IntroductionIntroduction| 00:04 | Hi! I'm John Derry and I'd like to welcome
you to Painter 12 Essential Training.
| | 00:09 | In this course, I'll help you get
familiar with Painter so you can use this
| | 00:13 | program to express the creative artist in you.
| | 00:16 | I'll give you a tour of Painter
12's newly redesigned user interface.
| | 00:20 | We'll get into creating and importing
images, exploring Painter's wide range of
| | 00:25 | expressive brushes, as well as layers,
cloning, effects and integrating your
| | 00:31 | work with Photoshop.
| | 00:33 | Whether you are new to Painter, or an
old hand, I'll introduce you to all of the
| | 00:37 | basics and new features that will
get your creative juices flowing.
| | 00:41 | Now let's get started with
Painter 12 Essential Training.
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| Using the exercise files| 00:00 | If you're a premium member of the lynda.com
Online Training Library, or if you
| | 00:05 | have been watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:10 | files used throughout this title.
| | 00:13 | The exercise files are
broken down into chapters.
| | 00:16 | Any content associated with a chapter will
be found in the appropriate chapter folder.
| | 00:22 | If you're a monthly member or annual
member of lynda.com, you don't have
| | 00:26 | access to the exercise files, but you can
follow along from scratch with your own assets.
| | 00:31 | Okay, let's get started with
Painter 12 Essential Training.
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1. Painting on the ComputerUnderstanding what Painter 12 can do| 00:00 | What would it be like to dip
your paintbrush into a photograph?
| | 00:04 | What would it be like to
paint with leaves and clouds?
| | 00:07 | What would it be like to never
run out of canvas or oil paint?
| | 00:11 | All of these things are possible in Painter.
| | 00:14 | Corel Painter 12 represents the
gold standard of digital, natural media
| | 00:19 | emulation software.
| | 00:21 | It's like having an entire
art store inside your computer.
| | 00:25 | You don't have to wait for paint to dry,
nor do you ever have to run out of it.
| | 00:29 | If you paint a stroke you don't like,
you can undo it and try again, and you
| | 00:34 | never have to clean up the
mess when you're finished.
| | 00:37 | If you come from a traditional art
background, you can transfer your skills to
| | 00:41 | Painter and create artwork from scratch.
| | 00:44 | If you are an absolute beginner, you
can even hand the brushes over to Painter
| | 00:48 | and let it transform your
favorite photos into a painted result.
| | 00:52 | Then there is the through the
looking glass side of Painter.
| | 00:56 | Paint with bits of photographs to create
highly-textured imagery, paint and draw
| | 01:01 | into a kaleidoscope, or paint on
layers that you can change at any time.
| | 01:06 | Painter takes significant
advantage of pen tablet input.
| | 01:10 | Using a pen stylus with six axes of
motion input, Painter's mark making tools
| | 01:16 | faithfully react to your expressive gestures.
| | 01:19 | So what does all this mean?
| | 01:21 | Tools like Painter enable mixing different
expressive media in ways never before possible.
| | 01:27 | Formerly exclusive media, like photography
and painting, can now coexist in the same space.
| | 01:33 | Forms of mark making impossible
in the past are now child's play.
| | 01:38 | In the digital age, it seems like
nothing is impossible and Painter is doing its
| | 01:42 | part to make this a reality.
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| Let's paint!| 00:00 | The first time you open Painter, you
may have a bit of surprise in store.
| | 00:06 | There's a lot going on, on the screen.
| | 00:08 | Even though the interface is designed
to be minimally intrusive, there is a lot
| | 00:12 | of information that is
displayed and who knows what it means.
| | 00:16 | For example, up at the top here, we have
a bunch of values, here's a set of Tools.
| | 00:23 | What do they mean?
| | 00:25 | Over here we've got this Panel
Navigator, I don't understand that, the Color
| | 00:30 | palette, that's maybe slightly understandable.
| | 00:33 | And in this video, I'm going to just go
through a short exercise so that you can
| | 00:38 | feel comfortable going into Painter and
just doing a few basic things so you can
| | 00:43 | at least try out painting.
| | 00:46 | Now the first thing we're going to need
to do is to create a file so that we've
| | 00:51 | got something to paint on.
| | 00:52 | I am going to have you go up to the
File menu, click on it, and you'll see right
| | 00:57 | below it we've got New, so
we'll will click on that.
| | 01:01 | We're just going to accept the
defaults there, say OK, and now we've got
| | 01:06 | a canvas to paint on.
| | 01:08 | What do we want to use to paint on that canvas?
| | 01:10 | For that, we're going to
go up to the upper left.
| | 01:13 | This is the Brush selector, and to get
into it all we need to do is go to over
| | 01:18 | to this little icon and click on it, and now
we've got a whole art store of materials here.
| | 01:25 | What I want to do is go to the Acrylics
category, so I'll click on that, and then
| | 01:31 | right next to it here I want to go to
the Bristle brush. And we'll get into all
| | 01:35 | of the specifics of that later, but I
just want you to be aware of the Brush
| | 01:41 | selector and its power in being
able to pick a lot of different mediums.
| | 01:46 | Now we need to select a color to
paint with, and if we go over here to the
| | 01:50 | right, this is the Color palette, and
it's divided up into two basic sections.
| | 01:55 | You've got what's called the Hue ring,
and basically this just takes the colors
| | 01:59 | in the rainbow and gives you a
way to select a color in that range.
| | 02:05 | And so, if I go to say the blues
here, and then within the Hue/Saturation
| | 02:10 | triangle in the center, this is
where I can select any value within the
| | 02:15 | particular hue that we have selected.
| | 02:17 | So I'll just take a shade of blue in there
and now I'll try to do a little bit of painting.
| | 02:22 | And sure enough I've got a brush that
is painting with that color and we can
| | 02:27 | already see this particular brush has
some interesting characteristics to it.
| | 02:31 | One of which is it runs out of paint,
and it's also got a little bit of a 3D
| | 02:36 | value going on that gives it
the sense of having an actual
| | 02:40 | three-dimensional surface to it.
| | 02:42 | If we switch to another color and paint
on it, you'll see that there's a bit of
| | 02:47 | mixing that goes on at the same time.
| | 02:50 | This one brush literally, you could
paint an entire painting with something
| | 02:55 | like this single brush.
| | 02:57 | But of course, Painter has many, many
more tools available to you, and as we go
| | 03:02 | through the title, you'll find out how
you can get to all of the various kinds
| | 03:06 | of characteristics that Painter has to offer.
| | 03:09 | So in this short little lesson you've
learned how to open a new file, how to
| | 03:13 | select a brush and how to select color.
| | 03:16 | Those three items are all you
need to get started painting.
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2. File BasicsStarting Painter 12 for the first time| 00:00 | Painter is a big application.
| | 00:02 | There are a lot of options that you can
set for different kinds of behavior and
| | 00:06 | different ways that
things are going to work in it.
| | 00:09 | How do you even know where to begin?
| | 00:11 | Fortunately, the first time you launch
Painter, you are going to see a welcome
| | 00:15 | screen and let's go through this.
| | 00:17 | So I am going to go down and
I'm going to launch Painter.
| | 00:20 | And we'll see here as soon as it starts up
that you're presented with a welcome screen.
| | 00:25 | The welcome screen gives you a bunch of
easy options that you can do before you
| | 00:30 | even know how to do it
within Painter's own interface.
| | 00:33 | For example, if you want to create a
new image, simply click here and this will
| | 00:38 | allow you to create a new image.
| | 00:41 | Same with Open an Existing Image, if
you have recent documents, you really
| | 00:45 | wouldn't see any recent documents in
here the first time you've opened it up,
| | 00:49 | because you've never opened any documents in it.
| | 00:51 | Since I've been using it, it's showing
me other documents that I've been working
| | 00:56 | with in the last session that I had.
| | 00:59 | You can also open image templates, and
what these do is it allow you to have a
| | 01:03 | preset template that opens up to a
specific set of parameters that you've
| | 01:08 | inputted and by default they have one
in here, to always open a file at 810
| | 01:13 | pixels by 500 pixels at 72 dpi.
| | 01:16 | Later on in the templates video, I
will show you how you can create your own
| | 01:21 | templates that will show up within
this particular element and it's also in
| | 01:26 | the File menu as well.
| | 01:27 | So once you start using templates, you
will find that they're very useful.
| | 01:31 | Now in terms of setup, right now
we only have the Default workspace.
| | 01:35 | But again, some people rely on this
welcome screen and they will change a
| | 01:40 | workspace from this exact spot.
| | 01:44 | Another thing you can do is, you can
click on Get Workspaces, which will lead
| | 01:49 | you to Corel's web site and from there
you can go into the Painter section and
| | 01:54 | they have a bunch of optional workspaces
that you can download and install into Painter.
| | 01:59 | Brush Tracking is important because this
is going to let you set up how your pen
| | 02:04 | tablet stylus responds in
Painter and exactly how it works.
| | 02:08 | All you need to do in here is go in
and just draw a sample stroke, and if you
| | 02:12 | just saw those values changed and what
that does is, it gives a base setting for
| | 02:18 | the way that the pen is going to
be treated when Painter is using it.
| | 02:24 | You also can go into Color Management.
| | 02:26 | This gives you a way to go in and
actually set up how you want your color
| | 02:30 | management to be set up.
| | 02:32 | You can also do this later on once you
get into Painter and I will be talking
| | 02:36 | about this later on as well.
| | 02:37 | So I won't go into detail, but just
know that you can adjust your Color
| | 02:41 | Management settings from here.
| | 02:44 | In the Assistance section you can go
to What's New in Painter 12, which Corel
| | 02:49 | will give you an outline of the new
features available in this release.
| | 02:54 | You can also go and get online training
and help, so you've got a lot of different
| | 03:00 | options here for just getting
yourself oriented to the Painter universe.
| | 03:05 | You've also got a nice set of
artwork that shows up in here, and it will
| | 03:09 | automatically go through it, or you can
just click and advance through it to get
| | 03:13 | inspired by different artists
that have done artwork in Painter.
| | 03:18 | I know sometimes before I start an image
I like to look at good artwork, and that
| | 03:23 | always helps me in preparing for how
I'm going to approach a particular image.
| | 03:28 | So you've got a whole library right
here that you can use to inspire yourself.
| | 03:33 | Finally, I want to show you right down
here in the lower left corner is the Show
| | 03:39 | this at startup option.
| | 03:41 | If you tire of seeing this start
every time, you can easily just click on
| | 03:46 | this and this will no longer show up.
| | 03:49 | And if you want to return to it, all
you'll need to do is go to the Help menu
| | 03:53 | and go to Welcome and that
will bring this screen up.
| | 03:58 | The welcome screen provides
some training wheels for Painter.
| | 04:01 | You can remove them as
soon as you get comfortable.
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| Creating, opening, and saving files| 00:00 | Now that we are in Painter, one of the
first things you're probably going to
| | 00:03 | want to do is to create a new document.
| | 00:06 | And what we are going to do is go up
to the File menu, and go to New, and let's
| | 00:12 | just make up a document here, let's
enter 800, and notice that we are in
| | 00:17 | pixels now, by 600 pixels.
| | 00:21 | And I'll keep it at 72 ppi.
| | 00:24 | You also have the option of
addressing what the paper color is.
| | 00:29 | Normally I just work with white, the
only benefit of this is if you're going to
| | 00:34 | be erasing on the canvas layer, this color
will tell Painter what color to erase to.
| | 00:42 | I typically never use it myself,
but you do have that option.
| | 00:46 | And secondly you can tell it what
the default paper is going to be.
| | 00:50 | Once again, I have to tell you,
I never even change these.
| | 00:53 | But if you like them, you can use them.
| | 00:56 | So let's go ahead and say OK,
and here's my new document.
| | 01:00 | Now I am going to just paint in it,
just a little bit here, just to fake in the
| | 01:05 | fact that we may have an
image that we'd want to save.
| | 01:09 | So let's go grab a brush and I'll
simply just draw nothing really.
| | 01:15 | We just want to have
something on the screen to save.
| | 01:20 | Now that we have this,
let's say we want to save it.
| | 01:23 | Once again, I am going to go up to my File
menu, and in this case I'm going to go to Save As.
| | 01:28 | Now if you hit Save, it's just going to
save it with whatever the current name
| | 01:32 | is, which is Untitled-1,
which is very unmemorable.
| | 01:35 | So I want to do Save As, I'll
call this My First Painting.
| | 01:43 | And some other things we want to know
here, this is where we would decide where
| | 01:49 | we wanted to save the image.
| | 01:52 | You also can play around with what type
of format you want to save it in, let's
| | 01:56 | talk about that before we actually save.
| | 01:58 | Painter RIFF format is Painter's native format.
| | 02:03 | As we go through this title, I'm going
to be showing you some unique features
| | 02:07 | like Impasto, for example.
| | 02:09 | That is a special layer that only
the Painter RIFF format understands.
| | 02:14 | If you save it in any other format
it will warn you that you're going to
| | 02:18 | lose that information.
| | 02:20 | When you are creating files that utilize
some of Painter's special features, the
| | 02:25 | Painter RIFF format is the best format
to save it in, in terms of being able to
| | 02:30 | open that image up again and
have all of those features retained.
| | 02:34 | On the other hand, you can save in several
other popular formats, TIFF, PNG, Photoshop.
| | 02:40 | This is particularly important and
we'll get into it later on in the title when
| | 02:44 | I talk about working with
both Photoshop and Painter.
| | 02:47 | But by saving in the Photoshop format,
you can very quickly move back and forth
| | 02:51 | between the two applications using this format.
| | 02:55 | You've also got Windows BMP, which is
kind of outdated these days, same with
| | 02:59 | PC Paintbrush, Targa.
| | 03:01 | You know some of these get a little
more specialized, but just know that you
| | 03:05 | have a set of different
kinds of formats you can save in.
| | 03:08 | Once you've saved, you've now got this painting.
| | 03:12 | So now how would I get back to that painting?
| | 03:15 | Let's go ahead and close it.
| | 03:17 | One of the things you can do is go to
the Recent files pop-up here, and here we
| | 03:23 | go, I can go to My First Painting, so if I
click on that it's going to open that up for me.
| | 03:28 | Otherwise you can go through the
normal procedure of going through the file
| | 03:31 | system to locate a file and opening it up.
| | 03:35 | But Recent files is very nice, because
quite often the most obvious file you
| | 03:39 | want open up is one that you were
just using and happened to close recently.
| | 03:44 | You've also got something called Iterative Save.
| | 03:47 | When you do an Iterative Save, it's
going to start saving it under the name, but
| | 03:52 | it's also going to add a pin to it,
three digits, 001 in this case.
| | 03:57 | So now if I go in here and I do some
more work on it and I go to Iterative Save,
| | 04:03 | it's going to save Iterative Save 002.
| | 04:06 | So this gives you a way to very easily
manage an image in which you are building
| | 04:11 | it up, and you may want to save it at
key points along the way to completing it.
| | 04:17 | Quite often I've found, when I get to
some key junction in an image that I'm
| | 04:22 | working on, that's a good time to save it.
| | 04:25 | Because if you need to get back, if
you've got that saved at that junction,
| | 04:30 | you won't have to go back any farther
than that point in the painting process
| | 04:34 | to move forward again.
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| Working with templates| 00:00 | If you find yourself reusing the same
file dimensions, formatting, or resolution,
| | 00:05 | you may want to take advantage
of Painter's templates feature.
| | 00:08 | This facility lets you save commonly used
file sizes for quick recall.
| | 00:13 | So let's take a look at how we do this.
| | 00:15 | Basically, you need to create the
file that is going to become a template.
| | 00:19 | Let's open up New, I'm going to
create a file, let's say quite often I use
| | 00:25 | something like 1500 pixels by 1000
pixels, and I'll keep it at 300 ppi.
| | 00:33 | And now we've got our file.
| | 00:35 | So we have the size that we want,
but there are some other things we are
| | 00:38 | going to want to do here.
| | 00:39 | What I may want to do, and this is
optional, but if you work with a specific
| | 00:43 | color profile all the time, for
example, I tend to work in Adobe RGB, I can
| | 00:48 | specify that as part of the template.
| | 00:50 | Not only can you have color management
set to that, but this way, when you open
| | 00:54 | up a template it will defeat whatever
settings you may have, if you intend to
| | 00:59 | open it and get an Adobe RGB file.
| | 01:02 | What I want to do there is just
quickly go into my Color Management Settings
| | 01:07 | here and I want to go to Assign Profile.
| | 01:10 | I am going to set this, let's say,
I want you to use Adobe RGB to this
| | 01:15 | particular document.
| | 01:16 | Now, let's go ahead and
we are going to save this.
| | 01:20 | You can see now it's got
Adobe RGB associated with it.
| | 01:24 | What I want to do here is I want to give it
a name that makes some sense as a profile.
| | 01:29 | So I am going to tell it that it's 1500
X 1000 @300PPI, and the other thing I
| | 01:39 | might say on here is ARGB for Adobe RGB.
| | 01:43 | And you want to save this, it
has to be in the RIF format.
| | 01:47 | If we go into Applications, this is on a Mac.
| | 01:50 | I'll tell you how to do
it in Windows in a second.
| | 01:52 | Let's go down to Corel Painter 12 >
Support Files > Templates, and this is where
| | 01:59 | I want to save this. And it
has to be in the RIF format,
| | 02:01 | or it will not recognize it as a
template, but just as we had earlier here,
| | 02:05 | I've now got information in the title that
will make sense when I open it up as a template.
| | 02:11 | So let's go ahead and say Save.
| | 02:13 | So if you are on Windows and you want
to save this in Windows 7, you are going
| | 02:18 | to have to go to Appdata/roaming/corel/
painter12/default/templates, and that's
| | 02:30 | where you'll put it in a Windows 7 installation.
| | 02:33 | Now that I have saved this in the
Templates folder, I can go ahead and quit
| | 02:37 | Painter 12, which I need to do in order
for it to recognize that template file
| | 02:42 | because it's got to reload to
find it and know that it's now there.
| | 02:46 | We will go ahead, launch Painter, go to
File and go to Open Template, and there
| | 02:52 | now is our new template file.
| | 02:54 | So when I open this up, it's going to
open it up at those dimensions in the
| | 02:59 | Adobe RGB color space and
that's how you create a template.
| | 03:03 | I think you'll find that templates are
another useful little extra in Painter
| | 03:08 | that you can take advantage
to streamline your workflow.
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3. Painter's New InterfacePainter's shiny new interface| 00:00 | I'm going to show you a comparison of
the Painter 11 and the Painter 12 UIs so
| | 00:06 | you can see exactly what the differences are.
| | 00:09 | And right now, we're looking at Painter 12.
| | 00:12 | I am going to switch here to a screenshot
of Painter 11 so you can see the difference.
| | 00:18 | So here we are, looking at Painter 11,
and I do want to note that these are
| | 00:21 | static screenshots, so while it says
Painter 12 on the Menu bar at the top,
| | 00:26 | everything else would be Painter 11.
| | 00:29 | And at first glance, it
doesn't look all that different.
| | 00:33 | One of the things that you may notice
if you're an experienced Painter user is
| | 00:37 | that the palette stack on the right
side uses disclosure arrows to open and
| | 00:43 | close each of those particular palettes.
| | 00:46 | Now if we switch back to Painter 12,
you can see that Painter 12 now uses the
| | 00:52 | metaphor of a tabbed interface.
| | 00:55 | So that's one difference between the two.
| | 00:57 | And a lot of people like this, because
if you are used to Photoshop, this is
| | 01:01 | very akin to the way Photoshop is organized.
| | 01:05 | That is definitely a good point in the
case of Painter 12's updated interface.
| | 01:11 | What is different though, is that many
things act and behave differently than
| | 01:16 | they have in the past.
| | 01:18 | I can tell you that after working with
Painter 12 for a couple of months, I'm
| | 01:23 | now pretty comfortable with it.
| | 01:25 | You must be prepared going into
Painter 12, to experience some of this
| | 01:29 | disorientation, and it just takes
some time going through, and hopefully
| | 01:34 | watching this course, to get much
more comfortable with the interface.
| | 01:38 | On the other hand, if you're a new user,
well you don't have to unlearn anything.
| | 01:42 | This is all new to you, so it won't
seem like such a shift as it will for
| | 01:47 | an experienced user.
| | 01:48 | So as a new user, some of what I'm
saying here won't apply nearly as much as it
| | 01:52 | does to someone who's been using it in the past.
| | 01:56 | There are some dramatic
improvements that have come into Painter 12.
| | 02:00 | The UI is now much more customizable.
| | 02:03 | In fact, I am going to show you one of
the workspaces that you can download from
| | 02:07 | Corel, to show you how different
this same application can look.
| | 02:11 | So let's switch to that.
| | 02:13 | This is called the Creative Workspace
and it was created by Andrew Jones, and
| | 02:18 | you can see that he has a very
different way of looking at how to use Painter.
| | 02:23 | In this case, it almost looks like a
different application, and that's the very
| | 02:28 | point of the new interface.
| | 02:30 | You can radically change the way it looks.
| | 02:33 | So on one hand, you'd say, well
that's a problem for me because when I go
| | 02:37 | to this, it's even going to be more
foreign than just Painter 12 in its
| | 02:41 | default form looks.
| | 02:42 | However, you can organize this interface
to suit you, and I am going to be going
| | 02:47 | through and showing how I've
altered the interface, so that it feels
| | 02:53 | comfortable to me and feels a lot
more, in my mind, like Painter 11 felt.
| | 02:59 | For those of you who have the
experience, you may find you like the way I'm
| | 03:03 | changing it, I will supply my workspace,
so that you can load it up and have the
| | 03:09 | settings and the arrangement that I've
done in order to feel more comfortable,
| | 03:13 | coming from Painter 11 to this new interface.
| | 03:17 | Now on the other hand, some
things take a step backwards.
| | 03:20 | Let's go back and look at
the default interface again.
| | 03:24 | So here we are, this is what you'll see
when you first launch Painter 12, and as
| | 03:28 | we go through this, we
will be reorganizing this.
| | 03:31 | But one of the things I don't
understand why this behavior is in here, it seems
| | 03:35 | kind of unfinished to me, but if you
look at this palette stack, they've changed
| | 03:41 | the way they describe these now.
| | 03:43 | These are now called panels, just like it
is in Photoshop, so an individual panel
| | 03:48 | like in Photoshop can be dragged out
and set up individually. Again, like
| | 03:53 | Photoshop you can take this and put it
back in and set it up where you want to.
| | 03:57 | But one of the things they've done, if
we close these up, you'll see they tuck
| | 04:03 | into one another, but as I start
opening them up, look what happens here.
| | 04:07 | The bottom of the stack of
panels actually goes off the screen.
| | 04:12 | In my mind it should somehow have a
suitable ending so you realize that you're
| | 04:17 | not missing information, and it leads
to having to constantly close up various
| | 04:22 | other panels, in order to be able to
see a panel that's partially occluded, by
| | 04:27 | running off the bottom of the screen.
| | 04:29 | That's one thing that you're just
going to have to work around, and until, or
| | 04:34 | unless Corel changes that
behavior, it's part of the interface.
| | 04:39 | Another thing that they've done is if I
go up here and say that I want to look
| | 04:43 | at my Brush panels, so I'll
go to the General panel.
| | 04:47 | Well it's set up by default to actually
cover up the existing panels that are there.
| | 04:53 | This is just one example.
| | 04:54 | But I have found many cases where a
panel has actually been opened up and I don't
| | 04:59 | know it because it's behind, for example,
the main set of panels, and it's something
| | 05:05 | that once again it gets a little confusing.
| | 05:07 | In my case, I'd like to have the
Brush panels over on the left side.
| | 05:12 | However, even setting this up when
you close Painter and open it back up
| | 05:16 | again, the first time you go to the Brushes panel,
you'll find that it has put itself back here.
| | 05:21 | It doesn't have a memory of where you've
placed it, and that can lead to some confusion.
| | 05:27 | The short story here is that panels can
mysteriously not seem to be anywhere and
| | 05:33 | you're going to have to go
hunting for them occasionally.
| | 05:37 | But as I have said, the fact that
the UI is so customizable does offer a
| | 05:42 | solution to some of these potential head-
scratchers and we will be going through
| | 05:47 | those throughout the title.
| | 05:48 | So despite a set of shortcomings
that are also included with some really
| | 05:53 | nice improvements to Painter 12, I have to
say Painter is still the king of natural media.
| | 05:59 | It still does what it's basically
designed to do, and that is emulate natural
| | 06:04 | media, so that we haven't lost at all.
| | 06:08 | Painter 12 is really a big win
for its added interface flexibility.
| | 06:12 | That's, for me, one of the main things
they've done here, and going forward, I
| | 06:17 | think this new framework that they've
created is going to work in Painter's
| | 06:21 | benefit, but we are going through the
first generation of this now, and as a
| | 06:26 | result, there is going to be some
relearning as I've been describing to you.
| | 06:30 | So throughout this title, I'll be
able to ease some of your consternation
| | 06:33 | about how the Painter 12 interface
works, and hopefully by the end of this
| | 06:37 | title, you'll feel very comfortable
and happy working in this new version of
| | 06:41 | Painter 12.
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| Understanding the Tool palette and property bar| 00:00 | Painter's Tool palette and property
bar are essentially two faces of the
| | 00:04 | same functionality.
| | 00:06 | The Tool palettes enable quick
selection of key functions and the property
| | 00:10 | bar reflects the current tool selection by
providing extended control over that tool.
| | 00:15 | Let's take a look at Painter 12's
approach to this functionality access.
| | 00:19 | Well, we have the Tool palette on
the left here and one of the changes
| | 00:24 | they've made is, you'll see that now
it's a single row, similar to what you
| | 00:29 | can do in Photoshop.
| | 00:31 | The good news is you can switch between
either a single or a double row of tools.
| | 00:37 | So let's go in here, and you'll see for
Toolbox Layout, it currently is set to a
| | 00:42 | single vertical column.
| | 00:45 | However, I can do a Vertical
Double Column, for example.
| | 00:48 | So let's open that up, and this is
much more like you're used to the
| | 00:53 | arrangement in Painter 11.
| | 00:56 | I tend to be a fan of maximizing my
screen workspace so that I have as much of
| | 01:03 | that space dedicated to the image as possible.
| | 01:07 | That combined with the fact that in
Photoshop I've gotten used to a single tool
| | 01:12 | palette layout, I'm comfortable with it.
| | 01:14 | However, for the particular
resolution that we're using here to record this
| | 01:19 | title with, the screen resolution is
so small that I can't even have the full
| | 01:25 | Tool palette visible on
this particular resolution.
| | 01:29 | Depending on your screen resolution,
you may want to go with the dual tool
| | 01:35 | layout, just so that you
have access to all your tools.
| | 01:38 | And you may have noticed when we were
in there, let's go back to the interface
| | 01:42 | control, that I also can
actually now do these in horizontal.
| | 01:46 | Now this is a very different layout
than Painter users have ever had in the
| | 01:51 | past, but it is another way to minimize how much
of the screen is being taken up by these tools.
| | 01:59 | The fact that it's there, offers to you
the user, the option of trying this out
| | 02:04 | and seeing if it works.
| | 02:05 | You can even have this as a double row,
I won't go to show it, but, it would
| | 02:09 | start to take up some more space, and from
my thinking, I probably wouldn't like it.
| | 02:14 | But this could be an acceptable
alternative to setting up your Tool palette.
| | 02:18 | Now let's go back and set it
up to the double set up here.
| | 02:22 | I am going to go back to a Vertical
Double Column, and that's probably the way
| | 02:29 | we will be using it throughout the title now.
| | 02:32 | As I mentioned at the beginning, the
Tool palette and the property bar are
| | 02:36 | really two faces of the same thing.
| | 02:38 | But you'll also notice something that's
different in Painter, I am only going to
| | 02:42 | move it out of the way here right now,
and then we will talk a little bit more
| | 02:45 | about how to deal with its placement
later, and that's the Brush Selector bar.
| | 02:50 | Now Painter has always had the Brush
Selector bar over on the right side, and we
| | 02:53 | will address that in just a little while,
so let me go ahead and move this out
| | 02:57 | of the way right now.
| | 02:59 | And let's concentrate on how the Tool
palette and the property bar really are
| | 03:03 | connected to one another.
| | 03:05 | If I select the Brush tool, for
example, notice that the contents of the
| | 03:09 | property bar just changed.
| | 03:11 | And what it is going to show up in here
are going to be the most likely controls
| | 03:16 | that you're going want to use to
control the brush for whatever particular
| | 03:20 | variant you have selected.
| | 03:23 | For this particular brush, I have the
ability to go in here and change Size;
| | 03:27 | change Transparency, the Grain setting,
and once again, these are all things we
| | 03:31 | are going to get into later on.
| | 03:34 | The gist of it is that these controls are
going to change based on whatever tool you select.
| | 03:39 | If I go, for example, to the Layer
Adjuster, you can see now I've got a much
| | 03:44 | more succinct set of tools.
| | 03:47 | Let's try something else like text.
| | 03:49 | And once again, you have seen it's
updated now to provide you with some key
| | 03:55 | functionality for that particular tool.
| | 03:58 | They are usually are going to be more
controls than this in other panels, just
| | 04:03 | keep in mind, that whenever you
switch tools, the property bar is the first
| | 04:07 | place you should look when you want to
make a quick adjustment for that tool.
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| Using media selectors| 00:00 | Besides tools, an artist's stock-in-trade are
the art materials applied with those tools.
| | 00:07 | Painter 12's art materials provide a
wide variety of expressive variation.
| | 00:12 | In this video, we will take a look at
art materials and how to access these
| | 00:15 | expression-flavoring items.
| | 00:18 | Now art materials are the name that
have been given to these various materials
| | 00:22 | since early in the dawn of Painter.
| | 00:25 | With this version, they are now kind of
referring to it instead as media, and as
| | 00:30 | you noticed, again, if you're a
Painter user from previous versions, those art
| | 00:35 | materials, or media, used to
be a part of the Tool palette.
| | 00:39 | And what's happened here is they have
now created a second little palette that
| | 00:44 | has the media in it.
| | 00:46 | Papers does remain as part of the Tool
palette since it's the most commonly-used
| | 00:50 | one, but then you've got Patterns,
you've got Gradients, we've got Nozzles,
| | 00:57 | we've got Weaves, and
finally we have Brush Looks.
| | 01:01 | You've got all the same materials,
they are just now largely in a separate
| | 01:05 | palette with the exception of Paper.
| | 01:09 | Like we were showing earlier, how you
can adjust the size of the Tool palette, I
| | 01:14 | can go up to Preferences > Interface,
and right here I can play around with the
| | 01:20 | size and orientation of the media layout.
| | 01:24 | So I am going to go down here, and I will
just temporarily change it so you can see it.
| | 01:28 | It makes it rather large and on our
resolution display this really isn't going to
| | 01:32 | work for us, because it's just not large enough.
| | 01:34 | So I'll take it back, but I just want
you to be aware that you can play with how
| | 01:40 | this is organized just
like you can the Tool palette.
| | 01:42 | So let's go back and change this, and
for our purposes I am going to tuck it
| | 01:48 | down here, and let's use the Paper
Selector as a sample of how these work now.
| | 01:55 | One of the key things is that it now
has multiple libraries, and another key
| | 02:01 | thing that it doesn't have
anymore, is a little flyout menu here.
| | 02:05 | What you used to be able to do is
open this up, and if you wanted to make an
| | 02:09 | adjustment to any texture, say this one,
I could go to the flyout menu and open
| | 02:15 | up the Paper Control panel, but that's
been disassociated from these selectors.
| | 02:22 | So what we have to do is go up to the
Window palette, and we will go down here
| | 02:27 | and we are going to go to the Media
Library Panels, we can pick any one of these
| | 02:32 | and it will just pop up a
panel that has a palette.
| | 02:35 | So here's most of them.
| | 02:36 | The other thing I need to get is the
Paper panel, so we will go right here,
| | 02:40 | Papers, and these are together.
| | 02:43 | So I have both the Libraries and the
Paper Control panel, so from here I can
| | 02:49 | make adjustments to this, do things like increase
or decrease saturation, as well as lightness.
| | 02:56 | This is where I can control all of that,
but I've also got the Paper Libraries
| | 03:00 | associated with this
here and let's open this up.
| | 03:03 | And as I was saying, we now have
multiple libraries open at the same time.
| | 03:09 | If you want to have multiple libraries
you can, I can go right into here, and if
| | 03:14 | I want to turn off the Watercolor
Papers for example, I can turn that off and
| | 03:19 | just have that one library open, or I
can go ahead and open this other one,
| | 03:24 | Watercolor, and you can even load-in
other libraries and have even more in here.
| | 03:30 | And anything you do in here will then
effectively be showing up in the
| | 03:34 | Media Selector itself.
| | 03:35 | So this multiple library concept
works for all of the various art media.
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| Working with the Brush Selector| 00:00 | The Brush Selector is most likely
Painter's single most used palette, and
| | 00:04 | anything that streamlines
it is a welcome addition.
| | 00:08 | Corel has done just this.
| | 00:10 | Let's go ahead and take a look.
| | 00:12 | So we have up here in the upper left the
new default position for the Brush Selector.
| | 00:17 | In the later chapter on the interface,
I will show you how you can relocate
| | 00:22 | this if you're used to it having been
on the right side, and I want to open
| | 00:27 | this up, just clicking on the icon,
will show us the Brush Selector and how
| | 00:33 | it's now organized.
| | 00:35 | There used to be two dropdown menus,
and now they have combined both of those
| | 00:39 | into a single palette,
which is a really smart move.
| | 00:42 | So now I can go to a category and
instantly see in the same view what particular
| | 00:49 | brush variants are
associated with that category.
| | 00:52 | So right there, that's a big win.
| | 00:54 | We've now got a quicker way to get
at a variety of brushes than before.
| | 01:00 | The other thing that's new is, you can
start to edit and move this list, as well
| | 01:05 | as the categories very easily.
| | 01:08 | For example, if I want to move Variable
Splatter in this list, all I have to do
| | 01:13 | now is click and drag, and I can
relocate it to a new location.
| | 01:18 | The reason you may want to do this is
some brush that you use all the time, you
| | 01:22 | may find it far easier to access it, if you
just quickly put it up at the top of the list.
| | 01:28 | It's alphabetized by default, but
sometimes the most used brushes make sense to
| | 01:33 | just be right up at the top and
that's something that we can do.
| | 01:37 | Another thing that's new is, I can now create
new categories right from the Brush Selector.
| | 01:44 | So if we go in here, I can say I
want to create a New Brush Category.
| | 01:49 | So we will go in here and we'll call
this My Brushes, and we will click OK.
| | 01:55 | Open this back up, and right down here
at the bottom is a new category, with an
| | 02:00 | icon associated with it.
| | 02:02 | As a previous user, you may remember,
it was kind of dicey creating a new
| | 02:06 | category, because you had to come up
with an icon for it, that's all now
| | 02:10 | automatically taken care of.
| | 02:13 | There is a provision in here if you want
to create a custom icon for it, but the
| | 02:16 | fact that it actually creates one by
default that goes a long way towards making
| | 02:21 | this a much easier process for people.
| | 02:24 | So now that I've got this new
category, how do I populate it with brushes?
| | 02:27 | Well, this is another new feature.
| | 02:29 | Let's say we go into Acrylics, and
let's say I want the Wet Acrylic there.
| | 02:36 | I can just click and drag
that into this new category.
| | 02:41 | It's no longer here, and there maybe
times where you do want to aggregate various
| | 02:46 | brushes from various categories into a
new category, particularly in a workflow
| | 02:52 | where you need these brushes and you
want to quickly get to them, it makes
| | 02:55 | sense to move them.
| | 02:56 | However, let's just go to something
like Impasto, and we will take Fiber.
| | 03:02 | If you hold down the Option or the
Alt key, this will make a copy of it.
| | 03:06 | So you won't lose it from the library it's
in, and it will just add it to that library.
| | 03:11 | So if we open this up now, you will
see that we have got a couple of new
| | 03:15 | variants in there that we have just added.
| | 03:18 | Another new thing that's really great
is, I can just by right-clicking, do things
| | 03:23 | like hide a variant.
| | 03:25 | If I decide in a list I don't want to
have the Fiber brush there anymore, I
| | 03:29 | can say Hide Variant.
| | 03:31 | It's still there, but in order to get
it back, you are going to want to go
| | 03:34 | down to your Variant Display and say, Show
All Variants, and there it is back in our list.
| | 03:41 | Finally, the other great thing you can
do with this now is you can export these
| | 03:47 | libraries very easily.
| | 03:48 | The same will be true of an individual
brush if you want to. All you have to do
| | 03:53 | is go in here, and say that you want to
Export, and in this case I want to export
| | 03:59 | my, My Brushes category, so I am
going to go ahead and hit that.
| | 04:03 | I'm going to do My Brushes, I am going
to say OK, and let's take it right to the
| | 04:08 | desktop and we will say Save.
| | 04:11 | And just to show this all the way
through, I am going to take My Brushes as
| | 04:16 | it is in there now, and I'm going to go
ahead and I want to remove this brush category.
| | 04:21 | So I will say Remove My Brushes,
yes, I am going to remove it.
| | 04:25 | I know I am, and now we go back
in here and that library is gone.
| | 04:31 | How do I get it back in there?
| | 04:32 | Well, that's the beauty part.
| | 04:34 | So here is, on the desktop, the My Brushes
category, and think about what you can do with this.
| | 04:41 | You can email this to someone, you can
save it for backup, put it on a thumb
| | 04:45 | drive and give it to somebody else.
| | 04:47 | But here is the coolest part.
| | 04:48 | All I have to do is take this, and
assuming you have a copy of Painter 12 on
| | 04:53 | your system, just double-click it, and
we have now just installed that category
| | 04:59 | into our copy of Painter.
| | 05:01 | It's that easy, and that really makes a
huge difference in how easy it is going
| | 05:06 | to be now to trade brushes
in the Painter community.
| | 05:10 | It's always been somewhat difficult, and
there's always been a lot of confusion
| | 05:15 | about what directory it goes in
and all that, that is now history.
| | 05:19 | It's in the rear view mirror, because
that's been made so easy now that it would
| | 05:24 | be crazy if nobody took advantage of it.
| | 05:27 | The last thing I want to talk
about is the Recent Brushes display.
| | 05:31 | That's right up here at the top and I can
turn that on and off, if we go right here.
| | 05:36 | We don't have to see it,
but it is nice to have it.
| | 05:39 | What it is, is essentially a cookie
crumb trail of brushes that you have used.
| | 05:44 | So you can see here, these are
the brushes that I had earlier.
| | 05:47 | I had the Bleach Runny, and
then I have the Bristle Brush.
| | 05:51 | Let's say I go to the Image Hose and I
try it out, and if we look back on this
| | 05:58 | list now, we'll see it.
| | 06:00 | Anytime you touch the canvas with a
brush, it will be added to the Recent
| | 06:04 | Brushes list, and there
are two ways to view this.
| | 06:08 | One is embedded right in the Brush Selector;
| | 06:12 | the other one is a floating list,
which happens to be set up right over here.
| | 06:16 | It's kind of going to go
off the edge of the screen.
| | 06:19 | So once again, depending on the
resolution of your display, you may or may not
| | 06:23 | want to use this, but you have two choices.
| | 06:25 | Normally, I would say, you probably
either want this visible here, and you don't
| | 06:31 | need it visible here then, so you can
go ahead and turn it off, or you might want
| | 06:36 | to go the other way.
| | 06:37 | You may not want to have this visible,
and you just go to the Window, and go
| | 06:41 | ahead and hide that, and
then turn it on right here.
| | 06:46 | So you have got a couple different ways
workflow-wise that you can set this up
| | 06:51 | for getting at your little cookie
crumb trail of brushes you have used.
| | 06:56 | So this is the new Brush Selector. I
think it's way improved and the fact
| | 07:02 | that they have now made sharing
brushes so much more easier is going to
| | 07:06 | benefit all Painter users.
| | 07:08 | I would think in a few months, all
of the Painter users are going to be
| | 07:12 | literally swimming in an ocean
of customized shareable brushes.
