19 |
This lets me select a color and then I'm
going to use the Artist Oils Brush here
| | 04:24 |
and sure enough as I pick a color up
from here, it's painting with the color
| | 04:28 |
that I have selected on my mixing pad.
| | 04:31 |
But this is almost like just
adjusting this and getting to colors.
| | 04:34 |
The real advantage of selecting colors
of the mixer pad has to do with the next
| | 04:39 |
eyedropper here, the one that
has the little circle on it.
| | 04:42 |
This let's you sample multiple colors
and a traditional technique is what's
| | 04:46 |
called brushloading.
| | 04:47 |
You actually use the fact that you have
multiple colors mixed on your canvas so
| | 04:53 |
that you can pick an area and I'll do
one here that's fairly obvious like this
| | 04:56 |
kind of browns and yellow.
| | 04:58 |
I am going to select that and I'm going
to draw with it and sure enough you can see
| | 05:01 |
I have got multiple colors across my
brush, so I can literally load my brush
| | 05:07 |
with these multiple colors.
| | 05:08 |
The feature of this is that it gives
you an incredibly powerful way to add a
| | 05:13 |
different of emotion or character to the
expression of the brush that you are using.
| | 05:17 |
So, that is a very useful feature
that you'll want to take advantage of.
| | 05:22 |
In fact most of the time I'm working,
I typically have it set to the Sample
| | 05:26 |
Multiple Colors mode so that I'll get this.
| | 05:29 |
Now, I have to tell you not every
brush in Painter respect or is
| | 05:33 |
knowledgeable of being able to apply
multiple colors across the brush and
| | 05:38 |
I don't have a list in my head that I
can cite to you, but just be advised that
| | 05:43 |
you will find some brushes are aware
of the ability to distribute multiple
| | 05:48 |
colors across the brush and others aren't.
| | 05:50 |
And it's really just a matter of
experimentation as you are working with a brush.
| | 05:53 |
You just may want to go try it out and
see well, this is a brush that applies multiple
| | 05:58 |
colors so I can load it and some
brushes just don't know how to do that.
| | 06:01 |
So, be advised that you will run
into some that do and some that don't.
| | 06:05 |
You can also change the size of
the brush so if I want to get a much
| | 06:08 |
larger mixing brush here, and we'll go back
to Dirty Mode for finding a different color.
| | 06:13 |
Now, I'm working with a much larger
strokes for example, so I'm not constricted
| | 06:17 |
to the initial size that I was working on.
| | 06:20 |
Now, you will see that there is a
Hand tool here and yeah, I can move this.
| | 06:23 |
I can actually -- Wow!
| | 06:24 |
I took it to where I don't even know
it's there, but reason that's is there is
| | 06:28 |
that you actually have more mixing
area than you are seeing here and
| | 06:32 |
like I showed you with the Color palette
earlier if I detach this, I can actually have
| | 06:37 |
a much larger mixing area.
| | 06:39 |
The other thing that you will see that
happened is there is actually more subtle
| | 06:43 |
color gradations in the chips going on.
| | 06:45 |
So, as I enlarge this and I've now got
it to its maximum width, I have got many
| | 06:49 |
more colors up here that I can work with.
| | 06:52 |
The other thing that's very interesting
is I can find a color that I really want
| | 06:57 |
to work with, like I may have some
shade of dark red that I want to use.
| | 07:01 |
If I go up and click on one of these
little color chips while I'm holding the
| | 07:06 |
Command or Ctrl key, I can
actually put that color into that chip.
| | 07:11 |
So, if I have colors that I use a lot,
I can go through and just decide
| | 07:16 |
I really want to use this color and
I don't want to forget about it.
| | 07:19 |
I'll hold down the Command or Ctrl key
and then click in the particular place
| | 07:23 |
where I want to put it and I
can store that color in there.
| | 07:26 |
Now another important feature of this
is both with regards to the mixing pad
| | 07:32 |
itself as well as these color chips
at the top is if we once again open our
| | 07:36 |
little Options palette here on the right
side of the palette bar, you will see
| | 07:40 |
I can load and save the Mixer
colors as well as the Mixer pad.
| | 07:45 |
So, if this is some pad that I have
designed and I specifically want to be able
| | 07:49 |
to repeat picking up different loaded
strokes, I can go ahead and save my Mixer pad
| | 07:54 |
and we'll just save it to the
Desktop here for convenience sake.
| | 07:58 |
But I'll go ahead and say I want this to
be My Mixer Pad, so I'll just append it
| | 08:02 |
here at the beginning, say My Mixer Pad.
| | 08:05 |
And once again you can see here as in
other Save dialogs, you can either hide
| | 08:10 |
the extension or not.
| | 08:11 |
I tend to leave it on which happens
to be the MXS for the Mixer palette.
| | 08:16 |
That way there is not a file just
floating around in your folder somewhere
| | 08:20 |
that's like 'My Mixer Pad.' What's that?
| | 08:21 |
Well, when it has got the MXS on it, it gives
you an indication that oh, that's a Mixer Pad file.
| | 08:26 |
So Painter just saves this in a
format that it can load back up.
| | 08:30 |
So, I typically disable Hide Extension
for these, so that I do have that extra
| | 08:34 |
bit of information that tells me what this is.
| | 08:37 |
So, I'll go ahead and save this now
and then let's say I got rid of this.
| | 08:41 |
Later on it's like, "Oh! You know what?
I want to get that back."
| | 08:43 |
So, we'll go back up here and
I say well I want to open a Mixer Pad.
| | 08:47 |
And we go to my Desktop, there is My
Mixer Pad and I click on it and open it
| | 08:52 |
and there is that pad.
| | 08:53 |
So, I can save these and get them back
and similar to the pad itself, I can go in
| | 08:58 |
and save and load and retrieve these colors.
| | 09:01 |
I have changed some of these and it may be
like I want to get that back to the original.
| | 09:04 |
So, if I click on that, you see I have
now restored this to the original order.
| | 09:08 |
But if I were to go through here, maybe
create a much longer say gray scale or a
| | 09:12 |
scale that goes from very dark blue
through to almost a white with just a little
| | 09:18 |
bit of blue, I could go through
here and using my Color palette, create
| | 09:21 |
different ramps of color that I want to
repeat or if I have specific colors that
| | 09:26 |
are associated with say a logo or
some color you are using in a particular
| | 09:31 |
advertising or brochure work or
something, you want to repeat that color and
| | 09:35 |
even though you may be mixing it,
you want to always start with that same color.
| | 09:38 |
This is a perfect place to save those colors.
| | 09:42 |
So, the Mixer palette-- and let me just
finish by saying you can expand it when
| | 09:46 |
it's detached from this palette stack,
but keep in mind even now, if I go ahead
| | 09:51 |
and put this back in here, it can
be longer but it can't be any wider.
| | 09:56 |
And in fact you kind of run into
a difficult situation at times.
| | 09:59 |
You can see you can adjust the size
somewhat, but the best way to do this is
| | 10:03 |
rather than put it in large like that,
what I typically do is kind of get it
| | 10:07 |
back down to its normal size, then put
it in here and then you will end up with
| | 10:12 |
a weird shade mixing area that's
taking up an inordinate amount of space.
| | 10:17 |
So, this is the Mixer palette and it's
really a great addition to Painter that a
| | 10:22 |
lot of people appreciate and now
with the ability to even expand this into
| | 10:26 |
a larger area, it even gives it more
power so that you can have rather large
| | 10:31 |
mixing areas and save those mixing
area and retrieve them at a later time.
| | 10:35 |
So, I'm sure many of you will find
yourself using and loving the Mixer palette.
| | 10:41 |
| | Collapse this transcript |
| Color sets: choose 'n' use color| 00:00 |
Well, as we've been going on our tour
of color control in Painter, we've now
| | 00:04 |
looked at the Mixer palette.
| | 00:06 |
Then next area up is the Color Sets palette.
| | 00:09 |
I'm going to open that up and you will
see what this is, is a group of colors
| | 00:14 |
and there are many applications I can
think of where you would want to be able
| | 00:19 |
to save colors for later retrieval.
| | 00:22 |
In fact, again from the traditional
side of the tracks, there are a set of
| | 00:26 |
colors that you want to be
able to get for instant retrieval.
| | 00:29 |
Those are colors out of the tube. Okay.
| | 00:32 |
Most people working with paint are
very aware of the traditional colors that
| | 00:36 |
they'll get either out of a tube of oil
paint or acrylics and this palette that
| | 00:40 |
you see here is the one that
actually comes by default in Painter.
| | 00:45 |
But I'm going to show you something
that a lot of people probably never
| | 00:48 |
realize is actually there.
| | 00:50 |
This can be changed, this
particular palette, in a very dramatic way.
| | 00:55 |
So I'm going to go to the
Colors Sets option toggle here.
| | 00:58 |
We can look at this menu and you'll see
right down here I can turn on something
| | 01:02 |
called Display Name.
| | 01:04 |
When I do that, look what happens.
| | 01:06 |
We now have the color set that is
based on all the naming conventions of
| | 01:12 |
traditional tube colors.
| | 01:14 |
And just to explore this a little more in
depth, I'm going to go ahead and pull this out.
| | 01:17 |
Because this is actually a pretty big
palette and even though you can look at it
| | 01:21 |
and scroll through it, it's little
bit easier to see here what's going on.
| | 01:24 |
This is literally all of the
different colors that you would associate with
| | 01:28 |
traditional painting.
| | 01:29 |
So if I want to use Scarlet Lake for
example with my brush, I can do that and
| | 01:35 |
I can go grab Carmine red, or I can get Magenta.
| | 01:39 |
But people who come from the traditional
world are going to be very happy to see that
| | 01:43 |
oh, I don't have to kind of
try to guess what the color is.
| | 01:46 |
I can find something like
Yellow, Green, or Prussian Green.
| | 01:50 |
These colors are already in here
and as you can see using
| | 01:54 |
the particular brush here,
the Artists Oils dry brush.
| | 01:57 |
I'm just kind of mixing and
playing around with these.
| | 01:59 |
So I have got built into Painter a
literal entire set of traditional paint
| | 02:05 |
color using the traditional naming
convention here and they have been matched
| | 02:09 |
very accurately to those colors.
| | 02:11 |
So right after that, just by turning on
this little Display Name, you'll go from this,
| | 02:17 |
which is interesting,
but you know what is it?
| | 02:19 |
To actually be able to display
this with the traditional names on.
| | 02:24 |
Now, all Color palettes do not have
naming conventions automatically in them.
| | 02:29 |
This particular one does and because
it's such an important set of naming
| | 02:32 |
conventions, I felt it
important to show you that.
| | 02:36 |
But you can actually have other color sets.
| | 02:38 |
This is one that comes with Painter,
but there is actually several of them in there
| | 02:42 |
and there is a
couple of ways to get at them.
| | 02:44 |
You can certainly get at colors from
the Options menu here, but another way to
| | 02:48 |
get to it is, if we go down to the bottom here.
| | 02:50 |
I'll close this up a bit now.
| | 02:52 |
You'll see there is a little Library icon.
| | 02:54 |
When I click on that, that also
gives me the access to various types of
| | 02:59 |
management of color sets.
| | 03:00 |
So if I want to open the color set,
I can say Open Color Set and this whole
| | 03:05 |
thing is telling you that if you would
make changes to this, you'll lose them.
| | 03:09 |
You'll have to go through the process
of saving the color set, which I'll show
| | 03:12 |
you here in a moment.
| | 03:13 |
But I'm just going to ahead
and say Load for the time being.
| | 03:16 |
And if you go into Painter-- and then
let me back out here on my Macintosh, but
| | 03:21 |
on Windows, you again go to the same
place. You are basically going to go to the
| | 03:25 |
Painter application folder.
| | 03:27 |
Okay, so I'm going to Corel Painter 11
and we have a nested folder within there.
| | 03:32 |
Support Files and then
within there, we have Color Sets.
| | 03:36 |
When we finally get there,
| | 03:37 |
you'll see that I've got a whole bunch of
different color sets that I can select from.
| | 03:42 |
Any many of these, they've just
been saved and you may never use them,
| | 03:46 |
like Colored Pencil Set, which is kind of nice.
| | 03:48 |
I'll open that up and here is a bunch
of colors that have been saved based on
| | 03:51 |
commercial colors, from colored pencils.
| | 03:54 |
Now, this one, as I was saying earlier,
here I'll say Display Name. It's empty.
| | 03:57 |
It doesn't have it.
| | 03:58 |
So you are not going to find
that automatically in there.
| | 04:01 |
I just want to clarify that with you,
the default color set, and in fact
| | 04:05 |
now that I've opened this,
this opens up another interesting thing.
| | 04:08 |
There is nothing that says default color
set anywhere in the library, when I go
| | 04:13 |
back to Open Color Set.
| | 04:14 |
If you want to get to that
original color set, we'll look over here.
| | 04:18 |
This Artist Oil Colors, that is that
color set that is there by default and
| | 04:24 |
it's the one that has
the name associated with them.
| | 04:27 |
And it will come up by default without those on.
| | 04:30 |
That's why it's a little hidden, that
this pretty important feature is there.
| | 04:34 |
You do have this available.
| | 04:36 |
So Color Sets give you just a really
great way to access repeatable color.
| | 04:41 |
Now, there are some other things that
you might want to use this for and
| | 04:45 |
to start this off, I'm going to go ahead
and go to my Exercise Files here and in
| | 04:50 |
Chapter 4, I've got an
image that I'm going to open up
| | 04:53 |
that's actually a photograph.
| | 04:55 |
And one another things that you can do
is you can take any image and it's kind
| | 04:59 |
of interesting to seen it happen
with a photograph, but it could be another
| | 05:02 |
painted image you have.
| | 05:03 |
One of the things I can go in here and I
can say I want a new color set from image.
| | 05:08 |
So I go ahead and say New Color Set from Image.
| | 05:10 |
What it just done is just gone
through and picked out the major colors
| | 05:14 |
within that composition.
| | 05:16 |
So now, if I go here, I can start
painting with colors that are based on the
| | 05:20 |
colors found in that color set.
| | 05:23 |
So that's a nice way to actually
automatically build a set of colors based on
| | 05:28 |
existing imagery and you have got options.
| | 05:30 |
Let's take a look at what we have in the Mixer.
| | 05:33 |
This earlier set of colors that I mixed.
| | 05:35 |
Well, I can go in here and say
I want a New Color Set from the Mixer.
| | 05:39 |
When I do that, now I get a set of colors chips
| | 05:42 |
that are essentially based on the Mixer itself.
| | 05:46 |
So I have different ways that I
can actually create these color sets.
| | 05:51 |
Yet another way to do it is to go in and
I'm going to say I want a New Empty Color Set.
| | 05:56 |
Okay, so now, I've got an empty color set.
| | 05:58 |
I could for example, either use the
Eyedropper to pick colors up off of an image,
| | 06:04 |
or I could very precisely go
through and say well I want to start with
| | 06:07 |
some dark red, for example.
| | 06:09 |
And then I go down here and say
Add New Color to the Color Set.
| | 06:13 |
I'll click on that.
| | 06:14 |
That adds that and then I
probably be kind of organized about.
| | 06:17 |
I moved that so it's a little lighter.
| | 06:19 |
Add that one, I'll get a little lighter.
| | 06:22 |
Add that one, I'll go to the
full saturated color and that.
| | 06:25 |
So I'm just kind of going through
from a darker shade and tint of this
| | 06:29 |
particular hue and working through it.
| | 06:31 |
And I could continue to
build it as large as I want.
| | 06:34 |
But now I've got these colors stored and
I can go ahead and then save this color set.
| | 06:40 |
So I could go in here and call this reds
for example, and I'll just go ahead and
| | 06:45 |
save it out on the desktop here
and I'll go ahead and say Save.
| | 06:49 |
So now, if I were to open a color set,
perhaps we'll go back to the Artist Oils
| | 06:55 |
that we have opened earlier.
| | 06:56 |
Now, if I want to get back to that,
as long as I know where it is, all I have to
| | 07:00 |
do is go back to Open Color Set.
| | 07:02 |
We know it's on the Desktop.
| | 07:03 |
I click on that and there
is my file for the reds.
| | 07:07 |
So I have the ability to
create a new color set as well.
| | 07:12 |
And finally, I'm going to once again
here open up the color set that we started with,
| | 07:16 |
because it's a one that really
show this rather interesting feature.
| | 07:20 |
We're going to go back to the Painter
folder, which I'm going to find in my
| | 07:23 |
Applications folder on the Macintosh.
| | 07:26 |
Corel Painter 11 folder/Support
Files/Color Sets and Artist Oils.
| | 07:31 |
So we've got all these.
| | 07:32 |
Another nice thing you can do here is
you can organize how a particular set of
| | 07:37 |
colors in a color set are organized.
| | 07:39 |
I also have the option of
looking at this in different ways.
| | 07:42 |
And if we now go up to the Color Set
options menu, I can adjust the Sort Order.
| | 07:48 |
So I can go here and say I want to
sort these so that it's primary by hue,
| | 07:52 |
then lightness or brightness
and then finally saturation.
| | 07:54 |
So I want to do that.
| | 07:56 |
I get them ordered in that particular order.
| | 07:58 |
Or I can go in here and look at it so that
lightness is primarily how it's organized.
| | 08:04 |
And I can go through and also
look at it how it is by saturation.
| | 08:08 |
So it's actually starting from the
least saturated to the most saturated and
| | 08:12 |
finally whatever way it was saved,
you can bring that up as well.
| | 08:15 |
So you have got different ways in
which you view and organize the ways these
| | 08:20 |
colors are displayed.
| | 08:21 |
The last thing I'll show you here that's
useful is you can adjust the Swatch Size.
| | 08:26 |
So I can go in here and I can change this.
| | 08:28 |
Actually that is at 16X16.
| | 08:29 |
But if I change this to say 24X24,
well now I get a much larger size of swatch.
| | 08:35 |
But I can even go in and customize this further.
| | 08:38 |
I can say Customize and now I can
adjust this down to whichever size and
| | 08:43 |
I can see it in advance.
| | 08:44 |
So if I want a lot of colors but I
don't want to take up a lot of space and
| | 08:47 |
I feel like I can get to that color,
I can go ahead and take this down to some
| | 08:51 |
very kind of small palette that
doesn't take up a lot of space and then work
| | 08:56 |
with it in it's minimal size.
| | 08:57 |
So what you can basically do here is
manage colors that you want to repeat and
| | 09:02 |
you have a number of
choices in which to organize it.
| | 09:05 |
You can create new color sets.
| | 09:07 |
You can retrieve color sets.
| | 09:08 |
You've really got a very novel way in
which to store colors that you're going to want
| | 09:13 |
to use over and over again.
| | 09:15 |
And as I've been saying about Painter's
color controls, you've really got a lot
| | 09:18 |
of different ways, to create
and manage and access color.
| | 09:23 |
So Color Sets is really kind of the
container for large number of colors that
| | 09:27 |
you want to store together.
| | 09:29 |
| | Collapse this transcript |
|
|
5. The Wacom Tablet: A Must-Have ItemUnderstanding the six axes of motion| 00:01 | Ever since cavemen were using sticks and
their berry juice to draw with, men has
| | 00:06 | used a stylus based instrument in
their hand to communicate and express
| | 00:11 | themselves to the world, and in talking
about the notion of using the hand and
| | 00:17 | a stylus to communicate, you can really
breakdown the motions with the hand, wrist,
| | 00:22 | and arm make into six basic motions.
| | 00:25 | And I'm going to go through those with
you and then explain how they relate to
| | 00:28 | the Wacom tablets and how
Painter then takes advantage of them.
| | 00:32 | So I'm just using a piece of paper
here at this point but it can stand in for
| | 00:36 | the tablets as well.
| | 00:37 | You have got a flat two dimensional
surface and when you start to draw on a 2D
| | 00:43 | surface, well any one of the places on this
tablet can be described in an x and y fashion.
| | 00:51 | So you've basically got a two-
dimensional grid here that represents the first
| | 00:55 | two axis of motion, the x and y
motion that happens on a 2D surface.
| | 01:01 | Then when you get to the third
dimension, you can describe the actual sense
| | 01:07 | of depth and really what we're not dealing
with physical depth here as much as we're
| | 01:10 | talking about pressure. The pen can sense
varying pressure from very light to very dark.
| | 01:17 | So, we are now up to the three axis of
motion and those are all communicated
| | 01:22 | through the tablet set to the
software, in this case Painter, which takes
| | 01:26 | advantage of that information.
| | 01:28 | Well, the next thing you can do is you
can start to talk about if I have the pen
| | 01:33 | or my pencil in this case setting
perpendicular to the face of the tablet or
| | 01:39 | the paper in this case, I can now
start to tilt this and that is Tilt.
| | 01:45 | And that can be measured as an angle
based on where it is when it is perpendicular.
| | 01:49 | So, now we have got tilt information as
well as x, y and z. And if you have got tilt,
| | 01:54 | well now I can describe a circle
360-degree sweep and that is Bearing.
| | 02:00 | So, now we are up to five axes of
motion and with that Bearing and Tilt,
| | 02:06 | anything I do within Tilt and Bearing is the
combination of angels that can be described.
| | 02:11 | Finally, we get to the sixth and the
most recent attribute of motion that
| | 02:16 | the Wacom tablets are now able to
capture and that is Rotation, Barrel Rotation.
| | 02:21 | And it is important especially with tools
that have shape like a brush for example.
| | 02:27 | This brush has a narrow and a wide aspect to it.
| | 02:31 | So when I'm painting with this and
rotating that Barrel this is going to have a
| | 02:36 | great deal of impact on
the stroke that's being made.
| | 02:40 | So, artists are using the expressive
qualities that their hands impart to this
| | 02:45 | tool through all of these
combinations of axis of motion.
| | 02:49 | So, to wind up here you've
basically got the six axis of motion that
| | 02:54 | incapsulate all of the movements
that are possible between the artist's
| | 02:57 | hand, wrist and arm.
| | 03:01 | So, all of these are captured and sent
to the software which takes advantage of it
| | 03:06 | and the whole idea of all of this
is basically that the artist is taking
| | 03:11 | what's in here and utilizing all of
these motions to express what out there.
| | Collapse this transcript |
| Introducing tablets: Intuos3 and Intuos4| 00:00 | We've been talking about the six axes of
motion and basically, they are just the ways
| | 00:05 | that we can measure the motion of
the artist's hand, wrist and arm and
| | 00:10 | all of those combined together is how an
artist expresses themselves through the
| | 00:14 | medium of a stylus-based instrument.
| | 00:16 | Well, how do I get this
information from out here into in there?
| | 00:22 | There's actually a very good
technology that helps that happen and that's
| | 00:26 | pen tablets and in the world of pen tablets,
Wacom is known as the gold standard
| | 00:30 | of this technology.
| | 00:32 | They've mastered the ability to get
all of these axes of motion into the
| | 00:37 | computer and ultimately to
Painter, which takes advantage of it.
| | 00:40 | The first tablet we're going to take
advantage of and take a look at is Wacom Intuos3.
| | 00:47 | The Intuos3 is been out now all about
four years and this tablet introduce some
| | 00:54 | new features that have proven to be
very popular and in fact this tablet right
| | 00:58 | now in its various sizes is probably
the most widely in-use pressure sensitive
| | 01:05 | tablet around today because
it's been around for few years.
| | 01:10 | Now, I want to talk a little bit about the
control surfaces that we have to deal with here.
| | 01:16 | What you get within Intuos3 tablet,
by default, is the Intuos Grip Pen and
| | 01:24 | this comes with it, so there's no
extra expense involved with this.
| | 01:27 | But if you want to explore the six axes,
which you remember is barrel rotation,
| | 01:32 | this pen does not communicate that information.
| | 01:35 | To get that, you've got to go to the
6D pen and the 6D pen is an optional
| | 01:39 | purchase by the user, but this
pen does understand barrel rotation.
| | 01:45 | So if I go in here and start to use it,
I think you'll see how this pen
| | 01:49 | actually, depending on my hand motion,
does take advantage of barrel rotation.
| | 01:55 | In fact I found that using this pen is
actually very good to kind of hold it
| | 01:59 | farther back in the hand, like you
would a traditional brush. In doing so,
| | 02:03 | you actually get a better leverage on
the pen to show off and control all the
| | 02:08 | different axes of motion and
really it becomes a subconscious thing.
| | 02:12 | You really are not thinking
consciously about doing it.
| | 02:15 | It just becomes part of the use of the tablet.
| | 02:18 | Now, I mention the control surfaces
and these are built into the sides of the
| | 02:22 | tablet on both the left and right side.
| | 02:25 | These control surfaces enable me to map
various commands in my applications,
| | 02:30 | in this case, Painter, to be able to have
a shortcut without having to go to a menu
| | 02:35 | or a pop-up or context-sensitive menu.
| | 02:40 | I can do several things from here,
and over time, I figured out several
| | 02:44 | commands that work for me.
| | 02:46 | It's never going to be the same for two people.
| | 02:48 | You're always going to have someone who
wants to do one thing and someone wants
| | 02:51 | to do another, but the idea here is
that you actually can build into your
| | 02:57 | workflow through the surface of the tablet,
the types of things you want to have access to.
| | 03:02 | Now there's two types of controls on here.
| | 03:04 | You have the ExpressKeys,
which are literally buttons
| | 03:08 | you can use to assign a shortcut,
which would normally be, say, a keyboard
| | 03:12 | shortcut could be assigned to this.
| | 03:14 | You can even, if you want to, keep this
one as the Command or Ctrl key, one as the
| | 03:19 | Option or Alt key, one as the Shift key.
| | 03:22 | So you can actually use
combinations if you want.
| | 03:25 | I prefer to just have them used for
one combination or one press causes
| | 03:31 | one thing to happen and the thing about
it is, you have to remember well, what
| | 03:35 | does this button do over here, what
does this button do, and what I've actually
| | 03:39 | done is created little labels for myself
so that I could remember that, oh yes!
| | 03:44 | This is my Rotate Page button or this one
is for adjusting the Brush Size button.
| | 03:51 | So, even though I use them all the
time, every once a while you'll kind of
| | 03:54 | forget which one does what
and I have these here, just as
| | 03:59 | a mnemonic way to remember
what it is I'm supposed to do.
| | 04:02 | The other piece of technology on here are
the Express Strips and you could see,
| | 04:08 | this one is set up to zoom in and out,
so that just using my finger here, I can
| | 04:12 | actually use this to adjust whether
I'm zoomed in or out on the tablet.
| | 04:17 | So, the Wacom 3 Intuous tablet really
has some very interesting features in it.
| | 04:24 | One of the things I do want to bring
up, as we're going to look at the next
| | 04:27 | generation tablet here in a moment.
| | 04:29 | This tablet has 1024 levels of
pressure, which sounds great and it is.
| | 04:35 | There is no reason to think that this
is a limited tablet, but the next tablet
| | 04:40 | we're going to talk about is the Intuos4.
| | 04:43 | This tablet goes a little
further and it actually has 2048.
| | 04:47 | So it's doubled the amount of pressure
that it has and so I'm going to show you
| | 04:52 | a little bit about it.
| | 04:53 | It gets into being a little bit of
unique way that they've done away with
| | 04:58 | control surfaces on both sides.
| | 05:00 | It's now only on one side and you think,
well, how is that going to work for
| | 05:04 | left and right-handed people?
| | 05:06 | What they've actually done is you can
flip these around and actually there's a
| | 05:12 | pair of USB ports in here, so you can
decide most people want the cord leaving
| | 05:16 | from the top of the tablet.
| | 05:18 | So either left or right-
handed, people can do it.
| | 05:20 | Another great innovation in here is
that unlike my previous tablet where I had
| | 05:25 | to deal with the little mnemonic
devices that I put on here to remember what
| | 05:30 | the pen controls do is this actually
has LED displays built into it and when I
| | 05:37 | use the Wacom driver, I can go in and map
exactly as I want various controls into this tablet.
| | 05:44 | So that I have the same
functionality I had before.
| | 05:47 | It's just now it's all
on one side of the tablet.
| | 05:50 | This leaves in my case, this leaves
my left hand available for drawing and
| | 05:54 | concentrating on the activity of your
expressing through the pen itself, but the
| | 06:00 | right hand is now available so that
I can use it for things like redoing or
| | 06:05 | undoing what I'm doing.
| | 06:07 | I actually got this setup to undo my strokes.
| | 06:10 | You can see here it's going backwards in
time in undoing the stokes and I can go
| | 06:14 | forward, back through my undo.
| | 06:17 | So, it gives me a great way to have
a bit of a safety net built in here.
| | 06:21 | I know I can try something out,
like well, I guess I don't want that.
| | 06:25 | So what I would do is just undo that and
it's a really nice feature to have this new,
| | 06:31 | what they call the Touch Ring involved.
| | 06:33 | So the control surfaces have been
updated with this pen and the sensitivity of
| | 06:39 | it has been updated.
| | 06:41 | Part of this sensitivity
involves the technology of the pen.
| | 06:44 | This is a new technology pen that
actually is sensitive to less than one gram of
| | 06:50 | force and because of that, that's why
the 2048 levels of pressure come in handy
| | 06:56 | when you're dealing with media
like pencils or chalk and charcoal.
| | 07:01 | Those kinds of mediums are very
sensitive to a light touch and the expanded range
| | 07:06 | of pressure allows there to be much
more overhead in that lighter touch.
| | 07:10 | It just makes for a much more
sensual almost feel when you use it.
| | 07:16 | The first time I used it, I was really
impressed with how different it felt by
| | 07:22 | having those additional
degrees of pressure available to me.
| | 07:26 | So, the one thing about this tablet,
unlike the earlier Intuos3, which does have
| | 07:32 | the 6D pen, this is so new and the
pen technology is so new, they don't
| | 07:36 | currently have the 6D pen available.
| | 07:39 | It will be available later this year
and I'm looking forward to it to have all
| | 07:44 | of this cool, new technology, new
sensitivity and the barrel rotation as well.
| | 07:50 | But for the time being, I'm totally happy.
| | 07:53 | So we've looked at the Intuos level of tablets.
| | 07:55 | Next, we're going to take a look at the
next level up and I think you're going
| | 07:59 | to be thoroughly impressed when you
see what you can do with the top of the line tablet.
| | Collapse this transcript |
| Introducing tablets: Cintiq| 00:00 | We've taken a look at the
Intuos tablets, the 3 and 4.
| | 00:04 | Those are the primary workhorse tablets
that you see in the industry and in the
| | 00:09 | arts all over the world today.
| | 00:11 | They are great tablets, nothing wrong
with them, but I'm going to show you
| | 00:15 | the next level of tablet.
| | 00:16 | What I have here is the Cintiq 12WX,
and this tablet has a built-in integrated
| | 00:24 | LCD display along with the fact that
it's still a pressure sensitive tablet.
| | 00:28 | So what does that mean?
| | 00:30 | That means that this tablet is
literally a virtual pad of paper or canvas.
| | 00:36 | So I can draw on this and at the same time,
I'm seeing the actual drawing on the tablet.
| | 00:41 | So let's take a look at
this at a little bit closer up.
| | 00:46 | So we've got the tablets setup here,
and I'm just going to do a little bit of
| | 00:50 | drawing, so you can see how this works
and how it really is just like drawing with a
| | 00:55 | digital form of paper.
| | 00:57 | The really cool thing is about this is
that it really makes it feel as if you're
| | 01:03 | working on a traditional medium, more so
than the separation in some cases.
| | 01:10 | The thing I really like about
this is that, I can't tell you.
| | 01:14 | It's one of those things you almost
have to try out to find out just really
| | 01:19 | how much this senses to yourself,
like you're dealing literally with a
| | 01:24 | traditional medium.
| | 01:26 | The fact that it's all in one
spot like this is very powerful.
| | 01:30 | Now the thing that's a little funny
for me is my background has so many years
| | 01:36 | literally of working with tablets
separated from the monitor where I'm
| | 01:41 | dealing with the tablet in front of me, but
the monitor is where the imagery is happening.
| | 01:46 | That when I first started dealing with
Wacom tablets, it was a little unusual,
| | 01:51 | because all this time I've gotten very
used to with my hand not being in the way of
| | 01:56 | the tablet, and the first thing I
noticed when I first stared using Wacom, was,
| | 02:01 | oh, my hands in the way,
how can I get around that?
| | 02:06 | I found that was just an impediment.
| | 02:08 | Well, the thing is that's because of
my background. I'm used to that and as a
| | 02:13 | result, it's very easy for me to see
that as something that's problematic.
| | 02:20 | However, a lot of people who come
from backgrounds where they have spend
| | 02:24 | many years working with medium in
which they're marking the mark right at
| | 02:28 | the same time and in the same place
that the stylus is, are not going to
| | 02:32 | find this unusual at all.
| | 02:34 | So it really comes down
to a matter of experience.
| | 02:37 | My experience is a little different and
as a result, I started wanting to figure out,
| | 02:41 | well, I like this and it's pretty
cool, but how can I make it a little bit
| | 02:46 | more like something that I would like
to use and take advantage of the tablet
| | 02:51 | and yet at the same time, be able to
still take advantage of the fact that I've
| | 02:56 | got this really unique surface to work with?
| | 02:59 | So what I have done is come up with a
way that I can combine my favorite aspects
| | 03:06 | of how this tablet works with the way
I've worked for years and I'm going to
| | 03:09 | give you a look at it here.
| | 03:11 | I think it's really a unique way to
take advantage of this tablet, as well as
| | 03:16 | the way we've just seen.
| | 03:18 | So I've got things setup here and
it's a little different than than I did
| | 03:21 | before and I just want to give you a
little indication of how I did this.
| | 03:25 | Basically I have made the
Cintiq a secondary display.
| | 03:28 | So right now, my monitor is my primary
display, this is where my menu bar is,
| | 03:33 | and as a secondary display, I can take
palettes from Painter and bring them over
| | 03:39 | to this secondary display.
| | 03:40 | That's how I have done, what
I'm going to show you here.
| | 03:43 | So let's go ahead and get going.
| | 03:46 | What you're going to see is I've taken the Mixer
palette, which in Painter 11 is now resizeable.
| | 03:51 | I've resized it so over almost two-thirds
of the entire display is just mixing area.
| | 03:58 | This means that I can start to mix
on this display just like it were a
| | 04:03 | traditional painter's palette.
| | 04:05 | Along with the mixing area, I've also
got my color set, which I've opened up,
| | 04:10 | and this is the default one I've
turned it on, so I can see all of these
| | 04:14 | traditional names, like Manganese Blue,
or Permanent Magenta, Carmine, Cobalt,
| | 04:21 | Violet, these are all traditional colors.
| | 04:23 | So I've got a whole set of tube color
paints sitting here that I can mix with.
| | 04:29 | I've also got my color wheel,
if I want to mix colors here.
| | 04:33 | The other thing I've put in here
that works well is Color Variability.
| | 04:36 | So if I want to do something with my
brush to introduce some color variability
| | 04:40 | in the strokes, I can do that as well.
| | 04:43 | So what this becomes now is my color control.
| | 04:46 | I've isolated all of the color work and
color control out of the main display.
| | 04:53 | The main display is my painting area.
| | 04:56 | So I'm going to go and I'm going to
start by mixing a few colors, and just kind
| | 05:02 | of play around here, so you can see
exactly how this is working for me.
| | 05:06 | So I'm going in here and again here's
that sensation, I mean this really feels
| | 05:11 | of very much like I'm mixing colors
right on this surface, much as if were a
| | 05:18 | traditional artist's palette.
| | 05:21 | It feels a lot like the only that's
missing is the smell of the oil paint.
| | 05:25 | So I suppose you could open some kind
of a solvent and have it sitting next to
| | 05:31 | here so it enhances the sensation, but
it's closer enough now, I don't even I
| | 05:35 | need that in order to get
the feeling that I want.
| | 05:39 | So here we go, I've got this setup.
I'm now going to start to select some colors.
| | 05:46 | The first thing I want to show you is
once I've selected a color, there's one
| | 05:50 | of the buttons that's programmed on here
currently, so that I can just toggle to this display.
| | 05:56 | Now I'm in here and I'm painting on my canvas.
| | 06:00 | So just like the traditional tools,
I'm up painting on a canvas, I press the button,
| | 06:04 | I'm down here, I grab a color,
press the button, and it's just all,
| | 06:08 | you know, other than the fact that I'm
pressing a button to get back and forth
| | 06:12 | between these two monitors,
it really, really comes close to feeling like a
| | 06:19 | traditional painting where I've got
a painting area that I'm working on.
| | 06:24 | I've also got a mixing area,
where all of this paint is happening.
| | 06:29 | I'm just kind of horsing around here to
show you how this works without trying
| | 06:32 | to get too specific, but I can go in
for example, I'm selecting some white in here
| | 06:38 | and I'm using the Color palette and
basically to do and select a couple of colors here.
| | 06:45 | So this really, really, really-- I can't
emphasize enough how authentic this feels.
| | 06:51 | Not to mention, I happen to have a
brush here that is an Impasto brush and so
| | 06:56 | there is actually a sense of three-
dimensionality about the brush strokes that
| | 07:00 | I'm currently drawing.
| | 07:02 | So all of this comes together to show you,
for me, this is kind of the next step.
| | 07:08 | We're now starting to get close to
where not only is Painter emulating natural
| | 07:11 | media, but we have hardware
technology around which we can even take this
| | 07:16 | further and start to do some things
that just-- these are the things I dreamed
| | 07:21 | about years ago being able to do, and
now here we are. We're actually doing it.
| | 07:26 | That is kind of intoxicating to see this,
finally getting to the point where a few
| | 07:34 | years ago this was science fiction.
| | 07:36 | Well, science fiction has become
reality and here it is sitting in front of us.
| | 07:40 | So that in a nutshell is the Cintiq
tablet and considering what it does,
| | 07:45 | it really is the state-of-
the-art in tablets today.
| | Collapse this transcript |
| Customizing your Wacom tablet: part 1| 00:00 | Now that we have seen three tablets
that Wacom offers, let's take a look at how
| | 00:04 | you customize the tablets to your preference.
| | 00:06 | So let's call-up the Control Panel
here. We'll go kind of by age.
| | 00:10 | We'll start with Intuos3, then I'll go to the
Intuos4 and then finally we'll go to the Cintiq.
| | 00:16 | The Intuos3 is probably the one that's
in the most usage right now because it's
| | 00:20 | been around for a while and I set my,
what we call ExpressKeys, so that they do
| | 00:26 | a variety of things.
| | 00:27 | I can show and hide palettes with the
button, set the image to the actual pixel
| | 00:33 | size so I'm seeing it at 100%.
| | 00:35 | I can fit an image into the screen.
| | 00:37 | I can also toggle the screen mode.
| | 00:40 | These are all things that you can
basically do from the keyboard but once you
| | 00:43 | map them to the Wacom, it gets into
this navigation time I talked about.
| | 00:47 | Rather than moving around in the
interface on the screen, it gets to moving
| | 00:51 | around on the interface on the
keyboard and by mapping some of these to the
| | 00:55 | control surface of the Wacom, you just
have a much more quicker way to work.
| | 01:00 | I am left-handed so a lot of what you
see here may kind of look backwards to you.
| | 01:04 | But I have worked out a lot of these out
because I normally have the pen in my left hand.
| | 01:09 | That leaves my right hand free and so
as you'll see, I typically kind of put
| | 01:13 | all of my screen navigation controls on the
right side for my right hand, which is free.
| | 01:20 | My left hand has the pen in it and
what I found works very well with the
| | 01:24 | ExpressKeys is I used to slightly
change the position in my hand so that I
| | 01:29 | had to get a finger free to press these
buttons and I finally realized, you know what?
| | 01:34 | I don't need to press these keys with my finger.
| | 01:36 | I can just use the tip of the pen.
| | 01:38 | So I just go over and click on one of
these buttons and it performs the function.
| | 01:42 | In that way you are not having to
change the fit of the brush in your hand.
| | 01:47 | You can just use the brush tip to change it.
| | 01:49 | And so that's one way you can take
advantages of these buttons and not worry
| | 01:53 | too much about changing hand position
temporarily to get a finger available for
| | 01:58 | one of these buttons.
| | 01:59 | I am going to show you how to set some
of this up so that you will understand
| | 02:04 | how this is doable and in terms of the
ExpressKeys, what I want to make this
| | 02:10 | brush do is to be able to change brush
size and in order to do that, let's just
| | 02:16 | look at Painter for a second here.
| | 02:17 | If I was doing this on the keyboard,
you know here I'm drawing, I would
| | 02:21 | hold down the Command+Option key, which
temporarily changes the cursor to a small crosshair.
| | 02:27 | Then I can click-and-drag
and create a new size brush.
| | 02:31 | So that's a real quick way to do it
but why not map that to the Wacom?
| | 02:37 | Most of the times, you can use keyboard
shortcuts and I'll show you that in one
| | 02:40 | of the other control panels, but here I
want to show you a special case because
| | 02:44 | these are both modifier keys, you can't go to keystroke
which normally you would go in here. Let's even try it.
| | 02:50 | I would hit Option and Command and
nothing is happening because those keys are
| | 02:55 | slightly different and that's why they
actually have a separate category called Modifiers.
| | 03:00 | If you are only using
Modifiers, you can select from here.
| | 03:04 | So I want to select Option and Command,
or it'd be the Ctrl key on Windows, I say OK,
| | 03:08 | and there is no way to type in here, say
change brush size, but that's what this command does.
| | 03:14 | Now that that's mapped to that,
this will then let you press this key.
| | 03:19 | While it's pressed, your cursor will change
to that crosshair, you can click-and-drag
| | 03:22 | and then let up the key and
you have now got a resized brush.
| | 03:26 | So it's very handy to have something
like brush resizing instantly available to you
| | 03:31 | on the surface of the tab and as I
said you may find that you want to move
| | 03:35 | these around or do
something completely different.
| | 03:38 | Another control you have on both the
Cintiq and the Intuos3 tablets is the Touch Strip
| | 03:43 | and the Touch Strip can be
used to do some very interesting things.
| | 03:48 | And for example, I have set it up so
that my Touch Strip can undo and redo and
| | 03:54 | we'll just take a look at how that's done.
| | 03:56 | Undo represents moving the finger on
the Touch Strip upwards and Redo is
| | 04:02 | bringing it forward.
| | 04:03 | So that's a really good use of the
Touch Strips and the other thing that I'll
| | 04:07 | tell you that I use over here, I used
to keep this off because again being a left-hander,
| | 04:11 | my palm of my hand, the side
of it, would rub up on here and
| | 04:14 | all of a sudden things would change.
| | 04:16 | I think it's set by default to
zoom and my screen would start to zoom.
| | 04:20 | So I disabled this, what you could do
here, and for the longest time I didn't use it
| | 04:24 | and then I finally realized, well not
only can I use it to control brush size
| | 04:29 | but there is an Advanced button here
and what you can do is tell it to Accept
| | 04:34 | Touch input from the pen only and if
you enable this and say OK, what will
| | 04:39 | happen now is if I rub this with
the side of my palm, nothing happens.
| | 04:44 | You just take you pen and I kind of
channel it along this edge right here, and I
| | 04:48 | can slide up and I can slide down and
that increases and decreases brush size.
| | 04:54 | So that's the Intuos3.
| | Collapse this transcript |
| Customizing your Wacom tablet: part 2| 00:00 |
Let's take a look now at the Intuos4,
which has been updated with this TouchRing
| | 00:05 |
and much as I did before, I have set all
of these up similarly mapped to the way
| | 00:09 |
they were on the Intuos3.
| | 00:11 |
It's just now everything is on one side.
| | 00:13 |
So I kind of transposed things from the
left side over here and everything from
| | 00:18 |
the right side is down here.
| | 00:20 |
Now another one I want to show you that is
a little not straightforward to figure out.
| | 00:25 |
It is in relationship to the buttons.
| | 00:28 |
It's Rotate Page and the reason I
want to bring this one up is I have seen
| | 00:32 |
several discussions about this on the web.
| | 00:35 |
People want to use this to rotate the screen.
| | 00:38 |
In Photoshop, you can use this in the
new version of Photoshop with the rotate
| | 00:42 |
page, and this works.
| | 00:43 |
Unfortunately, you cannot map this to
rotate the page in Painter and why is that?
| | 00:49 |
Well, Photoshop actually
has two keyboard commands:
| | 00:52 |
Clockwise and Counterclockwise screen rotation.
| | 00:55 |
Painter doesn't currently have
keyboard commands equivalent to that.
| | 01:00 |
So the only way to instantiate page
rotation in Painter is with a button and so
| | 01:06 |
what I did is I went in here and I said
I want to do a keystroke and in Painter,
| | 01:12 |
it is Option+Spacebar is the two
keys that you have to press in order to
| | 01:18 |
instantiate the Rotate Page command.
| | 01:21 |
Once you have done that, then you just
simply put the name in there and say OK
| | 01:26 |
and now all I have to do is press
this button and when I do that, my cursor
| | 01:31 |
changes to the little finger that
indicates Rotate Page and then you just
| | 01:35 |
click-and-drag with your pen. So it does work.
| | 01:38 |
It's just you can't map it here.
| | 01:40 |
So what do I use this for?
| | 01:42 |
Let's go to the TouchRing.
| | 01:43 |
You can have four different functions
in here and I have actually mapped two to
| | 01:48 |
it and I'll show you how I do that.
| | 01:50 |
I'm going to put Undo and Redo in here.
| | 01:52 |
So let's go to -- this is an automatic
feature, so I'm going to say keystroke
| | 01:56 |
and you can see what I have done here
is I have got them setup so that undoing
| | 02:00 |
is a counterclockwise action.
| | 02:02 |
So it's almost like going
back in time and redoing.
| | 02:06 |
Going forward in time is the Redo command.
| | 02:09 |
So by setting them up in that kind
of logical counterclockwise goes back,
| | 02:13 |
clockwise goes forward,
makes it easy to remember.
| | 02:16 |
So that's how I have got that setup and
what I have actually done is I could use
| | 02:21 |
this for four different functions but I
find I use Brush Size and Undo/Redo so
| | 02:26 |
much with this that I would rather
only have a one keyboard click away.
| | 02:31 |
The other thing is unlike the LED
displays that give you a title or a label for
| | 02:36 |
the buttons on the Intuos4,
there is no labeling here.
| | 02:40 |
So you are forced to have
to remember what these do.
| | 02:43 |
I find it's just easier if I know
it's either going to be Brush Size or
| | 02:47 |
Undo/Redo and it's just always one click away.
| | 02:49 |
It makes it much easier for me
to just double up these commands.
| | 02:53 |
I have also found setting the
sensitivity of the wheel to Slow, works as well.
| | 03:00 |
The other thing I want to show you here,
and this also works in the Cintiq as
| | 03:03 |
well as the Radial menu, and if I
click on this, you will see that I have set
| | 03:08 |
this to Painter and it allows me to
apply commands to a little pop-up menu that
| | 03:14 |
I'll show you in a moment that can come up.
| | 03:17 |
In fact, let's jump over here and
let's say I'm working and I want to make a
| | 03:20 |
change, I just click here, I click on
Painter and I have got it setup, for
| | 03:24 |
example, I can quickly adjust my
tracking because I find more and more with all
| | 03:28 |
the different brushes that in some cases
it's slightly different tracking helps.
| | 03:33 |
So to have this right there and not
necessarily attached to a keyboard command
| | 03:37 |
makes it very easy to get to.
| | 03:39 |
Also if I click on here,
click on Painter and the Papers.
| | 03:43 |
I use Papers a lot, so I'll click on
that and that pops-up my Papers palette.
| | 03:47 |
Now right now these are attached
because we have been doing a lot of different
| | 03:50 |
things this week but if I close that
now and go to Painter and say Papers,
| | 03:55 |
again, now it brings it up.
| | 03:57 |
So this is another way to quickly
bring this up and not have to go through a
| | 04:00 |
menu or anything and I want to show
you a little bit how you have to do this
| | 04:04 |
because, some of doing this, it
requires mapping keys in Painter using the
| | 04:11 |
keyboard shortcut
customization in order to make this happen.
| | 04:15 |
It can be a little confusing how you
setup a command to work on the Radial menu
| | 04:21 |
because in many cases, a command you
wan to set there, it has no command
| | 04:24 |
available for it in Painter.
| | 04:25 |
So you end up having to actually do two steps.
| | 04:29 |
You have to go to Painter's Keyboard
Customization and give it a keyboard
| | 04:33 |
command and then put it in here.
| | 04:35 |
In the example, I'll show you to
illustrate how you do this is I would like to
| | 04:38 |
put a, Save Variant here.
