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Modifying resaturation and bleed with oils

From: Corel Painter 11: Mastering Brushes

Video: Modifying resaturation and bleed with oils

In this video, we are going to take a look at oils. Oils are the archetypal painting medium, so they justifiably get a lot of attention in Painter. One desirable characteristic of oils is the way that you blend colors. The result is this very creamy quality. Now I am going to show you how some of the Oil category variants play around with this creamy quality so you can add it to your own bag of tricks. So we are going to go to the Oils category, and I am specifically going to work with the Fine Camel 30 and what we really are going to be paying attention to in this video is the Well. What is the Well? Well, well, well, I'm going to tell you.

Modifying resaturation and bleed with oils

In this video, we are going to take a look at oils. Oils are the archetypal painting medium, so they justifiably get a lot of attention in Painter. One desirable characteristic of oils is the way that you blend colors. The result is this very creamy quality. Now I am going to show you how some of the Oil category variants play around with this creamy quality so you can add it to your own bag of tricks. So we are going to go to the Oils category, and I am specifically going to work with the Fine Camel 30 and what we really are going to be paying attention to in this video is the Well. What is the Well? Well, well, well, I'm going to tell you.

The Well is composed of two characteristics, Resaturation and Bleed. Resaturation is the color coming or flowing from the brush. So Resaturation controls color coming from the brush. Bleed on the other hand controls picking up any color that is found underneath the brush and I am going to go through a couple little short exercises here to explain how each of these work. The first thing we are going to do is let's just eliminate Bleed altogether, so I am turning it off.

And all we are dealing with is Resaturation at this point and if I have a very little Resaturation or none, well then the brush can't lay down any color. All it can do is it will pick up some color even at 0, which we will get into a little bit of detail later. But the idea here is no color, no matter what I pick, is coming from the brush. As soon as I give it any ability to apply color, color starts flowing through the brush and the higher Resaturation is, the more it will flow.

So at 100% it's just coming completely off the brush. So you control the flow of color through Resaturation. Then we've got Bleed and as you saw a little hint up there a moment ago, if there is no Resaturation but there's Bleed, even at 0 it will pick up whatever color it finds. What's a little non-intuitive about the way the Bleed slider works is the higher it is the less it bleeds and I'll show you. If we turn this all the way up to 100% and I go through here, you see how it is pulling the color a bit but not very aggressively.

As this Bleed number goes down, it starts to get more and more aggressive till the point that when you get to 0 it just will infinitely pick up whatever color. And I could sit here and draw all day, and it will keep pulling this color forever. But even at 1% I can pick up a color, and you'll see how it's fading out over time. So at 0 Bleed is infinite pull of color underneath of it and as that number gets higher and higher, it actually gets less aggressive in the way it pulls.

So we've got two factors. We've got the ability to add color to the canvas by Resaturation and we've got the ability to pull or pick up underlying color with Bleed. Now here's the interesting thing. These things are always going to work in a ratio with one another. So how these two values are set are always interrelating to one another and if whichever one of these two values is higher, it's going to have precedence over the other one. So if Resaturation is higher here, it's going to tend to want to apply color, and picking up color is something that you can hardly do at this point.

But if Resaturation is lower than Bleed, then Bleed has some ability to pick up color and we are almost not seeing it there. But at some point Bleed-- there is just a little bit of it going on right there. I almost got to zoom up to see it but you can see how there's actually some red in that stroke until it becomes completely blue. So in this case Bleed actually is taking precedence over Resaturation because the ratio is set that this value is higher than this value.

Okay so far so good but now we can introduce the notion of pressure into these, and it's already been set that way, but at lighter pressure these things will sometimes do more or less than the other. And a good example is if Bleed is set very low, you see how I am starting to pick up a bit more color and again because it's so small of a brush, you can see how some color is getting picked up and as Bleed gets lower and lower, that pull becomes a bit higher.

Now the whole stroke is starting to look a little purple. These are very subtle kinds of changes that can be made but it does appear in the brushes. Now we are going to show you one other change that can happen here and you'll see that in each Expression control there's a little checkbox after it. What this checkbox does is it reverses what I call the polarity or the meaning of Pressure, and by that I mean that I will show you quickly by going to Size.

If we go to Size, and what I want to make sure is that we're not doing anything funny here so I am just going to temporarily make this brush be a color applying brush. It's set so that at light pressure not much happens but as I press harder and harder I get a larger brush. If I Invert that meaning, now at the lightest pressure I am getting the biggest brush but as I press harder and harder, the brush actually gets smaller. So it's kind of Alice in Wonderland where it's doing the opposite of what you normally would think it would do.

But this ability to invert the meaning of a expression actually can have a lot of use, and that's what I'm working towards showing you here. We are going to do is we are going to Invert Bleed. I am going to turn it all the way up to 100% and we are going to take Saturation back down to some low level. I think we will leave this setting to 7 that it was set at earlier. So we're going to now have a situation where at light pressure, I'm mostly picking up and moving color but as I pressed harder, I'm now applying color.

Let's get a third color here so it's a little more obvious. See, right now, the brush is almost entirely dedicated at light pressure to moving color, but as I press down, it slowly turns and transitions into a brush that's picking up color to a brush that's only applying color. The net result of this, if we go back to our 100% view, is a brush that has a very interesting characteristic. And I don't mean so much change in size here. I'm going to adjust my Size up a little bit so that I don't have a very small minimum size.

Now I have a brush that at light pressure is very creamy and it mixes the colors but as I start to press down, I'm now mixing those colors together until I get to a point where I am totally applying colors. So this is kind of an Alice in Wonderland brush but the idea of it is that you can get these very creamy blends of color that just wouldn't be possible any other way. In fact this setting is so important that if we go to some other variants, like the Smeary Round variant, you'll see that the Well is set the exact same way we just did it in the other brush.

It's designed to be a brush that moves color at light pressure but then applies color at heavier pressure. And the result is almost tactile. You all must have to experience this brush by playing with it to get the sensation of this creaminess that is a behavior of this brush, that is made possible within the usage of the Well within the oil brushes. So oils exercise a very interesting characteristic of the way the Well is set up, and in showing you how to do this it gives you not only the ability to understand how the characteristics of Resaturation and Bleed work but how you can even play around with polarity with one of the expression characteristics to invert it to do some very interesting things.

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This video is part of

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

58 video lessons · 7409 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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