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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.
One of the long-term goals of Painter has been to duplicate the look and feel of brush paint, and the Artists' Oils category and its attendant Artists' Oils dab type strive to offer a highly realistic brush media experience. It's probably the most advanced one that is currently in Painter. The simulation involves a sophisticated approach to creating and controlling this behavior. So fasten your seatbelts, and let's take a look at Artists' Oils. I am going to go to the Artists' Oils category and we are going to be working with the Oily Bristle brush. My goal here is to show you how to adjust this brush to alter its behavior so that by the end of this you will understand how you can adjust brushes to get a desired behavior.
The other thing we want to do is open up the Artists' Oils palette and I am going to start off by telling you that what can make the Artists' Oils category frustrating sometimes is these sliders, these various controls, share some interrelationships that sometimes aren't obvious. In fact it's even possible to have two different settings and end up with the same appearance. And because of this interrelationship and this kind of reciprocal behavior between some of the various characteristics, you can easily get confused in what's controlling what.
And so we're going to try to make that much more clearer by the end of this video. The first thing you'll notice is that they divide up the controls into three categories. You have Paint. And Paint really is concerned with how color is being applied to the canvas. Secondly, you have the Brush and this controls the actual appearance of the brush stroke itself. And finally, you have Canvas, which controls how wet is the underlying color that the brush strokes are being applied to.
Now we are going to work with a file that I've created and it will be in your Exercise folder. It's called color_bars. And it's a layered file. I've done that just so it's easy to be able to work without actually painting on my color bars in case I need to go back and do something again. But the one thing you do want to notice about the Layers palette is be sure you have Pick Up Underlying Color enabled. That way your results will mirror what I'm showing you here. And typically you'd want this on any way when you're working with layers and color so that you're impacting what's underneath of it.
Now I'm going to go ahead and record a stroke, so we have a sample and let's just do a sample like this. Now I am going to be able to play back that stroke so we're going to use this as our baseline and then we are going to begin to make changes and see what happens with each change that we make. The first thing I am going to talk about is Viscosity. Viscosity is concerned with how much does the paint being applied want to stick to the canvas, and that is a natural media parameter that really happens.
I am going to increase Viscosity, what that is going to do is going to make it want to stick more aggressively. So we've got a much shorter stroke because the paint wants to stick to the canvas more quickly than it did in the past. If I turn it way down, we are going to get a different appearance. Now it wants to play out longer but you also get this kind of unusual gray that's happening at the end of the stroke. What's happening there is Viscosity is interrelating to Wetness. If I turn Wetness down and do the same thing, you can see now we don't get that appearance.
So Wetness and Viscosity can be interrelated to one another. And the other thing that's related is the Paint Amount. If I turn down the Paint Amount watch what happens. Now the stroke gets shorter so that I can now control very precisely my stroke to be either long or short. But here's where it gets interesting. If we turn Viscosity up, which wants to apply quicker, and now I turn this up even a little bit more, even a little bit more, you can see that a very different setting is almost the same as the one we did here.
And that's why this can appear to be confusing because one slider impacts what happens with another one and different settings can actually arrive at the same end result. And that's why, as I said, you can get a little mixed up. Now I am going to do Select All and delete everything off this layer so we can continue. Now let's take the stroke as we have it. It's very short, but now if we started to turn Wetness back up, watch what happens. Now we're starting to get some mixture of the applied paint with the underlying paint.
It's very low right now. So in order to make this mixture happen what we want to do is turn down Viscosity but we are also going to turn up Blend because Blend, well, you can see right here it affects how the oil is mixed between the colors. So by turning this up it's now really starting to interact with the underlying color as well as applying color at the beginning of the stroke. So Wetness and Blend tend to interrelate to one another directly and Amount and Viscosity tend to relate to one another directly.
But you also get these secondary relationships that can happen as well as I've shown. Now the other thing that you can control is the actual look of the stroke itself, and let's go ahead and turn the Wetness down a bit and I want to turn Blending down and we will turn Amount down a little bit here, so I want to get a bit of a shorter stroke, maybe turn the Wetness all the way down. You can see how you can start to control these so that you get exactly what you want. I am going to go ahead and turn Bristling all the way up, and you can start to see that there are more apparent divisions in the brush hairs starting to happen within that stroke.
And Clumpiness then also adjusts kind of the inner gaps between those strokes. So through the Brush Controls, the Bristling, Clumpiness, you can start to get the effect of multiple brush hairs occurring within the stroke. What you're starting to see here is that all of these different controls have a wide range of variability in what can happen to the stroke and the Artists' Oils brush dab is probably the most finitely adjustable brush simulation in Painter.
This realism does come at a price though and that is the fact that there are a lot of multiple control interactions that can make it perplexing as to how to achieve a specific behavior. My advice is it's definitely worth the trouble to wrap your head around this dab type and how these various controls are going to react. And along the way be sure to save lots of variants, because you might not be able to get back to what you did, but if you've got the variant, you've got the brush.
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