| | 04:40 |
So if I'm making the brush, and I like
it, I can just click on my Radial menu
| | 04:44 |
and click on the Save Variant button.
| | 04:46 |
It will call-up the little dialog and
lets me type in a name and I'm on my way.
| | 04:50 |
But right now it just
has default Paste in there.
| | 04:52 |
So the first thing I need to do is
go back to Painter and we'll go to the
| | 04:56 |
Preferences > Customize Keys and if we
go into Palette Menus > Brush Palette, we
| | 05:02 |
can go down here and here is Save Variant.
| | 05:04 |
You can see there is nothing
currently associated with it.
| | 05:07 |
So I click on Save Variant to
highlight the area where the keyboard shortcut
| | 05:12 |
goes in and I'm just going to
give it a kind of an obtuse command,
| | 05:15 |
Shift+Option+Command+S. So that
happens to be used by something that I don't
| | 05:20 |
care about so I'll say Accept, I'll say OK.
| | 05:23 |
So now that I have got a keyboard
shortcut associated with this command.
| | 05:27 |
We can go back to the Radial menu
controls here in the Wacom tablet and
| | 05:32 |
I'm going to go ahead and say that
I want to change this to a keystroke
| | 05:36 |
and I'm going to clear this and then
I'm going to put my keyboard command
| | 05:41 |
in there, there we go.
| | 05:42 |
I'm going to say OK and I'm
going to give it a name now.
| | 05:45 |
So I'll say Save Variant.
| | 05:50 |
So that appears on there now.
| | 05:51 |
Let's go back here.
| | 05:52 |
I'll open this up, click on
Painter and there is Save Variant.
| | 05:56 |
So if I click on it now, if I created a
brush I could very quickly through this
| | 06:00 |
process, oh yeah I want to save it,
give it a name, hit OK and I have saved
| | 06:04 |
without having to move around.
| | 06:06 |
So this Radial menu, I'm showing
it to you in a very simplified form.
| | 06:10 |
I have actually shutoff four commands here.
| | 06:12 |
So you can have eight commands and
you can literally keep having sub-menus.
| | 06:17 |
So you could remap all of
Painter to this if you wanted to.
| | 06:20 |
I wouldn't want to do that because
you would be digging down the menus and
| | 06:22 |
probably taking longer than it
actually takes to navigate in Painter itself.
| | 06:26 |
But a few commands that you will find
you just want to have very quickly, this
| | 06:29 |
is a good place to do this.
| | 06:31 |
Now the other thing I want to show you
is you are probably wondering well how is
| | 06:34 |
you making the Radial menu command come up.
| | 06:38 |
That's associated with my pen that I have.
| | 06:41 |
And you can see right here, I have
set this up so that it works on my pen.
| | 06:45 |
Some other people may want to use one
of the buttons on the control surface of
| | 06:49 |
the tablet itself to call this up but I
find, I have enough commands I want to
| | 06:53 |
put there that I don't
want to give it up for this.
| | 06:56 |
So what I have done is I typically
leave this front button on my pen disabled
| | 07:02 |
because I click it a lot by accident and
so by disabling it, it's less likely to
| | 07:07 |
cause a menu to come up I don't want.
| | 07:09 |
On the other hand, I don't ever seem to
accidentally hit the back button and by
| | 07:14 |
assigning the Radial menu to that, I
just click it, go to my Painter menu and
| | 07:19 |
select one of the things that I want to do here.
| | 07:22 |
So you definitely have a bunch of
controls you can do in both the Intuos4 and
| | 07:27 |
the Cintiq, have the Radial
menu as part of its structure.
| | 07:31 |
So it will translate over to the
Cintiq as well and speaking of the Cintiq,
| | 07:35 |
let's go take a look at it.
| | 07:37 |
In fact, see here is, there Radial menu Command.
| | 07:40 |
Let's look at the ExpressKeys.
| | 07:42 |
And basically there is one extra
button that's different than the Intuos3.
| | 07:48 |
For example, see how they are almost identical
but there is just one more button on the top.
| | 07:52 |
That button assuming you have
multiple displays hooked up which means one
| | 07:57 |
display is in the tablet itself and
the other display is a second display
| | 08:01 |
that you are using.
| | 08:02 |
I show you elsewhere in this title
how you can actually set this up in a
| | 08:05 |
very unique way so that you can mix
paints and control all your color from
| | 08:10 |
the tablet, but then do you
painting and have your canvas on your main
| | 08:14 |
screen and that's why this button is
really important to keep it programmed
| | 08:18 |
for multiple displays because all I
do is click this, and I'm instantly
| | 08:23 |
toggling between those.
| | 08:24 |
So in my circumstance, I have it setup
so if I'm currently on the Cintiq and I'm
| | 08:29 |
mixing paint, I then click to this
button which I just kind of have sitting at
| | 08:34 |
the ready next to the tablet,
while I'm working, I click and boom!
| | 08:38 |
That pen with the paint I have just loaded
onto it is now on my canvas and I start painting.
| | 08:44 |
I want to pick up some more paint, click
on it, I'm back down and so it's just a
| | 08:48 |
matter of using this as the equivalent
of taking your brush from the canvas down
| | 08:53 |
to a Mixing palette and vice-
versa and it's very natural.
| | 08:56 |
And then I have basically kept all of my
commands from the way I'm used to among
| | 09:00 |
the other tablet, you can see they
are all essentially the same here.
| | 09:04 |
So that's really how
everything works on these tablets.
| | 09:08 |
Bottom line here is don't ignore
this great functionality that you have
| | 09:12 |
available to you on the Wacom tablet
because it really does improve productivity
| | 09:17 |
and workflow and ultimately that's
the goal of accessories like this.
| | 09:22 |
So take advantage of them.
| | 09:25 |
| | Collapse this transcript |
| Maximizing your tablet's pressure response| 00:00 | After you choose your tablet and get
all the settings the way you like them
| | 00:03 | in the Wacom preferences, there is one more
preference you're definitely going to
| | 00:06 | want to adjust in Painter to maximize
the way your Wacom tablet works and to
| | 00:11 | get to this, we're going to go to the
Preferences menu, which in Mac is under
| | 00:16 | Corel Painter 11 menu.
| | 00:18 | In Windows, it's under the Edit menu.
| | 00:20 | Go to Preferences and we're
going to go to Brush Tracking.
| | 00:23 | So, let's open this dialog and what
this basically wants you to do is to draw a
| | 00:28 | stroke that is similar to your
typical pressure and speed and I'm going to
| | 00:35 | purposely draw incorrectly, because
I want to show you how this works.
| | 00:39 | I'm going to draw so light and
basically, I'm just going to be letting my pin
| | 00:43 | touch the tablet surface and
I'm not giving it any weight.
| | 00:46 | So I have drawn a stroke. I'm going to
say okay, I have got Square Chalk here,
| | 00:50 | which is a texture aware brush,
and at my lightest stroke l should be able
| | 00:55 | to just skip along the tops of that paper
grain and already, I mean I'll try as best I can.
| | 01:01 | It's so hard for me to actually get
to the light end of the pressure because that
| | 01:08 | ultralight stroke I did set up the
tracking, so that even the lightest touch
| | 01:14 | makes it pretty full.
| | 01:16 | Now, let's go back and notice when
we're in here that Shift+Command or
| | 01:21 | Shift+Ctrl+K gets you here.
| | 01:23 | I'm going to be using that for the rest of time.
| | 01:24 | Now, I'm going to draw with
a very heavy-handed stroke.
| | 01:27 | Just almost as heavy as I can.
| | 01:29 | Okay, now I'm drawing a very heavy stroke.
| | 01:31 | And now I'm going to say OK.
| | 01:33 | Now, I'm going to try to
get that light pressure.
| | 01:35 | I'm pressing and feeling nothing.
| | 01:37 | Pressing, pressing, pressing.
| | 01:39 | Now, I'm finally getting to it and an
extreme amount of pressure finally gets to
| | 01:44 | the maximum pressure.
| | 01:46 | So, it definitely senses what your hand
is doing and the best thing to do is not
| | 01:51 | press real light, not press real strong.
Just draw a stoke that is typical of
| | 01:56 | the kind of painting activity
that you are going to be doing.
| | 01:58 | And let's see this.
| | 02:00 | Yeah, see now I have perfect
control over my pressure and this is in
| | 02:05 | particular important with the new
Intuos4 because it has a much higher
| | 02:11 | sensitivity to light pressure.
| | 02:14 | And you want to be able to
get the maximum out of it.
| | 02:16 | I can tell you a quick story to
tell you how important this is.
| | 02:19 | In some of my workshops, it will be
actually a day or two before I get to a student,
| | 02:24 | to work specifically with them,
and sometimes I'll see what they are
| | 02:28 | doing and there is just something about it.
| | 02:30 | And they'll say, "I can't do
it the way that you are doing it."
| | 02:32 | And I say "let me see your pen" and
I'll go to draw with it and it will be
| | 02:36 | set up like one of these extremes that
I have told you about and they didn't
| | 02:41 | realize there was any control over it.
| | 02:43 | And so,when I took them in there, and
I'll just do a quick stroke and then I
| | 02:46 | try it and it's like, "Oh here, try this."
| | 02:48 | The second they try it, they
are just like, "Oh my gosh! I can't believe this."
| | 02:52 | "There is so much more pressure
capability in this than I thought."
| | 02:56 | So it's really important to visit the
Brush Tracking palette fairly regularly
| | 03:03 | and I used to be more on this side of
just set it once and forget it, but
| | 03:07 | I found for different brushes in Painter,
if it just feels kind of funny to me,
| | 03:10 | I'll open this up and do a stroke and
go back and sure enough that corrected it.
| | 03:15 | So, there isn't one size fits
all for brush tracking anymore.
| | 03:19 | It's now somewhat depended on the
various media that you're working with.
| | 03:23 | So take advantage of brush tracking.
| | 03:26 | It's going to get you the maximum feel
for the Wacom tablet that's possible.
| | 03:31 | Well, we have our Wacoms configured,
we've got them gassed up and ready to roll,
| | 03:35 | go forth and paint!
| | Collapse this transcript |
|
|
6. SelectionUnderstanding the selection tools| 00:00 |
In this chapter, we're going
to take a look at selections.
| | 00:03 |
Selections are the primary tool
for isolating areas of your canvas.
| | 00:07 |
Whether you want to selectively paint,
or create a layer element, or apply an
| | 00:11 |
effect to a specific area.
| | 00:13 |
Selections are just the
ticket. Let's take a look.
| | 00:16 |
Selections are basically a way to
isolate an area of an image and we're going to
| | 00:21 |
use this image on the screen as
our example throughout this chapter.
| | 00:25 |
But the first thing we want to do is
actually get a selection and the kind of
| | 00:29 |
most basic selection in the Tool palette
is the venerable Rectangular Selection.
| | 00:34 |
Once I've selected that tool, I can
essentially click and drag to create an area
| | 00:39 |
that is now selected.
| | 00:40 |
And just as an example, if I temporarily
grab my brush, you'll see now that with
| | 00:44 |
this Airbrush for example, it's
isolating the area where I can work on screen.
| | 00:49 |
So first and foremost a
selection acts as somewhat of a mask.
| | 00:53 |
So that only those
particular areas can be affected.
| | 00:56 |
Now, there are a couple basics here
you want to understand about selections.
| | 01:00 |
I'm going back to my Selection tool here.
| | 01:03 |
I can add and subtract from a selection.
| | 01:05 |
And if I hold down my Shift key, you'll see
that a small plus sign appears on the cursor.
| | 01:12 |
Now, when I create a selection,
it's added to the current selection.
| | 01:16 |
As long as you're holding the Shift key
down, you can continue to add to a selection.
| | 01:22 |
Conversely, if I hold down my Option or
Alt key, I can subtract from a selection.
| | 01:28 |
So now we see a little minus on
there and I can even punch a hole,
| | 01:31 |
for example, into my selection.
| | 01:33 |
So, this let's me, the combination of
the Shift to add and the Alt or Option key
| | 01:40 |
to subtract, allows me to build more
than just a Rectangular Selection with even
| | 01:46 |
a simple tool like the
Rectangular Selection tool.
| | 01:48 |
And this generally applies to the various
selection tools we're going to be looking at.
| | 01:53 |
You have the capability to both add
as well as subtract from a selection.
| | 01:59 |
So this is just the basis for selections.
| | 02:02 |
It's an area that isolates or defines
a particular area on the image and from
| | 02:09 |
there you can use it for variety of
tasks, which we'll be exploring here
| | 02:13 |
throughout the rest of
the videos in this chapter.
| | 02:16 |
| | Collapse this transcript |
| Making selections using the Lasso tool| 00:00 |
In this video, we're going to
take a look at the Lasso tool.
| | 00:03 |
The Lasso tool is designed for
creating free-hand selections.
| | 00:06 |
This is going to be really useful for
selecting irregularly shaped image elements.
| | 00:10 |
We're going to select the Lasso
tool by going up to where you find your
| | 00:13 |
Rectangular Selection tool, but if you
Click and hold, you'll get a little
| | 00:17 |
flyout menu and we're going to go over
to the little Lasso tool and now we have
| | 00:21 |
our Lasso tool active.
| | 00:23 |
A couple of things I'm going to tell
you here is that when you're selecting an
| | 00:27 |
irregular object, this is where the
page rotation can come in really handy.
| | 00:32 |
And I'm going to be using that here
to show you because as I'm drawing,
| | 00:36 |
I'm going to just use this little
African head sculpture to work on.
| | 00:40 |
So when it gets to certain angles,
it's sometimes nice to just have a correct
| | 00:45 |
angle on this that's going to be comfortable.
| | 00:46 |
So I'm going to move my image area out
here a little bit and this just lets me
| | 00:51 |
rotate to get what my eye looks like.
| | 00:53 |
That's maybe a little bit better angle.
| | 00:55 |
The other thing what works well when
selecting is to get close to the image.
| | 00:59 |
So I'm using in this case my Command or Ctrl
and plus key to zoom in and get it up here.
| | 01:05 |
And here is going to be that
issue and I'm going to show you this.
| | 01:08 |
I'm going to start to draw.
| | 01:09 |
Now you need a steady hand for this and
some people don't necessarily feel that
| | 01:14 |
they have that kind of steady hand.
| | 01:16 |
So while I'm showing you the
facility of the Lasso tool, it also has it's
| | 01:21 |
limitations and one of them is if I
would pick up right now because I want to
| | 01:25 |
adjust my angle or
something, watch what happens.
| | 01:28 |
You see it automatically
completes and right there, that can be
| | 01:32 |
somewhat aggravating.
| | 01:33 |
Now, I'll go ahead and start again and
redo it and I do a lot of selecting, so
| | 01:38 |
don't be frustrated if you
try to do what I'm doing.
| | 01:40 |
It's like "how he is doing that?"
| | 01:41 |
Well, I do it a lot and for that
reason I got a developed eye for it.
| | 01:45 |
But you can find that this can sometimes
be a little difficult to do and because
| | 01:49 |
of that, I'm going to be showing you
some other tools that can take the place of
| | 01:53 |
this that are much more of
facile at doing this kind of work.
| | 01:56 |
Now, once you've made a selection, one
of the most obvious things to do with it
| | 02:00 |
is to make a layer out of it and all I
have to do is just at this point, Copy
| | 02:05 |
which is Command+C or Ctrl+C and then
I'm going to do Command or Ctrl+V for
| | 02:10 |
Paste and that just made a copy.
| | 02:14 |
So now, I can pick this up and move it around.
| | 02:15 |
And let's go ahead.
| | 02:17 |
I'm going to hold down my Space, then
Option or Alt key, which is going to
| | 02:21 |
temporarily give me my Rotate tool, and
just by clicking once in the image, that
| | 02:24 |
brings it back to normal orientation.
| | 02:27 |
But you can see now I've got a copy of this.
| | 02:28 |
So, we could play around and put it
somewhere else in the image as well.
| | 02:32 |
But the basic idea here is that the
Lasso tool gives you this ability to isolate
| | 02:37 |
a particular area of an image,
so that you can work on it.
| | 02:41 |
Now, one last thing I want to mention is you
remember that, we can also add and subtract.
| | 02:46 |
So after I make a selection, if I have
a little anomaly or some place where I
| | 02:51 |
slipped a little bit, you can always go
back and using your plus or your Shift
| | 02:55 |
key to add, or your Option
or Alt key to remove areas.
| | 02:59 |
You can finesse that edge so that
you get exactly the selection you want.
| | 03:03 |
But in the next video I'm going to
show you even a better way to do this, so
| | 03:08 |
that you don't have to be so perfect as
you are drawing, and fearful that if you
| | 03:12 |
accidentally pick up your pin,
you're going to have to start over again.
| | 03:15 |
So let's take a look at the
Polygonal Selection tool in the next video.
| | 03:20 |
| | Collapse this transcript |
| Making polygonal selections| 00:00 | While the Lasso tool is good for quick
uncomplicated image element selections,
| | 00:05 | the Polygonal Selection tool enables
much greater control over following the
| | 00:08 | edge of a complex shape or element.
| | 00:10 | Now we are going to begin by going up
to where the Lasso tool is currently
| | 00:15 | active and click and hold. That will
pop-up the little fly-out menu for our
| | 00:19 | tool options and I'm going to go
over to the right here and select the
| | 00:22 | Polygonal Selection tool.
| | 00:24 | Now, I'm going to start at the bottom
here and we'll begin by creating the point,
| | 00:27 | and you will see what immediately
happens is it creates a rubber band line
| | 00:30 | and I can now start to create a
series of points and each time I have
| | 00:35 | the option to decide where
that point is going to be.
| | 00:37 | So I'm going to start to work my way
around this object and I think you can see
| | 00:42 | right away. In the first instance, we
used the Lasso tool on a simpler object
| | 00:48 | which was fine, but I would never
attempt to use the Lasso tool for this kind of
| | 00:52 | complex object. As you can see, there
is more complexity to the shape than I
| | 00:57 | would ever want to attempt with it.
| | 01:00 | So in this case, it's just a matter
of kind of walking these little flying
| | 01:04 | segments around your object and when
you work on circular areas as I'm doing,
| | 01:08 | it's best to work in shorter line
segments. Otherwise, you will start to get an
| | 01:13 | artifact that I call poker chipping
that's where you can start to see the
| | 01:16 | visible facets of the line
elements that you have created.
| | 01:20 | Here, we come around, we are in the
home stretch and I could sit here and click
| | 01:25 | all day and nothing happens.
| | 01:26 | You have to use the Enter key or the
Return key and that creates your selection.
| | 01:31 | So now that I have got this selected,
I still have the option to add or subtract
| | 01:36 | to it using the same tool.
| | 01:37 | For example, I can see an instance here
where that's a little inward, a little
| | 01:42 | more than I would like.
| | 01:43 | So if I hold down my Shift key, you
will see I get the little plus sign.
| | 01:46 | That means I can now add to this.
| | 01:48 | So I'm just going to go in and just
select a little bit more perhaps here and
| | 01:52 | in this case just letting up adds to the selection.
| | 01:54 | It doesn't look like I quite did it, so
I'll go out, just a little bit more here.
| | 01:59 | And then as soon as I led up the Shift
key, which I'm holding to add to that
| | 02:02 | selection, that's what interprets
it as your finish with the selection.
| | 02:07 | So you do have the option with this tool as
well to go around and refine it with the tool.
| | 02:12 | Now, the reason you are seeing that
little cross hair there is that lets me
| | 02:15 | pick up the selection and move it if I
want which I normally wouldn't want to do here,
| | 02:18 | so if I do a couple of Undos,
I'll get it back to where it was.
| | 02:22 | And as we did before, if I do a Command+
C or Ctrl+C that copies and then if I do
| | 02:27 | a Command+V or Ctrl+V that pastes it
and it's just it's pasting it in place.
| | 02:31 | That's why nothing seems to be happening.
| | 02:34 | But with the Layer Selection tool now
active I can pick this up and move it around.
| | 02:38 | So, that's a very good way
to be able to select an area.
| | 02:43 | The Polygonal Selection tool enables
greater precision when selecting complex elements.
| | 02:48 | Don't forget to use it in those situations!
| | Collapse this transcript |
| Making selections using the Magic Wand tool| 00:00 | Earlier, we saw how the Lasso and
Polygonal Selection tools work by selecting
| | 00:06 | the edge or the outline of an
image element in order to isolate it.
| | 00:10 | Those tools are great for
very specific image areas.
| | 00:13 | But you are going to run into cases
where it's not so well defined and that's
| | 00:17 | when the Magic Wand becomes your tool of choice.
| | 00:20 | Now the Magic Wand is located up here.
| | 00:22 | It's the tool immediately to the
right of the other Selection tools.
| | 00:25 | So I'm going to select that and the way
this tool works rather than describing
| | 00:29 | an area by hand, it works based on
color and for example, if I click in the
| | 00:35 | area of the sky, you will see that it
very quickly is able to locate most of
| | 00:40 | the colors in the sky.
| | 00:41 | So what happened there was, when I
clicked on a pixel or a color in the sky, it
| | 00:47 | used this Tolerance to determine, well
how far from that color should I move out
| | 00:52 | and select other colors.
| | 00:53 | So there's two things going on here.
| | 00:55 | There is the color you select as well as
what the Tolerance Level is set to that
| | 01:01 | determines what your
selection ultimately is going to be.
| | 01:04 | So now I'll do a Ctrl+D or Command+D,
which clears the selection, and the other
| | 01:09 | thing that is useful with this
Magic Wand tool is it can go beyond just
| | 01:13 | selecting a single color.
| | 01:15 | I can actually select a range of colors.
| | 01:17 | So if I click-and-drag now, you will
see it's now selecting a better selection
| | 01:22 | of area. That's because it's now still using
tolerance but it's not using it with one color.
| | 01:27 | It's using it with all of the colors
I selected, plus spreading out by the
| | 01:31 | Tolerance Level and selecting all those tools.
| | 01:34 | So we have gotten closer to selecting
our sky, which ultimately in this case I
| | 01:39 | want to just add a little bit of a
Contrast to the sky to punch up the colors a
| | 01:43 | little bit and we are very
close to be able to do that.
| | 01:46 | However you will see I still have some
erroneous unselected areas back into the far shoreline.
| | 01:52 | So let's undo one more time and I
can certainly collect more colors.
| | 01:57 | So let's try that out.
| | 01:58 | Actually, go a little farther now, but
you will see what has happened now is
| | 02:02 | it's selected too many colors.
| | 02:04 | So one of two things has happened.
| | 02:06 | I have either through moving my
Magic Wand, over a series of colors have
| | 02:10 | collected too many colors or my
Tolerance is too high and there is a balancing
| | 02:16 | act you have got to play here
when you are starting to do this.
| | 02:19 | I'm going to undo one more time and I'm
going to be a little bit more selective
| | 02:23 | about what colors I'm selecting.
| | 02:25 | But I'm still getting more than I want.
| | 02:27 | So now that I have arrived at probably
the range of colors I want to select by
| | 02:32 | dragging the Magic Wand, the next area
of refinement will be playing with the
| | 02:36 | Tolerance Level and just lowering that a bit.
| | 02:39 | So it's not looking so far
beyond the colors that I'm collecting.
| | 02:42 | So I'll Undo one more time and this is
at normal procedure, you will usually try
| | 02:47 | three four times before you start to
get into the sweet spot that's going to
| | 02:51 | select the colors you want.
| | 02:52 | I am going to lower this and because it
is somewhat of a guessing game, I don't
| | 02:57 | know exactly what the right setting for this is.
| | 02:59 | I may have to try it one or two times.
| | 03:01 | But let's try it one more
time. I'll go down here.
| | 03:03 | Okay, now you can see now I have gotten
very close, this is almost exactly what I want.
| | 03:07 | I have got some little hick-ups here
where it has gone a little bit below the
| | 03:11 | horizon line or there may be some
clean up work over here because these hills
| | 03:16 | are so far away in the distance and
it's a hazy day, they could probably stand
| | 03:20 | to be a contrast enhanced a bit too.
| | 03:23 | So at this point, you don't want to
try to find some magical setting that's
| | 03:28 | going to absolutely select
exactly the colors you want.
| | 03:32 | But what you want to start thinking at
this point is what tool is going to get
| | 03:35 | me where I want to go and because all
of the Selection tools can be added to
| | 03:40 | or subtracted from.
| | 03:42 | It's really a matter now of just
logically thinking well what's the best way
| | 03:45 | to, for example, eliminate these
colors that are intruding past the horizon
| | 03:49 | line into the water and for that
something is simple as the Rectangular
| | 03:54 | Selection tool can work.
| | 03:55 | But what I want to do here is I want
to use it as a subtracting element.
| | 03:59 | So I'm going to hold down my Option or
Alt key and that will let me just kind of
| | 04:03 | take this up to the horizon line and now
what it's done is cut away all of those
| | 04:07 | elements that were beneath the horizon line.
| | 04:10 | Now over here, I'm going to
have a slightly different problem.
| | 04:14 | I want to start to work on some of
these areas but the Rectangular Selection
| | 04:18 | tool isn't going to work.
| | 04:19 | So what's a good tool?
| | 04:21 | Well, the Polygonal Selection tool.
| | 04:23 | So let's go ahead and grab that one.
| | 04:24 | I'm going to open this up just a little
bit more and I'm going to move this off
| | 04:29 | to the edge and remember
selecting can be added to or subtracted.
| | 04:33 | So in this case, if I hold down the plus
key, I can add to pickup this area here
| | 04:38 | and I'm just creating a few line
segments following around and then when I let
| | 04:42 | up, it adds to that selection.
| | 04:44 | One more area is right here, once
again I'm holding down my plus key or my
| | 04:49 | Option or Alt key to select and add
to this area and now I have got a good
| | 04:56 | selection that pretty much is
giving me the area that I want.
| | 04:59 | So the thing to emphasize here is each
one of these tools are good at what they
| | 05:03 | do, but don't rely on just one of
these tools to try to do everything.
| | 05:08 | You are going to find that it's
generally a combination of tools.
| | 05:11 | The rule is like this.
| | 05:13 | The more complex the element selection
becomes, the more likely you are going to
| | 05:18 | be incorporating multiple tools to do this.
| | 05:21 | So I was just going to jump up here to
my Effects and go and get my Brightness
| | 05:25 | and Contrast and we'll move it down
here and I'm just going to darken it a
| | 05:30 | little bit and little bit
right there and let's Apply that.
| | 05:37 | So now we are going to do a Command+D
to deselect and I'm going to Undo to see
| | 05:42 | what I had before, and as I Redo
and undo you can see my change.
| | 05:47 | It's subtle but that's what I was going
for, I just wanted to add a little bit
| | 05:51 | more punch to the sky.
| | 05:53 | So the way I did this was through
being able to first of all make that
| | 05:57 | selected area and then apply my particular
effect in this case, brightness and contrast to it.
| | 06:03 | So the selection tools really give you
the power through basically using all of
| | 06:08 | them as needed, to create a
selection to do what you want to do.
| | 06:13 | So really the Magic Wand is great for
selecting specific limited color range,
| | 06:17 | visual elements in an image.
| | 06:19 | It will produce both
hard and anti-aliased edges.
| | 06:22 | And for subtle visual element
extraction, you will need to use the Color
| | 06:26 | Selection tool, which we'll
look at in the next video.
| | Collapse this transcript |
|
|
7. LayersUnderstanding layers| 00:00 | In this chapter, we are going
to be taking a look at layers.
| | 00:03 | Layers offer an amazing degree of flexibility.
| | 00:06 | It's like working on acetate sheets,
and you can isolate various parts of your
| | 00:10 | imagery on multiple sheets.
| | 00:13 | You can also save these images to
retrieve them later on for further editing.
| | 00:17 | You also have tools like layer
masks and transparency to blend various
| | 00:22 | image elements together.
| | 00:24 | Layers are an important component of
digital painting and they enable a wide range
| | 00:29 | of creativity that's not possible otherwise.
| | 00:32 | Let's take a look at layers.
| | 00:35 | To begin, we are going to look at the
Layers palette and I'm going to go over
| | 00:39 | to the right-side of the screen here.
In my palette stack I have the Layers
| | 00:45 | palette opened and this is where
you are going to manage layers, create
| | 00:50 | layers, delete layers.
| | 00:51 | So this is really kind of home
base for working with layers.
| | 00:56 | And the first thing we want
to do is create a new layer.
| | 00:59 | Like many things, you have
more than one way to do it.
| | 01:02 | I'm typically an icon oriented person,
so I'll go down here and use the little
| | 01:07 | icon which represents a new layer, I
can click on that, and that will create a
| | 01:12 | new layer, but if I undo here, Command
+Z or Ctrl+Z, I can also go up to the
| | 01:17 | Layers palette and I can say New Layer here.
| | 01:20 | So you have the menu command, but you
then have the third option of also using
| | 01:24 | the keyboard command, Shift+Command+N,
Shift+Ctrl+N. So depending on your way of
| | 01:30 | working, you have multiple
methods to create a new layer.
| | 01:34 | Now, once we've created a new layer, I
can start to do a variety of things and
| | 01:39 | I'm going to go through the process
here of creating three different layers.
| | 01:43 | So I'm going to number this one,
number 1, I'm going to create a new layer
| | 01:47 | again, this time I'm using
the little icon at the bottom.
| | 01:50 | Let's change color and this will be
Layer 2, and then we'll go create a third
| | 01:55 | layer and give this another
color, and this will be Layer 3.
| | 01:59 | So I've got three different layers
here, and I'm going to now go over, and
| | 02:05 | get the other kind of a half of the
Layer palette, again it's a situation
| | 02:09 | where these are almost like two sides of a
coin, I'm going to get the Layer Adjuster tool.
| | 02:14 | What I'm going to show you is whenever
layer is active, I can pick that up and move it.
| | 02:19 | If I want to select another layer, I'd
have to go down here, and select Layer 1
| | 02:24 | and then I can move it.
| | 02:25 | I don't like working this way.
| | 02:26 | I find this is to me rather indirect
method of picking up and moving layers.
| | 02:31 | What's far better is to activate in
the Property bar for the layer selector
| | 02:38 | is Auto Select Layer.
| | 02:40 | This way, I can just pick up each layer, and
you do have to now touch a pixel in that layer.
| | 02:46 | So if I do this nothing happens.
| | 02:48 | But this is kind of point to do what I
wanted to do, rather than going through
| | 02:52 | this indirect method.
| | 02:54 | So the idea of using Auto Select Layer,
I find it to be very useful and you can
| | 03:00 | see things coming in front of and behind here.
| | 03:03 | The next thing you're going to want to be
able to do is adjust the order of these layers.
| | 03:06 | How can I move layers back and forth in
this layer order, or it's as simple as
| | 03:11 | just clicking and then dragging the
layer element, and that will bring it to
| | 03:16 | that order in the layer stack.
| | 03:18 | So this represents a top to bottom
order as they appear above the canvas.
| | 03:24 | So we've got here, basically a schematic
representing the order of these layers.
| | 03:29 | Another way you can do this is, you
also in the Property bar have the ability
| | 03:35 | here to move a layer.
| | 03:37 | The first pair of buttons allow me to
move the layer element all the way to the
| | 03:41 | top, or all the way to the bottom.
| | 03:42 | The second pair of layer elements allow
me to take a layer, like Layer 3 here,
| | 03:47 | which is down at the bottom, and now
I can move it up one layer at a time.
| | 03:51 | So this gives me the ability to work one
floor in the elevator at a time or this
| | 03:56 | just pops me all the way to the top,
or pops me all the way to the bottom.
| | 03:59 | So I've got a couple of ways either
through these icons, or through just moving
| | 04:04 | them up and down in the
list to adjust layer order.
| | 04:08 | Now I'm going to show you
another feature that's rather important
| | 04:11 | particularly in painted imagery.
| | 04:13 | Let's go ahead and delete these and to
do that, all I have to do is if I hold
| | 04:17 | down my Shift key, I can select these
multiple layers and I'll just click on the
| | 04:22 | Trashcan and that removes them.
| | 04:24 | I am going to select a new layer, and I
want to paint and this is particularly
| | 04:29 | important with regard to
tools that Smear and Blend.
| | 04:33 | So this brush has a smearing
and blending component to it.
| | 04:37 | I am now going to create a new layer,
and let's take a very different color
| | 04:40 | here, and I'm going to paint on it.
| | 04:42 | You can see how it's literally smearing
these and it feels as you're painting as
| | 04:47 | if it's just one flat area, but in
reality this is actually a separate area, and
| | 04:53 | when it's moved away from where it
blended the colors underneath of it, it
| | 04:56 | becomes rather nonsensical because, why
is this transitioning from blue to red.
| | 05:01 | Whereas when I undo and pop that back
where it is, it for all the world appears
| | 05:06 | as a flat painted canvas, and that is
one of the major powers of layers is that
| | 05:11 | as I continue to create new layer
elements, I can go in and blend and smear as
| | 05:18 | if they were single layer.
| | 05:19 | That enables me to do an amazing amount
of isolated work, and yet still have the
| | 05:25 | ability to go back and edit, turn on or
turn off or decide what I do want to do
| | 05:29 | with these various elements.
| | 05:31 | But in fact that it acts visually as
if it's a single flat canvas, and in
| | 05:36 | reality, you've got elements on
various layers is a very big conceptual leap
| | 05:42 | from working flat to having these so
called acetate sheets that enable the build
| | 05:47 | up of imagery through multiple layers.
| | 05:50 | Now one of the reasons that this whole
aspect of blending the various layers
| | 05:55 | together is due to Pick Up Underlying
Color, if this isn't enabled, you're going
| | 05:59 | to get different effects.
| | 06:00 | It just looks like flat paint, but
when this is enabled, you are going to get
| | 06:05 | the illusion that you're painting through it.
| | 06:07 | So if you run into a situation, and it
isn't behaving the way you believe it
| | 06:11 | should, to blend with the colors
underneath of it, that's because Pick Up
| | 06:15 | Underlying Color is not enabled.
| | 06:17 | It is by default and normally it's on,
but you may have inadvertently turned
| | 06:21 | this off at one time or another, and
that's why it's important to understand
| | 06:26 | what the Pick Up Underlying Color does.
| | 06:27 | It's the key to enabling this
blending of imagery underneath of it.
| | 06:33 | Another key tool in the Layers
palette is the Transparency slider.
| | 06:37 | You'll see here as I adjust this, I can
control the amount or degree of Opacity
| | 06:42 | of a particular layer.
| | 06:44 | So this is another very powerful way
to start to manipulate how layers are
| | 06:49 | interacting or working with one another.
| | 06:51 | And finally, you can even get into
compositing methods or in Photoshop it
| | 06:56 | known as Blend Layers.
| | 06:57 | That's where I can go in and start to
alter what the pixels think they are
| | 07:01 | suppose to do in that layer with the
imagery underneath of it, and we'll get
| | 07:06 | into this in a little more detail
later on, but basically this is yet another
| | 07:10 | way in which you can use the power
of layers to modify how various layer
| | 07:17 | elements are interacting
with the other layer elements.
| | 07:20 | So there is a few pieces of the puzzle
to learn here, but once you understand
| | 07:25 | how these puzzle pieces fit together,
it provides you with an amazing place to
| | 07:30 | do things that you otherwise couldn't do.
| | 07:32 | Another thing is what I've just done here,
this in effect could be a safety net.
| | 07:36 | If I get rid of that layer well, I
just try something out, and if I decided I
| | 07:40 | didn't like it, the fact that I did around the
layer, gives you the power to try things out.
| | 07:44 | So layers are just really I can't
emphasize enough how important it is to start
| | 07:50 | to get into, and understand how
layers work, particularly with regard to
| | 07:55 | digital painting because it opens up
doors, and if you otherwise we'll just not
| | 07:59 | have access to.
| | Collapse this transcript |
| Using the Preserve Transparency control| 00:00 | As we move on up the ladder of layer
concepts, we find ourselves on the rung
| | 00:05 | known as Preserve Transparency.
| | 00:08 | Now Preserve Transparency is kind of a
geeky sounding word but it's actually a
| | 00:12 | very useful tool and one way I
often describe it as is a poor man's mask.
| | 00:17 | It's a really cool way to do some
masking work without even having to think in
| | 00:22 | terms of mask because that's yet
another rung on the layers ladder that
| | 00:26 | sometimes gets a little challenging for folks.
| | 00:28 | So I'm going to show you, what I
called poor man's masking here.
| | 00:32 | I am going to start and create a new
layer and I'm just going to draw just a
| | 00:36 | simple shape here, just kind of
a star element with the brush.
| | 00:39 | So the idea here is just to get
something on this layer, okay.
| | 00:44 | I have done that and you will notice
over in the Layers palette, just above
| | 00:48 | Pick Up Underlying Color, there is another
possible checkbox, which is Preserve Transparency.
| | 00:53 | I am going to go ahead and enable
that now and we are going to get a
| | 00:56 | very different tool.
| | 00:57 | So let's go and we are going to grab
the Sponge here, down at the bottom.
| | 01:01 | Let's just switch this background.
| | 01:03 | I am going to go and just get a
very different color and now remember
| | 01:07 | Preserve Transparency is on.
| | 01:08 | What that means is and again, not to get
too geeky on you, but when you paint on
| | 01:12 | a layer, unbeknownst to you,
you are actually creating a mask.
| | 01:15 | It's just an invisible mask that you are
not really thinking about and you don't
| | 01:19 | have to think about.
| | 01:20 | But because it's there, that
information can be used to do this
| | 01:25 | Preserve Transparency trick.
| | 01:26 | Wherever I haven't painted, that's
transparency and by enabling this,
| | 01:31 | I'm locking that area of the image
off so that it can't be altered.
| | 01:35 | So what that means is I can go in here
with my little Sponge tool and I can now
| | 01:40 | use the transparency or the non-
transparency in this case, the places that
| | 01:45 | I have painted, in order to create a mask.
| | 01:49 | So if you know this in advance, you
can start to do some amazing tricks with
| | 01:53 | Preserve Transparency to
treat something as a mask.
| | 01:56 | For example, now that this is on,
I could go in and grab an Airbrush and just
| | 02:02 | kind of doing some shading work here.
| | 02:04 | Maybe I'll make this a little smaller.
| | 02:06 | You know, I can start to give this
the illusion that it's somewhat of a
| | 02:09 | three-dimensional element.
| | 02:11 | You know it's not, but just by kind of
using the fact that I have a mask, I can
| | 02:16 | start to create a pretty cool
illusion here that makes this scene a bit
| | 02:20 | like it's a pillowed or
rounded three-dimensional shape.
| | 02:24 | So Preserve Transparency is totally a
feature that probably sits there for lot
| | 02:30 | of people that have no idea what
it means and it's very valuable.
| | 02:33 | So take advantage of Preserve Transparency.
| | 02:36 | It enables you to modify various
painted areas on your layer without
| | 02:40 | disturbing the non-painted areas and
that just opens up an entire world of
| | 02:44 | expressive possibilities.
| | 02:45 | So, take advantage of this
rung on the layers ladder.
| | Collapse this transcript |
| Using the Pick Up Underlying Color control| 00:00 | We took a look at pick up color earlier,
but I want to go into some more detail
| | 00:04 | about it because it's such an amazing
and crucial feature to working with layers
| | 00:09 | particularly in a painted environment.
| | 00:11 | It does things that are not even
possible in the real world and because of that,
| | 00:16 | it really opens up a doorway to some
very interesting creative possibilities.
| | 00:22 | I am going to start by creating a new
layer and I'm going to go here and I just
| | 00:26 | want to build up some color.
| | 00:27 | So, I'm going to go just create a few
shapes here and basically just want to get
| | 00:32 | some various colors on the screen.
| | 00:34 | So, the idea here is not to create
great art, but just to have some color that
| | 00:40 | we can experiment with.
| | 00:42 | I do, however, come from an
abstract expressionist painting background.
| | 00:46 | So, this is very close to my heart, abstraction.
| | 00:51 | Okay, so right now, you can see we are
painting and this is all on one layer
| | 00:55 | but I'm getting to add mixtures of color
much like I would with traditional paints.
| | 01:01 | They are mixing and
blending and smearing together.
| | 01:04 | So, all of this on one layer looks very
real to the way traditional paints work.
| | 01:10 | I am going to go ahead and create a new
layer and let's take some white and I'm
| | 01:14 | going to go in here.
| | 01:15 | Now, keep in mind, I'm on another layer
and yet that blending and smearing still
| | 01:20 | appears exactly as it did on the
original layer. That right by itself is
| | 01:24 | one of the keys to this whole pick-up
color tutorial that I'm giving you here is
| | 01:29 | that even on a separate layer I'm
getting what appears to be paint all being
| | 01:34 | laid down as if it were on one flat canvas.
| | 01:38 | Now, I can pick this up and move it
and sure enough, all of those correct
| | 01:42 | blends and smears and blurs are there, but it
looks goofy when it's not in its proper context.
| | 01:47 | When I undo and snap it back in there,
that looks just exactly like it should as
| | 01:52 | if it were all flat color.
| | 01:55 | Now, I'm going to select all and delete
that from that layer and let's turn Pick
| | 01:59 | Up Color off and we'll go
back and we'll paint again.
| | 02:03 | And notice the difference now is,
this could be useful if that's what you intend,
| | 02:07 | but I'm now just painting on a
layer with absolutely no interaction with
| | 02:11 | the layer beneath it.
| | 02:12 | So, we have kind of lost
that ability to smudge and blur.
| | 02:17 | But let's take this one step further.
| | 02:18 | So far we have been applying paint and
getting this illusion of blending and smearing.
| | 02:23 | I have temporary turned off Pick Up
Underlying Color, which is why I just get
| | 02:27 | this more kind of flat pick-
up with a lack of interaction.
| | 02:30 | I'm going to turn it on
and create another new layer.
| | 02:33 | So, keep in mind now, Pick Up
Underlying Color is enabled again.
| | 02:37 | I'm going to go to another brush, down
at the bottom, the Wet Oily Palette Knife,
| | 02:41 | and this brush, I'll just do something out here.
| | 02:43 | This brush does not lay color down.
| | 02:45 | It only moves existing
color it finds underneath of it.
| | 02:48 | And because we have got Pick Up
Underlying Color on, that enables me to start to
| | 02:52 | go in and smear this around in a manner
that once again appears as if it's just
| | 02:58 | flat canvas, but it really is
multiple layers going on here.
| | 03:03 | So, now that I have done this, just like I
did earlier, I can pick this up and move it.
| | 03:07 | You can see, once again, out of context,
| | 03:09 | it's kind of like, what am I like looking at?
| | 03:11 | If I turn this off totally, it's
like what is this odd sort of thing?
| | 03:15 | But when I undo and it's snapped back
into where it belongs, I have got this
| | 03:19 | amazing ability to have all of these
layers acting for all the world as if it's
| | 03:24 | a single layer but in fact,
it's individually built up layers.
| | 03:30 | And as I said at the beginning,
this is something you can't even do
| | 03:33 | with traditional paint. It's not possible.
| | 03:35 | But in the digital realm, all of a
sudden, what was one flat existing set of
| | 03:42 | colors can now be on multiple layers
and it opens up all kinds of editing
| | 03:46 | possibilities. Just simple edit here
| | 03:48 | would be maybe I want to have a
certain amount of opacity or transparency
| | 03:53 | added to this, so that it even
seems like it's not as opaque as it was.
| | 03:57 | Again, that's something I couldn't do
in the real world, or I could even take
| | 04:00 | this layer and play with its opacity.
| | 04:02 | So, this ability to start putting
separate elements on separate layers and then
| | 04:07 | having the ability to interact with him
later on is just totally new in terms of
| | 04:13 | digital paint compared to
what you can do traditionally.
| | 04:16 | So, as great as Painter is doing all
of the traditional stuff, it even offers
| | 04:20 | vistas that are beyond what's
possible in the traditional world.
| | 04:24 | And you definitely want to take
advantage of this sort of doorway that you are
| | 04:28 | allowed to go into and
definitely take advantage of it.
| | 04:32 | So, Pick Up Underlying
Color, it can't be ignored.
| | Collapse this transcript |
| Resizing and rotating layers using the Transform tool| 00:00 | In this movie, we are going to
take a look at the Transform tool.
| | 00:03 | Transform is short for Transformation
and what it allows us to do is to take a
| | 00:08 | layer or a layer element and warp it
and move it in some interesting ways that
| | 00:13 | kind of bend it out of its original shape.
| | 00:15 | So, I'm going to start by creating
a new layer and I'm just going to go
| | 00:19 | through a short little project here to
kind of show you how I would go about
| | 00:23 | using this particular tool.
| | 00:25 | I'm going to get the Selection tool
and if you remember from earlier,
| | 00:28 | this essentially is acting as a mask right now.
| | 00:31 | I have got my Sponge tool set up here.
| | 00:33 | So, if I go and get my brush, I can
just click a few times in here to put kind
| | 00:38 | of a sponge pattern.
| | 00:40 | I might take a couple of other colors just to
kind of create something with a bit of color in here.
| | 00:48 | Let's go one more here, a little bit of green.
| | 00:52 | Okay, so we have basically got an
element here. I can go ahead and use Command+D
| | 00:56 | or Ctrl+D to delete my selection
and I have now got this layer element.
| | 01:01 | So, what I want to do is create
the illusion that we are looking in a
| | 01:05 | three-dimensional cube and I'm
going to use this as my wall surface.
| | 01:10 | So, what I need to do is manufacture a
few extra versions of this same element.
| | 01:16 | Now, one thing you can do that's a good
feature to understand in Painter is,
| | 01:20 | if I hold down the Option or Alt key while
I'm in the Layer Adjuster tool, it will
| | 01:25 | allow me to create a copy.
| | 01:28 | So, I have just made a copy of my layer.
| | 01:30 | I'm going to need to do that a few times.
| | 01:32 | So, rather than go through a bunch of
menus and things to try to do this,
| | 01:36 | it's very easy to just to use the Option
or Alt key in concert with the Layer
| | 01:40 | Adjuster to quickly create a new
layer and this is identical to the way
| | 01:44 | it works in Photoshop.
| | 01:45 | So, if you come from the land of Photoshop,
this will seem entirely natural to you.
| | 01:50 | So we are going to go up to the Edit
menu and right down here, we have Free
| | 01:53 | Transform and you will see you can
also use Option+Command+T or Alt+Ctrl+T to
| | 01:59 | get this command through the keyboard.
| | 02:01 | Once I have done that, it
creates a set of handles on here.
| | 02:04 | Also, it gives us a visible feedback
that this particular layer is under
| | 02:08 | transform right now.
| | 02:10 | You will notice that it automatically
switches to the Transform tool from the
| | 02:14 | Layer Adjuster and our Properties
bar up here has changed as well.
| | 02:19 | We now have some options we can do here.
| | 02:22 | The one I want to play with is the
one that's going to allow me to pick up
| | 02:25 | a corner and move it.
| | 02:27 | So, I'm going to pick this up and I want to
make this look as if it's kind of coming forward.
| | 02:33 | So, I'm just kind of picking these up
and as soon as I get to what I like, all I
| | 02:38 | have to do is hit the Return key and
that now takes it out of its transformation
| | 02:43 | and puts it back into a regular layer.
| | 02:46 | So, let's go ahead and use
the Option or Alt key again.
| | 02:48 | I'm going to click and drag, and if
we go up to the Edit menu, we can take
| | 02:52 | advantage of the Flip Horizontal command here.
| | 02:55 | So, I'll just flip it and this lets me
have a mirror copy I can put over here.
| | 02:59 | Now, I'm going to hold my Alt or
Option key and create another copy.
| | 03:03 | Now this time we want to transform it.
| | 03:05 | So, let's go up to the Edit menu and Free
Transform and another option is to rotate.
| | 03:12 | So, if I get in proximity to the
corner here, you will see it changes to a
| | 03:15 | little rotate cursor.
| | 03:16 | I'm also going to hold down the Shift
key and that constrains it, so that it's
| | 03:19 | not just free rotating but it snaps to
regular increments and I want to get it,
| | 03:24 | so that it's rotated 90 degrees here.
| | 03:26 | And I need to grab that moving tool here,
so I can move this up and once again,
| | 03:30 | we are going to rely on the corner
adjuster, so that I can stretch this to fit
| | 03:36 | the corners of the two walls I have
already built and hit Enter or Return and
| | 03:42 | we'll do just like we did a moment ago.
| | 03:43 | Hold down the Option or Alt key,
bring that down and we'll go once again up
| | 03:47 | to the Edit menu and this time we, will use
Flip Vertical and we'll lay that in there.
| | 03:52 | We didn't do this with a
high degree of precision.