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| Configuring panels and palettes| 00:00 | Painter has always had a lot of
palettes, which is really necessary for an
| | 00:05 | expressive application that
offers a high degree of fine-tuning.
| | 00:09 | To tame all of these expressive
controls, Painter 12 has adopted a popular
| | 00:14 | Photoshop style tabbed palette
paradigm. Let's take a look.
| | 00:18 | So the new unit of the interface, if
we move this out here by clicking and
| | 00:23 | dragging, this is called a panel and if
you're familiar with Photoshop and other
| | 00:28 | Adobe applications, then this is nothing new.
| | 00:31 | But what used to be basically a
palette in Painter is now a panel.
| | 00:36 | And just by clicking and dragging I
can take this, and you'll see that little
| | 00:39 | blue indicator, that tells me
exactly where I'm going to put it.
| | 00:43 | So I can precisely locate
these where I want them.
| | 00:47 | In this case, I actually
want to put this right there.
| | 00:52 | And when you have an aggregated set
of these panels, as we do here, this is
| | 00:57 | now called a palette.
| | 00:59 | You can take these and move them
around as you saw me do a little bit here.
| | 01:02 | So if I want to take this and move it
up here, I can, and what this does is
| | 01:06 | offer a very nice degree of flexibility in
being able to organize these the way that you want.
| | 01:13 | For example, there is another palette
right down here, the Clone Source palette,
| | 01:18 | which we will talk about in detail later,
but I am just going to open it up and
| | 01:22 | I have found that I kind of like it
right next to my layers and channels.
| | 01:26 | So I am going to put it in there, and
that's yet another addition to the panels
| | 01:31 | that I now have on screen.
| | 01:33 | You can also drag the edges of these,
so if you want to open these up and make
| | 01:36 | them wider, you can.
| | 01:39 | Another nice little addition are these
little dots that you see at the
| | 01:43 | bottom of some of these palettes.
| | 01:44 | If you click and drag, you can scale
the size of the panel up and down to fit
| | 01:50 | into the required amount of
interface space that you have.
| | 01:54 | Now one thing I talked a little bit
about before, that's something that's in here
| | 01:59 | is, you can get into a situation where
you have more palettes than actually fit
| | 02:06 | on the screen, and if I, for example,
just place one more palette in here.
| | 02:12 | Let's just take these and
we will put this up here.
| | 02:15 | I just want to get into a situation
where you can see, what's going to happen is
| | 02:19 | you are going to into this set of
panels going off of the screen, and there's
| | 02:23 | really no current solution
that I know of for this issue.
| | 02:27 | So you are going to be forced to have
to double-click on a tab in order to
| | 02:33 | reduce this total length of your palette,
so that you can get to one of these.
| | 02:38 | One of the other things you could
do is, you could start to set these
| | 02:41 | side-by-side, but then you are going
to get into the situation that I really
| | 02:44 | try to stay away from and that is
eating up more and more of my screen real
| | 02:48 | estate for the user interface and having less
space for what the real task is, which is painting.
| | 02:55 | Now there are a couple quick solutions to this.
| | 02:57 | One is using the Tab key, if you hit
the Tab key, that will completely turn off
| | 03:04 | everything, except your painting area.
| | 03:06 | The other thing you can do is, if you
hold the Shift and then press Tab key,
| | 03:10 | that will just eliminate your palettes, but not
the Tool palette and the rest of the interface.
| | 03:17 | So that's another way to pair down the
amount of screen real estate actually
| | 03:21 | being used for the UI itself.
| | 03:24 | Painter 12's adoption of a tabbed
interface offers a comforting familiarity to
| | 03:29 | anyone that uses Adobe applications.
| | 03:32 | The ability to easily adjust an
individual panel's height also helps the user
| | 03:36 | manage the amount of screen real
estate being taken up by the interface.
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| Navigating Painter| 00:00 | Imagine yourself driving, how do
you get around?
| | 00:03 | Drivers rely on well-defined rules
encoded in standardized signage, as well as
| | 00:08 | customs, like driving on the
right or left side of the road.
| | 00:12 | Applications employ similar techniques to
aid the user in navigating its structure.
| | 00:17 | Let's take a look at
Painter's rules of the road.
| | 00:20 | To begin with, I've got an open image
here and it could be a blank image, it
| | 00:24 | could be any kind of image, a painted
image, but I just want to have an image on
| | 00:28 | the screen that we can work with, so
you can see some of the ways you can
| | 00:32 | navigate when you are working with imagery.
| | 00:35 | One of the first things I typically do
is I will use the Command+M or Ctrl+M key
| | 00:41 | and this switches it into Full Screen mode.
| | 00:44 | So what it does is it basically hides
the desktop behind the image and gives you
| | 00:49 | a way to more fully concentrate on the image.
| | 00:51 | Now something that's new in Painter 12,
and I'm going to quit to show you this.
| | 00:55 | Now notice, we are in Full Screen
mode, I am going to Quit, and now let's
| | 01:01 | open Painter again, and when I go back to
open this recent image, notice what happens.
| | 01:09 | It opens up in Full Screen mode.
| | 01:11 | This is something that you had to do
every time in the past, and this is a
| | 01:15 | nice little addition to the way that painter
remembers the state that it was in previously.
| | 01:22 | So if you like Full Screen mode, once
you have set it, basically all your images
| | 01:27 | will always open up in Full Screen mode.
| | 01:30 | You also have the ability, once you are
in full-screen mode, to move the image
| | 01:34 | around, and if I hold down the spacebar,
that changes my cursor into a Grabber
| | 01:39 | hand, and now I can move this around to
see various aspects of the image, if it's
| | 01:45 | larger than the screen.
| | 01:47 | Something that's new in
Painter is the Navigator.
| | 01:50 | The Navigator is a panel that is much
like the way Photoshop's navigator works.
| | 01:56 | It lets me adjust various aspects of my image.
| | 02:00 | So if I wanted to, for example, resize it
by the numbers, I can do that right here.
| | 02:05 | I can either set it basically by
dragging the Scroll Bar here, or I can go in
| | 02:10 | and I can actually type in a
value that I want to get to.
| | 02:14 | It's also got a set of preset sizes right here.
| | 02:18 | So if I click on this, it will
automatically go through some standardized
| | 02:23 | integer values of the image.
| | 02:26 | So this is yet another way to get to
various screen resolutions of your image
| | 02:30 | while you're working with it.
| | 02:31 | You have also got the
ability to rotate an image.
| | 02:35 | If I click and drag this slider,
this will rotate the image for me.
| | 02:41 | Now there is another way to do this, and
I want to show you this as well, because
| | 02:45 | it also comes in very handy.
| | 02:47 | If you want to get back to the default
0 setting, if you just go this icon and
| | 02:52 | double-click on it, it will return
your image to its original orientation.
| | 02:57 | Alternatively, another way to do this
is if you hold down both the Shift key,
| | 03:02 | as well as the Option or Alt key, on
Windows, this changes your cursor to a
| | 03:07 | little pointing finger and this lets
me grab the image and rotate it to any
| | 03:12 | angle that I want to work on.
| | 03:14 | And some people may say, well,
why would you want to rotate this?
| | 03:17 | But I can tell you from experience, say
if I wanted to draw back and forth right
| | 03:22 | here to draw a horizontal line, that's
very hard to do with a tablet and your
| | 03:27 | hand and arm, you kind of have got to
scrunch your elbow up against your body in
| | 03:32 | order to try to get a
good orientation to do that.
| | 03:35 | In the real-world, we just would
simply take a piece of paper and re-angle it
| | 03:39 | so that the combination of our hand, wrist and
arm make for an easy ability to draw that line.
| | 03:45 | For example, I am left-handed and
now this works out very well for me.
| | 03:48 | If I wanted to draw a horizontal line,
it's far easier to do it on a rotated image.
| | 03:54 | Once again, to get this back, I just
click on there and I'm back to my default.
| | 03:59 | The other way you can zoom in and out,
this is the way I tend to do it, is I use
| | 04:03 | a combination of the Command or Ctrl key
on Windows, and the Plus and Minus keys.
| | 04:08 | So if I want to zoom in, holding down my
Command or Ctrl key and then repeatedly
| | 04:13 | clicking on the Plus sign will zoom me in,
and if I want to get out, I can go to
| | 04:19 | the Ctrl or Command key and press
the Minus key and that gets me out.
| | 04:25 | And then a third way to do that is and
particularly if I'm in a brush, this is
| | 04:29 | where this is very useful.
| | 04:30 | If I hold down the spacebar, which by
itself as we saw moves the image, if I
| | 04:35 | now hold down the Command or Ctrl key, that
gives me the Plus sign to be able to zoom in.
| | 04:41 | If I hold down, along with the spacebar,
the Command or Ctrl key, plus the Option
| | 04:47 | or Alt key, that gets me the
negative zoom, which lets me zoom back out.
| | 04:52 | So you've got multiple ways to do this,
but whatever way works for you, there is
| | 04:56 | definitely a way for you to be able
to navigate around in your images.
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|
|
4. Customizing Painter's InterfaceSetting preferences| 00:00 | The first stop on our
customization tour is preferences.
| | 00:04 | Preferences provide options to
adjust how Painter handles specific tasks.
| | 00:09 | I divide preferences up into two categories:
| | 00:11 | convenience and performance.
| | 00:14 | Convenience preferences are specific to your
particular workflow so there is no right answer.
| | 00:19 | Like convenience preferences,
performance preferences are specific to your
| | 00:24 | unique hardware configuration.
| | 00:26 | Think of my suggestions as starting
points, which you may need to experiment with
| | 00:31 | in order to find the sweet spot
for your workflow and hardware.
| | 00:36 | So to get to Preferences let's go to
the Corel Painter menu, and drop it down to
| | 00:40 | Preferences, and we are going to go to
General, and here is our Preference panel.
| | 00:47 | So in the General panel we have
a bunch of things we can do here.
| | 00:50 | I normally leave most of this as is, but
the one thing I will tell you that I do
| | 00:55 | change, is right here, Brush size increment.
| | 00:58 | It's set by default to 1 pixel and
that means that when you use a keyboard
| | 01:03 | shortcut like the Command or Ctrl key,
and then your left and right Bracket keys,
| | 01:08 | this is how much it's going to
change each time you click that.
| | 01:12 | Now if you're doing very precise work
changing one pixel at a time is fine, but
| | 01:18 | I find for a lot of work I do, I want
to increase my brush size much more than
| | 01:24 | this in a shorter amount of time.
| | 01:26 | So by simply changing this to 2 rather
than 1, if I want to go from a 2 to 10
| | 01:31 | pixel, I only have to do my keyboard
shortcut four times and I'm up to 10.
| | 01:36 | Otherwise you can leave everything on in here,
| | 01:38 | it's pretty standard.
| | 01:40 | Next, let's go to Interface, and one of
the things you can play with here is,
| | 01:46 | what the cursor looks like.
| | 01:48 | It automatically is set to
the Enhanced brush ghost.
| | 01:52 | What this does, in fact, let's just
temporarily go out of here and I'll open up
| | 01:57 | a new document, so you can see what exactly
we're talking about here. See how this looks.
| | 02:03 | If I get my pen, and I
happened to have the 6d pen here,
| | 02:06 | this shows me all different kinds of things.
| | 02:08 | Like right now, I have my pen straight
up and down perpendicular to the tablet.
| | 02:12 | As I tilt it, you can see I get the
look of tilt, as I change bearing it
| | 02:17 | indicates bearing, and as I rotate the
barrel, you'll see there is a little dot
| | 02:21 | on that circle, that as I
rotate the barrel it changes.
| | 02:25 | So I am getting feedback from this
Enhanced brush cursor that tells me a lot
| | 02:29 | of information about what's happening
with my stylus in my hand, and you may
| | 02:35 | not think that it's important, but
seeing this as feedback can be very useful
| | 02:40 | while you're working.
| | 02:41 | Now here is the gotcha
about this particular setting.
| | 02:45 | Some systems will have a
reduction of performance when this is on.
| | 02:52 | I would say keep it on by default, but
if you find some of your brushes seem to
| | 02:57 | be acting slowly, and I can't even tell
you which brushes it happens on, but some
| | 03:02 | brushes will suddenly just
seem to act slower when this is on.
| | 03:06 | And so what I have found works very
well is, in this Interface tab, you can just
| | 03:12 | change it to a standard brush cursor.
| | 03:14 | So now it shows much less information.
| | 03:18 | I can no longer see tilt or bearing or
anything, but it still functions the same.
| | 03:23 | I am just not getting the visual feedback.
| | 03:25 | So that's one thing to keep in mind.
| | 03:28 | Also, the Default View mode.
| | 03:30 | I showed you this earlier, that you can
have Painter automatically want to open
| | 03:35 | up in Full Screen as I've done here,
so I get the gray background rather than
| | 03:39 | any particular desktop that I have.
| | 03:42 | So I like to have this on, and once
this is on, each time I open a new document
| | 03:47 | it will come in with Full screen
mode rather than the Window mode.
| | 03:52 | Then lastly, we did this earlier for
this particular resolution screen, the
| | 03:57 | Vertical Double Column Layout as you
see on the side of the screen here works
| | 04:01 | to fit in this screen resolution,
likewise for the Media panel layout we have
| | 04:08 | the Vertical Single Column, and
that's how I've got it set up in this
| | 04:12 | particular workspace.
| | 04:14 | But if you have higher resolution
displays you may want to play with these to
| | 04:19 | find out what suits you.
| | 04:20 | Next, we will go to Performance.
| | 04:23 | Painter 12 is the first version of
Painter that understands Multicore Usage.
| | 04:29 | So most modern processors now are
working with multiple cores and they even
| | 04:34 | have virtual cores.
| | 04:36 | So the machine I happened to be
working with here has eight cores, but it's
| | 04:40 | able to mirror those eight cores and actually
it has a total of 16 cores that it works with.
| | 04:47 | When you're working with any
multicore setting you want to set this down at
| | 04:51 | least one less than the total number of
cores you are working with, and as they
| | 04:55 | indicate here if you use all those
cores you may see a performance loss,
| | 04:59 | because if you have multiple
applications running they're taxing some of those
| | 05:04 | other cores and you may run into a
little bit of a traffic problem and see a
| | 05:08 | slowdown in Painter.
| | 05:10 | Memory Usage, you can play with this
trying to turn it up or down, the general
| | 05:14 | default of 80% is a good place to keep it.
| | 05:18 | Also you have the ability to set
what your scratch drive is going to be.
| | 05:23 | Undo Levels, Painter will do a huge
number of undos, but keep in mind as you
| | 05:29 | increase the number of undos, it's
going to have to use more and more in the
| | 05:33 | beginning RAM space and then if you go
out beyond your RAM, it's going to have to
| | 05:38 | start using virtual memory, which once
again will start to impede performance.
| | 05:43 | But if you do start to see a performance
hit, this is another area where reducing
| | 05:49 | undo levels can be a helpful way
to reduce taxing on your processors.
| | 05:55 | Same thing goes here.
| | 05:56 | I would leave these on, not having the
object smooth out when zooming, that just
| | 06:01 | means the character of the zoomed out
or zoomed in display is going to look
| | 06:06 | better when these are on.
| | 06:08 | When you turn them off, you are
going to get a more jaggy, a little less
| | 06:12 | accurate display of what the image actually is.
| | 06:15 | Shapes, I just keep it at the default.
| | 06:18 | Quick Clone, we are going to get into
that later in the chapter on cloning and
| | 06:23 | I will come back to this and talk about
the whys and wherefores of how you set this.
| | 06:28 | And finally, there is a new feature,
Connections, that Corel is introducing that
| | 06:32 | has not yet been activated, so go to
the Corel web site for more information
| | 06:37 | about Connections once this is online.
| | 06:41 | These are my recommendations, but
keep in mind that there are many, many
| | 06:45 | hardware variations that Painter runs
on. Your specific system may or may not
| | 06:49 | benefit from these recommendations.
| | 06:51 | If you're seeing performance issues with
the suggested settings, experiment with
| | 06:56 | adjusting the settings to
improve your performance.
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| Arranging palettes| 00:00 | If you consider all of Painter's on
screen interface elements as furniture, the
| | 00:05 | Layout feature enables you to re-
organize your living room with a single click.
| | 00:10 | This can be useful, for example, if
you find yourself in a situation in which
| | 00:14 | you need to switch between
different screen resolutions.
| | 00:17 | By creating layouts for each screen
resolution, you can easily switch between
| | 00:22 | these and quickly rearrange the
furniture for each room. Let's take a look.
| | 00:26 | You'll find the Arrange Palette menu
in the Window menu, and it's right here,
| | 00:32 | Arrange Palettes, and you
can see it's very simple.
| | 00:35 | Basically, it lets you save or delete a
layout, and I'm going to go back and just
| | 00:39 | show you a little bit of
what you could do with this.
| | 00:42 | You know, if it's a different resolution
screen, there may be a need for this to
| | 00:46 | actually be over here, or I may decide
I might want to put that right in the
| | 00:51 | middle of the screen.
| | 00:52 | So already, I've changed a couple
things here, and if I go back now to Arrange
| | 00:57 | Palettes, and say Save Layout, and we'll
call it Weird, and say OK, now I can go
| | 01:04 | ahead and change this back, and if I go
up to my Window and say I want to get to
| | 01:10 | that weird Workspace I was working on,
I will go to Arrange Palettes and say
| | 01:14 | Weird, and there it is.
| | 01:17 | It essentially just remembers where
you've put things by rearranging and
| | 01:21 | saving the layout, you can easily get
back to it, and that's what this Layout
| | 01:26 | feature is all about.
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| Creating custom palettes| 00:00 | Painter 12's freshly updated custom
palettes offers by far the single most
| | 00:05 | powerful customization feature in this release.
| | 00:08 | With custom palettes, you can organize
regularly used brushes, commands and tools.
| | 00:13 | Let's get started.
| | 00:15 | Now you'll find that the controls
for Custom Palettes resides over here,
| | 00:19 | however, to actually create a custom
palette, we've got to instantiate one by
| | 00:25 | going over and doing
something like selecting a brush.
| | 00:28 | I used the Captured Bristle a lot, and
what I am going to construct here is a
| | 00:32 | custom palette that has a set of
brushes that I use quite often, and maybe even
| | 00:38 | add a couple commands to it, just to
show you how you can aggregate several
| | 00:42 | elements from a workflow that you're
comfortable with, and be able to have those
| | 00:47 | various commands and tools at the
ready within a single mouse click.
| | 00:51 | I am going to go to the Captured Bristle;
| | 00:53 | I want to show you, if you just simply
click and drag it outside there, you are
| | 00:57 | going to get the little circle with a slash,
which means you can't do anything with it.
| | 01:01 | In order to create a new custom palette,
you hold down the Shift key, click and
| | 01:06 | drag, and when I let it up, I have
now created a new custom palette.
| | 01:12 | Now let's say I also want to use a tool
that I like a lot is the Scratchboard tool.
| | 01:18 | So once again, I am going to hold
down the Shift key and click and drag
| | 01:22 | that right into there.
| | 01:24 | Another tool I use quite regularly is
Just Add Water from the Blenders category.
| | 01:29 | You need to hold down the Shift key,
and I am just going to click and drag it
| | 01:32 | right into that palette.
| | 01:34 | Let's say we want to add some commands
to this, for example, if I go back over
| | 01:41 | to my Custom Palette, I can say here
that I want to add a command, and now I can
| | 01:47 | select a command from
any menu or from a palette.
| | 01:52 | What I want to do is make sure it's going to
go into Custom 10, which just happens to
| | 01:55 | be the default name that it started with.
| | 01:58 | In a moment, we will change that,
but for now just Custom 10.
| | 02:02 | If I now go up to this other menu, and this
only appears while we are in the Add Command.
| | 02:07 | You won't see it normally in there as
well as Panel Menus, Tools and Help.
| | 02:12 | All of these now give me access to
almost every command and tool in Painter.
| | 02:19 | So if I go to Other, for example, I
can go down here, and though let's say, I
| | 02:23 | want to add the Rotate command, so I
will say, Rotate, and I will say OK, and
| | 02:29 | now that adds that to the custom palette.
| | 02:33 | Let's say I want to take the Brush tool,
so once again we need to go back to our
| | 02:38 | Custom Palette workspace, and go to Add
Command, and in this case I am going to go
| | 02:43 | to Tools, and I am going to say I
want to take the Brush tool and add it.
| | 02:46 | Once again, I want to make sure it
goes to the custom palette, click OK.
| | 02:52 | Now initially we don't see anything,
but in this case we may need to open this
| | 02:56 | up a bit more and there is the Brush tool.
| | 02:58 | So if I am in say the Eraser, and I hit
Brush, it just switched to the Brush tool.
| | 03:06 | You can now organize these.
| | 03:07 | Let's say I want to move
these around a little bit.
| | 03:10 | Once again the Shift key is your friend
here. Let's take Rotate, and we'll move that
| | 03:15 | down here, and let's take Brush,
and I will move it as well.
| | 03:19 | I am going to go ahead and
reduce the width of this.
| | 03:23 | Now you can keep these as icons, however,
I find it far easier to be able to look
| | 03:30 | at these as text, particularly if you
start pulling different brushes out of the
| | 03:35 | same category, they are going to
have to show it in the same icon.
| | 03:39 | So I could have three of this icon
along here and it will be little bit more
| | 03:43 | difficult to know which
is which among the three.
| | 03:47 | So if you right-click on this, this is
where I can change this and say, I want to
| | 03:52 | view this instead as text, and I will go
ahead and do that by all three of these,
| | 03:57 | I want to go and say View as Text, and
once again, this is temporarily going to
| | 04:00 | go off, so we will widen this out temporarily.
| | 04:03 | And we will do it with this one.
| | 04:06 | Now I know that I am going to want to
keep this about the same width as this,
| | 04:10 | because I am going to ultimately put
it into this palette stack.
| | 04:13 | Let's go ahead and take this then,
once again hold down my Shift key and put
| | 04:18 | that right down here, and I don't even
think we need to narrow that down to the
| | 04:23 | exact size, but if I take this and
set this in here, I've now got a custom
| | 04:28 | palette with those tools available, and
I can adjust the height of it there, and
| | 04:33 | let's just start to use them a little bit.
| | 04:35 | I can click on this, and now I
have got the captured Bristle.
| | 04:40 | I might want to go and switch to the
Scratchboard tool and I might want to go to
| | 04:45 | Just Add Water, I might want to go to
Rotate here, where I can go ahead and
| | 04:53 | rotate this particular element. And
finally, in this case I have also got the
| | 04:59 | Brush tool, so if I went into a
different tool, which I did, I am in the Layer
| | 05:03 | Adjuster at the moment, I will go over
here and say Brush, and now I am back in
| | 05:08 | whatever my most recent brush
was, which is the Just Add Water.
| | 05:13 | The other thing I might want to do is go
in here and go back to my Custom Pallet,
| | 05:17 | and I could go to the Organizer in
this case, I can select this, and this is
| | 05:22 | where I could say I want to rename
this, I will just call it, My Tools.
| | 05:27 | And I am done, and now I have got
this area where I can select these tools.
| | 05:32 | I actually sometimes like to leave this
opened a little bit, because sometimes I
| | 05:36 | will be working with another tool.
| | 05:38 | So what I can do is just quickly go in,
grab that tool, hold down the Shift key
| | 05:44 | and put it in there, and
it may just be temporarily.
| | 05:46 | When I am done, and I want to get rid of
a tool, once again, hold down the Shift
| | 05:50 | key, address the particular element you
want to get rid off, and just click it
| | 05:54 | and drag it off out of the
custom palette and it's gone.
| | 05:58 | And the last thing I will mention, if I
go to the Organizer, I can have multiple
| | 06:04 | custom palettes set up.
| | 06:06 | So depending on your workflow and
certain aggregations of tools that you
| | 06:10 | want, you may want to have a set of different
custom palettes that can easily be loaded up.
| | 06:16 | You can even have multiple
custom palettes open, if you wanted.
| | 06:20 | So it gives you this great
flexibility to combine a lot of different
| | 06:24 | features that are in different places
in Painter and locate them all in one
| | 06:29 | particular spot.
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| Customizing keyboard shortcuts| 00:00 | Painter's customized keys facility
enables you to reprogram existing shortcuts
| | 00:05 | to match your, or another
application's preferences.
| | 00:09 | If you find a particular keyboard
command difficult to remember, customized keys
| | 00:14 | lets you replace it with a combination
that works for you. Let's visit this
| | 00:18 | useful painter facility.
| | 00:20 | You'll find this up in the Painter
menu and we go to Preferences > Customize
| | 00:27 | Keys, let's open this up;
| | 00:29 | this is going to be in the
Application Menus shortcuts.
| | 00:33 | We also have Palette Menus, Tools and Other,
and I'll get back to this a little bit later.
| | 00:38 | If we go to the Layers palette, and go
down here to moving layers in the layers
| | 00:45 | stack, up and down, right here, move to
the bottom, move to the top, move down
| | 00:51 | one layer and up one layer.
| | 00:52 | In Photoshop, they use the Command or
Ctrl plus the left and right brackets to
| | 00:59 | do this, and in the case of moving all
the way to the top or bottom, you add the
| | 01:04 | addition of the Shift key, and we don't have
that here at all, there is no way to do that.
| | 01:08 | So it's kind of the long way around
in Painter to do something that's very
| | 01:13 | simple to do in Photoshop.
| | 01:15 | So I'm going to assign those Photoshop
keyboard shortcuts to these actions in Painter.
| | 01:21 | So if I want to move this to the bottom,
I just click on it, you see how there's
| | 01:25 | that little blue field now.
| | 01:26 | Now it's waiting for me to
enter a keyboard shortcut.
| | 01:30 | So for this I'm going to enter Command+
Shift, in Windows it would be Ctrl+Shift,
| | 01:35 | and to go all the way to the
bottom that would be the left bracket.
| | 01:39 | Now to move it to the top, I'm going
to do Command or Ctrl plus Shift and the
| | 01:44 | right bracket, and to move down one
layer, all I need to do is Command or Ctrl
| | 01:50 | and do the left bracket.
| | 01:53 | Now you'll see this is where sometimes
you'll find there's already a keyboard
| | 01:57 | shortcut that this works with, and
you have to make a decision here.
| | 02:01 | Now in my case I look at this and what
would we be eliminating if I accept this
| | 02:06 | keyboard shortcut, Set Shape Attributes.
| | 02:09 | Now I've got to tell you I never use
Set Shape Attributes, so in this case I
| | 02:15 | don't care if that doesn't
have a keyboard command anymore.
| | 02:19 | So I'm going to go ahead and say Accept,
it's true, you could find that there is
| | 02:23 | a conflict, in that case you're going
to have to kind of rethink things. Maybe
| | 02:27 | you want to change the other keyboard
shortcut in favor of using that keyboard
| | 02:32 | shortcut for something that is more
important to you, or as I just did here, it's
| | 02:36 | a keyboard shortcut I'm never going
to use, so there's nothing wrong in
| | 02:40 | eliminating it from the use
of keyboard shortcuts at all.
| | 02:44 | So now I'm going to go to Move Up One
Layer, and let's go ahead and in this
| | 02:48 | case that'll be Ctrl or Command and
the right bracket key. And once again,
| | 02:52 | here's another one that I got to tell you,
I never use the Duplicate Command, so
| | 02:57 | I'm going to Accept it.
| | 02:59 | And when I say OK, I've now got a way
to control my layers in a fashion that
| | 03:05 | I couldn't do before.
| | 03:07 | When I move back and forth between
Photoshop and Painter, I don't have to
| | 03:10 | relearn a new set of commands. The same
commands that are used in Photoshop layers
| | 03:15 | are now used in Painter's layers, so
that's a way to be able to add functionality
| | 03:21 | in places that it didn't even exist.
| | 03:24 | Be sure that when you are in the
Customized Keys, you want to look into Other.
| | 03:32 | The Other category has some
interesting things in it that you wouldn't even
| | 03:36 | realize could possibly have a keyboard shortcut.
| | 03:40 | So rather than having to learn and
memorize a jumble of new shortcuts, Customize
| | 03:45 | Keys lets you create your own, or use
those found in other applications. Take
| | 03:49 | advantage of this feature
to improve your workflow.
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| Understanding workspaces| 00:00 | Workspaces are the master container
for fully organizing your workflow.
| | 00:05 | Everything is preserved in a saved
workspace, preferences, layouts, custom
| | 00:10 | palettes and keyboard shortcuts.
| | 00:12 | Workspaces used to be somewhat flaky
and could unexpectedly crash Painter,
| | 00:17 | but thankfully they've been beefed up in
Painter 12 and are now much more bulletproof.
| | 00:21 | Not only are workspaces an
excellent means of saving your own preferred
| | 00:25 | interface and content setup, they can
also be used to provide other users with
| | 00:30 | an exact mirror of a specific setup.
| | 00:32 | In fact, I'm going to go through
showing you the Painter 12 workspace that I've
| | 00:37 | created, I am going Hide Painter 12
here temporarily, go to Exercise Files, and
| | 00:42 | if we go to Chapter04, you will see
that there is a Painter 12 Essential
| | 00:48 | Training PWS, which is just
short for Painter Workspace.
| | 00:52 | You can simply double-click on this
workspace, and I will do it right here, and
| | 00:56 | it's going to load this
workspace into Painter 12.
| | 01:00 | So now I have not only the default
workspace, but I have the workspace that
| | 01:04 | I've been showing you and adapting as we've
gone through some of the previous exercises.
| | 01:10 | You are free to load this up and use it
as you wish, or you may just use it as a
| | 01:17 | starting point, or you could totally
ignore me and not load it up at all.
| | 01:20 | So let's go through some of the
various characteristics of workspaces, and if
| | 01:24 | you go to the Window menu and go
down to Workspace, this is where we can
| | 01:28 | create a new workspace, we can delete
workspaces as you saw, we can import
| | 01:33 | workspaces, which you can use this
same command to get to do what I just
| | 01:38 | showed you, but I find it far simpler
to just double-click on that workspace
| | 01:42 | file in order to get it.
| | 01:44 | Now in order for me to make
that workspace, I had to export it.
| | 01:48 | So once I constructed this workspace,
all I had to do is hit Export, and now I
| | 01:54 | can name it, and then save it to
wherever I want, since I have already done it,
| | 01:58 | I'm not going to do it here.
| | 02:00 | Now some of the things you want to
know about workspaces, for one thing, they
| | 02:03 | are cross-platform compatible.
| | 02:06 | So if you created a workspace on either
Mac or Windows, you can take that file
| | 02:11 | and put it on the other operating
system and Painter will still recognize it.
| | 02:16 | Workspaces act as a backup
for time intensive setups.
| | 02:19 | If for any reason something goes south,
you can always re-import the saved
| | 02:24 | workspace. So it actually also acts
as a backup to your workspace that
| | 02:29 | you've previously saved.
| | 02:31 | Workspaces are also a great resource
for Painter in a classroom environment,
| | 02:35 | enabling students to all have the same
exact work environment, that way everybody
| | 02:40 | is exactly in sync with how the
interface is laid out and what content is in it.
| | 02:45 | Workspaces save user
changes made while using Painter.
| | 02:49 | For example, I've just put in this
workspace, but if I go in and say, change to
| | 02:55 | that displaying or move this,
that's all part of a workspace now.
| | 03:00 | It adapts those changes to the workspace.
| | 03:03 | So if I want to get back to where I
was after some changes and a few sessions
| | 03:07 | that I've worked in, I can go back in
here and I could say, Import Workspace,
| | 03:13 | I'd want to go to my desktop, in this
case the exercise files, Chapter04 and
| | 03:18 | re-import that workspace, and we will
see here, once it's imported, everything
| | 03:22 | is back just the way I had it.
| | 03:25 | Now previously, I described how sudden
changes in a user interface can cause
| | 03:30 | disorientation and confusion.
| | 03:32 | This is exactly what I encountered
when I initially started using Painter 12.
| | 03:36 | Fortunately, one of 12's big changes is
beefed up user customization of the user interface.
| | 03:43 | This expanded capability enables you
to significantly work around many of the
| | 03:48 | interface changes introduced in
Painter 12 that may not suit you.
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|
|
5. ColorControlling color with the Color palette| 00:00 | Color is a major component of Painter,
| | 00:03 | after all, you need it to paint.
| | 00:05 | Painter offers multiple methods
for accessing and controlling color.
| | 00:09 | In this video, we'll take a look at
the Color palette, Painter's primary
| | 00:13 | color selecting tool.
| | 00:15 | So if we go over to the right side of
the screen here, we'll see we have the
| | 00:18 | Color palette open, and the main
surface of it has this two component color
| | 00:24 | selection model, and
basically you've got a hue ring.
| | 00:28 | If you member back from your grade
school days when we learned about Roy G. Biv,
| | 00:32 | and the organization of colors as seen
in the rainbow, that's basically what
| | 00:36 | we've got organized here.
| | 00:38 | So that by moving the indicator on the
hue ring, we can get to various colors.
| | 00:44 | If I want to get to blue say, I can
either drag this here to the blue and find
| | 00:49 | the particular hue of blue that I want,
or another way to do it is you can just
| | 00:54 | click on the hue ring
where you see color you want.
| | 00:57 | Then if you need to do any fine adjustment,
you can do it right here with the indicator.
| | 01:02 | Within the hue ring we've got
the saturation value triangle.
| | 01:06 | Basically, how this is organized is at
the far-right edge of the triangle, this
| | 01:11 | particular hue at its full saturation.
As we go up to the upper-left corner of
| | 01:16 | the triangle, we are adding more and
more white to that color, until we get to
| | 01:20 | the corner, it's actually 100% white.
| | 01:22 | Conversely, if we go from the right
corner down to the bottom-left, we're going
| | 01:26 | to be adding more and
more black to the triangle.
| | 01:29 | So these are typically referred to as
tints and shades, and in between all of
| | 01:35 | that you've got all of those
various tints and shades available to you.
| | 01:39 | If you take the indicator, and just
slide it up and down on the left edge
| | 01:43 | itself, you're going to have a
grayscale from black to white.
| | 01:46 | So within this triangle, you've got
a wide selection of all of the basic
| | 01:52 | possibilities within the hue,
that's selected on the hue ring.
| | 01:56 | Now, another thing we've
got here is the RGB sliders.
| | 02:01 | And RGB is great in computing, as a way
to describe color, but it's not really
| | 02:07 | intuitive, especially in an art environment.
| | 02:09 | So yes, you've got red, and green, and
blue, but it's really hard to understand
| | 02:13 | what is going to happen as you
adjust each of these sliders.
| | 02:17 | So another way to look at color is in terms
of Hue/Saturation value, which is going
| | 02:22 | on right here in the hue ring and the
saturation value triangle, and we can
| | 02:27 | switch the sliders to HSV.
| | 02:30 | So if I click here, we've now got our
Hue/Saturation and Value sliders, and if
| | 02:35 | you notice what happens here, if I
change the hue ring, see what's happening,
| | 02:40 | only the hue slider is being adjusted.
| | 02:43 | So you can either think in terms of
adjusting the hue on the hue ring itself,
| | 02:47 | or you could adjust it according to
the slider, and the same is true of
| | 02:52 | saturation and value.
| | 02:54 | As I move the Saturation slider farther
and farther to the right, it's going to
| | 02:58 | take this farther and farther into saturation.
| | 03:02 | So I've got two different ways to
manipulate color, and it's up to you
| | 03:06 | which works best for you.
| | 03:08 | Now, you can also if you want to, you
can turn off the color information and
| | 03:14 | if you're totally comfortable with
just working with the hue ring and
| | 03:19 | saturation value triangle, you can
even simplify the display a bit more by
| | 03:24 | removing the sliders.
| | 03:26 | I'm also going to show you what
happens if I take this out, I can resize this
| | 03:31 | palette, and why would I want to do that?
| | 03:33 | Especially on this small display,
it's taking up a lot of space.
| | 03:36 | So what I am going to show you here
probably makes more sense when you've
| | 03:40 | either got a higher resolution display, or
you may be working with multiple displays.
| | 03:44 | When you increase the size of this, this
makes room for more pixels to represent
| | 03:49 | more values, and what that means is you
get a much more refined color selection.
| | 03:56 | If we temporarily go back in here and
switch the Color Info on, when this is set
| | 04:01 | up to a larger scale, if you watch the
sliders, for example, you'll see that I'm
| | 04:07 | getting much more refined values in there.
| | 04:10 | It's going from each value that's possible.
| | 04:13 | When this is very small, it doesn't
have as much resolution in the color space.
| | 04:19 | So now, it's jumping multiple steps at a time.
| | 04:23 | So one reason you may want to have
the display larger, is it gives you the
| | 04:28 | ability to access more colors.
| | 04:29 | They are all there,
| | 04:31 | it's just that the ring itself
doesn't have enough resolution to be able to
| | 04:35 | allow you to get at all colors as
it does when it's expanded outward.
| | 04:40 | That's really the only true benefit of
enlarging this up when you want to do that.
| | 04:46 | The other thing I want to talk about
are the two color indicators here, we have
| | 04:50 | the Main Color and what's
called the Additional Color.
| | 04:53 | I will talk about the
Additional Color in depth later.
| | 04:56 | But right now, the Main Color is the
one you want to focus on, because when you
| | 05:01 | are painting with a brush, for example,
the color that it's going to use is
| | 05:05 | going to be the color that
it finds in this indicator.
| | 05:09 | So if I switch to a very
different color, it's going to change.
| | 05:12 | Now, you're going to see, and this is
a good point to show this, some brushes
| | 05:16 | like a watercolor brush like we are
showing here, can never in some cases get to
| | 05:21 | the actual color you see in here.
| | 05:24 | A watercolor may have a pigment that's
that color, but depending on how much
| | 05:28 | water is combined with the pigment,
you may or may not get to that color.
| | 05:32 | In most cases, I would say, the color
you see is the color you're going to get.
| | 05:36 | I just happen to have a water brush
here and it looks like, at first, it's not
| | 05:41 | going to get to that color.
| | 05:42 | But if I change to say there, you know enough
application of it over itself will get you to that color.
| | 05:50 | So while this is an indicator of color
depending on the medium you're working
| | 05:54 | in, you may see some variations within it.
| | 05:57 | The last thing I want to talk
about is the Clone button here.
| | 06:02 | And when I turn this on, you'll see
that the color display goes gray.
| | 06:08 | This is to let you know that you've
switched from having your brush pay
| | 06:12 | attention to color, and now it's
paying attention to the clone source.
| | 06:17 | And right now, by default, the current
clone source is this pattern down here.
| | 06:22 | And so when I paint, the colors that are
going to appear in the brush are going to
| | 06:27 | be related to the current pattern, and
a lot of people get confused by this.
| | 06:32 | They will pick up a brush, start
painting with it expecting to color, and they
| | 06:37 | see this and they're trying to figure
out where is that color coming from?
| | 06:40 | Well, a couple things, once you've done
it a few times, you realize, I'm picking
| | 06:44 | up the current clone source, and the
other thing is to just go over and pay
| | 06:48 | attention to the Color palette, and if
it's grayed out, all you need to do is
| | 06:51 | click it, so it's back to showing color
again, and you will then once again be
| | 06:56 | painting with the color from the Color
palette, rather than the clone source.
| | 07:00 | So the Color palette provides a very
visual, intuitive way to select color,
| | 07:06 | and the easier it is to select color,
the more quickly you're going to be
| | 07:10 | painting your images.
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| Working with the Temporal Color palette| 00:00 | In the previous video, I showed you
how the Color palette, which we're looking
| | 00:04 | at over here on the right side of the screen,
is a very intuitive way to get at color.
| | 00:10 | Wouldn't it be great if instead of
having to come over here and select color,
| | 00:14 | I could just be in an image painting,
and be able to access the Color Wheel
| | 00:20 | right where I'm painting?
| | 00:21 | Well, in Painter 12 you can, with the
new Temporal Color palette, and I am going
| | 00:26 | to call it up here just to show it to you.
| | 00:29 | So there's my Color palette, and just
like in the Color panel, I can make the
| | 00:33 | same selections and go back to
painting with a different color.
| | 00:36 | So this is a very nice way to be able
to be working and access color without
| | 00:43 | even having to have this visible, and
that's a good thing because one of the
| | 00:49 | things that you can run into, as we've
done on this display, is this does take up
| | 00:54 | space in the interface.
| | 00:55 | And if I don't have to have it, or if
I'd rather have say the Mixer palette,
| | 00:59 | which we'll talk about shortly, it
would be nice to be able to have this
| | 01:03 | displayed all the time.
| | 01:04 | So by now having this Temporal Color
palette, we can now paint and not even have
| | 01:09 | to worry about moving over.
| | 01:12 | It just improves your productivity to have
this instantly available right at your cursor.
| | 01:18 | The way that it's set up by default is
you use the Option or Alt, Command or
| | 01:24 | Ctrl, and the 1 key.
| | 01:26 | So it's a three-finger shortcut,
which I find to be a bit daunting.
| | 01:32 | When I'm working, I don't want to
have to be arranging my fingers into some
| | 01:35 | magical constellation in
order to be able to bring this up.
| | 01:39 | So what I've done using keyboard
shortcuts is assign this to a single key, and
| | 01:45 | if you refer to our video on keyboard
shortcuts, you can do the same thing, and
| | 01:51 | I find it to be a much more easy
way to use this particular palette.
| | 01:57 | And when you use whatever your keyboard
shortcut is, the key press will bring up the
| | 02:02 | palette and allow me to use it.
| | 02:05 | And I can either use the keyboard press
to dismiss it, or another way to do it
| | 02:10 | is I can simply start painting outside
of the area of the Color palette itself,
| | 02:17 | and it will dismiss it.
| | 02:19 | Another thing you can do when it's up
is, if you click in any of the clear
| | 02:23 | regions of it, you can pick this up and move it.
| | 02:25 | So where it comes up may not be
suitable for addressing a particular color
| | 02:31 | that you want to get to, and so being
able to move it to where you want to
| | 02:35 | pair it to a color that's already
on the screen, is a nice addition to the
| | 02:39 | way the palette works.
| | 02:41 | So the Temporal Color palette basically
functions the same as the Color panel,
| | 02:47 | it's just now you have it actually on-
site right where you're working without
| | 02:52 | having to make that extra move to go
over to another area of the screen and that
| | 02:58 | is going to improve your workflow.
