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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.
Cloning is a concept that revolves around an original or source image in a clone or destination image. Cloning begins with an existing image, the source, and creates a clone file, which is the destination image. By using Cloning brushes or setting a brush to act as a Cloner, the color of the source omage is funneled through the cloning brush to the destination omega imparting expressive character of the brush to the resulting imagery. We will take a look at this file and create a clone of it in a couple different ways.
So I'm going to go up to the File menu and go to the command Clone and when I click on it, what happens is we get an exact copy of that original image. This is why I like to use the terms source and destination image because it can be a little conceptually confusing as to what is going on here. As long as you always think of your original imagery as the source image and the clone that is created as the destination image, it's a much easier way to keep track of what's going on with these two files.
Now I'm going to show you how you can make this a little clearer. I'll close this and will go up to the File menu once again. This time I am going to use the Quick Clone command. The difference is Clone simply makes the exact copy and for that reason, it can be somewhat confusing. By using the Quick Clone command, it creates a copy of the image but something different has happened here, as you can see. In this case, it's made a copy of the image but there's nothing on this image and if I turn off Tracing Paper, which is located up here in the upper-right corner, I can toggle this Tracing Paper on and off, and you can see that this destination image does not have the source image in it and it actually showed up with Tracing Paper on.
So some settings were created to have this set up in a certain way and the way that's done is in the Preferences menu, under General. You have some controls here about how you set up Quick Clone to behave. And as you can see, we have it delete the image from the clone. It turned on Tracing Paper and it actually switched to the Cloner Brushes in the Brush Selector Bar. But you have control over these, so if I didn't want to switch to those brushes, maybe I didn't even want to turn on Tracing Paper, but I wanted to leave the image devoid of the original imagery, I could set up my behavior as I've just done here and say OK, and let's go and shut this off and we will switch back to some other brush.
And now, when I go and use Quick Clone, it respects the behavior that I have just assigned to it. So now I get a copy of the image. There is still a unique association between the source and the destination. It's just now when I apply a brush to it, if it's set up as a cloner, it's going to pick up the underlying color from that source image and apply it to the blank destination image. So you have many options in the way that you can set up the way a Source and Destination image are created and the behavior of what's going to happen once you've created this relationship between the source and the destination.
So the Clone command when it's used in concert with brush variants, for example in the Cloners category, it offers a way of quickly duplicating an existing image, rendering the character of that selected cloner variant, and you could also as I've just done here, actually turn any brush into a cloner by simply going to the Colors palette and clicking on the Clone Color button to indicate that you want color to come from the source imagery. So you've got all of these possibilities bound up in the way that cloning works and it's just, as I've said, the best way to keep track of a clone image is really to think of a original image as your source and the image that you have created as a clone as the destination, and we will be looking more at cloning when we get to the Utility Media chapter.
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