| | 03:54 | So, if we go ahead and free transform
it once again, grab our corner adjuster,
| | 04:00 | which is already selected.
| | 04:02 | I can go in here and adjust this
so that it fits right within there.
| | 04:06 | Then hit the Return key.
| | 04:08 | So, the last thing I'll do here just to
show you how I follow through with this
| | 04:12 | is I'm going to select this layer, the
top layer that's kind of the ceiling and
| | 04:17 | I could go up and grab something like
under Tonal Control > Adjust Colors and
| | 04:22 | this will let me play with just the value.
| | 04:24 | I want to really darken this up a
little bit and then because I'm set to Auto
| | 04:28 | Adjust layer, all I have to do is click
on another wall element and you can use
| | 04:33 | the Command or Ctrl and the forward
slash key to instantly bring up the last
| | 04:39 | effect that you worked on.
| | 04:41 | So, I also want to darken that one.
| | 04:42 | I'm going to click on the right wall
and once again, hold down the Command or
| | 04:48 | Ctrl plus the forward slash to
switch this, so it's lightening it.
| | 04:54 | So really, it's just kind of step and
repeat operation here, but you can see
| | 04:58 | what I have done here.
| | 04:59 | In general we say a little
final finishing of the corners.
| | 05:02 | I have created the illusion of kind
of a three dimensional room that we are
| | 05:06 | looking into with a rather radical
paint job that would literally drive you
| | 05:10 | insane if you had to stay in
here for any length of time.
| | 05:13 | But the Transform tool is just a great
way to be able to take an existing layer
| | 05:18 | element and distort it into a
perspective or a different angle or attitude so
| | 05:24 | that you can not have to
unnecessarily create a layer element, specifically
| | 05:28 | designed for that angle, you can
literally take an existing element and stretch
| | 05:33 | it and warp it and bend it into a
desired shape, via the Transform tool.
| | 05:38 | So when you want to do any
construction work in Painter, I advise you to go
| | 05:42 | straight to the Transform tool.
| | Collapse this transcript |
| Making selections using channels| 00:00 |
Well, we are slowly but surely working
our way up the ladder of layers and I'm
| | 00:05 |
going to introduce you to yet
another rung on this ladder.
| | 00:08 |
This one is Channels.
| | 00:10 |
A channel is something that sometimes
confuses users and my guess is that this
| | 00:15 |
is because Channels
essentially represents something else.
| | 00:18 |
In this case, what it represents are selections.
| | 00:21 |
This creates a bit of a conceptual
disconnect for a lot of users, and in this
| | 00:25 |
particular video, I'm going to try to
clear this mystery up for you a bit.
| | 00:29 |
So Channels which are also sometimes
referred to as Alpha Channels are really
| | 00:33 |
the opposite side of a coin in which
selections represent the opposite side.
| | 00:38 |
And Channels and selections are
really two representations of the
| | 00:42 |
same underlying data.
| | 00:43 |
It's just how they are presented.
| | 00:45 |
When you make a selection, a
channel is implicitly made.
| | 00:48 |
It's just not automatically
added to the Channels palette.
| | 00:51 |
So let's take a look at the Channels palette.
| | 00:54 |
I'll pop it open here.
| | 00:55 |
It, basically, looks very much like layers.
| | 00:58 |
There are some conceptual differences
that you really don't worry so much about
| | 01:01 |
the layer order of Channels.
| | 01:02 |
It's more of a depository for saved
Channels, but the thing we want to start
| | 01:08 |
with here is, I'm going to grab the
Polygonal Selection tool and I'm just going
| | 01:12 |
to make some kind of selection.
| | 01:14 |
It doesn't have to be anything special
here, just enough to get the idea across.
| | 01:18 |
So I have created a selection.
| | 01:20 |
Now there are times when you are
going to want to save a selection.
| | 01:24 |
It could be some very complex selection
outline or a representation of a visual
| | 01:29 |
element that you want to
isolate for various reasons.
| | 01:32 |
So it would be nice to be able to save a
selection, and here is the thing that's
| | 01:37 |
important to understand.
| | 01:38 |
Channels and selections are both
created by using 256 shades of density.
| | 01:45 |
So imagine from black to
white, you have got a grayscale.
| | 01:48 |
That is what is the 256 shades of
density that is used to store this data.
| | 01:56 |
You can think of them in a way as
masked with a varying levels of transparency
| | 02:00 |
in them and the phrase I want
you to remember here is this one.
| | 02:03 |
You might even want to get a
tattoo with this put on you.
| | 02:05 |
White reveals, black conceals.
| | 02:08 |
If you can remember that phrase, white
reveals, black conceals, it can really
| | 02:12 |
keep you from getting confused about
what's going on with Channels when they are
| | 02:17 |
represented visually as opposed to a selection.
| | 02:19 |
So white reveals, black conceals.
| | 02:23 |
So let's go and take this selection.
| | 02:26 |
And if we go up to the Select menu, you
will see down here, I can save my selections.
| | 02:30 |
So I'm going to say Save and we'll
just call this my_selection and we'll
| | 02:37 |
go ahead and say OK.
| | 02:39 |
And look what just happened.
| | 02:40 |
An alpha channel is created.
| | 02:42 |
So you may have saved selections before
and never realized where they are going
| | 02:46 |
off to, to being saved.
| | 02:48 |
They are being saved as a channel and
the fact that they can both be represented
| | 02:52 |
as an Alpha channel or a selection
makes it very easy then to be able to
| | 02:57 |
retrieve a selection later on.
| | 03:00 |
Let's say it's the next day, and I
have come back and I have saved this file,
| | 03:04 |
which is an important concept here.
| | 03:06 |
Channels are saved with your image, if
you save them in either of the RIFF or
| | 03:12 |
the Photoshop format.
| | 03:13 |
In fact, I'll go so far as to tell you
that Channels are identical to Channels
| | 03:17 |
in Photoshop, and if you save Channels
in the Photoshop format in Painter, they
| | 03:22 |
transfer right across to
Photoshop and vice versa.
| | 03:25 |
So that information goes back and
forth between the two applications.
| | 03:29 |
But let's say now I want
to get this selection back.
| | 03:32 |
So I go back to Select and I say Load
Selection, and where it's getting this
| | 03:38 |
from is in the Channels palette.
| | 03:40 |
So I say OK and there is my channel or in
this case, my selection from the day before.
| | 03:46 |
So Channels and selections are the same
thing, they are just represented in two
| | 03:52 |
different ways, and you can flow
back and forth pretty seamlessly from a
| | 03:57 |
selection to a Channels and vice versa.
| | 03:59 |
Now what I'm going to do is we are
going to move on here in a moment to talk
| | 04:03 |
about layer masks, which is really kind
of the top rung of the layer ladder, and
| | 04:09 |
it's one area that really confuses people.
| | 04:11 |
But I want you to keep in mind I
talked about the fact that Channels have
| | 04:16 |
256 shades of density.
| | 04:18 |
You are going to see how that can be
really important when we investigate layer masks.
| | 04:23 |
| | Collapse this transcript |
| Working with layer masks| 00:00 | In the last video, I introduced to you
the concept of Alpha Channels or Channels
| | 00:04 | and as you remember, a Channel is
basically the same thing that a selection is
| | 00:09 | and it just represents
varying levels of transparency.
| | 00:13 | Layer masks, which we are learning about
in this video, extend the concept of an
| | 00:18 | Alpha Channel by associating it with a layer.
| | 00:21 | So the first thing we want to do
is learn how we create a layer mask.
| | 00:26 | And what I'm going to be doing is
applying it to this little statue figure,
| | 00:31 | which we cut out earlier and give
the illusion that this is actually
| | 00:35 | protruding from the water.
| | 00:37 | Layer masks are the perfect tool to do
that, because it's going to enable me
| | 00:41 | to determine exactly how transparent or opaque
portions or the bottom of this are going to be.
| | 00:47 | If we go over to the Layers palette
itself, I'm going to create a layer mask.
| | 00:52 | So there is a couple of ways to do it.
| | 00:54 | I can go down to the row of icons down
here and if we go to the one at the far right,
| | 00:58 | I can click on there and you
will see that two things have happened.
| | 01:02 | For one thing in the Channels
palette, we have created a channel.
| | 01:05 | But it is a channel that is
associated with this layer.
| | 01:09 | Hence the name layer mask, because
we are going to use its transparency
| | 01:14 | capabilities to determine which parts
of this layer are transparent or opaque.
| | 01:20 | Notice in the Layers palette that
right now there is a dark outline around
| | 01:25 | the little thumbnail.
| | 01:26 | This is telling me that the color
information of this layer is now targeted.
| | 01:32 | If I were to use a brush, I
would paint with color on that layer.
| | 01:36 | If I want to work in the layer mask,
I have to click on it and you will see what
| | 01:40 | happens is now it's targeted.
| | 01:42 | It shows us that it's targeted by
putting the black outline around it.
| | 01:46 | That means when I paint now, I'm
going to be painting with a density,
| | 01:51 | basically, in this layer mask.
| | 01:52 | Remember we have 256 levels of
density from white to black and once again
| | 01:58 | remember that white reveals, black conceals.
| | 02:02 | Right now, our layer mask is 100% white.
| | 02:04 | That means it's 100% able to show
me any pixels that are on this layer.
| | 02:10 | Now let's go in here.
| | 02:11 | I'm going to open up my Color palette
for a moment so I can get to my colors.
| | 02:15 | We have this set up so that my main
color is black and the secondary color
| | 02:20 | back here is white.
| | 02:22 | With that setup, I can either in the
Color palette or over here on the Tool
| | 02:27 | palette, which I'll be using,
I can click on this little toggle.
| | 02:29 | You can see I can switch
these two colors back and forth.
| | 02:33 | I can also use the Shift+X
key to do the same thing.
| | 02:37 | So right now, I'm no longer clicking on
there. I'm actually using the keyboard
| | 02:41 | shortcut to do that.
| | 02:42 | The reason this is important is when
you're doing masking work, you really only
| | 02:46 | need black and white to do the masking.
| | 02:48 | So by being able to toggle these two
colors back and forth like this gives me
| | 02:52 | very elegant way to instantly
switch between adding opacity and adding
| | 02:56 | transparency, because as we
remember white reveals and black conceals.
| | 03:01 | So by having black there right now
as my color when I paint, I'm going to
| | 03:06 | painting the transparency into this layer.
| | 03:09 | So before I get started, I instantly
make sure that I have both my black and
| | 03:16 | white setup, which I have just done there.
| | 03:18 | I make sure I have targeted my mask so
I'm not going to be painting in the color
| | 03:23 | information of that layer.
| | 03:24 | I also want to make sure
that I have my brush setup.
| | 03:27 | So with all of these things setup I'm
ready to go, but if you don't stop to do that,
| | 03:31 | you could very easily start painting
and something doesn't go right and
| | 03:34 | you have to adjust those things,
if you want to draw with masks safely.
| | 03:38 | So let's go in now and I'm going to switch to
black and I'm going to start to paint in here.
| | 03:44 | You will see that as I paint and
because this is an airbrush, it very slowly
| | 03:49 | builds up color and its pressure control.
| | 03:51 | I can very slowly kind of decide how much
I want to make an area of this invisible.
| | 03:57 | Now you could do a similar thing with
the Eraser tool, for example, which will
| | 04:02 | look like you are doing the
same thing I'm doing here.
| | 04:04 | The difference is that is destructive.
| | 04:06 | Once you have done that, you can
undo it. You can use then Undo tool, but
| | 04:10 | later on, after you have done a bunch
of things there is nothing to bring back
| | 04:13 | what you've erased.
| | 04:14 | What we are doing here is painting
into this mask, which visually looks the same,
| | 04:20 | but the difference is
this mask is nondestructive.
| | 04:23 | I can switch to white and start to
paint in here and you can see I can bring
| | 04:26 | this back and I can switch back and
forth between black and white as much as I
| | 04:30 | want and continue to
bring back and erase my image.
| | 04:34 | So that's one of the very important
concepts around why a layer mask is so powerful.
| | 04:39 | I have the ability to do this
nondestructive editing and not worry about losing
| | 04:44 | some of the actual color layer
pixel information of my image.
| | 04:48 | So let's once again switch to black.
I'm going to start thinking in terms now of
| | 04:52 | this kind of disappearing into the water.
| | 04:54 | So I'm just applying very light
feathering strokes here to get this to slowly
| | 04:59 | sort of go down into the water.
| | 05:01 | The water is fairly transparent in my
mind's eye and I'm just using that kind of
| | 05:06 | visualize how I want this to look as
if it's going beneath the water and say
| | 05:09 | it's kind of right around there.
| | 05:10 | So up to about one dark edge is the water
line and then it starts to disappear into it.
| | 05:16 | So that looks pretty good.
| | 05:18 | I am going to go ahead and at this point
I realize I'm going to want to reduce
| | 05:23 | the scale of this a little bit.
| | 05:25 | So I'm going to go up to the Edit menu and now
you'll notice-- this is a good lesson right here.
| | 05:31 | If you wanted to Free
Transform it, it's grayed out.
| | 05:34 | Why is it grayed out right now?
| | 05:35 | Well, we are targeting the layer mask.
| | 05:38 | We need to target the actual pixels in the
color layer in order to be able to do that.
| | 05:43 | When I go back to there now,
you will see that it's enabled.
| | 05:46 | So if you go up and Free Transform is
not enabled, it means that most likely
| | 05:52 | you've got your layer mask with a
particular layer you are working on targeted
| | 05:56 | rather than the color information.
| | 05:58 | So now I'm free to transform this and
I'm just going to reduce the scale, just a
| | 06:03 | little bit and hit the Return key.
| | 06:06 | So now I have got this setup, I'm going
to kind of place it where I imagine it
| | 06:10 | coming out of the water, somewhere around here.
| | 06:13 | The next thing I want to do is I want
to create a reflection because it looks
| | 06:17 | a little unnatural.
| | 06:18 | It's there but it doesn't seem to have
any weight, because unlike everything
| | 06:21 | else here which is reflecting in the
water, it's not and so to make this
| | 06:25 | coherently in the scene, it makes
sense for it to have a reflection.
| | 06:30 | So if you remember from earlier, if I
hold down the Alt or Option key, while
| | 06:34 | I'm in the Layer Adjuster tool, I can
click and drag this layer and it will
| | 06:38 | create a copy for me.
| | 06:39 | So now I have got two of these in here
and what I'm going to do is take this and
| | 06:46 | I basically just want to flip it.
| | 06:47 | So I'm going to go into my Edit menu
and go down here and say Flip Vertical.
| | 06:52 | So now I have got this flipped and right
now think about how a reflection works.
| | 06:57 | The farther it gets away from the object,
the more transparent it's going to get
| | 07:01 | and right now we don't have that going on.
| | 07:03 | So I don't even need it in place here.
| | 07:05 | What I'm going to start to do is once
again if I started painting here with
| | 07:09 | my airbrush right now.
| | 07:10 | In fact, I'll do it just to
show you what can go wrong.
| | 07:13 | See, we don't want that to happen,
because I'm targeting the color information.
| | 07:18 | If I click on the layer mask itself,
now I can go in here and if I switch to
| | 07:22 | white, I can bring back
all of these information.
| | 07:26 | So now I can start afresh and what I
want to do is we'll flip back so that we
| | 07:29 | are going to painting in transparency.
| | 07:32 | I'm going to enlarge my brush a bit
here and what I really want to happen is I
| | 07:37 | want this to be pretty transparency as
it gets down towards the bottom here.
| | 07:40 | I think I'm also going to want to do
some cutting off at the very top, because
| | 07:45 | we don't really see the top of this
in the water because it's submerged.
| | 07:48 | I'm just going to go in here and
really kind of get rid of this altogether.
| | 07:52 | Feather it just a little bit, so it's
got a soft edge to it and here we go.
| | 07:56 | Now let's go ahead and get the
Layer Adjuster and we'll set it in here.
| | 07:59 | I'm just going to put it roughly where
I would feel like that is the spot at
| | 08:03 | which it's going to be reflecting.
| | 08:04 | Now I'm just going to take advantage of
the Opacity slider in the Layers palette
| | 08:09 | and see I can start turning this down
and all I'm going to do here is just
| | 08:12 | visually kind of slowly turn it
down, so I see what it looks like.
| | 08:15 | Yeah, that's about where
the reflection would be.
| | 08:19 | You don't want it to be too obvious.
| | 08:20 | So I'm just keeping it very, very slight.
| | 08:22 | I also because I'm in the Layer
Adjuster tool, I can use my arrow keys.
| | 08:27 | I'm just going to nudge this.
| | 08:28 | You could see how it's moving a
little bit to the left and right.
| | 08:31 | I'm just using this now as well as Up
and Down arrows key to just finesse it
| | 08:36 | into the spot that gives the feeling I want.
| | 08:38 | It might need a little bit more opacity in it.
| | 08:42 | I can also at this point still go back
and target that layer mask and use my
| | 08:47 | airbrush to do any additional size adjustment.
| | 08:50 | I'm going to go up here and enlarge
my brush a bit, and let's just--
| | 08:54 | So now we've got our elements.
| | 08:55 | In fact, if I click and drag my Layer
Adjuster, I can click-and-drag on the image
| | 09:00 | and as long as I select both of
those layer elements, I can now actually
| | 09:03 | pick this up and move it around.
| | 09:04 | Now this gives me the opportunity
to turn it right where I want it and
| | 09:07 | everything is already set.
| | 09:09 | So I would say right about there.
| | 09:11 | So that is just a quick explanation of
how I can adjust elements to give them
| | 09:18 | different degrees of transparency by
taking advantage of an Alpha Channel that
| | 09:24 | is simply been attached to a layer and
at that point, it's just known as a layer mask,
| | 09:29 | but you are doing nothing more
than dealing with an Alpha Channel.
| | 09:32 | It's just one that happens to have
this unique connection to a layer element.
| | 09:37 | So the major thing, the walkaway
with this, is layer masks are major
| | 09:40 | nondestructive compositing tools
that you can use to blend various layer
| | 09:45 | elements together and by adding this
technique to your arsenal, you can create a
| | 09:49 | wide variety of visual results.
| | Collapse this transcript |
| Adding text| 00:00 | Fonts, lettering, text, whatever
you want to call it, it's a primary
| | 00:05 | communication medium.
| | 00:07 | Painter's Text tool enables you
to do dynamic adjustment of text.
| | 00:10 | It's a great tool for
customizing letterforms to your purposes.
| | 00:14 | Let's take a look at it here.
| | 00:16 | I am going to go over and select the
Text tool, which interestingly is actually
| | 00:20 | a form of text, the T, and by clicking
on that now it puts me in the Text tool
| | 00:26 | and you will see that's
reflected in the Property Bar.
| | 00:28 | I have a number of things I can control here.
| | 00:31 | But I would recommend when you are
using the Text tool, you want to go over to
| | 00:34 | the Window menu and go down and select Text.
| | 00:37 | You could also use Command+6
or Ctrl+6 to bring that up.
| | 00:42 | But this enables more than you have
here, and it just makes sense to have it
| | 00:46 | available while you are working on text.
| | 00:48 | So I'm going to go over here, and one
of the things you can do is, you can
| | 00:51 | select the particular font you want to use.
| | 00:54 | This one is jam-packed
with a lot of different fonts.
| | 00:56 | I'm going to go ahead and use the
Century Schoolbook Bold to start with.
| | 01:00 | I am just going to go ahead and click,
and you will notice now, when I click
| | 01:03 | right away, a text layer has
been created in the Layers palette.
| | 01:07 | Now, a text layer is different than a
regular layer, because unlike everything
| | 01:12 | else, we have been looking at, the
text layer is more or less vector-based.
| | 01:15 | You're really dealing with outline
information at the basic level, and because
| | 01:21 | of that, it's its own unique layer type.
| | 01:24 | You can't paint on a text layer.
| | 01:26 | Only text can happen on a text layer.
| | 01:28 | But towards the end of this, I'll show
you how you can convert this to a normal
| | 01:33 | text layer, so you can go on and use
things like brushes and stuff on it, should
| | 01:36 | you want to do that.
| | 01:38 | So let's go in and I'm
just going to type-in Painter.
| | 01:42 | So we've got our word.
| | 01:44 | Now, right away one of the things I
want to show you, because it's not
| | 01:46 | immediately obvious is how do I move
this around while I'm in the Text tool?
| | 01:51 | Well, if you hold down the Ctrl or Command
key, you will see that we get a little arrow.
| | 01:56 | If I go up to right where this little
crosshair is, this lets me pick this
| | 02:00 | up and move it around.
| | 02:01 | Where that crosshair is, is somewhat
dependent on whether you've got Centered
| | 02:06 | text or Right Justified or whatever.
| | 02:08 | You can see now that I have
switched it to Centered text.
| | 02:10 | It now appears in the middle.
| | 02:11 | So don't expect it to always appear in
the left-hand side of your text input.
| | 02:16 | It just depends on what you've
got your justification set to.
| | 02:20 | Now that I have done that, I want to
start to do a few things to the text.
| | 02:24 | Well, I think it's kind of
widely letter spaced here.
| | 02:26 | So I'm going to go up and adjust the kerning
that's right here and just kind of slide it in.
| | 02:31 | Now, if you are used to Illustrator or
Photoshop, or other text packages, this
| | 02:37 | does have some basic text control tools.
| | 02:40 | But it's by no means designed
to be an exhaustive Text tool.
| | 02:44 | What my recommendation is this is
best used for kind of a display style
| | 02:49 | headline type text.
| | 02:51 | You don't want to try to compose
paragraphs or anything with it.
| | 02:54 | It's not built for that, and you'd find
yourself very frustrated, if you did try it.
| | 02:59 | But what it is very good at is for just
doing a very interesting word or like I
| | 03:04 | said, more like a display style approach.
| | 03:06 | I'm just going to tighten this up even more.
| | 03:09 | I can also, from here, I can control the size.
| | 03:11 | So I have got your controls here to work with.
| | 03:15 | Now, we could just keep the text at
this point on a straight line, but I'm
| | 03:20 | going to show you another little
feature here that's kind of nice is you can
| | 03:23 | play with curve styles.
| | 03:24 | So I'm going to select the first one
here, which will curve the letters, but it
| | 03:28 | sometimes start off a little odd here.
| | 03:30 | So I'm going to move this around,
there we are and just what's you have been
| | 03:34 | doing with this previously can
influence how this is going to work.
| | 03:38 | I am going to just stretch this out.
| | 03:40 | So you may have to do a little kind of
wrangling of this Bezier Curve to get it
| | 03:45 | to not completely distort your text.
| | 03:47 | You can see once you have sort of
unwrapped it, if it is a little strange at
| | 03:50 | first, you can adjust this and use the
Bezier handles to play with the actual
| | 03:55 | way that the curve is adjusting.
| | 03:56 | So I kind of like that.
| | 03:58 | So let's give it a
little bit of flag wave there.
| | 04:00 | Once I've got that, there are other things I
can do for example, I can give it a style here.
| | 04:05 | You can do a style that gives it a drop-
shadow, and then when you are down into
| | 04:09 | this lower portion, this is where I
can play with the shading of that.
| | 04:13 | If you want to offset this, basically
you just go in and just use the Layer
| | 04:17 | Adjuster tool to play with your offset.
| | 04:19 | Another style is kind of the Inside Shadow.
| | 04:22 | So it appears as if it's inset into the
surface, and the same thing goes here.
| | 04:27 | You can move this, and adjust to play
with kind of the depth and the field that
| | 04:30 | you want for that particular element.
| | 04:33 | So once you've got this all done and
setup the way you like it, you are most
| | 04:37 | likely going to want to convert
it to just a raster or pixel layer.
| | 04:41 | You can save this in the RIFF format
and it will come back up and all of the
| | 04:46 | text properties will be kerned with it.
| | 04:48 | I can go in here for example
change to a different letter style.
| | 04:50 | So it's still dynamically linked to the
outline information that is the font and
| | 04:56 | as long as you keep it in text format,
you have all those editing abilities.
| | 05:00 | But at some point, you are going to
want to convert this, and the way to do
| | 05:04 | that is if you go over to the
Layers palette, and make sure that you've
| | 05:07 | selected the current text layer.
| | 05:10 | Now, if you have a mouse
with a right mouse button.
| | 05:13 | If you right-click, you can
call up this little dialog.
| | 05:15 | If you don't, hold down
the Command or the Ctrl key.
| | 05:18 | That will bring it up as well,
and just go down and say Commit.
| | 05:22 | Now, once it's committed, it's now de-texted it.
| | 05:25 | It still has the individual layer
that represents the color layer and the
| | 05:29 | shadow information.
| | 05:30 | So I still have those to play with if I
want or I can merge these together in fact.
| | 05:35 | Let's do that.
| | 05:35 | I'll go in here, and I'll just
say I want to collapse my layers.
| | 05:39 | So that's in the Layers option palette.
| | 05:41 | When I do that, now I have got one flat layer.
| | 05:44 | While we are here, this is
something that sometimes pops up.
| | 05:47 | You will see these little indicators.
| | 05:49 | This is just kind of a layer indicator
to show me that that's my current layer.
| | 05:53 | If I had many layers
selected, this would show me.
| | 05:55 | A lot of times they kind of
are visually distracting to me.
| | 05:58 | So once again if you go to Layers
palette Options menu here, and go down, you
| | 06:02 | can select Hide Layer Indicators
and now you won't see that anymore.
| | 06:06 | But that's the basics of text.
| | 06:09 | As I said, it's great for creating
various kinds of display style text, but
| | 06:13 | unlike Photoshop, it does not have
the ability to make a text-box and flow
| | 06:18 | text in or anything.
| | 06:19 | So anything more than just a few words
or a few lines is going to go beyond what
| | 06:25 | Painter's Text tool is capable of.
| | 06:27 | Also, don't be fooled, because it
has the same name as Photoshop's tool.
| | 06:33 | This is not compatible
with their text or type layer.
| | 06:37 | If you try to save this as a
Photoshop file, what it would do is it would
| | 06:40 | convert this, and flatten it just like I did.
| | 06:44 | So it ends up in Photoshop with a
flat rasterized pixel layer, and the same
| | 06:48 | going from Photoshop.
| | 06:49 | Painter has no knowledge of what
Photoshop's type layer is and so they may look
| | 06:54 | similar, but they are really unique
and you need to keep them in their own
| | 06:57 | native file formats to
preserve their editing capabilities.
| | 07:01 | So the Text tool provides a
great deal of flexibility.
| | 07:04 | Just don't forget about readability.
| | Collapse this transcript |
|
|
8. The Brush CreatorUnderstanding the Brush Creator workspace| 00:00 |
At the heart of Painter is its brushes.
| | 00:02 |
That's what really is the
heart and soul of this application.
| | 00:06 |
These tools enable you to express yourself.
| | 00:09 |
It enables you to take something up
here, express it through yourself, and
| | 00:14 |
apply to it your feelings, your senses, your
emotions, and communicate them to other people.
| | 00:20 |
We have been doing this for eons with
traditional tools all the way back to
| | 00:24 |
cavemen, on through the various art
forms, through the centuries to today,
| | 00:29 |
where now we can actually apply many of the
traditional techniques in a digital environment.
| | 00:35 |
So Painter has an array of controls
that enable you to adjust this brush engine
| | 00:43 |
to act as many, many
different natural media tools.
| | 00:49 |
What we are going to look at first is
the Brush Creator, because it takes a
| | 00:54 |
little while to absorb what
all of these little controls do.
| | 00:57 |
The Brush Creator is a great way to
introduce yourself to how to start to adjust
| | 01:03 |
and build and create your own brushes.
| | 01:06 |
But rather than expose yourself to
hundreds of dials, and buttons, and levers,
| | 01:11 |
we are going to start off rather simply.
| | 01:12 |
This is kind of like brush
creation on training wheels.
| | 01:16 |
Once we go through the Brush Creator,
you are going to start to be able to think
| | 01:20 |
about taking those training wheels off.
| | 01:22 |
So let's get started on the Brush Creator.
| | 01:25 |
So the Brush Creator, where is it?
| | 01:27 |
I don't see it anywhere.
| | 01:29 |
It's actually a whole separate room
if you want to think of it that way,
| | 01:33 |
aside from the normal interface we see
in Painter and to get there, we go up
| | 01:37 |
to the Window palette, and drop-down
to the bottom here, and you will see
| | 01:41 |
Show Brush Creator.
| | 01:43 |
Now, you can also use the keyboard command,
Command+B or Ctrl+B, to get there as well.
| | 01:47 |
But we'll go ahead and click on that.
| | 01:49 |
What happens is we get kind of a mini
version of Painter, and in some respects,
| | 01:53 |
it looks similar, but then we also
see some very different things going on.
| | 01:57 |
What's happened here is all of Painter
has been whittled down to just focus on
| | 02:01 |
nothing but brushes, and all the
tools and things associated with it.
| | 02:06 |
So while we do see parts of the
interface that we recognize, the rest of it as
| | 02:11 |
well is dedicated at this point to
just concentrating on brush and brushes.
| | 02:17 |
The main area to concentrate
on at first is right there.
| | 02:20 |
This is the Brush Creator.
| | 02:22 |
It's broken up into a few parts
here that I want to talk about.
| | 02:26 |
The left side is basically the
control area and you will see that there are
| | 02:31 |
three different tabs that we have to work here.
| | 02:35 |
We are going to go through these
in individual chapters coming up.
| | 02:38 |
But each one of these has its own set
of controls associated with it, and as I
| | 02:44 |
said we'll familiarize
ourselves with those a little later.
| | 02:47 |
Down at the bottom, we have a Sample Stroke.
| | 02:50 |
So just depending on what the current
brush is, it actually draws a little
| | 02:53 |
sample stroke for us.
| | 02:54 |
So we can get an idea of what the
current settings would give us if we started
| | 02:59 |
drawing with that brush.
| | 03:00 |
Every time you start to stroke, you
are going to see exactly that look.
| | 03:03 |
But it gives you an
indication of what to expect.
| | 03:06 |
So it's a little bit like a
preview of what you are designing.
| | 03:09 |
We've also got the area here.
| | 03:11 |
This is a Scratch Pad.
| | 03:12 |
This is just an area where you can test
out your brush and try it, and practice
| | 03:16 |
with it, and see as you are working
with the designing of brush, if it's doing
| | 03:21 |
what you want it to do.
| | 03:22 |
Because as you iterate and change
things over on the left side here, you are
| | 03:26 |
going to want to go and not rely
simply on the Test or the Preview stroke.
| | 03:31 |
You are going to want to actually try it
out with your hand to see how it's working.
| | 03:35 |
Then we'll get into the rest of the
area around it, which is very familiar.
| | 03:38 |
Some of the Tool palettes are here,
but only the ones you really need.
| | 03:42 |
I mean most of the time you are
only going to be in the brush.
| | 03:44 |
These other tools, they are nice.
| | 03:45 |
But to be honest, I've never
even used them while I'm over here.
| | 03:48 |
So you are pretty much going
to be using the Brush tool.
| | 03:50 |
Some tools may relate to
some of the Content Selector.
| | 03:54 |
So the ones that are important are here,
in case you want to try them out and
| | 03:59 |
play with a texture aware brush
for example with a paper selector.
| | 04:02 |
You will have the option here to
be able to try different papers with
| | 04:06 |
that particular brush.
| | 04:08 |
Then we get over to the Colors palette.
| | 04:09 |
It's just like what you are used to.
| | 04:11 |
You are also going to want to be
able to adjust color to try out a brush.
| | 04:14 |
So that's here for us.
| | 04:16 |
We also get here to the Tracker.
| | 04:18 |
The Tracker is kind of what I think
of as a History palette for brushes.
| | 04:22 |
As you make adjustments to a Brush,
you're changing some control in the brush
| | 04:28 |
engine and what the Tracker does is each
time you make one of those adjustments,
| | 04:32 |
it makes a new entry.
| | 04:33 |
What's a little confusing is for
example right now, because I came across
| | 04:37 |
from the application with the Digital
Airbrush current, it happens to be on that list.
| | 04:41 |
Let's say I went in and I started
making adjustments to the Digital Airbrush.
| | 04:45 |
Each time I made an adjustment, it's
going to make a new entry, which is just
| | 04:49 |
going to say Digital Airbrush.
| | 04:50 |
So you could end up with 20 or 30
entries that say Digital Airbrush and really
| | 04:55 |
only way to make that useful is you can
click backwards through it and slowly go
| | 04:59 |
back through the different
changes you've made to a brush.
| | 05:03 |
But the idea of the Tracker palette is
a bit like a cookie crumb trail or as
| | 05:06 |
I said history of what you are doing
with the brush so that you can get back
| | 05:10 |
to earlier iterations.
| | 05:12 |
You will see some differences in
what's available in the menu bar.
| | 05:16 |
For example, we don't see Variant when
we are in the main application, but as
| | 05:21 |
we learned earlier, a Variant is a
particular unique setting of the Brush
| | 05:26 |
Engine, and variants are then stored in
categories which are like the aisles in a art store.
| | 05:33 |
So when we are working over here, we
are thinking in terms of I'm building a
| | 05:37 |
variant or I'm adjusting a variant.
| | 05:39 |
So the Variant palette is where I'll be
able to manage and save and restore, do
| | 05:44 |
the various things that I
want to do with a Variant.
| | 05:47 |
You get into the Brush menu and
certain brushes you may want to capture a
| | 05:52 |
particular texture or something.
| | 05:54 |
That lets you do this.
| | 05:55 |
But for the most part, the rest of this is
going to be very familiar to you from Painter.
| | 06:00 |
So this is the basic layout of the
Brush Creator and in the next few videos, we
| | 06:06 |
are going to take a look at the
individual components, and go into a little
| | 06:10 |
more depth.
| | 06:11 |
| | Collapse this transcript |
| Exploring brush properties using the Randomizer| 00:00 |
The first area of the Brush Creator we're
going to take a look at is the Randomizer.
| | 00:04 |
I showed you earlier how to get to the
Brush Creator, but how do I get back to Painter?
| | 00:08 |
Well, it's the same way actually.
| | 00:10 |
If I go over to the Window menu, we can
go down here and say Hide Brush Creator
| | 00:14 |
and here we are in Painter, and vise
versa, I go up to the Window menu in
| | 00:18 |
Painter, I say Show Brush
Creator and now we're back.
| | 00:21 |
And actually that's good to know
because there are times when you're going to
| | 00:24 |
be working in the Brush Creator and
you're going to get some point with the
| | 00:27 |
brush where you may want to go
back to Painter and start using it.
| | 00:31 |
The concept behind the Brush Creator
as a separate space is sometimes when
| | 00:35 |
your working on Painter you're
thinking more in a right brain activity where
| | 00:39 |
you're being creative.
| | 00:40 |
When you come over to the Brush Creator,
well you are kind of slipping into left brain,
| | 00:44 |
logical, figuring things out
and so as a result there are two kind of
| | 00:48 |
very different activities and to divide
them up and put them in actual different
| | 00:52 |
spaces is one way to sort of keep the
left and right brain activities from
| | 00:57 |
running into one another.
| | 00:58 |
So, let's look at the Randomizer.
| | 01:00 |
Now you'll see very similar to the
Brush Selector bar, in the Painter it looks
| | 01:06 |
very much the same here, and in fact it is.
| | 01:08 |
Look, here is all our categories
and then we have all of our variance.
| | 01:12 |
So, what I like to think of the
Randomizer as it's a almost Las Vegas style slot
| | 01:18 |
machine, where you put a brush into
it and you pull the lever and it just
| | 01:23 |
creates a bunch of variations on that brush.
| | 01:26 |
You don't have any control
over it. It's all random.
| | 01:29 |
But just like Las Vegas, who knows
when you're going to hit the jackpot.
| | 01:33 |
So, this is the absolute beginner's tool
for starting to explore brush creation.
| | 01:39 |
I'm just going to go down here and
just try to think what would be a good
| | 01:43 |
opening volley here.
| | 01:44 |
Let's go to something like Pens and
I'm going to go to the Flat Color.
| | 01:50 |
The reason I'm selecting this, this
what I call the dumbest brush in Painter.
| | 01:54 |
It's very, very basic and it's a good
brush to explore here, to see what's it's
| | 01:59 |
going to do with brush.
| | 02:01 |
So, we see a sample stroke of the brush
and just to show you a little bit over
| | 02:05 |
here, I can paint with this.
| | 02:07 |
It's a rather large brush, so
let's make it a little smaller.
| | 02:09 |
And I'll go to show you here, ones you've
worked on here, you can just Clear right here.
| | 02:14 |
So here's my brush and this does give
me the facility to kind of play with it.
| | 02:17 |
So, this is just like the brush would
behave in Painter, because right now,
| | 02:21 |
we're dealing with the default
brush just as we selected it.
| | 02:25 |
So, let's go ahead and you'll see these
little pairs of gears here, you'll see
| | 02:29 |
it says Randomize Current Selection,
this is the Las Vegas one-armed bandit arm,
| | 02:34 |
we're going to pull it here. So lets pull it.
| | 02:36 |
I just clicked it.
| | 02:37 |
It's going to go through now, and it's
just going to create random variations by
| | 02:41 |
changing various parameters of the
brush engine without our control at all.
| | 02:46 |
It's just doing it.
| | 02:47 |
So we've come up with a bunch of variations.
| | 02:50 |
You do have some control over this
process and that is right down here.
| | 02:56 |
This is the Randomization slider, the
lower this is the less it's going to
| | 03:01 |
adjust all of the various controls.
| | 03:04 |
So if I go through here and do it
again, you'll see hardly anything is
| | 03:07 |
happening, and in fact, it
doesn't look like anything is happening.
| | 03:09 |
But the higher up I take this and then
click it, the more radical it's going to
| | 03:14 |
start making adjustments.
| | 03:16 |
It's going to start giving it
more radical color differences.
| | 03:19 |
It's going to start
jiggling the path of this brush.
| | 03:22 |
So, if I take I all the way up to 10 and hit it.
| | 03:25 |
Now, it's at its maximum kind of
diddling around with all of these controls,
| | 03:29 |
so let it run through.
| | 03:31 |
Now, I can select one of
these newly coined variants.
| | 03:34 |
So, I'm going to select this one.
| | 03:36 |
And I can just go over
now here and I can try it.
| | 03:37 |
See for some people you may go, I like that.
| | 03:40 |
That is a cool brush.
| | 03:42 |
So right there, we've
already created our own brush.
| | 03:45 |
No, we didn't have a lot of
understanding of how it was created, but the idea
| | 03:50 |
behind the Randomizer isn't
to understand how it's done.
| | 03:53 |
It's just to see what the
varying controls will do.
| | 03:58 |
Once this brush is current as it is
now, when I click this again, it's not
| | 04:02 |
going to start from the original Flat
Color Brush that we brought in there,
| | 04:06 |
which is solid blue, it's going to start with
this, and its even going to get more varied.
| | 04:10 |
Because it's taking this and
once again, applying a varied set of
| | 04:14 |
different adjustments to it.
| | 04:16 |
So, if we go over here now let's look
at, this one looks kind of interesting.
| | 04:20 |
So I'm going to Clear and
I'll paint with this one.
| | 04:22 |
And now you can see,
here's a very interesting brush.
| | 04:25 |
So again, you don't have control over
how these are made, but you have control
| | 04:30 |
over selecting which brush you may
say I like that. I want to use it.
| | 04:35 |
This is a really neat
kind of festive style brush.
| | 04:38 |
Now, the next thing I want to show
you is, you've discovered it, this is my
| | 04:42 |
brush, what do I do with it?
| | 04:43 |
Well, what you want to do is save this variant.
| | 04:46 |
So we're going to go up to the
Variant menu item here, and this is where I
| | 04:50 |
can say Save Variant.
| | 04:52 |
So I'm going to go ahead and say Save
Variant, and right now it's in the Pens category.
| | 04:57 |
That's where we got it.
| | 04:58 |
And when I save this, it's going to
save it back into the Pens category.
| | 05:02 |
We'll have an opportunity later to change
that, but for now, I just want to change this.
| | 05:07 |
So let's just call it Festive Brush.
| | 05:09 |
So I hit OK and I've got it.
| | 05:12 |
Now, one thing you'll notice is it
still looks as if we have the Flat Color
| | 05:16 |
brush current, and in fact, we do.
| | 05:19 |
What we've been doing is altering all of
its settings to where it now acts like this.
| | 05:24 |
So this is another key concept to understand.
| | 05:27 |
Once you've adjusted a brush,
Painter just maintains those settings.
| | 05:31 |
I mentioned this earlier that Painter
in some cases and this is a good example,
| | 05:36 |
acts like a pair of jeans, when it's
brand new, they are kind of, they are dark
| | 05:39 |
blue, they are stiff, but as you wash
and wear them, they slowly mold and fade
| | 05:44 |
to your shape, and after a while
they're your jeans, they're not the like the
| | 05:48 |
jeans you bought off the rack.
| | 05:49 |
They're your jeans, because
they've accommodated themselves to you.
| | 05:53 |
That's what happens in Painter, as you
make adjustments to a brush, it's going
| | 05:56 |
to remember those and assume, well you
wanted that setting, I'm going to keep it there.
| | 06:00 |
Well, we temporarily wanted this
setting, because we adjusted the Flat Color
| | 06:04 |
Brush to look like this.
| | 06:06 |
But how do I get back to my original brush?
| | 06:08 |
You can do this in many ways.
| | 06:10 |
Eventually I'm going to show you how you
can make adjustments just over in Painter.
| | 06:14 |
You don't even have to
come to the Brush Creator.
| | 06:16 |
But you can often start playing around
and all of a sudden you've realized I've
| | 06:19 |
lost the original brush, what do I do?
| | 06:22 |
Well, we're going to go right up here to
the upper left corner and the same icon
| | 06:26 |
appears when you have the
brush tool open in Painter.
| | 06:29 |
When you click on this, look at it.
| | 06:31 |
It even calls it the Reset tool.
| | 06:32 |
This is kind of the emergency button.
| | 06:34 |
When I click this, this resets the
button, so that it's now just like the
| | 06:39 |
original brush that I brought in.
| | 06:41 |
So, anytime you think you've messed up
a brush and I can never get it back, you
| | 06:45 |
hit that reset button and it brings
that brush back into it's factory default.
| | 06:51 |
Now you may say well, what
happened to my cool fun brush?
| | 06:54 |
Well, if we go into the category here
and look, we'll see, in alphabetical
| | 06:58 |
order, there is the Festive Brush.
| | 07:00 |
So I can go in there now
and there now and there it is.
| | 07:02 |
So, we not only have been able to avert
disaster, and lose a brush, we've been
| | 07:07 |
able to reset to get it back to where it was.
| | 07:09 |
But we've also created entirely new
variant that wasn't in the library before.
| | 07:14 |
So, the Randomizer is simply a way to
take any brush that you want to start with
| | 07:20 |
and pull the Las Vegas slot machine
handle and just let the Randomizer play
| | 07:25 |
around with the settings and change it
into whatever kind of thing it thinks it
| | 07:30 |
wants to do, and as you can see.
| | 07:31 |
You get several variations to look at.
| | 07:33 |
And each time you select that
variation that you like and then re-hit the
| | 07:37 |
button, you're just going further slice,
and dice, and blend this thing into oblivion.
| | 07:41 |
But who knows which direction it will go.
| | 07:43 |
It could go in a direction that you end
up finding a very unique brush that you
| | 07:47 |
never would have found otherwise.
| | 07:48 |
So look at the Randomizer as a fun
way to just sit and have a good time
| | 07:53 |
with making brushes, without having
to have any knowledge of how to make
| | 07:56 |
all the adjustments.
| | 07:57 |
Painter makes sure that you don't
accidentally turn up some steam knob, where
| | 08:01 |
you're going to blow up
Painter. That won't happen.
| | 08:04 |
You can't do any damage
while you are in the Randomizer.
| | 08:07 |
So, I really encourage you to sit down
with a jar of quarters and start pumping
| | 08:11 |
them in here and have some
fun creating some new brushes.
| | 08:15 |
| | Collapse this transcript |
| Exploring brush properties using the Transposer| 00:00 | We are now going to take a look at
the Transposer component of the Brush
| | 00:04 | Creator and to get there, we are just
going to switch from the Randomizer to
| | 00:08 | the Transposer and just click on
Transposer here at the top and that will open
| | 00:12 | the Transposer tab.
| | 00:14 | Now, where just the Randomizer was like
a Las Vegas slot machine, the Transposer
| | 00:19 | put you into the role of a genetic
scientist creating gene-splicing experiments
| | 00:25 | to create entirely new species.
| | 00:28 | And if we remember back to that
original genetic scientist Dr. Frankenstein.
| | 00:33 | He created a monster.
| | 00:35 | So like the Randomizer, I can't
guarantee what you are going to end up with
| | 00:40 | here, but it does begin to
give you a bit more control.
| | 00:43 | Let's take a look at the interface.
| | 00:45 | You will see that just like Randomizer,
we have a Brush Selector bar up here
| | 00:50 | that works just like the one in the
application, as well as the way it
| | 00:53 | worked in the Randomizer.
| | 00:54 | But notice there is a second
one down here at the bottom.
| | 00:58 | Now, what do you suppose that's for?
| | 01:00 | Here is how this works.
| | 01:01 | I can start with one brush.
| | 01:03 | And now, I'm going to stay with the Flat Color.
| | 01:05 | Actually, I recommend Flat Color as a
good experiment brush, because as I said
| | 01:10 | earlier, it's a very what I call dumb
brush in that it doesn't have a lot of
| | 01:13 | unique settings and that it is that kind
of brush, it's a good seed for starting
| | 01:19 | some of these experiments.
| | 01:20 | I am going to go down and select a
very different brush at this point and
| | 01:24 | again, I can't tell you which pairs of
brushes are going to make good examples
| | 01:28 | and which ones aren't. It's hard to know.
| | 01:30 | Let's go in Artist and I'll
select Auto Van Gogh sounds good.
| | 01:34 | I don't know what it's going to do, but
what we are going to do here is when I
| | 01:37 | click the Transpose button here, it's
going to blend the characteristics of this
| | 01:42 | brush into this brush.
| | 01:44 | So, let's click it and you
will see what's going to happen.
| | 01:46 | It even shows up in the icons here.
| | 01:48 | It's kind of blending
from Pen to an Artist brush.
| | 01:52 | And so, you can see the
characteristics of it are slowly changing from the
| | 01:57 | original brush to the new brush and I
can go ahead and take any one of these and
| | 02:02 | play with it, see what it does,
try a couple, kind of interesting.
| | 02:07 | So, once we've done this, we can
continue to hit this button and it's going to
| | 02:11 | continue to blend the source brush
that I just picked with this destination
| | 02:15 | brush, because they are very similar
now, and you can see we are not getting
| | 02:19 | very drastic results.
| | 02:20 | So, I might want to select a different brush
to blend with this new strain that I've created.
| | 02:26 | So, let's see something else in Pens maybe.
| | 02:28 | I'm going to go with Nervous Pen.
| | 02:31 | Let's see what those do.
| | 02:32 | I have no idea of what's
going to happen with these.
| | 02:34 | So, it's doing something kind of
interesting here, let's see what this looks like.
| | 02:39 | It's not the brush I'd keep but we are
starting to create a brush here that I've
| | 02:43 | never seen before and by the way, let's
change colors here and see what happens.
| | 02:47 | You can see what it's going to do is
it's still going to use the same kind of
| | 02:51 | varying color that was in
the original blue brush.
| | 02:54 | It's just now whatever Hue value
and Saturation I give it, so that's
| | 02:58 | actually kind of neat.
| | 02:59 | But let's keep going here.
| | 03:00 | Let's mix -- this brush is now
actually up here, so I'm going to take another
| | 03:05 | brush and what if we blend it with
some kind of colored pencil and the
| | 03:09 | thinking you are hearing me go
through here is exactly the way you are
| | 03:13 | supposed to do this.
| | 03:14 | It's just you can never
know what it's going to do.
| | 03:16 | That's the thing, but at least you know
some of the characteristics of the two
| | 03:20 | brushes so that you can kind of get an idea of
what you think they are going to blend together.
| | 03:24 | But still requires absolutely no knowledge
of all their controls in order to do this.
| | 03:31 | So, this one really just comes down to
trying different things out to see what
| | 03:36 | you are going to get. Here is Blenders.
| | 03:38 | Now that's a brush that doesn't even mix color.
| | 03:40 | It just moves color.
| | 03:41 | So, let's take something like Just Add Water.
| | 03:44 | So, let's click this and it's probably
going to go from a brush that adds color
| | 03:47 | to one that doesn't so much.
| | 03:49 | Yeah, see how it's becoming a
complete blender here it looks like.