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| Mixing color with the Mixer palette| 00:00 | Painter has multiple ways to mix color.
| | 00:03 | We have already looked at the Color
palette, which gives you a very intuitive way to
| | 00:06 | dial in a color that you want to work with.
| | 00:09 | But the Mixer palette goes beyond that,
the Mixer palette is really something
| | 00:14 | that particularly people who come from
any kind of traditional background will
| | 00:17 | appreciate, because this allows you to
actually mix colors in the mixing area,
| | 00:22 | much as you would do in a traditional
environment with paint on a palette, where
| | 00:27 | you apply various colors with your
brush and intermix them on the palette. You
| | 00:33 | can then pick up colors from
that palette and paint with them.
| | 00:36 | One of the main reasons a traditional
artist will do this is, they do what's
| | 00:40 | called a Loaded Brush technique, and
what that means is rather than painting
| | 00:44 | with one individual color on the brush,
they actually mix their paint, so that
| | 00:49 | when they dip into that mixture, they
are intentionally picking up a range of
| | 00:54 | colors across the brush.
| | 00:56 | And what it does is it just imbues the
strokes with much more complexity and
| | 01:01 | enriches the look of the
painting that's done in that style.
| | 01:05 | So that's one of the primary
reasons the Mixer palette is here.
| | 01:09 | If we take a look at it, you'll see
that it's broken up into a couple of areas
| | 01:13 | here. You basically have a set of
color swatches or color chips here that are
| | 01:18 | there for you to be able to select
from to mix with, and then you've also got
| | 01:22 | the individual mixing area itself.
| | 01:25 | If I use the Hand tool here, we can
move around, we can see this is actually
| | 01:29 | larger than what you see in the mixing area.
| | 01:33 | And the reason for that is, that you
can actually expand this out to quite a
| | 01:38 | large area if you like, and
particularly if you have a very high resolution
| | 01:43 | display or multiple displays, you
may find that you want to have a much
| | 01:47 | larger mixing area than it's going to have
when it's tucked in to a palette like we saw.
| | 01:52 | So now that we have got this open, let's
look at some of the controls that we have.
| | 01:57 | One of the things we can do is we can
use the Clear button down here, the little
| | 02:01 | garbage can, to clean off what's on the
mixing area and you'll see right now it's
| | 02:07 | got kind of his light brown mixing area,
which is perfect, if you are going to
| | 02:11 | be painting on an image that may have a
color like this in your background. Some
| | 02:15 | people may even want to start
with their canvas this color.
| | 02:18 | So in that case, if you go into mix
colors, you are going to find that it makes
| | 02:24 | sense to have that color back there,
because some of these colors are going to
| | 02:29 | intermix differently based on what's
underneath of them, for example, and what
| | 02:35 | I want to do here though is, I
would rather have just a neutral white
| | 02:38 | background, and I can change that if
we go right up here and we go to change
| | 02:43 | the mixer background, and I am just going to set
this to white, and now I'm on a white background.
| | 02:50 | So it gives me a different visual cue
to how I'm looking at the colors as I
| | 02:56 | mix them on screen.
| | 02:58 | One thing that I discovered in
preparing for this, that can be a little
| | 03:02 | confusing is, this is called the Dirty
Brush and what this does is it treats
| | 03:07 | colors in a manner that as you paint
with them, once you touch a color, the next
| | 03:13 | brush is going to have that color on
it and it's more like a real brush,
| | 03:18 | operates in the physical world.
| | 03:21 | Obviously, as you paint in a wet
color and pick up your brush, whatever
| | 03:25 | colors it was touching, they are going to
get picked up and contaminate the brush stroke.
| | 03:30 | So that's how it works.
| | 03:32 | The odd thing is this control is
backwards, this is to turn on Dirty Brush mode,
| | 03:38 | but it's actually on
what it shows that it's off.
| | 03:41 | So that's a little confusing, because
the interface is giving you incorrect
| | 03:45 | information, but once you adapt to
it you will realize and you'll see the
| | 03:49 | difference in the behavior.
| | 03:50 | When I paint with a brush, and even
though it doesn't say it's Dirty mode, well
| | 03:54 | obviously, it's got to be dirty mode for
it to pick up those colors as I change,
| | 03:59 | and it does give me, in some cases, a
more realistic mixture that you'd expect
| | 04:04 | when mixing with a brush that's wet and wet.
| | 04:07 | But if you don't want that behavior, you
can turn it off, which is going to make
| | 04:10 | it look like it's on, and now when I
paint, each stroke, well, no matter where
| | 04:14 | it's been, will always come up
in the color that you have set.
| | 04:19 | So this is a little bit more artificial and
it just depends on how you want to mix colors.
| | 04:23 | This one kind of always keeps your
brush automatically clean for you at the
| | 04:27 | beginning of every stroke, Dirty Brush
mode on the other hand is always going to
| | 04:31 | be contaminated by whatever it touched last.
| | 04:35 | And it's up to you as to which one of
those behaviors you would want to work with.
| | 04:40 | We've also got a mix color, which is
kind of like a little color palette.
| | 04:44 | This doesn't apply color, it just
let's me go in and mix colors that are
| | 04:48 | already on the mixing area, and
I can adjust the size of this.
| | 04:53 | So if I want to make this larger, I've
now got a larger brush and at some point
| | 04:58 | here I probably want to just clean
off my mixing area, so we can continue.
| | 05:03 | So you have got these various mixing
modes that you can work in, and let's just
| | 05:08 | say we want a mix up some color.
| | 05:09 | So I am going to start and select
a few colors here just to get some
| | 05:14 | intermixtures, and I'm just going to go
through here, because it's kind of nice
| | 05:16 | sometimes to actually do
it through the spectrum.
| | 05:20 | So you can see here, each time I do
this I'm not going to get just a swath of
| | 05:26 | that color, it's going to be
intermixing in areas with it.
| | 05:29 | So how do I get those colors?
| | 05:31 | Well, those are the next two tools.
| | 05:33 | You've got a sample color and
let's go ahead and try that out.
| | 05:36 | If I select that, say right here, in an
area that has an intermixture, and then
| | 05:40 | I go over here and paint, well, it's
only painting with one color, and that's
| | 05:44 | because the Sample Color tool only
picks up single colors from the palette.
| | 05:49 | And there are times where you are going to
want to use it that way, but to really
| | 05:53 | enjoy how this works, you want to take
this one right here, the one with the
| | 05:56 | little circle around it, this indicates
it's not going to pick up a point color,
| | 06:00 | but its going to pick up a
group of colors around the area.
| | 06:04 | So now if we go here and sample that same area.
| | 06:07 | Now I am going to get a nice brush
stroke that has a lot of different color
| | 06:12 | variation in it, and each time I select
a new color from the Mixer palette, I've
| | 06:18 | now got a much different
range of colors to work with.
| | 06:22 | And you can already see it, I think,
as I start to just diddle around with
| | 06:26 | this and not even try to draw anything
of any import, I'm getting a nice set
| | 06:31 | of colors and it's much richer,
there is much more going on in those
| | 06:35 | individual strokes.
| | 06:37 | And as such, you just get a nice
traditional appearing set of strokes
| | 06:42 | building up on your image.
| | 06:44 | So the Mixer palette really is
the way to be able to get at these
| | 06:49 | loaded brushstrokes.
| | 06:50 | And I have to tell you, not every
brush in Painter responds to the loaded
| | 06:57 | brushstroke. There are some brushes
that will and won't, and the list is so
| | 07:01 | varied, I couldn't even tell you with
any intelligence, which ones do and which
| | 07:06 | ones don't. It's one of those things,
it's best learned by experimentation.
| | 07:10 | So as you try out different brushes,
you may want to try the Mixer palette to
| | 07:15 | see if it works. Say something like
watercolors, they really don't respond to
| | 07:19 | this, and in real watercolor you
typically don't load up a brushstroke anyway,
| | 07:23 | but some of the various brush models
in Painter just don't understand how to
| | 07:28 | interact with multiple colors across it.
| | 07:31 | So just be aware that you can't
depend on this for every possible brush to
| | 07:36 | respond to a loaded brush.
| | 07:39 | The last thing I want to talk about
are the color chips up here themselves.
| | 07:43 | You can select a color, and let's say
I back over here and go to my Color
| | 07:47 | palette, let's say I want a specific color on
the Color palette, like kind of a light cyan.
| | 07:55 | And in order to place that into here, if
I hold down the Ctrl key on Windows, or
| | 08:01 | the Command key on Mac and then click
in an area where I want to replace it, it
| | 08:06 | will replace that color.
| | 08:07 | Now let's say you've changed colors and
you realize, oh, I don't want that, or I
| | 08:12 | really like a set of colors that I've
changed, I can go up here and I can say, I
| | 08:17 | just want to reset the mixer colors.
| | 08:19 | In that case I've reset them, but let's
say I've gone in here and made several
| | 08:24 | different color changes for very particular
set of colors I want to repeatedly get
| | 08:28 | access to, I can go in here and I can
save the mixer colors, and this will save
| | 08:33 | it in a file that you can then load,
so that you can have different sets of
| | 08:38 | target colors in the top of your
palette to be able to mix with.
| | 08:42 | You can also, I should mention, I can
go into an image and just by holding
| | 08:47 | down the Option or Alt key, I can
sample a color and then that becomes a
| | 08:52 | color I am painting with.
| | 08:53 | So you're not restricted to only
mixing colors with colors you find here.
| | 08:58 | Any color that is either current or in
the color that I set up here, will become
| | 09:03 | the color I mix with.
| | 09:04 | So while these are good to whole set
of colors, you don't need to mix colors
| | 09:09 | with only them. You have both the
Color palette, as well as sampling from an
| | 09:13 | image in order to get colors to mix with.
| | 09:17 | A new feature in Painter 12 is that
you can load an image into the Mixer
| | 09:24 | palette, why would you want to do that?
| | 09:26 | Well, let me show you.
| | 09:27 | I am going to go up here and
I'm going to go to Open Mixer Pad.
| | 09:32 | So I am going to go to the desktop, and I
am going to go to my exercise files and
| | 09:36 | in Chapter 05 you'll find an image, and
it can be any image you want, we are just
| | 09:42 | going to use this sample, so
let's go in here and click it.
| | 09:45 | So once I've got this image loaded in
here, I can go ahead and begin to sample
| | 09:49 | colors off of there, because the colors
in the image are much more varied at any
| | 09:56 | given area of the image.
| | 09:58 | You just get these very nice blends of color.
| | 10:02 | So being able to actually select colors
off of an existing image is a great way
| | 10:07 | to get these really nice complex strokes,
and just depending on where I select
| | 10:12 | within the image, I am going to get a
very different kind of sensation in terms
| | 10:18 | of how the brushstroke looks.
| | 10:20 | So being able to now load up images is
another interesting aspect of the Mixer
| | 10:26 | palette, that's very welcome.
| | 10:29 | So just to encapsulate what we've
looked at here, the Mixer palette is a way to
| | 10:34 | emulate traditional mixing techniques
and even in the digital world, you may
| | 10:38 | find it to be a very interesting way
to get at a type of brushstroke that you
| | 10:44 | wouldn't be able to get in
any other way in Painter.
| | 10:47 | Being able to load up a set of colors
across a brush and then paint with it, as
| | 10:52 | I have mentioned, is a way to really enrich
those strokes and give them a lot of character.
| | 10:57 | So I think you are going to like the
Mixer palette once you get in there and
| | 11:00 | start experimenting with it.
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| Working with color sets| 00:00 | Color sets are yet another way to
manage and get access to color in Painter.
| | 00:07 | Of all the things we've looked at, this
is the most organizational way for you
| | 00:12 | to track color, because what it lets
you do, and if we look at the Color Set
| | 00:17 | panel, you can see, it organizes
colors in small chips that give you a way to
| | 00:24 | very quickly visually get at colors.
And I will show you here in a moment, you
| | 00:28 | can actually also get to them if a
Color Set happens to have color names, as you
| | 00:33 | can see in this one, it uses a set
of traditional paint color names.
| | 00:38 | We can even set this up so
that we can see those names.
| | 00:40 | So whether you're doing this visually,
or you want to do it via a list of names
| | 00:46 | that are familiar to you, that will tell
you what the color is, you've got both
| | 00:50 | of those options available to you in color sets.
| | 00:54 | So let's look at some of the controls that
we can do to change the view of the color set.
| | 01:00 | I am going to go up to the
flyout menu for Color Set Libraries.
| | 01:05 | And one of the things I want to show
you here are some of the views we can do.
| | 01:09 | For example, we can change the size of
the little swatches, so we just have a
| | 01:14 | larger visual view of them.
| | 01:16 | Obviously, the larger they get, the
less of them you're going to be able to see,
| | 01:20 | particularly if it's a very large list.
| | 01:23 | And to be honest, unless you really need to, for
most cases the smaller one is totally usable.
| | 01:29 | But sitting here and looking at this,
I can't see like what's the difference
| | 01:33 | between that color and that
color. It's hard to tell.
| | 01:36 | And if we do enlarge it up, even to one
size larger, I believe they're right here.
| | 01:42 | Those colors are now a bit more
identifiable as individual colors on screen.
| | 01:48 | So that is a case where you may want
to enlarge the size of these. And once
| | 01:52 | again, like the other color palettes
we've looked at, you can take this off of
| | 01:57 | here, and it is also expandable.
| | 02:00 | So you can make this as large as you
want, either within your palette stack or
| | 02:06 | as a separate panel on a high
resolution display, or on a second screen.
| | 02:11 | Now, the other way we can look at this
as I mentioned, is if I go in here and
| | 02:15 | go to the List View, because this
particular color set has naming conventions
| | 02:20 | attached to traditional colors, this for
some people will be the best way to get at it.
| | 02:26 | You want Prussian Blue, well
you're going to find it by name.
| | 02:30 | It would be very hard to identify Prussian
Blue out of all of these blues, by color alone.
| | 02:36 | So being able to see the name is
another way that will help you get at colors
| | 02:41 | that you want to work with.
| | 02:44 | Another thing you can do, is you can
organize the sorting order that these show
| | 02:50 | up in, and I will show you what I mean here.
| | 02:52 | If we go down to Sort Order, you
can view them as Saved, which is the
| | 02:57 | original way that these were
organized, or you can look at them in what's
| | 03:01 | called HLS, LHS, or SHL.
| | 03:05 | Now, what does that mean?
| | 03:06 | Well, it stands for Hue/Lightness/Saturation.
| | 03:09 | It's basically the same as hue value
and saturation, it's a slightly different
| | 03:14 | model internally, but you can think of
it as hue, saturation and value. And what
| | 03:19 | it does is it just prorates the
colors looking at their hue, lightness, and
| | 03:23 | saturation values, and in the case
of HLS, it's going to prorate it.
| | 03:28 | So when I click it, it's
going to do it through the hue.
| | 03:31 | So it's actually doing it from black
and then working its way through blues and
| | 03:35 | spectromatically basically,
going through the colors.
| | 03:38 | If we change it to something like
lightness, well now we're going to get from
| | 03:42 | the darkest value color all
the way to the lightest value.
| | 03:46 | So you've got different ways to slice
and dice the organization of colors within
| | 03:51 | a color set, just depending on what
you're doing, one of these different sort
| | 03:55 | orders, may make a difference to you
in terms of how you want to be able to
| | 03:59 | select related colors.
| | 04:02 | Another thing that's new in Painter 12
is that you can now have multiple color
| | 04:05 | sets in your panel simultaneously.
| | 04:09 | Previously in Painter, you had to swap
out one color set for another, and now
| | 04:14 | you can have multiples open.
| | 04:15 | So if we go here and say, I want to have
Spectrum open as well, it will open that.
| | 04:20 | So these aren't that different, but
if I go to say, yet a third color set
| | 04:24 | here, something like Gray Range,
now I've got a different set of very
| | 04:29 | different kind of colors in it.
| | 04:31 | So you can actually load these up,
multiple sets, and have them available to you
| | 04:37 | simultaneously, which just goes a long
way towards enabling you to be able to get
| | 04:42 | at more color in an organized fashion
than you've been able to previously do.
| | 04:46 | I am going to turn off the
additional color sets here.
| | 04:50 | So let's go back, and go
back to Color Set Libraries.
| | 04:53 | I am just going to disable a couple
of these, we're down to a single set.
| | 04:59 | And what you can do is you can
add new colors to a color set.
| | 05:03 | I can create a new color set in fact.
| | 05:05 | If I say New Color Set, we'll
just start with the default.
| | 05:09 | It has to have a color in it.
| | 05:11 | So it's just taking whatever color was
active at the time in the other color set.
| | 05:16 | So if I want to add colors to this,
the first thing I want to do is make sure
| | 05:20 | I've selected this color set by just
highlighting the single color in that set,
| | 05:26 | because whatever is selected in here,
that's the set it's going to address
| | 05:30 | assuming you have multiple color sets open.
| | 05:32 | So now that I've set that, I can go
ahead, and let's get kind of that peach
| | 05:37 | color, and we'll add that.
| | 05:42 | And what I might want to do in this case
is, I am just going to slide through the
| | 05:45 | spectrum, and just add a
few colors in here as I go.
| | 05:49 | So this is one way I can kind of keep the
saturation value the same and just put
| | 05:52 | changing hues in there.
| | 05:54 | But you can see it's very easy once
you've set up a new color set to go in and
| | 05:58 | just add new colors. And you know, however much
radically I want to change, and whatever
| | 06:03 | is current in the main color, that will
be the color that is added to the set.
| | 06:08 | Conversely, we can remove color.
| | 06:10 | So if I don't like a color that's in
there, I can delete the color and whichever
| | 06:15 | is highlighted, like that one, I'll
put the highlight around it, I delete it,
| | 06:19 | it will remove that
particular color from the set.
| | 06:24 | So this gives you a way to build your
own color sets, and just as I showed
| | 06:28 | you before, I can sample colors from
images, I can get it from the Color
| | 06:33 | palette, anyway you want to have a
source color, you can get it into a color
| | 06:39 | set to organize it.
| | 06:40 | So color sets basically give you a
very organized control over sets of colors
| | 06:47 | that you're going to repeatedly use or
in the case of the Painter color set,
| | 06:52 | it actually gives you a range of colors
that are based on traditional oil paint colors.
| | 06:59 | So people coming from a traditional
background who are familiar with those
| | 07:03 | color naming conventions, will feel
very comfortable with the Painter color
| | 07:07 | set in this case, because it uses
those same conventions when the colors were
| | 07:11 | all sampled in a manner so that,
relatively speaking to one another, they are
| | 07:16 | all going to be very similar to the
same environment you have with the
| | 07:20 | traditional colors.
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|
|
6. Brush BasicsIntroduction to brushes in Painter 12| 00:00 | Lying at the heart of Painter are its brushes.
| | 00:03 | More than any other feature, it is
the brushes that enable you to express
| | 00:07 | yourself in your own creative voice.
| | 00:10 | Throughout Painter's releases, new
brush mediums have continually been added.
| | 00:14 | The result is an amazingly
broad range of expressive tools.
| | 00:19 | Part of your journey through Painter
will consist of finding the expressive
| | 00:22 | voice, right for you.
| | 00:24 | In this chapter, I'll cover
the essential aspects of brushes.
| | 00:27 | You will additionally want to check
out Chapter03, which covers new brush
| | 00:32 | capabilities like the Brush
Library panel and Recent Brushes bar.
| | 00:37 | Now let's take a look at
Painter's brush essentials.
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| Understanding brush size adjustment| 00:00 | Of all the potential adjustments you
can apply to a brush, changing its size is
| | 00:05 | the one you'll make most often.
| | 00:06 | Painter has multiple methods for
adjusting brush size, which one you use will be
| | 00:11 | dictated by your personal preferences.
| | 00:14 | Probably, the easiest one to address
initially is if you're in the Brush tool
| | 00:18 | and you go to a Brush Property bar,
right here you've got a slider that you can
| | 00:24 | use to adjust brush size.
| | 00:26 | Now you don't see it interactively,
so when I go in here, there is a brush
| | 00:29 | size and if I go make it larger, for example,
now I have got a much larger brush size.
| | 00:35 | So sometimes this can be a way,
especially when you want to get a very precise
| | 00:40 | adjustment, you can do it either
through the slider itself, or you can actually
| | 00:44 | go in here and say, well, I want, in
this case a 20.5 brush, not that you'll use
| | 00:50 | it that often, but you can get down to
exactly the brush size that you want.
| | 00:55 | So that's the default, kind of easy, it's
always there, adjustor that you can use.
| | 01:00 | Secondly, you can use
Photoshop style brush resizing,
| | 01:04 | which is using the left and
right bracket keys on the keyboard.
| | 01:08 | So I am going to start clicking on the
right bracket key, and you can see how my
| | 01:12 | brush is increasing in size.
| | 01:14 | Conversely, if I click on the left bracket,
you will see how it's going down in size.
| | 01:20 | And I discussed this in the
preferences chapter, but I want to be sure to
| | 01:25 | mention to you that you can control
how big that increment is right here by
| | 01:31 | how many pixels. And through
experimentation and experience, I have found I
| | 01:35 | like it 2-pixel change.
| | 01:37 | It allows me to change fairly
quickly, but not so much that I bypass
| | 01:42 | something that I wanted.
| | 01:43 | So that's good for me, but you may
want to experiment with that to find out
| | 01:47 | what works for you in terms of brush
changes by using the left and right bracket keys.
| | 01:54 | Thirdly, you can
interactively change brushes on screen.
| | 01:58 | And on a Mac, if I hold down the Command+Option
key, and on Windows that would
| | 02:02 | be the Ctrl+Alt key, you will see the
cursor changes to a little crosshair.
| | 02:08 | Now if click and drag, I can adjust
exactly how large my brush is, and I'm seeing
| | 02:15 | it interactively which is very nice.
| | 02:18 | So that's a third way to do it, and
then as I paint, I now have that size.
| | 02:24 | So there are these three multiple ways
of adjusting brushes and I think for each
| | 02:29 | person it just is going to depend on if
you are a keyboard person, if you're a
| | 02:33 | visual person, that is largely going
to dictate which one of these you like.
| | 02:36 | So I would recommend trying them all
out to see which one just fits naturally
| | 02:41 | for your style and workflow, and
that's the one you are going to want to use.
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| Exploring brush controls| 00:00 | The brush controls provide the user
with an amazing depth of expressive control
| | 00:04 | over Painter's brushes.
| | 00:06 | Some users never venture into the brush
controls, instead relying on the preset variance.
| | 00:11 | Those who wish to refine the presets will
go to the brush controls for fine-tuning.
| | 00:15 | I am going to open up the brush
controls, and one way to get to them is if we go
| | 00:20 | to the Window menu and go down to Brush
Control Panels. You can see that these
| | 00:26 | are all the various panels that
control the various brushes in Painter.
| | 00:31 | And one of them has been assigned Ctrl+B.
| | 00:35 | So just by clicking on this, it will,
because this is in this palette, all
| | 00:41 | of them will open up, and so I am
going to close this back up, and I just
| | 00:44 | want to show you this.
| | 00:45 | If I hit Ctrl+B or Command+B, I can
call the entire Brush Control Palette up.
| | 00:52 | Unfortunately, Command+B or Ctrl+B
will not close this palette for you, it
| | 00:58 | must be done manually.
| | 00:59 | So that's just a limitation of the
way that palettes and panels work and in
| | 01:04 | order to close it, you just need to
manually hit the Close button at the
| | 01:08 | top of that palette.
| | 01:09 | Having said that, let's go ahead and
reopen it up, and previously in Painter
| | 01:14 | there was a section called the Brush
Designer, that's no longer here, that's
| | 01:19 | another change in Painter 12.
| | 01:21 | And so what you now have
available is the Brush Control panel.
| | 01:26 | It was always available before but
there were just two ways to do it and now
| | 01:31 | they have simplified things by
removing it down to this one area. It can be a
| | 01:36 | little scary to look at,
because yes you are correct.
| | 01:40 | There are many, many various panels in
here, each time I open one, you see a
| | 01:45 | whole new set of controls and to
alleviate your fear a little bit, one of the
| | 01:51 | ways that Painter works is
through the idea of a preset.
| | 01:56 | And if you think of these controls,
almost like a synthesizer, basically a music
| | 02:01 | synthesizer is a whole set of
adjustments made and then encapsulated into a name
| | 02:09 | that the user can click on atop the
keyboard to change it from say a concert
| | 02:15 | grand piano to a honky-tonk
piano, to an upright piano.
| | 02:18 | Each of those has a different
adjustment in all of the controls on the
| | 02:22 | synthesizer that enable a change in the
way it sounds, and by wiring all of that
| | 02:28 | to a single entity, the name on some
little menu, the user doesn't have to play
| | 02:34 | around with all of those controls,
that's exactly how this works in Painter.
| | 02:38 | So to illustrate this concept of a preset,
I am going to open a couple of these up.
| | 02:44 | And you don't even need to know really
what's going on in them at this point, but
| | 02:47 | you can see there are various settings in here.
| | 02:50 | Let's go select a different
brush, for example the Dry Ink pen.
| | 02:54 | I want you to watch over on the other
side however and I will tell you right
| | 02:57 | when I click it, okay I am
going to click it right now.
| | 03:00 | Did you see how things in here changed?
| | 03:03 | That's because all of these settings
were set by someone. Someone adjusted all
| | 03:09 | of these and configured it into a dry ink pen.
| | 03:12 | In fact, it happens to be
the dry ink pen is one I set.
| | 03:15 | So these were settings that I
originally made years ago, into the preset called
| | 03:22 | the Dry Ink pen, and every time you
click on the dry ink pen, it retrieves all
| | 03:28 | those settings that were originally
made to create this particular brush.
| | 03:33 | If I go to a very different brush, say
something like Chalk & Charcoal, and pick out
| | 03:39 | Real Hard Chalk, once again
those settings just changed.
| | 03:43 | And now the character of how the
brush is working is dramatically different
| | 03:48 | based on the different settings in here.
| | 03:51 | One way to think of this is, this is
a big brush engine and all of these
| | 03:55 | controls are configured to approximate
very realistically a traditional medium.
| | 04:01 | In this case, hard chalk, and you
have literally hundreds of these presets
| | 04:07 | available. And that's why I said at
the outset, many people are totally
| | 04:11 | happy just using these various
presets and you never need to go any farther
| | 04:16 | if you don't want to.
| | 04:17 | And if you're happy using just the
presets, there's no need for you to ever open
| | 04:23 | the Brush Controls palette, but if you
do want to start to make some changes to
| | 04:29 | brushes, it behooves you to start to
learn more about how these controls work.
| | 04:34 | And while it's not something you are
going to learn in a day, in fact I've got a
| | 04:38 | whole title based on controlling brushes.
| | 04:42 | It's called Mastering Brushes in Painter
11, most of the information provided in
| | 04:47 | that title is still germane today.
| | 04:49 | So you might want to check out that
title if you want a really in-depth overview
| | 04:54 | of everything that's going on in here.
| | 04:57 | I'm just going to cover some basics
so that you won't necessarily be afraid
| | 05:00 | of this when it opens up, and let you
understand how you can do some basic controls.
| | 05:07 | One important one is the Dab Profile,
and the dab is the mark that the brush
| | 05:12 | makes when it comes in contact with the
surface of the canvas. And in fact, many
| | 05:18 | brushes being dab-based are actually
controlled by how far apart or how closely
| | 05:24 | spaced these individual dabs are.
| | 05:27 | In fact, if I go to the Spacing palette
here, open it up as well, and I am going
| | 05:30 | to just set spacing really high.
| | 05:34 | You can already see up here in
the preview, what's happening.
| | 05:36 | When I draw with this now, I get a very
different character, in fact some people
| | 05:40 | may find a need to have a brush that
paints with individual dots and an easy way
| | 05:45 | to get to that is with the Spacing palette.
| | 05:47 | However, what many of Painter's brush
models do is they actually lower this so
| | 05:52 | low, and we can watch in this preview to
see what's happening as the spacing gets
| | 05:57 | tighter and tighter and these overlap,
you get the illusion of an individual
| | 06:05 | brush stroke, when it's actually made
up of a bunch of overlaying brushstrokes.
| | 06:08 | So spacing is very important with many
of Painter's brush models, in that it's
| | 06:15 | what provides the illusion of a
continuous stroke, when in fact it's made up
| | 06:19 | of variety of strokes.
| | 06:21 | You can also change what the Dab Profile is.
| | 06:23 | For example, if we go to a simpler
brush, let's go to Airbrushes, and I am just
| | 06:30 | going to use a Digital Airbrush, and I
am going to do a Select All, Command+A or
| | 06:36 | Ctrl+A, and hit the Delete or Backspace key.
| | 06:38 | I want to show you how the Dab Profile
can make of a huge impact on a brush.
| | 06:44 | Here I am painting, you can see how
this brush has a nice dense center core in
| | 06:49 | the stroke, but then it gets more
and more transparent at the outer edge.
| | 06:53 | Let's do a different profile here, and
now you will see this one actually is even
| | 06:58 | more extreme in that its density is
right in the center and it tapers off.
| | 07:03 | In fact, let me just grab a
different brush here, the Scratchboard tool
| | 07:07 | and illustrate for you.
| | 07:08 | What's happening here is this ramp is
going something like this and if you look
| | 07:12 | at that particular profile I have chosen,
that's exactly what that is, this one
| | 07:17 | is going to give me a different
profile, if we go back to the Airbrush and
| | 07:20 | select the Medium Profile, now I get
yet a different character to the way the
| | 07:26 | rolloff of transparency is in that brush.
| | 07:29 | If I go to something like this, well
I get a very different look indeed.
| | 07:33 | And you can see here the density is
at the top, so the outer edges of the
| | 07:38 | density in the brush and
everything else in between is transparent.
| | 07:43 | So I get these little individual hula
hoops of brush stroke. Something like this,
| | 07:50 | the one pixel edge is going to
give you very flat hard edged brush.
| | 07:54 | So dabs are just a way to control the
character of how the brush works, and this
| | 08:00 | isn't going to work in every brush
model. In some brush models you wouldn't even
| | 08:04 | notice any change by changing this,
but it is particularly important with
| | 08:08 | respect to something like airbrushes.
| | 08:10 | So you want to be aware that dabs can
affect how the brush looks on screen
| | 08:17 | depending on which one
of these profiles is used.
| | 08:19 | Now let's also take a
look at the General profile.
| | 08:23 | This is another one that can be a little
mysterious to people, and once again I
| | 08:26 | am going to do a Command+A or Ctrl+A, and
Backspace or Delete, clean off the screen.
| | 08:32 | One of the key ways that controls
Painter's brush character is in things like
| | 08:37 | dab type. Once again you could see,
there are many, many dab types here, and I'm
| | 08:42 | not going to even try to explain any of
this to you, other than to let you know
| | 08:46 | that part of what makes Painter have
so many possible media types all the way
| | 08:52 | from pencils to watercolors depends on these
various dab types, and same goes for methods.
| | 09:00 | Methods are ways that describe how the
pixels are going to be laid down onto the canvas.
| | 09:06 | And once again, you never even need
to go in here if you don't want to.
| | 09:10 | But if you want to start to change the
character of a brush, like a cover brush
| | 09:15 | is very much what it sounds like and it covers.
| | 09:18 | So if I switch to different color
here, you can see, I'm eventually
| | 09:21 | covering that other color.
| | 09:22 | If it's something like a Buildup brush,
well, now you can see you get a very
| | 09:27 | different character, it's transparent
and it acts more like a gel type medium.
| | 09:34 | So in constructing brushes, someone
who's doing this kind of activity will
| | 09:38 | take advantage of all of these
various possibilities to construct a brush
| | 09:43 | that acts a certain way.
| | 09:44 | In particular, the Buildup brush is
used in things like markers, some of the
| | 09:49 | simple watercolor models, all of them
will use a buildup style brush because it
| | 09:54 | mimics exactly the kind of thing that
you see with respect to something like
| | 09:58 | dyes, where you see now this
cyan over yellow makes green.
| | 10:03 | The cover brush is not
going to act that way at all.
| | 10:06 | The General tab is really kind of the
top level of how you set the behavior
| | 10:11 | of the brush, and then as you go down
through here you are going to find a lot
| | 10:15 | of different specific attributes, like I
was talking a little bit about the airbrush.
| | 10:20 | For one, I can go to a airbrush that
has a spray associated with it, if I do
| | 10:26 | this in black, and because I'm using a Wacom
tablet with a pen that has tilt and bearing.
| | 10:32 | If I go straight up and down with my
pen its going to spray straight down. If I
| | 10:37 | start to tilt, you can see what's happening here.
| | 10:39 | Now I'm tilting the brush, and I
can control things like the flow.
| | 10:44 | So if I want to have less coming out,
so not quite extreme enough here, we
| | 10:49 | will turn it way down.
| | 10:50 | See now, I'm not flowing out as much of
the spray as I was before, or if I want
| | 10:56 | to control the spread, you know how
wide of the spray does this do?
| | 11:00 | If I narrow this down, you see now I
am going to get a much narrower spray.
| | 11:05 | So my intent here isn't to teach to
how to build all these brushes, it's just
| | 11:08 | to show you quickly that of all these controls
contribute to how presets are ultimately made.
| | 11:15 | I want to show you one more control.
| | 11:17 | Now, this is actually new in Painter 12,
it's Brush Calibration, and I am going
| | 11:22 | to open this up and just so you won't
be confused, because there are two places
| | 11:25 | you can actually see
something about brush calibration.
| | 11:28 | Right here you have got Brush Tracking.
This is a global spot where you can go
| | 11:33 | in and make a brush stroke, and you
just saw how those changed, it pulled my
| | 11:38 | velocity and my pressure and it used
that to kind of come up with a profile that
| | 11:43 | matches the range of
pressure and velocity in my stroke.
| | 11:47 | And once it has that, then in a universal
sense, it understands how to apply that
| | 11:54 | velocity stroke data in order to give
me the best pressure response possible.
| | 11:59 | Well, what they've done is gone a step
further and with brush calibration, it's
| | 12:05 | essentially the same thing, but you can
now do it on a brush by brush basis, and
| | 12:10 | that's because so many of these models
that have been introduced in Painter over
| | 12:13 | time, the one kind of universal
answer for pressure for all brushes doesn't
| | 12:20 | always work, and you will just find, oh,
some brushes aren't working like I
| | 12:23 | expected, and then you have got to go
back in and kind of readjust the universal
| | 12:27 | setting for pressure.
| | 12:28 | This let's you set it on a case-by-case
basis, and for that reason I don't even
| | 12:34 | leave it in the Brush palette. I've
gotten used putting it over here, next to my
| | 12:40 | navigator, and that way I usually have
the navigator open when I am working, but
| | 12:43 | if I want to see or adjust a brush, I
can go in here and I can say Enable Brush
| | 12:49 | Calibration. What that's going to do is,
now the settings I set in here will be
| | 12:53 | local to that single preset.
| | 12:56 | And I know from experience, one way
you may want to just start off is, I
| | 12:59 | always set pressure and power all the way up,
and I will show you what the difference is.
| | 13:04 | A good way to show this off is to take
the Scratchboard tool, and I will just
| | 13:08 | paint with a little bit of white here.
| | 13:11 | I am going to enable Brush Calibration,
but I am going to turn this way down I
| | 13:14 | want to show you what happens.
| | 13:16 | I'm trying to get the lightest stroke
I can get, and you can see it's not very
| | 13:21 | thin when it should be much thinner than that.
| | 13:23 | If I shoot these all the way up, just
shoot Pressure Scale and Pressure Power
| | 13:27 | all the way up, see how I now have a
nice ability to get all the way down from
| | 13:32 | the finest size to the thickest size
that it happens to be set at. If I make it
| | 13:37 | larger then I will still get that small
brush all the way up to the large brush.
| | 13:41 | So what this is letting me do is now
have that set for that specific brush.
| | 13:47 | If this setting isn't right for you,
you may need to play around with these a
| | 13:51 | little bit, usually just kind of
tweaking them back a little bit and trying
| | 13:54 | again. See for my particular hand,
already I'm losing the ability to get to the
| | 13:59 | low end of the scale, so I just have
found that pretty close, if not at the top,
| | 14:04 | gives me the setting that I like.
| | 14:06 | And because I've got Brush
Calibration enabled now, that will stick for
| | 14:10 | Scratchboard tool alone. And some
other tool may have a different kind of
| | 14:14 | pressure response necessary for it in
order for that particular brush model to
| | 14:20 | feel right and work properly with
pressure, particularly my hand pressure,
| | 14:24 | because everybody is slightly
different and being able to have this
| | 14:27 | individualized control on a brush per
brush basis makes Painter just one step
| | 14:32 | closer to being able to have every
brush be exactly the way you want it, when
| | 14:36 | you go and select it.
| | 14:37 | So brush calibration is a
really important kind of control.
| | 14:41 | Now the last thing, I want to show you
is, I can get in here and let's say, I
| | 14:46 | make some very different changes here,
and I do, and l don't even know what I'm
| | 14:50 | doing here I am just -- what
does all this mean? I have no idea.
| | 14:54 | Now my brush is completely unlike
what I wanted it to be, and the reason I'm
| | 14:59 | showing you this is you can
never break Painter's brushes.
| | 15:04 | If you get into a state where you were
playing around with these controls, which
| | 15:08 | I encourage you to do, one reason you
can do that is because if you get to a
| | 15:13 | state where it's like, I've lost what
I was doing, all you have to do is go
| | 15:16 | right here, this is the panic button.
