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Corel Painter 11: Mastering Brushes
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Fine tuning and naming the new variant


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Corel Painter 11: Mastering Brushes

with John Derry

Video: Fine tuning and naming the new variant

In the last two movies, we've been building this variant. In the first one, I basically created the graphic look of the brush and then in the second one, we adjusted principally the well, as well as the method that we're using here to control and adjust the color behavior of the brush, what happens when it's applied to color and what kind behaviors do you get. Now it's time to fine-tune. I always find this is kind of the fun part, because this is where you can start to apply some what-ifs to various behavioral aspects of how the brush works.
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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

Fine tuning and naming the new variant

In the last two movies, we've been building this variant. In the first one, I basically created the graphic look of the brush and then in the second one, we adjusted principally the well, as well as the method that we're using here to control and adjust the color behavior of the brush, what happens when it's applied to color and what kind behaviors do you get. Now it's time to fine-tune. I always find this is kind of the fun part, because this is where you can start to apply some what-ifs to various behavioral aspects of how the brush works.

At this point sometimes it's just serendipity. We'll run into an interesting combination that you hadn't even thought of. One thing I do want to point out here, because it could be confusing, it looks as if I've been painting on this layer, and before I switch to the Drip method, I was painting on a layer. However, let me make a new layer, I'll show you this. Using the Drip method cannot operate on a layer and I went into this kind of knowing that I wasn't going to necessarily have a brush that was capable of working on a layer.

The Drip methods and the Plug-in methods are the two methods that basically don't understand what a layer is. So this brush is really designed primarily to work on the Canvas layer. Although, I may be able to make an adjustment and have a second brush that is layer aware. To avoid getting mixed up here, I am going to eliminate the layers and let's just try what we've got so far. The one thing that I think might help this is to put a bit of color variability into the stroke.

So I am going to crank this up, and now this starts to introduce some interesting variation within all of the little abacus dots, so to speak, and maybe even some color variation. Yes, now we're really getting to an interesting kind of behavior here. I'm going to Select All, Delete. You can see that there is a really interesting color here. Now one thing I recognize I could do is, this has a very hard edge on both sides, which may be something that's desirable, but I actually want it to have kind of a softened edge.

If I go back to the Rake palette, there is a control here where I can do what's called Soften Bristle Edge, and what this will do is you can see now the edge is kind of taper off in Opacity. So that helps us quite a bit. I want to play with this with some various colors at this point just to see how they're playing. What I like about this particular brush is that when I've have done enough of this that looks, in many ways, very much like a smeared and loaded brush type oil, but other levels, you see these individual dots, so it's an obvious digital brush, and it's kind of interesting that it exhibits both the traditional look but it's also got some hallmarks and they tell you well, this isn't a traditional brush, there is something unusual going on here.

And that's kind of unique that it exhibits a little bit of both worlds. It's digital and it's got a lot of the character that you find in a traditional brush. Now the other thing I can do, because I was using the Drip and this Grainy Hard Drip, that means that I can even introduce some more variability into the equation by what paper I use. Let's use something that's fairly regular, this Artist Canvas for example. I'll open up the palette, and one thing I can do here is I can adjust and play with the contrast of this, and by pushing the contrast, so I've got more distinct light and bright areas.

It's starting to do something different than it did before. The other thing I can do, if we go to the Random palette, you can have the Brush Stroke Grain be randomized. Right now there is a very-- let's take a darker color so you can see it. The grain pattern is very regular and it's showing up as a very regular element within in there, which can be desirable, but I'll show you another kind of randomizing factor here is to turn on this Random Grain pattern and I'll do it a little bit here.

What's happening now is that grain is changing for every dab of the brush to a new random location within it. So instead of lockstep kind of grid pattern that makes it up, it's actually being thrown around and randomized. So I get another unpredictable element. Within some limit I know what it's going to do but I never know at any application of the stroke exactly what I'm going to get. And then I can play around with the brightness and whatnot to get a very different character if I want. So just by changing how the brush interacts with the paper through its brightness and contrast can get very different results.

So now we are seeing very little grain because it's so flattened down in contrast, there is not much before the Grainy method to actually do anything with it. But as soon as I give it a more contrast, ee now it's having an influence on it. The more aggressive the grain gets, the more of a role that plays into look. So this brush has a lot of different characteristics going on. To make it a fairly complex brush that you can pick up and use but you never know from one stroke to the other exactly what you're going to get.

And as I said, I really like that quality. It makes it a very interesting brush to work with, and it's much like a real paintbrush. You can't know exactly how a loaded brush is going to decide the drop off of the brush and onto the canvas. So the artist has some control, but to another degree he is at the mercy of the medium. This is a digital media, but it's got those random aspects built into it so that it does have a behavior similar to a traditional media. Now the last thing I want to do is I want to give this a name.

The naming convention in Painter has typically been-- if this was a Painter brush, it'd be called like a Grainy Rake Variable brush, because you want to apply vocabulary elements that kind of describe what the meaning of the brush is. But I also like to give brushes more interesting names that make people want to see like what is that? And because of this kind of abacus quality, I figure a good name for this is the Abacus Brush. So I'm going to go ahead and save this now. I'll save my variant and I'll call it the Abacus Brush.

When I go to what is the Abacus Brush in this category, its default settings are exactly what I see here. So we've gone through the process of taking an existing variant, which is a good way to start because you can take some of the characteristics that you already know you want by choosing a variant that has some of those characteristics, and then go on to modify the behavioral aspects of it, especially when it comes to how the colors interact. Finally, I find that there is a fine-tuning process that goes on.

I may even get away from a brush and I'll try it and leave it and come back and I'll find just a different mindset. You may decide oh, I want to adjust here or there. So there are probably some more adjustments I will do to this and some brushes are never final. You're always somewhat adjusting them. But hopefully, this methodology I've gone through gives you a roadmap for how to start constructing your own variants. So I hope you'll tape this together and start doing your own brushes.

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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