| | 03:51 | Here is the one that's mostly blending.
| | 03:54 | It blends, but it also
does apply a little color.
| | 03:57 | So this experiment to me wasn't quite
as successful as the one we made to get
| | 04:01 | that Festive Brush earlier.
| | 04:02 | But you can see here that by just
playing around with different brush
| | 04:06 | categories, different tools, you are
going to get some very different results.
| | 04:12 | So, hopefully you have seen enough here
to understand that this is just another
| | 04:15 | way rather than the Randomizer, where
you just pull in the arm and you don't
| | 04:19 | know what's going to happen but
you can start to say well, I like the
| | 04:22 | characteristics of brush A, I like the
characteristics of brush B. I want to
| | 04:26 | see what happens when I splice them
together and then see what kind of
| | 04:29 | intermediate steps I get.
| | 04:31 | So, the Transposer is inching us towards
being able to control brushes a little bit more.
| | 04:37 | In the next video, we are going to look
at the Stroke Designer and that's where
| | 04:40 | we really start to get into
full-blown control over brushes.
| | Collapse this transcript |
| Using the Stroke Designer to create custom brushes| 00:00 | In the last couple of videos, we have taken
a look at the Randomizer and the Transposer.
| | 00:04 | While both of them give you some
ability to create new brushes, you are
| | 00:08 | really doing it blind.
| | 00:09 | You really don't
understand exactly what's going on.
| | 00:12 | We are now going to go to the Stroke
Designer, where you are going to start to
| | 00:15 | see all of the knobs and buttons
and levers I have been talking about.
| | 00:19 | So go on up to the top of the Brush
Creator window and select Stroke Designer.
| | 00:24 | That opens the Stroke Designer tab and
what you can see here now is starting to
| | 00:28 | be all of these controls, what I
sometimes call the 747 cockpit of Painter.
| | 00:34 | There is another way to look at these
and we'll explore this later in the Brush
| | 00:37 | Controls, which you can actually
see while you are over in Painter.
| | 00:41 | This is actually the same set of controls.
| | 00:44 | It's just it limits you to how much
you can see at one time and that's a good
| | 00:48 | thing for starting out to learn this,
so that you don't get overwhelmed by
| | 00:52 | too much exposed to you at one time.
| | 00:54 | I'm going to select a different brush
here, because I want to start to show you
| | 00:57 | how some of this works.
| | 00:58 | So I'm going to go to the Acrylics here
and I'm going to look for Captured Bristle.
| | 01:05 | So, you can see we get a
preview stroke of the brush.
| | 01:08 | I'll just try it out here.
| | 01:09 | Here it is a little bit.
| | 01:10 | So we are going to start to look at
what makes this brush tick and the first
| | 01:15 | thing you can see here is we've got
a whole list here, kind of like the
| | 01:18 | categories are in brushes themselves.
| | 01:21 | These are the various categories of
control over this brush and right now you
| | 01:27 | can see how the general section is
highlighted in gray and then over here, we
| | 01:31 | see these are all the controls
associated with the general controls.
| | 01:36 | You will see that some of them are grayed out.
| | 01:38 | In fact some of these
entries over here are grayed out.
| | 01:42 | Whenever something is grayed out,
it's telling you, this control is not
| | 01:45 | functional for this particular brush.
| | 01:47 | There are so many variations of types
of brush models in Painter that there is
| | 01:52 | no one brush that uses them all.
| | 01:54 | There are all these different types
of brush models to accommodate the wide
| | 01:58 | range of media that is in Painter.
| | 02:01 | So right away, you have got a
little bit of a learning tool right here.
| | 02:04 | You can look and see in terms of
Captured Acrylic Brush, we don't even know what
| | 02:08 | this is right now, but apparently the
Rake control has nothing to do with it.
| | 02:12 | The Image Hose, the Airbrush, Water,
Liquid Ink and so on, none of these have
| | 02:16 | any barring over this brush and
then within the general panel itself.
| | 02:21 | Well, apparently Grain, Boost, Text,
Direction, if they are grayed out, they
| | 02:26 | have nothing to do with this brush.
| | 02:27 | On the other hand, these do.
| | 02:29 | So we can go through these and easily see
what controls this brush and what doesn't.
| | 02:35 | Okay?
| | 02:36 | Now that we are in the Size panel,
let's just take a look at this a little bit.
| | 02:40 | For example, look at that,
hey! I can adjust this.
| | 02:42 | This does something.
| | 02:43 | Now here is the interesting thing.
| | 02:45 | You cannot damage or blow
up or break a Painter brush.
| | 02:49 | If you start messing with all of these
controls and it gets wildly or it doesn't
| | 02:53 | pain anymore or you don't understand
what's happening, you've always got the
| | 02:57 | panic button up here, the Reset button
to get you back to the original brush.
| | 03:02 | So, you can do no wrong in here, but
I'm going to show you a few things in
| | 03:06 | particular associated with the Acrylics brush.
| | 03:08 | This title does not attempt to
explain the intricacies of brush creation.
| | 03:13 | That's left for another title.
| | 03:14 | But I'm just going to show you as an
example, the Captured Bristle brush and how
| | 03:19 | it's controlled with the Brush
Creator and ultimately the Brush Controls.
| | 03:22 | So, you can see how you can
affect the nuances of a brush.
| | 03:26 | Now, here is a little known
secret that a lot of people don't know.
| | 03:29 | If you have the Size palette open and
this will occur later on when you'll see
| | 03:33 | in the Brush palette, if you click on
this, it changes to something different.
| | 03:37 | What this does as I click through it is
it's switching between just a flat model
| | 03:43 | and in fact if I change whatever this
Min Size, it means minimum size, as I
| | 03:47 | start to adjust this, what I'm doing
here is I'm starting to tell that I want
| | 03:51 | this brush to have a maximum and a
minimum size and this is showing me the
| | 03:56 | maximum and minimum size.
| | 03:58 | So right there, you learned a little
bit and if I click on this, it's going to
| | 04:03 | switch over to the view that shows me
the Brush Dab and we are going to be going
| | 04:08 | through some words here as we work.
| | 04:09 | A Brush Dab is the mark that the brush
uses to make its mark on the Canvas and
| | 04:15 | you can already see a hint of that in
here, there is obviously something that is
| | 04:19 | creating the illusion of kind of
multiple hairs or break up in the brush, so
| | 04:23 | it's just not a solid brush.
| | 04:25 | So what's happening there is it's
literally utilizing this mark in order to
| | 04:31 | create the illusion of
multiple brush hairs in the stroke.
| | 04:35 | So right away, this gives us a
clue or a cue to what's going on.
| | 04:39 | You wouldn't know this unless I was
explaining this to you, so follow along with me here.
| | 04:43 | I'm going to go down to Bristles and
unfortunately, you can't see both of
| | 04:47 | these at the same time.
| | 04:48 | That is a little bit of a hindrance
here but I want to show you, if I go to
| | 04:51 | Bristles and I change the hair
scale, let's go back and look at Size.
| | 04:56 | You see what just happened, I
have made smaller brush hairs.
| | 04:59 | Let's go back to Bristle one more time
and play around with the Thickness, if I
| | 05:02 | turn this up, what am I going to get.
| | 05:04 | Now, I have made the brush hairs very
thick, let's go back and take it way
| | 05:08 | down, one this happens.
| | 05:09 | Now, I'm getting very thin brush hairs
and sure enough, look, now I have got a
| | 05:12 | brush that paints if it's got very fine
hairs in it and go back here once more
| | 05:17 | and let's turn Thickness up a little bit.
| | 05:19 | The other thing too is you can look
here and see what's going to happen.
| | 05:23 | But right away I'm starting to see how
I can control what's going on in this
| | 05:28 | brush by visiting the various
panels and seeing what's happening.
| | 05:32 | Here is another way I can control this brush.
| | 05:35 | I have a minimum and maximum size, but
right now when I paint, nothing is happening.
| | 05:40 | Well, you will find this throughout many
of the Brush Control palettes, you will
| | 05:43 | see this thing called Expression and if
we look at the little pop up, we'll see
| | 05:48 | several different what we refer to as Animators.
| | 05:50 | These are things that can animate or
cause a dynamic change in the brush and a
| | 05:55 | real obvious one to use here is Pressure.
| | 05:57 | So I'm going to click on Pressure,
let's clear this and now I'm going to do
| | 06:01 | Light Pressure to Full Pressure and
sure enough, look what's happening, the
| | 06:04 | brush is changing size and getting
larger and more hairs are being applied to it.
| | 06:09 | So already, I'm starting to get a
very good sense of how I can control the
| | 06:14 | expressive characters of this brush.
| | 06:16 | Another good one to look at is
Spacing, let's put this a dark color.
| | 06:20 | So you can see what's going on here
and watch down here in the Sample Stroke,
| | 06:24 | I'm going to adjust Spacing up.
| | 06:26 | You see what just happened in there.
| | 06:27 | You can see it in the Sample Stroke.
| | 06:29 | Really that brush dab that we saw is
composed of a set of very, very closely
| | 06:34 | spaced dabs of that brush and when
you set Spacing up so high, it breaks up
| | 06:39 | into the individual.
| | 06:41 | I can probably do it right here. There it is.
| | 06:42 | You can kind of see the dab.
| | 06:43 | As I start to make that closer and
closer together, they are going to start to
| | 06:47 | look more and more like a
coherent set of brush marks.
| | 06:51 | So, it's still kind of far apart, when
I see this, sometimes I refer this as
| | 06:55 | tire tracks and that just indicates
that the brush spacing is a bit high.
| | 06:59 | So I'm starting to turn this down more and more.
| | 07:01 | It's getting better, but I still get
a little bit of the tire track effect.
| | 07:04 | One of the things that you end up
doing in Painter and this is getting to be
| | 07:08 | less important than it used to be
years ago because processor speeds have
| | 07:12 | not gotten so fast.
| | 07:14 | You used to have to really kind of
play a game with finding out what's the
| | 07:18 | maximum spacing I can get away within
a brush without seeing the performance
| | 07:23 | start to slow down because there is
a lot of processing going on with an
| | 07:27 | application like this where it has to
draw to the screen as quickly as it can
| | 07:32 | and that's a very
computationally intensive operation.
| | 07:36 | Nowadays, it's gotten to where it's so
fast and literally in the old days, you
| | 07:40 | couldn't take it down that low.
| | 07:41 | Now, you literally can and it
can still be a pretty fast brush.
| | 07:45 | So some of the reasons these were
built-in at one time are lost to history
| | 07:49 | because the processors have gotten so fast.
| | 07:52 | They are not as important as they once
were but there's still controls that are
| | 07:55 | in there and they are still very
useful for various types of effects.
| | 08:00 | You may remember earlier, let me go back
and load it up, let's look at the brush
| | 08:04 | that we made earlier.
| | 08:05 | That was the Festive Brush right here.
| | 08:07 | You see how the spacing is very high.
| | 08:10 | That's what makes this
brush partially look this way.
| | 08:12 | When it was playing with the various
controls, it decided in the Randomizer, oh!
| | 08:16 | I'm going to push this control up,
just randomly higher with no idea of what
| | 08:20 | it's going to do and that's what
happened with this particular brush.
| | 08:24 | So you've got both sides of the coin here.
| | 08:26 | You have a brush that you don't know
how it was made but as you start to
| | 08:29 | investigate and play with brushes and
try these adjustments, you will start to
| | 08:33 | make the connection. It's like oh!
| | 08:35 | That spacing is probably what happened
over in this brush and all of a sudden,
| | 08:38 | you've made a leap to where you now
understand what that control does.
| | 08:42 | Trust me, you are not
going to master this in a day.
| | 08:44 | It's going to take you quite a while
to get used to what all of these various
| | 08:49 | controls do, but as time goes on,
you will be exposed to what the various
| | 08:55 | controls are doing inside of how a
certain control causes a certain nuance in a
| | 09:00 | brush to happen, will start to work for you.
| | 09:03 | So the Brush Stroke Designer is just
really the best way you can start to
| | 09:09 | educate yourself about how the brush
works and as I said before, if you'd get
| | 09:14 | out of control, you can always use
the Panic button up here to get back.
| | 09:18 | So there is no way you can permanently
lose or damage a brush with the knowledge
| | 09:23 | that you can always hit that Reset button.
| | 09:26 | So the Brush Creator is the place to
begin to explore creating your own brushes,
| | 09:32 | adjusting brushes, finding out what
makes a brush tick, this is ground zero for
| | 09:37 | that kind of activity.
| | Collapse this transcript |
| Managing brush variants| 00:00 | So in the proceeding videos, we have
learned a bit about how to play around with
| | 00:04 | creating brushes and using the various
effects in the Brush Creator, using the
| | 00:09 | Randomizer, the Transposer, the Stroke Designer,
| | 00:12 | to start to get into designing your
own brushes and one of the things I want
| | 00:16 | to go over is just how you manage
brushes that you create, because it's easy
| | 00:20 | to kind of get a little confused about it and
not know where things are going or what to do.
| | 00:24 | There is a way to do it outside of
Painter, but that gets a little bit more
| | 00:28 | technical and it can be done in Painter.
| | 00:30 | So I'm going to show you how you can do
this so that you can easily create new
| | 00:35 | brushes, even create new categories and
organize your brushes the way you want.
| | 00:39 | So let's start with this
Festive Brush that I created earlier.
| | 00:43 | Now I went ahead and I created it and
as you remember, I have put it back into
| | 00:47 | the Pens category where it came from
and many times when you create a brush
| | 00:51 | out of the category that it came from, it very
well may be the best place to put that brush.
| | 00:57 | So oftentimes, you don't need to do anything.
| | 00:59 | It will just be a new
brush added to that category.
| | 01:02 | In this case it started out as a pen,
but I call it the Festive Brush, so
| | 01:05 | maybe I need to move it.
| | 01:06 | So the first thing we are going to do
is look at and you can't just move a
| | 01:09 | variant out of one folder and into another.
| | 01:12 | It takes a couple of steps
to get rid of it and move it.
| | 01:15 | So let's first look at copying the variant.
| | 01:17 | Now, we are going to go up while we are
in the Brush Creator to the Variant menu
| | 01:20 | here and I'm going to go to Copy Variant.
| | 01:24 | So I'll go ahead and I click this.
| | 01:26 | This let's me place this in any category I want.
| | 01:29 | So I may decide that this
goes into the F-X category.
| | 01:32 | That's kind of a catchall category for
brushes to do a variety of just kind of
| | 01:37 | different weird things.
| | 01:38 | So that's probably a good category to put it in.
| | 01:41 | So I'm going to go ahead and say OK.
| | 01:42 | So let's just go ahead and look in there.
| | 01:44 | Let's go down to the F-X category and
let's pop this open and sure enough,
| | 01:48 | the Festive Brush is right in there
between Fire and Fairy Dust now.
| | 01:52 | We now have our Festive Brush.
| | 01:54 | So we have been able to easily
place it into a different category.
| | 01:58 | That's a start right there.
| | 02:00 | Now let's go back to Pens.
I accidentally created a Custom palette, which
| | 02:05 | we'll talk about later.
| | 02:06 | Let's go back into Variants here and
this is where I can now delete that variant.
| | 02:10 | If I decided, okay I started out in Pens,
but I have now created a copy of it.
| | 02:14 | I don't want it in Pens anymore because
I think of it as an F-X category brush.
| | 02:18 | I can go ahead and say Delete Variant and
it says Delete the User-Created "Festive
| | 02:23 | Brush" variant of Pens?
| | 02:24 | Yes, I do want to do that, so I say Yes.
| | 02:27 | So now we go back into the
Variant pop-up and that pen is gone.
| | 02:32 | So we have successfully migrated a pen
out of a category that we didn't wanted
| | 02:37 | in anymore and placed it into the category
that we wanted to without duplicating it.
| | 02:43 | So right there we now know how to move
a brush to another category and delete a
| | 02:48 | brush from a category.
| | 02:49 | So we have already got the tools in
place for being able to reorganize brushes
| | 02:54 | into different libraries if we want.
| | 02:56 | The next step I'm going to show you
here and this is another one, it's a
| | 02:59 | little bit of a cloudy area for a lot of
Painter users, is how do I create a new category?
| | 03:06 | I have got all these categories but
every once in a while on the web you will
| | 03:09 | see people that have their own category of
brushes and it's like, how do they do that?
| | 03:14 | Well, there are some steps you have to
take and I'm going to go through those
| | 03:18 | for you to explain how you create
your own category and it actually doesn't
| | 03:23 | occur in the Brush Creator.
| | 03:25 | Because of the tools you need to use,
it actually occurs over in the actual
| | 03:29 | Painter application.
| | 03:30 | So let's hide the Brush Creator and go
over to Painter and the thing that is
| | 03:35 | required here is a command that
actually exists over in the Brush Selector bar
| | 03:40 | in the Option menu and you will see
it's grayed out right now, because I have
| | 03:43 | other things I need to do, but there
is a command here, Capture Brush Category.
| | 03:48 | That's what we want to be able to do.
| | 03:49 | Now, let me explain why we do this.
| | 03:52 | Painter keeps track of all of these
files, actually in a folder-wise fashion
| | 03:58 | within the Painter
application and within your User folder.
| | 04:01 | It's actually duplicated, so that you
have got the factory settings and you have
| | 04:04 | got your adjusted settings as you create them.
| | 04:07 | In order for Painter to recognize the
existence of a category and display it up here,
| | 04:12 | it needs two things.
| | 04:14 | It needs a folder for example for
F-X, there is a folder called F-X.
| | 04:19 | There is also an icon called
F-X.jpg. That's what this is.
| | 04:25 | If you have the category folder F-X,
but you do not have that F-X.jpg file in there,
| | 04:31 | it won't create it because it has
to have it because this is necessary to
| | 04:35 | display in here in order for that
category to pop-up into this list.
| | 04:39 | Without the F-X, in this case .jpg file,
you can have the category folder and
| | 04:45 | all your variant files in it and it
won't appear and that confounds a lot of people,
| | 04:50 | because they don't realize that
you have to have the category folder as
| | 04:53 | well as a same named JPEG file and
it can't be just any JPEG file.
| | 04:59 | That JPEG file must be 30x30 pixels.
| | 05:03 | If it's any other size,
Painter doesn't recognize it.
| | 05:06 | So you have to live by these rules
in order to create a new category.
| | 05:11 | Now the art of creating icons is kind
of a whole skill unto itself and we are
| | 05:15 | not going to go into deep
investigation about that now.
| | 05:19 | But what I have done is create a
category of icon that I have in Chapter 8 here,
| | 05:25 | Category Icon.rif.
| | 05:28 | So let's open that up and what we
are going to see here is this is a
| | 05:31 | little category icon.
| | 05:33 | It looks very similar to the other
icons and here I have tinted it blue, so it
| | 05:36 | looks a little different, just to give
it a little segregation from the other ones,
| | 05:40 | so it visually pops out.
| | 05:42 | So this is a 30x30 icon.
| | 05:45 | So, in order for us to be able to create
one, you can see it's still grayed out.
| | 05:49 | That's because you have to select
this in order for it to be recognized as
| | 05:54 | something it can capture.
| | 05:55 | So I'm just going to double-
click and that selects all.
| | 05:58 | So I have now selected the
entire area of this icon.
| | 06:02 | Now if you don't have the
materials and content that comes with this,
| | 06:06 | anything you want to create that's
30x30 and capture it, you can use
| | 06:10 | that as your icon and just use your
design skills or put a letter in there.
| | 06:15 | You can do anything you want.
| | 06:16 | But the bottom line, I can't say
it enough, it must be 30x30 pixels.
| | 06:20 | That's the major regulation you have to live by.
| | 06:23 | So now if we go up here, you can see
Capture Brush Category is highlighted.
| | 06:27 | That's because we have selected
that 30x30 square in that file.
| | 06:32 | So I'm going to click on it and now
it's going to say well Save As and we'll
| | 06:36 | just call it MyBrushes.
| | 06:38 | Say OK and what do you know, there is a
new category and here is another thing.
| | 06:43 | It will appear by default
at the bottom of the list.
| | 06:46 | Later on, when I get in a little bit
to talking about customizing the interface,
| | 06:50 | I'll show you how you can put
this anywhere you want in this list.
| | 06:54 | But by default, it's going to put it
into bottom and also can confound users
| | 06:58 | because sometimes where a new category
is added and in this particular monitor is setup,
| | 07:03 | see I kind of opened this all the way.
| | 07:05 | So you could look at this and think,
where did it go? It's not there.
| | 07:07 | It's there.
| | 07:08 | It's just at the very
bottom of the list right now.
| | 07:10 | I assure you later on I'll show you
how to adjust the placement in the file.
| | 07:15 | But we have now got a new empty category.
| | 07:18 | It has to put at least one brush in there.
| | 07:20 | So it just kind of made a dummy brush
to start with, so there is at least one
| | 07:25 | item in that category.
| | 07:27 | But let's go back and remember we were
in the Brush Creator to do this before.
| | 07:31 | Well, you will see that those controls
are all mirrored right in here,
| | 07:35 | so we really don't have to go
to the Brush Creator now.
| | 07:37 | We can go ahead and say
I want to copy a variant.
| | 07:39 | First of all I have to find
my brush. Let's go to F-X.
| | 07:43 | Let's find the Festive Brush.
| | 07:45 | Now we'll go up and we'll say let's copy
the variant and where do I want to copy it to?
| | 07:51 | Well, I want to copy it to My Brushes.
| | 07:54 | So I say okay and let's jump over to My Brushes.
| | 07:58 | Sure enough, look there it is.
| | 07:59 | We now have the Festive Brush in My Brushes.
| | 08:02 | If I want to go ahead and do the same
thing we did earlier, I can now go and
| | 08:05 | just one again return back
to F-X, the Festive Brush.
| | 08:09 | Now I can say I want to delete a
variant and do you want to delete the
| | 08:13 | Festive Brush variant?
| | 08:14 | I sure do, yes, get rid of it.
| | 08:16 | So now we no longer have this brush in
just a category we placed it in. We have
| | 08:21 | now got it in our own category.
| | 08:24 | So this is how you can create new
categories, move brushes around, place them
| | 08:29 | into the categories the way you
want and as I said, later on in the
| | 08:33 | customization chapter, I'm going to
show you how you can totally control the
| | 08:37 | content of all of these.
| | 08:39 | So bear with me and let's continue
on through the rest of the title, but
| | 08:43 | we'll eventually get to how to further
customize this so you can even organize
| | 08:48 | more the way you want.
| | Collapse this transcript |
|
|
9. Brush MechanicsAdjusting brush size: three techniques| 00:00 |
Throughout this title, I have been
referring to Painter as a brush engine.
| | 00:04 |
In this chapter, we are going to take a
look at all of the knobs and dials and
| | 00:08 |
sliders that you can adjust to
control Painter's expressibility.
| | 00:11 |
So let's put Painter up on the rack
and get ready to get your hands a little
| | 00:15 |
dirty with some pixel oil.
We'll get started right now.
| | 00:18 |
Of all the potential adjustments you
can apply to a brush, changing its size is
| | 00:22 |
probably the one you are
going to make the most often.
| | 00:24 |
Painter has multiple methods for
adjusting brush size. Which one you use is
| | 00:28 |
going to be directed by
your personal preference.
| | 00:31 |
Now brush size is useful for many reasons.
| | 00:33 |
A larger brush can, for example, cover
greater areas of the canvas more quickly.
| | 00:37 |
Smaller brushes on the other hand are
best suited for detail work and then
| | 00:41 |
variable size brushes, which are typically
controlled by pressure, can do double duty.
| | 00:45 |
So I'm going to show you three
different ways you can control brush size in
| | 00:50 |
Painter and some of them are very
quick and some of them are very precise and
| | 00:54 |
again, it's just going to
be your workflow methods.
| | 00:56 |
Some of them are visual.
| | 00:57 |
If you are a visual person, you
will probably prefer that method.
| | 01:00 |
Some people are keyboard people.
| | 01:01 |
They may prefer that method.
| | 01:02 |
It's entirely up to you.
| | 01:04 |
Now the first one and the most obvious
one is the one that's up on the Property
| | 01:08 |
bar when you are in the Brush tool,
we have a Size read-out here and just
| | 01:12 |
clicking-and-dragging on that
rectangle on the right immediately gives me
| | 01:17 |
access to adjusting this.
| | 01:18 |
So if I want a very small brush, that's
going to give me some real fine control,
| | 01:23 |
I can work that way.
| | 01:24 |
If I want to make it large, I can
very quickly get to a large size.
| | 01:29 |
So the most obvious one is the one
that's right on the top of the interface.
| | 01:32 |
The actual slider control that lets
you adjust it and you can also use this
| | 01:37 |
for very precise fine control by using the
little arrows at either side of that slider.
| | 01:43 |
So that's your very precise method.
| | 01:44 |
The next method I'm going to show you is
a keyboard method and this one involves
| | 01:49 |
the Command and Option on the Mac
or the Ctrl and Alt key on Windows.
| | 01:54 |
If I hold that down, you will notice my
cursor, it changes to a little crosshair.
| | 01:58 |
What that means is you can now click-and
-drag and what happens is this gives me
| | 02:02 |
a visual preview of the new brush size,
now I have instantly adjusted that size.
| | 02:07 |
I am not doing it by the numbers.
| | 02:09 |
It's entirely visual.
| | 02:10 |
I can certainly look up
afterwards and realize, oh!
| | 02:12 |
Okay, I'm around the 35 or so
pixel brush, but this is more for
| | 02:17 |
visual adjustments.
| | 02:18 |
So when I want to go from small to
large and vice versa, it's very quick to be
| | 02:23 |
able to adjust in a visual manner.
| | 02:25 |
The third version of adjustment we are
going to look at is the Photoshop style
| | 02:30 |
adjustment and that involves
the left and right bracket keys.
| | 02:34 |
When I click on the left
bracket key, it adjusts my brush down.
| | 02:38 |
As I adjust it with the right
bracket key, it adjusts it upward.
| | 02:43 |
So these keyboard shortcuts
particularly if you are a Photoshop user are going
| | 02:47 |
to seem very natural to you.
| | 02:48 |
So basically you have got a control here
that just is going to suit your workflow.
| | 02:53 |
Brush sizing, it's a frequently made
adjustment and each method has its strengths.
| | 02:57 |
Which method is correct is really up
to you and it just depends, so pick one
| | 03:02 |
and run with it.
| | 03:03 |
| | Collapse this transcript |
| Fine-tuning your stroke in the Brush Controls palette| 00:00 | In this video, we're going to
take a look at the Brush Controls.
| | 00:03 | To open the Brush Controls, you're
going to want to go to the Window menu and
| | 00:07 | go down to Brush Controls and you can
literally click on any one of these.
| | 00:11 | I'm just going to click on General, but it will
bring up the entire palette stack of Brush Controls.
| | 00:17 | Now the thing about the Brush Controls
palette is that it really intimidates a
| | 00:21 | lot of people when they first open it.
| | 00:23 | I call this the 747 cockpit of Painter,
because there's a lot of palettes in here.
| | 00:29 | Like if I close this down, we
mentioned this in one of the other chapters,
| | 00:33 | you can just click on the title of
anyone of these to quickly open it up.
| | 00:38 | If you followed along in the Brush
Creator chapter, you will recognize what
| | 00:42 | this is immediately.
| | 00:44 | It's very similar to the Brush Controls as
they're presented over in the Brush Creator.
| | 00:49 | It's just here you can look at
more than one of these at a time.
| | 00:53 | You can have as many of these open as you want.
| | 00:55 | That's where I think the urban legend of this
being very complex becomes part of Painter's lore.
| | 01:02 | But really the Brush Controls
palette is actually very handy.
| | 01:06 | You don't have to have all these open at once.
| | 01:09 | But there are trade offs.
| | 01:10 | For example, the good news about the
Brush Controls palette is you don't have
| | 01:14 | to go out of Painter and over to the Brush
Creator for example to do the same things.
| | 01:20 | On the other hand, the Brush Creator
gives you a handy little stroke, so that
| | 01:24 | any adjustment I would make to a
brush, I would see that instantly in the
| | 01:29 | little Stroke preview.
| | 01:30 | In the Brush Controls palette, you
need to test this stroke out each time you
| | 01:34 | make an adjustment to see
exactly what's going to happen.
| | 01:37 | So for me typically what I do, if I
don't want to switch over into the Brush
| | 01:42 | Creator, I'm more interested in just
making quick adjustments to a brush, I'll
| | 01:46 | either create a quick layer on an
image I'm working in or open up a new
| | 01:49 | document temporarily and just use that
as my scratch pad rather than jumping
| | 01:53 | over to the Brush Creator.
| | 01:55 | Now I'll show you one place where it's
actually a little bit more handy over here.
| | 01:59 | In the Brush Creator video I wanted to
show you something about a certain brush here.
| | 02:04 | I'm going to get the Captured Bristle.
| | 02:06 | Now there's a way to look at this so
that you can see the individual components
| | 02:11 | of the brush dab that make up the brush hair.
| | 02:14 | I got to that by
clicking in this little preview.
| | 02:17 | It's one of the secrets
that are buried in Painter.
| | 02:19 | There is no obvious interface here
telling you to do that but this lets you
| | 02:22 | click through and see the actual
dab that is making up the brush.
| | 02:27 | Well in the Brush Creator, you can
only have one of these open at a time.
| | 02:31 | So if I want to configure or play
around with the make up of these bristles,
| | 02:35 | this has to be closed and then you have
to go Bristle and you can adjust these
| | 02:39 | and then you have to go back
to Size to see what you did.
| | 02:42 | Well in the Bristle
control palette it's interactive.
| | 02:45 | You see how I'm adjusting that
and I was seeing what's happening.
| | 02:47 | So this is much more handy to me to
be able to see all of this happening as
| | 02:53 | I'm making adjustments.
| | 02:54 | Once you have played with this,
you start to understand how certain
| | 02:58 | configurations of those various controls are
going to start to affect the look of a brush.
| | 03:04 | So, it's actually much more handy in
this case with something like bristle or
| | 03:08 | brushes to be able to see the preview of the
Bristle Dab as well as control it in real time.
| | 03:16 | So that right away for me makes the
Brush Controls palette very useful by its
| | 03:20 | ability to open up these palettes multiply.
| | 03:23 | Another aspect of this is that because
you can tear off various palettes if you
| | 03:29 | want, you could easily decide that size
is real important to you, now depending
| | 03:33 | on your monitor setup, you may or may
not have room for but even here just even
| | 03:37 | with part of it, this would give me a
very quick instant visual that I could
| | 03:42 | have available to look at, at any time.
| | 03:44 | So been able to tear these off is a really
good property of the Brush Controls palette.
| | 03:50 | One other thing I'll show you.
| | 03:52 | I'm going to go down to Artists' Oils
and let's grab the Blender Brush and
| | 03:57 | get some color here.
| | 03:59 | So here's the brush that has the
characteristic of -- it will run out of paint
| | 04:04 | and Artists' Oils palette is where
you can start to control how that works.
| | 04:09 | So if I want to start to play with
the adjustments here, you can see how I
| | 04:13 | can get this to change.
| | 04:14 | Well, I'm the big user of the Artists'
Oil brushes and so I find it very handy
| | 04:19 | and because I use it in concert with
things like the Mixer and the Color
| | 04:22 | palette, I put right in here
and it's here all the time.
| | 04:25 | I don't tend to keep it over
in the Brush Controls palette.
| | 04:28 | So as I'm working, I'll be doing
other activity, I don't need access to the
| | 04:33 | Artists' Oils palette.
| | 04:34 | But when I do need it, it's just one
click and I can go in here and I can
| | 04:37 | make an adjustment.
| | 04:38 | So that I can start to control the
ability of what the mark is doing.
| | 04:44 | So been able to tear out those
palettes and put selected ones over into your
| | 04:50 | primary palette is another benefit
that you have with Brush Controls.
| | 04:54 | So don't be afraid of the 747 cockpit.
| | 04:57 | It's really a Piper Cub with multiple
iterations kind of in one hanger there.
| | 05:03 | So you can really take advantage of it
and use it for quick brush adjustments as
| | 05:07 | well as doing a very
customized brush control as well.
| | Collapse this transcript |
| Working with texture-aware media| 00:00 | Some of Painter's brushes are
what I called texture aware.
| | 00:04 | That is they understand texture and I'm
going to explain a little bit how this
| | 00:09 | works, so that we can proceed and
you'll have a little conceptual underpinning
| | 00:13 | of why this does what it does.
| | 00:16 | I am going to draw a mountain range
and texture can be like a mountain range.
| | 00:22 | There's going to be high points on a
texture and there's going to be valleys or
| | 00:26 | low points on a texture.
| | 00:28 | Now imagine I have this big piece of
chalk that I'm going to run across the
| | 00:34 | surface of the paper which is made up
of these tiny little mountain ranges.
| | 00:38 | Keep in mind, we are looking at one
little two-dimensional slice of it, but
| | 00:41 | this is really a three-dimensional array of
peaks and valleys up here on a toothy surface.
| | 00:47 | What's going to happen when you go over
this with a certain level of pressure,
| | 00:52 | you're just going to kiss the tops or the peaks.
| | 00:55 | So, think of it as snow and the
snow is only going to fall here.
| | 00:59 | But if you start to put more pressure
down -- well, you're going to get to a
| | 01:02 | point where you're going to
go all the way into the valley.
| | 01:05 | So what's going to happen is
everything is going to get filled.
| | 01:08 | Now, not just the mountain peaks
but even those valleys get filled.
| | 01:12 | So you end up with solid color.
| | 01:15 | Now this may be a little weird looking
at in a two-dimensional sense, but now
| | 01:19 | that you've experience that way, let's
look at it in terms of grain aware media.
| | 01:24 | Grain aware media is typically various
forms of dry media like Chalks or Charcoals.
| | 01:30 | Pencils are certainly one, Conte, Crayons
or we've Oil Pastels, Pastels, Pencils.
| | 01:37 | These are all mediums
that are aware of a texture.
| | 01:43 | When you select one of these, you're going to
have control with pressure over what happens.
| | 01:49 | Now I also have control, let's try it here.
| | 01:52 | I'm going to start very lightly.
| | 01:54 | You can see if we were looking
straight down the mountains right now, I'm
| | 01:58 | dusting the peaks of that
mountain with a tan colored snow.
| | 02:02 | As I press harder and harder, it's
snowy and harder and harder until I get to
| | 02:06 | the point where I'm literally
filling up all the way, so that there is no
| | 02:10 | texture revealed anymore.
| | 02:12 | This is the same in traditional media,
artists use mediums like chalk on a
| | 02:17 | toothy surface paper to get this
effect and the idea behind it is that it
| | 02:23 | presents the illusion of tonality.
| | 02:25 | By going from very light to very dark,
we almost get the equivalent of a
| | 02:29 | luminosity or brightness scale.
| | 02:31 | So it goes from very light to very dark
and really it's all done with one color.
| | 02:34 | It's the add mixer percentage of the
white and the coloration that give this
| | 02:39 | kind of illusion of a gradient.
| | 02:41 | So it's been used for eons with
dry media for that very purpose.
| | 02:46 | Painter is doing it in a virtual texture.
| | 02:49 | Where is that texture coming from?
| | 02:50 | If we go over to the Tool palette and
down at the bottom here, we have the Paper
| | 02:55 | Selector, I'll click on that and here
is where I've all of my papers that are
| | 03:00 | installed that I can select from.
| | 03:02 | So if I select a different paper
like this one, and start to draw now.
| | 03:06 | Maybe we'll just do a
different color out of interest.
| | 03:08 | You'll see the same things going to
happen, but now I'm getting a very different
| | 03:14 | texture because it's emulating the
texture of a rough cotton canvas.
| | 03:20 | So, just changing the texture can make
one tool appear very, very different and
| | 03:25 | that's one of the big advantages of
texture is that you can change it and in
| | 03:30 | fact, think about what we've already done.
| | 03:32 | On one canvas I've emulated
paper and I've emulated canvas.
| | 03:38 | That's something you
can't easily do traditionally.
| | 03:40 | So the fact that you can even
change grains on the fly offers up
| | 03:44 | some interesting ideas.
| | 03:46 | You get into some interesting
patterns that aren't so much associated with
| | 03:50 | traditional textures but
they're still very interesting.
| | 03:53 | This is a pavement pattern and once again.
| | 03:56 | And once again, you can see, I mean
each one of these has a very different
| | 03:59 | character to it and as the artist, your
role is partially selecting how you want
| | 04:05 | to express yourself, what color, what
texture, what medium, all of these things
| | 04:10 | create a voice that you express
yourself through and this really gives you that
| | 04:15 | ability to change on a
very wide range of feelings.
| | 04:20 | Now let's just try something else here.
| | 04:22 | This is a wood grain texture.
| | 04:23 | So it's just as if you are almost taking
a piece of paper against wood grain and
| | 04:28 | then drawing on it to force that grain
beneath the paper to make its appearance.
| | 04:33 | And you could see too, when you switch
from one grain to another, wherever the
| | 04:38 | valley still are, you're not going to
affect what's underneath of it, unless you
| | 04:43 | press very, very hard.
| | 04:44 | And even some grains, no matter how
hard you press they do not totally let you
| | 04:49 | get through all the way to the
valleys of that particular texture.
| | 04:53 | Let's explore this a little bit more
and once again, open up the pull-down
| | 04:57 | menu for Paper Textures.
| | 05:00 | You will see right here, this little
fly-out Options menu, from here I can
| | 05:04 | launch the Paper palette and
this gives me additional controls.
| | 05:08 | For example, I now get a larger preview
than I see in the Selector itself and I
| | 05:14 | can still select here.
| | 05:15 | So if I want to go to some kind of wood
grain, I can, and once again it's just set up.
| | 05:21 | So that it's going to
emulate basically what it's named.
| | 05:24 | You do have further control however.
| | 05:27 | Let's go into something like Small Dots.
| | 05:30 | I can control the scale of
this with a Scale slider.
| | 05:34 | So if I want very fine dots, I can.
| | 05:37 | I can even go smaller.
| | 05:39 | I can get so smaller, they're almost
unnoticeable or I can take them all the way
| | 05:43 | up so that they're very, very large.
| | 05:46 | So you can use scale as another
expressive attribute to control the character of
| | 05:53 | your brushes, your painting or drawing.
| | 05:55 | So you've got a lot of control and
I'm going to show you and this is a good
| | 05:59 | texture to show this.
| | 06:00 | You can flip the meaning of the texture.
| | 06:03 | Right now the peaks are getting this
purple and the valleys are remaining clear
| | 06:08 | because I'm not pressing down.
| | 06:09 | Well, let's take a very different
color and this icon right here lets me
| | 06:13 | invert the texture.
| | 06:15 | So now when I draw, you'll see
what's happening, we flip the polarity.
| | 06:19 | Now the mountains are the valleys
and the valleys are the mountains.
| | 06:22 | So this is yet another way to kind of
play with texture to do some interesting
| | 06:27 | combinations of things that
you might not be able to do.
| | 06:30 | So flipping the polarity or the height
of the texture to invert itself so that
| | 06:35 | what was the valleys is
the mountains and vice versa.
| | 06:37 | It's something you can do.
| | 06:39 | And then another one that's here that a
lot of people are not aware that this is
| | 06:43 | even functional or what it does,
because you really have to use it correctly.
| | 06:47 | This creates the grain to act directionally.
| | 06:50 | To really show this off, I'm going to
zoom up quite a ways here and let's find
| | 06:54 | the other blank area.
| | 06:56 | Again, this is a good paper grain to use.
| | 06:58 | Now that it's directional, much like a
traditional media, some artists use the
| | 07:03 | fact that when you stroke in a
certain direction that's the side that the
| | 07:08 | pigment is going to get deposited
on the surface of the textured media.
| | 07:14 | That's now working this way as well.
| | 07:16 | So I'm going to take four different
colors and just stroke from four different
| | 07:19 | directions and so, I'm doing this
pretty lightly because if you do a really
| | 07:23 | heavy hand then you're
going to notice it that much.
| | 07:25 | But is definitely something that adds a
nice extra degree of realism to the work.
| | 07:31 | So I've come from the upper left.
| | 07:34 | I'm now going to come from the bottom right.
| | 07:35 | We'll just take a complementary
color here and again, I'm exercising some
| | 07:39 | restrain on how hard I'm pressing
but you can see how -- there it's two
| | 07:42 | different sides of the grain that
those colors are depositing themselves.
| | 07:46 | Let's go with another color.
| | 07:48 | And this time I'll come from the upper right.
| | 07:50 | So you can see how now that is
starting to touch the upper right portions
| | 07:55 | of these little peaks.
| | 07:56 | And then finally, let's go and come
from the lower left and you can see
| | 08:00 | it happening there.
| | 08:01 | So the idea behind this is that as you
use it, you're going to have the ability
| | 08:07 | to actually take the different colors
you are working with, even stroking back
| | 08:11 | and forth with this, we'll start to
produce an elongated pattern in that
| | 08:16 | direction, because I'm stroking one
side of the texture and then the other.
| | 08:20 | If I go to a very different color and
go this way into both ways, I'll start to
| | 08:23 | get some interesting things happening.
| | 08:25 | So, directional grain is another
kind of control that you can have to add
| | 08:32 | different type of character to your dry media.
| | 08:35 | So that is grain aware media and the
Papers palette is a very close allied to
| | 08:41 | that, because that's where you can
really adjust and alter the subtlety and
| | 08:46 | the expressibility of one of your dry
media tools with the particular paper
| | 08:51 | texture that you have used.
| | 08:52 | So take advantage of Paper Texture.
| | 08:54 | It's a great tool towards
providing a wide range of expression.
| | Collapse this transcript |
| Painting with Artists' Oils brushes| 00:00 | In this video, we are going to take a
look at the Artists' Oils brushes and one
| | 00:03 | reason that I want to really get into
them is they become one of my favorite
| | 00:07 | brushes. They really have a very lush
quality that's very, very close to how
| | 00:12 | traditional brushes work.
| | 00:14 | You can see right away that the brush
runs out of paint over the course of the stroke,
| | 00:19 | and when they first came up with
this in Corel, I was a little bit like,
| | 00:24 | why do that? I mean, digital paint is
cool because I can just keep painting.
| | 00:28 | And the more I used it, the more I
realized the really cool thing about this is
| | 00:32 | that the resulting imagery as I'm
building it up here, it starts to have a much
| | 00:36 | more realistic feel to it
because it is running out of paint.
| | 00:40 | That's part of the signature of a
traditional brush stroke and because of that,
| | 00:45 | I just really over time have
become an ardent fan of this brush.
| | 00:50 | The thing is though that each individual
stroke is not necessarily that impressive.
| | 00:54 | It's this build up of the strokes as
you are working that starts to give it the
| | 00:59 | full character that it's capable of.
| | 01:01 | And for that reason alone, I really like it.
| | 01:04 | I'm going to go ahead and clear the
canvas, and to that I'm going to hit
| | 01:06 | Command+A or Ctrl+A, which is for
Select All, and then I'm going to hit the
| | 01:10 | Delete or Backspace key and
that will remove the imagery.
| | 01:14 | So let's go ahead and take a
look at the Artists' Oils brush.
| | 01:17 | I have put the Artists' Oils Control
palette right in my main palette and
| | 01:22 | I make so many little adjustments for it,
| | 01:24 | it's really nice to have these right here.
| | 01:27 | So we are going to work with one
particular brush here and let's go down here
| | 01:32 | and we are going to get
the Oily Bristle variant.
| | 01:36 | So let's take a look at this brush.
| | 01:39 | Now I'll get a kind of dark stroke
here so we can see the character of it.
| | 01:43 | You will see that initially this brush
stroke lays down a very long stroke as
| | 01:48 | it's depositing its color and slowly deposits
it and expands the color that's on the stroke.
| | 01:54 | We are going to start by adjusting the
paint component, and let me talk a little
| | 01:59 | bit about these before we get too far in.
| | 02:01 | The Artists' Oils is broken up
into three main areas of control.
| | 02:07 | So what's a little less than
straightforward is that these various components
| | 02:12 | sometimes interact with the other
components and in fact, I have seen times
| | 02:16 | where I can make the brush look the
same with very different settings because
| | 02:20 | you can configure them in different ways
so that you are basically balancing the
| | 02:24 | brush to do a certain thing, and various
setups can actually almost give you the
| | 02:28 | same exact look with a very different setting.
| | 02:30 | And at first, it was kind of a head
scratcher, like why do that?, and
| | 02:33 | it's just because these controls interact
with one another, is why if one settings'
| | 02:38 | set real high means the other settings
may have to be kind of low but if they
| | 02:41 | are set real high and the other one is
set kind of low, you will create this
| | 02:44 | balance that will essentially do the same thing.
| | 02:46 | That's what I want to try to demystify for you.
| | 02:49 | We are going to begin by starting to
control the length of the tail of the brush.
| | 02:54 | How quickly it's tapering off, and to do
that, I'm going to go to the Viscosity slider.
| | 03:00 | Now Viscosity means adhesion.
| | 03:03 | It's how does one medium interacts
with another and in this case,
| | 03:07 | it's essentially the stickiness of
the paint and at high viscosity levels,
| | 03:12 | I'm going to turn this all the way up, the paint
is going to stick to the canvas much quicker.
| | 03:17 | So you can see already, we've now half
basically the length of the stroke, so
| | 03:21 | that it's now the paint has more of a
higher adhesion factor and it's sticking
| | 03:26 | to the canvas more rapidly.
| | 03:28 | And as a result, the stroke length is decreased.
| | 03:31 | Now we are going to turn down the Paint
Amount slider and this controls how much
| | 03:35 | paint is applied within each stroke.
