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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 chapter we'll take a look at ink media. Ink as an art medium has been around for a very long time. One of the principal visual components of ink is line. Traditionally, the combination of a nib and a penholder have acted as the stylus-based instrument used to apply ink to a surface. The nib itself acts as a reservoir for the ink. Hand pressure causes the ink to flow from the nib's point to the paper. There are a variety of nib profiles that enable a wide range of expressive line qualities.
The type of line quality the artist wants will depend on the nib used. I'm going to place a bit of ink on this pen nib. Now when I start to draw with it, I get a very nice fine line. Depending on how hard I press, I can vary the width of the line. Many of the pens in Painter also utilize pressure to accomplish the same kind of line width control. Another ink based medium is markers. These are more contemporary ink tools that originated in the 50s.
Markers used a transparent ink colors that employ a subtractive color model. I'll apply a stroke of yellow. And now some blue. The result is green, which is consistent with the subtractive color model. You can get quite an expressive range out of markers that have angled chiseled tips. How I position the angle and rotate the marker will vary the line quality. Painter's Marker category mimics this same multidimensional control along with a subtractive color model.
Finally, we're going to take a look at a unique property of ink, surface tension. Another way to think of surface tension is ink's tendency to be self attractive. I'll put a bit of ink on the paper with this dropper. Then place another drop nearby. You can see how when the second drop is close enough to the initial drop, they touch and combine. Painter's Liquid Ink layer employs a simulation of surface tension to visually re-create the same behavior. You often see this behavior with beads of water on a windshield or a waxed surface.
The ink media tools and Painter cover all of the tools that make marks in the style of ink with a variety of different tips that simulate traditional nibs as well as getting into subtractive color like you can find in markers. Finally, the Liquid Ink layer let's you play around with the surface tension based physics of ink. In this chapter, we'll take a look at how Painter recreates these traditional tools.
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