Just hit reset, and now this brush is set
| | 15:21 | exactly as it was originally.
| | 15:24 | You have an escape hatch to get away
from anything you may do in here, and
| | 15:30 | hopefully that will encourage you to
try these things out. You can try any of
| | 15:34 | these sliders and see how it affects a
brush, and if you don't like it just hit
| | 15:39 | the reset button and you
will be back to where you were.
| | 15:41 | So there's no fear involved in
playing with the brush controls as a whole.
| | 15:47 | Anything you do can be undone with one click.
| | 15:51 | On the other hand, if you do make a
brush that you like, let me just clean the
| | 15:55 | screen off again, Ctrl+A
Command+A and Delete or Backspace.
| | 15:59 | Let's say I play around with
this a bit and change the profile.
| | 16:03 | Let's change it to this profile, there,
just that alone, that's actually kind
| | 16:08 | of an interesting brush.
| | 16:10 | So if I like this, well, I can go up to
the Brushes palette, and if I go to Save
| | 16:15 | Variant, I can give it a new name.
| | 16:18 | So I am going to call it the Circle Brush.
| | 16:19 | And I can save it in a different
location, I will just save it in the Photo
| | 16:25 | Brushes just to put it somewhere else
so you can see it's in another location
| | 16:28 | and I will hit Save.
| | 16:29 | Now I want to show you something, if I
draw with the Scratchboard tool right now
| | 16:33 | it still has been adjusted to be
what I'm now calling the Circle Pen.
| | 16:37 | So in order to make sure, I get my
Scratchboard tool back, I just need to go
| | 16:41 | over to the Reset button, and now I've
got the Scratchboard tool back, and if we
| | 16:47 | open up the Brush selector and go to
Photo Brushes, right there is my Circle
| | 16:53 | Brush, and when I select it,
I've now got a new variant.
| | 16:56 | So you can create a new variant,
anything you like and adjust, it can be saved as
| | 17:01 | a new variant. You can save it into any
category you want, you can even make a
| | 17:05 | new category and save it in that.
| | 17:07 | But the idea here is that at some point,
you'll probably want to grow beyond
| | 17:11 | using the Preset brushes, and so I
really want to encourage you to just spend
| | 17:16 | time in the brush controls, always
remembering that anything you do can simply
| | 17:21 | be undone with the reset button, and
when you start to get to where you
| | 17:25 | understand what you're doing, you can
start to create new variants and save
| | 17:29 | them into the library.
| | 17:31 | This is a very big subject and
you'll be able to spend a lot of time just
| | 17:36 | playing in the brush controls themselves.
| | 17:39 | So delve into it and hopefully you
will come out the other end with some
| | 17:42 | new brushes.
| | Collapse this transcript |
| Using the Computed Circular palette and stroke attribute brushes| 00:00 | Earlier, when I was showing you the
brush controls, I talked a little bit
| | 00:04 | about the Dab Profile.
| | 00:07 | And there's some new features in Painter
12 that particularly affect how you can
| | 00:12 | adjust airbrush behavior.
| | 00:15 | And so, to start, I am going to start by
painting a little bit with the digital
| | 00:19 | airbrush that we painted with earlier.
| | 00:21 | And this is a brush
that's been in Painter forever.
| | 00:24 | Its behavior is very well-known.
| | 00:27 | As we talked about earlier, it's got
this ability to use a profile to get
| | 00:32 | more opaque in the center and then ramp off
in opacity as it goes out towards the edges.
| | 00:38 | Very much like a real airbrush.
| | 00:40 | And as I paint with it, it
just continually will build up.
| | 00:44 | So this is intended to very much mimic
airbrush from the traditional world, in
| | 00:50 | the sense that it has a soft roll off
on the stroke, and it also overwrites
| | 00:56 | itself and gets more opaque with each
stroke, even within a stroke you can see
| | 01:00 | how I can build this up.
| | 01:02 | Now I am going to switch.
| | 01:04 | What I am essentially doing is switching
here to the Digital Soft Pressure Airbrush.
| | 01:08 | I want to show you how
its behavior is different.
| | 01:10 | I'm going to paint and I am
going to go back on the stroke.
| | 01:14 | Notice it's not changing.
| | 01:16 | Now if you've ever worked in Photoshop,
this is a behavior that Photoshop users love.
| | 01:23 | It's a way to fill areas with a
solid color without changing it.
| | 01:28 | Now if I pick up my brush, and re-stroke,
it's now applying the same opacity of
| | 01:35 | brush, which you can see, where I'm
overwriting the earlier stroke I made.
| | 01:40 | It's now doubling the opacity of that
stroke, but where I go in a new area, it's
| | 01:45 | still painting with the
original opacity that it was set at.
| | 01:49 | And so, in concept work and in quick
drawing and rendering work, a lot of
| | 01:55 | artists have gotten very used to this
technique and they like it a lot, and so
| | 02:00 | Corel introduces this behavior into Painter 12.
| | 02:03 | Now how is it accomplishing what it's doing?
| | 02:08 | Well, it's actually again kind of
borrowing from the vocabulary of Photoshop's
| | 02:12 | airbrush behavior and adding
some new controls to do it.
| | 02:15 | And what it's doing is two things;
| | 02:17 | One, it's now got this Computed
Circular Brush panel, and what that lets me do
| | 02:22 | is, I can play with the hardness of the brush.
| | 02:25 | So you can see how the edge of this brush
is getting harder and harder, until up here.
| | 02:29 | Now it's a very hard-edged brush.
| | 02:31 | So unlike the earlier Painter brush
that uses preset profiles to affect how
| | 02:39 | the hardness is controlled, you actually have
a hardness slider here, much like Photoshop.
| | 02:44 | Secondly, it's also got an opacity
slider that controls how much opacity does it
| | 02:49 | deliver within a stroke.
| | 02:51 | If you look up here, you can see it
says it's at 100% opacity, but it's not,
| | 02:55 | it's respecting this opacity,
it's really only at 16%.
| | 02:59 | So that's something you need to be aware of.
| | 03:01 | Adjusting this will have no effect.
| | 03:03 | It's really what's happening in the
Computed Circular's Dab Opacity slider
| | 03:08 | that controls that.
| | 03:10 | Secondly, it's also using Use Stroke Attributes.
| | 03:14 | This is what enables the brush to be
able to write over itself in the same
| | 03:18 | opacity and not build up opacity.
| | 03:21 | Remember, if we are in that other brush,
the older Digital Airbrush, it is going to
| | 03:26 | continually build up opacity within a stroke.
| | 03:29 | The computed airbrush that uses the
stroke attributes, does not do that, so,
| | 03:35 | that's a big difference and people that
come from Photoshop and want this kind
| | 03:39 | of airbrush, it's here in
Painter using these two new techniques.
| | 03:43 | You just need to make sure when you go
to Airbrushes, the ones that say Digital,
| | 03:47 | well the first one Digital
Airbrush is actually the original one.
| | 03:51 | But these ones below that say digital,
they all use either one or both of
| | 03:56 | these new attributes, the Stroke
Attributes or Computed Circular panel
| | 04:00 | controls, in order to adjust it.
| | 04:02 | So Photoshop users, if you love
your airbrush over in Photoshop, you can
| | 04:07 | rejoice that there is now a very
similar characteristic available in Painter.
| | Collapse this transcript |
| Painting with Real Watercolor brushes| 00:00 | With the release of Painter 12, it now
has three, count them, 3 variations on
| | 00:06 | watercolor media: digital watercolor,
which is Painter 2's original take on
| | 00:10 | this elusive medium,
| | 00:12 | watercolor, which is Painter 6's
physical modeling-based extravaganza, and now
| | 00:18 | Painter 12's real watercolor.
| | 00:21 | Why so many variations?
| | 00:22 | Well, each is a child of the times,
specifically the area of computing
| | 00:27 | bandwidth, each version was engineered in.
| | 00:29 | Painter 2 was released in early 1993.
| | 00:33 | At that time, the processor speed
limit was 33 MHz and about 136 maxed
| | 00:39 | out megabytes of RAM.
| | 00:40 | When Painter 6 came out in 1999,
processors were at the 333 MHz limit and had
| | 00:48 | about 768 MB of RAM they could work with.
| | 00:51 | Today, Painter 12 is at home in a 64-
bit operating system, running multiple
| | 00:56 | core 2.88 GHz processors, high performance
GPU graphics acceleration, and 8 GB of RAM.
| | 01:06 | Because digital watercolor
emulation favors a computationally expensive
| | 01:10 | physical-based model, each
iteration of Painter's watercolors has been
| | 01:15 | necessarily limited by the processor and
memory bandwidth available at the time.
| | 01:20 | More bandwidth enables greater
interaction of watercolor variables, like
| | 01:24 | wetness, evaporation, pigment
suspension, movement in a liquid, media
| | 01:30 | absorption and the like.
| | 01:32 | Let's take a look at Painter's watercolors.
| | 01:36 | I've created a simple Custom palette
that has an example of each of the three
| | 01:41 | generations of watercolor in here.
| | 01:43 | So we can just look at each one of
them and I will comment briefly on the
| | 01:47 | behavior characteristics of each.
| | 01:49 | So I am going to start with New
Simple Water, which comes from the original
| | 01:53 | digital watercolor category, and let's
just try a few strokes with it, so we'll
| | 01:58 | just paint up here, and I am going
to mix a couple of color in with it, so
| | 02:02 | you can see how colors interact.
| | 02:05 | You can see they want to blend a little bit.
| | 02:07 | I can also quickly turn on things
like Diffusion, and you will see this in a
| | 02:11 | moment when I paint some more.
| | 02:13 | I am also going to turn up the Wet
Fringe, which you will see starts to add a
| | 02:17 | little bit of that dark edge that's a
signature of watercolor, but notice now,
| | 02:22 | see how that watercolor is quickly
spreading out based on the particular paper
| | 02:27 | texture that's active.
| | 02:29 | This was the early model of
watercolor, working in a very low processor
| | 02:34 | bandwidth, and as such, there was a lot
that we had to fake and not address, and
| | 02:42 | so it's a very simple model, and yet
it's serviceable. It does provide the look
| | 02:47 | and feel of watercolor, and in its
time it totally addressed that need.
| | 02:52 | Now let's move up to Painter 6 when we
introduced the watercolor model and one
| | 02:59 | thing I want you to watch, I
am going to just sample here.
| | 03:02 | Notice this has a layer associated with it.
| | 03:05 | That's because the model got so
complex that we needed to divide up what is
| | 03:11 | characteristics of the brush and what
is the actual media of watercolor, so the
| | 03:16 | watercolor layer provides the medium
of watercolor behavior and the brush
| | 03:21 | provides the behavior of the brush
strokes themselves, and combined, it's a
| | 03:26 | two-pronged assault on watercolor.
Both the brush and Watercolor Layer are
| | 03:31 | necessary in order to emulate it.
| | 03:33 | And you can see one of the things that
it does very nicely is it actually models
| | 03:38 | paint, moving within the
paper grain as it dries.
| | 03:44 | So this model is much more complex, much
more computationally intensive, and that's
| | 03:49 | why it couldn't exist until the processors
were up to the 333 or so megahertz of
| | 03:56 | that era. And once again, you can see
it does a very good job of mimicking the
| | 04:01 | effects of watercolor.
| | 04:04 | Now let's go to the Real Wet Wash,
which is part of Real Watercolor, the new
| | 04:09 | watercolor introduced in Painter 12,
and I will do a stroke here, and this also
| | 04:14 | relies on the Watercolor Layer.
| | 04:16 | And you will see what
happens here, it dries over time.
| | 04:22 | There is a delay as it dries, and I
may be didn't pick out the best example of
| | 04:27 | this brush, because it looks very good.
| | 04:29 | This is a little static looking here,
but this model also provides a model
| | 04:35 | that controls things like, suspension of
pigment to drying of paper, all of these things.
| | 04:40 | The good news is that both the earlier
Painter 6 watercolor and Watercolor Layer,
| | 04:45 | and the new Real Watercolor, both share
the Watercolor Layer, which means they
| | 04:50 | can interact with one another.
| | 04:51 | So now I have got two types of
watercolor models, both of which will interact
| | 04:58 | with each other's characteristics.
| | 05:02 | So that's one of the nice things
about this, particularly the two most
| | 05:05 | recent ones, the watercolor which
includes the Watercolor Layer, and the new
| | 05:10 | Real Watercolor, which is Painter 12's new
addition to this pantheon of watercolor tools.
| | 05:16 | You can't really interact directly
with the original digital watercolor.
| | 05:20 | This is actually on a separate layer,
although it still appears as if they are
| | 05:25 | part of a single canvas.
| | 05:27 | So you do have the ability to still
use these newer watercolor layer-based
| | 05:32 | models, with the earlier watercolor, as
long as you apply it on another layer over it.
| | 05:37 | And you might have not seen that
before, but let's go ahead and delete this
| | 05:40 | layer, but once again, as I paint with
one of these models, it automatically
| | 05:45 | knows it needs to create a new layer.
| | 05:46 | And so, it will, you don't have to
specifically tell it you want a Watercolor Layer.
| | 05:51 | It just knows, because of the brush, that
it has to create that layer initially,
| | 05:55 | in order to have the correct
model, in order to operate in.
| | 05:59 | So, you've got these three different
watercolor models and each one suits a different need.
| | 06:05 | The original digital watercolor, if
you just want a quick effect and don't
| | 06:09 | want too complex of a set of
controls to adjust it, then the digital
| | 06:15 | watercolor is your best bet.
| | 06:17 | But once you get into both the
watercolor from Painter 6 with its attendant
| | 06:23 | Watercolor Layer, as well as Painter
12's new Real Watercolor, you start to get
| | 06:28 | into much more complex physical interactions.
| | 06:31 | And physical modeling is taking
care of all these physics that go on to
| | 06:35 | make watercolor happen.
| | 06:37 | And because of that, it's a
necessarily complex interface to deal with, and
| | 06:42 | because it's so much like real
watercolor, you have to expect it's going to be
| | 06:46 | just about as squirrelly
as real watercolor can be.
| | 06:50 | So because of that, I'm not trying to
dissuade you from playing with these
| | 06:53 | new watercolors at all.
| | 06:54 | It's just that, be prepared for some
frustration just like it happens in real watercolor.
| | 07:00 | So, that's kind of the long and
short of Painter's watercolor models.
| | 07:04 | The real benefit is that now with
these three different models, and interaction
| | 07:08 | between the two newer ones, and applying
it over the old one, means that you can
| | 07:12 | get some incredibly organic, very
interesting textures and techniques.
| | 07:17 | Once you learn how to somewhat
control this, you can then start to build
| | 07:23 | upon it to create very interesting images.
| | 07:26 | Just remember, just like real
watercolor, you only control watercolor up to a
| | 07:30 | point and after that, it controls you.
| | Collapse this transcript |
| Painting with Real Wet Oil brushes| 00:00 | Another new category in Painter is Real Wet Oil.
| | 00:05 | And this seems to be probably related
to the development of the Real Watercolor
| | 00:10 | model, and I'm going to show it to you
and you can decide whether or not you
| | 00:15 | would want to use it or not.
| | 00:16 | I don't find it particularly as
compelling as Real Watercolor, but it does have
| | 00:21 | some very interesting attributes.
| | 00:23 | And let's just take a look.
| | 00:24 | I've got the Real Wet Oils
open here, let's get Liquid Oil.
| | 00:29 | And as I paint with this, you'll see
similar to what happens in the Real Wet
| | 00:35 | Watercolor, it expands outward
a bit after it's been applied.
| | 00:39 | The difference is, the watercolor model
is translucent and colors interact with
| | 00:45 | one another, whereas here, they tend to
be more a cover-type model, where it's
| | 00:50 | covering paint and there's some
interaction that happens at the boundary between
| | 00:54 | wherever it finds paint.
| | 00:56 | It's got some interesting models like these
Erosion Grainy, I think was one I was looking at.
| | 01:02 | See how it's doing a pretty
interesting physical kind of thing that is very
| | 01:07 | much along the lines of kind of interacting
a turpentine-like model with existing color.
| | 01:14 | Now sometimes I do see these
artifacts appear, I'm not real sure.
| | 01:18 | It seems like you can normally sort of
brush them out if they are intrusive.
| | 01:23 | Another one here is Turpentine.
| | 01:26 | And you can see here this
just kind of softens things up.
| | 01:31 | One of the tricks with brushes like this
is, no one stroke ever is very convincing.
| | 01:36 | What is convincing is the
overlaying and interaction of many strokes.
| | 01:41 | So while I was being a little less
than kind maybe at the outset, just even
| | 01:45 | playing with this now, I'm seeing
some very interesting textural and color
| | 01:50 | things happening here.
| | 01:51 | So it is a useful model, but if you
strictly want an oil painting look,
| | 01:56 | something like Impasto is probably
a little bit more fully realistic.
| | 02:01 | One thing I wanted to show you though,
is if we switch over to this image and
| | 02:05 | use the same turpentine
model on here, check this out.
| | 02:08 | This does some very interesting
things to existing imagery that I don't know
| | 02:15 | how else you'd get some of this.
| | 02:16 | And you can play around
with this with this Blend Rate.
| | 02:19 | So as you change this, what happens,
it's going to become more dramatic.
| | 02:27 | I'm noticing right now, trying to
draw new strokes, there's a lot of heavy
| | 02:30 | computing going on here.
| | 02:32 | And so, to try to go somewhere else
and do some of this somewhere else on the
| | 02:37 | image, you may find that there is a
little bit of a performance loss, because
| | 02:42 | it's really trying to start to do
these physical modeling tasks in several
| | 02:46 | different places at once.
| | 02:48 | But I would say at the very least, the
new Real Wet Oil is a very interesting
| | 02:53 | experimentive medium that you'll
definitely want to play with as an oil medium,
| | 02:58 | and even trying some of the things
that I've done here, where I'm interacting
| | 03:02 | with something like a
photographic existing imagery.
| | 03:05 | Whoever thought, you could get some
very interesting results that would be very
| | 03:09 | difficult, if impossible, to get any other way.
| | 03:12 | So definitely check out Real Wet Oil
and perhaps you'll find that it's exactly
| | 03:17 | the medium you've been looking for.
| | Collapse this transcript |
| Working with Impasto| 00:00 | Painting as a medium includes the
physical presence of surface and texture.
| | 00:05 | And this is portrayed via the way that
light strikes the surface that has this
| | 00:10 | texture and height associated with it.
| | 00:12 | Our displays maybe two-dimensional, but
Painter manages to provide a convincing
| | 00:17 | simulation of 3D with its Impasto feature.
| | 00:21 | Painting with Impasto enabled, will
often produce a giddy feeling along with
| | 00:25 | uncontrollable laughter.
| | 00:27 | Let's take a look at this
remarkable visual treat.
| | 00:31 | So I'm going to start off -- before I
actually show you full-blown Impasto.
| | 00:34 | I want to talk a little bit about
what's going on here, and I'm going to use
| | 00:39 | three simple brushes.
| | 00:40 | First we're going to use what's called
a Depth Lofter, and I'm going to paint on
| | 00:44 | this surface with it.
| | 00:45 | It's not going to apply a color,
| | 00:46 | it's only to apply heighth.
| | 00:48 | So it's as if the light was coming
from the upper left corner at this point,
| | 00:53 | and so it's highlighting the raised areas that
I'm creating by painting with this Depth Lofter.
| | 01:00 | And on the non-lit side, we get some shadow.
| | 01:04 | So I'm lofting the depth, and one way to
think about what's happening here, when
| | 01:09 | I haven't painted on here yet, that's sea level.
| | 01:12 | And when I'm starting to paint with
this Depth Lofter, it's adding height.
| | 01:18 | So it's like creating a mountain.
| | 01:20 | And there is a limit to how much
depth Painter's Impasto can portray.
| | 01:25 | So if I linger for too long in one spot,
we'll see that it'll eventually top out
| | 01:31 | and hit an artificial limit.
| | 01:34 | Now maybe we're not seeing it too well here.
| | 01:38 | Let's go on, but I'll be able to
show it to you once we start painting.
| | 01:41 | But I want you to imagine, these are
mountains that are coming towards us, and
| | 01:46 | the simple gray area is just sea level.
| | 01:49 | Now if I go in the opposite direction,
I can do so with the Depth Eraser.
| | 01:54 | So what this is going to do is
depress from sea level and below.
| | 02:00 | So as I paint in areas that I've
already painted in, I'm gouging down into that
| | 02:05 | height, and even sea level
has some depth below it.
| | 02:09 | So I can gouge out below sea level.
| | 02:12 | Now if I go back to the third brush here,
the Depth Equalizer, this is going to
| | 02:17 | return anything that's below or above
this supposed sea level, back to sea level.
| | 02:23 | So you can see here now I'm just
erasing away the depth and it eventually
| | 02:29 | returns it back to sea level.
| | 02:31 | So you've got this ability with
Impasto, in the sense of three-dimensional
| | 02:36 | lighting, to portray what appears to
be a true three-dimensional height.
| | 02:43 | And once we start adding color to this,
we'll see that we can really get some
| | 02:47 | very interesting brushstrokes.
| | 02:49 | So let's go in here and let me just take
something like -- Gloopy's a good one, just
| | 02:53 | because it really emphasizes height.
| | 02:56 | So as I paint with this, this happens
to be an old style brush, so it has this
| | 03:00 | little dotted appearance before it
computes, but it also makes up for our rather
| | 03:04 | interesting style of stroke
that you can't get any other way.
| | 03:08 | But you can see how this is
building up depth as I paint over
| | 03:13 | individual strokes.
| | 03:14 | Another one that's probably a little
bit more realistic would be something
| | 03:17 | like, oh, let's take the Smeary Round
down here, and this is going to have
| | 03:21 | brushstrokes in it.
| | 03:22 | But you can see, it's almost
like I'm painting in to wet paint.
| | 03:29 | And once again, just the more you
paint with this, the more in one area, the
| | 03:32 | more it's going to build up.
| | 03:34 | Now let's see if I can do my thing here
where I eventually hit the top of this.
| | 03:40 | In some cases it takes quite a bit to do it.
| | 03:44 | I'm just letting you know that you
can get into a situation where all of a
| | 03:47 | sudden you'll see, it looks like the
top of the texture has hit glass and
| | 03:51 | it's flattening out.
| | 03:53 | And that's when you've hit the limit of how
high the Impasto can be portrayed on screen.
| | 03:59 | Now allied with this, is the controls
for Impasto, and that is Surface Lighting.
| | 04:07 | Let's go to here, and what this is
going to let me do is control the
| | 04:12 | appearance of depth.
| | 04:13 | For example, I can change the light source here.
| | 04:16 | See how as I move this, I'm actually
adjusting the height of the light, and at
| | 04:22 | what angle the light and
shadow is appearing to come from.
| | 04:25 | I could even go in and add
a second light if I want.
| | 04:28 | And in fact, that light
color can be a different color.
| | 04:31 | Let's go here and just get
some color so you'll see this.
| | 04:38 | See now I'm casting a green light
from one angle, some of these areas are
| | 04:42 | actually catching a little green, and
yet I've got highlights on the other side.
| | 04:47 | When you start adding multiple light
sources and playing around with their
| | 04:50 | positioning, you can really start to get some
very interesting, interactive stuff going on.
| | 04:56 | I can also control the amount of depth.
| | 05:00 | So if I turn this down, you'll see that
it's kind of compressing the depth, so
| | 05:03 | it gets less and less, to where
| | 05:05 | now this is just a painting
without any Impasto visible on it at all.
| | 05:11 | So you'd definitely want to have some,
and a lot of people will play with this
| | 05:15 | set to a very high level, but once it
gets to these very extreme levels, it kind
| | 05:20 | of looks overwrought and cartoony.
| | 05:22 | If anything, the rule here
should be probably less is more.
| | 05:25 | So while this may look good, I would
say take it down a bit, and in the long
| | 05:30 | haul, you'll probably be happier with
the way it looks once you've reduced the
| | 05:35 | depth, rather than playing with
some extremely high degree of depth.
| | 05:42 | Finally, I'm just quickly going to open
up the Control panel, and there actually
| | 05:47 | is in here an Impasto panel.
| | 05:50 | This is also where you
can play around with things.
| | 05:52 | The one thing I'm going to show you that is
one you'll want to play with, is this Depth slider.
| | 05:58 | The more I turn this up, it's not
going to affect depth like it does in the
| | 06:01 | lighting module, but it's going
to affect how much depth the brush
| | 06:06 | initially lays down.
| | 06:07 | So once again, I can get this to some
uncharacteristically high level where
| | 06:11 | you can see it's starting to have anti-aliasing
artifacts and it just doesn't look real anymore.
| | 06:18 | And so again, you typically
want to keep the depth down.
| | 06:22 | Although if you do have a little bit of
extra depth in the brushstrokes now, you
| | 06:27 | can always go back to your Surface
Lighting, and you can see it'll probably
| | 06:32 | render this too low, or not with very
much depth to it at all, but I can go ahead
| | 06:36 | and probably control how that looks to a degree.
| | 06:40 | So you can see, now that looks okay,
but this is almost without depth.
| | 06:43 | So you typically don't want to mess
too much with the Depth slider, but if
| | 06:48 | you're working in the situation where
you want to somehow have a more aggressive
| | 06:52 | depth associated with your strokes,
the way to do that is to just turn up the
| | 06:57 | depth for the particular
brush you're working with.
| | 07:00 | But just be advised that there's no real
way to go back from this, especially in
| | 07:04 | a mixed environment like this where I
was working with one level of depth with
| | 07:08 | this brush, and then later on I changed it.
| | 07:10 | Now I've got two depth levels.
| | 07:11 | If I correct this with the Lighting
control, I can make it look right, but then
| | 07:16 | this going to appear to have no depth at all.
| | 07:18 | So once you get started, you don't want to
mess too much, if at all, with the Depth slider.
| | 07:22 | I'm just indicating to you, it
is an adjustment that you can and may
| | 07:26 | occasionally want to make.
| | 07:28 | So Impasto is a way to really add a three
-dimensional appearance to your imagery
| | 07:36 | on a two-dimensional surface.
| | 07:37 | And one of the things about adding
some of this character to a painting is it
| | 07:43 | starts to imbue it with a more,
almost physical quality.
| | 07:47 | It starts to look almost more as if
it had been a real painting with this
| | 07:52 | three-dimensional quality,
that has been photographed.
| | 07:55 | And as such, it just starts
to take on a sense of reality.
| | 08:00 | So Impasto is one great way to get that
three-dimensional viscous oil feel that
| | 08:07 | you associate with traditional oil painting.
| | Collapse this transcript |
| Working with texture-aware media| 00:00 | Some art making mediums interact with
and utilize the character of an underlying
| | 00:05 | surface texture to impart an
expressive quality to a stroke.
| | 00:09 | Painter's Paper Grains provide a
virtual, irregular surface that grain-aware
| | 00:14 | variants can interact with.
| | 00:17 | Combined with pressure, the
result is an amazing simulation of its
| | 00:20 | traditional counterpart.
| | 00:23 | To show you this, I have prepared
three variants that I can quickly get to,
| | 00:29 | because I want to start drawing at some
point here and I don't want to have to
| | 00:32 | be jumping up to the Brush
selector all the time to do it.
| | 00:36 | And while I'm mentioning that, I should
say that this is a great way, in advance
| | 00:41 | of doing a drawing or painting, if you
know or have a fairly clear idea of what
| | 00:47 | tools you are going to use, you may want
to aggregate them into a custom palette.
| | 00:52 | That way it eliminates having to go here,
then having to go here, then having to
| | 00:57 | go here. See that's one, two, three
brush clicks to get to a brush, whereas here,
| | 01:02 | I've got the brush. That's it, I'm done.
| | 01:04 | And so, being able to have close at hand
the tools you are going to be using is
| | 01:08 | a great way to speed up your workflow
by eliminating this navigational task of
| | 01:14 | going over and locating each of these as you go.
| | 01:16 | So that's just one little aside
while we are working here, but it's an
| | 01:20 | important note to have.
| | 01:22 | Now the other thing is, we are going
to be talking about texture grain, and
| | 01:26 | texture-aware brushes.
| | 01:28 | And the paper texture is identified
right here, and I can click this and open it,
| | 01:33 | and I could also get to the other
paper textures in this particular library.
| | 01:38 | What I cannot get at here, and this
is something that's different starting
| | 01:42 | with Painter 12, there was a little
flyout menu that I could use to get to
| | 01:46 | things like the Paper Textures
palette and that's no longer here, that
| | 01:50 | connection has been broken.
| | 01:52 | Now what you have to do is go up to
the Window menu and actually go to your
| | 01:59 | Paper Panels, and because they're both
together when I open this up, there they both are.
| | 02:05 | And so that's a little bit of extra
step and I won't go through it here, but you
| | 02:10 | know you could easily add to one of
these little custom palettes, if you think
| | 02:13 | you're going to be going to this and
need these controls, you can use the
| | 02:18 | customize palette feature to actually
add a Papers button, as well as a Paper
| | 02:22 | Libraries button to this.
| | 02:23 | So all in one little custom palette,
you could have everything you need to work
| | 02:27 | with texture-aware grains.
| | 02:30 | So the fact is, I might want this --
I'll show you that after I kind of have
| | 02:34 | introduce you to the way that textures work.
| | 02:37 | And to do that I am going
to use the Square Chalk.
| | 02:40 | And one thing you can do is think of
the texture on a paper as a mini little
| | 02:46 | mountain range. You know, if you went in
and zoomed up on it, you'd see that there
| | 02:50 | are peaks and valleys in that paper
texture, just like a real mountain range.
| | 02:55 | So what I want to do here is show you
how this three-dimensional surface can
| | 03:00 | be addressed with a pressure sensitive device.
Right now I'm exerting very light pressure.
| | 03:05 | So I'm just basically skipping along
the very tops of that paper grain and
| | 03:09 | that's all I am catching, and all I'm affecting.
| | 03:12 | However, once I start bearing down in
pressure, which I am starting to do, you can
| | 03:17 | see that I am penetrating more and
more into that paper grain until finally,
| | 03:21 | when I'm down at full pressure, I've
now completely filled the mountain range
| | 03:27 | all the way from the top, down in to the valley.
| | 03:29 | But if you take a look at this, what
you can do is you can simulate tonality
| | 03:34 | with texture because I'm changing the
amount of affected texture grain. It
| | 03:39 | can go from black to white, so I have almost
got what looks like a coarse gray scale here.
| | 03:44 | And that's one of the chief ways that
textures often utilize is, it is a way
| | 03:50 | with a device like a piece of
chalk, which really is only black and it
| | 03:54 | utilizes the texture of the paper
grain in this case, to simulate varying
| | 04:00 | degrees of a grayscale.
| | 04:02 | And once you start adding color, well,
then you can even do more things, like see
| | 04:06 | now I can have a light red on top of
black, or I can completely bear down and
| | 04:12 | then take a contrasting color here and
mix them together, and a lot of artists
| | 04:17 | will do this, kind of
create these optical blends.
| | 04:20 | If your eyes are like mine, you're
probably looking at that and there is a little
| | 04:23 | bit of shimmer going on because of those
two colors are so opposed to one another.
| | 04:28 | You get some interesting optical
effects when you start intermixing colors,
| | 04:33 | especially when you use texture as a
means of deciding how much of one texture
| | 04:38 | is going to be portrayed on top of another.
| | 04:41 | So texture is a very important
component of many mediums, and not all of
| | 04:47 | Painter's brushes are texture-aware.
One way you can find out which ones are,
| | 04:53 | and you have to kind of go through this to
find out, first of all let's just look at them.
| | 04:58 | Things like Chalk & Crayons, Charcoal
& Conte, what's another one down here
| | 05:03 | Pastels, we get to Pencils.
| | 05:06 | All of those are going to be grain-aware,
they're just like their natural media
| | 05:11 | cousins. In some places you may run
into brushes that are texture-aware and the
| | 05:16 | only way you are going to know it is,
if you happen to have the General palette
| | 05:19 | open, and what really controls
whether any variant has a texture is in the
| | 05:26 | subcategory. If the word grainy is in it
then it has grain-awareness built into
| | 05:31 | it. If it's just soft cover, well see
the character of this brush is very
| | 05:37 | different, the only texture you're
seeing there is actually the overlapping dabs
| | 05:41 | of the brush, there really is no texture.
| | 05:43 | The only way to get it, is to select one
of these grainy models and each one of
| | 05:48 | them has a different
characteristic associated with it.
| | 05:51 | So you'll get very different
characters based on which one of these models
| | 05:56 | you've been working with.
| | 05:57 | So I am going to restore my brush back
to the default, and we could see, it's
| | 06:00 | using Grainy Hard Cover to
get this particular effect.
| | 06:04 | The other thing I want to be sure I do
here, because I just noticed the character
| | 06:08 | my brush changed when I did that, if I
go back to my Brush Calibration, I want
| | 06:13 | to be sure I turned this on.
| | 06:14 | And so for this particular brush, I
have increased the sensitivity, so now I
| | 06:19 | can get to that very light pressure and
just hit the top of the texture very
| | 06:23 | easily, until I just did that it was
completely wanting to fill up the texture immediately.
| | 06:28 | So we talked about this in another
video, but this Brush Calibration is very
| | 06:33 | important, and the fact that you can
now attach it to individual variance
| | 06:38 | really increases the ability
of what this can do for you.
| | 06:41 | So that's just a little aside, but
let's start to take some of these and I will
| | 06:45 | show you some of what you can do.
| | 06:47 | One last thing I guess before I do this,
I want to show you an important thing
| | 06:52 | you can change right here is the scale
of the paper. You can see now that paper
| | 06:57 | scale is a finer than it was before, and
I can even make it smaller, so it's a
| | 07:02 | very fine grain, or I can take it up
to where it becomes a very coarse grain.
| | 07:07 | And just changing the scale of a paper
texture can have a lot of impact on the
| | 07:12 | kind of quality you're
going to get out of the image.
| | 07:15 | Also associated with the Paper palette
is the contrast and brightness sliders. I
| | 07:20 | am going to go ahead and clear off my
screen and let's just get some black, and I
| | 07:25 | want to show you what this will do.
| | 07:27 | If I decrease the contrast, you see
now I'm getting not nearly as much
| | 07:34 | aggressive grain, whereas when this is
turned up, same grain, but look how much
| | 07:39 | different it looks. And the
same goes for brightness.
| | 07:42 | By playing with a combination of these,
you can get a variety of variations in
| | 07:47 | the character of the texture.
| | 07:49 | So don't forget that when you're
working with grain-aware media, you've got
| | 07:54 | scale, you have got contrast and you've
got brightness all at your disposal to
| | 08:00 | even increase the power of one paper
grain just by altering these sliders, you
| | 08:04 | can dramatically change
how that one texture looks.
| | 08:08 | And as you may know, Painter has
library after library of texture.
| | 08:12 | So you've got literally a world of
texture at your disposal for working on any
| | 08:19 | kind of texture-aware
media that you want to attack.
| | 08:21 | Let's go ahead and clear this off, and
I am going to start off and I am just
| | 08:25 | going to draw a simple little sketch here.
| | 08:28 | So, now once again, and this is a good
place to point this out, this is where
| | 08:32 | the brush calibration comes in because this
is not behaving at all like I want it to.
| | 08:37 | And so I am going to Enable Brush
Calibration and I know through experience just
| | 08:41 | cranking those up, gives me a much
better approximation of a real pencil.
| | 08:46 | So I've adjusted that, and let
me go ahead and reduce this.
| | 08:51 | And I'm not going to be changing the
Paper Grain much, so let's just kind of
| | 08:54 | set this back to more or less close to normal,
around 200 and this is around 50, there we go.
| | 09:01 | So we can go ahead and dismiss this
| | 09:03 | for now, and this will give me some
more space to work with, and I can go ahead
| | 09:07 | and get rid of this.
| | 09:10 | And let's go ahead and draw a little
bit, so you can see how this works.
| | 09:13 | So I am just going to draw a simple
little apple. It's kind of become one of the
| | 09:17 | signature things, I tend to draw
when I show this kind of stuff.
| | 09:21 | So I'm just kind of quickly getting the
outlines of what I'm going to do here.
| | 09:27 | I just want to have a basis
for what I'm going to paint.
| | 09:30 | I'll probably get rid of some of that.
| | 09:31 | Now let's go to my Square Chalk, and I
will grab a color here, and this is where
| | 09:37 | you can see now, I'm able to penetrate
all the way into the grain if I want.
| | 09:43 | I am also going to enlarge my brush
because the larger it is a more surface area
| | 09:48 | I can cover at a time.
| | 09:50 | And I am going to impart a little bit
of variation in the color here so I have
| | 09:55 | a shadow on this side. And
I like to just throw little
| | 10:00 | variations in color in here. A real
apple is not one color, it's generally got
| | 10:06 | a mixture of color going on in it.
| | 10:10 | And let's throw in a little bit of a
highlight here, and let's not forget about
| | 10:15 | this leaf up here, I am reducing my brush size.
| | 10:19 | In this case am using the left and
right bracket keys, left bracket,
| | 10:23 | continually pressing it will reduce my
brush size and using the right bracket
| | 10:28 | key will enlarge it.
| | 10:29 | Now I am going to use the is Smudge
tool and all of these are texture-aware
| | 10:33 | tools, so even this smudge, you will see
how it uses paper texture to alter the
| | 10:38 | look of what it's smudging underneath of it.
| | 10:40 | And once I go through the basics here,
then it's time to bring the chalk
| | 10:44 | back and start to add a little more variety.
Here's where I want to enlarge this a bit.
| | 10:50 | An image like this isn't necessarily
built in one attack of trying to create the
| | 10:56 | apple. You are applying layer after layer,
and it's that layering that sometimes
| | 11:00 | gives the finished image more
complexity, and that visual interest that is going
| | 11:05 | to attract the eye and make it want to
spend more time taking a look at this.
| | 11:10 | Now I will go back to my pencil, and
I'm going to -- just going to finish this
| | 11:13 | off with some strokes to
define the shape of the apple.
| | 11:19 | That's a very quick little exercise
just to show you how starting to combine
| | 11:24 | various mediums, especially when they
are all texture-aware, it's kind of a glue
| | 11:28 | that puts these various mediums
together because they all have that similarity
| | 11:33 | in that they're all
utilizing the same paper grain.
| | 11:36 | So texture-aware media is yet another
area of Painter that it excels in and
| | 11:42 | gives you this almost tactile
sensation that you could touch this and there
| | 11:47 | would be some texture associated with it.
| | 11:49 | Applying texture to an image with grain-
aware variance is an important tool that
| | 11:54 | is available in your expressive arsenal.
| | 11:56 | Painter's Paper Grain libraries offer a
wide range of surfaces to select from,
| | 12:00 | take advantage of it.
| | Collapse this transcript |
|
|
7. Cloning TechniquesUnderstanding Quick Clone| 00:00 | In this video, we're going to be talking
about the Quick Clone feature. And quick
| | 00:05 | cloning is just a way to make a clone
of a source image, but do it in such a
| | 00:11 | manner that a bunch of housekeeping is
taken care of, according to how you
| | 00:15 | set its preferences.
| | 00:17 | For now, let's go up to Preferences and
I want to open up Quick Clone, and let's
| | 00:25 | just talk a little bit
about what's going on here.
| | 00:27 | First of all, you have the option
whether or not you close the source image or
| | 00:33 | not when you make a Quick Clone.
| | 00:35 | Now those of you who've been around
Painter for a while may say well, if I close
| | 00:39 | my source image, how am I going to be cloning?
| | 00:42 | Well, we're going to get into a
little more detail about that in the Source
| | 00:45 | panel in the next video, but I'll go so
far as to tell you that in Painter 12,
| | 00:50 | they've done a nice thing, which is
they now embed any source imagery that you
| | 00:56 | use in your destination
document as part of that document.
| | 01:01 | So, in the past, you had to keep track of
| | 01:03 | if I want to ever reestablish a Clone
Source, I need to find that original
| | 01:08 | source document and set that Clone
Source and destination relationship up, but
| | 01:14 | it's all now going to be taken care of for you.
| | 01:17 | So I tend to want to keep this closed.
| | 01:20 | The only reason that you may want to
keep it open is, if you're going to make
| | 01:24 | adjustments to that image, as you're
doing some clone work, by having the source
| | 01:30 | image separately open and still
established as a clone, it will give you the
| | 01:34 | opportunity to go in there and perhaps
do something like Smart Blur to it or
| | 01:39 | anything you want to do.
| | 01:41 | On the other hand, you could prep an
image and do several different variations
| | 01:46 | of it, for example, so you could have a
version of the image that has had Smart
| | 01:51 | Blur associated with it.
| | 01:52 | You can have a version that's got more
saturation associated with it and each
| | 01:57 | of those, as we'll see, can be in the Clone
Source panel where you can switch among them.
| | 02:02 | So it's up to you, but now that this
new system is in place, I prefer to embed
| | 02:07 | my clone sources in the image.
| | 02:09 | So, because of that, you can close the source
image once you've established the relationship.
| | 02:15 | Secondly, you can decide, do I want to
open the Clone Source panel when I get there?
| | 02:20 | You may want to do that.
| | 02:21 | If you look over, we did this earlier.
| | 02:24 | I like to have my Clone Source panel
already available at the same level in my
| | 02:29 | palette stack along with layers and channels.
| | 02:32 | So I know where it is, I
don't need for it to be called up.
| | 02:35 | So I typically keep this off.
| | 02:37 | Next, we have Clear Canvas.
| | 02:39 | If you don't clear the canvas up,
what's going to happen is it's going to make
| | 02:43 | your destination image and it's going to
be exactly the same as the source image
| | 02:47 | and for most of the work, I like to
have the canvas blank as if I'm starting
| | 02:52 | with a blank canvas, knowing that
cloning brushes or tracing paper, all are
| | 02:57 | available to me to be able to see or
access that image, and it works better when
| | 03:04 | the canvas does not have anything on it.
| | 03:06 | So I tend to keep Clear Canvas on.
| | 03:09 | Next, you can choose to have
Tracing Paper automatically turned on.
| | 03:14 | Personally, I don't use Tracing Paper that much,
so I do not automatically have it turned on.
| | 03:19 | However, when we get to the Clone
Source panel, I will show you how you can
| | 03:23 | turn it on and off.
| | 03:24 | So, if you don't turn it on here now,
it's not as if you're making an
| | 03:27 | irreversible decision.
| | 03:29 | You still have the
ability to turn it on and off.
| | 03:32 | I just like to begin with that blank
canvas and I don't want to see a ghost of
| | 03:36 | my source image in the document.
| | 03:39 | And finally, do I want to
switch to cloner brushes?
| | 03:41 | No, there's many different activities I
may use that don't use cloner brushes.
| | 03:46 | So the two that I normally keep on and
recommend are, close your source image and
| | 03:52 | clear the canvas, and with these
preferences set, we're ready to go.
| | Collapse this transcript |
| Working with the Clone Source panel| 00:00 | In this video, we're going to talk
about Painter 12's new Clone Source panel.
| | 00:05 | In the past, you had an entry in the
File menu that allowed you to switch among
| | 00:11 | any clone sources you had, but it
wasn't visual in any way whatsoever.
| | 00:16 | And so, one of the things that the Clone
Source panel does, which I have right here,
| | 00:21 | and if you don't have it you can go up
to the Window menu and just select Clone
| | 00:25 | Source and that panel will come up.
| | 00:28 | The thing that it does now is it shows
a nice little visual representation as
| | 00:32 | a thumbnail, so that you can quickly
just look and see what various clone
| | 00:37 | sources you have available.
| | 00:39 | The other thing it does now is in the
past when you had a clone source and a
| | 00:45 | clone destination, you had to be able
to keep track of those files, because the
| | 00:51 | clone source document was off somewhere else.
| | 00:55 | Starting with Painter 12, it now
embeds a clone source document into your
| | 01:02 | destination document or your clone.
| | 01:04 | And so, those all travel together and
you no longer have to worry about where
| | 01:10 | are those image files?
| | 01:12 | They're actually embedded and part of
the image, and that's a real godsend in
| | 01:16 | terms of six months later when you
want to work on an image that some cloning
| | 01:20 | activity was done on, I
know I've done it in the past.
| | 01:23 | It's like where's that
original image? I can't find it.
| | 01:25 | That will never happen again because
these are now embedded in the actual image
| | 01:30 | file that you're cloning to.
| | 01:32 | The other thing that's a little
odd about the Cloning panel is, there's
| | 01:36 | no where in here that you can actually
instantiate a clone destination from a source document.
| | 01:44 | So, for example, this document, I do
want to clone it, but you'd think the Clone
| | 01:49 | Source panel would somewhere have
that ability in it. It does not.
