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Corel Painter 11: Mastering Brushes takes a deep look into the variety of mark-making tools found within Corel Painter, a software application that allows you to create painterly images that look like they were made with natural (non-computerized) painting media. Through a comprehensive demonstration of different brushes, Corel Painter guru John Derry shows how to adjust multiple variants to achieve desired results. Just like an artist who holds a paintbrush or piece of chalk at a particular angle to create a specific mark, John demonstrates with both live action and within the application how to modify brush variants for maximum expressive impact. From bristle media to ink media, watercolor to utility media, he explains how to get the most out of this drawing and painting application. Exercise files accompany this course.
In this movie we're going to continue on building the variant that I started in the last movie. In that movie I basically concentrated on the stroke and graphic appearance of the brush and that's where we are now. You can see it on the screen. It uses the Rake stroke and the along each of the rake teeth in that stroke, it has a random circular dab that's been applied. You get a very interesting almost like an abacus look to the stroke.
Now in this movie I want to concentrate on playing with how color is going to be dispensed from the stroke as well as what happens as it's applied to color that's underneath of it. I'm going to go ahead make a new layer that I can work on and I'm going to take some color and I just want to lay it down here quickly, so I have some sample color underneath that I can test when I play around with how I'm going to organize the color behavior. And the best way to do that is to go to the Well palette and I already have an idea what I want to here.
When we were in the bristle media chapter in the Oils movie, I've showed a technique where you can basically use pressure with a brush so that at light pressure it wants to move color, but at heavier pressure it applies color. So I'm going to set up my settings to do just that just that. I want these to both be pressure based and Resaturation I'm going to take down a bit here. I want to have Bleeds all the way at 100 and then I'm going to do this little trick and again if you want to find out more about this, go to the Oils movie in the Bristle Media chapter.
This is an Invert checkbox that has some interesting characteristics that it will create. So let's try this out and okay, I'm picking up color. I want to put up a third different color here. It's basically working. It's not quite the way I want it. I can further tweak this by playing with the type of method I'm going to use on this. The thing I want to indicate here too be that I like a brush and not every brush, but some brushes like this one where I have it be very creative, you want a bit of unpredictability in it.
That's one reason the random size works well here. You never know what one stroke or another size is going to be with those little beads along each one of them. So that's somewhat unpredictable. It falls within a basic set of rules that it's not going to do anything crazy, but there's some randomness in it and right now I've got a bit of unpredictability in the way the color is picking up. I want to have some more control over it, but I don't mind the fact that you don't always know exactly what you're going to get. That just makes it a much more expressive creative brush.
So let's go to the General palette and I know from experience that using a Drip method here can do a very interesting thing. So I'm going to do Drip and I'm going to try Grainy Hard Drip here. You can see what starting to happen is it really breaks up the stroke and again in a fashion that is somewhat random. So now I can slowly move towards getting my color and I've got even there, right there you see a really nice quality that happens.
What's happening is the Drip method is interacting with the paper because it's a Grainy subcategory and it imparts even more complexity into the stroke so that it's even more gnarly and gritty if you want to use that term. So now I've got the brush where I have it picking up and applying paint the way I want it. In the next video we will go through the fine-tuning process where I've got the basic character of the brush established and it's just a matter of kind of tweaking the knobs a bit to get to exactly what I want.
So we'll look at that in the next video.
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