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Corel Painter 11: Mastering Brushes
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Drawing with pencils and colored pencils


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Corel Painter 11: Mastering Brushes

with John Derry

Video: Drawing with pencils and colored pencils

Pencils are the universal drawing tool. I guess that more doodles, drawings, and sketches are done with pencils than any other medium. As a result, it is a look and feel that we all know well. Painter's had pencils since version 1.0, but it is only with Painter 11 that the fidelity of a simulated pencil is so close, it's scary. Let's take a look at pencils and how to adjust them. I'm going to go up the Brush Selector bar, go down to the Pencils category, and we're going to work with the Real 2B Pencil.
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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

Drawing with pencils and colored pencils

Pencils are the universal drawing tool. I guess that more doodles, drawings, and sketches are done with pencils than any other medium. As a result, it is a look and feel that we all know well. Painter's had pencils since version 1.0, but it is only with Painter 11 that the fidelity of a simulated pencil is so close, it's scary. Let's take a look at pencils and how to adjust them. I'm going to go up the Brush Selector bar, go down to the Pencils category, and we're going to work with the Real 2B Pencil.

Now 2B Pencil is a model of pencil that practically everyone uses, both in school and just anywhere and it's a very good example to start with to look at how well Painter's pencils now look in the virtual world. The other thing we are going to take a look at is the Hard Media palette. This is the new technology built into Painter 11 that enables the look of pencil to be so accurate. Let me just draw few sample strokes and draw a little bit so you can see what I'm talking about.

As I draw, I'm thinking consciously about it now but the real power behind the way this tool works is that as you start working with it, you don't even think about the technology underneath of it. It just works like a pencil and one of the things I'm doing for example is as I tilt, I start to address more of that exposed lead on the tip of the pencils so that I can actually use it as a way to apply tonality to my image and then as I point more straight up and down I get a very fine pencil point.

So tilt and bearing play a big part in the way that this particular Hard Media category of tool works and I want to show you one thing that you can do to enhance it a bit. I' going to go ahead and tilt as far back as I can and still make a mark and just do a sample so you can see the width of the exposed lead that I'm getting. I'm now going to go and go to my System Preferences and look at the Wacom driver. By default Tilt Sensitivity is set to Normal. I advise you to turn this up because what's going to happen is, and let's look at the comparison, now when I tilt and do the same thing see how I'm getting a greater sense of what's happening on the tilted pen. Turning up the Tilt Sensitivity in the Wacom driver is a way to squeeze a bit more performance out of both your Wacom pen as well as what's going on in Hard Media.

Now, Hard Media has a preview and I want to show you how this works. You'll see there's this thing called Preview Tilt. This actually does not have a control over the way the brush works on the canvas. It has to do with how the little preview of it looks so that you can make adjustments to it and I'm going to exaggerate it here so you can see this and you'll notice that we get a tip, and maybe if I just temporarily enlarge it up. It's a tip that's very dense at one edge, but as it moves away, it gets less and less dense.

That's what causing this edge to be able to perform the way that it does and so this tilt angle, as I said, does not do anything. Don't get mixed up. So I'm going to keep it turned up, so that I can see this elongated edge and show you how some of these controls actually work. The Squeeze controls are set so there is a pair for vertical control and horizontal control. The vertical controls adjust how wide this brush is going to be up and down or vertical and the horizontal controls adjust how elongated this is going to be.

In fact you can see that the horizontal maximum here is set to 100%. Watch as I reduce it. See what's happening to the width of that stroke at the top? And so if I make it shorter, I will still get a stroke, but it's just going to behave differently than it did before. Now I want to get back to the original settings of this pen so I'm going to take advantage of the Brush Selector Bar's panic button, as I call it here. And just reset my pen back to its default settings, because the other setting that's pretty important here is in this Transition Range setting.

This is where you control based on the tilt of your pen, when does the transition from the fine point to the exaggerated point start to happen and so with respect to this particular tool, it's set at 20% of an angle. So that at a 20% angle, that's when it's going to start to make the transition and it and it will finish at 60%. I find another way to sometimes get as much performance out of the pen as possible is to reduce this finish point.

So I'm going to take it more like 40% and I'll show you how it makes a difference. Actually, it's not something you're going to see but I can tell you by the feel of it. I feel like I can get to that wide edge relatively easy and it's all a matter of preference how this is set. It's really kind of up to you but you should be aware of the fact that if you don't sense you're getting the performance out of what you want a Tilted Hard Media tool to do, you'll want to go into the Transition Range and play around with this start and finish point.

Another key area of Hard Media are these profiles. This is what's determining what's happening in the look of the mark being made and you can see that the way this has transitioned. It's set to be dark very quickly but then it ramps off and reduces in density. So what these profiles are, are just a graphic display of density as viewed in a 2D side-view manner. If we take this one, you'll see that the look of the pen is changing because now it's got a soft edge, transitions to a hard edge, and then it goes back out to a soft edge and each one of these is going to provides a slightly different profile that it is going to change the look of the pen.

You can see on this one now where its highest density is in the center, so it's got a very shallow amount of density at the outer edges but it's complete in the center and that's exactly what we're seeing in this pen. You can see the greatest amount of density lies right in the center of the stroke but either edge is softened out to less density. So you can also play around with how the stroke looks based on the actual profile that it's using. So to finish up the real category of pencil, it is what makes such a profound difference in the way that tools work and you'll find throughout many categories that a variant will start with the name Real.

That signifies that it's using the Hard Media tools to adjust how its shape is made. The one exception to that rule happens to be in Real Media, which was an earlier category, and those happen to start with Real as well. But as a category and as the way those tools are set up, they have nothing to do with Hard Media. So other than the Real Media category, anywhere else you find a variant preceded by the term Eeal will indicate to you that it is a hard media-based brush that you're about to use.

The new Hard Media palette in Painter 11 is what enables this very sophisticated control over the look of media that have a non-regular edge and the pencil is a great example of that but we'll find out in the rest of the Dry Media category that it applies to other tools as well.

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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