| | 01:52 | So how do you go about doing that?
| | 01:54 | Well, you go over to the File menu and
you select Quick Clone, and in doing that
| | 02:01 | that is going to make, as we did in our
last video, a copy of it and it clears the
| | 02:06 | image, it deletes the source file.
| | 02:09 | So now I've got a single file open, which
has embedded in it that lily_pads image.
| | 02:15 | One of the things you can do is you
can add multiple images to a document.
| | 02:22 | And so, if I wanted to put
different images in here, I could.
| | 02:26 | One of the things that I would not want
to do though is take another image of a
| | 02:30 | different resolution or size and if you
think well, I can use this to composite
| | 02:35 | one element from one image to another,
you can as long as the element in that
| | 02:40 | other clone source is exactly where you
want it and if it's not, all you can do
| | 02:45 | is clone it where it was in that
document and bring it up into the new document.
| | 02:50 | So, one of the basis for this new cloning
system is that you can clone into a flat document.
| | 02:57 | And so, the idea of trying to use this to
composite multiple image sources really
| | 03:02 | doesn't work very well, because unless
you just had the miracle of all your
| | 03:06 | elements and all your images exactly
in the right place, when you want to
| | 03:10 | clone them, you otherwise have to deal with the
fact that well, that's where it is in the image.
| | 03:14 | It's down in the lower left corner.
| | 03:15 | I wanted it in the center.
| | 03:17 | There's no way to do that.
| | 03:18 | A better way to do that type of
compositing is to treat elements like that as
| | 03:24 | individual layers, and when we get into
the layer chapter, we'll talk about that.
| | 03:28 | But a better way to utilize this is to
use the same image that has variations in
| | 03:34 | it, and I'm going to show you what I mean.
| | 03:36 | Let's say, I do have this lily_pads
image, but it did close and embedded in here.
| | 03:40 | So I need to open it again.
| | 03:42 | So I'm just going to go to my recent
images here, and I'm going to go ahead and
| | 03:47 | I'm going to make this a grayscale image.
| | 03:50 | So if I go to Effects and go to Tonal
Control > Adjust Colors, I can turn the
| | 03:55 | saturation down in this image.
| | 03:57 | So now it's essentially a grayscale image.
| | 04:00 | I'll save this into the chapter07
folder as lily_pads, but I'm going to append
| | 04:04 | it with bw for black and
white, and we'll save that.
| | 04:09 | And now, let's go ahead and go to the Clone
Source panel here, and I can close this.
| | 04:15 | Now I'm back at my
document that is a clone source.
| | 04:19 | Before I go any further, I do want to mention
here, this is where a Tracing Paper is located.
| | 04:24 | If I want to turn Tracing Paper on
and off, I do it right here in the Clone
| | 04:28 | Source panel, and I can then
further adjust its opacity.
| | 04:33 | So if I want just varying degrees of
transparency of my Tracing Paper, I can do
| | 04:37 | that, but in this case I'm going to go
down here and use the Open Source Image file,
| | 04:42 | and we'll go right back to our
chapter07 exercise folder, and I'm going to load
| | 04:46 | in the grayscale version.
| | 04:49 | So, now I've got two versions of this image;
| | 04:52 | one color, one grayscale, and by
extension, one could be more saturated, one
| | 04:58 | could be a painted image.
| | 04:59 | Any combination of versions of this
image that you may want to combine can be
| | 05:05 | put into the Clone Source panel, and
this makes much more sense because now as I
| | 05:11 | paint with a cloning brush, it's
going to bring up the same image but with
| | 05:14 | differences in it, and they'll all
be painted onto this flat document.
| | 05:20 | So, let's go over and grab the cloner
brush, and I'll go ahead and I've got the
| | 05:25 | lily_pads black and white on here.
| | 05:27 | I'll just kind of go into an area here
and bring this up, and maybe we want to
| | 05:34 | zoom up a little bit more
to see what we're doing here.
| | 05:37 | But let's say, I want this area to be in color.
| | 05:40 | Well all I have to do is switch to
my normal area and I can even turn off
| | 05:45 | Tracing Paper at this point, because I see
the document in black and white, but now it's
| | 05:48 | like I can magically paint in color
in this particular part of the image.
| | 05:54 | And so, this to me makes a great deal of
sense of how to take advantage of the
| | 06:00 | Clone Source panel.
| | 06:01 | It's a great way to bring multiple
versions of an image together, so that you
| | 06:07 | can have a very easy way to change your
brush to automatically do whatever that
| | 06:12 | particular version of your
clone source document has in it.
| | 06:17 | Now, you can see, I've got an image
that's a black and white version of this
| | 06:22 | image, but I'm able to selectively bring
the color into this image. And as I said,
| | 06:29 | if I had a painted version, I can start
painting with a painted version of this
| | 06:32 | same image, I could paint
with a sepia-toned version of it.
| | 06:36 | I could paint with a
high contrast version of it;
| | 06:38 | anything that I've done to the same
image, and probably the way to do this would
| | 06:42 | be to take your image and do
several different effects to it.
| | 06:48 | Save each one of those individually, and
then you can load them through the Open
| | 06:52 | Source Image button right
here in the Clone Source panel.
| | 06:56 | So that's a great way to be able to do this.
| | 06:58 | So the Close Source panel really is
a definite improvement in Painter's
| | 07:02 | cloning management.
| | 07:03 | You now have all source imagery
available to you with a visual reference in one
| | 07:08 | convenient location, and each of those
images can be a variation on the same
| | 07:12 | image, making one brush a cloner brush
automatically changed to do different
| | 07:18 | kinds of effects based on which one
of the clone sources you've selected.
| | Collapse this transcript |
| Tracing a clone's source using Tracing Paper| 00:00 | If you remember back from grade school,
tracing was one way to be able to start
| | 00:05 | with an image and then use a piece of
transparent paper over it, so that you
| | 00:10 | could then trace and end up with a
separate version of that image that is done
| | 00:16 | by pencil, for example, and we
can do that in Painter as well.
| | 00:21 | To do it, we need to do the
Quick Clone to start our clone and
| | 00:26 | destination relationship.
| | 00:28 | So, I'm going to go up here to Quick
Clone, and this immediately sets our source
| | 00:34 | and destination image up.
| | 00:36 | So we now have lily_pads as our source.
| | 00:38 | To turn on Tracing Paper, I'm just
going to click right here, and now I can see
| | 00:43 | that underlying document.
| | 00:45 | And let's get something simple like a Pencil.
| | 00:50 | We'll go with 2B Pencil, and I'm going
to make sure in the Color palette that
| | 00:56 | we're painting with black, and I'll use
my Command and plus key here to zoom up,
| | 01:01 | so I can see this a little bit.
| | 01:04 | Select my tool, and here's where I can
start to go in here and use this as a
| | 01:12 | source for my separate document.
| | 01:18 | So basically, I'm just using that
underlying source document as a resource that
| | 01:23 | I can use to trace these various
aspects of this particular element in the
| | 01:29 | underlying image out.
| | 01:33 | And when I turn off Tracing Paper, what
I now have is that image, but traced and
| | 01:38 | as a separate document.
| | 01:40 | So Tracing Paper gives me the
opportunity then to use an underlying document
| | 01:46 | just like you would have done in grade
school with traditional paper and the
| | 01:51 | ability to see through it, and now I
can just continue on here, and if I kept
| | 01:56 | going I could do a complete image with
tracing paper and have that help, if you
| | 02:03 | want to call it that, of an underlying
document to guide me into exactly what it is
| | 02:09 | I want to end up with as an image.
| | 02:11 | And once again, you can see here,
we're on our way to starting to build an
| | 02:15 | image via Tracing Paper.
| | Collapse this transcript |
|
|
8. Auto-PaintingUnderstanding the Underpainting palette| 00:00 | In this chapter, we are going to take a
look at auto-painting. Auto-painting is
| | 00:05 | basically you handing the steering
wheel over to Painter and allowing it to do
| | 00:09 | the painting activity for you.
| | 00:12 | Now that may sound like, oh good, all I
have to do is press a button and I am
| | 00:15 | going to make art. It's not quite that simple.
| | 00:17 | Once you've created an image in this
manner, some people will indeed say it's
| | 00:23 | finished, I like what it is, but I
like to think of it sometimes as almost a
| | 00:28 | starting point, at which I'm going to go in
and add more of my own brushwork onto it.
| | 00:33 | One of reasons for this is if you're
starting from a photograph, which is the
| | 00:37 | typical way auto-painting is used.
| | 00:40 | One of the biggest errors a person
will make in converting or translating a
| | 00:45 | photograph into a painted result is
that they don't remove enough of the detail
| | 00:51 | in the photograph, and when they're all
finished, when you look at it, it still
| | 00:56 | belies its photographic source,
because there's so much detail in it.
| | 01:00 | A painting typically reduces detail
and simplifies imagery, so that it's not
| | 01:07 | anywhere near the complexity of a photograph.
| | 01:10 | And that's one of the things that
Auto-Painting is quite good at doing.
| | 01:14 | So to let it do the activity of
decimating or removing all of that photographic
| | 01:20 | information and then using that as a
starting point to do some painting activity
| | 01:25 | on top of it, makes it kind of a hybrid,
so that, yes, the computer is doing
| | 01:29 | some work for you, but hopefully you
are additionally adding some of your own
| | 01:34 | expression to that image.
But that's one way to use it.
| | 01:37 | The other way is that it's a good
educational tool just to watch the process of
| | 01:43 | auto-painting take place, because as it
takes an image and starts with very large
| | 01:49 | brush strokes, and slowly reduces the
size of the breaststroke and concentrates
| | 01:54 | on looking at areas of detail and
using smaller brushstrokes for those areas.
| | 02:00 | And that's a very similar to the
way traditional painting is done.
| | 02:03 | So you learn watching it how a painting
is often constructed from a very rough to
| | 02:10 | refined image through
reduced brushstrokes size.
| | 02:14 | So it's good for that as well.
| | 02:15 | We are going to begin by using the
first palette, and to get those we go down to
| | 02:21 | the Auto-Painting Panels, and I am going
to just click on Underpainting here, and
| | 02:25 | that will bring up all three of them.
| | 02:27 | And of course, we need an image, so
let's go to our exercise file, and we'll go
| | 02:32 | down here to chapter08, and I am going
to get this borrego_cholla image, and we
| | 02:38 | will load it in. And so the goal here
is to take this from its photographic
| | 02:42 | source and convert it into a painted
result, and the first place we are going to
| | 02:48 | go is the Underpainting palette.
| | 02:50 | Now the term Underpainting comes from
the traditional world of painting, and
| | 02:55 | refers to the initial paint laid down on the
canvas to establish tonalities and composition.
| | 03:01 | For our purposes, Underpainting allows
us to eliminate the high detail aspect of
| | 03:05 | the photo, as well as adjust its color
and tonal characteristics away from a
| | 03:09 | photographic vocabulary.
| | 03:11 | Just as I was saying earlier, we want
to remove as much of the photographic
| | 03:14 | quality from this as we can.
| | 03:16 | And so, that begins with Underpainting.
And there are some things we can do here.
| | 03:21 | So let's take a look at first Color
Scheme. This is where I can go in and if I
| | 03:25 | want to try some of the built-in games
I can, let's say Impressionist Scheme.
| | 03:31 | So what it's doing here is substituting
the original colors for another set of
| | 03:36 | colors that are based on, in
this case, impressionist colors.
| | 03:40 | I'm not wild about that, so
I'm probably not going to use it.
| | 03:42 | Now you can try different color
schemes to see if it is something that you'd
| | 03:46 | want to use for your image. I already know.
| | 03:49 | I've played around with this and I'm not
really going to probably take advantage
| | 03:53 | of this, but I just want to point out,
it's a quick way for you to arrive at a
| | 03:58 | different color configuration for your image.
| | 04:01 | You can also go into Photo Enhance,
and this let's me do things like High
| | 04:05 | Contrast. That's not typical of
the contrast in a photographic image.
| | 04:11 | So while it's a little extreme for
what I want to do, it is starting to do
| | 04:15 | the job of altering this photographic
image from its normal kind of contrast
| | 04:21 | that you associate with photography,
and it starts to apply a rather
| | 04:25 | exaggerated contrast.
| | 04:27 | We'll also do Desaturate, several
things in here, but again, these are all sort
| | 04:32 | of built-in formulas that are already here.
| | 04:35 | You can also manually adjust this and
that's all these are, our settings that
| | 04:40 | have been done by
controlling the sliders down here.
| | 04:43 | So I can adjust things like
brightness if I want to, brighten it, darken it
| | 04:47 | and up the saturation.
| | 04:50 | And you can see, just by upping the
saturation, that's one way you can
| | 04:54 | exaggerate the colors in an image.
| | 04:56 | And quite often, Painter will do just
that in painting an image, they have
| | 05:01 | control over the colors through the
paint and the mixtures that they use.
| | 05:05 | And so by exaggerating these colors
a bit, I can start to, as I've said
| | 05:10 | previously, remove this from its
photographic source by applying a range of
| | 05:15 | color to it that is brighter than you
would typically get in a photograph.
| | 05:19 | The other thing I am going to
use here -- and it pays to see this at 100%.
| | 05:24 | Smart Blur, this is a very nice filter
for doing exactly what I was speaking
| | 05:29 | about, reducing detail.
| | 05:31 | One of the reasons this looks like a
photograph is all of this fine granular
| | 05:36 | detail throughout this image. And while
it's great for a photograph, a Painter
| | 05:41 | is not going to sit there and draw
every one of these little branches, and he is
| | 05:46 | not going to draw necessarily
every little needle on the cactus.
| | 05:50 | It's going to be simplified
and Smart Blur does just that.
| | 05:53 | So let's just turn it up a bit, and
you can already see how it's starting to
| | 05:57 | remove some of that fine granular detail.
| | 06:00 | The more I up this, the
more it removes the detail.
| | 06:04 | So if we take this, in this case, all
the way up to 100%, and then move this
| | 06:10 | around and look at it, we can adjust this
just so you can see how different it is.
| | 06:14 | Right away doing that gets
rid of some of that detail.
| | 06:17 | So it's already helping you do
something that you yourself might not be
| | 06:22 | inclined to do, which is remove this
much detail, but I guarantee you, by
| | 06:27 | simplifying your image before you even
start applying paint, whether it's by
| | 06:31 | hand or by auto-paint, this is one way
to establish this image as a painting,
| | 06:37 | rather than a photograph.
| | 06:40 | So the last thing we could do here, and let's
reduce this down so you can see the whole image.
| | 06:45 | You also apply Edge Effects to this.
| | 06:47 | For example, if I do a Rectangular Edge
Effect, you can see here it actually will
| | 06:52 | give this a vignette.
| | 06:54 | I'm not too interested in that, for
this particular image I am going to let it
| | 06:58 | just remain all the way to the edge,
but I wanted to point out, you can play
| | 07:01 | with these edge effects to get various
kinds of treatments to how the edges of
| | 07:06 | your image will appear.
| | 07:09 | But let's go back to None in this case.
| | 07:11 | Now you can also reset Underpainting,
so if you don't like all the things you
| | 07:15 | did, you can -- you can also apply it, which I
want to do here, so I am going to apply it.
| | 07:20 | Now that is my image, so we are ready
to take this image to the next step, and
| | 07:26 | to do that, I need to Quick Clone this image.
| | 07:29 | So we learned before that Quick Clone
is available to us up here in the File
| | 07:33 | menu, however, there is conveniently
located in the lower right corner here, an
| | 07:37 | Auto Clone button that does this for me.
| | 07:40 | So I am going to go ahead and click on
it, and it's made a copy for me and it's
| | 07:44 | removed the image. So now it is as if
I have a blank canvas, but all of the
| | 07:49 | tools we are going to be using are
associated with that image, so it will be
| | 07:54 | funneling the colors and the nuances
we've done to the image through those
| | 07:58 | brushes and applying it onto this blank canvas.
| | 08:02 | Painter has a set of built-in Auto
Cloning brushes right here, they're called
| | 08:07 | Smart Strokes, and what that is, is they
are brushes that have come with Painter
| | 08:13 | that are set up to do a set of
different types of painting. They're okay, but
| | 08:19 | I've created my own set, and I'm going
to be giving them to you, so that you can
| | 08:24 | use them with the paintings.
| | 08:26 | And I think you'll find that if you
compare what would the default ones do,
| | 08:30 | compared to the ones I've done, I'd like
to think anyway, that mine are a bit
| | 08:33 | more successful at emulating various media.
| | 08:36 | So the first thing we need to do is
install that category of John's Smart Strokes.
| | 08:42 | So let's do that.
| | 08:44 | So the first thing we need to do here
is the install my brush category in here,
| | 08:48 | and let's jump over to the desktop.
| | 08:52 | If we go to the Exercise Files, once
again in chapter08, we will find John's
| | 08:57 | Smart Brushes, and this
is a brush category file.
| | 09:01 | So all I have to do is double-click on
this and it will automatically install
| | 09:07 | the brushes in here.
| | 09:08 | So you can take that file, double-click
it, and you will then have in your copy
| | 09:14 | of Painter 12.1, my Smart Brushes.
| | 09:17 | So now we have got our brushes
installed, we have got our image ready, we are
| | 09:21 | ready to auto-paint, and we are
going to cover that in the next video.
| | Collapse this transcript |
| Exploring the Auto-Painting and Smart Stroke palettes| 00:00 | Now that we've set up our Underpainting
step, and we've got an image sitting
| | 00:05 | ready to be auto-painted, the next step
is to go to the Auto-Painting palette.
| | 00:10 | So, let's click up here to Auto-
Painting, and we're primarily going to be
| | 00:14 | interested in Smart Stroke Painting
and the Smart Settings, but I just want to
| | 00:18 | give you a sense of what happens if I
just click on this without doing anything.
| | 00:25 | You're going to get something like this
and let me just explain what's going on here.
| | 00:29 | Auto-Painting really is
designed to be automatic.
| | 00:32 | However, until you enable Smart Stroke
Painting and Smart Settings, it's very manual.
| | 00:39 | Any settings down here are
dictating what's going on down there.
| | 00:42 | So, what happens to be using right now
this particular stroke called Pressure
| | 00:46 | Modulate, which is this zig-zagy
stroke, and all of these other settings are
| | 00:52 | just right now manual.
| | 00:54 | So, if I would stop this, for example,
and you do that by clicking either on the
| | 00:58 | stop button right here, or you can even,
let's have it running again, I can just
| | 01:02 | click inside the image.
| | 01:04 | Actually, anywhere you click
in the interface will stop it.
| | 01:07 | So, I'm going to undo this, and let's
change to a different stroke, say, like
| | 01:13 | Short Dab, and I'll do something like
make the brushstrokes larger just so you
| | 01:19 | can see what happens.
| | 01:21 | So, it's adjusted to a different kind
of stroke and if I stop, I'll show you
| | 01:26 | this so you can see.
| | 01:27 | If I make the brush size very small,
for example, you can see now we're getting
| | 01:32 | these little strokes.
| | 01:33 | So this does give you the option to
manually build up an image with you under
| | 01:37 | complete control of all these aspects,
but the most probably fun aspect of
| | 01:43 | Auto-Painting is the fact that it
will auto-paint an image, and when you
| | 01:47 | understand how all this works, you
can, in fact, use the manual method.
| | 01:52 | But we're more interested at this point in how
we can automatically achieve a painted image.
| | 01:57 | Once again, let's undo this, and I'm
going to enable Smart Stroke Painting, and I
| | 02:03 | want to show you just quickly over in
the Preferences, you've got some settings
| | 02:08 | that you can use for quick cloning. And
one of the things that they have here is
| | 02:14 | you can automatically switch
to those Corel smart brushes.
| | 02:18 | However, even if this is unchecked,
it's apparently broken because whether or
| | 02:22 | not that's checked, this
is what's going to happen.
| | 02:24 | When I go to Smart Settings,
notice what happens up here.
| | 02:28 | See it just changed to the Smart Strokes,
and I believe it's just Corel's way
| | 02:34 | of setting this up.
| | 02:35 | So, it's brain-dead simple, and you
don't even have to think about what brushes
| | 02:39 | you're going to use.
| | 02:40 | However, we want to
switch to some other brushes.
| | 02:43 | So, one of the things you need to
make sure you do, once you check both of
| | 02:47 | these options is you want to make sure you go
to whatever brushes you prefer to use with it.
| | 02:52 | So, we're going to go and we want to
select the brush set that we want to use,
| | 02:55 | which are my brushes, and because of
the resolution of the screen, I know
| | 02:59 | they're right down below here because they
automatically install at the bottom of the screen.
| | 03:03 | So, to get around that little hiccup,
if we just take this and temporality
| | 03:06 | pop-it up to the top, I
can now see those brushes.
| | 03:10 | In fact, what I'm going to do is click
and drag them and I'll just put them just
| | 03:13 | right above the Smart Strokes here.
| | 03:16 | So that lets me get to them.
| | 03:18 | So we've selected that.
| | 03:19 | Let's go ahead and we'll move this
down, put it back in its former location,
| | 03:25 | and we'll select my brushes, and now
we're set up with everything is taken
| | 03:31 | care of for you here.
| | 03:32 | So, all we need to do at this point is
turn this on and let's see what happens.
| | 03:37 | Now depending on your system, how
fast this goes from beginning to end will
| | 03:43 | vary, and the thing to notice right now
though is that the brushstrokes are very
| | 03:49 | large, they're broad strokes and have
already now gone down to a finer level of detail.
| | 03:56 | So, it's going to sit here and continue
to find the image by a couple of ways.
| | 04:02 | First, it's going to do, we've already
seen here, it's reducing the size of the
| | 04:06 | brushstrokes, but the other thing it's
doing behind the scenes is, it's analyzed
| | 04:11 | the image and looked at it, and it's
determined what areas have fine detail and
| | 04:17 | we can already see that.
| | 04:18 | If we look in the foreground here,
where we know where the cactus is with all
| | 04:22 | of the little needles and everything,
notice how there's a lot more of work
| | 04:26 | going on in this area.
| | 04:28 | There's more and more finer brushstrokes
are being added here, whereas up in the
| | 04:31 | area of the sky where there's nothing,
even in this background, not much is
| | 04:36 | there or where there's some rocks right here.
| | 04:38 | So it's already pre-analyzed the image
and determined, where do I need to start
| | 04:43 | spending more of my energy,
applying finer strokes? And where is that?
| | 04:48 | It's where the detail is in the image.
| | 04:50 | So, it's using it smarts by looking at
the image and doing that, and already now
| | 04:56 | we can start to see this build
up into a recognizable image.
| | 05:00 | It's never going to look like a
photograph, because it's now being constructed
| | 05:04 | out of brushstrokes, and it's been
simplified and these brushes are thereby also
| | 05:10 | simplifying the image.
| | 05:12 | But as we go here, it's kind of magical to
just sit and watch the image slowly develop.
| | 05:19 | It's almost like watching a
film develop in a dark room.
| | 05:22 | We start to see the image
come out more and more. Okay,
| | 05:25 | Auto-Painting has now completed its task.
Let's go ahead and zoom-up to 100%, so
| | 05:30 | I can show you the true detail in this,
and you can see this is a brush that I
| | 05:34 | constructed that does a couple of things.
| | 05:37 | One, it uses the artist brush so when
it's creating strokes, it's using the
| | 05:42 | underlying detail in the image that is
there and making loaded brushstrokes out
| | 05:47 | of them, so each stroke has
a set of colors within it.
| | 05:51 | The other thing is, I have Impasto as
part of this brush, so you get a relief
| | 05:55 | quality, a bit of three-dimensionality.
| | 05:57 | Now, one of the things you'll see
here is that the way that the random
| | 06:02 | strokes are applied, I think it tends
to get a little wigged out when it gets
| | 06:06 | to the edges of the image.
| | 06:08 | And so there're some things here
that may not be what you want.
| | 06:11 | And what I can simply do at this point is to
take my brush, which is the same brush,
| | 06:17 | but now I'm manually controlling it.
| | 06:19 | So, I can go in here and if I want to
do a few strokes here and there to cover
| | 06:24 | up aspects of the image that I
don't like, I'm free to do that as well.
| | 06:29 | There are some places where -- especially
where there wasn't a lot of detail. It
| | 06:33 | may not have actually ever
even applied a stroke there.
| | 06:37 | So after Auto-Painting is done, it may
be required for you to go in and do a few
| | 06:45 | strokes just to clean up the image.
| | 06:49 | The other thing I want to mention is
that, when this activity is going, when
| | 06:54 | Auto-Painting is running, and you'll
know it's running because this will be
| | 06:57 | blue just like it looks when I'm hovering over
it, you can't do anything else in the interface.
| | 07:03 | If you click anywhere, you
will be telling it to stop.
| | 07:07 | So, once this process starts, you do
need to be aware of the fact that you need
| | 07:12 | to let it do its thing and not attempt
to do anything else. Otherwise you'll be
| | 07:17 | stopping the process.
| | 07:18 | I'll continue to do some cleanup here,
and then we'll look at restoring parts of
| | 07:23 | the image in the next chapter.
| | Collapse this transcript |
| Working with the Restoration palette| 00:00 | I have now kind of cleaned up the
painting by doing a little bit of hand work
| | 00:04 | using the same brush that we auto-
painted with to get rid of some of the edge
| | 00:09 | corruption, or whatever you want to
call it, that happened along the edges. And
| | 00:13 | we're now ready to do any restoration
we want, and this presents a couple of
| | 00:17 | interesting things.
| | 00:18 | The fact that I happen to use the
brush John's Impasto Oil that has Impasto
| | 00:25 | layer associated with it, means that
we'll see here in a second, when I start to
| | 00:30 | do some restoration, it's going to
restore whatever the original imagery is,
| | 00:34 | but in this case, the Impasto layer is
going to be enabled, and on, and I'll show
| | 00:40 | you what that means.
| | 00:42 | Let's go ahead and go to the Restoration
palette, and basically what this does is
| | 00:47 | it gives me a cloning brush that is
going to bring through the imagery
| | 00:51 | associated with the source document,
which is that image that we applied some
| | 00:56 | color saturation too, and I also used
the Smart Blur to simplify it a bit.
| | 01:01 | So, let's take this.
| | 01:02 | I'm going to turn it up a bit, and
we'll select the Soft Edge Cloner, and I'm
| | 01:08 | going to go to one of these detail
areas we know is here, somewhere I think
| | 01:11 | right here, we have where the elements with
the needles are still in place to some degree.
| | 01:18 | It depends on how much Smart Blur
simplified that area, but I'm going to go ahead
| | 01:23 | and paint in this and it
doesn't seem like much is happening.
| | 01:29 | Now there we're seeing some more detail.
| | 01:30 | Let me turn off Impasto, and now
you're seeing this is the painting minus any
| | 01:38 | Impasto that we applied to it
with the Impasto enabled brush.
| | 01:42 | So, when I paint without Impasto on,
you can see how direct it's actually
| | 01:48 | bringing that through, but when we enable
Impasto, we're getting the character of
| | 01:53 | the brush strokes as part of the
Impasto layer, but we're now letting the
| | 01:59 | original imagery come through
underneath that Impasto layer. Which is actually
| | 02:03 | kind of neat here, because we
are restoring areas of the image.
| | 02:07 | But the character of the brush strokes
is still somewhat retained because of
| | 02:11 | that Impasto layer. And as a result, I
can bring through some detail in here
| | 02:17 | and assuming there is Impasto details
still available above it in that layer,
| | 02:23 | I can bring through -- it's not truly
photographic anymore because we've
| | 02:28 | simplified it, but you can see, there's
more detail now even in this area than
| | 02:32 | there was previously.
| | 02:34 | And if I'm going to do any of this at
all, I'm probably going to restrict it
| | 02:38 | kind of to this central bit
of cactus in the foreground.
| | 02:41 | As it goes farther back, it's not as
much of a center of interest as the near
| | 02:46 | elements of the cactus.
| | 02:49 | So you really have a choice here;
| | 02:51 | you know, how much do you want to bring back?
| | 02:53 | If it's a portrait, for example, if
you're doing something with a face, I can
| | 02:56 | tell you from experience that Auto-
Paint just isn't going to render a face in a
| | 03:01 | painterly manner that
you're probably going to like.
| | 03:04 | And so, what I will very often do is use
the Restoration brush to just sort of
| | 03:09 | feather up some of the detail of the
face, so that looks like you want it to
| | 03:14 | look, because in particular portraiture,
you're going to want the person's face
| | 03:18 | to be the most clear image
element in that entire painting.
| | 03:23 | When we go back, you really lose a lot
of what the detail is doing because the
| | 03:27 | display is sort of corrupt, so it doesn't do the
greatest job showing all this at a reduced scale.
| | 03:33 | But you can see now there's just
a bit more detail in those areas.
| | 03:37 | And so, the Restoration brush is a great
way in particularly, and this is just kind
| | 03:41 | of happened accidentally when I use
the brush that happened to have Impasto
| | 03:46 | associated with it.
| | 03:47 | It has this extra benefit of you're
bringing through the original imagery, but you
| | 03:53 | are also allowing the stroked Impasto
data to still remain, and so it's a nice
| | 03:59 | hybrid between the simplified imagery
in the source document, as well as the
| | 04:05 | auto-painted imagery that
was done with an Impasto brush.
| | 04:10 | Now, the last thing I want to tell you
is if you're finished with an image like
| | 04:13 | this and you want to take it somewhere
like Photoshop, because the Impasto layer
| | 04:20 | in this case, and this applies to any
imagery that you've done with Impasto, if
| | 04:25 | that layer is there and you save it as
a Photoshop file, because the Impasto
| | 04:30 | layer is a Painter specific layer, that
data will be lost and what you would end
| | 04:35 | up then would be a version of
the image that looks like this.
| | 04:38 | There's no Impasto data on there at this point.
| | 04:41 | And so, you have to have some technique
for, how do I keep the Impasto data even
| | 04:46 | though it's going somewhere else?
| | 04:48 | The only way to do that in
Painter is to make a clone of it.
| | 04:50 | So, if I go in here and just say
Clone, okay I've just cloned that image.
| | 04:55 | If we go up here, that is now a flat
image, it no longer has a Impasto layer,
| | 05:01 | it's just been flattened into the image.
| | 05:03 | If I go ahead and save this now, and
I'll save it into the exercise files so you
| | 05:07 | can look at the finished file, you'll
be able to see that even if you're not in
| | 05:11 | Painter, even if you save it as a JPEG,
for example, to put on the web, you'll
| | 05:15 | be able to still retain the look of
Impasto even though you no longer have an
| | 05:20 | Impasto layer, because now by making a
clone, we've literally flattened the image
| | 05:24 | and embedded that Impasto layer into
the image, so that it's now just a single
| | 05:29 | flat image that happens to
have the Impasto effect on it.
| | 05:33 | So, this basically
concludes looking at auto-painting.
| | 05:38 | There's no time really to be able to
show you all the different brushes that are
| | 05:42 | in the set that I'm including here, but
I can tell you that it's very much the
| | 05:47 | experimental thing and I encourage you
to try the same image and just select
| | 05:52 | different brushes and let the process
run through, and you'll be surprised how
| | 05:56 | many different finished results you
can get based on the brush that you've
| | 06:00 | selected to apply to your source document.
| | Collapse this transcript |
|
|
9. Working with SelectionsWorking with the Rectangular Selection tool| 00:00 | In this chapter, we are going to take a
look at Selection tools, and within the
| | 00:04 | world of digital imaging, selecting an
area of that image is a very useful tool
| | 00:11 | and it's in fact used all the time
for all kinds of different activities.
| | 00:16 | For example, you may want to
select something out of an image.
| | 00:20 | You may want to change a color within an image.
| | 00:24 | You may want to make a
copy of something in an image.
| | 00:26 | All of these things require first
creating a selection in order to do those
| | 00:31 | kinds of activities.
| | 00:32 | And so, I am going to go through
and show you those in this chapter.
| | 00:36 | I am going to begin however, with just
the humble Rectangular Selection tool.
| | 00:41 | This is the simplest of selection tools.
| | 00:43 | It simply makes a rectangular selection.
| | 00:46 | To show you how this works, once I've
got a rectangular selection, I am going to
| | 00:51 | take my airbrush here and just draw in it.
| | 00:53 | So the first and foremost aspect of what a
selection tool does is, it isolates an area.
| | 01:00 | So now that that selection is in place,
I can do different things inside of it
| | 01:05 | and it won't affect any other area.
| | 01:08 | Of course, we have undo, so I can get back
from that so it's not permanent on my image.
| | 01:14 | The other thing I can do is, I can use
the Invert command, which if I go right
| | 01:19 | here, Invert Selection, and now it's
going to let me do something on that image.
| | 01:24 | It's going to let me affect everything,
but what my original selection was.
| | 01:28 | Because as you can see now, the so-called
marching ants are now on the outside of
| | 01:34 | what the original selection was.
| | 01:36 | If we go back to selection, and Invert
that again, you can see now it doesn't
| | 01:42 | look any different here, but there's
no longer a selection on the outside.
| | 01:46 | So we can flip the meaning of the
selection anytime we want with the
| | 01:50 | Invert Selection command.
| | 01:52 | Now once again, I am going to undo
here, get back to my selection as it
| | 01:57 | originally was, and another thing that
is possible here is you can add to and
| | 02:03 | subtract from selection.
| | 02:04 | So I am going to continue to use the
Rectangular Selection at this point to show
| | 02:08 | you this, but if I hold down the Shift
key, you will see a little Plus shows up
| | 02:12 | next to my icon, that allows me to go
in now and I can start to build a larger
| | 02:17 | selection with this particular
Additive Selection mode we are in.
| | 02:22 | Conversely, if I hold down the Option
key or the Alt key on Windows, you will
| | 02:27 | see now there is a negative sign on there.
| | 02:29 | That allows me to go in, and in this case
like punch a hole right in the center of that.
| | 02:33 | So, just using this one tool and the
fact that I can toggle back and forth
| | 02:39 | between creating this selection,
adding to a selection, subtracting from the
| | 02:44 | selection, makes it very easy to
start to get a rather complex shape.
| | 02:48 | And once again, if I go back to my airbrush,
and just paint in here, you can see I
| | 02:52 | have made a fairly complex shape just
out of rectangular selections that are
| | 02:57 | carving into and adding to my initial selection.
| | 03:01 | So that's yet another basic feature
of selection, the ability to add to
| | 03:06 | and subtract from it.
| | 03:07 | And as we go forward, you
will see how very useful that is.
| | 03:10 | I'm showing you right now the most
simplest of selection mode here, just with a
| | 03:16 | rectangular selection, but in the next
video, I am going to go on and we are
| | 03:19 | going to start dealing with some of the
subject matter, that's actually on the
| | 03:23 | image behind this here.
| | Collapse this transcript |
| Using the Lasso tool| 00:00 | The next tool we are going to
take a look at is the Lasso tool.
| | 00:03 | Now the Lasso tool, unlike the
Rectangular Selection, which can only create
| | 00:07 | horizontal vertical selections, this
allows me to freehand select an area.
| | 00:12 | And what I am going to do in this
particular video is I am going to select this
| | 00:16 | one rock in this little
configuration of stones on the porch.
| | 00:20 | And usually when you're doing this, you
want to get pretty close to your image.
| | 00:24 | If not 100% even more, because the
more closer you are zoomed in, the
| | 00:29 | more detail oriented you can be, and you can
actually follow the lines a little better.
| | 00:35 | So I am going to select the Lasso
tool here, and I'm just going to start to
| | 00:40 | follow the edge of this, and I've been
doing this a long time, so if you are
| | 00:46 | trying and it's like, how was he able
to do that? It's just experience really
| | 00:51 | helps and don't be frustrated
if you can't initially do this.
| | 00:55 | It's just an eye/hand coordination
type of thing, but the idea here is, now I
| | 00:59 | am going to kind of make a couple of
mistakes on purpose, because I want to
| | 01:02 | show you how the addition and subtraction is
something that we used before that could be helpful.
| | 01:09 | If I go in here and hold down my
Option or Alt key again, I can go ahead and
| | 01:13 | actually subtract from my selection.
| | 01:17 | And here's another area where I want
to just do a little bit of subtraction.
| | 01:21 | And then on this side, if I hold down the Shift
key, I can add to my selection once again.
| | 01:27 | So all of the Selection tools have this
capability and in every case, it'll be
| | 01:31 | the Shift key that allows you to add to
your selection and the Option or Alt key
| | 01:36 | that allows you to subtract from the selection.
| | 01:39 | So you can get as refined as you want
about this. I see another little area
| | 01:44 | here, where I might want to go in, and I am
going to add to that selection just a little bit.
| | 01:49 | But the idea here is that, I can use a
freehand mode to select items that I may
| | 01:55 | want to select within an image.
| | 01:57 | I see one last little one here I am
going to add to, maybe just a little bit
| | 02:03 | more and this is where even
zooming sometimes will help.
| | 02:06 | So, now that I've got that,
what can I do with it?
| | 02:09 | Well, the basic thing I am going to do
is here is if I do Ctrl+C or Command+C
| | 02:13 | for Copy, and then Ctrl+V or Command+V for
Paste, I have now pasted a copy right in place.
| | 02:21 | If I go ahead and pick this up and
move it with the Layer Adjuster tool, I've
| | 02:25 | now got a second copy of
this little river stone.
| | 02:29 | So if we go back here, I could take this, for example,
and you know, maybe set it you know, somewhere else.
| | 02:35 | Now it maybe a little fake, in that there
is two exactly like it, so this isn't
| | 02:39 | necessarily a highly
functional use of how you do this.
| | 02:43 | But you get the idea, it's just gives
you a way to start to replicate an image,
| | 02:49 | or you may even copy this and then use
it in another image. That's probably a
| | 02:52 | more likely scenario here.
| | 02:54 | But the basic idea is that the Lasso
tool enables you to select irregular
| | 03:00 | objects and then be able to either
duplicate them or tint them differently, as
| | 03:06 | long as it's selected, it's
masking that specific area.
| | 03:09 | And you have got a whole world of
possibilities with the various tools in
| | 03:13 | Painter that you can use to
alter the look of that image.
| | 03:17 | In the next video, we will take a look
at a little bit more controlled method
| | 03:22 | for following the edges of
irregular shaped objects.
| | Collapse this transcript |
| Selecting items with the Polygon tool| 00:00 | In the last video, we looked at the
Lasso tool, which is a freehand tool
| | 00:04 | for making selections.
| | 00:06 | And depending on the object you're
trying to lasso with it, it can be the
| | 00:11 | perfect tool, but sometimes it
starts to get a little touchy.
| | 00:15 | And just by way of introduction, I will
use the Lasso tool quickly and just make
| | 00:20 | an obvious mistake here.
| | 00:21 | If I'm drawing with this and all of a
sudden I let up, see what happened, it
| | 00:26 | always will auto-complete.
| | 00:28 | And so, that could be frustrating to people.
| | 00:30 | A lot of people will go back and
like oh Command+D or Ctrl+D, I have got
| | 00:33 | to start over again.
| | 00:34 | Well, actually, oops!
| | 00:36 | There I made a mistake, I didn't want.
| | 00:38 | Actually, if that happens when you're
in the Lasso tool and you get that, you
| | 00:43 | don't have to restart.
| | 00:44 | Just remember, you can hold down the
Shift key, and I could continue on my way.
| | 00:48 | So even when this isn't necessarily
the best tool to do this, you do have
| | 00:53 | the option of just adding to the selection,
so that you do grow it into what you want.
| | 01:00 | So that's one way to do it, but I am
going to show you the Polygon tool now, and
| | 01:04 | show you how much more facile
it is at working with edges.
| | 01:08 | So let's go back to the same area here,
and in this case I am going to click on
| | 01:12 | the Lasso tool and hold it down, and
there is where we see the Polygon tool.
| | 01:16 | So I am going to get that.
| | 01:18 | I am going to go down here and I am just
going to click and I am going to drag out.
| | 01:22 | You can see this is a rubber banded
line, so each time I clicked down, I am
| | 01:27 | creating a new line segment.
| | 01:30 | And so I am just going to use this
ability to kind of do a dot to dot selection
| | 01:36 | by going around the edge,
and just selecting these.
| | 01:40 | Now one thing you do not want to do is
put these too far apart, especially on an
| | 01:44 | object with a rounded edge like this.
| | 01:47 | If they're too far apart, you will get
a visible kind of poker-chipping style
| | 01:52 | edge where you can see the individual facets.
| | 01:55 | So when things are rounded like this,
you want to zoom in and you want to do
| | 01:59 | your line segments fairly close
together and that will avoid the obvious
| | 02:04 | appearance of faceted edges along this.
| | 02:07 | And once we're done here, you
will see like, how do I quit?
| | 02:10 | There is no way to end this.
| | 02:11 | What you have to do is hit the Return key,
and now I've got my finished element.
| | 02:17 | So using Polygon tools is a far
easier way with respect to certain types of
| | 02:22 | imagery to be able to make that selection.
| | 02:26 | In the next video, we are going to take
a look at the Magic Wand tool which is
| | 02:30 | another way to select an image area
by color, and it also works for certain
| | 02:36 | types of imagery that you may work with.
