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Join John Derry, one of the original Corel Painter authors, as he shares the creative techniques that will get beginners up and running, and shows old hands the new features that can get a creative vision out of your head and on to your canvas. The course demonstrates how to create projects, use Painter brushes and painting styles, build templates, and work with layers and channels. John also shares pointers on setting up a Wacom tablet to interface with Painter.
Another new category in Painter is Real Wet Oil. And this seems to be probably related to the development of the Real Watercolor model, and I'm going to show it to you and you can decide whether or not you would want to use it or not. I don't find it particularly as compelling as Real Watercolor, but it does have some very interesting attributes. And let's just take a look. I've got the Real Wet Oils open here, let's get Liquid Oil. And as I paint with this, you'll see similar to what happens in the Real Wet Watercolor, it expands outward a bit after it's been applied.
The difference is, the watercolor model is translucent and colors interact with one another, whereas here, they tend to be more a cover-type model, where it's covering paint and there's some interaction that happens at the boundary between wherever it finds paint. It's got some interesting models like these Erosion Grainy, I think was one I was looking at. See how it's doing a pretty interesting physical kind of thing that is very much along the lines of kind of interacting a turpentine-like model with existing color.
Now sometimes I do see these artifacts appear, I'm not real sure. It seems like you can normally sort of brush them out if they are intrusive. Another one here is Turpentine. And you can see here this just kind of softens things up. One of the tricks with brushes like this is, no one stroke ever is very convincing. What is convincing is the overlaying and interaction of many strokes. So while I was being a little less than kind maybe at the outset, just even playing with this now, I'm seeing some very interesting textural and color things happening here.
So it is a useful model, but if you strictly want an oil painting look, something like Impasto is probably a little bit more fully realistic. One thing I wanted to show you though, is if we switch over to this image and use the same turpentine model on here, check this out. This does some very interesting things to existing imagery that I don't know how else you'd get some of this. And you can play around with this with this Blend Rate. So as you change this, what happens, it's going to become more dramatic.
I'm noticing right now, trying to draw new strokes, there's a lot of heavy computing going on here. And so, to try to go somewhere else and do some of this somewhere else on the image, you may find that there is a little bit of a performance loss, because it's really trying to start to do these physical modeling tasks in several different places at once. But I would say at the very least, the new Real Wet Oil is a very interesting experimentive medium that you'll definitely want to play with as an oil medium, and even trying some of the things that I've done here, where I'm interacting with something like a photographic existing imagery.
Whoever thought, you could get some very interesting results that would be very difficult, if impossible, to get any other way. So definitely check out Real Wet Oil and perhaps you'll find that it's exactly the medium you've been looking for.
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