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Corel Painter 11: Mastering Brushes
Watching:

Bristle Media in action


From:

Corel Painter 11: Mastering Brushes

with John Derry

Video: Bristle Media in action

For bristle media we are going to take a look at brushes. Brushes are really the basic form of tool used within all bristle media. Basically, what we were talking about are stylus based instruments that use bundle of hairs as a reservoir to contain or hold a medium like oil or acrylic paint. The idea behind the bristle reservoir is that it is able to dispense fluids on a medium over time. Another characteristic of the brush is the way that the brush tip shape changes based on the artist's hand pressure and rotation of the stylus, which contribute to the expressive qualities of the brush.
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  1. 2m 2s
    1. Introduction
      1m 0s
    2. Using the exercise files
      1m 2s
  2. 22m 31s
    1. Defining categories and variants
      2m 14s
    2. Understanding dabs
      3m 35s
    3. Manipulating grain
      5m 34s
    4. Defining brush stroke methods and subcategories
      4m 15s
    5. Modifying stroke behavior with Expression
      2m 37s
    6. Cloning images
      4m 16s
  3. 28m 59s
    1. Understanding the anatomy of a variant
      5m 10s
    2. Modifying a brush with the Brush Creator
      4m 16s
    3. Modifying a brush with the Brush Control palette
      4m 37s
    4. Which is best?
      1m 47s
    5. Setting up a stroke testing palette
      6m 3s
    6. Manipulating pressure adjustments
      4m 37s
    7. Saving a brush variant
      2m 29s
  4. 52m 44s
    1. Bristle Media in action
      3m 55s
    2. Painting with acrylics
      5m 35s
    3. Painting with gouache
      6m 37s
    4. Modifying resaturation and bleed with oils
      8m 6s
    5. Painting with Artists' Oils
      6m 52s
    6. Modifying the bearing expression with palette knives
      5m 59s
    7. Using RealBristle brushes
      3m 23s
    8. Painting with impasto
      8m 5s
    9. Using loaded brushes
      4m 12s
  5. 1h 9m
    1. Utility Media in action
      2m 43s
    2. Painting with airbrushes
      8m 50s
    3. Using an eraser as a mark-making tool
      3m 44s
    4. Using blenders
      5m 34s
    5. Using cloners
      7m 7s
    6. Distorting an image with the Distortion brush
      7m 15s
    7. Simulating artist brush styles with the Artist category
      6m 29s
    8. Making common photo adjustments with the Photo category
      1m 51s
    9. Using sponges and modifying captured dabs
      8m 4s
    10. Using FX brushes
      5m 53s
    11. Painting with pattern pens
      6m 45s
    12. Painting with the image hose
      5m 7s
  6. 27m 29s
    1. Dry Media in action
      2m 53s
    2. Drawing with pencils and colored pencils
      7m 37s
    3. Painting with chalk and using directional paper grain
      8m 16s
    4. Painting with pastels
      6m 19s
    5. Drawing with crayons
      2m 24s
  7. 26m 16s
    1. Ink Media in action
      2m 46s
    2. Configuring the Leaky Pen
      5m 0s
    3. Drawing with calligraphy pens
      6m 12s
    4. Using felt pens and markers
      4m 38s
    5. Exploring surface tension with liquid ink
      7m 40s
  8. 23m 7s
    1. Watercolor in action
      3m 24s
    2. Painting with digital watercolor brushes
      5m 25s
    3. Painting with the traditional watercolor brushes
      8m 28s
    4. Painting with the Tinting brush
      5m 50s
  9. 18m 20s
    1. Selecting and modifying an existing variant
      6m 13s
    2. Adjusting the color behavior of the new variant
      4m 0s
    3. Fine tuning and naming the new variant
      8m 7s
  10. 22m 29s
    1. Creating a new category and copying variants into it
      6m 25s
    2. Packaging brushes for distribution
      7m 54s
    3. Pruning a library
      4m 9s
    4. Understanding the Master Brush Library and the User Brush Library
      4m 1s
  11. 24s
    1. Goodbye
      24s