| | Collapse this transcript |
| Understanding the Magic Wand tool| 00:00 | So far in this chapter, we've been looking
at selection methods that are hand based.
| | 00:05 | You are somehow interacting with the
image to follow an edge, for example, in
| | 00:11 | order to describe that area of the screen.
| | 00:14 | What we're going to look at now is
the Magic Wand tool. It is different.
| | 00:18 | It's not something that you draw with.
| | 00:20 | It is actually something that you
wave over an area and magically, which is
| | 00:25 | where it gets its name,
selects a specific area of an image.
| | 00:29 | And in this image I'm going to select the
decking in this image so that I can change
| | 00:34 | its quality a bit, probably in its
density, its brightness, or its color.
| | 00:40 | And once we get it selected we can try
as many things as we want really.
| | 00:44 | So, let's go through the first step of
capturing just this area of the image.
| | 00:49 | And you can see this is not something
that you would want to try to follow along
| | 00:54 | and completely select by hand.
| | 00:56 | It would be really laborious.
| | 00:58 | So the Magic Wand is definitely
better suited to this type of capture.
| | 01:04 | And first of all, I want to look up here because
there's some things we want to talk about.
| | 01:08 | First of all, one of the things associated
with the Magic Wand is called Tolerance.
| | 01:12 | As this value is turned up, it's going
to use the initial color that you've
| | 01:20 | selected, or with the Magic Wand you can
actually select a group of colors, but
| | 01:25 | then it will go farther away from
those colors. And how far away from the
| | 01:30 | source colors that you've clicked on
with the Magic Wand, this will determine
| | 01:36 | how far does that go.
| | 01:38 | And so, being able to have this throttle, so
to speak, lets you control to a degree
| | 01:44 | exactly how far the
selection is going to be made.
| | 01:48 | And if we just temporarily stop and look at
the colors in this deck, there's a lot
| | 01:52 | of color variation going on here.
| | 01:54 | So this tool has to be able to
somehow address the majority of those colors
| | 02:00 | within this deck surface.
| | 02:03 | So we'll go ahead and I'll
just leave it at 22 for now.
| | 02:06 | The other thing that you can do is
you can turn on whether the edges of the
| | 02:10 | selection are going to be anti-
aliased or just a hard edge pixel.
| | 02:13 | You typically are going
to want anti-aliasing on.
| | 02:16 | The other one is rather interesting concept.
| | 02:20 | You can either have it select only
the colors that it can find that are all
| | 02:25 | adjacent to one another.
| | 02:27 | An example of contiguous is
basically all of these colors in here.
| | 02:31 | However, if I chose non-contiguous,
what that would do is it will find all the
| | 02:39 | colors in here, but then there's some
of those colors are probably up here,
| | 02:42 | there's probably some in here,
there might even be some here.
| | 02:45 | There could even be some in
some of the colors of the grass.
| | 02:48 | So non-contiguous is more universal.
| | 02:51 | It's going to look for the colors
you've selected somewhere and find them
| | 02:54 | everywhere in the image.
| | 02:55 | And I want to restrict this
in this case to contiguous.
| | 03:00 | So I'm going to want to make sure
that I leave this on its Contiguous
| | 03:03 | setting, so it doesn't start trying to find
colors beyond, in this case, this area of the deck.
| | 03:09 | I know contiguous is the correct way
to go here, because we have basically a
| | 03:13 | contiguous area on this flat
surface that I want to address.
| | 03:17 | So to begin, it's very rare
that this works the first time.
| | 03:21 | You generally have to make
some adjustments as you go.
| | 03:24 | So I'm going to go ahead and just sample by
dragging along in here, and let's see what we get.
| | 03:29 | So it's gone way out there.
| | 03:32 | It's obviously selected way
more than we want to select.
| | 03:35 | So Command+D or Ctrl+D is how you
deselect a selection, and this is where we
| | 03:40 | start to kind of play around finding
what is that sweet spot, what is the value
| | 03:44 | of the tolerance that is going to work here?
| | 03:46 | I'm going to take it down
quite a bit at this point.
| | 03:49 | Let's just try a sample there.
| | 03:51 | Well, that's working pretty good.
| | 03:53 | It's not getting way out into
the greens or anywhere else.
| | 03:56 | And just like the other tools, if I hold down
the Shift key you can see there's now a
| | 04:01 | little plus sign next to
the Magic Wand cursor.
| | 04:05 | This lets me add more color to it.
| | 04:07 | So I'm going to go in here and I'm
just going to cross through here.
| | 04:09 | Well, once again we're seeing
that's a pretty wide tolerance.
| | 04:14 | So I'm going to undo and I'm
going to take it down even further.
| | 04:19 | So now I'm going to take it down to
maybe 4 or 5, and let's even try 3.
| | 04:23 | Let's see what we get.
| | 04:24 | It may mean we may have to make more
selections to aggregate what we want,
| | 04:28 | but it also means we won't be so inclined
to start jumping out into areas we don't want.
| | 04:33 | So let's just go in here and once again
I'm going to hold down my Shift key to get
| | 04:39 | the plus sign, and now I'm just going to
keep going in here and you can see now
| | 04:46 | we're much more in a tolerance that
is acceptable to the way this works.
| | 04:52 | It's not jumping way out into
colors we don't necessarily want.
| | 04:57 | And I'm not going to try to be
perfect about this particular selection.
| | 05:01 | You can see there're a lot
of unselected areas in here.
| | 05:05 | I'll try to get them a little more, but
I just want to first and foremost just
| | 05:10 | get the basic coverage over the entire area.
| | 05:14 | Now I did actually
select a little bit of the rock.
| | 05:16 | This is where combining
tools can also make a difference.
| | 05:20 | In the case of that, I might want to
temporarily shift back to my Polygonal tool
| | 05:25 | and if I now hold down the minus key,
well, now I can use that tool to just get
| | 05:31 | rid of that area of selection. There we go.
| | 05:38 | So you can see, sometimes it actually
takes a set of these selection tools to
| | 05:42 | get to where you want.
| | 05:43 | Now this isn't necessary perfect,
but let's go ahead and try it out.
| | 05:47 | And one way, I like to do this is I will
just do a Command+C or Ctrl+C for Copy,
| | 05:55 | and then Command+V or Ctrl+V for Paste.
| | 05:59 | Now it doesn't appears as anything
happened, but if we look over the layers
| | 06:01 | palette, which we'll get into in
greater detail in the next chapter, I've
| | 06:05 | captured that area on a separate layer.
| | 06:08 | I like to do that, because you can
hide the marching ants which were quite a
| | 06:12 | distraction when they were on.
| | 06:15 | This way I can now play with just
the colors on this layer and not affect
| | 06:19 | anything else. And I just find it to be
quite often a better way to now adjust
| | 06:24 | something like color on this particular
layer rather than trying to do it with
| | 06:28 | the selection marching ants on at the same time.
| | 06:32 | So let's go to our Effects and under Tonal
Control I'm going to go to Adjust Colors.
| | 06:41 | We can move it up here, and for
one thing, I can play with the value.
| | 06:44 | Let's just try both up and down here, and you
can see how that's affecting that quite a bit.
| | 06:51 | I'm not going to go to any great
length -- I don't want to necessarily
| | 06:53 | change this a lot, but I liked it a little bit
brighter, and I could also play with Hue Shift.
| | 06:59 | Let's see what we get there.
| | 07:00 | So you can see how it's
having an affect on the coloration.
| | 07:06 | Now it looks a little bit more
weathered than it did before.
| | 07:08 | So I'm going to go with that.
| | 07:11 | So it's kind of A-B what we've done here.
| | 07:12 | I can turn this layer on and off,
and you could see now I've got a more
| | 07:17 | dilapidated kind of
weatherworn decking than I had before.
| | 07:22 | This was when this was
very new and freshly built.
| | 07:25 | This gives it a little bit more look of
having been out in the weather a bit longer.
| | 07:29 | So the Magic Wand tool is a way of
selecting areas not based on a manual
| | 07:36 | selection of that area by drawing it,
but actually using color relatedness to be
| | 07:42 | able to select that area.
| | 07:43 | So when you have areas in an image
that are specifically of one color, or very
| | 07:49 | related colors, the Magic Wand
is basically your tool of choice.
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| The Channels palette| 00:00 | Channels are an area of digital
imaging that confuses many users.
| | 00:04 | My guess is that this is because channels
essentially represent something else. Guess what it is?
| | 00:10 | Selections.
| | 00:11 | This creates a bit of a
conceptual disconnect for many.
| | 00:14 | In this video, I will try to clear
up the mystery of channels for you.
| | 00:18 | Now, if you remember in our last video,
we created a selection that's fairly
| | 00:23 | sophisticated using the Magic Wand, and
then I went in and used the Lasso tool
| | 00:28 | to eliminate a little bit of
extraneous selection by the Magic Wand itself.
| | 00:33 | One of the things that's important to
note, that if we go to the Select menu, you
| | 00:37 | can come back here and you can say Reselect.
| | 00:40 | So I'm going to reselect that area.
| | 00:43 | Now, that won't forever be there for
you, it depends on whatever the last
| | 00:47 | selection you made was, that is what
is going to be available to you using
| | 00:53 | the Reselect command.
| | 00:56 | And I may want to, in this case, save this
selection, because it took a little bit of
| | 01:00 | work to get it, rather than have to
redo the whole operation again. It would
| | 01:04 | certainly save time if I could get
back to that selection anytime I wanted.
| | 01:08 | And in the Select menu once again, we have the
Save Selection command down here at the bottom.
| | 01:13 | So if I say Save Selection, and I am
going to save it to a new selection, I just
| | 01:19 | want to say, I will call it deck. And we'll say OK.
| | 01:25 | And now I can go ahead and use Command+D or
Ctrl+D to delete that selection.
| | 01:28 | But let's say it's later in the day and
I no longer have Reselect available to
| | 01:33 | get it, I have made many selections.
| | 01:35 | I can now go down to Load Selection,
and this is where I can go in here
| | 01:39 | and Layer 1 Transparency just happens to be
associated with this layer in the palette here.
| | 01:44 | But there's also the deck one.
| | 01:46 | So I am going to say, I want
to load deck, and there it is.
| | 01:50 | So you can load and save selections.
| | 01:53 | But the way they're really being saved,
if we go over to the Channels palette,
| | 01:57 | you will see that right there is that
same area of the image, it's just, it's
| | 02:04 | saved as a channel. And that's
where this really gets people mixed up.
| | 02:08 | One way to think of it is, that channels
and selections are really two sides of a
| | 02:13 | coin, and whenever you make a selection
you're literally creating a channel or
| | 02:19 | sometimes referred to as an alpha
channel, and whenever you work with tools to
| | 02:23 | create alpha channels,
you're also creating selections.
| | 02:27 | Both of them are created using 256
shades of density, and that is represented by
| | 02:34 | a grayscale, which extends all
the way from black to white.
| | 02:37 | And you can think of them as masks
with varying transparency in them.
| | 02:41 | So rather than a traditional mask
that's either black or white, this mask has
| | 02:46 | varying degrees of density in it and
using that mask, you can allow varying
| | 02:52 | degrees of color information, for
example, to come through that mask.
| | 02:57 | Now, one thing you want to remember,
and this is what's important, you can see
| | 03:00 | right here how there's some areas are
black and some areas are white, in fact I
| | 03:04 | can turn this on so you can see it.
| | 03:05 | It's just it's red in this case
and we will end the selection here.
| | 03:13 | So if you look inside the
representation that we see inside the Channels
| | 03:17 | palette, what is red here is black.
| | 03:21 | And everything that's transparent is white.
| | 03:23 | One rule of thumb to remember, so you
don't get mixed up about which side of
| | 03:27 | a selection is revealing or hiding, is the
simple phrase, white reveals black conceals.
| | 03:34 | So anywhere it's white, and again if we
just look at the representation in the
| | 03:38 | Channels palette, white is where we are
letting the original color of the image
| | 03:43 | come through and anywhere it's black,
or red in the case of the large display
| | 03:49 | over the image, that is where it is
being protected, and that's exactly what's
| | 03:54 | going on with the selection.
| | 03:56 | So you can either look at it this way,
or you can turn this off, and when you
| | 04:01 | select this, now there you see,
in that form, black and white.
| | 04:05 | This is a very dramatic look at how
the white is what's letting it through,
| | 04:11 | and the black is hiding it, and once
we turn it off, you can see it back in
| | 04:15 | its normal mode again.
| | 04:17 | So the basic idea here is that what you
think of as an alpha channel is really
| | 04:22 | just another way to store a selection.
| | 04:25 | In fact, every time you store a
selection, whether you actually do it as a
| | 04:28 | channel or not, it's internally
saving it in the same fashion as when you
| | 04:33 | overtly make a channel from a selection.
| | 04:37 | And you can go the opposite direction.
| | 04:38 | You can use masking tools, for example,
to paint an alpha channel, and then you
| | 04:42 | can convert it into a selection. And
that's because, as I said, there are simply
| | 04:46 | two sides of a coin
representing the same concept.
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|
|
10. Working with LayersUnderstanding the flexibility of layers| 00:00 | One of the great inventions in the
world of digital imaging is the layer.
| | 00:07 | Layers enable a great amount of
flexibility that would otherwise be
| | 00:12 | impossible to achieve.
| | 00:15 | And I'm going to just do a quick example on
screen here to show you what I'm talking about.
| | 00:20 | I am going to get a paintbrush here.
| | 00:23 | Let's go to Acrylics, and we will just
take Captured Bristle, and get a color here.
| | 00:31 | Now, I am just going to paint
with this a bit, nothing spectacular.
| | 00:36 | But I want to show you in traditional
sense or in an application where you
| | 00:41 | didn't have layers, let's say I am
just painting along, and I am having fun,
| | 00:47 | creating kind of an abstract
geometric sort of thing here.
| | 00:52 | Let's see, maybe I am going to want to
add some green down here, and I will take
| | 01:04 | another color here just to
kind of play around; some yellow.
| | 01:11 | Okay, I have done this image, and let's say
later on, I start to decide things like, oh,
| | 01:19 | you know, I wish I hadn't done this in red.
| | 01:21 | There are techniques you could go
in and try to select just the red and
| | 01:26 | change it, but you're probably always
going to have issues along the fringes
| | 01:31 | of where colors meet. It's a flat image.
| | 01:33 | So that's it!
| | 01:35 | This is the image, there's
nothing more I can do with it.
| | 01:38 | So I'm going to now do a very similar
kind of imaging of the same subject, but
| | 01:43 | we are going to use layers in this case.
| | 01:45 | So we're now in the Layers palette.
| | 01:47 | And if we go down to the bottom here, you
will see there are some icons. The first
| | 01:51 | one are Layer commands, and right now
they are all grayed out because we have no
| | 01:55 | layers to act up on.
| | 01:57 | You also have some dynamic plugins
that let you do some different kinds of
| | 02:02 | interesting variations on painting
with these plugins, and we have New layer.
| | 02:08 | Then we have New Layer Mask, which we
will get into a little bit, and then
| | 02:13 | we have Lock Layer.
| | 02:15 | So we've got some controls here and the one
we're really focused on right now is just New Layer.
| | 02:19 | So I am going to click on
that and it creates a new layer.
| | 02:22 | So now let's start to do
similar to what I did before here.
| | 02:25 | I'm going to start to just paint an
image here, and it won't be exactly the same,
| | 02:31 | because I don't even remember what I painted.
| | 02:33 | But I am going to paint this here.
| | 02:37 | And now, instead of just going to my next
color and painting on here, I am going to
| | 02:42 | create a new layer, and I'm
going to do the same thing.
| | 02:45 | So now I'm painting here.
| | 02:48 | Every time I change to new color, I am
going to create a new layer, and then we
| | 02:52 | will go to some yellow/orange here,
create a new layer, I want some green.
| | 03:01 | So we'll put some little thingies here,
and I will create another layer, or here
| | 03:11 | are the purples, just kind of put some
color in here, and maybe I will finish
| | 03:19 | it off with some stripes on there.
| | 03:21 | So we will get some yellow stripes.
| | 03:27 | A similar question as I asked before,
later on, I might look at this and say,
| | 03:32 | you know I wish maybe I had
not done that in that color.
| | 03:37 | And so, I have selected my layer selector.
| | 03:39 | One of the things I am going to do up
here is go right here, this second icon,
| | 03:43 | and you can see it's Auto Select Layer on/off.
| | 03:47 | I always have this on.
| | 03:49 | I want that to be on, because what
that means is when I click on say this
| | 03:53 | one, see how the green elements
that I've painted on that layer are now
| | 03:58 | selected, or if I select the purple,
it's now selected, or if I select the
| | 04:03 | blue, it's selected.
| | 04:05 | If we open this up, we'll
see more of what's going on.
| | 04:07 | And so, the idea that these are separate
layers now opens up a number of opportunities.
| | 04:16 | For example, if I want to address this
red/orange area, I could select that and
| | 04:21 | very simply, one thing I could do is I
could go into my Effects and go to Tonal
| | 04:26 | Control > Adjust Colors, and here's if I
wanted it more red, I could shift it there
| | 04:33 | to a much more red color, say OK.
| | 04:37 | And now I've altered that,
just that, and nothing else.
| | 04:40 | If this were a flat object as I stated
earlier, that would be very difficult to do.
| | 04:45 | I'd have to use all kinds of selection
techniques and stuff, and hopefully do a
| | 04:49 | very good job of it so there is
no color fringing along the edges.
| | 04:53 | But I can even go a step further.
| | 04:54 | What if I decided, you know, this is kind of offset,
I wish I'd painted it up here a little bit.
| | 04:59 | Well, I can do that.
| | 05:01 | I can move this around wherever I want.
| | 05:03 | Same with this, same with any of these elements.
| | 05:05 | They're all individual layers now,
and the fact that I'm working in this
| | 05:10 | layered painting environment means that much
more opportunity to make changes is possible.
| | 05:18 | And that is probably right there, the
single most important reason why you want
| | 05:25 | to be knowledgeable and good at using
layers, because this ability to alter
| | 05:31 | things after the fact goes a long, long way.
| | 05:35 | I may decide I want to play
completely with how this was done.
| | 05:39 | I can do all kinds of things
that wouldn't have been possible.
| | 05:43 | So you can really, what if, to your
heart's content here, in a way that you never
| | 05:48 | could with an image that is completely flat.
| | 05:53 | I can even play around
with the layer order of these.
| | 05:55 | If I go to the green, which I have
selected, I can click and drag this, and
| | 06:01 | slowly bring it down till it gets to
where it's underneath the blue in this case.
| | 06:06 | Once you've created an image that's
comprised of layers, you can save it in
| | 06:12 | either Painter's native RIFF format
or in the Photoshop PSD format, and the
| | 06:18 | layers will be preserved.
| | 06:21 | So you can later on open an image like
this and all those layers will be intact
| | 06:26 | for you to adjust and
change till your heart's content.
| | 06:30 | You do want to remember, and I will
get into this in greater detail in the
| | 06:34 | Painter and Photoshop chapter.
| | 06:36 | But each of these applications has
some very specific types of layers,
| | 06:42 | Photoshop, for example, has
adjustment layers, Painter has Impasto.
| | 06:45 | Well, Photoshop doesn't know about
Impasto, there is no code in Photoshop to
| | 06:50 | do anything with it.
| | 06:51 | So it won't transfer across, and the same
would be true of adjustment layers from Photoshop.
| | 06:57 | Painter has no knowledge of them.
| | 06:58 | So it tosses them out the door before
it lets them into the Painter circus.
| | 07:03 | Being able to save these in a format
where layering is preserved just amplifies
| | 07:09 | the power of layers even more.
Hopefully just this quick little demonstration
| | 07:13 | has already convinced you of that.
| | 07:15 | Using layers, especially when you are
creating a painting, is the way to go.
| | 07:19 | If you go back to painting flat,
you'll quickly realize how important layers
| | 07:23 | are to you.
| | Collapse this transcript |
| Preserving transparency in layers| 00:00 | In this video we are going to
talk about preserve transparency.
| | 00:04 | What does that mean?
| | 00:05 | It's a little bit of a geeky sounding
title, but it's very important and we can
| | 00:10 | even use the existing imagery that we
have here to be able to show you exactly
| | 00:14 | where it's important.
| | 00:16 | In the last video, I showed you how I
was able to go in and change the red
| | 00:20 | character of this element by going in and
selecting it as a layer, as we have done here.
| | 00:27 | And then I went up to Effects and
I used to Adjust Colors to do it.
| | 00:31 | But what if you want to do
something more sophisticated?
| | 00:33 | What if you want to actually paint
strokes in there, for example, just to add to
| | 00:38 | the complexity or character of the painting?
| | 00:41 | I'd have to somehow have a way to
isolate where my paint strokes are going
| | 00:45 | to go based on this layer.
| | 00:49 | And in fact, you can do that.
| | 00:51 | Preserve transparency is the way to do that.
| | 00:54 | If I go right here in the layers
palette, you will see there's a little icon
| | 00:58 | Preserve Transparency.
| | 00:59 | When I click that, it disables Painter
from being able to apply color anywhere
| | 01:07 | that the layer is transparent.
| | 01:08 | And the only place it's not
transparent is where I've painted the red.
| | 01:13 | Let's make sure we are on that layer.
| | 01:15 | That's the only place that I have painted.
| | 01:17 | So anywhere else is transparent, and
because we've got Preserve Transparency on,
| | 01:23 | I can no longer paint there.
| | 01:25 | So let's get a slightly different
color that I might want to paint in there
| | 01:29 | with my brush, and you will see it appears as if
I can't paint anywhere, but I can paint in here.
| | 01:37 | Sometimes I refer to this as a poor man's mask.
| | 01:40 | This gives me the ability to actually
use the layer's transparency as a way to
| | 01:47 | lock it off and then once I've done
that I can now go in here and start to do
| | 01:52 | things that would be
difficult to do any other way.
| | 01:56 | I suppose you could use the layer to
somehow create a selection based on that,
| | 02:01 | but it's just the long way around,
whereas here this one little button allows
| | 02:06 | me to isolate a layer. While I am in the
Brush, and this is a good time to show you this.
| | 02:11 | If I'm in the Brush and I hold down
the Ctrl key, it temporarily switches to
| | 02:16 | the layer adjuster.
| | 02:17 | So I can just click now and you can see it
just changed to activating the blue channel.
| | 02:22 | Now I let up to Ctrl or Command key
on Windows, and now I can paint again.
| | 02:27 | But unlike Photoshop, which it does
preserve transparency on a layer by layer
| | 02:32 | basis, as long as Preserve Transparency
is toggled on here, anytime you switch
| | 02:37 | to any layer it will remain on.
| | 02:40 | So now that I've switched layers
temporarily, using my layer adjuster, I'm
| | 02:45 | now back in my tool.
| | 02:47 | I can go here and get, you know, some other
color, and now I can paint some interesting
| | 02:53 | brushstrokes in here.
| | 02:54 | I can even change, for example, to a
different brush, maybe I want to get Wet Acrylic.
| | 02:59 | Once again we will use this technique.
| | 03:00 | Hold down the Ctrl or Command key, click
on the green layer, shift back out of it.
| | 03:06 | Let's get a different
shade of green to paint with.
| | 03:09 | That's a little more subtle in this case.
| | 03:13 | You do have to watch out.
| | 03:14 | It will tend to want to drag out a color
outside and that's not true of every brush.
| | 03:21 | This happens to be one, and it's
probably a good case to show you that if you
| | 03:25 | drag in to some protected areas
as we are doing here with Preserve
| | 03:29 | Transparency, that can happen.
| | 03:32 | The way I get around it, I just make
sure I paint outward rather than in from
| | 03:36 | the edge, and that's how you can get
around that little hiccup that may happen.
| | 03:40 | And let's do another one. Let's go to the
yellow and I'll get kind of an orange, and
| | 03:46 | we will do some painting in here.
| | 03:49 | But you can see how adding more
strokes in here starts to build up the
| | 03:53 | character of this image, and I can see
purple needs another little hit here, maybe
| | 03:57 | a little bit darker purple.
| | 04:00 | So I will just draw in here,
maybe it needs a little bit more.
| | 04:06 | In fact, another thing we
could do this it's kind of fun.
| | 04:08 | I'll select a yellow to show you this.
| | 04:11 | I am going to go get the airbrush.
| | 04:12 | We will just use the Digital Airbrush
here, but it will probably work here as
| | 04:18 | if I -- and this is another important
cue for you all, when you're in the
| | 04:23 | Brush tool if you hold on the Option or Alt
key, it changes it to the Eye Dropper tool.
| | 04:30 | So in this case I want to use yellow,
but I want to be a little darker.
| | 04:34 | So I have selected basically the yellow
that's being used in that area and I am
| | 04:38 | just going to darken it down a bit.
| | 04:40 | And I've got my Digital Airbrush, so what
this lets me do, and I am going to make
| | 04:45 | it much smaller here, more like that.
| | 04:50 | I can go in here and kind of -- again,
because this is sort of a poor man's mask, I
| | 04:56 | can give it a 3 dimensional illusion to
this just by painting in here and then
| | 05:01 | if I go very close to white, I can kind
of put a highlight on this other edge.
| | 05:06 | So this is yet just another
way you can take advantage of
| | 05:11 | Preserve Transparency.
| | 05:13 | As I said, if you just think of it,
it literally is a form of a mask that's
| | 05:16 | exactly what it's doing, and it lets you
do things like this that would be otherwise
| | 05:21 | kind of difficult to isolate.
| | 05:23 | So I would imagine that if Preserve
Transparency was a police department, on the
| | 05:30 | side of the police cars would be the
inscription to preserve and to protect.
| | Collapse this transcript |
| Picking up underlying color in layers| 00:00 | In this video, we are going to
talk about Pick Up Underlying Color.
| | 00:04 | Pick Up Underlying Color is an interesting
attribute that can be turned on and off of layers.
| | 00:11 | Effectively, what it does is, it treats
all the layers as if it's one big happy
| | 00:15 | flat painting, even though it's all layered.
| | 00:19 | And as you've seen in the previous videos,
how we have built this amazing abstract
| | 00:23 | up to be able to do it in layers, is
really a very effective way to have quite
| | 00:29 | a bit of control over what's happening from
layer to layer, and how you can change them.
| | 00:35 | And so, I want to show you this preserve
transparency and how it even goes a step farther.
| | 00:41 | So I'm going to create another new layer on
the top of all the layers that we've got so far.
| | 00:46 | So now here we are, we have got this
layer atop everything else, and right here
| | 00:53 | is Pick Up Underlying
Color, and it happens to be on.
| | 00:56 | So I am going to turn it off,
so you can see how this works.
| | 01:01 | And I want to get a brush that has a lot
of smeariness to it, and that would be
| | 01:04 | the Wet Brush here. So let's get that.
| | 01:07 | And I'm going to go ahead and
paint right in this area here.
| | 01:10 | I want to show you what happens.
| | 01:12 | See how nothing happens.
| | 01:14 | Now, I actually did that on purpose
because I want to show you something.
| | 01:18 | Having been associated with painting
over the years, I can't tell you how
| | 01:21 | many emails I've gotten people
saying, I'm trying to paint and it's not
| | 01:25 | painting, what's wrong?
| | 01:26 | Now there are a whole laundry-list of
reasons that can do that, and at the end of
| | 01:30 | the title I am going to give you such a list.
| | 01:33 | But I just want to show you right
now because we were just playing with
| | 01:36 | Preserve Transparency.
| | 01:38 | If you're working on an image and
for some reason all of a sudden a brush
| | 01:41 | isn't working, the first place to look is
right there, check to see if that's on or off.
| | 01:47 | And if it's on, that's why it's not
painting, and I'd say it's probably a good
| | 01:51 | 70% of the reason people will say, my
brush isn't working anymore. And it's not
| | 01:58 | because they're stupid, it's easily done.
| | 02:00 | You turn it on for some purpose, and
later on you forget that you did that, and
| | 02:04 | you come back and nothing is
happening, and that's exactly why it is.
| | 02:08 | So I wanted to purposely do that so you
could see that by turning this off, we
| | 02:13 | will be able to paint once again.
| | 02:15 | And so, I am going to take this brush
and let's get kind of a dark red here.
| | 02:20 | I am just going to start to paint in here.
| | 02:22 | But see right now it's painting and
it's doing an interesting job, but this
| | 02:30 | really isn't what the character
of this brush is designed to do.
| | 02:33 | Although you can sometimes use the lack
of Pick Up Underlying Colors on to get a
| | 02:40 | specifically sort of short stroke
like this with this particular brush.
| | 02:44 | But let's clean all this off.
| | 02:46 | And now I am going to enable
Pick Up Underlying Color.
| | 02:49 | Now watch the difference in character.
| | 02:52 | See how now this brush -- I am smearing, I
am just totally screwing around with my
| | 02:57 | image, do different colors.
| | 02:59 | I will get some white even and just -- for all
the world, it looks like, well you just
| | 03:08 | messed up that image.
| | 03:09 | However, this is all on a separate layer.
| | 03:12 | Even though, it's on one layer, it
knows how to look beneath it and use the
| | 03:17 | colors with this particular brush, which
is designed to not only lay down color,
| | 03:22 | but smear any underlying color it finds
with it, you can do that on a layer on
| | 03:27 | top of everything else.
| | 03:28 | The odd thing is if you pick this up
and move it, it looks kind of nonsensical.
| | 03:34 | Well actually, it looks kind of neat,
but it's a bit nonsensical looking.
| | 03:37 | But if I undo and pop it back where it
belongs, now everything is as it should
| | 03:41 | be, and it just appears as if
somehow everything has been smeared.
| | 03:45 | If the layer palette was closed, you
would look at this and you could just as
| | 03:50 | easily assume it's a flat image, as much
as it is a layered image, because of the
| | 03:56 | quality of Pick Up Underlying Color.
| | 03:59 | So Pick Up Underlying Color is one of
the tools in Painter that allow you to
| | 04:06 | build up a painting, particularly with
brushes that do exhibit some intermixing
| | 04:11 | with color that it finds underneath of it.
| | 04:14 | And as long as you have Pick Up
Underlying Color enabled in the Layer palette,
| | 04:19 | you can work on as many layers as you
want and the overall effect will be that
| | 04:24 | it looks like an individual flat image.
| | 04:27 | It's up to you to create the layers
as you go, to have the flexibility, for
| | 04:31 | example, just to play around with it.
| | 04:34 | Let's select that layer, and I'm
going to go back to my Layer palette.
| | 04:40 | And I am going to temporarily
turn off Auto Select Layer.
| | 04:42 | So now I can turn that off.
| | 04:44 | And I am actually moving it out
from under where it was smeared.
| | 04:49 | And once again, just a simple
undo takes that back there.
| | 04:52 | But this whole world of painting on
multiple layers, and then you factor into
| | 04:56 | it, the ability to pick up the
underlying color it finds under any visible
| | 05:00 | elements on the layers beneath it, is a
very addicting kind of world to work in.
| | 05:06 | And I guarantee you, once you start
working in layers, particularly as you are
| | 05:09 | painting from scratch, you'll never go back.
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| Using the Free Transform tool| 00:00 | We've looked at several ways so far
how we can move layers and work with
| | 00:05 | multiple layers and smear layers below.
| | 00:08 | I am now going to show you a way that
you can start to actually alter a layer.
| | 00:13 | And to do that, I am going to go ahead and
turn this smeary layer off we were playing
| | 00:18 | with, and I am going to select
the blue layer here as an example.
| | 00:22 | And what I want to do is, let's say I want to
rescale it or something, make it a different size.
| | 00:29 | So I do have in the Edit
palette, the command Free Transform.
| | 00:34 | I am going to click on Free Transform,
and you'll see what we are going to get
| | 00:38 | here are a set of handles around the
blue layer which is this Layer 1 down here.
| | 00:44 | And now I can start to play
around with changing this layer.
| | 00:49 | In fact, if I hold down the Shift key,
I can constrain it so that in both the X
| | 00:55 | and Y dimensions it will change.
| | 00:57 | I can also, if I hold down the Ctrl or Command
key, I can grab a corner and I can rotate it.
| | 01:04 | Now you get into some interesting
behaviors here if I hold down the Option
| | 01:10 | key for example, you see how it
changes, this lets me start to do some
| | 01:14 | skewing in this case.
| | 01:16 | And as long as I click anywhere
inside of it, I can move it around.
| | 01:21 | So what Transform lets me do, or Free
Transform, is I can adjust a layer by
| | 01:29 | squeezing, rotating, stretching,
resizing; all those things are possible within
| | 01:35 | the Free Transform tool.
| | 01:37 | One nice aspect of this is, that as
you're doing all of these, it's kind of
| | 01:43 | holding off until it makes the
final calculation of how it's going to
| | 01:48 | render these pixels.
| | 01:49 | So if you did each of these operations
as a separate operation, they'd slowly
| | 01:54 | build up and the pixels
will start to get softened up.
| | 01:58 | And the nice thing about this is, all of
those calculations are held off until
| | 02:01 | the very end when I hit the Return
key, and now all of those calculations
| | 02:07 | were combined together.
| | 02:08 | So I can still see a little bit of
softening, but it's not nearly as bad as it
| | 02:12 | would've been had I done that as
separate individual operations.
| | 02:17 | So Free Transform is just a great way
to be able to adjust the geometry of an
| | 02:25 | image, or a layer element
on an image, after the fact.
| | 02:29 | So you may decide, you know, that I do want to
change how this looks, but I don't
| | 02:34 | necessarily want to start from scratch again.
| | 02:36 | This gives you the opportunity to
almost treat individual layer elements like
| | 02:40 | they are rubber sheets.
| | 02:41 | So Free Transform is a valuable asset
to layers and be sure you take advantage
| | 02:48 | of it, especially when you want to
stretch something like a piece of rubber.
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| Working with layer masks| 00:00 | In this video, we are going to take a
look at layer masks, and I know from
| | 00:04 | personal experience, as well as a
dealing with people on both the Photoshop as
| | 00:08 | well as the Painter side of the tracks,
as you're kind of climbing the mountain
| | 00:12 | of these applications, you
eventually get to layer masks.
| | 00:15 | And for a lot of people it's a head scratcher.
| | 00:18 | It just doesn't easily
map to what you use it for.
| | 00:22 | And so layer masks can be rather
mystifying, but once you understand them they
| | 00:27 | are invaluable and you
really can't do without them.
| | 00:30 | So I'll try to gently explain them here
without trying to cause too much mystery.
| | 00:36 | What I want to do here is, I want to
take a couple of these elements, and this
| | 00:40 | leads us to another interesting situation.
| | 00:42 | I may want to work with this layer and
I want to work with this layer, but I
| | 00:47 | ultimately want to treat them as one.
| | 00:49 | And so, in Photoshop you can easily just
merge a layer with the layer beneath it
| | 00:54 | and force them to be just
a single layer together.
| | 00:58 | In Painter that's not quite as easily done.
| | 01:01 | If I want this layer to eventually be
part of this layer immediately beneath it,
| | 01:06 | so it's Layer 3 here and layer
2, I need to first group them.
| | 01:11 | So I am going to hold down the Shift
key and while I'm in the Layers palette, I
| | 01:15 | will click on the second layer, and now
I've selected both of those and you can
| | 01:20 | either go to the flyout menu here, or
you can also go to the Layers palette
| | 01:26 | right here, and as you see you also
have the keyboard shortcut Command+G or
| | 01:29 | Ctrl+G, but in any three of those cases
this will group those layers together.
| | 01:34 | So now I can move them as a single entity,
but I even want to go a step farther.
| | 01:38 | I just want them to be a single layer.
| | 01:41 | And so once again, we go back to layer
here and I'm going to say Collapse layers.
| | 01:49 | So I've now got this group and I want
to collapse these multiple entities in
| | 01:53 | this group together.
| | 01:55 | So Layer 2 and Layer 3 are
now part of this Group 1.
| | 01:59 | If I go up to Layers here, I can go
down to Collapse Layers, or you can use
| | 02:04 | Command+E or Ctrl+E, which is the
same command you use over in Photoshop.
| | 02:09 | Takes a little while to remember that in
Photoshop, that actually merges the layer beneath;
| | 02:13 | here it's used to collapse two
layers or more, that are grouped together.
| | 02:17 | But once I do that command, even though
it's called Group, it's now a single layer.
| | 02:25 | So I've now got this down to a single layer.
| | 02:28 | Okay, now that we've got that, what I
want to do here is I want to make this
| | 02:32 | kind of fade into the background,
almost like it's kind of stuck into this and
| | 02:38 | maybe this material is somewhat
translucent or slightly transparent.
| | 02:43 | I need to somehow make this disappear,
and one way you could do this could be to
| | 02:50 | use the Eraser tool, and I'll
just show you what I mean here.
| | 02:53 | I could go in here and kind of make
that look as if it's actually like
| | 02:59 | dropping into there.
| | 03:00 | But that's destructive.
| | 03:01 | Once I've done that I have no
recourse other than right now to use the Undo
| | 03:05 | key to bring that back.
| | 03:09 | What I would rather do is
have this be nondestructive.
| | 03:14 | So I am going to just reselect my
layer adjuster for safety sake here, and I
| | 03:17 | don't accidentally poke on it
with something like an eraser.
| | 03:21 | And I go down to the bottom of the
palette here and here is the New Layer Mask.
| | 03:26 | So the first thing you need to do is
select the layer you want to add a layer
| | 03:30 | mask to, and then you just say New
Layer Mask, and now you'll see a second box
| | 03:36 | appear next to the actual layer element itself.
| | 03:40 | And which one is active is going to
have this little darkened rectangle on it.
| | 03:45 | If I want to address the pixels, the
color imagery in this, I want to make sure
| | 03:51 | I click here and now it's
highlighted with that black box.
| | 03:54 | If I want to do something inside the
layer mask itself, then I want to click on
| | 04:00 | this element here, because
this is the actual layer mask.
| | 04:03 | So how do we take advantage of the layer mask?
| | 04:06 | Well, you may remember earlier
when we were talking about channels.
| | 04:10 | There is a little phrase
that helps people remember this.
| | 04:13 | That little phrase is
white reveals, black conceals.
| | 04:17 | So right now, this is all white.
| | 04:20 | That means everything is visible,
and that's surely what we've got here.
| | 04:24 | But if I get some black and I go get my
Digital Airbrush, I can now go in here
| | 04:31 | with black, and I want to make
sure this is really low opacity.
| | 04:37 | So it'll build up very slowly here.
| | 04:39 | And just remember what we are doing here.
| | 04:41 | I'm painting in this layer
mask with black, which conceals.
| | 04:45 | So as I go in here now, you'll start to
see it disappear and because I've got it
| | 04:51 | at a very low opacity, I can do it
so that it kind of graduates from full
| | 04:57 | transparency through up to full opacity.
| | 05:03 | And because this is associated with
this layer, I can now get my layer adjuster
| | 05:10 | and I can pick this up and I can move it around.
| | 05:12 | So I can even decide, you know, where
do I want this to look like it's kind of
| | 05:15 | sinking into this underlying layer itself?
| | 05:19 | Now one thing you can not do that is possible
in Photoshop is this layer is always locked.
| | 05:24 | There's no way to unlock it.
| | 05:26 | In Photoshop, you can actually unlock it,
and then you can move just the layer
| | 05:29 | mask relative to the layer element that is
on that layer, and you can't do that here.
| | 05:35 | So, this is a little bit simpler.
| | 05:37 | But it still enables you to do the
basic function of layer masks which is to be
| | 05:42 | able to adjust the
opacity of elements on a layer.
| | 05:48 | So you've really got two things going on here.
| | 05:50 | The color is your RGB, or your color
information, and the second tier of
| | 05:56 | information associated with this layer
now is a mask which has 256 levels of
| | 06:03 | grayscale, all the way from black to white.
| | 06:05 | That's why if I paint with black,
particularly if it's set to low opacity, I can
| | 06:10 | slowly create this kind of gradient
from full transparency to full opacity, and
| | 06:17 | that's why we get the visual
effect that we are getting here.
| | 06:21 | So layer masks, while they may at
first seem a bit mysterious, they're really
| | 06:26 | just a way to treat individual layer
elements with a selective visibility.
| | 06:33 | And once you understand that you can
then create a layer mask for any layer and
| | 06:38 | use the tools in the layer mask from
black to white, which can easily get here
| | 06:43 | on the left edge of the triangle in
the hue/saturation triangle of the Color
| | 06:49 | palette, you can very easily start to
play with and adjust the transparency of
| | 06:55 | the elements on layers.
| | 06:57 | Now because this is a
full grayscale and remember;
| | 07:00 | black conceals, white reveals.
| | 07:04 | So now I can take my brush and if I want
to play with this I can also bring back.
| | 07:10 | So if I want to bring it all
the way back, for example, I can.
| | 07:13 | And so, you've got this push/pull with
black and white that let you do just this.
| | 07:20 | And being able to do that,
again gives a lot of flexibility.
| | 07:25 | Now I can probably undo here to get back a bit.
| | 07:28 | But being able to now switch to white
even gives me a way to kind of even get a
| | 07:31 | little more finesse in the way this is
changing from transparency to opacity.
| | 07:37 | So you want to take advantage of layer
masks, and just remember that you've got
| | 07:43 | this full range of grayscale to
address the mask to determine how much or how
| | 07:49 | little you are rendering an
element on your layer transparent.
