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In Painter 11 Essential Training, John Derry, one of the original Painter authors, demonstrates basic and advanced creative techniques that can get beginners up and running. He also shows old hands the new features that can get a creative vision out of the head and onto the canvas. John demonstrates how to establish an easy workflow in Painter by using a Wacom tablet, and he explains how to create, edit, and publish projects. Exercise files accompany the course.
Download the Painter/Photoshop Consistent Color Management PDF and the Brush Troubleshooting Checklist PDF from the Exercise Files tab.
In this video, we are going to take a look at marbling. Marbling is a command that's actually been in Painter since all the way back to version 2, but I think over the years it's kind of gotten buried in the closet and a lot of people either don't know it's there, or they look at it and they don't understand how it functions and as result it just kind of stays buried in the closet, but it's a really interesting command and I'm going to dust it off here and show you how it works. But to get started, I'm going to go in to another command associated with marbling, which is Blobs. Now you think blobs, what does that have to do with marbling? Well, why don't we get this started and I'll show you what I'm talking about here? I am going just to create a set of blobs in here, so you can see basically what it looks like.
So it's just randomly dispersing these blobs, and you can see that there always kind of self repelling. Every once in a while they'll overlap, I can even see a little bit of a division there, but for the most part, it's trying to treat this liquid almost as if it's water and this is oil based, and water and oil do not mix. Now, I'm going to make this a little more interesting. Now I want to start with a color and in fact that's one of the things that they would do in marbling. They would have some kind of base color that they would start with, and then they would start applying these various levels of color into it with the oil and water principle at play.
So I'm going to go ahead and use the Fill command, which is Command+F or Ctrl+F, and I'm going to fill with the current color. So now we've got a nice basis for applying this, you could do it on white, but I don't think it would be as interesting. I like to take a middle toned color to start with and then start applying. And now it's all a matter of what colors do you choose to put in here, and there is no rule. I mean any set of colors would work, but sometimes I like to stay more in a close color range, within one-half of the color wheel. That will give you a set of colors that have a fairly close relationship, and I find that works quite well.
So we are going to go back and we'll go to the Blobs command, and for now, I'm going to do less. So I'm going to make 40 blobs, so you can control the number of blobs, and I'm also going to play with the size, and to start off I want to little bit bigger. So I'm going to go here, I'm just going to type 40, and then this will may go up to 80, and let's go ahead and hit OK. Now it's starting to encode these blobs into our background. And I'm just going to take few more colors here.
Let's go back, apply Blobs again, I'll do with the same this time. And actually one way I can do this is just kind of keep moving this over, but again, I'm just making this up as I go. It's really something that is totally under your control. Let's go to Effects > Blob one more time here. If you've open this dialog up, you can still go in here, and change your color, so don't feel like if you are in a dialog it's mottle and there is no way to do anything, you still have access to all of this color control. So let's maybe now take this and make it little smaller.
So I'm going to make this 30 to maybe 60. And now I'm playing with numbers, I kind of know these work there. Again, there is no magic number here, but when you've played with this enough, you start to get a sense, well, I'm going to start bigger, and work smaller. That's how I like to work but again anything goes here. Now finally, I'm going to put something close to white in there. I might go back around now a little bit more to the blue side of thing. So it's not going to be full white, but it will be close, and I'm going to make these smaller. So I'm going to make the Maximum Size 40, and we'll make the Maximum Size 20, and I'm going to put a rather large amount.
I'm going to do 120. So we'll just do a larger number here. It will kind of pepper it a bit. Then finally, I'm going to take a very dark color here, very dark blue, and we'll go back one more time, and I'm even going to make this smaller, so I'm going to make this about 10, and maybe just 30, and maybe we'll put about 150 over there. So there we've got a nice stone pattern to start with. Now we are actually going to apply marbling.
Traditional marbling works on the theory of, once you've got this pattern, floating on a pan of water, you take a series of styli based tools that are like combs and the rakes, and you run them through here, and basically what's going to happen, it's going to pull on this pattern in a direction that the comb or rake is being pulled through, and each of those little styli, little tiff are in the water, and it pulls and it just drags all of this along with it. So let's go to the Marbling command, which is also under Esoterica here, and it's right at the top, Apply Marbling.
This is where I think some people kind of get thrown off. They don't understand what's happening here. And one of the things that it does show me, for example, is the direction the rake is set to go. You can see how I can change this and obviously top-to-bottom, bottom-to-right, you're not going to see a directional change, but you can see here how I can control which direction a rake gets pulled through this, and right at the top, one of the things I might want to play with is the Spacing. So I can have a tighter spacing that's going to pull this, and in this case, I do have a sense it's going to go from the right side towards the left side.
And let's just try what we've got here, so you can get a basic idea, and there is just a quick look at pulling a rake from the right to the left, through this pattern to create this. And so, I'm going to undo it here, and let's go back one more time to Apply Marbling, and so there is a lot of play that can happen right in here. If you look up marbling patterns on the Internet, you'll find all kinds of information about some of the recipes and what not.
But rather than have you do that, there is actually in the Load command here, a whole number of recipes that have been created already. And for example, let's look at the Horizontal Get Gel, and actually that means come and go in Arabic and I'm just going to go ahead and do this, but I'm also going to tell you about the Quality slider. When it's on the lowest setting of 1.0, you get a fairly kind of jaggy result. This isn't really final quality. So if I undo and repeat that command, but turn this up, I'm going to get better quality.
I'm going to go ahead and turn it all the way up, and depending on your machine, how complex the particular pattern is, these can take a while to finish. So that's a traditional marble pattern, right there. That's the Horizontal Get Gel pattern. I am going to undo it, and let's go back again, we are going to go ahead and take a look at this again. This time I'm going to do the Horizontal Bouquet Comb. This actually is built upon the Horizontal Get Gel pattern. It's just going to go an additional step.
So let's say OK, and we'll turn Quality up here, let's say OK, and it's going to go through and it's going to do that pattern, but it's going to do an additional final pass that pulls a comb through it, so most of this was achieved by going horizontally, but at the end, and it took a closely space comb, and pull it through from the top to the bottom to get this pattern. And once again, if you have seen marbling this is very authentic to the actual way that the pattern ends up looking. And for the piece de resistance, we are going to take a look at the Bouquet.
This is a very traditional fancy pattern that is created with traditional marbling. Notice I've turned Quality back up here again. So we are going to apply this and when you see the result here, I think you will instantly recognize this as a very popular or well know marbling pattern. So the idea behind marbling is it gives you the tools and it yet maintains enough of the randomness of the original art form that you'll never get the same result twice.
It's impossible to never get anywhere near the same result. Now I'll show you one last little trick and that is if I go into my Effects and go to Tonal Control, I'm going to Adjust Colors. I'm going to set this back to 0 to start with here. The one I want you to look at is the Hue Shift. This lets me just rotate all of the hues in this image through to a different spot, and maybe I'll punch up the Saturation a little bit for this, we'll hit that, and that's maybe a bit oversaturated, maybe if I turn it down a bit.
But the idea here is even one marbling pattern, you can play with and just kind of offset and adjust the colors that are being applied to it. In fact you can even use filter that I showed you earlier, the Match Palette filter. That could be another way in which you could change the appearance of a marbling pattern that's already been generated. So marbling pattern is kind of it's own little world and Painter that you can go into and have a lot of fun with and just keep in mind, if you are going to use this for print purposes, you're going to have to make an appropriately large image, and as a result those times to kind of bake these patterns and finish them, you can start to take a bit of time.
So just be aware in advance that high quality, high resolution images are going to take a little while to do. So I hope you'll investigate marbling and use your marbles.
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