Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member
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.
Get unlimited access to all courses for just $25/month.Become a member
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.