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|
|
11. Effects: Adding Visual SpicePainting with symmetry| 00:00 | We humans love order.
| | 00:02 | Symmetry creates an instant sense of order.
| | 00:06 | With symmetry, everything is in
balance, everything is in order.
| | 00:10 | It is a perfect world with nary a
hair out of place on its symmetric head.
| | 00:15 | Painter 12's Mirror and
Kaleidoscope tools serve up utterly lickable
| | 00:20 | symmetric eye candy; like a warm
puppy or fluffy kitten. Who isn't attracted
| | 00:25 | to and loves symmetry?
| | 00:26 | But don't be fooled, the Mirror and
Kaleidoscope tools are powerful stuff that
| | 00:31 | you may find yourself hopelessly
lost in with no apparent way out.
| | 00:37 | Be forewarned, symmetry painting can be
habit forming and may lead to addiction.
| | 00:43 | I'm required by law to issue that warning.
| | 00:47 | We're going to talk about two new tools
in Painter 12, the Mirror tool and the
| | 00:53 | Kaleidoscope tool, and we'll
start off with the Mirror tool.
| | 00:58 | And it's actually found in the Tool
palette right here, so I'm going to enable
| | 01:02 | Mirror Painting by toggling that on.
| | 01:05 | We've got some controls
up here that we'll talk about.
| | 01:07 | For one thing I can turn
it on and off from here.
| | 01:10 | I can also adjust whether I want a vertical
symmetry or a horizontal symmetry, or both.
| | 01:17 | You can play with which
aspects of those you want.
| | 01:20 | I am just going to play
around with vertical right now.
| | 01:23 | You can also adjust the angle of it.
| | 01:26 | You can go in here and by adjusting
this you can change the angle of the
| | 01:31 | symmetry, and as we get playing with
it a bit, we'll see how that plays into
| | 01:36 | doing some symmetry work.
| | 01:38 | You can also alter the color of
whatever the Symmetry Plane indicator is on
| | 01:44 | screen. And I am just going to
stay with the green that it is.
| | 01:49 | So we've got a vertical Symmetry Plane
set up here, and I am just going to move
| | 01:53 | this into the center.
| | 01:55 | And I am going to use the Scratchboard
tool at least to start off with here, so
| | 01:58 | I can show you how this works.
| | 02:01 | When I paint in one side of this, it
starts to mirror itself in the other side
| | 02:06 | and if you then go on to
the other side, same thing.
| | 02:09 | So, I'm just scribbling at this point,
you can already see how you can really
| | 02:14 | get some interesting kinds of things
going on here, and start to add things like
| | 02:19 | different colors, for example.
| | 02:22 | It's pretty addictive, once
you start trying this stuff out.
| | 02:27 | And it works with most of the tools;
| | 02:29 | I won't say it works with every tool,
but let's try something like the Wet
| | 02:33 | Brush, I will get a different color here.
| | 02:35 | Yeah so you see where once again
it's just going in there and doing some
| | 02:41 | pretty remarkable changes.
| | 02:44 | And because it's symmetrical, and the human
face is symmetrical, I am already kind of
| | 02:48 | seeing a bit of a human face in there.
| | 02:50 | So maybe I'll go back to the Scratchboard tool
and get some black, and it seems
| | 02:56 | kind of like there is some sort of
alien thing going on here with some sort of
| | 03:01 | eyes, and this is some sort of scaly
head thing. But you can see because the
| | 03:15 | human face is symmetrical, this right
away kind of has an interesting use.
| | 03:21 | And I've seen a lot of the conceptual
fanatics kind of get into this kind of,
| | 03:27 | sort of quick way to create a
symmetrical entity like a face without having to
| | 03:34 | necessarily draw both sides of it.
| | 03:37 | So this is just kind of a quick messing
around, but I think you can already see
| | 03:42 | the value of just, either for playing, or
for actually creating a finished piece.
| | 03:49 | You do have the ability here to get
some pretty interesting stuff going on.
| | 03:55 | And because it's symmetrical, like I
said at the outset, the eye is attracted to
| | 03:59 | symmetry. It's just -- it's the natural
balance of it we find very appealing.
| | 04:04 | And so, this naturally has kind of an
interesting look because it's symmetrical.
| | 04:10 | And so without a whole lot of effort,
I'm actually able to create, you know, a fairly nice
| | 04:15 | little quick sketch here.
| | 04:16 | Now this will probably mess it up, but
I want to show you some of these things.
| | 04:21 | One of the things is, if you go back to
the Symmetry tool itself, if I get near
| | 04:27 | the edge of the symmetry plane I can
go ahead and I can change this angle.
| | 04:31 | I can also get right here
and I can move this around.
| | 04:36 | Now this is probably going to wreck
my perfect alien face, but let's get
| | 04:40 | another color here, and I'll just show you
that now I need to go back to my tool of course.
| | 04:47 | Now our symmetry is off at some other
angle, you know, I could give him a -- I don't know,
| | 04:51 | a nice pretty little bow, and I would
imagine that erasing works well, yup.
| | 05:01 | So you can erase, not that I want to.
| | 05:04 | I thought maybe I would do just the --
yeah but it's not on a separate layer.
| | 05:07 | But don't forget that, you
can create multiple layers here.
| | 05:11 | So if I create a New Layer, and let's see,
let's see if I have enough undo here
| | 05:16 | to I get myself out of there.
| | 05:20 | So, now I could on a new layer, go
in here with the Scratchboard tool and
| | 05:27 | kind of give him a nice little bow right there.
| | 05:32 | So the fact that you can move this
around and alter it as you go gives you a
| | 05:38 | pretty interesting way to use symmetry
in multiple planes like I'm doing here, in
| | 05:44 | order to be able to have a symmetrical
object elsewhere in the image without it
| | 05:49 | actually being on the same
symmetry plane as other work you've done.
| | 05:55 | That's pretty cool.
| | 05:57 | And being in a layer, I should be able
to pick this up and move it, it will no
| | 06:01 | longer respect the symmetry plane,
but it is a layer so you can still treat
| | 06:05 | it exactly as such.
| | 06:07 | So, that's symmetry and as I said at
the outset, this can be very addicting and
| | 06:12 | once you set it up and start playing
with it, you start to realize, oh what if
| | 06:16 | I bring this brush in and what if I do
this kind of effect and what if I change
| | 06:19 | the angle? It's a real playground for getting
very interesting designs and things going on.
| | 06:27 | If you think that's good, let's now
take a look at the other tool, which if you
| | 06:32 | click and hold the Symmetry Painting
button, there is a second one here and this
| | 06:36 | is the Kaleidoscope tool.
| | 06:39 | Now I am going to go
ahead and clear my layers off.
| | 06:43 | But I'll leave them here in case I
later on want to use multiple layers.
| | 06:46 | Let's go here and as before if you
are in the Symmetry tool I can get here,
| | 06:54 | I can pick this up and I can move it, and I
can also rotate the angle of the symmetry.
| | 07:02 | You can also create a lot of
symmetry planes if you want.
| | 07:06 | So, now maybe I'll go with eight or
so, and let's once again, just something
| | 07:11 | simple like the Scratchboard tool, and
I'll start painting in here and once
| | 07:17 | again, you're seeing a very interesting approach.
| | 07:21 | The nice thing about it is, you can
paint in any plane and it's mirrored in
| | 07:25 | all the other planes.
| | 07:30 | As I say here, I am going to write my
signature right here, watch how even that
| | 07:33 | becomes a nice design element.
| | 07:34 | See it's totally abstract, just because
it's getting mirrored around and they all
| | 07:41 | intersect like that, you get
this nice little filigree going on.
| | 07:45 | Let's get some very different
tool, like something like Sponges.
| | 07:50 | I am going to just take the Sponge tool
and I am going to reduce the size of it
| | 07:57 | a bit, and let's get a
bright color here and just --
| | 08:13 | It's like a real kaleidoscope, you know, at some
point you'll go like, oh I liked it a
| | 08:16 | little bit while ago, and well, if you have
enough undos you can certainly can get back to it.
| | 08:20 | But it's also -- it's very addictive
to want to keep going and just kind
| | 08:25 | of playing with this.
| | 08:27 | And let's go back to the Scratchboard
tool, so I am not going to spend a huge
| | 08:36 | amount of time here, but I just,
hopefully you are just seeing even within this
| | 08:39 | quick little demonstration how amazing
of a set of designs you can work out just
| | 08:46 | based on simple symmetry.
| | 08:49 | So that is the Symmetry Paint and
Kaleidoscope tools, and I don't even have to
| | 08:55 | hope you will enjoy these tools when you
start playing with them. I know you are
| | 08:59 | going to enjoy them.
| | 09:00 | But just remember, they can be habit forming.
| | 09:03 | Don't say I didn't warn you.
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| Understanding Smart Blur| 00:00 | We took a look at Smart Blur earlier as
it exists in the Underpainting palette,
| | 00:06 | but in Painter 12 they've actually brought this
out as its own filter outside of Underpainting.
| | 00:14 | And I just want to explain a little bit
more in depth exactly what it's useful for.
| | 00:20 | And it's really a simple filter, you'll
find it under Focus, it's right here at
| | 00:26 | the top, Smart Blur, and we can kind
of move this out of the way as we work.
| | 00:31 | What it does is it basically looks at
and analyzes an image, finds edges, or
| | 00:38 | areas of high contrast and protects them.
| | 00:41 | And then areas that are not
high contrast, it softens.
| | 00:46 | So an ideal area of high contrast would
be this flower up against these darker
| | 00:52 | elements. And an area of low contrast
would be like in here, except for where
| | 00:57 | this frog happens to be I guess.
| | 00:58 | There's not much change going on in here.
| | 01:01 | So, that area doesn't have a lot of
dramatic change in it, and so Smart Blur
| | 01:08 | will affect those areas much more
than it's going to areas that have high
| | 01:13 | contrast boundaries associated with them.
| | 01:15 | And when you start to use it, even at a
low-level, I'll just take it up here a
| | 01:19 | little bit, there we go. You can see now
this doesn't seem very affected at all,
| | 01:25 | whereas this already is
starting to get softened out.
| | 01:29 | And the more you turn this up,
the more aggressive its action is.
| | 01:35 | So as I keep going up here, see that by
this point it's already starting to look
| | 01:41 | a bit like a painting.
| | 01:42 | Because, one concept that I sometimes
try to get across is, you can look at any
| | 01:48 | visual information and it can be
looked at as a set of frequencies.
| | 01:52 | High-frequency information is sharp
detail, grain, edges; those are all part of
| | 02:00 | the domain of frequency
that is high-frequency.
| | 02:04 | Then you get down to where things don't
change very often and that's where you
| | 02:09 | have low frequencies.
| | 02:11 | And what's happening here is, as
we continue to increase this, we are
| | 02:15 | removing the high frequencies from
the image and one reason this looks more
| | 02:20 | like a painting than a photograph
is because photographs have a lot of
| | 02:25 | high frequency detail in it.
| | 02:27 | And when we use a filter like Smart Blur,
that intelligently protects high-frequency
| | 02:32 | and removes low-frequency detail, well
we are kind of draining this image of
| | 02:37 | some of its photographic nature. And
you crank it all the way up and it gets
| | 02:41 | very simplified, and yet all of
the hard edges within it remain.
| | 02:48 | You've got this environment where you've
still got sharp edges, but now a lot of
| | 02:52 | it is very simplified down.
| | 02:54 | So, you can still read this as
reflections and this as lily pads on a pond, but
| | 03:00 | it's a little bit more for the reader to
kind of connect the dots to figure out
| | 03:04 | that image. It's getting a little bit
more abstract, whereas you know, now I can
| | 03:07 | start to take it down, I can start to
play with it for my taste, you know, what may
| | 03:13 | constitutes a nice balance between both.
| | 03:16 | So Smart Blur really gives you a
very nice tool for initially draining a
| | 03:23 | photograph of its high-frequency information.
| | 03:27 | And I just want to show you this
too, you can repeatedly apply this.
| | 03:32 | So if I take this up all the way and
apply it, okay that's pretty simple.
| | 03:36 | Now let's go back to Effects, we'll
reapply it, and let's even go, well a third
| | 03:43 | time, let's see what happens.
| | 03:45 | So each time, it's applying it more and
more and you can see, some people might
| | 03:51 | find this to be actually a very
nice start to a painting project.
| | 04:00 | And that's exactly where I find it very useful.
| | 04:02 | Now you've got all of the photographic
high-detail drained out of it, you can go
| | 04:08 | in and start using this as a basis to paint on.
| | 04:11 | And because you've already bled that
high-frequency out of the image, it's
| | 04:16 | highly unlikely that as you start
painting this, it's going to stay too close to
| | 04:22 | a photographic image.
| | 04:23 | And the result will be a painting that
looks much more as if it were painted
| | 04:28 | from a blank canvas onward, rather than,
oh I started with a photograph and I
| | 04:32 | ended up with this painting.
| | 04:33 | So be sure you take advantage of
Smart Blur's capability for draining that
| | 04:38 | high-frequency information out of
an image, particularly a photograph.
| | Collapse this transcript |
| Working with seamless patterns| 00:00 | Each time I do one of these Essential
titles, I tend to concentrate a lot on
| | 00:05 | what are the new features in the
application, but I always like to try to dig
| | 00:10 | out something that's been in Painter
for many, many releases, and yet a lot of
| | 00:15 | people just don't even know it's there.
| | 00:17 | And it may be partially because it's not
entirely obvious that it's there or the
| | 00:22 | steps aren't necessarily obvious.
| | 00:24 | But this time around, I want
to talk about seamless patterns.
| | 00:29 | In the world of wallpaper, clothing,
carpeting, patterns abound, the world
| | 00:35 | is full of patterns.
| | 00:37 | Just as I was talking about symmetry
earlier, how the mind likes symmetry.
| | 00:43 | Patterns are similar, patterning is restful.
| | 00:46 | When you see a pattern,
it equates with stability.
| | 00:50 | And so, patterns are all around us
and yet sometimes, making a pattern can
| | 00:57 | be rather difficult.
| | 00:59 | And so what I want to show you is --
what's essentially a very easy way in
| | 01:03 | Painter, to create your own seamless patterns.
| | 01:06 | And to do this, we're going to create
an initial pattern tile, and so I'm going
| | 01:11 | to go to New and I'll make this one,
oh, 800x800.
| | 01:17 | Typically you want to work in a square,
and so we'll go to 800x800 here.
| | 01:24 | So I've got this tile and what I want to
happen is, as I make any artwork, again,
| | 01:31 | I'm just going to use
Scratchboard tool to start with here.
| | 01:34 | If I'm making a pattern tile, whatever
happens when it goes off this edge, it's
| | 01:41 | got to come around over to here.
| | 01:43 | And so when this becomes a tile, and you
take an exact copy of this and butt it up
| | 01:48 | against this right side, that
left side has to match up with it.
| | 01:53 | And so that can be kind of hard to do.
| | 01:56 | One way I used to do it before we had this
technique is what I called slice and dice.
| | 02:00 | You could make some kind of tile
like this, but then you'd have to make a
| | 02:07 | selection, cut it in half, swap those
two selections around, then you'd have to
| | 02:12 | drop that, cut it in half again and
drop the vertical sides, replace them.
| | 02:17 | So now the outside edges match, but
all along the insides of that tile,
| | 02:21 | they're not seamless, so you'd have to use
various techniques to try to hide those seams.
| | 02:27 | But with this seamless tile technique,
you don't have to do any of that.
| | 02:31 | It's so easy, a child can do it.
| | 02:33 | So let's take a look at this.
| | 02:36 | The first thing you need to do is
we need to open up the Pattern panel.
| | 02:40 | So I'm going to go to the Window here,
and we're going to go right down here to the
| | 02:44 | Media Control Panels, and we want Patterns.
| | 02:47 | So here we have our Patterns panel, and
let's move this off to the side a bit.
| | 02:51 | And in the Patterns panel flyout menu,
what we want here is Define Pattern.
| | 02:59 | I'm going to click on Define Pattern, and
nothing unusual seems to have happened.
| | 03:04 | But actually a minor miracle has
happened, because as I draw off one side, it
| | 03:10 | goes off automatically onto the other side.
| | 03:14 | So I'm now creating, literally, a seamless tile.
| | 03:19 | And if I hold down the Shift key and
the Spacebar key, I can now pick this
| | 03:26 | up and move it around.
| | 03:28 | So I can now address an area here where
maybe it wasn't the greatest thing going on.
| | 03:35 | So we'll do a little bit there, and
then I'll pick it up, offset it, maybe grab
| | 03:40 | another color, maybe do some shapes in here.
| | 03:45 | The idea that I found is, what you want
to do is kind of keep moving this around
| | 03:49 | until you start getting a bit of an
overall look to this, so that there's no area
| | 03:56 | that's anymore naked of textures,
or drawing, than any other area.
| | 04:00 | So I'm just kind of filling this
in with different graphic elements.
| | 04:05 | That looks like you could
use something right there.
| | 04:07 | So let's get yet another color and we'll use,
I don't know, what we want to use here, octagon.
| | 04:16 | I'm not trying to do anything
special here other than to show you at this
| | 04:19 | point what this will do.
| | 04:21 | So now we've got this seamless pattern.
| | 04:24 | How do we take advantage of it?
| | 04:26 | Well, what you want to do
is you want to select all.
| | 04:29 | And remember it's seamless
no matter where you put it.
| | 04:31 | So it's not like, oh I have to put
this in a certain place for this to work.
| | 04:34 | It's seamless no matter where it lies,
because everywhere it goes off one edge,
| | 04:39 | it's matching up exactly on the opposite edge.
| | 04:42 | So all I have to do is select all, and
we'll go back to Patterns here, and I'm
| | 04:47 | going to say Capture Pattern.
| | 04:50 | So now it comes up and I'm
just going to call it squiggles.
| | 04:54 | You don't have to change anything here,
just go ahead and say OK, and we've now
| | 04:59 | just created a new pattern.
| | 05:01 | In fact, we'll reduce it down here a bit.
| | 05:03 | But what I'm going to do is, let's open
up a new file and we'll make it pretty
| | 05:08 | large like 1800x1800.
| | 05:12 | It could be any size
| | 05:13 | at this point, I just want to
fill an area with this pattern.
| | 05:17 | So now we've got a rather large area
here and I'm going to go ahead and say, use
| | 05:22 | Command+F or Ctrl+F to fill.
| | 05:24 | And one of the options here, and since
we were just dealing with patterns, it
| | 05:28 | knows that, so it's selected that, we'll go --
| | 05:31 | Now this one, I did happen to put an
element in there that kind of sticks out.
| | 05:35 | And that's where I was saying, you want
to position things in an overall manner
| | 05:39 | and I really wasn't thinking about
that when I drew that first little squiggle.
| | 05:43 | But you can see here, we've now
got a pattern that is continuous.
| | 05:49 | If you look at it, other than the fact
there's a bit of an obvious repeat with
| | 05:54 | this one squiggle that I inadvertently
placed in there, it's now just an overall pattern.
| | 06:01 | So now that we know how to do that,
let's just take a moment and maybe do
| | 06:04 | something a little more interesting with it.
| | 06:06 | So we've got this pattern, it's already
set up as a seamless pattern, I can go
| | 06:10 | ahead, select all, delete.
| | 06:12 | And instead of just using the simple
Scratchboard tool, let's get a little
| | 06:16 | more interesting here.
| | 06:17 | We'll try some different brushes with it.
| | 06:19 | For example, earlier I was using the
Sponge Brush, and I may enlarge this up a bit.
| | 06:25 | I'm just going to go ahead and
apply a few dobs of sponge here.
| | 06:30 | And because it's seamless, it wraps around.
| | 06:36 | Again, this is where you want to kind of move
this pretty regularly so you don't end up
| | 06:41 | with any spots that are
drastically different than other areas.
| | 06:49 | And I just find just by kind of moving this
fairly often, you'll be able to do just that.
| | 06:55 | Oops! You see now -- now we're just using the
Shift key there, which is an easy mistake
| | 07:00 | to make and it's just
moving this on the background.
| | 07:04 | But if we hold both of
those keys down, there we go!
| | 07:15 | And let's try something else a little
different here.
| | 07:17 | Let's go to the Image Hose.
| | 07:20 | And Image Hose is going to paint with
different types of graphic elements, and
| | 07:27 | we'll be talking about this in greater
depth, so you don't have to get too hung
| | 07:30 | up about exactly what I'm doing here.
| | 07:32 | I'm going to use a spray size controlled by
pressure and let's just split this --
| | 07:38 | I don't know what's there.
| | 07:39 | This is just kind of an interesting blob.
| | 07:43 | And if we go in here, let's change to say, that.
| | 07:50 | Once again, you want to kind of move around.
| | 07:54 | The thing that's nice about this is
it's taking multiple objects that are
| | 08:01 | complex and even in this case,
photographic, and allowing you to paint with them.
| | 08:09 | Once again we want to make
sure it looks pretty uniform.
| | 08:15 | So this may not be the greatest
pattern in the world, but it's got more
| | 08:19 | complexity going on, we're combining
three-dimensional elements spitting out of
| | 08:24 | the Image Hose, some photographic
elements, some graphic elements.
| | 08:27 | So once again we want to do
Select All, and we want to Capture.
| | 08:36 | And now we'll just say funhouse, or something.
| | 08:43 | Now let's go back to our other image and
let's fill with this. And there we go!
| | 08:55 | Now once again, you can see this is
where if you really want to get something
| | 08:59 | that doesn't seem to have edges to it,
it does take a little extra work and I'm
| | 09:04 | not necessarily taking enough time to do it.
| | 09:06 | But you get the basic idea here, I
think, that this is a great way to create
| | 09:12 | your own seamless patterns.
| | 09:13 | And in fact, once you've created a
seamless pattern, it's a excellent way to
| | 09:18 | create backgrounds for web pages,
because you can easily define a single
| | 09:24 | pattern tile in HTML and have it
repeat, and you'd get the same effect that
| | 09:29 | you're getting here.
| | 09:30 | Now let's even take it
down a little smaller here.
| | 09:33 | It turns out too, the smaller you make it,
the more you start to see the repeat.
| | 09:38 | The larger the scale, the less you
see the repeat, especially when it's
| | 09:46 | large elements like this.
| | 09:48 | So seamless tiles are just kind of
an interesting thing that's been in
| | 09:51 | Painter forever, but hopefully I've exposed
you to something that you didn't know was there.
| | 09:56 | And actually, besides being kind of
fun to play with, it's also very useful,
| | 10:00 | particularly when you get into the
world of web design and you want to do some
| | 10:03 | kind of interesting background.
| | 10:06 | Anything you can think of as a
seamless tile can basically be created using
| | 10:11 | Painter's seamless tile facility.
| | Collapse this transcript |
|
|
12. The Image HoseIntroduction to the Image Hose| 00:00 | Painter's primarily known as a
tool that emulates natural media and it
| | 00:05 | does that in spades.
| | 00:07 | But another side of Painter is what I
call through the looking glass tools.
| | 00:11 | These are tools that, because we're in
an environment that's digital, you can do
| | 00:15 | things that you can't do in the
traditional world, and why stop at just emulating
| | 00:19 | traditional media? Why not take
advantage of the fact that we are in this
| | 00:23 | neverland where things can happen
that you can't do with traditional tools?
| | 00:28 | The Image Hose is just such a tool and
I want to give you a quick look at the
| | 00:33 | Image Hose before we get into the
mechanics of it, just so you can see
| | 00:37 | basically what it does.
| | 00:38 | So I am going to go up and I've already
got Image Hose selected here, but what
| | 00:42 | you want to find if you don't have it
is, go into your category list and find
| | 00:46 | Image Hose, and then once the variants
are up, go down to Spray-Size-P, and I'll
| | 00:53 | get into what this means in a moment.
| | 00:54 | And that's all we want, we just
want Spray-Size-P right there.
| | 00:59 | Okay, so we've selected an Image Hose,
now we need to get a nozzle file to spray
| | 01:05 | through the Image Hose.
| | 01:06 | If we go down to our Content Selector, the
third icon down are the Image Hose Nozzle files.
| | 01:13 | And I am just going to, in this
case, select the Palm Trees, okay.
| | 01:18 | And now I'll just start to spray with this.
| | 01:21 | And you can see what's happening
here is this is just spraying a set of
| | 01:28 | different palm trees.
| | 01:31 | And as I do pressure, I can
control how small or how large it is.
| | 01:36 | And you can already see I think,
instead of having to meticulously kind of draw
| | 01:40 | something like this, this becomes a very
easy way to create a jungle, just within
| | 01:46 | literally a few strokes.
| | 01:48 | So the gist of the Image Hose is that it
allows you to take content, any content,
| | 01:54 | and we'll get into how you can even
make your own content in this chapter, and
| | 01:59 | spray it out onto your canvas.
| | 02:01 | And it works on layers, so you can even
have layered Image Hose elements within a
| | 02:06 | drawing or painting that you're doing.
| | 02:09 | So without further ado,
let's get into the Image Hose.
| | Collapse this transcript |
| Understanding Image Hose controls| 00:00 | In this video, we're going to talk about how
you control elements coming out of the Image Hose.
| | 00:05 | And it's all based on which
Image Hose you're actually using.
| | 00:10 | As you can see, there's a whole set
of variations here that at the moment
| | 00:14 | seem rather cryptic.
| | 00:15 | Now I'm going to start with Linear-
Size-P, and we'll talk about these letter
| | 00:20 | designations in a moment.
| | 00:21 | But just for the moment, just look at
what happens when I use a linear-named brush.
| | 00:25 | You can see it comes out in a
just a straight line fashion.
| | 00:30 | There is no redistribution of the
Image Hose elements as they come out.
| | 00:35 | It just simply comes out in a straight line.
| | 00:38 | I can't control size here, but no matter what,
it's always coming out in a linear fashion.
| | 00:43 | Now let's go to Spray-Size-P right here.
| | 00:49 | And when I spray this one, see what happens?
| | 00:52 | There's still a straight line I'm
drawing in, but all of the elements are randomly
| | 00:56 | being distributed, either on the
line or somewhere above or below it.
| | 01:01 | And so that is a spray because it's
not following a straight line as the
| | 01:06 | linear brushes are.
| | 01:07 | So that's the basic division
between the two types of brush.
| | 01:11 | They're either going to come out
linearly, or they're going to come out with a
| | 01:15 | random distribution.
| | 01:16 | Having said that, let's go back and
examine what all of these various letters mean.
| | 01:22 | So once you've determined whether it's
a linear or a spray brush, you then have
| | 01:28 | another attribute associated with it.
| | 01:30 | And that is what the
basic behavior is going to be.
| | 01:33 | In this case, the angle is going to be
affected by something. Or in the case of
| | 01:40 | size, it will be a linear brush, but
size will be affected by something.
| | 01:45 | And the final letter tells you what it
is that is affecting the attribute that
| | 01:51 | is being described in the
second slot of the naming convention.
| | 01:55 | So in this case, it's a Linear brush,
it's going to come out in a straight line.
| | 02:00 | It is going to be angle-controlled somehow.
| | 02:03 | And how is it going to do that?
| | 02:05 | It's going to do it with bearing.
| | 02:07 | And let me explain a little bit
about what we're talking about here.
| | 02:11 | I'm going to switch to
another image temporarily.
| | 02:15 | You basically have six different
axes of motion that anything in the
| | 02:19 | three-dimensional space can be described by.
| | 02:22 | And when you're holding a brush or a
pencil or in our case, a tablet stylus
| | 02:27 | in your hand, there are different
dimensions of motion that can be extracted
| | 02:32 | from what's happening.
| | 02:34 | And once you've tilted a brush, you
can sweep it around in a 360 degree circle.
| | 02:43 | And that is bearing.
| | 02:45 | So you need to have tilt in
order for there to be bearing.
| | 02:48 | If you just hold the pen straight up and
down, there is no such thing as bearing.
| | 02:51 | But most of the time, we
have our pen at some angle.
| | 02:55 | So once we have that angle, we can
then use our wrist and hand to change the
| | 03:01 | bearing of the brush.
| | 03:04 | So bearing is one of the other controls.
| | 03:06 | The other primary control that the
Image Hose uses is of course pressure.
| | 03:11 | So that's how hard you're
pressing on the surface of the tablet.
| | 03:15 | So that describes the attitudes of
control that we have with the Image Hose in
| | 03:21 | terms of these very naming conventions.
| | 03:23 | Let's go back to our image and
let's just take a look at this.
| | 03:27 | If I go with Linear-Angle-B, I can
spray this, but now I'm going to change my
| | 03:34 | bearing of my pen and see
how I'm now controlling.
| | 03:36 | I'm just sweeping it all the way around.
| | 03:39 | And so, I now not only have directional
control over it, but I can change that
| | 03:45 | angle as well based on the bearing of my hand.
| | 03:49 | And it takes a little
while to learn how to do this.
| | 03:51 | So the first time you try it
out, it may seem a little odd.
| | 03:55 | But once you have played with it and
experimented, it's very easy to get the
| | 03:58 | bearing that you want.
| | 04:00 | So Linear-Angle-B is one such
control over the brush that we can have.
| | 04:07 | I'm going to Command+A or Ctrl+A
and Backspace or Delete to get rid
| | 04:12 | of everything here.
| | 04:13 | The next one is Linear-Angle;
that's going to somehow have the angle
| | 04:17 | controlled, but by what?
| | 04:18 | In this case, W stands for wheel.
| | 04:21 | This is rather esoteric because this
is associated with the Wacom Airbrush
| | 04:27 | Stylus, which probably 1% of Wacom users have.
| | 04:32 | If you're one of that 1%, I'm happy you have it.
| | 04:35 | And there is a little wheel on the top
of that pen that emulates a wheel on an
| | 04:41 | airbrush, and rolling that wheel back
and forth in your finger will, in this
| | 04:45 | case, control angle.
| | 04:47 | But for 99% of us, we're never even
going to be concerned with or ever select
| | 04:52 | any of these W variants, because
we don't have the airbrush pen.
| | 04:59 | So the third one in this list actually
becomes a little more compounded. It's a
| | 05:03 | Linear brush, but it's
controlled now by two dimensions.
| | 05:06 | You have size, which is going to be
controlled by P, pressure, and Angle-B,
| | 05:11 | bearing, as we saw earlier here.
| | 05:13 | So let's select this one and I'm going to make
sure I have my calibration on the way I like it.
| | 05:19 | And now when I draw with this, I have
bearing control but notice I've also
| | 05:24 | got pressure control.
| | 05:25 | So now I can control two
dimensions of the brush at once.
| | 05:29 | And to be honest, at first it seems like
you're trying to do an impossible task,
| | 05:35 | but as you start using these, you
won't even be thinking about the fact that
| | 05:39 | you're controlling multiple
dimensions. It's very natural.
| | 05:43 | Next up, we have Linear-Size-
Pressure and Size-D, which is Direction.
| | 05:49 | So this one is just whatever
direction your brush is going, it is going to
| | 05:52 | control the angle of the brush.
| | 05:54 | So let's try this one and now what
happens is my angle is always going to be
| | 06:01 | controlling it and I have pressure
control, assuming I have Brush Calibration on.
| | 06:06 | I'll once again clean the screen
off here so we can see clearly.
| | 06:11 | Now in this case, you have no means
other than when your direction happens to be
| | 06:16 | straight up and down.
| | 06:17 | That's the only way I can
get the tree to stand upright.
| | 06:20 | And you're not going to use
this for every Image Hose.
| | 06:23 | Where this will work great is, if I had
an Image Hose nozzle that was a set of
| | 06:27 | say, arrows or bullets, then I could whichever way
I draw them, they're going to go that direction.
| | 06:34 | And so, you'll find that every Image
Hose variation isn't going to work with
| | 06:39 | every piece of content.
| | 06:40 | I'm just using a very angular Image
Hose nozzle to show you how these various
| | 06:47 | dimensions of control work.
| | 06:49 | Okay, let's go to the next one here.
| | 06:52 | Now we have the Linear Size is Pressure,
but the Angle is R, that stands for random.
| | 06:59 | So what's going to happen there?
| | 07:00 | Well, let's select that one;
| | 07:01 | let's make sure our Brush Calibration is set up.
| | 07:04 | And now, I can control the pressure,
but notice every application of the Image
| | 07:11 | Hose elements are random.
| | 07:13 | So the angle is random.
| | 07:16 | So now I get kind of an interesting
tossing and turning version of our tree,
| | 07:21 | based on the fact that it's random
when it comes out, but I still control
| | 07:26 | size with pressure. Okay, next.
| | 07:34 | Okay, the next one on our list is a Linear
brush and it's pressure controlled for size.
| | 07:38 | And this is where the wheel comes into play.
| | 07:40 | I don't have the airbrush;
| | 07:41 | most people don't, so we're
just going to ignore those.
| | 07:44 | Next is the size is random and
the angle is based on direction.
| | 07:49 | So let's try that one, and let's
make sure we're calibrated here.
| | 07:55 | So this one is direction is controlling.
| | 08:00 | It is very similar to bearing, and if
you have one of the Wacom Bamboo Tablets
| | 08:06 | which doesn't sense bearing, this is a
great way to emulate the same kind of
| | 08:11 | behavior just by which direction you go.
| | 08:15 | You're changing that, and the size of
these is coming out in a random fashion.
| | 08:23 | All of this may sound very esoteric right now;
| | 08:25 | it's mostly a case of just
playing with it and trying them out.
| | 08:30 | Then we get into single dimensions once again.
| | 08:34 | Here's Linear, all that's changing here
is I can change the size based on pressure.
| | 08:41 | Here one, the size is
random but nothing else happens.
| | 08:46 | Then we've got the wheel
again, we'll ignore that.
| | 08:49 | And then we need to switch to the Spray
brushes, and they basically behave the same.
| | 08:55 | They may not be an exact parallel for
every type, but behaviors and how they are
| | 09:00 | controlled are then similar down here.
| | 09:03 | So once you understand the
nomenclature of how the brushes are named, it's
| | 09:07 | very easy to quickly go, gee, I want a
brush that sprays out but I can control
| | 09:12 | the size with pressure.
| | 09:13 | Well, that would be Spray-Size-P.
| | 09:15 | So I grab that, and there's my brush
that I can adjust size with pressure, but no
| | 09:20 | change in the angle.
| | 09:22 | If I want a brush that changes with
pressure, and is a spray, and also the angle
| | 09:28 | is random, go to there.
| | 09:29 | Well, you can see now that we've gone
through the nomenclature of the names;
| | 09:34 | it's fairly obvious what
each one is going to do.
| | 09:38 | So that is how you control the
content coming out of the airbrush.
| | 09:43 | It's based on which one of these you select.
| | 09:46 | So you want so be sure you kind of
understand this nomenclature I went through
| | 09:50 | and having internalized it, you'll be
able to quickly select the brush that you
| | 09:54 | want for the particular
content that you are applying.
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| Working with nozzle files| 00:00 | We've taken a look at how to control the
Image Hose and what content comes out of it.
| | 00:05 | Now we're going to take a look at that
content which is in the form of nozzle
| | 00:09 | files, and I'll just show you a couple
of them, and then we'll get into, how do
| | 00:13 | you create one of these?
| | 00:15 | And let's go over to the Content Selector
and drop down to the third button, which is
| | 00:21 | our nozzle file selector.
| | 00:23 | And let's just grab this one and
I'll just paint with it a bit.
| | 00:27 | So I'm controlling it by pressure and
it's coming out in a random fashion.
| | 00:33 | And you can see what happens is, now I'm
actually drawing with these really
| | 00:38 | interesting kind of three-dimensional cubes.
| | 00:43 | And how else would you get some kind of
interesting font that does this unless you
| | 00:48 | had a tool like the Image Hose to do it?
| | 00:50 | That's where the power of the Image Hose is,
is that anything can become content
| | 00:56 | and in this case, just playing around
with it, it struck me that it's actually
| | 01:00 | an interesting expressive mark-making
tool, in this case, that I can control
| | 01:06 | through pressure, and it just comes up
with a kind of content that you would
| | 01:11 | never get from any kind of traditional tool.
| | 01:15 | So that's one of the interesting things
about the way these nozzle files work.
| | 01:19 | They can be called into
service for so many different things.
| | 01:23 | Let's try a different kind of nozzle file here.
| | 01:26 | I'm going to go with Urban Fixtures, and
I want to show you here, in this case,
| | 01:33 | this wouldn't be the kind
of control I'd want over it.
| | 01:37 | These lighting fixtures and signs.
| | 01:40 | Really, you don't want them
to just come out at any angle.
| | 01:43 | Although I suppose you could find a
case where that might be useful if you
| | 01:47 | wanted to do what does
it look like in a tornado.
| | 01:50 | But normally, you want to have
these all standing straight up.
| | 01:54 | And so, what I don't want is a random
angle about it.
| | 01:58 | So if I just remove the angular aspect
of control and just say, hey, I just
| | 02:03 | want to spray that, it's just pressure control.
| | 02:05 | Now I can spray this and they're going
to all be upright as they should be, and I
| | 02:11 | can control their size by the
amount of pressure that I'm doing.
| | 02:16 | One last one I want to show you here
that's kind of interesting, and shows
| | 02:19 | you another take on how these can be useful
is, I'm going to go here to the Stone Wall.
| | 02:25 | And this one will work fine with just
size pressure, but I wanted to show you
| | 02:29 | how the way this was constructed as a
set of kind of irregular elements in a
| | 02:34 | stone wall, lets me draw with this, so
that pressure can control how big the
| | 02:41 | stone elements look.
| | 02:44 | And all of the elements come out, not in a
random jumble, but as they were originally
| | 02:49 | oriented in the original wall
that they were photographed from.
| | 02:54 | And so, being able to do this just a
little bit you can see how it's not an
| | 02:59 | unlimited set of elements.
| | 03:00 | There are probably 8 or
10 or so elements in there.
| | 03:05 | I can easily come up with what
looks to be a very random texture.
| | 03:10 | And that's a case of where this becomes a
very useful tool where you want to create
| | 03:16 | textures that appear random, and yet
it's coming from a subset of elements
| | 03:21 | that's not infinite.
| | 03:22 | You know, if I start looking around here, I see
this here, and this here, and I thought I
| | 03:26 | saw another one over here, but because
they're at different scales, that starts
| | 03:30 | to hide the fact that there aren't an
infinite number of elements in this.
| | 03:36 | But the idea is disguising repetition
through things like randomness or size change.
| | 03:43 | You can very effectively create what
looks to be a very convincing random brick
| | 03:49 | wall, where any other way to do
that would be rather difficult.
| | 03:53 | And here we just spayed it out in a few moments.
| | 03:57 | So this is another case of how you can
construct elements that can do a very
| | 04:02 | specific type of things.
| | 04:05 | The last thing I want to
say before we get in here.
| | 04:07 | I'm just going to draw a couple of these.
| | 04:09 | The way these were done, it does take some time.
| | 04:12 | First a photographic beginning had to
come to get these elements, and then they
| | 04:18 | had to be individually
cut out as layer elements.
| | 04:22 | So I was using selection tools in
order to do that in creating individual
| | 04:26 | elements as I constructed it.
| | 04:28 | And then I created enough of them so that
they don't seem to be repeating too often.
| | 04:33 | This does get into a little bit more of
complex nozzle-making, but it does show
| | 04:39 | you that if you invest the time to, in
this case, photograph something that has
| | 04:44 | a almost puzzle-like break-apart quality
to it, you can then use selection tools
| | 04:51 | and layering in Painter to
create these individual elements.
| | 04:55 | And now that we're talking about that,
let's actually create a Nozzle element.
| | 05:00 | And the way it's done is through layers.
| | 05:04 | Anything you want to be a Nozzle
element ultimately has to start life as
| | 05:09 | an individual layer.
| | 05:12 | And I'm going to go and just get
a very different tool here.
| | 05:14 | We'll just grab some Chalk.
| | 05:15 | And what I want to do is create the word
Painter so that it comes out with the
| | 05:22 | individual letters just in a random fashion.
| | 05:26 | So for each element, I'm going
to need to create a new layer.
| | 05:28 | So here's Layer number 1.
| | 05:29 | I'm going to want to
change color for each of these.
| | 05:32 | So I'll call up my Color palette.
| | 05:35 | And on this layer, I'm going to do P for Painter.
| | 05:39 | Then I'm going to create a new element,
change the color, do an A, and just go
| | 05:46 | through this procedure one element at
a time so that I end up with all of the
| | 05:52 | letters of the word
Painter on individual layers.
| | 05:55 | One more for T. You don't even need
to arrange these in a logical fashion.
| | 06:03 | They can be arranged anyhow you want.
| | 06:05 | You know, I could put the E over here,
because they're going to all be
| | 06:07 | individual elements coming out randomly anyway.
| | 06:14 | So we've got seven layers, each one
representing one of the letters in the word Painter.
| | 06:19 | Next thing I need to do is
group all of these together.
| | 06:22 | So if I just go up here, I
can say Select All layers.
| | 06:27 | So first we select them, and then I go back
up and I'll say now I want to group the layers.
| | 06:33 | So now we've got those seven
letter layers in a single group.
