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Ink Media in action

From: Corel Painter 11: Mastering Brushes

Video: Ink Media in action

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.

Ink Media in action

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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This video is part of

Image for Corel Painter 11: Mastering Brushes
Corel Painter 11: Mastering Brushes

58 video lessons · 7329 viewers

John Derry
Author

 
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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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