Rather than shortening the stroke however,
| | 03:39 | you will see that the stroke tends to weaken.
| | 03:41 | It is still applying paint
but it is weakening as it goes.
| | 03:44 | This is because Canvas Wetness is
currently high and Wetness controls how wet
| | 03:50 | the underlying canvas is.
| | 03:51 | As a result, this setting
interacts with the Paint settings.
| | 03:54 | So let's turn Wetness down to zero.
| | 03:58 | Now look what happens.
| | 03:59 | It's an extremely short stroke.
| | 04:02 | Let's adjust this Paint Amount up a bit,
and now I have a pretty good control
| | 04:08 | over the stroke length of this brush.
| | 04:11 | Just right now adjusting Amount,
you can see as I get way down here,
| | 04:14 | it's almost hardly anything. It's just a dab.
| | 04:16 | Now I have pretty much precise
control over the length of these strokes.
| | 04:21 | Now Paint Amount and Viscosity.
| | 04:24 | They influence one another.
| | 04:25 | So here is yet another
interaction that can do things.
| | 04:27 | You can actually use both of
these to control the stroke length.
| | 04:31 | Let's turn this down and now I'll play
with a little bit of Viscosity and you
| | 04:36 | could see how I'm getting the stroke
almost similar to the other setting I have.
| | 04:40 | That's what I was mentioning.
| | 04:41 | A different adjustment of these two
strokes can actually create several balance
| | 04:46 | points that you will essentially
get the same appearance in the stroke.
| | 04:50 | So that's one reason you can't say
there is an absolute setting that is always
| | 04:54 | going to give you that length of stroke.
| | 04:56 | Particularly in this case, Amount,
Viscosity, and Wetness are all playing a part
| | 05:01 | in how the stroke length is controlled
and because it's a trio of three values,
| | 05:06 | as I said, this is like a set of
ratios of these values in which you could
| | 05:09 | alter them and you essentially end up
with the same stroke and understanding
| | 05:13 | that will keep you from getting
confused about why did one setting do that, and
| | 05:17 | now I'm playing with it another one
and it isn't. We are essentially dealing
| | 05:20 | with three components here and it's that
ratio of the three of them that can change it.
| | 05:25 | Now we are going to adjust the
interaction of existing paint with some applied
| | 05:29 | paint from the brush.
| | 05:31 | So as I mentioned, Canvas Wetness, and
Brush Blend interact with one another.
| | 05:36 | I'm now going to adjust the Canvas
Wetness up to 100% and I'm going to adjust
| | 05:40 | the Brush Blend up to 100%.
| | 05:41 | Now let's take a different color
and I'm going to paint over this.
| | 05:47 | Now you will start to see
there is some interaction.
| | 05:49 | You could see how it's pulling the
red in this case from beneath just a
| | 05:54 | slight amount, but there is
starting to be some interaction with the
| | 05:58 | underlying color with my brush.
| | 06:01 | Now just to add to the mix, there is yet
another slider not even on the Artists'
| | 06:05 | Oils palette that has a great deal of
control over the look of the brush and
| | 06:09 | that is the Grain slider.
| | 06:11 | This brush is responsive to Grain and
the Grain Setting is going to influence
| | 06:17 | the look of the brush.
| | 06:19 | I'm now going to turn this Grain
Setting down to a low setting value, very low.
| | 06:23 | Now what's happening is we get a
brush that is extremely smeary.
| | 06:28 | You can see it does lay down a
stroke at the beginning, but it's now
| | 06:31 | interacting very much with the
underlying strokes so that I'm very much getting
| | 06:35 | a smeary wet oily brush.
| | 06:38 | Let's now turn this up to a very high
value and now it's going to start to
| | 06:45 | interact quite a bit with the Paper Grain.
| | 06:48 | One thing to notice, at values of 0,
which I was showing you earlier and at
| | 06:53 | values of 100%, no Paper
Grain is currently visible.
| | 06:57 | We have to have this at a
little bit lower than 100%.
| | 07:01 | Because Grain is important here, just
the setting alone may not be enough.
| | 07:06 | I'm going to go over to my Paper
Grain Selector and open up the Paper Grain
| | 07:11 | palette, just make sure we
have this Coarse Cotton Canvas.
| | 07:14 | I am going to increase the contrast and
maybe darken it down a little bit here.
| | 07:20 | So I'm adjusting this to make it more
aggressive, and I may need to also play
| | 07:25 | around with the Grain Setting and just
depending on where I put it, there you
| | 07:30 | can see, I'm now getting a pretty
aggressive grain incorporated into my strokes.
| | 07:36 | So now we have also added into the mix
the fact that the Grain slider can have
| | 07:42 | some effect upon the way the brush
is interacting with all of the other
| | 07:47 | components that we have adjusted so far.
| | 07:49 | The last thing we are going to look
at is the Brush Settings themselves.
| | 07:53 | And I'm going to go ahead and clear
the Canvas, Command+A or Ctrl+A and
| | 07:56 | Backspace or Delete.
| | 07:57 | You can control Bristling,
Clumpiness, and Trail-off.
| | 08:01 | Let's take a look at those.
| | 08:02 | So here is my stroke at this point.
| | 08:04 | When I adjust Bristling up, you will
notice you can see there is a little bit
| | 08:08 | of a segregation going on as if the
brush hairs are doing something and I have
| | 08:12 | turned Bristling up from where it was.
| | 08:14 | You will see now there is more obvious
kind of clumping up of the Bristling and
| | 08:19 | I can even increase that
by some more right here.
| | 08:22 | And each time, it's randomized.
| | 08:24 | So you are never going to just get the
same exact look, which is also consistent
| | 08:28 | with traditional brushes.
| | 08:30 | You know the brush hairs are moving
around and acting as a reservoir for the paint,
| | 08:34 | and each time you lay it down,
the pressure of the brush strokes being
| | 08:38 | applied to the canvas will alter that.
| | 08:40 | So that's another nice little feature in
here is that it's randomizing that each time.
| | 08:45 | Trail-off is pretty subtle but it also kind
of controls the character of how it trails-off.
| | 08:52 | You can see with a very high trail-
off, it's deteriorating very quickly.
| | 08:57 | It's just kind of starting to get into
what I think of as the texture component,
| | 09:01 | and lower values are going
to have somewhat of a different feel.
| | 09:04 | And finally, as if this weren't enough,
there is one more thing we can do and
| | 09:09 | to do that I'm going to open
up the Brush Controls palette.
| | 09:13 | We'll go to Brush Controls >
General and we are going to look at
| | 09:17 | Size specifically here.
| | 09:20 | The bottom of this is actually a set of
profiles that control the look of the stroke.
| | 09:26 | And maybe the best way to do this is to turn
this down so we just get a very short stroke.
| | 09:35 | Okay, now we have got a
very short, obvious stroke.
| | 09:38 | You can see how that tail
kind of has a pyramidal shape.
| | 09:42 | That's because I have set this to
act as the profile for the tail.
| | 09:47 | If I go with something like this,
I'm going to get more of a chisel.
| | 09:49 | You can see how now it's biased towards
a longer side of that pyramid, or we can
| | 09:54 | do another bias here.
| | 09:56 | So each one of these is going to
somewhat alter the look of the head and tail
| | 10:03 | of the stroke.
| | 10:04 | So you have got all of these settings.
The Artists' Oils brush is just an amazing
| | 10:09 | simulation of the way the paint and
the canvas all interact with one another.
| | 10:15 | The real key is you need to understand
how these various controls interact with
| | 10:18 | one another and it will take you some
time to wrap your head around it, but
| | 10:21 | the more time you take playing with
these, the more it will start to lock in
| | 10:25 | that, oh, this settings going to give
me this, and this settings going to give
| | 10:28 | me this, and these two settings in concert
are going to create some variation within it.
| | 10:33 | So over time, I think you will see
that more you play with the Artists' Oils
| | 10:37 | Controls, the more fussier you are going
to become at adjusting the brush to get
| | 10:41 | exactly the particular character you want.
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| Painting with RealBristle brushes| 00:00 |
In this video, we're going to take a
look at Painter's RealBristle Brushes.
| | 00:04 |
Now, RealBristle Brushes really shine
when they're used in conjunction with the
| | 00:07 |
Wacom 6D pen, which I'm holding here in my hand.
| | 00:10 |
You don't have to have one but you're
going to miss out an important component
| | 00:14 |
of the capabilities of the pen combined
with RealBristle Brushes and the reason
| | 00:20 |
for that is this pen actually senses
rotation and if you see while I hold this
| | 00:26 |
up kind of on end,
it's in the elliptical shape.
| | 00:29 |
That means when it's in my hand,
I have a little bit of feedback telling me
| | 00:33 |
where the angle of rotation is and as
well there's a tip on here that's a kind
| | 00:38 |
of a chisel, almost like a marker tip.
| | 00:40 |
That also gives some feedback that tells me about
any brushes that may have a wide or narrow aspect.
| | 00:46 |
So this pen working with the
RealBristle Brushes is a dynamite combination.
| | 00:53 |
But in order to have this, you
currently at the time of this taping, you have to have
| | 00:58 |
a Wacom Intuos3 tablet because
the 6D pen at this point only works with
| | 01:05 |
the Intuos3.
| | 01:09 |
The Intuos4, the newer tablet, does
not yet have any compatible 6D pen
| | 01:13 |
that works with it.
| | 01:15 |
That will be out later on in the year.
| | 01:17 |
So you'll be able to do what I'm
going to show you here with that as well.
| | 01:21 |
But let's go ahead. We're going to take
a look now at the capabilities of this
| | 01:26 |
brush and pen combination.
| | 01:29 |
I'm going to go ahead and just do
a little sample drawing with you.
| | 01:31 |
And one of the things that I found
works really well in using this is that,
| | 01:36 |
as I'm painting in, I'm going to, right now
it's going to be obvious of what I'm doing here.
| | 01:40 |
I am actually rotating the pen to
get in a wide end and then in another
| | 01:45 |
direction, just to get a narrow aspect
to my brush and one of the things that I
| | 01:49 |
found in using this pen is that it
makes sense to hold it more at the rear end
| | 01:55 |
of the pen, as you would have a real
brush and the leverage that it gives you
| | 02:00 |
and everything, starts to feel
more like painting with a brush.
| | 02:05 |
So one recommendation I have is hold it
more towards the rear, rather than more
| | 02:10 |
pencil like up at the front and by
doing so, you're going to get, I think a
| | 02:15 |
little bit more natural appearance
to the brush strokes that you make.
| | 02:18 |
The other thing is it takes a little
while to get used to it but you want to
| | 02:22 |
stop consciously thinking too much
about rotating the pen in your hand.
| | 02:27 |
Obviously, you want to
control the character rather.
| | 02:29 |
But it's not necessary that you
think in terms of the pen rotating.
| | 02:35 |
It's just, as you start using in,
particularly holding it in that rear grip that
| | 02:38 |
I showed you, you're going to get a
much more kind of natural look to the
| | 02:43 |
various strokes that are being made.
| | 02:45 |
And to be honest, as I'm talking to
you right now, I'm not really thinking in
| | 02:48 |
great detail about the
particular angles I'm holding this at.
| | 02:52 |
In fact, it becomes internalized
that I guess is the way to think of it.
| | 02:56 |
You really aren't so conscious of the
fact that you're doing that with the pen
| | 03:00 |
and that's the way it shouldn't have
working as it's just strictly kind of the
| | 03:04 |
feedback you're getting watching at,
and the emotion that you're kind of
| | 03:07 |
creating as you're working with this pen.
| | 03:09 |
So you can see that these RealBristle
Brushes in concert with the 6D pen offer
| | 03:15 |
a very unique opportunity to begin to
get some looks that are otherwise not
| | 03:21 |
easily achievable because you need that extra
barrel rotation to get this particular look.
| | 03:26 |
But if you come from a background where
that something you do, the 6D pen is a
| | 03:32 |
definite worthwhile addition to your
arsenal of tools that you're using while
| | 03:37 |
you're working with Painter.
| | 03:39 |
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| Working with hard media| 00:00 | Many traditional mediums have
irregularly shaped tips and if you think of things
| | 00:04 | like certain kinds of chalk or even
after chalk has been used, it will wear down
| | 00:09 | an edge of it or pencils.
| | 00:10 | Pencils is a great example.
| | 00:12 | You can take advantage of these irregular edges.
| | 00:14 | I'm using the pencil is an example.
| | 00:17 | Think of when you're normally drawing
with a pencil, the tip itself is coming in
| | 00:21 | contact with the paper but as you
start to angle the brush down so that
| | 00:25 | it gets more and more perpendicular to the surface,
| | 00:28 | the edge of the lead start to get
elongated along there and the artist will
| | 00:32 | actually take advantage of that
and use it more as a shading medium.
| | 00:35 | So, one tool, like a pencil, can
actually have a pretty wide range of expression
| | 00:40 | based on this tilt factor and the
new hard media brushes in Painter
| | 00:44 | take advantage of that and what we're
going to look at in this video is just
| | 00:49 | a couple of examples of that tool but
the one thing I'm going to mention upfront
| | 00:52 | is I have a bit of a beef with Corel
right now because they've sort of broken
| | 00:57 | a little bit of a rule about naming
conventions and here's what I mean.
| | 01:01 | If you go to RealBristle Brushes,
there's this convention. The word Real
| | 01:06 | appears at the beginning of those
but now we're getting into some other
| | 01:09 | categories like Oil Pastels.
| | 01:12 | There is something in here called the
Real Oil Pastel, which has nothing to do
| | 01:16 | with the RealBristle Media.
| | 01:18 | So, in a way it's a little confusing if
you've gotten acclimated to the use of
| | 01:23 | word Real at the beginning of a
variant to indicate what the behavior of that
| | 01:27 | brush is going to be.
| | 01:28 | It's a little bit broken here because all
of a sudden, Real has a different meaning.
| | 01:32 | It means it's a hard media brush in
this category and it can be a little
| | 01:36 | confusing and it's really a minor knit
on my point but I just want to point that
| | 01:39 | out that if you're confused about
well, I thought Real was relating to
| | 01:43 | RealBristle Brushes, why are they over here?
| | 01:45 | Because these brushes that you'll find
peppered throughout the brush categories
| | 01:49 | now are also indicating that they
are a hard media brush that does something
| | 01:53 | unique with the relation
of the tilt of the brush.
| | 01:56 | So let's get into it and
look at it a little bit.
| | 01:58 | So I'm going to start with this Real
Soft Pastel and I'm just going to draw a
| | 02:02 | little kind of cartoony pencil here.
| | 02:04 | But you'll notice now I'm holding my pen
straight up and down but as I put it on edge,
| | 02:08 | you can see I can now
get a much more wide brush.
| | 02:11 | So, just the aspect of this brush is
making a big difference in how it's working
| | 02:18 | in my hand and as soon as you kind of
acclimate to it, you immediately could see
| | 02:23 | the value of it, like wow!
| | 02:24 | That really does a nice job of
providing a very interesting usage of tilt and
| | 02:31 | it's very authentic to the way Real Media works.
| | 02:35 | As I go through here, I find it's a
good thing when you first experience a
| | 02:39 | medium like this, you're going to
obviously try it our and explore what these
| | 02:44 | expressive capabilities are.
| | 02:46 | But what I found over time is you've
really sort of internalize what this doing
| | 02:52 | and you're not even going to pay
attention to it after a while because you're
| | 02:56 | actually in this process, just getting
the feel of the brush in your hand and
| | 03:02 | not having a actual, or what I'd call,
kind of consciousness of the fact that
| | 03:07 | you're relying on the
various angles of the brush.
| | 03:10 | You just become part of the nature of the brush.
| | 03:13 | So, literally at this point where
I'm kind of getting aware. I'm going to
| | 03:16 | switch in a moment to a Pencil to hit a
little bit more character and finish on
| | 03:21 | the end of this brush.
| | 03:21 | So, we'll switch over now
to Pencils and here I am now.
| | 03:26 | I'm in the Real 2B Pencil.
| | 03:27 | So once again this is telling me that
this is a brush that actually has some
| | 03:32 | character in terms of that tilt.
| | 03:34 | And once again I'm not even spending
much time thinking about it, but as I get
| | 03:39 | down to a little place like this, yes,
I'm now tilting that edge to put a little
| | 03:43 | bit more shading on here and there
you see now, I'm holding the tip of the brush.
| | 03:47 | I want to add a little bit of
appearance of grain here and see once again now,
| | 03:51 | just like I would with a traditional pen,
I'm holding it up right in my hand
| | 03:54 | and that gives me that nice
sharp edge that I want to use to kind of
| | 03:58 | delineate the edge of the
drawing here and I'll do this real quick.
| | 04:02 | So what I'm trying to create is museum
quality art but I think you can see how
| | 04:06 | this tool really has a very interesting quality.
| | 04:11 | It's remarkable for it's ability to
simply be able to, through one brush, have
| | 04:16 | so many expressive possibilities.
| | 04:19 | Without it, you wouldn't be able to do this.
| | 04:21 | You would have to resort to
different brushes or changing size.
| | 04:24 | I'm doing none of that.
| | 04:26 | This is all being done
while I'm just drawing with it.
| | 04:30 | So this is my raging pencil and
hopefully you can see how this gets across the point,
| | 04:37 | literally again, of the way
these brushes will work based on tilt.
| | 04:41 | So, the new hard media brushes really
bring a new degree of realism to the look
| | 04:46 | of Painter's brushes and you don't
need a 6D pen or anything to utilize it.
| | 04:51 | It will work with any Wacom
tablet that has tilt is a part of
| | 04:55 | its characteristics.
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| Painting with markers| 00:00 | A new category in Painter
11 is the Markers category.
| | 00:04 | Now Painter hasn't had felt pens since
version 1, but there has always been a
| | 00:08 | little bit of -- well, shall we say talk
behind the back about well it doesn't
| | 00:12 | really quite work the way I want a
marker to work. And so with Painter 11,
| | 00:16 | they have really come up with a very solid
solution to Markers and you still have the
| | 00:21 | old felt pens if you want them as well.
| | 00:23 | But I'm just going to do a
little kind of drawing here.
| | 00:25 | And one of the things that you will see
is unlike the old Markers, well, when I
| | 00:29 | draw in here, nothing changes.
| | 00:32 | So once you have drawn in an area, it
will not change until you draw over it again.
| | 00:36 | So build up happens only upon a new
stroke rather than the old way where even
| | 00:42 | when you went back on the same
stroke, it would start to build up.
| | 00:45 | A lot of people prefer this and some
people think that this is a Photoshop
| | 00:48 | approach to laying down color where it
will not change until you have applied a
| | 00:53 | new stroke to it and that works here as well.
| | 00:56 | So if I start to take colors, or you can
see I start to build up a green and get
| | 01:01 | a little darker over to this
cyan that I have laid down.
| | 01:04 | So the idea behind the Markers is that
you have really got now a category that
| | 01:09 | works very much like the
traditional sort of Marker.
| | 01:12 | So if you are more into kind of doing
quick Marker comps or something that you
| | 01:17 | want to have a very faithful look
to Markers, you can do it and there are
| | 01:21 | several categories here, so you can
get kind of a sharp marker if you want to
| | 01:25 | have a little bit more that look,
but once again, they work the same way.
| | 01:29 | They will pretty much stay the same
color until you go back over them.
| | 01:33 | So you have got this really nice feel
that it was just something you really
| | 01:37 | couldn't do before and I think for
people who have been longing for what they
| | 01:41 | felt was a more appropriate version of
Markers, you are going to find them here
| | 01:46 | in surprisingly, the new Marker category.
| | Collapse this transcript |
|
|
10. The Image HoseUnderstanding the Image Hose| 00:00 | In this video, we are going
to talk about the Image Hose.
| | 00:03 | Now what is the Image Hose?
| | 00:05 | Think of a garden hose.
| | 00:06 | It sprays what, when you turn it on? Water.
| | 00:10 | Well, when you turn on the Image Hose, what
would you expect to come out of it? Images, right?
| | 00:14 | So the idea behind the Image Hose is
that it takes advantage of the artist
| | 00:19 | traditional mark making techniques with
the hand and the wrist and everything,
| | 00:23 | but instead of a pencil or a chalk or
a brush coming off of the tip of this,
| | 00:28 | what's coming out instead is a stream
of images and which you have a great
| | 00:32 | deal of control over.
| | 00:33 | They can be ordered or they can be very random.
| | 00:35 | One of the great things about the Image
Hose is that it can replace the tedium
| | 00:41 | of drawing something over and over again.
| | 00:44 | For example, take leaves. Individual
leaves aren't really that identifiable;
| | 00:51 | they are just leaves.
| | 00:52 | So rather than paint every
individual leaf, with the Image Hose you could
| | 00:57 | construct a set of leaf elements
either photographically and pick them up and
| | 01:02 | put them in or draw them by hand, and
then spray them out into an area that you
| | 01:08 | want to portray leaves.
| | 01:10 | And it gives a very realistic sense to the eye.
| | 01:14 | It fools it into thinking it's seeing
this continuum of infinite, random leaves
| | 01:19 | where in reality it may be
an actual small sub-sampling.
| | 01:22 | It's actually kind of interesting how
small of a subsample of an element is
| | 01:27 | needed in order to fool the eye into
thinking it's seeing a complete random
| | 01:32 | continuum of an element that's
made up of something like leaves.
| | 01:36 | So let's dig in and take
a look at the Image Hose.
| | 01:39 | We are going to take a little closer
look at the Image Hose now, and I'm just
| | 01:43 | going to do a theoretical
little illustration here.
| | 01:45 | I'm going to select a Pastel here.
| | 01:47 | So I'll use the Real Soft Pastel and I'm
just going to create a tree trunk to start off.
| | 01:52 | So I'm doing this by hand, and
depending on how well you want to illustrate
| | 01:57 | this, this either take a
few seconds or be very quick.
| | 02:00 | I'm under a bit of a time constraint
in these videos, so I'm not going to do
| | 02:04 | anything to elaborate, but we'll just get
across the basic idea of a tree and branches.
| | 02:09 | So we have got our basic autumn or
winter tree here with no leaves on it.
| | 02:13 | I am going to want to now dress this
tree up, so how do I use the Image Hose?
| | 02:18 | I'm going to go over and select the Image Hose.
| | 02:20 | Now the Image Hose is a tool.
| | 02:22 | This is a tool that
dispenses some form of content.
| | 02:26 | The content is in a Nozzle file, and
one of our content selectors at the bottom
| | 02:31 | of the Tool palette is the Nozzle Selector.
| | 02:34 | So I'm going to just select the Bay Leaves,
and let's do a little bit of spraying here.
| | 02:39 | Now this is a photographic element, so
it's a little wild to combine it with
| | 02:44 | illustration, but I have seen that done.
| | 02:46 | It's certainly can be done.
| | 02:48 | What I'm going to be showing you in a
little bit is how these could be hand
| | 02:51 | drawn leaves, if I wanted them to be.
| | 02:54 | The content could be
anything you can draw on a layer.
| | 02:57 | Essentially, it can be an Image
Hose element. It's that simple.
| | 03:00 | We'll explore that a little bit later,
but I just want to get across the idea now.
| | 03:04 | What the Image Hose is?
| | 03:05 | You can see here, there are probably
something like 8 or so elements in this Bay
| | 03:10 | Leaves file, and yet it's still-- your
eye pretty much reads it as a very random
| | 03:15 | aggregation of leaves in general.
| | 03:17 | So that's the basis behind the Image Hose.
| | 03:20 | So we are going to be exploring coming
up here how to control the Image Hose as
| | 03:24 | well as make your nozzle.
| | Collapse this transcript |
| Controlling the Image Hose| 00:00 | We are going to go ahead now and take a
look at how you control the Image Hose,
| | 00:04 | and in order to show you this, I'm going
to be using various sample Nozzles that
| | 00:10 | are built into Painter.
| | 00:11 | So anything I show you here is something you
have access to through the Nozzle Selector.
| | 00:16 | I am going to select Urban Fixtures, and
I'm just going to draw with it a little
| | 00:19 | bit here, and now I can control
this and I'm doing this by bearing.
| | 00:24 | So depending on the bearing of my pen,
I can literally control the angle this
| | 00:29 | is coming out with.
| | 00:30 | So a couple of things come to mind.
| | 00:31 | A) How do I know that?
| | 00:33 | And B) how do I know what other
Image Hose Nozzles are going to do?
| | 00:37 | I'm going to go ahead and open up the
Variant Category list now, and let's take
| | 00:42 | a look at this list.
| | 00:44 | There are basically two
categories of Image Hoses.
| | 00:48 | You'll see there is one whole set here
called Linear Image Hoses, and there is a
| | 00:52 | second set that are Spray Image Hoses.
| | 00:55 | Let me start off by just
describing the difference in those.
| | 00:58 | So let's undo this.
| | 01:01 | I'm going to select another
Nozzle element in this case.
| | 01:03 | I'm just going to select the
Bay Leaves we used earlier.
| | 01:06 | Now you'll notice this is Linear, so
when I draw with this, it just comes out
| | 01:10 | in a linear fashion.
| | 01:11 | That's why we call linear.
| | 01:13 | If I go and select a Spray, what's going
to happen is you see now they're coming
| | 01:18 | out widely dispersed.
| | 01:20 | So a Spray is more random in
that it just sprays them out.
| | 01:25 | So that you have not less control, but
you have more randomness built into the
| | 01:29 | dispersion, where as a Linear version
of this just does a nice perfect line.
| | 01:35 | There is a reason for that.
| | 01:36 | I mean you can already I think see this.
| | 01:37 | As I draw this, I can already kind
of draw a wreath or something, using it this way,
| | 01:40 | whereas when it's the
Spray version, well, you're going to get
| | 01:43 | something altogether different.
| | 01:44 | But each has its purpose and that's why the
two kinds of Nozzle elements are in the list.
| | 01:50 | So that's the first division.
| | 01:52 | Then we get into these
different kind of encoded things.
| | 01:55 | There is a bit of a code here, and
I'm here to crack the code for you.
| | 01:59 | So the way this works is in the case of
Linear-Angle-B what it's telling you is
| | 02:04 | that angle is controlled by B, and what is B?
| | 02:07 | B stands for Bearing.
| | 02:09 | I'm just going to go down the list
here and describe these for you, so you
| | 02:12 | understand what these letter
designations mean and then it starts to get
| | 02:16 | very understandable.
| | 02:17 | Whatever proceeds that letter, that's
what it's controlling. So W is for Wheel.
| | 02:24 | Now that doesn't make much sense to
probably 99% of the Wacom users,
| | 02:29 | but the other 1% have the Airbrush pen which
is actually shaped a bit like an airbrush
| | 02:34 | and it's got a little wheel mechanism on it.
| | 02:36 | So it mimics the mechanics
of a traditional airbrush.
| | 02:39 | This is controlled by that wheel.
| | 02:41 | P stands for Pressure.
| | 02:44 | So as I press lightly or hard, you
can see I'm going to get a change in the
| | 02:49 | scale of the Nozzle element.
| | 02:52 | Then we go on down to or we
have multiple elements controlled.
| | 02:55 | This one is size is controlled by
pressure, but angle is controlled by my bearing,
| | 03:00 | and the size is controlled by pressure.
| | 03:01 | So I'm controlling two dimensions here.
| | 03:04 | Now I've got the control over the
bearing, which way the elements are
| | 03:07 | pointing, but I've also got control over
pressure, which controls the size of those elements.
| | 03:12 | So as I do both, I actually
have interactive control over both
| | 03:16 | characteristics of it.
| | 03:17 | That's what nice about the Image Hose.
| | 03:18 | It does borrow heavenly from the
vocabulary of traditional hand and
| | 03:23 | stylus based instruments.
| | 03:25 | If you go down little further, then
you've got size is controlled by pressure,
| | 03:28 | and angle is controlled by direction.
| | 03:30 | So what that means is with this when I
draw the direction I'm going and it's
| | 03:35 | kind of hard to explain how this works,
but I can feel it. As I go a different
| | 03:39 | direction, the angle of
the elements are changing.
| | 03:42 | Then I have also got pressure controls and I'm
drawing smaller and larger based on pressure.
| | 03:47 | Some of these won't make sense to you
totally until you actually try the tool out
| | 03:51 | in conjunction with an element like this.
| | 03:53 | This happens to be a very good
demonstration element, because it's a linear object.
| | 03:58 | You're very sensitive to
how your hand is changing.
| | 04:02 | In this case, you'll be able to go,
oh yeah, I'm controlling angle in
| | 04:04 | this case by bearing.
| | 04:07 | Now I want to show you the angle and direction.
| | 04:09 | This is the one that I have started off.
| | 04:10 | Now this one is based on my direction.
| | 04:12 | So all I have to do is draw in a
direction and it's pointing in that direction,
| | 04:17 | and then I have also got control with the size.
| | 04:20 | Now it might make a sense to go
with a set of signage polls like this.
| | 04:23 | But because it's a linear element like
that, it makes sense to use it as a way
| | 04:27 | that shows this off.
| | 04:28 | In fact, you can see as I start drawing
with it, it starts losing its objectness.
| | 04:33 | Now it's starting not even look like a
set of street signs and it starting to
| | 04:37 | just be this kind of interesting mark.
| | 04:39 | So that's the other thing.
| | 04:40 | I mean there is a little limit to
what you can do with visual elements.
| | 04:45 | So we have size is pressure and angle is random.
| | 04:50 | This can be very useful because
what's going to happen here is now we are
| | 04:54 | getting random angles, but we are
controlling size and this is a great demo,
| | 04:58 | so you can see who it's random, but this
actually works much better with something
| | 05:02 | like some sort of a natural element.
| | 05:04 | So now each one of those leaves is
turning to a random direction, pointing in a
| | 05:08 | random angle, but I still
have control over the pressure.
| | 05:12 | So this is where you could start to draw
something, and if you want to play with
| | 05:14 | either perspective or just various
sizes within something you're spraying out,
| | 05:19 | you can do it with this because you
are getting a random angle as each one of
| | 05:23 | these is being lay down.
| | 05:24 | But you still are controlling the pressure
or the size with the pressure of your hand.
| | 05:28 | So that's another interesting combination.
| | 05:31 | Then here is the wheel once again.
| | 05:32 | Since if I don't have one,
I'm not going to through it.
| | 05:34 | Now you have linear sizes just random.
| | 05:36 | So pressure makes no difference here.
| | 05:38 | It's just spitting these out in a
random order, but in a linear fashion.
| | 05:42 | If we go down to, now we have size is
random, but angle is controlled by direction.
| | 05:47 | Now this might make more sense to
use the light fixtures again here.
| | 05:50 | So let's go down here and get this and
now the size is random, but the angle is
| | 05:56 | controlled by direction.
| | 05:57 | So you can see here with all of these
settings, you've got a wide variety of
| | 06:01 | possibilities in what you can do.
| | 06:04 | Most of these are doubled
when you get into the Spray.
| | 06:07 | For example, for a Spray
it's random size by pressure.
| | 06:11 | But now here is where if I want to
control this, what do you think the
| | 06:14 | combination would be for getting these
to rotate at any direction just on their
| | 06:19 | own and yet I control the size?
| | 06:21 | You would want an angle to be
random and size to be pressure.
| | 06:24 | So if we go down here and find where size
is controlled by pressure, angle is random.
| | 06:30 | So now I have got something where I can
paint with it, and it's all coming out
| | 06:34 | in random fashion, and it's also a Spray.
| | 06:37 | Now you can see how these are just
being widely dispersed as I spray.
| | 06:41 | And I'll show you one another
control that's useful to know here.
| | 06:44 | The reason these are spraying is they
take advantage of the Jitter control.
| | 06:49 | Jitter is what controls the linearity.
| | 06:52 | So if I put this down, you'll
see this is just a linear brush.
| | 06:55 | So all the linear brushes
just happened to have jitter.
| | 06:58 | The control that sets how far afield from
the actual stroke elements are laid down.
| | 07:03 | When it says zero, it's going to be linear.
| | 07:05 | As I start to turn this up, it's going to
get more and more scattered when I spray.
| | 07:10 | So if I go all the way up to the
maximum level of 4, I'm going to get the
| | 07:13 | maximum dispersed brush.
| | 07:15 | So I even have control over how
random a Spray is or how tight it is based
| | 07:21 | on this litter Jitter control that's always
available to you when you are in the Image Hose.
| | 07:26 | So really what you've got here is a
really wide different variety of hoses
| | 07:30 | that you can use to do just about any
kind of action to the elements you want,
| | 07:35 | whether you wanted to be in a very
linear fashion, a very random spray fashion
| | 07:39 | which you can control, and then
various combinations of all of the different
| | 07:44 | attributes about what happens with those
elements as they're sprayed out onto the canvas.
| | 07:49 | So this gives you the basic
control over the Image Hose.
| | 07:53 | And the last thing I want to show you,
because I don't want to forget this
| | 07:55 | because this is also important, is you
can then control the overall size of this.
| | 07:59 | It's still based on your Size slider.
| | 08:02 | So if I want larger versions of this,
just turn the slider up and now I'm going
| | 08:07 | to get very, very large elements.
| | 08:09 | I'm still getting all the way down to
the little, but you can see that you have
| | 08:12 | complete control over the ultimate size of
them by controlling it with your Size slider.
| | 08:18 | So now here it's like we are getting hit
over the head with San Francisco street signs.
| | 08:22 | Anyway that's your basic
control of Image Hose Nozzle elements.
| | 08:27 | In the next video, we are going to
take a look at how you can make your own Image Hose.
| | Collapse this transcript |
| Creating a nozzle file| 00:00 | Well, we've seen how to control the
Image Hose. What I want to show you now is
| | 00:05 | probably what is actually the most
useful part of this combination of Image Hose
| | 00:09 | and nozzles and that is how
to create your own nozzles.
| | 00:12 | It's great to have always little
example nozzles that come with Painter but the
| | 00:16 | ultimate power over this tool
is that you create the nozzles.
| | 00:21 | We were talking about leaves earlier.
| | 00:22 | So I'm going to go ahead and I'm going
to create just maybe half-a-dozen leaves
| | 00:26 | quickly and show you how I can
incorporate that into the Image Hose.
| | 00:30 | So, the whole secret behind creating
nozzle files is that each element that you
| | 00:37 | want to come out of your
nozzle has to be created on a layer.
| | 00:40 | So I have got my Layers palette open,
and I can tell you from my experience it's
| | 00:44 | really easy to forget to always
create a new layer but that is the one rule
| | 00:48 | you've got to follow here.
| | 00:49 | So, even though I've got a big image
area open here, whatever the only area of a
| | 00:53 | layer that has pixels on it, Painter is
smart and it's going to figure out that
| | 00:57 | that's the only area that it wants.
| | 00:59 | So, I'm going to start by creating a new layer.
| | 01:02 | What I'm going to do here is just use
the Scratchboard tool in the Pens category
| | 01:06 | and I'm going to be changing its size a
little bit here so that I can draw in a
| | 01:10 | couple of different line weights.
| | 01:11 | So I'm going to start off and to be
honest, what angle I draw these at is not
| | 01:16 | important because I'm going to want
these to come out randomly I suppose.
| | 01:19 | So, I'm just going to go in here and
just start kind of drawing a bit of
| | 01:22 | a maple leaf like pattern and
it doesn't have to be perfect.
| | 01:26 | It could be as perfect or as
imperfect as you want it to be.
| | 01:29 | I'm doing for the sake of
brevity, doing it a little quickly.
| | 01:33 | But anything you want it to be, it can be.
| | 01:36 | Now in terms of photographic
information, anything you can cut out from
| | 01:41 | a photographic source and put on to a
layer is certainly food for the Image Hose.
| | 01:47 | I'll be honest with you, sometimes I
go over to Photoshop and actually use it
| | 01:52 | because in terms of cutting things out
from photographs and just kind of getting
| | 01:56 | the photo exactly the way I want it,
sometimes you actually have a little bit
| | 01:59 | better control with Photoshop.
| | 02:01 | So if you are a Photoshop user, the
other thing too is just save all your layers
| | 02:05 | in Photoshop as a Photoshop file,
bring it into Painter and it works.
| | 02:09 | So you can totally do nozzle
creation in Photoshop if you want to.
| | 02:14 | Just save it as a Photoshop file and
bring it in so that you have the layers there.
| | 02:20 | That's a nice thing about the way this works.
| | 02:22 | In fact, you'll see here another
step we are going to do is it's going to
| | 02:24 | require grouping elements together,
and since Photoshop and Painter both know
| | 02:29 | about groups, you can save the file in
Photoshop as a grouped set of layers and
| | 02:35 | Painter will understand that.
| | 02:36 | Keep in mind as I'm going here too,
it's important to always remember each time
| | 02:40 | you are making a new element,
you have to stop and make a new layer.
| | 02:44 | Otherwise what will happen is you'll
have two layer elements on one layer and
| | 02:49 | the Image Hose when it creates that into a
nozzle, it's going to think of it as one element.
| | 02:54 | Now, obviously, if you have the tools
and they are separate elements, if these
| | 02:58 | are both on one layer, I could select
this, cut it out, and paste it as a new layer,
| | 03:02 | so I still can kind of course-
correct even if I make that mistake.
| | 03:06 | But it's just best to try to keep in
mind that you always wanting a new layer
| | 03:11 | for each element, as I am here.
| | 03:13 | New Layer, and I'll just go through here.
| | 03:15 | So you can see, I'm doing something
kind of very rough and loose but however
| | 03:19 | painstaking or casual you want
these elements to be is entirely up to you.
| | 03:24 | While we are doing this, I should
mention that's one of the basis of Painter has
| | 03:29 | always been to enable the
artists to retain their own style.
| | 03:33 | Painter does not impose a style
through the look of tools at all.
| | 03:39 | It very much retains the artist's style
as they had it before because the tools
| | 03:44 | ultimately are transparent.
| | 03:45 | They are just the messenger, the
carrier of the message or so to speak.
| | 03:49 | So what your style is and how you
have drawn in the past, pretty much
| | 03:53 | goes unmodified in Painter
because the tools are so equivalent to
| | 03:58 | natural-media tools.
| | 03:59 | So it's pretty easy to keep your style
within Painter when you are using these tools
| | 04:04 | and I'm going to do one more element here.
| | 04:06 | We're doing this kind of in red.
| | 04:09 | So you can see it's just a matter of
keeping track of the fact that you are
| | 04:12 | creating things on layers or if it's
photographic, you are excising them as
| | 04:17 | layer elements as you go.
| | 04:19 | Okay, let's do a little bit of up-painting.
| | 04:22 | Okay, so there I've got my six layer elements.
| | 04:26 | What I need to do now is group them and
in Painter, I can easily do that if I go
| | 04:30 | to the little fly-out
menu on the Layers palette.
| | 04:34 | First of all, I have to say Select All Layers.
| | 04:36 | So I've selected them all and now I
can say Group Layers and now I've got a
| | 04:41 | group with all of those layers in it.
| | 04:44 | So here's where the nozzle
making component comes into play.
| | 04:49 | I'm going to go over to my Nozzle Selector,
which is down at the bottom of the Tool palette.
| | 04:54 | I'm going to click to open it up and
as we saw before, all selectors have a
| | 04:59 | little fly-out options menu.
| | 05:01 | I'm going to bring that up and right
here it says Make Nozzle From Group.
| | 05:05 | So I'm going to go ahead and say Make
Nozzle From Group and this may look a
| | 05:09 | little nonsensical right now but what
it's actually done is it goes in and
| | 05:13 | it measures the extent of what's making
the pixels on each of those layers and then
| | 05:18 | based on the maximum height and the
maximum width combined in all of those
| | 05:23 | elements, it creates a grid
upon which those are laid into.
| | 05:27 | And then what it's going to do is use
that grid as an element that is going
| | 05:31 | to be able to pull out these various
nozzle elements when it becomes the full nozzle.
| | 05:36 | So we are going to go ahead now and
save this file and I'm just going to save
| | 05:39 | it on to the desktop.
| | 05:40 | Now I didn't name it but I could
have given it a name but Untitled is
| | 05:43 | good enough for this.
| | 05:44 | So let's go ahead and close and let's
go ahead and we'll hide this so that
| | 05:48 | we don't see it when we start drawing.
| | 05:51 | So, now I'm going to go back to the
Nozzle Selector, return once more to the
| | 05:56 | fly-out menu and I'm going to go Load
Nozzle now and here's my Untitled.rif,
| | 06:02 | which is the file, and keep in mind you
do have to save this in the RIFF format.
| | 06:06 | It's the only format that
Painter will recognize as a nozzle.
| | 06:10 | So I'm going to go ahead and open this
and it would appear nothing has happened
| | 06:14 | but what it's done is it's just loaded
that nozzle into being the active nozzle.
| | 06:18 | So, if I go in now to my Image Hose,
and I'm going to do, let's see,
| | 06:23 | Angle - Random, Size - Pressure and
I'm going to also make this a little smaller.
| | 06:28 | Let's go ahead and there are my leaf elements.
| | 06:31 | Now I can control them in different ways.
| | 06:33 | I mean this is kind of like, here,
you want to do the illustration for,
| | 06:36 | "it's autumn at the hardware store!"
| | 06:39 | There's your background for falling leaves.
| | 06:41 | But I could also go in here and I could
do something more like control size, but
| | 06:46 | maybe I want to control angle from bearing.
| | 06:49 | So let's see what we'll get there. Ooh!
| | 06:50 | Let's make a cool leaf wreath.
| | 06:52 | So, you can see that this is starting
to be a pretty cool tool, the way that I
| | 06:57 | can control what the content is and
it gives me some amazing possibilities.
| | 07:02 | Now another thing we could do here is,
just kind of thinking out loud, is I can
| | 07:05 | control the opacity.
| | 07:07 | Let's turn the opacity and it might not
always makes sense but you'll see now
| | 07:10 | there's a little bit of
opacity associated with this as well.
| | 07:13 | So it's just another mark-making tool.
| | 07:16 | It just happens to be a mark-making
tool that you control the content that is
| | 07:20 | coming out of the Image Hose.
| | 07:23 | You are creating the nozzle and
you are controlling what it is.
| | 07:25 | So, this is how you make your own
Image Hose nozzles and you can see
| | 07:29 | it's actually very easy.
| | 07:31 | There's just, you got to go
through a few short directions.
| | 07:34 | The last thing I'll show you before
we leave is right now this is just
| | 07:37 | temporarily loaded as the current nozzle.
| | 07:40 | If I click this, it's gone and I have to
go reload it as starting from the RIFF file.
| | 07:43 | I can also add nozzle to library.
| | 07:46 | So I'm just going to call this Leaves.
| | 07:48 | Okay, and we'll save that.
| | 07:51 | Let's go ahead and clear this out and now
if I go in here, I've now got Leaves.
| | 07:56 | So now this lets me switch between so
I could go to Bay Leaves here, although
| | 08:00 | now I've got the Image Hose,
the opacity down, let's turn it up.
| | 08:03 | So, now here, I'm painting with
photographic leaves but I'll go back to my
| | 08:07 | Leaves file and now I'm painting with my leaves.
| | 08:09 | So that's kind of a cool trick you can
do with the Image Hose and hopefully,
| | 08:14 | through this chapter, you can see
what a valuable tool this can be in
| | 08:17 | creating your own content. So I hope you go out
there and have a lot of fun with the Image Hose.
| | Collapse this transcript |
|
|
11. Painting from ScratchWarmup exercises| 00:00 | In this chapter we are going to take a
look at drawing from scratch and by that
| | 00:04 | I mean starting from a
blank screen or blank canvas.
| | 00:08 | Now, for some people, that raises a
bit of fear, the whole Tabula rasa.
| | 00:13 | I'm afraid of nothing. I want to be
able to have control and so it's a little
| | 00:20 | fear that people feel like they are
jumping into the deep end of the pool, when
| | 00:24 | it's a blank canvas.
| | 00:25 | But I'm here to tell you that's a
wonderful space to flower your creativity and
| | 00:30 | really start to take advantage of the
expressive mark-making tools in Painter.
| | 00:36 | So, in this chapter, we are going
to go through a bit of exercises.
| | 00:40 | I'm going to show you some different
concepts you can think about and this is
| | 00:44 | by no means an exhaustive drawing lesson,
but it's just to get you oriented and
| | 00:49 | started down the path of thinking
about a blank canvas as your friend.
| | 00:53 | So, let's get started.
| | 00:56 | In this video, we are just going to take
a few minutes to think about how to get
| | 00:59 | your hand warmed up before you draw.
| | 01:01 | If you start without properly
loosening up your hand, it's going to
| | 01:05 | result in stiff unnatural strokes and
just a few minutes of stroke exercises
| | 01:10 | go along ways towards eliminating
what I call this white knuckle syndrome,
| | 01:13 | where you're just drawing with a very tightened
up hand and looseness is the name of the game.
| | 01:18 | Even controlled precise drawing,
still behind it there is a loose hand and
| | 01:23 | that's what gives it the natural appearance.
| | 01:25 | So, you want to have a properly
loosened up hand and so we are going to do some
| | 01:30 | calisthenics with our hand and I'll let
you know, there is a file that's going
| | 01:34 | to be in your exercise files that goes
through the exercises I'm showing here.
| | 01:38 | I'm not going to do all of them. I'm
just going to pick a few out to show you
| | 01:42 | basically kind of the orientation
that these various exercises will do and
| | 01:46 | then you can use my calisthenics
file to go ahead and try some of these
| | 01:49 | different things out.
| | 01:50 | And I have done them in such a
fashion that they get increasingly more
| | 01:54 | difficult, require more dexterity.
| | 01:55 | So, if you have worked your way through
these and get to the end then you have
| | 01:59 | graduated from John's Hand Calisthenic school.
| | 02:01 | And one other thing, there is also going
to be a file in there called practice sheet.
| | 02:05 | That's what I have opened here and it's
just a layered file. On the Canvas layer,
| | 02:10 | I have just put ruled lines here.
| | 02:11 | So, you have kind of a guide, which you'll
see, and the exercise file is a part of that.
| | 02:16 | Then there is a layer and the idea
here is you can go ahead and draw on the
| | 02:19 | layer and not worry
about destroying these lines.
| | 02:22 | So, this just gives you a place
to try some of these things out.
| | 02:25 | Now, one of the first things that
I'll hear when I give classes is
| | 02:28 | some people who say "I'm not creative
at all, I don't understand this whole
| | 02:32 | thing about expressive mark-making and I don't
have a background in that, what am I going to do?"
| | 02:37 | And I say, "well you know what?"
| | 02:38 | "You do have a very unique
style that you use all the time."
| | 02:43 | Think about your signature.
| | 02:45 | Your signature is a very unique set of
hand motions that you have done thousands
| | 02:51 | and thousands of times to the point that
nobody, hopefully, can do it exactly like you can.
| | 02:57 | So, you've got this entirely unique
mark in the world that no one else can do.
| | 03:02 | So, the first thing I have students to
do is just start practicing that and the
| | 03:06 | pencil that I use in the Pencils
category, I like the real 2B pencil because it
| | 03:10 | really feels like a real 2B pencil.
| | 03:13 | So, what I would say, and right now
don't worry about these lines, I would just
| | 03:16 | say you know, just start practicing your
signature and just keep drawing it over
| | 03:21 | and over again and let them overlap.
| | 03:23 | You are not trying to be perfect about it.
| | 03:24 | You are just drawing your
signature over and over.
| | 03:28 | And if nothing else, what it's going
to do is you are going to take a set of
| | 03:31 | motions that you know by hand
intimately and you are applying it to the tablet
| | 03:36 | and pen and monitor in such a way
that you are starting to get a real good
| | 03:41 | control over eye-hand coordination.
| | 03:43 | Because there are people who come to
the cabinet for the first time and it is
| | 03:46 | little bit like patting your head and
rubbing your stomach at the same time.
| | 03:49 | It takes a little bit of practice.
| | 03:51 | So, there's going to be that little
learning curve associated with actually
| | 03:55 | getting used to the notion of drawing
on a tablet and looking up on screen.
| | 03:59 | But it comes very quickly and
don't be afraid of it but you can see
| | 04:02 | what's happening here.
| | 04:03 | I'm drawing my signature so many times
now that it's quickly becoming a pattern.
| | 04:09 | You know it's almost abstract. You
start to lose the individual signatures in
| | 04:13 | there and it has just become this
very expressive set of lines, because
| | 04:17 | you are totally expressing yourself through
your signature; you just don't normally
| | 04:21 | think of it that way.
| | 04:22 | But the first exercise you can do to
start warming up is just sit down and just
| | 04:27 | draw your signature over
and over and over like this.
| | 04:30 | And in fact, it's kind of fun because
the more you do it, the more abstract it
| | 04:33 | gets and it's like, wow!
| | 04:34 | I should have a wallpaper made up like
that, although it might drive you a little nuts.
| | 04:39 | I'm going to go ahead and clear the canvas,
Command+A or Ctrl+A and Backspace or Delete.
| | 04:43 | And get back to my blank page here.
| | 04:44 | So, now we can talk about some of the
exercises that I like to have students do.
| | 04:49 | The first one I'm going to do here is
we are now going to start using these
| | 04:53 | lines as kind of limiting factor.
| | 04:55 | What I'm going to show here does not
have to be perfect. You are just trying
| | 04:58 | in general do this.
| | 04:59 | And the first one I have them do is
just start going up and down, up and
| | 05:03 | down and almost like a seismograph.