| | 06:39 | That is the format you have to
present the nozzle-making capability in
| | 06:44 | order for it to know what to do with it.
| | 06:46 | So they have to be grouped together.
| | 06:48 | The other thing I'm going to tell you
before I even get to making these, it
| | 06:51 | makes sense to save your elements in
this format right now, because you may want
| | 06:58 | to come back later and somebody may say,
why don't you put 1 and 2 in there so
| | 07:02 | it includes version of Painter.
| | 07:03 | So that'll be all of the letters and the
numbers of Painter 12 will come out of your nozzle.
| | 07:08 | So if I save this file, and it has to
be in the RIFF format, I can always come
| | 07:12 | back here, make a couple more layers,
put a 1 on one layer, a 2 on the other
| | 07:16 | layer, put it into this group, and then
I'll be able to use this group to make
| | 07:21 | another nozzle that also
includes more Nozzle elements.
| | 07:25 | So what we're going to do now is take
this group and convert it into a nozzle.
| | 07:28 | To do that, we'll go up to the Window menu.
| | 07:31 | If we go to the Media Library
Panels, we want to go to Nozzles.
| | 07:35 | We will just move this over here.
| | 07:38 | In the flyout menu for Nozzle
Libraries we'll find there is a command,
| | 07:42 | Make Nozzle From Group.
| | 07:44 | Well, we've got our group, so
we want to make a nozzle from it.
| | 07:47 | So we'll just hit this command and
what it will do is it'll make a new file.
| | 07:51 | What it quickly does is it looks at
the height and width of all of these
| | 07:56 | elements as they would fit in a rectangle.
| | 07:59 | And then they make a grid using the largest
widths and heights to put all of these elements in.
| | 08:05 | So this will become the nozzle file
and all I need to do at this point is
| | 08:11 | save it as a RIFF file.
| | 08:12 | So we'll go ahead and we'll say Save As.
| | 08:15 | I'm going to want to save this in the
chapter12 exercise folder, and we'll go
| | 08:19 | ahead and we'll just call this Painter Letters.
| | 08:26 | We're one step away from spraying this out now.
| | 08:28 | So go ahead and save it.
| | 08:30 | At this point I can close that file.
| | 08:32 | What we want to do now is also go
ahead and save this is as our master file.
| | 08:37 | So once again, I'm going to call this
Painter Letters, but I'm going to call it Master.
| | 08:44 | So this will let me know that this is
the actual file with the groups in it.
| | 08:49 | It's not the flattened gridded file.
| | 08:52 | This is the file I can always
come back to and add more content to.
| | 08:56 | So I'll have that just in
case I ever want to change it.
| | 08:59 | Now the final thing we have to do
is we have to load the nozzle file.
| | 09:02 | It's not in any library at this point.
| | 09:04 | It's just an independent
file that is a nozzle file.
| | 09:08 | So I can go ahead and close this and
we'll create a new image to spray on, and
| | 09:17 | we'll go back up to the Nozzle
Libraries flyout menu, and we'll say Load Nozzle.
| | 09:22 | So we'll click on that.
| | 09:23 | And let's go back to our exercise file,
in chapter12, and we want to grab the
| | 09:34 | Painter Letters file.
| | 09:35 | That's the one that was flattened with a
black background and so we'll grab that.
| | 09:40 | And now that nozzle file is loaded,
nothing changes to tell you that other than
| | 09:44 | you've just loaded it.
| | 09:45 | But if you now go to our nozzle
file, I can now spray that out.
| | 09:52 | Now you see it's coming out
randomly and I'm rotating it.
| | 09:56 | If I don't want to do that, once again,
this is where you consider, how do I
| | 10:00 | want this to come out?
| | 10:01 | Well maybe I want to control the size,
but I don't want the letters to be
| | 10:03 | all rotating like that.
| | 10:05 | So something simple like just Spray-Size-P.
| | 10:08 | Now they're coming out -- all the letters
randomly, but they're not rotating anymore.
| | 10:14 | Now finally, you have this independent
nozzle file, but you may say, I want to
| | 10:19 | use this so I'm going to be creating a
library with a bunch of different things in it.
| | 10:22 | So what I want to do at this point is add
this nozzle that I've created to a library.
| | 10:29 | And there can only be one nozzle
active at a time, which right now is this
| | 10:33 | Painter Letter Nozzle.
| | 10:36 | So if I want to save it to a library, I
have to be sure that's the active nozzle,
| | 10:40 | and we do indeed know that that's correct.
| | 10:42 | But once again we go back to our
Nozzle Libraries flyout menu and I can say
| | 10:47 | Add Nozzle to Library.
| | 10:49 | So I go ahead in here and whatever we
name it is going to be what its name
| | 10:53 | will be in the library.
| | 10:54 | So we no longer need the RIFF format
designation at the end of it. We'll just say OK.
| | 11:00 | Sometimes you have to close the
Library panel and open it back up for it to be
| | 11:04 | registered in the display here.
| | 11:06 | So let's go ahead and we'll close this, and
then we'll go back and open it up. And there it is.
| | 11:14 | So it's now in the library.
| | 11:16 | So that lets me go here and I can play
with this and then if I want to select
| | 11:21 | this, I've now got my Painter file.
| | 11:25 | This is a pretty
nonsensical display of how to use it.
| | 11:28 | Obviously, you can come up with
much more creative ideas how to do it.
| | 11:32 | But this shows you the process now for
being able to create your own nozzle files.
| | 11:37 | And once you've gone through it two or
three times, it's a very fluid procedure to
| | 11:41 | do and hopefully it'll get you into
creating lots of different nozzle files.
| | 11:46 | I know a few years ago I was doing a lot
of work where I needed to play with the
| | 11:50 | backgrounds of portraiture, and I
often had to lay some grass in there.
| | 11:55 | So I just made a nozzle file where I
drew on a bunch of layers different little tufts
| | 12:00 | of sets of grass, and I saved that as my
grass file, and then I was able to open that up.
| | 12:05 | And I could instantly go in and start
spraying grass into the background.
| | 12:10 | Then ultimately it'd
become a painted part of a file.
| | 12:13 | But it was a very quick way to add the
texture of grass in an area where I needed it.
| | 12:18 | So anytime you're working on something
that would require a lot of hand labor,
| | 12:23 | you want to stop and think, maybe a
nozzle file of a bunch of elements would be
| | 12:27 | a way to do this much quicker than I
could ever do if I was drawing something
| | 12:32 | individually by hand.
| | 12:34 | So nozzles and Image Hoses are a
very powerful tool that let you express
| | 12:40 | yourself with a mark-making style that
you could never do in traditional media.
| | 12:46 | And that's where I'd like to think of this
as something it's kind of through the
| | 12:49 | looking glass, and lets us explore and
utilize the fact that were in a digital
| | 12:54 | world rather than an analog traditional world.
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|
|
13. Using Painter and Photoshop Effectively Using each application for its strengths| 00:00 | Painter and Photoshop are
both very good at what they do.
| | 00:04 | Painter is really tuned to being a
artist's studio, and if you think about it,
| | 00:09 | the way painter is laid out, it's very
much like an artist will do in a studio;
| | 00:13 | they'll lay tools all around
them and grab them as needed.
| | 00:17 | Photoshop is very good at image editing and it
has a metaphor that's somewhat like a darkroom.
| | 00:25 | So each of them has particular
strengths, and what you want to do as a user of
| | 00:30 | both Photoshop and Painter, is use
each of them to their main strengths.
| | 00:36 | I am going to go through and show you
the workflow that I've evolved over the
| | 00:39 | years. And sometimes I refer to it as a
Photoshop sandwich with Painter in the
| | 00:45 | middle, and you'll see shortly here what I mean.
| | 00:48 | So the top piece of bread
in my sandwich is Photoshop.
| | 00:53 | You want to use Photoshop for
things like image preparation.
| | 00:57 | If you have to resize the image for an
intended output, you want to do that in Photoshop;
| | 01:02 | it has far better resizing algorithms
and you'll get a better result than you
| | 01:07 | are going to get in Painter.
| | 01:09 | If you're going to have some sort of
border, sometimes, for example, I will add
| | 01:13 | a little white outset to the edge of a
photograph, so that when it goes into
| | 01:18 | Painter, I can actually
paint irregular edges along it.
| | 01:22 | Or, for example, if you are going to
ultimately send this finished painting to a
| | 01:29 | service bureau, where they do what's
called a gallery wrap, you've got to be
| | 01:32 | able to extend the edges of that
image to account for the image wrap.
| | 01:37 | And generally, service bureaus will give
you specific instructions about what to
| | 01:41 | do, but you want to do that at the
beginning, not the end, so that you're aware
| | 01:45 | of that particular element
that you have to add to it.
| | 01:49 | Secondly, you get into color and
tonal adjustments or color correction.
| | 01:54 | Again, Photoshop has a far better set
of tools for doing that type of subtle
| | 02:00 | refinement and you want to use
Photoshop to its strength, so definitely do
| | 02:05 | those in Photoshop.
| | 02:07 | Finally, any image retouching or
compositing of multiple elements, Photoshop
| | 02:12 | is very good at that.
| | 02:14 | And while we've talked about layers and
selections in Painter, if you also use
| | 02:19 | Photoshop, you're probably going to
be more comfortable and get a more
| | 02:23 | satisfying result by doing those
kinds of activities in Photoshop.
| | 02:29 | That's the image preparation phase,
that's the top of our sandwich.
| | 02:33 | Now let's go to the middle of the sandwich.
| | 02:36 | This is where the
expressive interpretation happens.
| | 02:39 | This is where your hand work, your
expressive capabilities come into play.
| | 02:44 | So Painter in terms of brushwork, it's the king.
| | 02:47 | You want to use Painter's brushes and
the strength of those brushes as a means
| | 02:53 | for expressing yourself, whether it's
from scratch or whether you're going to do
| | 02:58 | it based on a photograph, but in either
case, the brushes in Painter are where
| | 03:03 | you are going to want to be working.
| | 03:05 | Secondly, Painter has a whole bunch
of different techniques for applying
| | 03:09 | and implying texture.
| | 03:11 | And again, if you are going to do
any border treatment like I was talking
| | 03:14 | about, kind of adding unfinished irregular edges,
this is where you would go ahead and do that.
| | 03:21 | Finally, we get to the bottom of our
sandwich and once again, we're back in Photoshop.
| | 03:25 | Once you've saved your image in Painter,
presumably as a PSD file, so you can
| | 03:31 | get it back into Photoshop,
you're going to do image finalization.
| | 03:35 | This is where after painting;
| | 03:37 | you are going to probably
want to do some adjustments.
| | 03:39 | One thing I can tell you, when you
paint in any painting application, when you
| | 03:43 | start mixing brilliant colors together,
they're going to dull down a little bit.
| | 03:48 | And it's not unusual to finish a
painting and then look at it and realize, it
| | 03:52 | doesn't seem as brilliant as the
colors I might've started with, because of
| | 03:56 | intermixing colors you start to dull
down the brilliance of those colors.
| | 04:01 | You may very well in Photoshop find
that you want to make some local tonal or
| | 04:06 | color adjustments to bring the
brilliance of that color back up.
| | 04:11 | And then finally, depending on what
your format is going to be, you want to
| | 04:15 | make sure that you convert it to a profile
that is compatible with that form of output.
| | 04:21 | If you're printing at home, for example,
you most likely are going to have a
| | 04:25 | printer and ink/paper profile that
will optimize what's going to happen when
| | 04:32 | that image gets to that device.
| | 04:34 | So you want to make sure that the
correct profile is associated with it, so
| | 04:38 | you'll be able to control
exactly how it looks upon output.
| | 04:43 | So this is the makings of a Photoshop
sandwich with Painter in the middle.
| | 04:48 | And I find this to be a very good
workflow in terms of getting the highest
| | 04:53 | quality results and ending up looking
exactly like the way you had envisioned
| | 04:58 | it from the start.
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| The PSD format: what's compatible and what's not| 00:00 | In this video, we are going to
talk about the Photoshop PSD format.
| | 00:06 | What's important to note is that one of
the key features that it enables, is being
| | 00:10 | able to move back and forth between the
two applications with layers intact, so
| | 00:16 | if you're using layers the Photoshop
format is going to give you entr?e into
| | 00:21 | Photoshop and have those
layers available over there.
| | 00:24 | Conversely if you start an image in
Photoshop and it has layers, for the most
| | 00:29 | part you can bring that layered file
over to Painter, as long as it's in the
| | 00:33 | Photoshop PSD format.
| | 00:35 | Now Painter has its own format RIFF
and we'll talk a little bit about that a
| | 00:40 | little later in this video, but each
of these formats is special in that it
| | 00:44 | contains special information
that is unique to each application.
| | 00:49 | But let's start off talking about
what's compatible to begin with.
| | 00:53 | The first thing our layers, layer
groups, masks, blend modes, selections,
| | 01:01 | guides, embedded ICC profiles, all of
these things will transfer in the Photoshop
| | 01:08 | format back and forth
between Painter and Photoshop.
| | 01:12 | In terms of blend modes, not all of the
Photoshop blend modes will transfer across.
| | 01:19 | Basically these blend modes are the
ones that will go back and forth, but be
| | 01:24 | aware too when you are in Painter they
are referred to as compositing methods,
| | 01:28 | but it's essentially the same thing,
they are just algorithms that determine how
| | 01:33 | pixels are going to interact with
each other when they are layered.
| | 01:36 | Now let's take a look at where we run
into issues, where things back and forth
| | 01:42 | between Painter and
Photoshop are not compatible.
| | 01:45 | Things that are in Painter that are
easily retained in the Painter RIFF format
| | 01:52 | are Painter's dynamic plug-
in layers, Painter's text.
| | 01:56 | Photoshop has text too, but they are
each architecturally very different
| | 02:00 | internally to each application.
| | 02:02 | So, while they both have text, neither can
understand the format of the text of the other one.
| | 02:08 | Shapes is also something in Painter
that will not transfer across as a
| | 02:13 | shape layer to Photoshop.
| | 02:16 | Transformed layers, you can transform
a layer in Painter and keep it under
| | 02:20 | transformation, Photoshop
won't know what to do with that.
| | 02:23 | Painter's unique watercolor layers
are another area of something unique to
| | 02:29 | Painter; can't get it over to Photoshop.
| | 02:32 | Liquid Ink and Impasto, another pair of
specific layers that Painter deals
| | 02:38 | with are not known in Photoshop.
| | 02:41 | All of these can be saved in a RIFF
format and they will be retained, but they
| | 02:46 | will be lost going over to Photoshop.
| | 02:48 | On the Photoshop side of the tracks
you've got things that are native to its
| | 02:53 | file format but Painter won't know about.
| | 02:55 | So adjustment layers, text, they have
something called shapes, but they're not
| | 03:00 | the same as shapes in Painter, so once
again the name is where the familiarity ends.
| | 03:06 | After that they are very different
and they don't transfer back and forth
| | 03:10 | across to each other.
| | 03:12 | Smart Objects, layer styles, vector
masks, layer fill, opacity; all of these
| | 03:18 | are unique Photoshop features that
only the Photoshop format will retain and
| | 03:24 | only Photoshop can read.
| | 03:27 | In some of these cases, when the file
transfers across, it may attempt and may be
| | 03:32 | successful in rasterizing that
information, but it will no longer be in some
| | 03:38 | editable form that it is
in its native application.
| | 03:42 | One of the things that I recommend
you do is you get into a work style that
| | 03:47 | whenever you're dealing with
transferring data back and forth between these two
| | 03:52 | applications, always save a
version of the file in the native format.
| | 03:57 | So obviously in Photoshop that would
be the PSD file type, and in Painter you
| | 04:02 | want to always save a RIFF version of
the file and then go ahead and save a
| | 04:07 | second one that is a PSD file.
| | 04:10 | That way each application will always
have a version of the file with all of
| | 04:15 | the unique elements to that application
available for you to call back up when
| | 04:20 | you reload that file.
| | 04:23 | Another way to deal with this too is,
if you're going to transfer something
| | 04:26 | from Painter to Photoshop, and it's finished,
go ahead and save your layered master file.
| | 04:32 | But also you can go ahead and flatten it
and just send it over to Photoshop as a
| | 04:36 | flattened Photoshop file, or a TIFF file
for that matter, because you're at that
| | 04:41 | point you're not dealing with layers anymore.
| | 04:44 | The Photoshop format is very much like
a passport that let's you get back and
| | 04:48 | forth between these two entities and
do it relatively painlessly, and the more
| | 04:54 | you understand this, the less you are
going to run into situations where you'll
| | 04:57 | be pulling your hair out after you find
out you've lost some important data and
| | 05:01 | have no way to get it back.
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| Color management compatibility| 00:00 | If we are going to talk about color
management at all, we have to talk about
| | 00:04 | monitor or display calibration.
| | 00:07 | And it's not within the scope of this
title to get into the nitty-gritty of
| | 00:11 | that, but I'm going to talk about
color management assuming that you do have
| | 00:16 | a calibrated monitor.
| | 00:18 | If you don't, I highly advise you to
educate yourself about color management and
| | 00:25 | potentially invest in a
calibration device for your specific display.
| | 00:31 | Without that, you really don't
know what colors you're dealing with.
| | 00:35 | So if you're working in Painter and
particularly if you are going to go back and
| | 00:39 | forth between Photoshop, if you are
really going to be outputting artwork to a
| | 00:44 | device, you really want
probably do that in Photoshop.
| | 00:48 | Painter does have color management
settings and they are helpful, but it's
| | 00:52 | always best you use the
tool for the best purpose.
| | 00:55 | And as I discussed in the last video, Photoshop
really is the correct tool to do that kind work.
| | 01:01 | But let's assume that you don't
have a set up at all right now.
| | 01:06 | I am going to go to the Canvas menu
and we are going to go look at Color
| | 01:09 | Management Settings.
| | 01:11 | The best advice I can give you,
particularly if you have Photoshop, is you want
| | 01:16 | to mirror the same
settings in both applications.
| | 01:19 | So I am going to leave this up and we
are going to go over to Photoshop, and we
| | 01:24 | are going to go to its color
management settings, and let's just put these up
| | 01:29 | right next to one another.
| | 01:32 | If you know nothing about color
management, what I am going to give you here
| | 01:35 | would be my starting point
recommendations for how to set it.
| | 01:39 | If you do know about color management
then you can go and set these up however
| | 01:44 | you want, but obviously you are going
to want these two applications to be
| | 01:47 | speaking the same languages.
| | 01:49 | I definitely recommend that
you work in the Adobe RGB Space.
| | 01:53 | It gives you just a wider color gamut
to work in, and especially if you're going
| | 01:58 | back and forth, the fact that
you're transferring your files between
| | 02:01 | applications setup the same is
going to eliminate some headaches.
| | 02:04 | As far as Painter and CMYK, I don't
recommend it, it's there and you can work with it.
| | 02:10 | But again, if you are going to be
outputting to CMYK, you shouldn't be doing it
| | 02:13 | in Painter, it should be an
application like Photoshop.
| | 02:17 | In terms of profiles, you typically
want to use the embedded profile that is
| | 02:23 | already in a file when it comes into Painter.
| | 02:26 | Using the pop-up that uses the
embedded profile is the way to go.
| | 02:32 | And notice we are keeping these the
same in both applications, so it's keeping
| | 02:37 | the embedded profile, it's
preserving it over here.
| | 02:40 | Profile mismatch, if you don't know about
it keep that open so at least a warning
| | 02:45 | will come up and tell you
your profiles are not matching.
| | 02:48 | And even more so if you open an image
that has no profile you want to know about
| | 02:52 | it so you could at least
assign a profile to that image.
| | 02:56 | Now the other thing that is important
is the color engine. That is used to make
| | 03:01 | all of these transformations.
| | 03:03 | And there are two that are generally available.
| | 03:06 | Typically, you are going to find on Mac
system that it will be set to the Apple
| | 03:11 | color management system.
| | 03:12 | However, because I'm assuming you're going to be
working back and forth between Photoshop,
| | 03:18 | Adobe has their own color management
module and you can actually download the
| | 03:23 | color management module for
Adobe and have it installed.
| | 03:27 | So this gives you the same color
management engine on both systems, which
| | 03:32 | again, will help to eliminate any
discrepancies between the way the two
| | 03:37 | applications are managing color.
| | 03:41 | Finally you get into Rendering Intent.
| | 03:43 | Rendering Intent is basically deciding,
based on the kind of content you have,
| | 03:49 | which one of these would you want to use.
| | 03:51 | I'm typically recommending Relative
Colorimetric, although in the last year or so,
| | 03:56 | I've found sometimes I
actually prefer Perceptual.
| | 04:00 | But if you don't know anything I'd
say set it to Relative Colorimetric.
| | 04:04 | And as you get more advanced in your
understanding of color management you may
| | 04:08 | want to experiment. Perceptual would
probably be the other one that you are going
| | 04:11 | to use with the kind of
imagery produced in Painter.
| | 04:16 | That's my recommendation and if you set
both of your applications to share these
| | 04:22 | same set of conditions, you will
eliminate a lot of headaches in being able to
| | 04:27 | get accurate color out of Painter.
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|
|
14. Safety NetsYour best friend: Undo| 00:00 | In this chapter, I am going to talk
about what I refer to as safety nets.
| | 00:05 | And the more safety nets we can have
in Painter, the better it's going to be.
| | 00:10 | If you know you have safety nets
available, you're going to be willing to try to
| | 00:14 | do more than you would have otherwise.
| | 00:17 | And so that's why having as many
safety nets in place is the best practice.
| | 00:23 | And the first one we are
going to talk about is undo.
| | 00:26 | Now Painter has multiple levels of undo, and up
until this version, it had only 32 levels of undo.
| | 00:35 | But if we go in here to Performance, we
will see now we can take this all the way
| | 00:41 | up to amazing 255 levels of undo.
| | 00:44 | Now that's probably a bit extreme.
| | 00:48 | However, you are free to turn
this up as high as you like.
| | 00:52 | Just be advised, the more you turn this
up, the more memory you have to utilize to
| | 00:58 | have the space for these levels of undo.
| | 01:01 | And if you are working on large images
with big changes, you can very quickly eat
| | 01:06 | up all of your available RAM memory and
then Painter next has to go to the hard
| | 01:11 | disk to do virtual memory, and
that's never as fast as RAM memory is.
| | 01:18 | If there is any one thing that an
artist can look to in digital image and be
| | 01:23 | thankful for, it's the almighty undo.
| | 01:26 | Knowing that that's there, gives you
the opportunity to try out a stroke or
| | 01:31 | several strokes on an image to
just see what they look like.
| | 01:35 | If you don't like them, all
you have to do is undo them.
| | 01:38 | Anything that encourages you to
experiment and try more, means that you have a
| | 01:43 | potentially better outcome because you
can look at different ways you might want
| | 01:47 | to go with an image.
| | 01:48 | If you don't like it, undo it.
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| Painting on layers| 00:00 | We are talking about safety nets and
another key safety net that Painter has is layers.
| | 00:07 | I used to paint way back when there
were no such thing as layers on a single
| | 00:11 | flat file. That presented a very
different kind of thinking about how you are
| | 00:17 | going to do things, because before you
ever did something you may have had an
| | 00:21 | undo or a few undos to try things out.
| | 00:25 | Now that we are in this world of
layers, you can start to paint on multiple
| | 00:31 | layers as we looked at in the layers
chapter, and being able to do so just
| | 00:35 | isolates portions of artwork that you
may want to go back and alter later on.
| | 00:42 | Particularly, if you're in a production
environment where it's likely a client
| | 00:47 | or an art director is going to say, can
you move this, can you change this, we
| | 00:51 | need this in a different color, eliminate that.
| | 00:53 | Well, the more layered your image is,
the more you can successfully do those
| | 00:59 | kinds of things without having to do a
big exercise of repairing all sorts of
| | 01:04 | parts of an image that really aren't
what needs to be changed, but they have to
| | 01:08 | be changed in order to get to the
final request that's being asked for.
| | 01:13 | One of the ways I work is, whenever I
get to a point in a painting that I think
| | 01:18 | I may like what I am going to do, or
not, and I don't want rely on just a few
| | 01:21 | undos to get me back, I'll go ahead
and create a new layer and then start
| | 01:26 | working on that layer.
| | 01:27 | And then that gives me that safety
net. I can always get back to where I was
| | 01:32 | before I made that decision, if I
totally decide it's no good, I'm not losing
| | 01:37 | a bunch of time and work because
I painted right on top of earlier
| | 01:41 | brushstrokes that I had created.
| | 01:44 | That's how you're going to make
breakthroughs in art when you give yourself the
| | 01:48 | opportunity to try
something you haven't done before.
| | 01:51 | And a mechanism like layers
encourages you to do that.
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| Save often, save early| 00:00 | We have been talking about safety
nets and another safety net you can take
| | 00:04 | advantage of in Painter is just simply
saving. One of my phrases I've said for
| | 00:09 | years is, save often, save early.
| | 00:12 | You want to get into a habit of saving
an image while you're working on it, and
| | 00:17 | the more often you save, the more
you're unlikely to encounter the unfortunate
| | 00:22 | circumstance of, the power
goes out, you know, or a meteor hits.
| | 00:27 | Whatever it is, those kinds of things
you don't have under your control do
| | 00:31 | occasionally happen.
| | 00:32 | You want to adapt almost a second sense
where you can save regularly and almost
| | 00:37 | not even think about it.
| | 00:38 | But let's just imagine that I'm in
here and I'm painting for a little bit.
| | 00:43 | As I'm painting I'm doing one of my
safety nets here, I'm working on layers, for
| | 00:49 | example, and as I get to some point in
the image, I'm certainly going to decide
| | 00:56 | that it's time to make another layer.
| | 00:59 | So, at this point I might go
ahead and just Shift+Command+Save or
| | 01:03 | Shift+Ctrl+Save on Windows, to bring up
the Save dialog and I'll just go ahead
| | 01:08 | and save that image. So, I'll say Save.
| | 01:11 | Okay, well, I happen to be replacing
it here which sometimes you'll be doing.
| | 01:15 | If anything happens, I can
always get back to this point.
| | 01:18 | So, let's say I go on and I create
another layer, and now I go in here and I'm
| | 01:23 | doing something else.
| | 01:25 | Again, I'm going to think I
should save at this point.
| | 01:28 | Now you can enhance the ability to
save regularly by using Iterative Save.
| | 01:34 | So, if I just go up to File >
Iterative Save, when I save this now, it saves my
| | 01:40 | image but it also adds a three
number ending to it. So, now it's 001.
| | 01:47 | Let's create another layer, and we'll get
yet another exciting color for our image here.
| | 01:54 | And so, I'm painting and once again I
decide yup, I want to make sure I save this.
| | 01:59 | So I can just go right up to Iterative
Save, on Macintosh it's Option+Command+S,
| | 02:06 | on Windows it will be Alt+Ctrl+S, but
when you hit that it now has saved a new
| | 02:13 | version of my image numbered 002.
| | 02:18 | And so we continue working on our
image and once we're done with it there's
| | 02:23 | another thing you can have enabled in
Painter that is just another little safety net.
| | 02:30 | If we go up to Preferences > General,
you'll see right here, Create backup on
| | 02:35 | Save, and what that will do is save the
file, but it will also save another one
| | 02:42 | with a appended on it that says backup.
| | 02:44 | You'll not only create your file but
you'll create a backup of it, and I'm sure
| | 02:49 | we've all at least once
encountered corruption on a hard disk.
| | 02:53 | If you've saved two of these, at least
there's a chance that if one gets lost or
| | 02:58 | corrupted you still have a second one.
| | 03:01 | It doubles your disk space but unless
you're really stingy about disk space I
| | 03:05 | would recommend having this enabled
as yet another safety net on our way to
| | 03:11 | being able to create
images is the best practice.
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|
|
15. When Things Go WrongThe panic button| 00:00 | In this chapter, we're going to talk
about when things go wrong. And I don't care
| | 00:05 | if it's Painter or Photoshop, you name it,
things eventually will go wrong. After
| | 00:10 | all, we're dealing with a bunch of 1s
and 0s ultimately, and somewhere along the
| | 00:14 | way things can start to get corrupted,
or whatever, and just things go wrong.
| | 00:20 | So, I've got a few recommendations for what
you can do when things do start to go wrong.
| | 00:27 | The first one I'm going to talk about
relates specifically to brushes, and I'm
| | 00:31 | going to open up the Brush controls,
and I just want to start to play with
| | 00:36 | this particular brush.
| | 00:39 | Let's say I want to try to do
some different things with it.
| | 00:42 | So, it's based on the Artist brush, so
I'm going to go here and I'm going to
| | 00:46 | just start setting sliders and trying
things, and seeing what's going to happen here.
| | 00:55 | As I do this, I can start to get into a
situation where this is nothing like I
| | 01:03 | intended, and what were those settings?
| | 01:07 | I don't have a photographic memory.
| | 01:08 | I don't remember what happened here.
| | 01:11 | So, if you get into a situation, if
you've been playing around with adjusting
| | 01:15 | the brush trying get it some way that
you wanted, and all of a sudden you find
| | 01:19 | yourself in something like this, what you
want to do is go up to the upper left corner.
| | 01:24 | It's called the Reset tool but I like
to call it the panic button, because what
| | 01:28 | it does is clicking it brings
it back to its default behavior.
| | 01:33 | Now yes, you will lose any changes you
have but I will assume that you're not
| | 01:39 | even going to go to the panic button
until you've gotten into a situation where
| | 01:42 | the brush just isn't doing any longer
what I wanted it to, and that's the time
| | 01:48 | to go to the panic button.
| | 01:50 | You can also go into the Brushes menu, and
you can say right here, Restore Default Variant.
| | 01:57 | It's the same command, but you've got
to do a couple of moves to do it here.
| | 02:01 | It's nice to know that just like a fire
alarm in a building, if things go wrong
| | 02:06 | and you want to get back, all you've
got to do is go up here to the friendly
| | 02:09 | Reset button, click it and
you'll be back on your way.
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| Using the Shift key restart | 00:00 | In the last video we talked about what
to do when a brush goes south on you,
| | 00:04 | when you've made adjustments to it, or
you forgot you made some changes to it,
| | 00:09 | the last time you used it, and you call
it up a month later and it's not behaving
| | 00:13 | anything like you like. That's where you use
the panic button in relationship to brushes.
| | 00:18 | But what you do when Painter
itself starts to behave badly?
| | 00:22 | One thing that can happen is just
something gets corrupted, and you find that
| | 00:28 | every time you try to launch Painter
it'll start to launch and boom, it crashes,
| | 00:31 | every time over and over. What do you do?
| | 00:34 | Well, the best thing to do at that
point is do the old Shift+Restart.
| | 00:40 | So, I'm going to show you this.
| | 00:41 | We're going to go ahead and close Painter.
| | 00:43 | Let's just say it's been
crashing on me, I'm not having any luck.
| | 00:47 | I'm going to hold down my Shift key
and now I'm going to launch Painter.
| | 00:51 | So, it'll start up
initially but then you get this.
| | 00:54 | You can say, do you want to restore
Painter to its factory-default settings?
| | 00:58 | And you will erase customizations and
things, but if the alternative is not to run
| | 01:04 | Painter at all, it's better to revert to
a default workspace settings then to not
| | 01:12 | be able to work at all. And if it's
really bad, you could even say I want to reset
| | 01:17 | all of my workspaces.
| | 01:18 | I'm just going to go ahead and say
Current Workspace here and now it's launching
| | 01:22 | and anything file changes or corrupt
files or whatever that happened before that
| | 01:28 | we're causing that will go away.
| | 01:29 | For example, we previously had this set,
so that this was unchecked and you can
| | 01:34 | seek now it's coming up just as if
it's a brand-new copy of Painter.
| | 01:39 | So everything is back to the
original version of the application.
| | 01:44 | You shouldn't have to use this very often,
but in times where you just can't get
| | 01:49 | things right, the best advice I can
offer you is to use the Shift+Restart and
| | 01:56 | get yourself back to a clean
workspace and then go from there.
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| Re-importing a workspace| 00:00 | In the last video, we looked at when
things go bad, you can use Shift+Restart to
| | 00:05 | reset a corrupted or unruly
workspace back to default.
| | 00:10 | The downside of that is you are going to
lose all of the customization that you had done.
| | 00:17 | And I know for myself, over time, I
spend a lot of little tweaks getting the
| | 00:23 | interface in Painter to
work just like I want it.
| | 00:26 | I have keyboard shortcuts that I like,
I arrange palettes a specific way.
| | 00:30 | All of those things are part of my
working methods and even brush libraries, all
| | 00:36 | of these things are
contained in part of a workspace.
| | 00:40 | So in this video, we want to talk about
using the ability to save a workspace,
| | 00:45 | so that you don't find yourself in a
situation where you find yourself without
| | 00:49 | any of these materials or
special settings that you have done.
| | 00:54 | And if you remember earlier in the title,
I did show you and gave you a Painter
| | 01:00 | 12 Essentials workspace.
| | 01:02 | So essentially that's what we need here
and I'm letting you know that you should
| | 01:07 | make a habit of creating a workspace
backup when you do get to a point where you
| | 01:13 | like a particular workspace that you've
been working in, and it has content and
| | 01:17 | materials and keyboard shortcuts and
all of these things are a part of it.
| | 01:21 | Go ahead and save it and you won't be
able to see the actual command here, but
| | 01:25 | if you go to Window menu and you go to
Workspace here, if it would pop open,
| | 01:30 | there is one command there, Save Workspace.
| | 01:33 | You need to do that in order to ever
get back to it, and when you save that
| | 01:36 | workspace, you're taking
essentially a snapshot of the way the Painter
| | 01:41 | environment and all these
settings were at that time.
| | 01:44 | As you continue to use the workspace,
you're likely going to update things
| | 01:48 | and make changes and that will be
assimilated into the workspace as you move forward.
| | 01:54 | But it's at least better to have a
workspace at some snapshot in time that you
| | 02:01 | took of it rather than have to
laboriously try to reconnect and reset
| | 02:06 | everything the way it was.
| | 02:07 | And so I want to do that for you.
| | 02:10 | We are going to go ahead and close our
Startup panel, and I am going to go to
| | 02:14 | Window > Workspace, and here is
where I want to import a workspace.
| | 02:19 | Now there is one on here already, but we
were just playing around with it before
| | 02:23 | we did this segment and this one
actually got reverted back to default.
| | 02:27 | So, even it right now
wouldn't help me. So what can I do?
| | 02:30 | Well, I gave you that workspace, so we
actually have that over in our exercise files.
| | 02:36 | So if I go to Import Workspace, and we go
to chapter04, right there is the Painter 12
| | 02:42 | Essential Training workspace.
| | 02:43 | So if I launch this, I am now going to
get the workspace that I had saved with
| | 02:49 | all of those changes in it.
| | 02:51 | So here's my special settings, the way
I like to put the Tool palette, the way
| | 02:55 | I like the Brush Selection bar; all of
these things are now back to the way I
| | 02:59 | want it, but you won't have this if
you don't promise yourself and develop a
| | 03:04 | habit of saving workspaces.
| | 03:06 | Sometimes I just get into a mode where
it's like, right now I'm not painting,
| | 03:10 | I'm not doing anything I am just going
to sit here and work on my workspace and
| | 03:14 | work on the layout of it.
| | 03:16 | Maybe I realize, oh you know what,
there's a couple of Photoshop keyboard
| | 03:19 | shortcuts that I want to put in here.
| | 03:20 | So I'll go over to keyboard
shortcuts and change those out.
| | 03:24 | I may have libraries that I want to
have in my Brush Selector bar, so I'll make
| | 03:30 | sure that those are imported
and installed into this workspace.
| | 03:34 | And then once I kind of get
everything set up, I'll go ahead and save it.
| | 03:37 | In that way, I at least have that
snapshot that I've been talking about, and I
| | 03:42 | can at least get back to it.
| | 03:44 | And that's the way really to keep
yourself from really falling off a cliff and
| | 03:49 | finding out that it's going to
take quite a long time to crawl out.
| | 03:53 | So, be sure you take advantage of saving
and being able to import a workspace as
| | 04:00 | a last-ditch backup if all else fails.
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| Troubleshooting: My brush won't paint| 00:00 | Because Painter has so many variables in
how a brush can be set, it's inevitable
| | 00:07 | that you are occasionally going to run
into a situation where you go to use a
| | 00:10 | brush and it just doesn't work.
| | 00:13 | Here is a case in point right now.
| | 00:14 | I'm painting and I've talked to so
many users, why won't my brush paint?
| | 00:20 | I've mentioned this earlier and
I am going to repeat it again.
| | 00:22 | One of the most common reasons a
brush will not paint is because Preserve
| | 00:27 | Transparency is enabled and
you're trying to paint on a layer.
| | 00:31 | If I disable Preserve Transparency,
well, now my brush works fine.
| | 00:35 | But that's just one of many different
possible reasons a brush might not work.
| | 00:42 | And what I've done, I am going
to go ahead and close this now.
| | 00:46 | If we go into the Exercise Files >
chapter15, I've included a Brush Checklist,
| | 00:53 | and in my history with Painter, I
have just built this list of all of the
| | 00:57 | different reasons that I know I could
have encountered, where I find some reason
| | 01:02 | for a brush not working.
| | 01:03 | So, this is included in your chapter15
exercise folder, and I encourage you to
| | 01:10 | go ahead and print this out or just
tuck it somewhere where you have access to
| | 01:15 | it, and whenever you run into one of
those situations, pull this out and run
| | 01:19 | through the checklist, and I can't
guarantee it, but I'm fairly sure you'll
| | 01:23 | find the reason that your brush was
not painting as well as the solution to
| | 01:28 | make it work again.
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|
|
ConclusionGoodbye| 00:00 | Well, here we are at the end of the title.
| | 00:02 | I hope throughout this title I've
been able to pepper you with some new
| | 00:06 | ideas and new techniques, and you found out
some things about Painter perhaps you didn't know.
| | 00:11 | If you're new to Painter, I hope this is
the beginning of a journey for you that
| | 00:15 | will take you down a creative and fruitful path.
| | 00:20 | I want to show you before I leave just
some other resources that are available
| | 00:24 | to you to get more Painter information.
| | 00:27 | One is Corel's own web site, they do
have a page for Painter, and if you go
| | 00:32 | over, especially to this Resources tab, there's
all kinds of information here available to you.
| | 00:38 | If we scroll down, they have Tutorials
available, Product, Help, Tips & Tricks;
| | 00:45 | things you probably didn't know
about Painter from various Painter masters.
| | 00:49 | There is a newsletter that you can
sign up for, they also have a regular
| | 00:53 | schedule of webinars.
| | 00:54 | Generally, they are free.
| | 00:56 | So if you want to get more information
that way, you're certainly able to do it.
| | 01:00 | The Extras tab has some additional
content that you can download and add to
| | 01:05 | Painter to even make it more functional,
and there's also Training available in
| | 01:11 | various places around the country.
| | 01:12 | They certify trainers to be able to
teach Painter at the highest level and so
| | 01:16 | you might want to visit the Training
page for some of that and see if there is
| | 01:20 | anybody in your area that
may be of interest to visit.
| | 01:23 | And secondly, I want to
go to the PainterFactory.
| | 01:27 | Now, this is another web
site sponsored by Corel.
| | 01:31 | It is very good in terms of giving
you a lot of information about Painter.
| | 01:37 | The Talk section gives you all kinds of
information from various people in the Painter world.
| | 01:43 | For example, I've got a paint blog
on there and several of the other
| | 01:46 | Painter masters do.
| | 01:48 | The Painter Discussion is just basically
just a forum where all kinds of Painter
| | 01:53 | related information gets
discussed and disseminated.
| | 01:57 | Next up is Digital Art Academy.
| | 01:59 | Now this is an independent web site,
but I know the people there and they're
| | 02:03 | very good and it's a very Painter-centric site.
| | 02:07 | They offer courses at very attractive
pricing, so you can get all levels of
| | 02:13 | Painter training there.
| | 02:14 | If you're interested in watercolor,
for example, they have excellent
| | 02:18 | watercolor instructors.
| | 02:19 | And they also have the Painter Talk
forum which, in some cases, is actually a
| | 02:24 | place where you can go ask a question
and get an answer quicker than you'll even
| | 02:27 | get over the PainterFactory.
| | 02:29 | You go in, ask a question and before
you know it, you'll be getting several
| | 02:34 | answers and help on how to
overcome an issue that you may be having.
| | 02:39 | Finally, I'd be remiss in my
duties if I didn't mention lynda.com.
| | 02:44 | Lynda.com has several Painter titles on here
that you are welcome to explore and check out.
| | 02:51 | Some of these are older titles, but
even though they may not be talking about
| | 02:55 | the latest, greatest version of
Painter, there's still a lot of important
| | 02:58 | information in there that hasn't changed.
| | 03:01 | And if you're subscribing to lynda.com,
you might as well take the time to at
| | 03:04 | least go through those titles and you
may find some nuggets of information from
| | 03:10 | Painter 10 or Painter 11 that you
didn't hear about in the Painter 12 title.
| | 03:15 | I hope you had a great time, I know I
did and I will see you next time around.
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