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Corel Painter 11: Mastering Brushes
4h 53m Intermediate Jan 28, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Comparing real-world brush behavior with brushes in Painter
  • Saving a brush variant for future use
  • Using loaded brushes
  • Using sponges and modifying captured dabs
  • Drawing with pastels and chalk
  • Painting with the traditional watercolor brushes
  • Packaging brushes for distribution
Subjects:
Design Digital Painting
Software:
Painter
Author:
John Derry

Bristle Media in action

For bristle media we are going to take a look at brushes. Brushes are really the basic form of tool used within all bristle media. Basically, what we were talking about are stylus based instruments that use bundle of hairs as a reservoir to contain or hold a medium like oil or acrylic paint. The idea behind the bristle reservoir is that it is able to dispense fluids on a medium over time. Another characteristic of the brush is the way that the brush tip shape changes based on the artist's hand pressure and rotation of the stylus, which contribute to the expressive qualities of the brush.

Now the first thing you want to do with a brush is load the bristles with paint. Once you have the paint on the brush you can apply this medium to a surface, which is typically canvas like this. Depending on the constitution of the paint itself, this can be a very opaque medium or it can be thinned out to where it's very transparent. These are qualities that can alter or change the expression of the marks made with the brush. The amount of paint applied to a brush's reservoir directly affects the character of the resulting stroke. The reservoir is not infinite and eventually runs out.

The artist can intentionally use this fact to charge the reservoir with smaller amounts of paint. The applied strokes will run out of paint quickly leaving a short stroke with a tail of decreasing color until it tapers out. This is a standard look in painting. There are different types of brushes, which could be used in the service of creating different kinds of mark making. For example, a fan brush is not as good at applying paint as it is for spreading already applied wet paint on a canvas. This lets you create subtle gradations of color or tonal variations not easily accomplished by direct application.

For this reason it is made in a wide flat shape optimized for light brushing. You've also got brushes with round tips that taper to a point. This brush shape can go from a very fine stroke to a wider stroke depending on the level of pressure from your hand. In addition, there are wider flat brushes that are generally used to apply paint to larger areas. Each of these brushes allows you a different way to control how you apply paint onto your medium. One of the techniques that artists will use is to mix multiple colors of paint, and then do what's called loading the brush.

This is where the artist will pick up these multiple colors across the bristles of the brush. When the brush is applied to the canvas the resulting stroke will contain striations of the loaded colors, introducing greater complexity. The ability to vary the stroke width and the deposition of color within the stroke provides a wide range of expressive potential. You've also got a technique that can be done with a dry brush. The artist can take a very light amount of paint and then apply it to a textured medium and apply paint only to the topmost portion of the surface by using light pressure strokes, leaving the lower areas of the canvas untouched.

This accentuates the texture of the canvas weave, which visually creates a partial screen of one color over another. The two colors are then mixed optically by the viewer's eye. For example, when yellow is lightly applied over some existing blue the optical result is the appearance of green. In reality there are two distinct colors, but the eye and brain optically mix them together to perceive green. A majority of Painter's brush controls are dedicated to various bristle effects as we'll discover in this chapter.

Find answers to the most frequently asked questions about Corel Painter 11: Mastering Brushes.


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Q: In the chapter 9 video "Understanding the Master Brush Library and the User Brush Library,” at the beginning of the video the author states that the demo will be on a Mac but that the Windows file system information will be displayed as well. The Windows path information never appears. What is the correct file information for using this tutorial with Windows?
A: Unfortunately, the Windows portion is indeed missing from the video. Below is the pertinent information.

Painter 11 Windows Master Library Location: 
Windows XP: Program Files > Corel > Painter 11 > Brushes > Painter Brushes 
Windows 7 or Vista: Program Files (x86) > Corel > Painter 11 > Brushes > Painter Brushes 

Painter 11 Windows User Library Location: 
Windows XP: Documents and Settings > [User Name] > Application Data > Corel > Painter 11 > Default [or custom workspace name] > Brushes > Painter Brushes 
Windows 7 or Vista: Users > [User Name] > AppData > Roaming > Corel > Painter 11 > Default [or custom workspace name] > Brushes > Painter Brushes 
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