You are drawing up and down like this.
| | 05:07 | And I'm going to undo each time and
hit my Delete key and you know what,
| | 05:11 | I'm left handed, so I'm going to do
this the way I do it, so it may look a
| | 05:13 | little backwards to you.
| | 05:14 | But all we want to do here is just
practice kind of getting the rhythm and the
| | 05:19 | strokes more or loss hitting close to
the tops and the bottoms of the lines that
| | 05:23 | we have set up each time.
| | 05:24 | So, you are going to work on this for a
while and when you get bored with this
| | 05:28 | and you become an expert at it,
the next one, I'm going to have you do is
| | 05:31 | when we are going to start exercising a
little bit of pressure and what we are
| | 05:34 | going to do here is you are going to
continue to do the same line but now,
| | 05:38 | we are going to go very light pressure,
then we are going to bring it back up to
| | 05:41 | very hard pressure.
| | 05:42 | And then we go very light pressure,
then we are going to bring it up to
| | 05:45 | very hard pressure.
| | 05:46 | So, what you are doing here is you are
doing the stroke but now you are learning
| | 05:48 | how to do two things at once, you are
following the motion but then you are also
| | 05:53 | using your hand pressure to control
this modulation between darks and lights.
| | 05:58 | So, that is yet another thing where
you can start to learn how to modulate
| | 06:01 | your hand pressure.
| | 06:03 | Now, let's go to the next one and
this one gets a little more interesting.
| | 06:06 | Now, you are going to go from small
to full-size, to small, to full-size, so
| | 06:11 | now you are exercising kind of playing
with how to control the change in scale
| | 06:15 | of these wave motions.
| | 06:17 | Its almost like we are
describing a earthquake down here in the
| | 06:19 | Southern Californian area.
| | 06:21 | After you have done a few of these,
the next thing you are going to do is start
| | 06:25 | to play around with changing the pressure again.
| | 06:28 | So, now we are starting to introduce
multiple things at once and in fact, you can
| | 06:32 | see how this starts to get you to
think about getting your pressure set up.
| | 06:37 | So, you want to go through
and keep practicing these.
| | 06:39 | It's not like you have to get perfect at it,
but the other thing is it's a great
| | 06:42 | gauge of seeing how you are improving
because if you keep doing these on a
| | 06:46 | regular basis, you will slowly see how wow,
| | 06:47 | I used to not be able to do that,
but now I can do it really good.
| | 06:50 | So, your dexterity is improving as you go along.
| | 06:54 | And then the last one, I'll show you
here that's on the first page of the
| | 06:56 | exercises is I kind of do a thing
where I squiggle large and you don't need
| | 07:00 | the lines through this and I'll
just do a bunch of them like this, so I'm
| | 07:04 | going from large to small and over and over
and then I start nesting them in one another.
| | 07:09 | So, now its small, and so after a
while you can kind of start to build up a
| | 07:12 | pattern where you are building this
more or less diamond shape that you are
| | 07:16 | drawing inside each row and so these
are just exercises that are going to get
| | 07:22 | you slowly but surely more dexterous as
you go and there is three pages of them.
| | 07:27 | I'm not going to go any further here,
because I don't want to scare you but the idea
| | 07:31 | here is that you really want to
exercise your hand because you know it's a
| | 07:34 | terrible thing to let
your hand be a couch potato.
| | 07:38 | I really want you to take a few
minutes of drawing time, doing exercises like
| | 07:42 | this before you do any painting or
drawing activity and it's going to help
| | 07:46 | you improve your confidence, improve
your dexterity and will improve your
| | 07:50 | mental health as well.
| | 07:51 | So, don't be afraid of doing a
little bit of calisthenic work.
| | Collapse this transcript |
| Draftsmanship: drawing media| 00:00 | In this video, we are going to
take a look at draftsmanship.
| | 00:03 | What is draftsmanship?
| | 00:05 | Well, one dictionary definition of it
is "the creation of artistic drawings."
| | 00:10 | So, certainly it involves artistry and
creating imagery by drawing, which is
| | 00:16 | principally, you know, the hand,
but it involves more than that.
| | 00:20 | For example, it really involves knowing
your medium, understanding exactly the
| | 00:25 | expressive qualities of it and the
real pencil variants in Painter 11 go a
| | 00:31 | long ways towards even making the
simulation of a pencil on the computer even
| | 00:36 | fuller than it was before.
| | 00:37 | It's starting to have all the
attributes that are possible of a traditional
| | 00:41 | pencil and I find the lowly 2B pencil
to be one of the best mark making tools
| | 00:48 | there are, because it is capable of
such a wide range of expressibility.
| | 00:52 | What I'm going to do in this video is
just talk about using a simple 2B pencil
| | 00:58 | because you want to learn how it
expresses itself, you want to learn all of the
| | 01:03 | nuances it makes and along the way to
doing that, there are some things that can
| | 01:08 | be stumbling blocks and there are other
things that can be learning experiences
| | 01:12 | and I'm just going to try to
encapsulate a lot of that in the time that I'm
| | 01:15 | making this drawing, and one of the
first things I'm going to tell you is when
| | 01:18 | you start to create a drawing,
I'm just making this up as I go.
| | 01:21 | It's just going to be image of an apple.
| | 01:23 | You can't just start and draw an
the apple and have it come out perfect
| | 01:27 | instantly and so one of the things you
learn in draftsmanship is that you have
| | 01:32 | to be willing to put up with intermediate
iterations of the image as you are going along.
| | 01:37 | In some points of that image, it's
not going to look very good but part of
| | 01:41 | the art and craft of draftsmanship is starting
to learn how to still see with your mind's eye
| | 01:47 | what it is you want to draw, even
though you are not to the point on the image
| | 01:51 | yet of seeing exactly what that is.
| | 01:54 | So, there is a bit of leap of faith
involved and again, that's another attribute
| | 01:58 | of good draftsmanship, being willing to
go through these intermediate steps.
| | 02:03 | And someone could come look
over your shoulder and go, oh!
| | 02:05 | that's terrible, or you know what's what?
And be willing to understand well, I'm not done yet.
| | 02:10 | And don't take it as criticism because they
have no idea where you are in the process.
| | 02:14 | The other thing among others is they are
taking advantage of the tools in Painter.
| | 02:19 | For example, I'm going to be using the
Rotate Page tool, which is very valuable.
| | 02:24 | You can do it through a keyboard
shortcut of the Spacebar+Option or Alt key but
| | 02:30 | there is no one angle.
| | 02:32 | Nobody can draw a drawing with all the
angles involved in it, with the paper
| | 02:35 | in one orientation.
| | 02:36 | That just isn't going to happen.
| | 02:37 | So one of the tricks is learning that
medium is realizing, well, I can rotate the page.
| | 02:42 | For me as a left hander, my hand is
over here, on this side of the screen.
| | 02:45 | It's very hard at this angle for
me to make those kinds of curves.
| | 02:50 | Over here it's very natural because of the
natural lay of my hand in relation to the tablet.
| | 02:55 | But over here, it's backward, so it
makes total sense to turn it over.
| | 02:59 | So, one of the things you learn is
where do I find the natural angles, how do I
| | 03:04 | do that so that I'm not reproducing
things backwards or at an angle that is not
| | 03:10 | my best angle for being able to
create that particular stroke.
| | 03:14 | So, you want to be able to rotate the page
around and in many cases I don't even think of it.
| | 03:19 | Also you are noticing now, I'm still kind of
idealizing where I want the edge of this to be.
| | 03:24 | I'll show you a little bit here how I start
to get rid of the unwanted lines at some point.
| | 03:29 | But I'm using them right
now kind of as a guideline.
| | 03:32 | You can see that I have started from a blank
sheet, but I'm slowly building up my density.
| | 03:37 | I'm imagining that the sun or
lighting source is up here in the upper right
| | 03:41 | towards me, so there is going to be a
shadow effect happening on this and so
| | 03:46 | what I'm trying to do here is give
this object a sense of 3-dimensionality,
| | 03:51 | a feeling of roundness and that's only going
to happen through playing with the shadowing.
| | 03:57 | I am also taking great advantage of the
real 2B pencil's ability as I lay it on edge,
| | 04:02 | as I tilt my pen, I get these
very nice broad strokes. When I'm holding
| | 04:08 | the cursor straight up, see
I get very nice sharp strokes.
| | 04:10 | So that's all built into the pencil and
in some cases, I'm thinking about it but
| | 04:15 | in other cases it's just part of the
natural understanding of the medium.
| | 04:19 | The more you draw, the more you are
going to absorb, learn, internalize
| | 04:25 | the nuances of a medium and the pencil is
great because on one level, it's the simplest tool.
| | 04:31 | On the other hand because it's so simple,
| | 04:33 | it takes a little effort to coax out of
it all of its expressive possibilities
| | 04:38 | and it's only through working with it
for extended periods of time to build up
| | 04:43 | your ability to know that, for example,
you've been able to tilt a pencil on its
| | 04:48 | edge to get that shaded aspect of the pencil.
| | 04:51 | It's something that you know, you might not
think of initially but over time you will.
| | 04:55 | Now at some point, you are going to
take advantage of the other end of the
| | 04:58 | pencil and that's the Eraser.
| | 05:00 | Most people think of drawing as
building up an image with the pencil lead.
| | 05:05 | However, a good portion of drawing also
involves undrawing and so I have got it setup.
| | 05:11 | In fact, it comes from the factory this way.
| | 05:13 | The opposite side of the Wacom pen is an eraser.
| | 05:17 | So, I'm turning it over now and now
I'm erasing and you will see that I'm
| | 05:21 | actually removing this.
| | 05:22 | I'm drawing but now I'm
drawing with an Undrawing tool.
| | 05:26 | So, now I can go in there, I'm going to
start to kind of get rid of lines that
| | 05:31 | were just extra and start
to refine this little bit.
| | 05:34 | I also use it right in the tonality
of the drawing but by just going in
| | 05:38 | there and drawing, one thing I
want to do is I don't want to have the
| | 05:40 | perfect apple shape. An apple is
composed of textures and variations in color
| | 05:45 | and tonal qualities.
| | 05:47 | So just going in there and doing a
little bit of this light drawing with the
| | 05:50 | Eraser, starts to
introduce a greater textural range.
| | 05:55 | Now, I'm also going in there, I'm
starting to think about the highlight that I
| | 05:58 | want on here and again, at first it's
not going to look right, but I'm willing
| | 06:02 | to forgo the fact that okay, I'm
not initially going to have a perfect
| | 06:06 | reflection or something here but you
have to start somewhere and part of this
| | 06:10 | is that it's kind of a carving.
You are giving, you are adding, you are
| | 06:14 | subtracting, you are adding, you are
subtracting, until you find the balance
| | 06:17 | that works for you.
| | 06:18 | I also want to have a little bit of
almost like a secondary light source kind
| | 06:22 | of hitting over here and then again that just
adds a little bit of volume and feeling to this.
| | 06:27 | I'm flipping my pencil over now.
| | 06:29 | So, now I'm drawing with the pencil.
| | 06:30 | Again, I'm going to go back here and just
start to refine my reflection a little bit.
| | 06:34 | I also think, up here, where there is
this little valley, there is going to be a
| | 06:38 | little bit of a reflection up there.
| | 06:39 | Now, I'm going to use the sharp
end of my pencil to draw little stem.
| | 06:43 | So, you can see here that with one
instrument I'm getting, I guess two, because
| | 06:47 | we are already using Eraser on the other side.
| | 06:49 | But it's both the exact same effort going on.
| | 06:52 | It's the same eye-hand skill, using
the tools with pressure to be able to get
| | 06:58 | that tonal range that you want.
| | 07:00 | Now, I'm going to go in here and
I'm going to start to put in a shadow.
| | 07:03 | So, I'm just going to start here and
what I want this to do is it's going to be
| | 07:07 | kind of soft shadow, so I'm going to
draw it out and I'm not going to worry too
| | 07:11 | much about the density of it at this
point and here is another little trick.
| | 07:14 | To get the best kind of from dark to
light, rather than stroking this way,
| | 07:18 | it's going to make more sense to stroke
this way because I can taper-off in density
| | 07:22 | as I go to that direction.
| | 07:23 | So, I'll start to kind of darken that
up and just let it light out a little bit
| | 07:26 | and I don't have to be perfect about it,
because I also know that I'm going to
| | 07:30 | come back with my Eraser
and do some more refinement.
| | 07:33 | But hopefully the whole basis of this
draftsmanship exercise is to show you how
| | 07:38 | you build up a drawing by taking
advantage of all of the capabilities of the
| | 07:43 | marks that the particular
tool you are using is capable of.
| | 07:47 | I have said it multiple times here, but
the pencil is a great tool to begin with
| | 07:52 | and the things you learn even with
this pencil start to translate into things
| | 07:56 | like chalk and charcoal and brushes
and all of the other mediums as well.
| | 08:00 | So, if you take the time to work with
one tool in-depth, like a pencil, these
| | 08:05 | skills begin to go across to the other mediums.
| | 08:09 | Now I'm flipping it back to my Eraser
here, this is where I'm going to just
| | 08:11 | start to put a little bit
of character into the shadow.
| | 08:14 | Here is where I kind of like lose the
shadow here at the top and just have it
| | 08:18 | kind of fade out, because
there is going to be more density.
| | 08:20 | Where the object is very close,
that's where it's going to be the
| | 08:22 | darkest. As it gets away from here,
| | 08:23 | the light surrounding starts to fall into
that area and it just kind of falls off.
| | 08:28 | So, I'm taking the advantage too
| | 08:29 | of the knowledge of the way
optics work and the way light works.
| | 08:33 | I'm just kind of making this up but you
can certainly take a real apple, look at it,
| | 08:38 | and that's one of the
classic ways to learn how to draw.
| | 08:40 | Its look at objects, observe them and
use that as your guide to figure out how
| | 08:45 | do I recreate that object.
| | 08:47 | So, this may not be a museum quality
apple here but you can start to see how I'm
| | 08:52 | using the full range of this one tool.
| | 08:55 | It's amazing to look at the drawing
sometimes and go like, wow, that was all
| | 08:58 | done with a single tool.
| | 09:00 | And it's because the artist knew
what the expressive range of that tool
| | 09:04 | was through experience.
| | 09:05 | They understood, you know, there is
all of these different tonal values and
| | 09:09 | ranges I can get out of this medium by
just the tool, and actually now I'm just
| | 09:14 | using very light scribble marks,
very light kind of like that.
| | 09:17 | And all that's doing is its kind of
like putting in some noise into the image.
| | 09:21 | That starts to be those little
speckles and things that are in an apple.
| | 09:25 | I can go back and erase a little
bit too but it just starts to break up
| | 09:29 | this texture from being a
monotonous texture where there is a lot of
| | 09:32 | character in this texture. Now it's dark.
| | 09:34 | It's light.
| | 09:34 | It's got small detail parts.
| | 09:37 | It's got large shaded parts and
again it's just knowing the tool and
| | 09:41 | understanding what is
going to work as that tool.
| | 09:45 | So when you get good at it, you stop
thinking about the pencil and you begin
| | 09:49 | just expressing yourself, your thought,
or your feeling or whatever it is.
| | 09:53 | That's what's coming through.
| | 09:54 | So, for me, I mean, I'm not thinking
so much about the technique of Pencil,
| | 09:58 | although I'm talking about it and
at the same time I'm drawing, it's a
| | 10:00 | little more obvious to me.
| | 10:01 | But if I was just sitting and drawing
this, I'd probably be spaced off thinking
| | 10:05 | about something totally different,
maybe not even about this and it's just
| | 10:08 | because the experience takes over and
it's internalized to the point that you
| | 10:12 | can actually just kind of let it happen
and that takes time. You are not going
| | 10:16 | to do that overnight, trust me.
| | 10:18 | Any expressive
talent worthwhile takes time.
| | 10:22 | It's not an easily achievable thing.
| | 10:25 | So be prepared for journey when
you are thinking of mastering a tool.
| | 10:30 | So this is just a quick exercise
to kind of talk about draftsmanship.
| | 10:33 | Understanding a medium like a simple
pencil to the point that it becomes an
| | 10:38 | instrument of expression and
understanding the process of building up a drawing.
| | 10:43 | So the pencil is one of the best
tools you can sit down and start to work with,
| | 10:47 | because it's very simple and yet
at the same time, it's very expressible
| | 10:52 | and that's the ultimate goal of draftsmanship.
| | Collapse this transcript |
| Doodling| 00:00 | Doodling is one of those terms that
over time, it seems like it has picked up a
| | 00:03 | negative connotation.
| | 00:05 | But really doodling is a very useful activity
and you can do it anywhere as many people know.
| | 00:12 | I mean, some people just sit and draw.
| | 00:14 | I'm going to doodle a little bit while
I'm talking about this and I'm not really
| | 00:18 | even thinking too much of what I'm doing.
| | 00:20 | It's just doodling is the great
activity because you're actually exercising
| | 00:25 | and sharpening and keeping sharp your
skills, even when you're not thinking about it.
| | 00:31 | And so, it's like I say, no pain, no gain.
| | 00:33 | Well, doodling happens to be one
of the things that breaks that rule.
| | 00:37 | It's not really painful to doodle,
and yet you're improving your drawing
| | 00:41 | skills as you do it.
| | Collapse this transcript |
| Creating outline sketches utilizing the conceptual squint| 00:00 | If you've ever looked over someone's
shoulder while they are kind of busily
| | 00:04 | drawing and just see the sort of haze
of lines and sketches, and I mean it just
| | 00:08 | looks like chicken scratches, and you
have no idea of what they are doing.
| | 00:12 | What artists employ is a facility
that I call the conceptual squint.
| | 00:17 | Often times when an artist is drawing,
it's going to look more like, oh!
| | 00:20 | I'm kind of doing something like this and
it might not look like anything to anybody.
| | 00:27 | But the artists, as they are
drawing, they're conceptualizing.
| | 00:30 | He is working on in my case on kind of
cube kind of structure and maybe it's
| | 00:34 | going to be a house, and there is a
phone pole or something back here, and oh
| | 00:38 | yeah, there is a fence back here that I
want to have and, the fence keeps going
| | 00:43 | over here, and maybe there
is a driveway or something.
| | 00:47 | But this looks like nothing, but
the artist can see through all this.
| | 00:52 | In fact, if I go and create a new layer,
now I can use this as a way to start to
| | 00:57 | okay, well, now I want to refine this a
little bit and the fact that I had that
| | 01:05 | early drawing in there, means that I'm
now going to have a better idea second
| | 01:10 | time around as to what it
is that I'm trying to draw.
| | 01:14 | So now if I go down here and undo this,
you can see already, I mean I'm starting
| | 01:19 | to get much better at what it is
idealizing and I can make another line here.
| | 01:24 | Now, I can say well, this is going
to be a set of fence elements in here.
| | 01:30 | I could next go in and start
to add a little shading to this.
| | 01:34 | But the idea, I'm trying to get out
here is the conceptual squint is a way
| | 01:39 | that you can look at things early on and
not try to necessarily get to a final result.
| | 01:46 | But just you're starting to build up an
idea and the conceptual squint is just
| | 01:51 | obviously something that some people
don't have and they won't be able to see in
| | 01:55 | that early drawing, the final
concept the artist wants to see.
| | 01:59 | But use the conceptual squint to kind
of fearlessly start thinking through an
| | 02:04 | idea and just building up almost
compositional elements and what not and you'll
| | 02:08 | start to realize very quickly that
this conceptual squint will be able to
| | 02:12 | provide you with the tools to start
to visualize things more clearly and
| | 02:16 | sometimes it takes two or three
concepts to build up to a drawing or a
| | 02:21 | composition that's ready for final application.
| | 02:24 | It's an iterative process, and the
early stages of an iterative process
| | 02:29 | are often quite rough.
| | 02:30 | So don't be afraid of the conceptual
squint and the better you get at it, the
| | 02:35 | more quickly you're going to
be able to reach your goal.
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|
12. Cloning TechniquesUnderstanding cloning| 00:00 | In this chapter we're going
to take a look at cloning.
| | 00:02 | Cloning is the use of a source and a
destination image, and between those two images,
| | 00:08 | something happens, and in
Painter's case what it's really adept at is
| | 00:12 | actually taking that source imagery,
funneling it through some brush and
| | 00:17 | reinterpreting it into a new medium,
and so what we are going to be doing
| | 00:21 | throughout these videos is showing you
the various kinds of ways you can take
| | 00:26 | advantage of this cloning and
use it for a variety of techniques.
| | 00:30 | So I say let's go and send in the clones.
| | 00:35 | Sometimes people get confused when
they start talking about cloning, because
| | 00:40 | there is a bit of a
conceptual leap that takes place.
| | 00:43 | So I'm going to explain at least in the
terms of Painter exactly what's going on here.
| | 00:49 | The way I keep track of this
is, you've got a source image.
| | 00:53 | This is the original image that you're
going to work from and you're going to do
| | 00:57 | an action that's going to create a clone.
| | 01:00 | The clone is the Destination Image.
| | 01:02 | As I'm showing you here, Painter's
brushes are capable of referencing the source
| | 01:09 | image, in this case the image below.
| | 01:11 | And it takes the color information,
which is being found by the brush that's
| | 01:16 | painting on the destination image.
| | 01:18 | So what's happening is it's funneling
that local color in the same place in the
| | 01:23 | source image that it's
applying it in the Destination Image.
| | 01:26 | But what's happening to the character
of that imagery is it's going through a
| | 01:32 | brush that is applying all of its
characteristics to the destination image.
| | 01:37 | So what it does is it interprets or
translates the source imagery in this case a
| | 01:43 | photograph into what looks like a painted image.
| | 01:46 | There are a variety of ways to do
this and to get various results.
| | 01:50 | But that's the basic concept of
what cloning is in the terminology of a
| | 01:55 | source image, and a destination image
is a very clear way to keep track in
| | 01:59 | your mind which is which.
| | 02:01 | The source is always your original
information and the destination is the image
| | 02:05 | that the transformation is being applied to.
| | 02:09 | So to create a clone in
Painter, you need an image.
| | 02:14 | So I'm going to go in and go to my
Exercise Files here, and we'll go down to
| | 02:19 | chapter 12, and I've got
an image here Waterfall.
| | 02:22 | So I'm going to open that.
| | 02:25 | So this is going to be the source image.
| | 02:28 | We are going to now create a clone of this.
| | 02:31 | So I'm going to go up to the File menu,
and I'm going to take advantage of the
| | 02:34 | Quick Clone command which just
kind of sets things up for me.
| | 02:38 | So what you can see now is that
we have got a destination document.
| | 02:41 | There is nothing on it right now, but
it's an image waiting for the source color
| | 02:46 | information to be translated by a Brush.
| | 02:50 | So in the next video, we're going
to take a look at how we can now take
| | 02:54 | advantage of the various levels of
cloning once we've learned how to establish a
| | 02:58 | source and a destination document.
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| Tracing a clone's source using Tracing Paper| 00:01 | We have now got a source and
destination image established and the way that was
| | 00:06 | done was I started with a source
image and I used the Quick Clone command to
| | 00:12 | quickly create an exact sized copy of
that image, and in this instance,
| | 00:17 | it doesn't have anything in it.
| | 00:19 | So the first thing I want to show you in
Painter when you have got a destination
| | 00:23 | and source image established, you can
turn on right up here in the upper-right
| | 00:28 | corner of the window, you
can toggle Tracing Paper on.
| | 00:33 | So now, I'm seeing this underlying
image as if it had a sheet of transparent
| | 00:39 | tracing paper on top of it.
| | 00:40 | I'm going to go and get the nice sharp
little pen like the Scratchboard tool and
| | 00:46 | what it's going to do is allow me to
see through to this underlying imagery so
| | 00:53 | that I can go in and use this
source information as a reference point.
| | 00:58 | I will just do enough here, so that
you can see how useful this can be.
| | 01:03 | Everybody knows how to trace.
| | 01:04 | So right here is one way you can very quickly
use one document or image to create a clone.
| | 01:10 | So we have got a little
bit of information on here.
| | 01:13 | You can see now I have got the
makings of what could become a very finished
| | 01:17 | drawing by just spending time tracing.
| | 01:20 | All of the tools work so that if I
go in here and turn this back on, for
| | 01:24 | example, I could zoom-in to this image
and see everything and in doing so, it
| | 01:30 | gives you a really amazing ability to
create this as if it were created from
| | 01:35 | Scratch and there are some
other things we can do here.
| | 01:38 | For example, if I click and hold on
the Tracing Paper icon, you will see what
| | 01:44 | pops up is a set of percentages.
| | 01:45 | This allows me to control how
Transparent or Opaque the tracing paper is.
| | 01:51 | So, in some cases, you may want to have
it more weighted towards being able to
| | 01:55 | see the tracing paper.
| | 01:56 | So that's a little more obvious.
| | 01:58 | In other cases, you may want to go more
towards the end of making it more transparent.
| | 02:03 | So the background is more obvious.
| | 02:06 | So you have got control over
the transparency of the image.
| | 02:10 | The other thing I'm just going to
quickly show you here is if I go to the
| | 02:14 | Cloning category, which is Cloners right here.
| | 02:17 | I'm going to go down, and there's a tool in
here called the Soft Cloner. Let's grab that.
| | 02:23 | I am going to start to draw or paint with this.
| | 02:27 | I'll just start to do it a little bit in here.
| | 02:29 | Right now, we are not seeing much
happen because I have got Tracing Paper on.
| | 02:34 | But since we have got enough of a
reference, let's go ahead and toggle this off
| | 02:38 | and enlarge my brush a little bit and
in this case I'm using my Bracket key.
| | 02:42 | So I'm using the right-bracket key here.
| | 02:44 | But I can go in here now and even bring
through certain little bits of the photo
| | 02:49 | if I want and this is actually kind
of a neat technique to sort of blend
| | 02:53 | together drawing technique
with photographic source material.
| | 02:58 | But once again, I'm using
hand controlled input here.
| | 03:02 | So it's got a drawn quality even though it's
bringing through some of the source imagery.
| | 03:08 | `So we have taken a look at tracing paper.
| | 03:11 | This represents the first
rung on the cloning ladder.
| | 03:14 | It utilizes that source and destination
relationship to enable you to treat the
| | 03:19 | destination as if it were a sheet of
tracing paper and do additional things like
| | 03:23 | actually bringing through bits of photography.
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| Painting a cloned image| 00:02 | So far we have taken a look at the
concept of a source and a destination
| | 00:05 | document and we have seen how you can use a
destination document as a sheet of tracing paper.
| | 00:12 | Now, we are going to go another
rung of the ladder and actually take
| | 00:16 | information from the source image,
funnel it through a brush and apply it to
| | 00:20 | the destination document.
| | 00:21 | So I'm going to go back to my Cloners
category and I'm going to go down and I
| | 00:27 | want to get the Impressionist Cloner.
| | 00:29 | So we are going to select that and to do
this, we need to initiate the Clone command.
| | 00:35 | You are going to find that in the
Effects menu, down in the Esoterica category
| | 00:40 | and right there you will see Auto
Clone and you can also use Shift+Command or
| | 00:44 | Ctrl+G to initiate this command as well.
| | 00:47 | So let's go ahead and
initiate it and see what happens.
| | 00:50 | Now what's happening here is it's
taking a brush and it's applying the color
| | 00:55 | from the source document through that
brush and translating the image into those
| | 01:01 | character of brush marks and I'm going
to go ahead and stop it now and I do that
| | 01:05 | by just clicking anywhere in the image.
| | 01:06 | That's how you stop this.
| | 01:08 | It will sit here and do this forever
if you want it to let but really all you
| | 01:12 | need to do is let it completely fill the image,
so that no background image we are seeing.
| | 01:17 | Although, there are times where it kind
of looks neat to leave it leave a little
| | 01:20 | bit of an unfinished look.
| | 01:22 | So if I stop right there, you can
see just a few little bits of white
| | 01:26 | are showing through.
| | 01:27 | The good news here is that you can
take a source image and make it into
| | 01:33 | a destination image.
| | 01:34 | Now at the time of this taping, I'm
using the initial release version of Painter
| | 01:40 | 11 on the Macintosh.
| | 01:42 | There appears to be, dare I said the
word, bug, in here where you would assume
| | 01:48 | that all of the cloners would work.
| | 01:50 | I mean just for example, Furry Cloner.
| | 01:52 | If I go to the Effects menu > Auto Clone,
which we have just used, if I go down
| | 01:56 | to where we actually found, it's grayed out.
| | 01:58 | It's telling me you cannot
auto clone with this image.
| | 02:01 | Well, you can clone with this image
and unfortunately, there is something
| | 02:06 | preventing the Auto Clone feature at this
point in time from believing that it can do that.
| | 02:12 | But I'm going to undo and I'm going to show you.
| | 02:14 | Now I have got the Furry Cloner, the one
that it says you can't auto clone with.
| | 02:18 | Well you can't auto clone but you can
still clone by hand and in fact, this is
| | 02:23 | once again kind of going back to
the use of the artist expressive
| | 02:28 | characteristics to do this.
| | 02:30 | In fact if I turn Tracing Paper on, I
could stroke this in a way that kind go
| | 02:35 | uses the information in source image
as the direction I want to stroke things
| | 02:41 | and so there may be some
characteristic applied by stroking in the certain
| | 02:45 | direction with certain brushes.
| | 02:46 | This one may not, I'm not really
familiar with the Furry Cloner but I just want
| | 02:51 | to show you that you can in fact,
continue to clone with this.
| | 02:55 | You just currently cannot auto
clone at least on the Mac version.
| | 02:59 | I'm not sure this is going to
translate across to Windows or not.
| | 03:03 | I'm going to turn off Tracing
Paper and there is my cloned image.
| | 03:06 | It just wasn't automatically applied for me.
| | 03:09 | Now, I want to take this one step further.
| | 03:11 | So I'm going to go to a brush here and
let's-- I'm a big fan of Artist Oils.
| | 03:16 | I'm going to go in here and
I'm going to get to Dry Bristle.
| | 03:19 | And right now, it's just a normal
brush, so let's see what it does.
| | 03:23 | That's what it looks like, okay.
| | 03:25 | Here is what I call a
major fulcrum point in Painter.
| | 03:30 | If we go over to the Colors palette,
you will notice this little rubber stamp
| | 03:34 | icon and notice right now, we are
painting with color that's what everything is
| | 03:39 | supposed to do as we have expected.
| | 03:41 | But if I turn this on, watch what happens.
| | 03:44 | You see how this is now grayed out.
| | 03:46 | That is because we have just told this
brush to use the current source image
| | 03:52 | as its color source.
| | 03:54 | So it's telling us that by graying
out the Color palette, it's no longer
| | 03:58 | looking there for color.
| | 04:00 | This is one of those cases where
turning Tracing Paper on, may make some sense
| | 04:05 | in the directionality factor
of what's going on underneath.
| | 04:09 | So I'm going to begin to just kind
of painting here really quickly and it
| | 04:13 | replaces like these trees, I'll just
kind of paint in the angle that they are
| | 04:20 | in the original image.
| | 04:21 | So I'm using the source document.
| | 04:24 | I'm taking advantage of Tracing Paper
in this case but instead of just simply
| | 04:28 | with our Tracing Paper, I'm using my
expressive hand work here to bring it
| | 04:33 | through and let's just temporarily
turn it off, you will see that it's coming
| | 04:37 | through but it's coming through very much in
the mould of what the artist oils look like.
| | 04:44 | So let's just kind of do this.
| | 04:46 | It was just enough information by
seeing through to the tracing paper.
| | 04:50 | The nice thing about this is I mean
you can take advantage of what you are
| | 04:54 | seeing in the source image.
| | 04:55 | We can see very easily that the water,
it has a very directional content to it.
| | 05:01 | So an artist, whether he is painting
like this from a photograph or from life,
| | 05:06 | he is going to paint using the lines
that somewhat are indicative of that
| | 05:11 | motion and that action.
| | 05:13 | So let's just get a little bit more in
here and now I'll turn off Tracing Paper.
| | 05:19 | So in a way, this is little bug
actually is great because it will encourage you
| | 05:24 | to not rely on an automated process
but you can see it's much more powerful,
| | 05:29 | you are never going to get a look like this
from any of the auto cloning brushes anyway.
| | 05:34 | So as long as you are wanting to
advance your skills, this is one great way to
| | 05:40 | combine the possibility of a
palette that is actually a confirmed to a
| | 05:46 | photograph and use the mark-making
capabilities of the brush to combine them to
| | 05:51 | come up with some really interesting artwork.
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| Creating a Quick Clone| 00:01 | We have been using Quick Clone to
make our source and destination documents
| | 00:05 | and I just want to go into a little
bit more detail about the Quick Clone
| | 00:09 | command, because you actually have
some options, as to how it instantiates
| | 00:14 | itself when you create one.
| | 00:16 | And let's just look at
what it's currently doing.
| | 00:18 | I'll say Quick Clone and it creates a
copy that is blank, but I want to show you
| | 00:24 | the options that are available.
| | 00:25 | So I'm going to undo this right now and
we are going to go to our Preferences in
| | 00:30 | the General Preference tab and you'll
see here that there is actually a section
| | 00:35 | in here for Quick Clone and here
is where this has been controlled.
| | 00:39 | I could disable this, okay,
so I'll turn that off.
| | 00:43 | Your Delete image from clone and when
I go and make a Quick Clone now, it's
| | 00:48 | going to make an exact
copy with the image in place.
| | 00:50 | And there may be times
where you want to use that.
| | 00:54 | For example, we were playing with Dry
Bristle as a Cloner a little while ago.
| | 00:58 | Sometimes it helps to just
have the image on the screen.
| | 01:01 | This way it's kind of like I'm just
smearing the paint right on the image.
| | 01:04 | I kind of find it little more
exciting to see the image kind of arise from
| | 01:09 | nothing on the blank canvas, but
you're going to end up with the same exact
| | 01:12 | image in terms of what it's picking up.
| | 01:15 | Because it looks like it's smearing this paint.
| | 01:17 | But it's really getting this
from the, the source image.
| | 01:20 | If I've to go ahead and delete this now,
I'm going to get the same exact thing.
| | 01:25 | But there are times when you may want to
have the destination image, have a copy
| | 01:29 | of the original image in it.
| | 01:30 | Another thing that you can do that's
helpful is again if we go to Preferences
| | 01:35 | here and General, I can say I want to delete
it, but I also want to Turn Tracing Paper on.
| | 01:40 | So, in that scenario, when you make a
Quick Clone, you're going to get the copy
| | 01:45 | but with Tracing Paper automatically
turned on for you and once again, it's a
| | 01:49 | Preference but it's one that if you
find yourself doing a lot of tracing work,
| | 01:53 | then you probably want
this preset to open that way.
| | 01:57 | And then the final thing you can do in
here is you can also say I want to switch
| | 02:02 | to the Cloner Brushes.
| | 02:04 | If I do that, notice right now that
it's in the Artist's Oil category.
| | 02:09 | But when I make a Quick Clone now,
it's going to make its copy, but it also
| | 02:14 | automatically goes to the Cloners category.
| | 02:18 | And that's great but as you've already
seen, in some cases, you can get much
| | 02:22 | better results from brushes beyond the
Cloning category, particularly when you
| | 02:26 | start to apply your own strokes.
| | 02:28 | So, I typically don't have it set this
way, but again it's a Preference and just
| | 02:33 | an opinion on what you
want, you have that option.
| | 02:36 | So the Quick Clone preference, in the
Preference > General panel, give you some
| | 02:40 | options about how you'll like the
behavior of Quick Clone to work.
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| In-document cloning| 00:01 | So, we've gone through and looked at
the various types of creative cloning that
| | 00:06 | you can do, particularly when we work
in concert with the Quick Clone command.
| | 00:10 | But I do want to point out that those
are artistic creative forms of cloning.
| | 00:15 | You can still do what nowadays is
known as the Photoshop style cloning, where
| | 00:19 | you are picking up one piece of
imagery within a document and placing it
| | 00:23 | somewhere else, duplicating it.
| | 00:25 | You can do that in Painter as well.
| | 00:26 | I am going to go over to the Tool palette
and I just want to explain these quickly.
| | 00:30 | You have the Cloner Brush.
| | 00:32 | The Cloner Brush automatically thinks
in terms of these cloners in the Cloners
| | 00:37 | category so that if I have this
Splattery Clone Spray and I'm going to do this.
| | 00:43 | This is a little technique
you are going to need to know.
| | 00:45 | If I hold down my Option or Alt key,
that's how I'm going to create my source
| | 00:50 | point within the document and then I'm
going to go to where I want to go and
| | 00:55 | then when I click down, I'm now
going to start cloning from that area.
| | 00:58 | But you can see it's actually cloning
and picking it up within the image and
| | 01:03 | using all of the
characteristics of the Clone Brush.
| | 01:06 | So, it's a Fine Art Cloner in this case.
| | 01:09 | Let's undo that and I'm going to now go
and if you click and hold on here, you
| | 01:14 | are just going to get the Rubber
Stamp tool, basically which is now an in
| | 01:19 | document cloning tool.
| | 01:20 | So just to use it in this image, let's
say that I was working with this and I
| | 01:25 | realized, you know this big
expansive sky here is kind of distracting.
| | 01:29 | It's actually the brightest area of the
whole image and as a result your eye is
| | 01:32 | kind of led to it and really, I want
this high contrast and brightness where the
| | 01:37 | rocks are to be the brightest form
of imagery to lead the eye to it.
| | 01:43 | So, I'm going to take some of the tree
foliage, over here and put it in here as
| | 01:47 | well and just like I did before, I'm
going to hold down my Option or Alt key and
| | 01:53 | just sample a source in the image by
clicking down on my mouse, and now, I'm
| | 01:58 | going to go over here and just start to draw.
| | 02:00 | You can see that I can now replace the sky
area with clone from the other side of the image.
| | 02:07 | So that's the Cloner and if you are from
Photoshop land, you will recognize it right away.
| | 02:12 | If not in the Painter world, it
makes a great accessory to the other
| | 02:17 | cloning tools.
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|
|
13. Visual Vocabularies of Painting with a PhotographUnderstanding the vocabularies of paint photography| 00:00 | In the last decade or so, a
big sea change has occurred.
| | 00:04 | Photography is now digitally based.
| | 00:06 | We have really pretty much moved away
from film-based photography to a world
| | 00:11 | where photography has now accomplished
digitally and what that means is you can
| | 00:15 | now bring a photograph into a digital
environment like Painter with virtually
| | 00:21 | no issues whatsoever and what happens
is the whole idea of a photograph has changed.
| | 00:29 | We used to consider it and think of it
as an unchangeable entity and now it's
| | 00:35 | very common to change
photographs in many different ways.
| | 00:39 | Now, when you bring a photograph into
Painter, all of a sudden you have got an
| | 00:44 | environment where traditional
expressive mark-making tools like brushes,
| | 00:48 | chalks, charcoals, all of those can be
affected to the surface of a photograph
| | 00:57 | and all of the imagery that's in that
photograph as if it were a wet oil paint.
| | 01:03 | I like to describe it as being able to
dip my brush into a photograph and the
| | 01:09 | results can be remarkable and you
get this instant melding of traditional
| | 01:14 | expressive handmade movements
with the whole idea of a photograph.
| | 01:20 | So in this chapter, we are going to
go ahead and take a look at the theory
| | 01:24 | behind how a photograph is interpreted
into a painting, and once we have got
| | 01:29 | those underpinnings, under our belts,
then we are going to move along and in
| | 01:34 | the next two chapters, we'll actually take
what we have learned and apply it to some imagery.
| | 01:39 | So let's get started.
| | 01:40 | Different visual mediums have, what
I refer to as, visual vocabularies.
| | 01:46 | By understanding these vocabularies
and in this case, we are talking about
| | 01:49 | photography and painting, you will be
better equipped to interpret a photograph
| | 01:53 | into a painted result.
| | 01:54 | One of the terms I have kind of
come up with is interpretation.
| | 01:58 | I refer to restating a photograph into
a painting as an interpretation and like
| | 02:04 | language interpretation expressive
interpretation, transposes one mediums
| | 02:09 | vocabulary for another, and it's very
important to understand that a successful
| | 02:13 | interpretation requires a good
knowledge of both the source and destination
| | 02:18 | mediums in order to correctly
come up with a result you like.
| | 02:22 | Now, I'm going to start by comparing a
pair of images and you can see here the
| | 02:27 | one on the left is a
photograph of a Church on the right.
| | 02:30 | We have a painting by Van Gogh
of that same Church in France.
| | 02:35 | Let's start off talking about the photograph.
| | 02:38 | Photography has a very specific elements
in its vocabulary that we have all come
| | 02:43 | to learn to associate with the
photographic vocabulary itself and looking at
| | 02:49 | this one, you have got things like Sharp Focus.
| | 02:51 | We typically think of a photograph as
having sharp focus in it because the
| | 02:56 | camera sees through the lens.
| | 02:58 | It's all about these optics and in general,
cameras are made to have very sharp focus.
| | 03:03 | So it's an element of the camera in
photography that successful photographers
| | 03:09 | want to generally use as a
vocabulary element within photography.
| | 03:14 | We have also got Depth of Field, now depth
of field is selectively focusing on the image.
| | 03:20 | This particular image happens to
have a very infinite depth of focus.
| | 03:24 | So everything is in clear sharp focus.
| | 03:26 | But an artistic technique that a
photographer can use is to have a shallow
| | 03:32 | depth of field, so that elements in
the foreground and the background are
| | 03:35 | thrown out of focus.
| | 03:37 | What that does is the eye tends to
not spend much time looking at this
| | 03:41 | undetailed parts of the image and instead
goes and looks at the detailed part of the image.
| | 03:46 | And the third element that I want to
talk about that you can see specifically in
| | 03:50 | this photograph is the
perspective that seems to be in this image.
| | 03:54 | The lens, the optics of a camera are
not subjective, they just see what they
| | 04:00 | were designed to see based on the
design of that lens and this rather white
| | 04:05 | angle lens that you may notice all of
the lines in the image tend to be going
| | 04:10 | off towards some vanishing point
that's positioned high up in the sky.
| | 04:15 | As a result, you get that what's
sometimes referred to as the keystoning effect
| | 04:19 | where the building seems to be getting
smaller or diminishing in scale as it
| | 04:24 | moves away from the camera and as
part of the vocabulary of photography, we
| | 04:29 | don't tend to notice it when we look at
it, but it is there and Painter on the
| | 04:34 | other hand does not look at an image that way.
| | 04:37 | In fact, if we now go over and look at
the Van Gogh image, you will see that he
| | 04:41 | didn't see those lines at all.
| | 04:43 | They were there, but think of the way
the human vision system looks at an image
| | 04:48 | compared to a camera.
| | 04:50 | A camera sees it all at once and it
records exactly what's coming through the
| | 04:54 | lens at the time that shutter is open.
| | 04:57 | What happens with the human vision
system, we are continuously looking, we are
| | 05:01 | moving our eye around, looking at
different parts of the image and examining
| | 05:05 | that and as a result we build up a
composite image in our mind of what makes up
| | 05:10 | that scene in front of us.
| | 05:12 | So as Van Gogh looked at this, he
was not paying attention and in fact he
| | 05:16 | selectively didn't pay
attention to that keystoning effect.
| | 05:20 | It's certainly somewhat visible within
the human vision system because we have
| | 05:24 | lenses in our eyes as well.
| | 05:26 | But we selectively ignore that stuff
so that we don't even see it and that's
| | 05:31 | what he has done in this case.
| | 05:32 | He did not encode
keystoning distortion into his image.
| | 05:37 | Look at other aspects of it. Color for example.
| | 05:39 | There is a very specific color space
associated with photography, different film
| | 05:44 | stocks like Kodachrome or EKTA Color.
| | 05:47 | All of the various film stocks that
have been out there and even camera sensors
| | 05:51 | today have a certain bias towards color.
| | 05:54 | When we look at photographic imagery,
we tend to read as part of that imagery
| | 05:59 | this encoding of certain colors for
example, greens a lot of times are somewhat
| | 06:05 | attenuated in a photograph.
| | 06:07 | So it has it's own kind of
basic color space that it works in.
| | 06:12 | Whereas Van Gogh was not
constrained by that whatsoever.
| | 06:15 | In fact, he used color
very much to portray emotions.
| | 06:19 | Look at that orange spot on
the roofline of the Church.
| | 06:23 | My guess is that during the day,
he sat there and painted this.
| | 06:26 | At some point, there was maybe some
very bright sunlight hitting the roofline
| | 06:30 | right at that particular spot, if that
is I think it is a clay tile roof that
| | 06:35 | may have very much been
brilliant orange in his mind at the time.
| | 06:38 | At least his emotional sensation of
it was such that he painted it with
| | 06:43 | that brilliant orange.
| | 06:44 | When we compare it to the photograph,
yes it's a clay tile roof and yes, they
| | 06:48 | have a tendency to look somewhat orange
but I'm sure it was not screaming orange
| | 06:53 | that we are seeing in the painting and
yet it doesn't look wrong in the Van Gogh
| | 06:56 | painting because we are reading
it as the vocabulary of painting.
| | 07:00 | Another element of the
vocabulary of painting is brush strokes.
| | 07:03 | We see brush strokes throughout the image.
| | 07:05 | In fact the way he did many of these
brush strokes particularly in the sky and
| | 07:10 | the grass, they are moving.
| | 07:12 | It's almost as if these waves are
living the way in which they have this
| | 07:16 | movement within them.
| | 07:17 | So once again, he is portraying his
emotion, his feeling into this painted
| | 07:23 | rendition of the image.
| | 07:25 | So, the vocabulary of painting is
very different than the vocabulary of
| | 07:30 | photography and it's really
important to note the differences in these
| | 07:34 | vocabularies and one that I can
mention that I see many, many times, people
| | 07:38 | will spend all this time using a
photograph as a source to paint and when it's
| | 07:42 | all done, you will look at it and it
will have some sort of distortion in it
| | 07:47 | like we are seeing in the Church
where there is this keystoning effect and
| | 07:51 | right away it's a giveaway because
some of the vocabulary of photography is
| | 07:56 | creeping into the painting.
| | 07:57 | It belies its artistic interpretation.
| | 08:01 | It starts to look as if it
does have a photographic element.
| | 08:04 | Another very simple one that you see
as if the seascape and you can see the
| | 08:08 | horizon line on the ocean, if it's even
just one or two degrees off, we pick that up.
| | 08:13 | We noticed that little bit of
crookedness and they will spent a lot of this time
| | 08:17 | doing this really nice painting.
| | 08:18 | But on the other hand, they have got
that photographic artifact of the fact that
| | 08:22 | the camera was not entirely level
and an artist is never going to paint a
| | 08:26 | seascape with a less than
exactly flat horizon line.
| | 08:30 | So, these are the kinds of things you
really need to be aware of in doing this
| | 08:34 | interpretation and the more time
you take to look at the vocabulary of
| | 08:39 | photography, as well as the vocabulary
of painting, the better equipped you are
| | 08:43 | going to be to be able to make this
interpretation to ultimately impart your own
| | 08:48 | expression into your final creation.
| | Collapse this transcript |
| You must destroy detail| 00:00 |
One of the basic things that is
important in interpreting a photograph into a
| | 00:06 |
painting is to get rid of all of the
photographic detail in the painting, and
| | 00:11 |
having worked with many photographers
in various workshops, I can tell you this
| | 00:17 |
is one of the hardest things
for a photographer to let go of.
| | 00:20 |
This is the mainstay of their
vocabulary in their particular art.
| | 00:25 |
High detail is something that they've
spent years getting good at and then to
| | 00:30 |
tell them, "you've got to remove all
that," seems just totally counter to their
| | 00:34 |
very strong knowledge of
the vocabulary of photography.
| | 00:38 |
So I'm going to go through an image
and we are going to start and talk a
| | 00:41 |
little bit about this photographic
detail and then we are going to break this
| | 00:44 |
image down and go through the key steps of
translating it or interpreting it into a painting.
| | 00:51 |
So looking at this image, right away
you have got two of the big vocabulary
| | 00:56 |
elements of photography.
| | 00:57 |
You've got sharp focus.
| | 00:59 |
Look how clean and clear the subject eyes are.
| | 01:02 |
You can even see the beads of sweat
around the eyes and the face so that you get
| | 01:07 |
sense of this being a heated situation.
| | 01:10 |
Even the hairs on his
sideburns are very much in focus.
| | 01:14 |
But then we get to the rifle that
he is holding and it's out of focus.
| | 01:18 |
That's because very shallow depth of
field was employed here to focus on the eyes.
| | 01:24 |
If the rifle stock and the hammer on
there were as in sharp focus as the eyes,
| | 01:30 |
this image would lose some impact.
| | 01:32 |
We need that element, the rifle in
there to get a sense of what activity this
| | 01:37 |
person is engaged in, but we don't need
it so much that it becomes as important.
| | 01:42 |
What's important here is the intent
and gaze of this soldier's eyes as he is
| | 01:47 |
theoretically in battle.
| | 01:49 |
So what we need to do right away is
delete all of this high detail and I
| | 01:54 |
know it's hard to do, especially for
photographers that may be listening, but it's crucial.
| | 01:59 |
One thing I'll say though is we are going to
be looking at nondestructive photo painting.
| | 02:04 |
And doing so in that kind of
environment or even in the auto-cloning
| | 02:08 |
environment, you always have access to
the original detail and it's important to
| | 02:13 |
remember that, because as long as you
realize I can always get back to what I
| | 02:17 |
lost in the process, then there is
always the ability to work without fear.
| | 02:23 |
So that you know I can do this and I've
got a safety net in place, if I need to,
| | 02:28 |
that original detail is there.
| | 02:29 |
And as we'll see later on that's
actually important to take advantage of.
| | 02:33 |
So let's start by de-
constructing this photograph.
| | 02:36 |
The very first thing that has to happen is
you must be wiling to destroy the detail.
| | 02:42 |
So I go into the image and very
quickly not with a lot of thinking too much
| | 02:47 |
about it, I completely stroke over the image.
| | 02:50 |
You can see there is some play of the
different facets of the image that some
| | 02:56 |
strokes will follow.
| | 02:57 |
But at this point it's really not as
important to delineate the subject as much
| | 03:02 |
as it is to remove that detail.
| | 03:04 |
Once you remove the detail, you are
going to start to rebuild it back in, but
| | 03:09 |
with a painting vocabulary
rather than a photographic vocabulary.
| | 03:13 |
That's the key to doing this.
| | 03:14 |
Starting all the way down to the lowest level.
| | 03:17 |
The rough underpainting.
| | 03:18 |
It's kind of backwards, because in
traditional painting you start with nothing
| | 03:22 |
and you build up from an underpainting
that's very loose and slowly build it up
| | 03:27 |
with detail to its final result.
| | 03:29 |
Here in this world, we are starting
with the most highly detailed version of an
| | 03:34 |
image you can have, the photograph,
and we have to start by eradicating that
| | 03:38 |
detail and then bringing it back.
