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Painting with the Tinting brush

From: Corel Painter 11: Mastering Brushes

Video: Painting with the Tinting brush

The Tinting category is designed to apply color to grayscale imagery, like a black-and-white photograph. These variants are used in tandem with either a Gel or Colorize layer. By using multiple layers and layer opacity, an amazingly rich colorization can be applied to an otherwise colorless image. Let's go ahead and take a look at tinting. So I'll go up to the Brush Selector Bar and down at the bottom we'll find the Tinting category. And as I said at the outset, this really has to happen on layers.

Painting with the Tinting brush

The Tinting category is designed to apply color to grayscale imagery, like a black-and-white photograph. These variants are used in tandem with either a Gel or Colorize layer. By using multiple layers and layer opacity, an amazingly rich colorization can be applied to an otherwise colorless image. Let's go ahead and take a look at tinting. So I'll go up to the Brush Selector Bar and down at the bottom we'll find the Tinting category. And as I said at the outset, this really has to happen on layers.

It's only through the layers that you get the translucent, transparent quality that is required. And if you don't switch to one of the preferred methods, this is what will happen. You'll just get kind of an opaque over color, and that's not what we want. So let's try the two layer types here. There is Gel, which in this case is very dark, and there is no hard and fast rule to this, but it always pays to kind of look at both of them and see which one works correctly, and in this case Colorize is going to make quite a bit of difference.

And you may also need to adjust your color, so that-- in some cases it's not very intuitive. You can see here a darker color actually gets lighter just by the way that the Colorize layer works, so what I'll do sometimes is just kind of try a few different strokes until I find the one that really works, and that's working for me. So I can Select All, Delete, and then kind of go in here to apply it. And what you'll find is where this works very well for this combination of color and tonality that it finds underneath of it.

Let's say if I want to do the lily pads, I'll create a new layer and get a green in the range that I'm thinking I want to paint it in. It just depends on what's happening. Now first of all, we're still in the default layer, so it's going to pay to try both of these. Now, if we try Colorize, you can see what's happening here. It's just way too light. But if I switch to Gel, that's closer to what I want. And if you want to get the sweet spot, if this is too dark, you can play around with the opacity to determine how strong you want that color on there.

So you've also got opacity as a factor to play with here, to start to adjust what you want in terms of the colorization. And another thing you're going to probably want to do is, if you just use one color in regions like the water or the lily pads, it starts to look rather flat. Because nature really is made up of many, many much more complex color than just a flat shade on here. So I'll very often just take and slightly offset either the color or the hue a little bit and just start throwing some variation into this, so that it doesn't all come out looking like one flat color.

And tinting is somewhat of an art. You're not just going to pick these up and instantly turn a black-and-white photograph into looking precisely like a color photograph on the first time. It takes time, if that's exactly what you're after in a piece. But by using multiple colors, you start to get a little more natural feel within an element that would naturally have some variation of color going on. The same goes for something like the water. I would probably want to try putting couple of extra colors there.

Now, once again, what I don't want to do here is I'm painting on the wrong layer, so I want to switch back. And one of the things I do when I start building up one of these is you want to go in and start to name your layers, and double-clicking on a layer will bring up this Layer Attributes dialog. So I'm just going to call this Water. And if you go through each one of these and do this, as you go and get more and more layers, it's far more easy to play around with the layers, knowing what exactly each layer is assigned to.

Without it you'll very quickly find that it's very confusing to keep track of things. I want to go to the Water layer. Once I go ahead and start to apply some different color, I have tools like a Blender, for example, that I can go in here and start to blend these colors together. And by doing that, once again, you'll get that more kind of natural mixture of varying colors. In some case it's the water, in some case it's the sky here. I'm not going to try to do a super- duper job on this, but I just want to do enough techniques so that you can see exactly how these different tools interact.

Another option to the Blender are the two Diffuser tools. And they just apply a diffusion that is hard to see unless I switch to default temporarily. You can see that it just softens the edges up, and it is something that you can use to blend colors with, almost in a watercolor kind of style, but once we go back to the correct layer type, it's much more subtle, but it also acts as a way to blend. So the whole idea of tinting is to take advantage of the Colorize and Gel layers, that is, the layers that enable the colors on those layers to interact with the grayscale imagery underneath of it.

And using one of the two types of layers, Colorize or Gel, along with the opacity of these layers, you can get some pretty amazing results in colorizing an image. One of the great places this works is in imagery that comes from the era of black-and-white photography. It was very popular back then to do hand tinting, and this enables you to do some of the very same techniques. You probably won't be using the Tinting category on a daily basis, but for the specific task of adding color to black-and-white imagery, Tinting is the perfect choice.

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This video is part of

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

58 video lessons · 7195 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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