| | 03:40 |
So it's a little backwards from the
traditional technique, but it's how you get
| | 03:43 |
to the final result that you are looking for.
| | 03:46 |
So I've gone in here and I have just
started to kind of play with the colors of
| | 03:50 |
the image and start to add a little bit
of texture in there and once again, I'm
| | 03:54 |
trying to get this away from
its pure photographic color.
| | 03:58 |
I want to add even more kind of
distressing of the image to take it away from
| | 04:02 |
its photographic origins.
| | 04:04 |
No I'm going in and I'm starting to
apply more of the vocabulary of painting.
| | 04:09 |
I've gone in with a very kind of
coarse fine brush apply to his eyebrows and
| | 04:14 |
I've let a little bit of the canvas
start to show through on various techniques.
| | 04:19 |
I'm starting to apply little highlights
on the gunstock and the hammer to start
| | 04:25 |
to put a little bit more detail back in there.
| | 04:28 |
Same with the hat he is wearing, and that's a
word I'm going to be using quite a bit here.
| | 04:32 |
A photograph captures every
detail equally. No subjectivity.
| | 04:36 |
A Painter selectively brings that back in.
| | 04:39 |
And I often refer to this as indicating.
| | 04:41 |
An artist does not paint every leaf on
a tree, they will generally block in the
| | 04:46 |
shadow highlight areas of a tree and
then they will selectively place a few
| | 04:51 |
well-placed strokes that give the eye
enough information to make the viewer feel
| | 04:56 |
like they are seeing more than they are.
| | 04:58 |
It's kind of a connect-the-dots trick.
| | 05:00 |
And the mind delights in this connect
the dots when you can present an image
| | 05:04 |
that presents just enough information
that the brain has to engage in this
| | 05:09 |
connect the dots activity to make
itself think it's seeing more than is there,
| | 05:13 |
the brain likes that.
| | 05:14 |
So it's part of what engages
the viewer into a painting.
| | 05:19 |
Now I have actually applied the surface
of painting to this, so where the canvas
| | 05:23 |
we've shows through, the
brush stroke on the canvas.
| | 05:26 |
So once again and even more of the
vocabulary of painting has been applied
| | 05:31 |
to this so that at this point we've pretty
much altered the photograph into a painted result.
| | 05:36 |
We can see here, if we compare them side-
by-side, you can see on the left, there
| | 05:40 |
is the full photographic version of
this image and on then on the right side
| | 05:45 |
we've converted it or in this case
interpreted it into a painted result.
| | 05:49 |
And you can see that it's not
recognizing one for the other, but the vocabulary
| | 05:54 |
of the original photograph has now
been interpreted into a painting by
| | 06:00 |
introducing all of the elements and
vocabulary elements of photography using the
| | 06:07 |
photograph as a source.
| | 06:08 |
So this is the basic technique of
destroying detail and then selectively
| | 06:13 |
bringing it back through painting tools.
| | 06:17 |
So you must destroy detail.
| | 06:20 |
| | Collapse this transcript |
| Focusing on the subject| 00:00 | In this chapter we are going to take a
look at the subject of focusing on the
| | 00:04 | subject within an image and painters
have learned to do this through a variety
| | 00:09 | of techniques over time.
| | 00:10 | But even as a photographic image, you
can start to do some things before you
| | 00:14 | start painting in order to help
the image have more focus on it.
| | 00:18 | In my workshops, I often describe it
to students as the actors on a stage.
| | 00:24 | You've got to constantly think
about through the process of creating an
| | 00:28 | interpreted photo into a painting,
who is the star of the show, who is the
| | 00:33 | actor on the stage.
| | 00:34 | In this image it's pretty clear that
it's this little bench or swing that's
| | 00:39 | hanging down from the tree.
| | 00:40 | There is all this lovely scenery to
provide an environment for it, but
| | 00:45 | ultimately that's the star of the show.
| | 00:48 | I shot it so that it's in a darker background.
| | 00:50 | There is a lot of contrast there, so it is
one of the brightest things on the image.
| | 00:55 | But I want to do some things to tone
down all of this visual noise basically
| | 00:59 | that is going to be distracting the
viewer's eye away from the star of my show.
| | 01:04 | And just like a Broadway play, lighting
plays a great deal of role in how you do that.
| | 01:10 | So, I'm going to use Painter's
Dodging and Burn brushes to accomplish this.
| | 01:15 | The Burn brush is the
brush that makes it darker.
| | 01:19 | So, when you use the Burn tool,
which is right here, this is what's going
| | 01:24 | to darken the image.
| | 01:25 | The Dodge tool on the other
hand is going to lighten the image.
| | 01:28 | Now, before I get started, I want to do
this mostly for demonstration purposes,
| | 01:32 | but I want to have the ability to see
the original image and our affected image,
| | 01:37 | right A/B comparison to one another.
| | 01:40 | To do that, I'm going to make a
layer that contains this image.
| | 01:43 | That way, we'll be able to shut it
on and off and be able to see the
| | 01:47 | changes that we are making.
| | 01:48 | So to do that, I'm going to do a Command+
A or Ctrl+A for select all and then I'm
| | 01:53 | going to do Command+C or Ctrl+C to
copy, and then finally I'm going to do
| | 01:58 | Command+V or Ctrl+V to paste.
| | 02:01 | If we look over in our Layers palette, you
will see, I now have an exact copy of my canvas.
| | 02:07 | So that's a real quick way to just
make a layer and this way I'll be able to
| | 02:11 | turn this on and off, once
I have started changing it.
| | 02:14 | So let's go up to the Dodge and Burn tool, and
I'm going to grab the Burn tool in this case.
| | 02:19 | Now, I'm going to begin to apply the
Dodge tool here and you can see what's
| | 02:24 | happening is I'm starting to darken
the surrounding areas, the areas that
| | 02:29 | would be that dim down stage, so that my
actor on the other hand is going to shine here.
| | 02:35 | So, we are just darkening this up.
| | 02:37 | And I may do this a little bit
exaggerated to show you this.
| | 02:41 | It probably wouldn't be necessarily
as dark as I'm making it, but I want to
| | 02:44 | get the point across.
| | 02:46 | Now, I'm going to switch to the Dodge
tool and this is going to let me just
| | 02:51 | brighten this area up and you want to be
careful, because you don't want to blow
| | 02:55 | out highlights or anything, but just
want to get enough of here, of this on the
| | 02:59 | image, so that I can now turn this on and off.
| | 03:01 | And see what a difference that makes.
| | 03:04 | Everything is still there and yet
it's much more focused on the image.
| | 03:09 | Now there is a bunch of other things I could do.
| | 03:11 | Like when I Dodge and Burn, it tends
to add Saturation for example, to the
| | 03:15 | outlined parts of the image, and I
may want to do away with some of that,
| | 03:20 | through painting, for example.
| | 03:21 | This technique of dodging and burning
is almost always something I employ prior
| | 03:26 | to bringing an image into my painting.
| | 03:29 | That way, I don't have to think so
much about who is the actor on the stage.
| | 03:32 | I've already fought that through in
the photographic side of things and by
| | 03:37 | applying photographic tools like
Dodge and Burn at that early stage, I can
| | 03:42 | ensure that I've already done some
things on the way to finishing my image, so
| | 03:47 | that the star of my show
literally has top billing.
| | 03:51 | So, knowing and using the
Painter's bag of tricks for focusing on the
| | 03:55 | subject will go a long way towards
successfully interpreting your photograph
| | 03:59 | into a painted result.
| | Collapse this transcript |
| Adapting color in a photograph for photo painting| 00:00 | When you think about photographic and
paint, the color comes from really two
| | 00:05 | very different sources.
| | 00:07 | Photographic prints are composed of dye
layers whereas paintings are composed of pigments.
| | 00:13 | And so what happens is, each of these
mediums has very different, in some cases,
| | 00:20 | colors that are represented in the image.
| | 00:23 | Now, the image I have got
called up right now is a photograph.
| | 00:26 | So, it's got photographic colors in it
and if I were to translate this into a
| | 00:33 | painting, I would want to do some
things and I'm going to go ahead and make a
| | 00:37 | copy of this, so we'll be able to compare these.
| | 00:40 | So, I'm going to do a Command+A or
Ctrl+A for select all, then I'm going to do a
| | 00:45 | Command+C or Ctrl+C to copy, then
Command+V or Ctrl+V to paste and now in our
| | 00:50 | Layers palette, we have got the
original and then one that I can change so
| | 00:54 | we'll be able to compare them.
| | 00:56 | So, one of the first things that you
have to consider is that pigment based
| | 01:00 | paint has much more vibrance and much
more saturation than your typical painting
| | 01:07 | can ever have in it.
| | 01:08 | So, one of the advantages of paint is
it's not constrained by this dye based
| | 01:14 | memory of photography that we tend to
encode in our mind, so that we have a very
| | 01:19 | specific sort of sensibility about
what represents photographic color.
| | 01:23 | So, one of the first things I do
to an image prior to painting is, I
| | 01:28 | increase its Saturation.
| | 01:30 | I'm just going to go up to the Effects
menu here under Tonal Control and if you
| | 01:33 | go to under Adjust Colors, you will find
the controls for this and this is where
| | 01:38 | I can adjust my saturation up.
| | 01:41 | Now you do need to kind of look in this
little window here to find it and again
| | 01:45 | from a photography point of view,
people will be cringing and going, oh, wow!
| | 01:48 | Look he is really over saturating that,
but you have to do that in order for
| | 01:53 | this, as a photograph we
look at it and it's like, wow!
| | 01:56 | Way too over saturated, but as a
painting, those colors aren't necessarily
| | 02:00 | overly saturated at all and the other
thing that we can do here is when you
| | 02:06 | think about this is selective blurring
or selective reducing the information
| | 02:13 | about the things and what I want to do
is the subject to this painting really is
| | 02:17 | the wild flowers here, just were
brilliant on the mountain, when I was up
| | 02:21 | shooting and I don't want all of these
colors to necessarily be as important.
| | 02:26 | And so there is a couple of things I could do.
| | 02:28 | One of the things I'll do here is
I'm going to go Painter's Blenders,
| | 02:32 | actually I'm going to go down to
Painter's Photo Brushes and one of the photo
| | 02:37 | brushes here is Blur.
| | 02:38 | So, I'm going to grab blur and I'm
going to resize that up here in the Property
| | 02:43 | bar and I'm just going to go in
here and blur this out a little bit.
| | 02:47 | So, it's something that I didn't do in
the camera quite so much, I can do it
| | 02:50 | here and I think you will see in just
even a moment how much this starts to get
| | 02:54 | your eye to read this foreground much
more so than the background and you don't
| | 03:00 | have to do this so that it
looks photographically correct.
| | 03:03 | It's more a preliminary step towards
changing this into a painting and by having
| | 03:09 | already somewhat pre-blur these areas out.
| | 03:12 | I can start to reduce the importance.
| | 03:15 | Once again, in this kind of situation,
I don't have the lighting control like I
| | 03:20 | would on a stage so much.
| | 03:21 | I want to retain the look of outdoor lighting.
| | 03:23 | So, it's obviously important here to
keep this looking basically photographic,
| | 03:28 | but I don't necessarily need to
do it to the point that it looks
| | 03:31 | photographically correct
and that's another thing.
| | 03:34 | It's real easy to sometimes keep
yourself in that photographic vocabulary when
| | 03:39 | you really don't have to.
| | 03:40 | So, some of these things even though,
they are not true to the photograph, have
| | 03:45 | a tendency to work in terms of what
you do for the painting and one of the
| | 03:51 | things I've developed, the more I go
out and shoot photograph with an intent
| | 03:55 | towards painting them is, you develop
a sensibility that you can almost look
| | 04:00 | through the camera and still see what it
is you want to do as a painting and the
| | 04:05 | more you learn how to do that, and it
does take time in going through several
| | 04:09 | iterations of interpreting a photograph
into a painting, the more you do this,
| | 04:13 | the more you build the machinery to be
able to almost apply a painting filter as
| | 04:18 | you are out of photographing, so that
you can see what you want to end up with
| | 04:23 | prior to ever painting it.
| | 04:25 | Now, another thing I want to talk about
in terms of saturation is what happens
| | 04:30 | when you start painting and a good
example brush here might be in the Artist's
| | 04:34 | Oils brush, I'm going to go down
here and get the Grainy Blender.
| | 04:40 | And I'm going to start to just kind of
paint in here and I want to show you what
| | 04:44 | happens when you start to mix these
areas, because we are taking these highly
| | 04:50 | saturated colors and we
are blending them together.
| | 04:53 | So, what once were individual saturated
colors, are beginning to get dulled down
| | 04:59 | by the fact that they are getting mixed-
up and we'll just kind of go back into
| | 05:03 | here, but you can see that the
saturation starts to get diminished in this and
| | 05:10 | that's why sometimes even over
saturating may seem like it's too much but the
| | 05:14 | fact that you are going in here and
actually softening this area up and how far
| | 05:20 | you might take this, could vary, I'm
doing this more to demonstrate to you how
| | 05:24 | much the colors get dulled down by mixing.
| | 05:27 | You may or may not want to diminish the
background so much that you almost don't
| | 05:30 | know what it is but even now, you can
see, this still reads as a mountain scene
| | 05:35 | with a very, just kind of
diminished background back here.
| | 05:38 | We are starting to figure out how to make the
flowers really be the stars of the show here.
| | 05:43 | Just by blending, blurring, they retain
their saturation, the saturation of the
| | 05:47 | background has been dulled down
through painting and I'm not going to try to
| | 05:51 | finish this off, but I want to give
enough so that if we go and look at the
| | 05:55 | before and after, you can see
already how we have taken it from those
| | 05:59 | photographic colors into a
much more painterly space.
| | 06:03 | The addition of brush strokes now and
the softening down of those colors, this
| | 06:08 | starts to have a much more painterly feel to
it than the original photograph it came from.
| | 06:13 | So, Color Adaptation is just pushing
colors more towards pigmented color and
| | 06:19 | away from photographic, and kind of dye
based colors so that you end up with an
| | 06:24 | image, which is going to have a much
more painted look to it because we are
| | 06:27 | transposing that vocabulary of the
color that we associate with the photography
| | 06:32 | with the saturated color
that we associate with painting.
| | 06:37 | Color Adaptation, use it.
| | Collapse this transcript |
|
|
14. The Photo-Painting PalettesUnder-painting| 00:00 | So far we have taken a
look at the cloning tools.
| | 00:03 | They are kind of the basic level of
cloning tools. Now we are going to take a
| | 00:07 | look at the Photo Painting palettes and
the Photo Painting palettes are kind of
| | 00:11 | a super charged cloning tools.
| | 00:13 | So, that was the first level of
cloning that has been in Painter for a long time,
| | 00:18 | but in the last few years the Corel
guys have put some really cool stuff in it.
| | 00:24 | Let's roll.
| | 00:25 | So, we have talked about cloning
really in the basic techniques.
| | 00:29 | We are now going to take it another
step further and we are going to start to
| | 00:32 | look at some more advanced ways you
can take advantage of a source image and
| | 00:36 | apply cloning techniques to it.
| | 00:39 | And to get to the Auto-Painting palettes,
we'll go the Window menu and just go
| | 00:43 | down and click on Auto-painting
and that brings up our palettes.
| | 00:47 | So, the way these are organized is you
have got the Underpainting palette, then
| | 00:51 | we have the Auto-Painting and
then we have the Restoration palette.
| | 00:55 | The Underpainting palette borrows that
term from traditional painting in which
| | 00:59 | an underpainting is kind of the first
step a painter does on a painting in order
| | 01:05 | to complete it and he is really
working from very basic blocked outlines and
| | 01:11 | under colors that are just there to
start the image and then he is going to go
| | 01:15 | through a process of working that image
up more and more until he builds it up
| | 01:20 | to all the detail that gives
him his completed painting.
| | 01:23 | So, underpainting really the idea is it
is a simplified beginning and then more
| | 01:29 | is going to be done to it.
| | 01:30 | And in that spirit the Underpainting
palette basically does that same function
| | 01:34 | in this digital version of Auto-painting.
| | 01:37 | So, I'm going to go and open up
an image we are going to work with.
| | 01:40 | We'll go over to our Exercise files and
I'm going to select morning_sun, okay.
| | 01:46 | Now, it's a good image but I see some problems.
| | 01:48 | It is a little washed out and perhaps could
use some contrast and just some adjustments.
| | 01:53 | So, part of the function of the
Underpainting palette is to be able to do just that
| | 01:57 | and you can see I
have got several sliders here.
| | 02:01 | So, one thing I may do is add a
little bit of Contrast to this and these
| | 02:04 | settings are non-destructive so that
I'm not permanently changing this at this point
| | 02:09 | and I can even add them together.
| | 02:10 | So, I also want to put a bit of
Saturation in there and the idea behind these
| | 02:14 | sliders is you can do what I
here refer to as season to taste.
| | 02:18 | You can get the image
visually to look the way you want it.
| | 02:21 | Since this is going to be a painting
one of the things I like to do is give a
| | 02:25 | bit more color punch than
perhaps that photograph has.
| | 02:28 | So, I may even punch this up a little bit more.
| | 02:30 | So, it's a little hyper real but then it
is going to be a painting, not a photograph.
| | 02:33 | So, I have the option here to make
changes to the way I want this image to be
| | 02:39 | portrayed once it is painted.
| | 02:40 | Another feature here is the Color Scheme pop-up.
| | 02:44 | This let's you apply
preexisting colors to the image.
| | 02:49 | An example would be the
Impressionist Scheme, you can see.
| | 02:52 | Now, I would not call this the
Impressionist Scheme. I'd be more likely to call
| | 02:55 | it the 1968 San Francisco Color Scheme.
| | 02:59 | But it really depends on
what image it's applied to.
| | 03:02 | In this case it really doesn't work
very well and to be honest most of these,
| | 03:06 | they are kind of generic, they are in
built-in, they show you what it can do.
| | 03:09 | But I'll show you a better
way to add color to your image.
| | 03:13 | To do that I'm going to open up a second file.
| | 03:15 | So, we are going to go in once again to
our Exercise files and I'm going to grab
| | 03:19 | this second file, swing.
| | 03:20 | Now it is similar in content and
everything, but it has got a slightly
| | 03:23 | different color feel to it.
| | 03:25 | Now, we'll go back to the file that we are
working on, we'll go back to Color Scheme.
| | 03:29 | But you will see that now swing appears
in the list. morning_sun does as well,
| | 03:34 | but it doesn't make sense to
apply an image's own colors to itself.
| | 03:38 | What we want to do is apply swing, the
opened up image, to it and you can have
| | 03:42 | several images available
here to try this out on.
| | 03:45 | But we'll go ahead and hit swing and
you will see now it has taken on some of
| | 03:49 | the coloration that's in that other
image because that's where the colors are
| | 03:53 | coming from and I kind of
like the way it warmed up.
| | 03:55 | Again, I'm not so concerned at this
point about reality as much as I am a feeling
| | 04:01 | or a mood and I like the way that it
gives you that warm summer morning feeling.
| | 04:05 | In fact when I shot this there
was some condensation on the lens.
| | 04:08 | That's why I got this kind of hazy feeling.
| | 04:11 | But it is actually one
of the most happy accidents.
| | 04:13 | I like the way it looks.
| | 04:14 | So, we have now got our image adjusted.
| | 04:16 | I'll show you a couple of
other things you can use this for.
| | 04:19 | One thing is the Edge Effect and I'll
just take Circular for example and it is
| | 04:23 | just going to create a Circular
Vignette around the image and you can use the
| | 04:27 | Amount slider to control how much it vignettes.
| | 04:30 | It is kind of interesting and
there is time when you use it.
| | 04:32 | I'm not interested in it for this image,
but I just want to point out that it is there.
| | 04:36 | Then the last thing I'm going to show
you and I'm going to zoom up here to let
| | 04:39 | you see this up close.
| | 04:41 | Let's just look at high detail
area like this bark on the tree.
| | 04:45 | I'm going to apply some Smart Blur
and I'll first apply and then I'll talk
| | 04:48 | about what it does.
| | 04:49 | Smart Blur preserves the high
contrast edges it finds in an image.
| | 04:54 | It kind of masks them, but then
it takes the high detail areas and
| | 04:58 | essentially blurs them out.
| | 05:00 | So, what's happened now is we still
have that crisp definition of the shapes in
| | 05:05 | the image, but the detail
has been drained out of it.
| | 05:08 | And you can control through the Smart
Blur slider just how much you are doing that.
| | 05:12 | I have turned it down a bit and I have
reintroduced a little bit of the detail.
| | 05:16 | So, the Smart Blur Filter is basically
acting as a cut-off point to say at what
| | 05:22 | level of detail do you want to suppress
that higher range of detail and you can
| | 05:27 | very nicely dial in exactly the level you want.
| | 05:31 | I like Smart Blur so much that
sometimes it stands onto itself.
| | 05:34 | It just makes an interesting image
because it is starting to be more painted
| | 05:38 | rather than purely photographic.
| | 05:40 | While photographs are full of
high detail, paintings tend to be
| | 05:43 | somewhat simplified.
| | 05:44 | So, this does some of that
in an automated way for me.
| | 05:47 | Once I have configured this the way
I see visually that I want it to be,
| | 05:52 | I'm going to apply the Filter
that's all combined here.
| | 05:55 | And if I didn't like it, I could hit Reset
and it would take me back to the photograph.
| | 05:58 | So, I could experiment.
Don't like it, hit Reset and try it again.
| | 06:02 | All of these are non-
destructive until you hit Apply.
| | 06:05 | So, I'm going to hit Apply
and now that is my image.
| | 06:08 | So, we have done the underpainting,
we have simplified it down, we have adjusted
| | 06:12 | the colors, we have got it into a
beginning point that we now want to apply
| | 06:17 | Auto-painting to it.
| | 06:19 | So, we are one step of
three steps to our final result.
| | 06:22 | In a moment here we are going
now take a look at Auto-painting.
| | Collapse this transcript |
| Auto-painting| 00:00 | We now have our under painted image
which has simplified the image a bit.
| | 00:04 | We have applied a little bit
of contrast and saturation.
| | 00:07 | I even changed the colors in it a little bit.
| | 00:10 | But now we have got the source
that we want to apply Auto Panting to.
| | 00:14 | And in order to do that, the first
step is going to be to make a Quick Clone.
| | 00:19 | So, I'm going to click on this.
| | 00:20 | This will open up a new document,
same resolution, just I have got my
| | 00:24 | preferences set so that it does not
include the image and we are going to do
| | 00:28 | this so that it's total Autopilot, all
we have to do is basically watch but we
| | 00:32 | have to engage the Autopilot.
| | 00:34 | So, I'm first going to click on Smart
Stroke Painting and I also want to make
| | 00:38 | sure that Smart Settings are on.
| | 00:40 | So, you want to be sure
that both of these are on.
| | 00:42 | Now, the only thing left is
to click the Start button.
| | 00:45 | Before I do however, I want to look up
here in the Brush Selector Bar and just
| | 00:49 | make sure that the brush I want to
use, which is the Smart Stroke Brushes
| | 00:54 | Acrylics Captured Bristle.
| | 00:55 | If you happen to be somewhere else in
another category, you want to make sure
| | 00:59 | that you can go and get to the Smart
Stroke Brushes and because it's the first
| | 01:03 | one in the list, it will automatically
pop-up, but you then want to make sure
| | 01:06 | you have got the Acrylic Captured Bristle.
| | 01:09 | So, let's go ahead and select Play and
now, this is going to start to playback
| | 01:14 | and I'm just going to describe a
little bit of what you are seeing here.
| | 01:17 | What it's doing is it's
starting out with very large strokes.
| | 01:22 | That's why to a matter of speaking, this
doesn't look like anything at this point.
| | 01:25 | And this is the way
traditional painting often goes.
| | 01:28 | You start with kind of large blocked in
areas and then you go in and you start
| | 01:32 | to refine those areas with
smaller and smaller brush strokes.
| | 01:35 | That's what Auto Painting does and in
fact, we can already see it's dropped down
| | 01:39 | to a smaller brush size and it will
continue to resolve the image through
| | 01:44 | smaller and smaller brush strokes
as it goes on to complete itself.
| | 01:48 | But just be aware when you first start
one of these, if you think something is
| | 01:51 | wrong because you don't recognize the
image, that's because it's starting out
| | 01:55 | with these very large strokes and
then resolve to the final image.
| | 01:59 | Now, this process does take a long time
and I encourage you to watch through it
| | 02:03 | because it is useful for a couple of things.
| | 02:05 | One, you will find out in general for
a certain size resolution image on your
| | 02:09 | processor about how long it takes
and when you start getting into larger
| | 02:14 | images it can take a while and so you
may want to get up, go have a cup of
| | 02:18 | coffee or whatever.
| | 02:19 | But it's also useful just to
watch how this applies itself.
| | 02:23 | It's looking at areas of detail and
kind of suppressing the non-detail area,
| | 02:29 | so that as time goes on, it tends to
spend more of its energy resolving the
| | 02:34 | detailed parts of the image and not
spending so much time in the unimportant areas.
| | 02:39 | But because this takes a while, I'm
going to go ahead and I'm going to stop this
| | 02:43 | now, and this is another point to make.
| | 02:46 | You can stop this at any time you want,
you may say I like it at this point, so
| | 02:50 | go ahead and stop it.
| | 02:51 | There's nothing to say like law that you
have to complete this all the way to the end.
| | 02:57 | Sometimes you will get a nice
impressionistic result, something like you see
| | 03:01 | here without going all the way to the end.
| | 03:03 | So, without going into all of the
vagaries of Auto Painting, just I'll throw out
| | 03:08 | a couple of things here.
| | 03:08 | You could select another brush
and apply it if you wanted to.
| | 03:13 | You may want to disable Smart Stroke
Painting which we'll get into a little bit
| | 03:18 | in the next section here.
| | 03:19 | But I want to talk about the fact
that you don't have to finish the image.
| | 03:25 | Whatever looks visually right
for you is what is visually right.
| | 03:28 | So, there is specific place
you necessarily need to stop.
| | 03:31 | Now I'm going to go ahead and open up a
completed version of the image while I
| | 03:35 | let it play all the way out.
| | 03:36 | So, I'm going to open up auto
finish painting here and here it is.
| | 03:40 | And let's just take a look at the
difference and I'll go ahead and use my tab
| | 03:44 | key to get rid of the UI right now.
| | 03:46 | You could see how much more detail
comparatively speaking there is in this
| | 03:50 | image versus this image.
| | 03:52 | You could see there was a lot of
detail going on in the trees back here.
| | 03:56 | At this point, it's not fully baked.
| | 03:58 | There are still several iterations of
smaller brush stroke that have to go on.
| | 04:02 | The same is true in this area.
| | 04:03 | In fact, we can look at these.
| | 04:05 | You can see here's the original
under painting that we started with.
| | 04:08 | Here it is about mid way through the
process and finally in the center here, we
| | 04:12 | have the completed auto painting.
| | 04:14 | So, you can see how in the process it
uses all this detail but it breaks it down
| | 04:19 | and then slowly starts to bring it
back and which at this point, this an
| | 04:22 | intermediate step and then finally we
get to the finished one and you can see
| | 04:26 | where now these are Brush Strokes and
yet it starts to approximate much of the
| | 04:30 | energy that we find in the photograph.
| | 04:32 | So, the idea here is that Auto
Painting completely takes all of the handwork
| | 04:38 | and does it for you.
| | 04:39 | Now, I'll also be honest and tell
you, I normally would not stop here.
| | 04:43 | This is great first step but
hopefully what you are going to start doing is
| | 04:47 | after you have kind of been
enchanted with a few of these Auto Painted
| | 04:50 | versions, there's nothing to stop you
from taking brushes and going in here and
| | 04:54 | continuing to do more work.
| | 04:56 | At this point, it's somewhat of a filter effect.
| | 04:59 | It's a very sophisticated but it's
going to apply the same rule set every time
| | 05:05 | to every image that it's applied to.
| | 05:07 | So, you are going to start
getting a very similar look.
| | 05:09 | Obviously the content makes a big
difference but it's important to realize
| | 05:13 | that there's life beyond Auto
Painting and hopefully it's a springboard for
| | 05:17 | you to continue on.
| | 05:19 | So that in a nutshell is Auto
Painting and try it out, you will have a good
| | 05:24 | time there.
| | Collapse this transcript |
| Using manual controls for auto-painting| 00:00 | We are now going to take a look at
Manual Auto-Painting and you may be
| | 00:03 | scratching your head, how
can Auto-Painting be manual?
| | 00:07 | Well that actually can, because we are
going to be in the Auto-Painting palette,
| | 00:10 | but we are going to shut off Smart
Settings and Smart Stroke Painting.
| | 00:14 | What that does is it now gives me
access to all of these controls, which before
| | 00:19 | were under Automated Control.
| | 00:21 | Now, I'm going to set everything
about the Brushes and the thing that this
| | 00:27 | really opens up is the fact that you
can use any Brush in Painter to do this as
| | 00:31 | long is it set to be Cloning, which
opens up the expressive door much wider than
| | 00:37 | it was capable when you were simply
relying on a narrow set of variants.
| | 00:41 | And so for that reason alone this is
worth investigating and the other reason
| | 00:46 | to do this is important is that by
manually controlling this you are still
| | 00:51 | letting Painter apply the brush
strokes but you are deciding exactly how the
| | 00:57 | brush is working in this more or less
automated hand and let's go through and
| | 01:02 | take a look at some of these.
| | 01:03 | We are going to use the same image we
used before, I'm just going to now do a
| | 01:07 | select all by Ctrl+A or Command+A and
then hit the Delete or Backspace key so
| | 01:13 | now we have got our
fresh canvas to work on here.
| | 01:16 | I'm just going to start it up right now
in its current setting without anything
| | 01:20 | being done, let's just
see what's happening here.
| | 01:22 | Okay what's happening and at this point
this image could go on forever and it's
| | 01:26 | never going to resolve, so don't sit and
watch one of these and think it's going
| | 01:30 | to resolve because that's
one thing it does not do.
| | 01:32 | That is now up to you but the other
thing that it is doing is it's using a
| | 01:38 | stroke to apply this as opposed to
automatically stroking the image based on
| | 01:43 | Contrast and Detail.
| | 01:45 | It's now basically automated.
| | 01:47 | The first thing we want to look at
in the Auto-Painting palette is the
| | 01:50 | stroke that it's using.
| | 01:51 | It's using the Scribble Large Stroke.
| | 01:54 | Now I'm going to go ahead and just stop,
by clicking the Stop button down here
| | 01:58 | and I'm going to undo and remember you
can stop these at any times so I'm just
| | 02:02 | going to let it play for just an
instance I'm going to stop it, okay you can
| | 02:06 | already see it's applying more or a
less a stroke that is rather kind of
| | 02:10 | scribbled and that is what happening here.
| | 02:13 | Now if I go and change to a stroke
like Short Dab for example, let's Undo and
| | 02:18 | then play, well now you can see this
is a very different stroke, let's try a
| | 02:22 | different one, let's go to Hatch, okay
now this is drawing a very long single
| | 02:29 | line, so you can see here, you can
start to get a lot of character just by
| | 02:33 | selecting the particular stroke that you
get out of the stroke list, so now it's
| | 02:38 | doing a Curve Stroke.
| | 02:39 | So that's the first thing to
understand is that we do have the ability to
| | 02:43 | determine the stroke
that is going to be applied.
| | 02:46 | The second thing I want to explain
here is the way these settings are set to
| | 02:51 | my mind is incorrect.
| | 02:52 | I'm going to show you how I typically zero
out or what I called nulling all of these.
| | 02:58 | I'm going to set this to 100%
because you do pretty much want 100%.
| | 03:02 | This is the one control that we may go
back and adjust a little bit, but I'm
| | 03:06 | going to take this and I'm
going to put it right at 100%.
| | 03:08 | I'm going to set Length to 100%.
| | 03:10 | I'm going to set Rotation now all
the way to 360 degrees and I'm going to
| | 03:15 | Brush Size to 100%.
| | 03:16 | Now why did I do that?
| | 03:18 | Well if you have any of these
changed and let's use Brush Size as our
| | 03:22 | example, this is deciding what percentage of
the actual size of the brush you are going to use.
| | 03:27 | If you set this anything other than 100
%, it's real easy to want to start going
| | 03:32 | up and adjusting the Brush Size which
works, but I would much rather have these
| | 03:36 | settings set, so that I
don't alter the brush size.
| | 03:40 | I don't mess with that, all of
the size changes going on down here.
| | 03:43 | That way by having the settings more or
less nulled out to what the brush would
| | 03:49 | do all on its own without any bias by
length or size or pressure anything, you
| | 03:54 | will understand much more
accurately what's going on here.
| | 03:57 | As soon as you start playing with the
brush size up here, well all of a sudden
| | 04:00 | you have played around with the
original Brush Size setting and all of a sudden
| | 04:04 | 100% no longer means the 100% means
100% of some setting you have given it.
| | 04:09 | So just to get you to wrap your head
around this it's best to kind of set it up
| | 04:13 | to these more or less null settings as
I said this does not bias the brush in
| | 04:17 | anyway other than we are telling the
strokes to rotate 360 degrees which is
| | 04:22 | normal, there may be situations where
you are going to want to adjust this but
| | 04:25 | normally I just set it at 360.
| | 04:27 | Same with Randomness and I'll go around
and show you how you can play with these
| | 04:31 | different settings to effect the brush,
but you want to do it from here you
| | 04:35 | don't want to do it from up in the
Brush Control bar and finally Randomness if
| | 04:39 | enabled in all of these cases.
| | 04:41 | Once you get really into this, you
will see maybe I don't want this to be
| | 04:44 | Random or Rotation or whatever, but for the
most general usage this is the setting I prefer.
| | 04:49 | Now let's go ahead and we'll take the
Acrylics Captured Bristle and I'm going to
| | 04:54 | go back to that Scribble Large
because that's a good one to show you.
| | 04:57 | So now with the settings at their
normal settings I'm going to play it quickly
| | 05:01 | and I'll just stop it after we get a
look at what the stroke looks like.
| | 05:04 | Okay right now that's very large, I'm
going to Undo this and now let's take this
| | 05:09 | and the way I like to work in this so
you kind of keep a more or less systematic
| | 05:13 | way of doing things is I try
not to just randomly change this.
| | 05:16 | Right now I'm going to go to the half of
its original size, so I'm going to take
| | 05:19 | it down to 50% and like working on very
set size increments you will have a much
| | 05:25 | better way of kind of two times ago I
did it in 100%, then last time 75 and this
| | 05:30 | time 50, rather than just juggling
with random numbers in your head.
| | 05:34 | Now you can see those strokes are
getting somewhat smaller, let's Undo and
| | 05:38 | take it down to 25%.
| | 05:40 | Now you can see how the individual looks
of those strokes are starting to make sense.
| | 05:46 | Let's now play around with Length
and let's take that down to maybe 50%.
| | 05:50 | So now the strokes that are being
created themselves are somewhat shorter.
| | 05:55 | So you can start to see here there is
a definite control that you can exert
| | 05:59 | over this and for example, let's take
360 all the way down to 0, now you can
| | 06:04 | see every stroke is being applied at
the exact same angle, but it's not as
| | 06:09 | random as it can be.
| | 06:10 | But you can see how these settings
can start to very much control what you
| | 06:15 | are creating on screen.
| | 06:17 | Now I'm going to take these back to
their normal settings and let's just try
| | 06:23 | a different brush, let's go with Hatch, this
is the one we looked at a little while ago.
| | 06:28 | So this is just kind of creating a
random direction here and let's kind of play
| | 06:32 | the game that the Smart Stroke Painting plays.
| | 06:35 | So it's applying strokes with in that
one point it stops and it starts to make
| | 06:40 | the Brush Size smaller, so let's make
it maybe 75% or what it was, now we are
| | 06:44 | making a smaller brush stroke and if we
continue kind of play the game that the
| | 06:48 | Auto Painting Plays it's
going to keep reducing this down.
| | 06:52 | One way to think of Brush Size is
almost in camera terms is like an aperture.
| | 06:57 | The smaller this brush size gets the
more detail it's going to bring through.
| | 07:03 | So smaller Brush Sizes create higher
detail, so the smaller I make this the more
| | 07:08 | I can actually bring more and more of
the original detail and the image through,
| | 07:13 | if I want to do that.
| | 07:13 | So you get it down about half
on 12%, so click it up here.
| | 07:18 | This is similar to what
happens on the Auto-Painting.
| | 07:20 | It's a little harder to see what's
going on and unlike the Auto-Painting the
| | 07:24 | Smart Stroke Painting it's dispersing
the energy everywhere in the image but you
| | 07:28 | can see where it's starting to
resolve itself more and more.
| | 07:30 | So a key understanding about Cloning in
any form is that the smaller the brush
| | 07:36 | size the more unit of detail you are
brining through to the original image.
| | 07:41 | So let's back once again into our
original settings and I'm going to Undo here
| | 07:44 | and let me tell this too.
| | 07:46 | Sometimes if you want to clear the
screen you will find you have got to quickly
| | 07:49 | do two undos in a row.
| | 07:51 | Now because I was doing several things
there were several items that were there,
| | 07:54 | but if you want to undo like this,
if I do this for a second I stop.
| | 07:58 | I do one undo, nothing happened. Two undos.
| | 08:01 | So two undos is kind of the
common procedure at the end one of
| | 08:05 | these Auto-Paintings.
| | 08:06 | Now let's go into the next round which
is any brush in Painter, I'll qualify
| | 08:11 | that almost any brush.
| | 08:13 | There are some brushes that are
not going to necessarily working.
| | 08:17 | It's somewhat a matter of
experimentation, so let's try the Scratch Board tool.
| | 08:21 | Now I have no idea what this is going
to do at this point, I'm rolling the dice
| | 08:25 | here, but I have mentioned this
elsewhere the key fulcrum point in Painter is in
| | 08:30 | the Colors palette and that's right
here that is the Clone Color button, you
| | 08:33 | will see when I enable that,
the Color palette goes gray.
| | 08:36 | That's because we are now telling this
brush to use the current clone source or
| | 08:42 | the existing image the one that's back
here as my Color palette and so because
| | 08:48 | of that I can now Paint with it and
we have now got all these settings set,
| | 08:52 | let's just see what happens.
| | 08:54 | Okay what this is doing right now its
taking that Hatching Stroke and it's
| | 08:58 | drawing and it's just applying it, you
can where size, in this case, matters
| | 09:03 | because, if I go up here now and say
well I want to start with a much bigger
| | 09:06 | Brush Stroke, let's take it up rather 150 or so.
| | 09:09 | See now I have enlarged that a little
bit, you may have to go a quite a bit
| | 09:13 | here, let's go all the way to there,
and this is a brush that's normally not
| | 09:15 | designed for really wide usage but you
can see its making it pretty wide now.
| | 09:19 | So here's again there is a case of we
are stopping whenever you want, some of
| | 09:23 | that hatching that let's some of the
white canvas show through could be an
| | 09:27 | interesting feature that you want in
your image and because of that being able
| | 09:32 | to stop anytime you want is really a
key part of how this works is you are
| | 09:37 | exerting control you are not telling
Painter just do it all for me, the more you
| | 09:41 | exert control the more these are going
to stop being kind of because I filtered
| | 09:45 | images and more your own expressive images.
| | 09:48 | I am going to go ahead and Undo here
at back and let's take something little
| | 09:52 | more conventional Oil Pastels, Real
Soft Pastels down here, I want to try the
| | 09:55 | Real Soft Pastels and Oil Pastel.
| | 09:58 | So I'm going to go up here now I have
got my Real Soft Pastel, I'm going to
| | 10:02 | enable the Clone Color and let's go
ahead and click and see what's happens here.
| | 10:07 | So think through this with me, we are
seen it bring through some of the imagery,
| | 10:11 | the one thing I can see right now that I
don't care for is the stroke I'm using,
| | 10:17 | so I'm going to go ahead
and stop. I'm going to undo.
| | 10:19 | I'm also going to return this back to
100% right now by Brush Size, but I'm
| | 10:23 | going to change to a different brush.
| | 10:25 | I'm going to try Short Dab. Let's try this.
| | 10:29 | So you can see now its applying a very
Short Dab of stroke each time, but you
| | 10:34 | can also see this would take a long
time to resolve itself, so this is where I
| | 10:40 | can play the game that I have if I'm
going to turn this all the way up and this
| | 10:44 | is where, I mention not playing with
Brush Size but let's just experiment here,
| | 10:49 | I'm going to go in here, I'm going to
take this up to 60 or so, just close I
| | 10:54 | have doubled the size of
the brush, now what happens.
| | 10:56 | So we have enlarged it a bit here, so
that rule I said earlier, break it, rules
| | 11:01 | are made to be broken, normally do not
play with Brush Size but here's where,
| | 11:05 | if I have taken it all the way up to 200
% and it's just not enough you may want
| | 11:09 | to crank this up a bit, so you can
as this plays it starting to bring the
| | 11:15 | original imagery through but it's
doing it in this kind of shape of the chalk
| | 11:20 | mark that's been made.
| | 11:22 | So the whole purpose of this
particular video is to get you to the fearless
| | 11:27 | about the Auto-Painting palette, if I
haven't gotten anything else across to you
| | 11:31 | the idea here is that the term Auto-
Painting is only half right in terms of this
| | 11:35 | palette because it can be a
very manual process as well.
| | 11:40 | So don't be afraid of the Auto-Painting
palette's manual capabilities because to
| | 11:44 | be honest, that's what you are going to
get the most self-expression out of it
| | 11:48 | when you turn off the automatic
features and take control yourself.
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| Restoring detail using the Restoration palette| 00:00 | We're now going to take a
look at the Restoration palette.
| | 00:04 | What does is it enables me to bring
back some of the original imagery that was
| | 00:09 | in our source image and
I've got that opened up again.
| | 00:13 | This is the image we went through and
did some underpainting, and controlled the
| | 00:16 | Color Space a little bit.
| | 00:18 | So now I want to take the image that
I created earlier and actually use the
| | 00:22 | Restoration palette with it.
| | 00:25 | This opens up an interesting
little piece of information you need to know
| | 00:28 | is how do I reestablish a connection
between a source and a destination image so
| | 00:33 | that I can do this kind of work?
| | 00:35 | Let's go up here and I'm going to
go back and I'm going to open the
| | 00:38 | autopaint_finish image.
| | 00:41 | So we've now got the source and destination.
| | 00:45 | What I need to do is reestablish
the connection between those two.
| | 00:49 | So if I go up to the File menu and go
to the Clone Source and just double check here.
| | 00:53 | Let's make sure.
| | 00:55 | We've got autopaint_finish
and that's our target image.
| | 00:58 | Our source image we want to be in this
case the morning_sununderpaint image,
| | 01:03 | and that is selected.
| | 01:04 | If it isn't, you want make sure that you
can select here so that they are linked up.
| | 01:09 | So we've now got our connection
between these two images setup.
| | 01:12 | Let's go ahead and go to
the Restoration palette.
| | 01:16 | You can see here you've got two choices.
| | 01:18 | You've got the Soft Edge Cloner
Brush and the Hard Edge Cloner Brush.
| | 01:22 | There are some cases where you'd use
the Hard Edge Cloner but 99% of the time
| | 01:26 | you're going to want to
select the Soft Edge Cloner.
| | 01:30 | What this is going to let me do, and
let's just take look a little bit at the
| | 01:33 | source and destination here.
| | 01:35 | I wanted to look at this for where is the
detail plus where do I want the eye to go.
| | 01:41 | Now there's kind of natural lead-in
into the image, the way that these trees
| | 01:45 | kind of lead you back into here.
| | 01:48 | This is an unusual image in that the
brightest spot is up here, which is
| | 01:51 | definitely is not necessarily the source.
| | 01:53 | It's more of an atmospheric
kind of feel to the image.
| | 01:57 | To my eye I really want a kind of lead
the viewer back in space and maybe some
| | 02:01 | of this Spanish moss
that's hanging in the trees.
| | 02:04 | It's kind of interesting.
| | 02:06 | So I'm going to go back here now and
I'm just going to slightly bring back it.
| | 02:12 | And all I'm doing here is just
kind of painting in this image.
| | 02:15 | What's it's going to slowly do is
bring back some of that original image.
| | 02:19 | This is also why it was important
earlier on that we applied the Smart Blur
| | 02:22 | Filter because even what we're
bringing back now is not 100% photographic.
| | 02:27 | There are times where you may want to
keep the image totally photographic and
| | 02:30 | bring back in, but I find if it's
evened and simplified down a little bit
| | 02:34 | through Smart Blur, that ensures that
what's going to come back up through here
| | 02:37 | is not just pure photographic image,
because that will be a little jarring to
| | 02:41 | have this painted image and see
the pure photograph coming up.
| | 02:45 | So I'm just going in here and
wherever I want or just put a little bit of
| | 02:49 | interest in the image, by refining it
more detail and just painting in those area.
| | 02:54 | But you can see, already I've kind of
gotten up where the detail and this is
| | 02:59 | the way the human eye is designed,
we were hunter, gatherers, have used detail
| | 03:04 | in the scenery around us to go
to that area and spend time in it.
| | 03:09 | Areas of little detail we're not
going to want to spend much on.
| | 03:13 | So artist have long ago figured this
out and they use detail to lead the eye
| | 03:19 | where they want it to go in an image.
| | 03:21 | So you can literally kind of make an
image even though it's not dynamic,
| | 03:24 | it's just a flat 2D image, you can still
get the viewer's eye to move around in an
| | 03:29 | image, based on where you
place an interesting detail.
| | 03:32 | So I'm just putting a little bit more
in here right, just want to have a little
| | 03:35 | detailed path that kind
of leads back into there.
| | 03:37 | And then some areas up here
because they are interesting textures.
| | 03:41 | Just put that where I want within
the image and these areas that are less defined,
| | 03:45 | we don't tend to spend as much time in.
| | 03:47 | So the Restoration palette basically
controls being able to restore some of the
| | 03:54 | original detail in selected parts of the image.
| | 03:57 | Though you can actually play around
with bringing the viewer's eye into the
| | 04:01 | portions of the image that you want.
| | 04:03 | So take advantage of the
Restoration palette, as I said it to outset.
| | 04:07 | This really is setup in a bit of a workflow.
| | 04:10 | First you simplify and adjust the image,
then we apply brush stokes to it, and
| | 04:15 | then finally we do that last little
touch where we bring a little bit of the
| | 04:20 | original imagery back through to
end up with our resulting painting.
| | 04:24 | So the Auto-Painting palettes are a
good tool for applying to source imagery to
| | 04:28 | end up with some widely
varying artistic results.
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|
|
15. Nondestructive Layer PaintingThe photo as wet oil paint| 00:00 | We are now going to take a look at non-
destructive layer painting and what this
| | 00:05 | offers you is a way to work with
imagery or from scratch, so that you have an image
| | 00:12 | built up on several layers and in
doing so it provides you with more
| | 00:18 | fearlessness to try things out
that you wouldn't otherwise do.
| | 00:22 | I'm going to apply this to the notion
of working with a photograph but strictly
| | 00:27 | speaking, you don't have to do that.
| | 00:29 | You could use these same techniques that
we are about to outline for starting an
| | 00:35 | image from the scratch.
| | 00:36 | In either case the idea behind layer
painting is that you have the ability to
| | 00:42 | fracture an image up, so to speak on
multiple layers and when you do that if you
| | 00:49 | are trying something out with regards
to one element in an image, and you are
| | 00:54 | not sure what your final result is
going to be by doing this on a separate layer,
| | 00:59 | it means that should you not like
what you have done, you always have the
| | 01:04 | ability to undo that.
| | 01:05 | Whereas in traditional media or even
with Painter after somebody undoes, that's
| | 01:11 | going to be your image kind of cast in cement.
| | 01:14 | So, this frees you up from getting cast
in that digital cement so that you can
| | 01:20 | actually try things out
in a much more freer style.
| | 01:24 | So, let's take a look at this.
| | 01:26 | If you happen to open up a file and get
a dialog message like this one that says
| | 01:30 | Convert Paths to Shapes.
| | 01:32 | Just go ahead and say yes.
| | 01:33 | It is just part and parcel of
Painter's way of dealing with things.
| | 01:37 | It won't cause any problems if
you go ahead and just say yes.
| | 01:41 | I often use the phrase, Dip your
paintbrush into a photograph and in this
| | 01:45 | particular video we are going to
look exactly at how that's done.
| | 01:49 | But before we just jump in and start
painting there is few things that are
| | 01:53 | Painter specific that are important to
have internalize, otherwise you could
| | 01:58 | find yourself with a great
deal of confusion and frustration.
| | 02:02 | So I'm going to talk a little bit
about Brushes in relation to Pick Up
| | 02:07 | Underlying Color which is in Option in
the Layers palette and show you what can
| | 02:12 | happen in different circumstances
when it is either enabled or disabled.
| | 02:16 | The second thing we are going to talk
about is another one of these features
| | 02:20 | in Painter that I referred to as a
major fulcrum point and it involves the
| | 02:25 | Brush Property Bar and right here is
something called Reset and something called Bleed.
| | 02:32 | What are those things?
| | 02:33 | Well, Reset is short for Resaturation.
| | 02:36 | This is part of Painter's will control.
| | 02:38 | It is where Painter gets its source
of color and Resaturation controls how
| | 02:44 | quickly is color provided to the tip of
the brush so that it can paint with it.
| | 02:49 | The other side of that coin is Bleed.
| | 02:51 | Bleed decides how much do I pick up
any color I find underneath of it and
| | 02:57 | understanding that as you will see
means that the Reset slider when it is
| | 03:01 | present for a brush is like a clutch.
| | 03:04 | When I press down and disable this all
the way, it is like I have put the clutch
| | 03:08 | and I'm just free floating,
no paint is being applied.
| | 03:11 | When I engage the clutch at some
level, I'm then applying paint.
| | 03:15 | Now some of this still is
theoretical until we get into it.
| | 03:18 | So, let's jump in and I'll show you how
this Resaturation control in particular
| | 03:23 | interacts with Pick Up Underlying Color.
| | 03:26 | This is a lesson that we'll follow across
to a pretty big majority of Painter brushes.
| | 03:31 | There are some that do not use the
Resaturation model and in this those case you
| | 03:37 | either cannot do this or there is
another means enabled to which you can engage
| | 03:42 | and disengage color.
| | 03:43 | But I'm going to focus right now
strictly on the large majority of brushes that
| | 03:47 | do use Resaturation.
| | 03:48 | So, let's take a look at our set up right now.
| | 03:50 | We have got a layer.
| | 03:51 | We have got Pick Up Underlying Color on.
| | 03:54 | I have got the Captured Bristles
from Acrylics category, which by default
| | 03:58 | does have resaturation.
| | 04:00 | So when I paint with it you would
expect it to paint whatever the current color
| | 04:04 | is and sure enough it is doing exactly that.
| | 04:08 | So this brush is behaving exactly as
you would expect it to behave out of
| | 04:13 | the box, so to speak.
| | 04:14 | Now, let's look at some of
these conditions that can occur.
| | 04:17 | For example, if I turn off Pick Up
Underlying Color and I paint with a brush,
| | 04:23 | you see how it is being contaminated by
white and there is even this very kind
| | 04:26 | of undesirable white fringing
around the edge of the brush.
| | 04:30 | That tells me right away whenever I
see this condition the first flag that
| | 04:35 | should raise for you is Pick
Up Underlying Color is not on.
| | 04:38 | So when I turn that on
that white does not appear.
| | 04:41 | So we have got one condition that
can happen here and I have given you a
| | 04:45 | technique for disabling this behavior.
| | 04:48 | Now the other thing is you can have
Pick Up Underlying Color enabled and just
| | 04:53 | like I can paint with a brush, you can
say I want to turn this into a Blending
| | 04:57 | Brush only, I can turn
Saturation all the way down.
| | 05:00 | Now, all right there you go,
I'm now blending with my brushes.
| | 05:05 | However once again if you set this up
and you haven't though about checking to
| | 05:10 | make sure that Pick Up Underlying
Color is on, you will run into this, a
| | 05:13 | completely white area.
| | 05:15 | It will try to blend with any colors it
finds on that particular layer, but you
| | 05:19 | can see when you are painting fresh area
it doesn't even know where it is coming
| | 05:23 | from and once again Pick Up Underlying
Color, when that's enabled, that's what
| | 05:27 | telling it to stop using
this sort of false white color.
| | 05:31 | Which is basically what happens when
there is nothing coming off the brush and
| | 05:35 | Pick Up Underlying Color isn't on.
| | 05:37 | You will get that phantom white.
| | 05:39 | But with Pickup Underlying Color on in
this case, you will get a blended color
| | 05:43 | of what's underneath of it and when
Resaturation is turned up, you will get the
| | 05:47 | color that you want to paint with.
| | 05:49 | So, once again think of this
as a major clutch to Painter.
| | 05:54 | I could be using this for some reason
that I'm painting here and then I could
| | 05:57 | say now I want to blend.
| | 05:59 | So I turn that all the way down.
| | 06:00 | Now I'm blending not only the
background, but any colors I find on the layer.
| | 06:05 | So Pick Up Underlying Color and
Resaturation are key components to what we are
| | 06:10 | going to be working with here.
| | 06:13 | The thing that's particularly useful
about this is that it takes a wide range of
| | 06:19 | Painter brushes and instantly
turns them into a blending brush.
| | 06:23 | So you are not limited to strictly
'here is a category Blenders.' There is
| | 06:27 | almost any brush in Painter can be a Blender.
| | 06:30 | It is just categorized that way for
once that make a lot of obvious sense to
| | 06:34 | have in your toolkit.
| | 06:36 | But any brush in Painter
especially the ones that have the Reset and
| | 06:40 | Bleed controls on the Property Bar
are going to be capable of blending
| | 06:45 | color underneath of it.
| | Collapse this transcript |
| Cloning the canvas and building detail with multiple layers| 00:00 | With layer painting, we can build
up an image through multiple layers.
| | 00:05 | We have this ability to use each layer
literally as a target for the imagery
| | 00:11 | that's underneath of it.
| | 00:12 | And if you think that through, essentially
this is as if the canvas is the clone source.
| | 00:19 | Before we had to create a clone to have
a source document somewhere, generally
| | 00:25 | underneath this image and then we use
the destination document to funnel those
| | 00:30 | colors through the brush
onto the destination document.
| | 00:34 | Whereas here we are just
literally picking up the color from this
| | 00:38 | document specifically.
| | 00:40 | So that we now have the ability to
interact this brush directly with
| | 00:44 | that underlying color.
| | 00:46 | And that's exactly where this whole
concept works, of treating the painting as
| | 00:51 | if it were your Color palette.
| | 00:53 | Now, the key thing about this to is,
rather than having to sort of play the show
| | 00:57 | game type thinking that you have to
do with cloning, like that's the source
| | 01:01 | image, and then I have
got the destination image.
| | 01:03 | It's all very straightforward here.
| | 01:05 | There is no show game going on.
| | 01:07 | Other than the fact that you are painting
on layers rather than the Canvas itself.
| | 01:12 | But the way I typically start an image
like this is I work from the background
| | 01:18 | towards the foreground because what's
in the foreground is going to be the most
| | 01:22 | important element in the image.
| | 01:25 | So to begin I'm going to
start in the background.
| | 01:28 | And I usually work from
larger brushes to smaller brushes.
| | 01:31 | That's a bit large.
| | 01:32 | Let's take it down around 50 or so there.
| | 01:35 | And I'm going to go in here and I'm
going to start use the fact that I'm now
| | 01:39 | picking up that underlying color,
remember we did this earlier, where color is
| | 01:44 | now being applied to the layer.
| | 01:46 | And you can see I'm really
softening this out to where it's almost
| | 01:50 | unrecognizable, but that's okay
because we are going to go later on start to
| | 01:54 | bring some of that imagery back.
| | 01:56 | And this is the part that
photographers just really have a hard time with.
| | 02:00 | It's like I'm destroying all of that
detail, but you have to do with the
| | 02:03 | knowledge knowing that we
always have that underlying image.
| | 02:06 | See when I turn that off and turn
it back on, I still have all of that
| | 02:10 | original imagery there.
| | 02:11 | I'm just smearing it
around on a layer at this point.
| | 02:15 | Now I'm going to start to
go to a smaller brush here.
| | 02:17 | So in this case I'm using my
Left Bracket to reduce the size.
| | 02:22 | And we'll just go in here now you can
see I'm blending this, as I go here.
| | 02:26 | One thing you'll run into at some
brushes is it will pull black from outside
| | 02:32 | the image area into the image area,
when then that happens, I just typically
| | 02:35 | smear it back out and I tend to work
with strokes going into or out of the
| | 02:40 | canvas to avoid that issue.
| | 02:43 | Now this is all in the foreground, but
once again I'm going to treat the purple
| | 02:47 | flowers here as my stars.
| | 02:49 | So these are kind of bit players at
this point or standings, or extras.
| | 02:53 | And as I'm getting closer though, I'm
also starting to reduce my brush size, so
| | 02:58 | I'm going to reduce down even a little bit more.
| | 03:00 | I'm at 65% here I'm going to zoom up to
100% because as I get closer, I'm going
| | 03:05 | to want to start to spend a
little bit more time on this.
| | 03:09 | I am not going to go through this image and
try to finish it up to a high degree of polish.
| | 03:13 | I just wanted to show you these steps
enough, so that you can see how the use of
| | 03:18 | layering your painting can be highly useful.
| | 03:22 | Another aspect of this that makes it
very useful is by isolating these areas on
| | 03:26 | separate layers, I may come back later
on and realize, oh you know, I didn't
| | 03:31 | like what I did in the background, but
I have that layer to erase or start over
| | 03:37 | on just that particular element
without having everything on one layer, like
| | 03:41 | traditional painting, Everything is
happening on the single layer, and as a
| | 03:44 | result you got to run into an
issue where you don't have no recourse.
| | 03:49 | Now, I'm going to go back up here,
I'm going to make this a little larger.
| | 03:52 | I'm just going to smear this out.
| | 03:54 | And again, this is very scary, if you
are thinking in terms of traditional,
| | 03:58 | non-layered painting, because it's like,
he is destroying all of this detail,
| | 04:02 | but we already know, I have got the
layer underneath of it available to me, to
| | 04:07 | bring back anything I want.
| | 04:08 | That's the next step we
are now going to talk about.
| | 04:11 | We have this image, but I can start to
bring detail backup and that's where this
| | 04:16 | whole layer painting
things becomes very interesting.
| | 04:19 | I am going to create a new layer, but I'm
going to shut this layer off temporarily.
| | 04:23 | Actually one more thing I'm going to
do here is, let's get into this detail.
| | 04:27 | So, I'm going to go through here and
I'm using the somewhat smaller brush
| | 04:30 | intentionally to make sure that some of
the character of these purple clusters
| | 04:35 | of flowers are being retained.
| | 04:37 | I can still look at that and see the fact
that those are these little towers of buds.
| | 04:42 | Once again, I don't want to
stroke in or I'll get that black.
| | 04:46 | Okay, now here is where this next
layer is going to make a difference.
| | 04:49 | See I have left these on separate layer.
| | 04:51 | So I have got just the close up flowers,
and I have also got just the background area.
| | 04:56 | And just for some reason if I decide,
I don't like one of these areas, the
| | 05:00 | fact that they are built up on
multiple layers, means I can get back very
| | 05:04 | easily to areas that I want.
| | 05:06 | Here is another little thing you can do.
| | 05:08 | If you decide some area is more important,
you can just grab the Eraser tool and
| | 05:15 | you can see here now, how I'm just
erasing through parts of that image.
| | 05:20 | So here is another little safety net, if
I get to somewhere and I realize that's
| | 05:24 | not correct, I can now go back
to my brush and rework it again.
| | 05:28 | So this is the part that which you
are going to be dealing with here.
| | 05:31 | It's kind of a push and pull between
your painted rendition, and the original
| | 05:36 | photograph that's underneath.
| | 05:38 | You can push it into painting and then
you can pull it back into photographic
| | 05:42 | detail as much or as little as you want.
| | 05:45 | Now we are going to create a third layer.
| | 05:46 | And here is a little trick.
| | 05:47 | This is the one that took me a
while to figure this out myself.
| | 05:51 | I want to start bringing back more
detail into these flowers, and sure enough
| | 05:55 | the detail is down here, but these
two layers are in my way right now.
| | 05:59 | Well, we can do what I just did.
| | 06:01 | If I turn these off I'm going start
bringing that detail back on this layer,
| | 06:05 | which is going to be above them.
| | 06:07 | I mean I can even do it down
here if I wanted right now.
| | 06:09 | But I want to ultimately mix with the
colors that are underneath, and it will
| | 06:13 | still mix with these colors even
when these layers are turned off.
| | 06:17 | So I'm going to now go and get
even maybe a little bit closer.
| | 06:21 | I'm going to reduce my brush size down.
| | 06:24 | There is no magic formula but I start
to look at what these little blossom
| | 06:27 | elements are and I'm making
my brush roughly that size.
| | 06:30 | So I'm going in here now, and I'm
just going to start to color these.
| | 06:34 | If I turn this off temporarily,
you can see what's happening.
| | 06:37 | I'll kind of play like I know where
they are and then I don't really, but you
| | 06:40 | can see it's picking up just
that color that it's finding.
| | 06:43 | It's a little bit of show game I guess
at this point because you don't really
| | 06:48 | see a whole lot about what you are
blending and yet as soon as I turn this on,
| | 06:52 | you could see how all that details
coming back through to that layer.
| | 06:56 | So now it's just a matter of going
in here, and smearing around picking,
| | 07:01 | grabbing, pulling in the direction in
this case kind of how the little florets
| | 07:06 | are building up in here.
| | 07:08 | But you'll see, what we were doing now
is we are replacing what was all to this
| | 07:12 | photographic detail with the
vocabulary of painting detail.
| | 07:16 | An artist is not going to draw every
single little petal, and highlight the
| | 07:21 | stamen and pistil and all of those parts.
| | 07:23 | They are just going to
indicate, what's going on there.
| | 07:25 | So I won't attempt to do the entire
painting here, but I just want to get enough
| | 07:30 | in this particular area, so that you can
see how that detail is coming back now,
| | 07:35 | but it's because we are using smaller
brush strokes of color, which ones again
| | 07:40 | are coming from the underlying imagery.
| | 07:43 | But it's coming through utilizing the
characteristics of the brush strokes.
| | 07:47 | Now if we back this out, I'm going to do
Command+0 or Ctrl+0 to fit this in there.
| | 07:53 | Now you can see how that detail is
starting to come up whereas in the other
| | 07:57 | areas, it's still very soft and
it's also where you start to see, while
| | 08:01 | there are areas in here that I'm confusing
some of these soft areas with my brush strokes.
| | 08:06 | So once again, you may need to do a
little bit of push and pull to get back in
| | 08:10 | here, and let's say I
want to go to this layer now.
| | 08:13 | Remember that we have painted this on
this layer and I'm going to be dealing
| | 08:17 | with one layer below.
| | 08:18 | So I can literally go in here and kind
of just even paint up into and under the
| | 08:24 | areas that I painted in because they are on top.
| | 08:26 | So layer painting is in a way.
| | 08:29 | It's this sort of another world where
paint can exist on all different layers,
| | 08:34 | and yet it still looks as if it's
one flat image, and yet it's not.
| | 08:39 | Now I'm going to take this one step further,
and we are going to create another new layer.
| | 08:44 | So now we have got our fourth layer here.
| | 08:46 | I'm going turn these off temporarily
and what I'm going to do is take advantage
| | 08:51 | of the fact that I can pick
up any color that's in here.
| | 08:54 | I'm just going to find one of the very
bright sort of magentas that are here.
| | 08:57 | So I have got it here and that's
roughly in the category of these colors
| | 09:01 | that's about is brilliant as it's gets, but
look out far away it is from fully saturated.
| | 09:06 | So I can go ahead and turn this up and
turn these all back on now, and remember
| | 09:11 | that this is my clutch right now,
I'm not painting with color.
| | 09:15 | If I turn this up I'm now
going to paint with color again.
| | 09:18 | So what I want to do here is just
reduce my brush to a very small size and one
| | 09:23 | of the things that I can do on my top
layer is go in and just start to add a few
| | 09:28 | highlights of color that we are missing
and this is where I'm starting to apply
| | 09:32 | some more of my own sensibility rather
than relying on the photograph, and I
| | 09:37 | might want to get a kind of nice light
pink in some of these highlight areas.
| | 09:41 | So what you want to learn to do is not
let the photograph tell you what to do.
| | 09:45 | At this point, I'm starting to combine
both photo painted imagery, and the fact
| | 09:50 | that I can load this brush up with color.
| | 09:52 | There are even some of these blue little
florets and I'm going to crank this up,
| | 09:56 | and maybe I want a little more blue.
| | 09:57 | So I'm deciding, not so much it, but
I'm just going to highlight and extenuate
| | 10:02 | those blues that I happen on here.
| | 10:04 | So painting on layers let's me pick up
the underlying color from in this case a
| | 10:09 | photograph, but it also let's me
apply colors that weren't there.
| | 10:14 | So I start to have this very malleable
world in which as much or as little of
| | 10:20 | the photograph can come through.
| | 10:23 | I have total control over when I want
to access the colors directly from the
| | 10:28 | photograph or I can decide when do I
want to apply my own colors, and I can
| | 10:33 | base them on the photograph or I can
decide paint entirely different colors
| | 10:37 | here, if I wanted to.
| | 10:39 | But this whole notion of layer
painting really gives you a very large safety
| | 10:45 | net, in which you can try things out
and it does take a little acclimating
| | 10:49 | because as I mentioned, for a while,
I was painting on layers, before I
| | 10:54 | realized, well, I can shut off these
two sort of large brush stroke layers
| | 10:59 | and leave this layer on and start
picking the original colors back up then, I
| | 11:03 | can turn these back on.
| | 11:04 | I'll have actually dip my brush into the
high detailed portion of the photograph
| | 11:12 | only to have it appear on top of the
more softer less defined areas and in doing
| | 11:19 | so, you can totally build up your
detail and then finally, I actually started
| | 11:23 | applying some brush strokes that
weren't even in the original image to be able
| | 11:27 | to add further to the fine
detail element of this image.
| | 11:32 | So, that in a nutshell is non
-destructive layer painting.
| | 11:36 | Basically the fundamentals I have laid
out for you, are the set of guidelines
| | 11:40 | to follow, and using these guidelines,
you can incorporate layer painting as a
| | 11:45 | major workflow in how you create your
imagery and as we said, it can either be
| | 11:51 | with underline photography or it can be
painted by hand or in this case it can
| | 11:55 | be both.
| | Collapse this transcript |
|
|
16. EffectsApplying surface texture| 00:00 | In this chapter, we are
going to take a look at effects.
| | 00:03 | Painter has a whole menu of different
kinds of filters and interesting things
| | 00:09 | that it can apply to an image and many
of them you would recognize from other
| | 00:13 | applications. No surprises there.
| | 00:16 | But Painter does have some
interesting different filters that in some cases
| | 00:21 | haven't seen the light of day for a while,
they have kind of been buried back in
| | 00:26 | their closet, but they have actually been
in the application for some time and I'm
| | 00:29 | going to go through and I'll show you
a newer feature, as well as some of
| | 00:33 | the ones that have been buried in the closet.
| | 00:35 | We'll dust them off and take a look at them.
| | 00:38 | So, let's look at effects.
| | 00:40 | In this video we are going to take a
look at Apply Surface Texture and as the
| | 00:44 | name of this effect implies, this
allows you to imbue an image with a sense
| | 00:50 | of surface that's almost three dimensional,
as if you could almost reach out and touch it.
| | 00:55 | Now so far, we worked on this earlier
from a photograph but I want to even go
| | 00:59 | further into making this appear
painted and I have taken the original image,
| | 01:04 | which was layered and flattened down,
and we are going to go to the Effects menu
| | 01:09 | and under Surface Control we
have Apply Surface Texture.
| | 01:15 | So, we'll click on that and
this brings up this dialog.
| | 01:17 | And there are several things I can
do in here, all of these sliders are
| | 01:21 | dedicated to achieving various
types of visual control over your three
| | 01:27 | dimensional appearance that
surface texture is going to apply.
| | 01:30 | Then normally, we use paper but I'm
also going to show you this Image Luminance
| | 01:35 | feature that's in the Using pop-up.
| | 01:37 | This just determines where is the
source of the three dimensional information
| | 01:41 | being generated from.
| | 01:42 | And in this case, we are
just saying the actual image.
| | 01:45 | So, we are now looking at the image and
I think you can see and I'll just really
| | 01:50 | overdo it so that you can see it.
| | 01:51 | It applies the appearance of a three
dimensional height to everything within the
| | 01:58 | image and I have got it right
now so that it's way over done.
| | 02:02 | But the idea is to really pull
this down to a very minimal level.
| | 02:07 | Now compared to where we were, this looks good.
| | 02:10 | So, I'm going to say OK and that one is
actually pretty good but even now, I can
| | 02:17 | still see it kind of showing up a little
more than I want in the image, in fact,
| | 02:20 | I'm going to go to 100% here so we
get the actual pixels to look at.
| | 02:24 | And there's just something about it.
| | 02:27 | It's a little bit too strong.
| | 02:28 | The think you basically want to do is keep
these kind of at the threshold of consciousness.
| | 02:33 | You don't want the viewer to be
actually distracted by this stuff.
| | 02:38 | It should be just noticeable enough so
that it adds to the image but it also
| | 02:44 | should be subtle enough that it
doesn't distract or call attention to itself.
| | 02:50 | And even after I have applied it, I
have the option of going up to my Edit menu
| | 02:55 | and I can take advantage of the Fade command
| | 02:57 | Now, the Fade command just undoes
what you did by a certain amount.
| | 03:01 | If I say Undo 0% that's exactly
how it looks now on the canvas.
| | 03:07 | If I take it to Undo 100%, well it
will have us back to our original image
| | 03:13 | before that was applied and I want
somewhere in between there and you have heard
| | 03:17 | me mention the old 50% rule.
| | 03:19 | Well, this is actually a case in point
where for this particular filter, I would
| | 03:24 | say about 50% is right and so
I'm going to go ahead and say OK.
| | 03:29 | So we have applied a little bit of
three dimensionality to this, but I want to
| | 03:32 | apply now a texture to it.
| | 03:35 | And I'm going to open up the Paper palette here.
| | 03:38 | So we'll launch our Paper palette
and I'm going to now open up Apply
| | 03:43 | Surface Texture again.
| | 03:45 | Now, we are going to tell it we want to
use the Paper as our source and the nice
| | 03:49 | thing about this is while this is opened,
I can actually adjust this so that you
| | 03:53 | could see how, as I'm changing the
scale in the Papers palette, I'm also seeing
| | 03:58 | the scale change here.
| | 04:00 | Now, one of the reasons that's
important is, you may want it to stop to think
| | 04:03 | about what size of a painting is this
and I'm kind of envision it as a very
| | 04:09 | small 12 x 8 inches or so.
| | 04:12 | So, it's not a really large painting
and because of that, you wouldn't want to
| | 04:15 | keep too small of a paper grain,
especially this cotton canvas because if it's
| | 04:22 | too small it's going to look as if it's
a larger painting because canvas weaves
| | 04:27 | are fairly in this ballpark in terms of
count per inch or whatever, so that by
| | 04:32 | playing around with this a bit, I can
get what's going to look like the right
| | 04:36 | scale for the image and
here's a case in point again.
| | 04:39 | Right now this looks pretty good, but
while it is kind of turned up, lets just
| | 04:44 | look a little bit of what I can do here.
| | 04:45 | For one thing, I can play with the Shine.
| | 04:48 | If I wanted it to be a very matte canvas,
I can turn that down and what it does
| | 04:52 | is it get rids of the little highlights
that make up the little point of light
| | 04:57 | that is hitting the high
peaks of the paper grain.
| | 05:00 | So if I turn it up, you will start to see
how it casts a light on that highlight edge.
| | 05:06 | Now, let's just go ahead and say OK.
| | 05:08 | And you can see by far that is way too
strong and I can tell you that when you
| | 05:14 | look at that little preview, it's
isolated and you are seeing it kind of
| | 05:19 | surgically removed from the
context of the overall image.
| | 05:23 | And so it's not unusual at all to do this
and then once you have applied it, realize oh!
| | 05:28 | that was way too much.
| | 05:29 | So, I'm going to Undo and I'm going
to go back and I'm going to turn Shine
| | 05:34 | just all the way down and I think any amount
of that is going to end up being objectionable.
| | 05:39 | And I also am going to apply my 50%
rule, while this looks good in here, I'm
| | 05:43 | going to take this down to about half,
so it will be about 17%, 18% and I'm
| | 05:48 | going to apply that and now that's much
closer but even now, that's just enough
| | 05:53 | causing a pattern on the
image that you tend to see it.
| | 05:58 | So, I'm going to once again go to my
Fade command here and at least 50% is
| | 06:03 | probably good, lets try that.
| | 06:05 | Now, there, there I can see it.
| | 06:07 | It's in the image but it's not in
the image to the point that it calls
| | 06:11 | attention to itself.
| | 06:13 | So, these tools take a bit of
understanding how to sort of throttle yourself
| | 06:18 | back because it's so easy to get
enamored by the tool, when in fact you got to
| | 06:23 | ask yourself the question
what's the star of the show here?
| | 06:25 | Is it the flowers that have been painted or
is the physical characteristics of the canvas?
| | 06:31 | Well, the answer should be
obvious. It's the flowers.
| | 06:34 | So, anything added beyond that
has to play a very supporting role.
| | 06:39 | So Apply Surface Texture is a great way
to add a bit of physical texture to your
| | 06:46 | finished images, just be sure to use a
subtle hand when you apply these tools.
| | Collapse this transcript |
| Matching the color palette between two images| 00:01 | In this movie, we are going to take
a look at the Match Palette command.
| | 00:05 | Typically this is used in photographic
circumstances where maybe you have got
| | 00:10 | several shots from the same session, but
for the some reason the lighting changed
| | 00:15 | or something you want to take the
colors from the preferred lighting source and
| | 00:20 | apply it to the other photograph.
| | 00:23 | You can certainly use the Match
Palette command for that, but I find it much
| | 00:26 | better to used it more for artistic purposes.
| | 00:29 | I'm just going to make a
theoretical circumstance here.
| | 00:34 | Let's say a really like this image, but
after I'm all done, I got to looking at
| | 00:38 | painting by Monet and I realize I
really like the color palette to he used on
| | 00:44 | a particular image.
| | 00:45 | So, with Match Palette, as long as you
have access to the image, there is no
| | 00:51 | reason you can't use it to
apply it to one of your paintings.
| | 00:54 | So, I'm going to go in and open up a
file that we have here in the Chapter 16
| | 01:02 | and it's called Monet.
| | 01:04 | You will see that this is not the same
scenery, but you really like the colors
| | 01:09 | and you want to apply this or just see
what your image looks like with these
| | 01:14 | colors applied to your painting.
| | 01:17 | So, I'll just poke this down to the
corner and let's go in here and we are going
| | 01:22 | to the Match Palette.
| | 01:24 | Now, Match Palette is in the Tonal
Control submenu and if you just go down and
| | 01:29 | select Match Palette, this will give
us our image and you can find the image
| | 01:35 | that you want to use as your
source in the drop-down menu.
| | 01:39 | So, I'm selecting Monet, so we have got
this image and what's happening here is
| | 01:44 | right now it's just using
kind of the basic settings.
| | 01:49 | I'm going to push them up a little bit,
so color right now is just it's kind of
| | 01:53 | taking 50% of the color and mixing
that in with 50% of the existing color.
| | 01:58 | But if I push this all the way up, it's
going to start to change it completely.
| | 02:02 | I can also use this is kind of a way
to really fully take it as far as I
| | 02:07 | can with the new color.
| | 02:08 | So, I'm going to pull this all the way up.
| | 02:12 | Brightness lets me control, do I want
to change the brightness to the original
| | 02:18 | or do I want to use the brightness in
the source image which in this case you
| | 02:22 | can see it's pretty light compared
to this, but we can play with it.
| | 02:26 | So, I could keep it in the same value range,
but apply the colors which kind of look nice.
| | 02:32 | So, I'm going to do that and then
variance just kind of throttles the
| | 02:36 | contrast in the image.
| | 02:37 | So, I can push the contrast and I would
have to look around here a little bit to
| | 02:42 | see and I'm liking what I'm seeing.
| | 02:43 | I can always undo it.
| | 02:45 | Then as a master control, you can kind
of feather between your all the way from
| | 02:48 | the original to the changed work.
| | 02:51 | So, let's go ahead and apply that and if
we compare, you can see it's definitely
| | 02:57 | taken this color palette and applied it.
| | 03:00 | So, in a matter of speaking, this lets
you steal from the Masters, you can take
| | 03:04 | all of Monet's education in how he
figured out how to mix his palette and get a
| | 03:10 | certain set of colors and just
lift those colors and put it here.
| | 03:13 | I am just going to undo this and redo it, so
you can see the difference that we have done here.
| | 03:17 | So, here is the changed image with
the Monet palette associated with it and
| | 03:22 | here it is before and it's a judgment call,
this is the very subjective kind of operation.
| | 03:28 | Some people may say I really prefer this.
| | 03:31 | To me it looks a little washed
out, but it does get me there.
| | 03:35 | Now, if I did want to go a little
further, there is nothing to stop me from
| | 03:38 | going in a Tonal Control and
increasing the saturations a more.
| | 03:42 | So, I could do that, now that's the bit
much, but you can see if I want to now
| | 03:47 | use the Fade command that we used
before, it will cut that in about half.
| | 03:51 | So, You can see that you have control
with the Match Palette and then even
| | 03:55 | afterwards some further kind of
cajoling of the color is possible, but if I
| | 04:00 | undo, there's what it was
and then there's the original.
| | 04:02 | So, this is actually a very good
way to interpret one painting's colors
| | 04:08 | into another.
| | Collapse this transcript |
| Marbling| 00:01 | In this video, we are going
to take a look at marbling.
| | 00:04 | Marbling is a command
| | 00:05 | that's actually been in Painter since all
the way back to version 2, but I think
| | 00:09 | over the years it's kind of gotten
buried in the closet and a lot of people
| | 00:13 | either don't know it's there, or they
look at it and they don't understand
| | 00:16 | how it functions and as result it just
kind of stays buried in the closet, but
| | 00:20 | it's a really interesting command and I'm going
to dust it off here and show you how it works.
| | 00:25 | But to get started, I'm going to go
in to another command associated with
| | 00:30 | marbling, which is Blobs. Now you think
blobs, what does that have to do with marbling?
| | 00:35 | Well, why don't we get this started and
I'll show you what I'm talking about here?
| | 00:39 | I am going just to create a set of
blobs in here, so you can see basically
| | 00:42 | what it looks like.
| | 00:44 | So it's just randomly dispersing these
blobs, and you can see that there always
| | 00:48 | kind of self repelling. Every once in a
while they'll overlap, I can even see a
| | 00:52 | little bit of a division there, but
for the most part, it's trying to treat
| | 00:57 | this liquid almost as if it's water and
this is oil based, and water and oil do not mix.
| | 01:03 | Now, I'm going to make this
a little more interesting.
| | 01:05 | Now I want to start with a color and in
fact that's one of the things that they
| | 01:09 | would do in marbling. They would have
some kind of base color that they would
| | 01:12 | start with, and then they would start
applying these various levels of color
| | 01:17 | into it with the oil and water principle at play.
| | 01:20 | So I'm going to go ahead and use the
Fill command, which is Command+F or Ctrl+F,
| | 01:24 | and I'm going to fill with the current color.
| | 01:27 | So now we've got a nice basis for
applying this, you could do it on white, but I
| | 01:30 | don't think it would be as interesting.
| | 01:32 | I like to take a middle toned color
to start with and then start applying.
| | 01:36 | And now it's all a matter of what colors
do you choose to put in here, and there
| | 01:41 | is no rule. I mean any set of colors
would work, but sometimes I like to stay
| | 01:45 | more in a close color range,
within one-half of the color wheel.
| | 01:50 | That will give you a set of colors that
have a fairly close relationship, and I
| | 01:54 | find that works quite well.
| | 01:55 | So we are going to go back and we'll
go to the Blobs command, and for now,
| | 02:00 | I'm going to do less.
| | 02:01 | So I'm going to make 40 blobs, so you
can control the number of blobs, and I'm
| | 02:05 | also going to play with the size, and
to start off I want to little bit bigger.
| | 02:09 | So I'm going to go here, I'm just going
to type 40, and then this will may go up
| | 02:14 | to 80, and let's go ahead and hit OK.
| | 02:20 | Now it's starting to encode
these blobs into our background.
| | 02:24 | And I'm just going to take few more colors here.
| | 02:27 | Let's go back, apply Blobs again,
I'll do with the same this time.
| | 02:31 | And actually one way I can do this is
just kind of keep moving this over, but
| | 02:35 | again, I'm just making this up as I go.
| | 02:37 | It's really something that
is totally under your control.
| | 02:41 | Let's go to Effects > Blob one more time here.
| | 02:44 | If you've open this dialog up, you can
still go in here, and change your color,
| | 02:48 | so don't feel like if you are in a
dialog it's mottle and there is no way to do
| | 02:52 | anything, you still have
access to all of this color control.
| | 02:55 | So let's maybe now take this
and make it little smaller.
| | 02:59 | So I'm going to make this 30 to maybe 60.
| | 03:05 | And now I'm playing with numbers,
I kind of know these work there.
| | 03:08 | Again, there is no magic number here,
but when you've played with this enough,
| | 03:11 | you start to get a sense, well, I'm
going to start bigger, and work smaller.
| | 03:14 | That's how I like to work
but again anything goes here.
| | 03:18 | Now finally, I'm going to put
something close to white in there.
| | 03:21 | I might go back around now a little
bit more to the blue side of thing.
| | 03:24 | So it's not going to be full white,
but it will be close, and I'm going to
| | 03:27 | make these smaller.
| | 03:28 | So I'm going to make the Maximum Size
40, and we'll make the Maximum Size 20,
| | 03:35 | and I'm going to put a rather large amount.
| | 03:37 | I'm going to do 120.
| | 03:38 | So we'll just do a larger number here.
| | 03:40 | It will kind of pepper it a bit.
| | 03:43 | Then finally, I'm going to take a
very dark color here, very dark blue, and
| | 03:48 | we'll go back one more time, and I'm
even going to make this smaller, so I'm
| | 03:52 | going to make this about 10, and maybe just
30, and maybe we'll put about 150 over there.
| | 04:01 | So there we've got a nice
stone pattern to start with.
| | 04:05 | Now we are actually going to apply marbling.
| | 04:08 | Traditional marbling works on the
theory of, once you've got this pattern,
| | 04:11 | floating on a pan of water, you take a
series of styli based tools that are like
| | 04:17 | combs and the rakes, and you run them
through here, and basically what's going
| | 04:20 | to happen, it's going to pull on this
pattern in a direction that the comb or
| | 04:26 | rake is being pulled through, and each
of those little styli, little tiff are in
| | 04:31 | the water, and it pulls and it
just drags all of this along with it.
| | 04:36 | So let's go to the Marbling command,
which is also under Esoterica here, and
| | 04:40 | it's right at the top, Apply Marbling.
| | 04:43 | This is where I think some
people kind of get thrown off.
| | 04:45 | They don't understand what's happening here.
| | 04:47 | And one of the things that it does
show me, for example, is the direction
| | 04:51 | the rake is set to go.
| | 04:52 | You can see how I can change this and
obviously top-to-bottom, bottom-to-right,
| | 04:55 | you're not going to see a directional
change, but you can see here how I can
| | 05:00 | control which direction a rake gets
pulled through this, and right at the top,
| | 05:06 | one of the things I might
want to play with is the Spacing.
| | 05:08 | So I can have a tighter spacing that's
going to pull this, and in this case, I
| | 05:12 | do have a sense it's going to go from
the right side towards the left side.
| | 05:16 | And let's just try what we've got here,
so you can get a basic idea, and there
| | 05:20 | is just a quick look at pulling a rake
from the right to the left, through this
| | 05:28 | pattern to create this.
| | 05:30 | And so, I'm going to undo it here,
and let's go back one more time to Apply
| | 05:35 | Marbling, and so there is a lot of
play that can happen right in here.
| | 05:41 | If you look up marbling patterns on
the Internet, you'll find all kinds of
| | 05:45 | information about some of
the recipes and what not.
| | 05:48 | But rather than have you do that, there
is actually in the Load command here, a
| | 05:53 | whole number of recipes
that have been created already.
| | 05:57 | And for example, let's look at the
Horizontal Get Gel, and actually that means
| | 06:01 | come and go in Arabic and I'm just
going to go ahead and do this, but I'm also
| | 06:05 | going to tell you about the Quality slider.
| | 06:08 | When it's on the lowest setting of 1.0,
you get a fairly kind of jaggy result.
| | 06:14 | This isn't really final quality.
| | 06:17 | So if I undo and repeat that command, but
turn this up, I'm going to get better quality.
| | 06:24 | I'm going to go ahead and turn it all
the way up, and depending on your machine,
| | 06:28 | how complex the particular pattern is,
these can take a while to finish.
| | 06:34 | So that's a traditional
marble pattern, right there.
| | 06:37 | That's the Horizontal Get Gel pattern.
| | 06:39 | I am going to undo it, and let's go
back again, we are going to go ahead and
| | 06:44 | take a look at this again.
| | 06:46 | This time I'm going to do
the Horizontal Bouquet Comb.
| | 06:49 | This actually is built upon
the Horizontal Get Gel pattern.
| | 06:52 | It's just going to go an additional step.
| | 06:54 | So let's say OK, and we'll turn Quality
up here, let's say OK, and it's going to
| | 06:59 | go through and it's going to do that
pattern, but it's going to do an additional
| | 07:02 | final pass that pulls a comb through it,
so most of this was achieved by going
| | 07:09 | horizontally, but at the end, and it
took a closely space comb, and pull it
| | 07:13 | through from the top to the
bottom to get this pattern.
| | 07:16 | And once again, if you have seen
marbling this is very authentic to the actual
| | 07:21 | way that the pattern ends up looking.
| | 07:23 | And for the piece de resistance, we
are going to take a look at the Bouquet.
| | 07:30 | This is a very traditional
fancy pattern that is created with
| | 07:35 | traditional marbling.
| | 07:36 | Notice I've turned Quality back up here again.
| | 07:39 | So we are going to apply this and when
you see the result here, I think you will
| | 07:42 | instantly recognize this as a very
popular or well know marbling pattern.
| | 07:48 | So the idea behind marbling is it
gives you the tools and it yet maintains
| | 07:53 | enough of the randomness of the original art
form that you'll never get the same result twice.
| | 08:00 | It's impossible to never get
anywhere near the same result.
| | 08:05 | Now I'll show you one last little trick
and that is if I go into my Effects and
| | 08:08 | go to Tonal Control, I'm going to Adjust Colors.
| | 08:13 | I'm going to set this
back to 0 to start with here.
| | 08:16 | The one I want you to look at is the Hue Shift.
| | 08:18 | This lets me just rotate all of the
hues in this image through to a different
| | 08:25 | spot, and maybe I'll punch up the
Saturation a little bit for this, we'll hit
| | 08:29 | that, and that's maybe a bit
oversaturated, maybe if I turn it down a bit.
| | 08:34 | But the idea here is even one marbling
pattern, you can play with and just kind
| | 08:38 | of offset and adjust the
colors that are being applied to it.
| | 08:42 | In fact you can even use filter that I
showed you earlier, the Match Palette filter.
| | 08:46 | That could be another way in which you
could change the appearance of a marbling
| | 08:52 | pattern that's already been generated.
| | 08:54 | So marbling pattern is kind of it's own
little world and Painter that you can go
| | 08:58 | into and have a lot of fun with and
just keep in mind, if you are going to use
| | 09:02 | this for print purposes, you're going
to have to make an appropriately large
| | 09:07 | image, and as a result those times to
kind of bake these patterns and finish
| | 09:12 | them, you can start to take a bit of time.
| | 09:15 | So just be aware in advance that high
quality, high resolution images are going
| | 09:20 | to take a little while to do.
| | 09:21 | So I hope you'll investigate
marbling and use your marbles.
| | Collapse this transcript |
| Exploring the Growth effect| 00:01 | Now we're going to take at another
buried treasure in Painter and that is
| | 00:05 | the Growth command.
| | 00:07 | Growth has been around for a while,
and I'm going to open it up here.
| | 00:10 | Go to the Effects menu, once again
we go to Esoterica and go to Growth.
| | 00:16 | I think again part of why this may be
a little obtuse for people is that it's
| | 00:21 | not exactly straightforward how this works.
| | 00:23 | So I'm going to go through it a
little bit and show you a practical
| | 00:27 | application for this.
| | 00:29 | Basically, this a fractally
generated branching structure.
| | 00:33 | Right now I've got it set to one
branch, so it's rather tree-like, but
| | 00:37 | you can use it to make all kinds of
interesting fractal patterns and I think
| | 00:41 | that's where most people think, oh,
it's this neat little eye candy thing,
| | 00:45 | but how is it useful?
| | 00:46 | I'll show you that in a moment, but right now
let's just talk about how I can control it.
| | 00:50 | For that right now, I'm just going to
temporarily go back down to one branch so
| | 00:53 | we don't get confused by
overlapping iterations here.
| | 00:56 | Flatness, as you can see, kind of plays
around with whether the tree has started to
| | 01:00 | grow yet, or is it branching out.
| | 01:02 | So I can literally make it
branched so it's so big it would touch the
| | 01:06 | ground were on a tree.
| | 01:08 | I can also adjust the Thinout and this
just kind of controls the visual weight
| | 01:13 | of what's going to render.
| | 01:15 | So right now it's very dark, but it
would also tend to black up some of the
| | 01:19 | fine details, so I'm going
to keep that open a bit here.
| | 01:22 | I also can adjust Randomness.
| | 01:24 | Right now it's set to full randomness.
| | 01:26 | You'll see as you unadjust that,
it just makes it a little kind of this of
| | 01:29 | perfectly symmetrical design,
which could be used for just that.
| | 01:33 | It's creating an interesting design.
| | 01:34 | But I'm going to throw in some
Randomness here, pull it all the way up.
| | 01:39 | Then Thickness, once again, just kind
of plays around with weighting of it so
| | 01:43 | I want this to be kind of a young tree, so I'm
not going to want to really big trunk around it.
| | 01:48 | The branches, as I said, start
to take this and reproduce it.
| | 01:50 | Then you get into this Maximum Level,
and you kind of see what's happening here,
| | 01:55 | it's just reducing the complexity of the tree.
| | 01:59 | As you design a new level, it just
creates a new level of branching, till you
| | 02:02 | get all the way up to the top here.
| | 02:04 | It's the maximum kind of number
of branches that could happen.
| | 02:07 | Same with Forks too.
| | 02:09 | You can kind of play around, with how
the forks either come together, or appear
| | 02:14 | near one and another, or how they spread out.
| | 02:18 | Finally Fork Ratio just kind of plays
around with how far off of the axis of the
| | 02:24 | last branch do the next branch set want
to migrate away from that angle, and
| | 02:30 | the farther it is, the more non-tree like it gets.
| | 02:33 | But all of these things kind of play
around with being able to generate a broad
| | 02:38 | set of interesting looks.
| | 02:40 | I'm just going to go ahead and show you
how do you finally get this on the canvas.
| | 02:44 | Well, what you do is if you go out on
to your canvas and click-and-drag
| | 02:49 | that will create a circle that this
pattern is going to be generated in.
| | 02:53 | You can see this pattern is not
the same as that pattern, and that's
| | 02:57 | partially because this is some what
random generated, so you don't get the
| | 03:01 | same pattern every time.
| | 03:03 | It's somewhat random.
| | 03:04 | So that's the basis for this, but I'm
going to take up one more step here and
| | 03:08 | show you kind of an interesting way
to take advantage of this Branching and
| | 03:12 | Growth Pattern Creation tool.
| | 03:15 | I'm going to create a layer, so I'm
going down at the bottom of my Layers
| | 03:18 | palette and click on the New Layer icon.
| | 03:21 | So all I'm changing at this point is,
I want this to happen on a layer.
| | 03:25 | And we'll go back to Growth.
| | 03:27 | I'm going to reduce this down to one.
| | 03:30 | So what my goal here is I actually want
to create some tree silhouettes and the
| | 03:34 | only way to that would be with one
branch and that gives me that tree look.
| | 03:39 | The one you can't do here is you can't
control either the angle in this little
| | 03:43 | preview or how it decides to
recreate itself out on the canvas.
| | 03:48 | Let's just do one of these.
| | 03:50 | I'm going to do it fairly large and
what I'm going to show you here it could
| | 03:54 | be duplicated multiple times to create
many different tree silhouettes. Let's say OK.
| | 04:01 | So in order to rotate this now, what I
need to is take advantage of the Free
| | 04:06 | Transform tool, which is
nested in with Layer Adjuster tools.
| | 04:11 | One of the commands I can
do here is I can Rotate it.
| | 04:14 | So I'm going to go here. I'm just going
to Rotate this around so that I get it
| | 04:18 | into the upright position that I want it at,
and I'll go ahead and hit the Return key.
| | 04:23 | Now I've got my sample done at the right angle.
| | 04:27 | So the idea here is, I could create
as many of these as I want using the
| | 04:32 | procedure to create an Image Hose Nozzle.
| | 04:34 | I created an Image Hose out of this, so
I'm going to turn this off and grab my
| | 04:39 | Image Hose, and I'll just
show what I got out of that.
| | 04:42 | So you can see here, this one way you
can take advantage of this to get a really
| | 04:47 | nice kind of artistic feel
for little trees in winter.
| | 04:52 | It's a great way to
create a branching structure.
| | 04:54 | And I've even used it before just to
create one very high resolution one then
| | 04:58 | used the branching structure to paint
leaf clusters on to it so that instead
| | 05:03 | of trying have to make up a branching
structure, I've got it some prebuilt
| | 05:08 | ones that I'll use.
| | 05:09 | So Growth is an interesting Pattern tool.
| | 05:13 | But used specifically in this way you
can actually kind of play with it in order
| | 05:17 | for it to actually turn into a tree
silhouette creation tool and combined with
| | 05:23 | the Image Hose, you get some pretty nifty results.
| | Collapse this transcript |
|
|
17. Animation: Let's Make MoviesUnderstanding frame-by-frame animation| 00:00 | In this movie, we're going
to take a look at animation.
| | 00:03 | Now the principle behind the animation
is that it simply a series of closely
| | 00:07 | related images, played back in rapid
succession and when you do so, you produce
| | 00:12 | the illusion of motion.
| | 00:13 | I have got a little sample here.
| | 00:14 | I'm going to just play it and you'll see
that we get the illusion here of a ball
| | 00:19 | bouncing and if I stop this, and then
just forward it one frame at a time,
| | 00:23 | you can see that they are just
individually drawn frames.
| | 00:26 | And with the built-in animation tools
in Painter, it gives me the ability to be
| | 00:31 | able to place these in such a manner
that I can draw this and get a convincing
| | 00:35 | sense of the ball bouncing and
rebounding off of the floor on the bottom.
| | 00:40 | So don't think of Painter however, as
a complete animation system with some
| | 00:45 | painting tools in it.
| | 00:46 | It's just the opposite.
| | 00:47 | Painter is a natural media of painting
system that happens to have a nice simple
| | 00:52 | little module to produce animation within it.
| | 00:55 | You are not going to create a full
-length movie using these tools.
| | 00:59 | However, having said that, I have seen
people that have won awards and done some
| | 01:03 | amazing things with this simple
animation along with other animation tools.
| | 01:08 | So it is possible to produce
some really nice things here.
| | 01:13 | So let's take a look at animation,
but before I go, I want to show you one
| | 01:18 | little website that you may be
interested in and this is actually on Corel's
| | 01:22 | United Kingdom website.
| | 01:24 | If you go to this URL, you'll find
down here at the bottom, they have some
| | 01:28 | academic courseware.
| | 01:30 | Even though it's for Painter 9, not up
to Painter 11, nothing is changed in the
| | 01:33 | animation that would outdate this information.
| | 01:37 | But Joyce Ryan, who is a good friend
of mine, she teaches at the Atlanta Art
| | 01:40 | Academy, is an animator who produced
this courseware and it's got full in
| | 01:46 | depth information about the whole process of
animation that's specifically used in Painter.
| | 01:51 | So if you want to get your hands on
some in depth information about animation,
| | 01:56 | specifically related to Painter,
I'd advise you to go to this website and
| | 02:00 | download this material. It's a good piece
of information to base your work off of.
| | 02:05 | So let's get started now, we'll
take a look at animation in Painter 9.
| | Collapse this transcript |
| | Creating an animation with onion-skinning |
|
