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Corel Painter 11: Mastering Brushes

Painting with acrylics


From:

Corel Painter 11: Mastering Brushes

with John Derry

Video: Painting with acrylics

In this video, we are going to take a look at the Acrylics category. This is a great place to start learning about brush customization. We are specifically going to look at the Captured Bristle within the Acrylics category, and the reason I'm going to use this brush is it has a dab type which is a very useful because of the way it visualizes this dab type. This is a bit unique. None of the other dab types have this much visualization. That's why this one is really good to start on, because it's going to be a great way to build on what we are going to do later.
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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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Corel Painter 11: Mastering Brushes
4h 53m Intermediate Jan 28, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Comparing real-world brush behavior with brushes in Painter
  • Saving a brush variant for future use
  • Using loaded brushes
  • Using sponges and modifying captured dabs
  • Drawing with pastels and chalk
  • Painting with the traditional watercolor brushes
  • Packaging brushes for distribution
Subjects:
Design Digital Painting
Software:
Painter
Author:
John Derry

Painting with acrylics

In this video, we are going to take a look at the Acrylics category. This is a great place to start learning about brush customization. We are specifically going to look at the Captured Bristle within the Acrylics category, and the reason I'm going to use this brush is it has a dab type which is a very useful because of the way it visualizes this dab type. This is a bit unique. None of the other dab types have this much visualization. That's why this one is really good to start on, because it's going to be a great way to build on what we are going to do later.

So let's go ahead and take a look at the Captured dab. I am going to go up and go to Acrylics category at the very top, and select the Captured Bristle, which is at the very top of the list. And let's just do a sample stroke or two here. So you can see this brush has some striations within it to indicate that it's made up of brush hairs. So that's a very nice quality, but I am going to show you how we can play around with this. So let's go to the Window menu, and go to Brush Controls palette and open it up.

And the three palettes we are going to want to open up for this particular video are the Size, the Bristle, and the Spacing palette. Now this may or may not be already opened so I am letting you know that you may have to click in the preview in order to see this little bundle of hairs that's associated with the bristle brush. And the first thing we are going to do is I like to create a sample stroke so I am going to go over, and use my Stroke Testing palette that we created in Chapter 2, and go ahead and just do a quick sample.

Now when I hit the Playback button, I can now replay this. And we are doing this quite a bit, but I am going to do Command+A and Backspace or Delete to clean up my screen. So let's go ahead and do a sample stroke as our baseline. And now we are going to go ahead and let's enlarge this brush a bit. I am going to go take it up to around 40 or so. And we'll do another Playback, and notice what's happening here, I wanted you to see that when this brush starts to get larger it starts to exhibit what I call tire tracks. And those are the little artifacts that happen because the dabs aren't quite spaced close enough together.

And what we want to do is be able to adjust this so that we eliminate this undesirable artifact. So we are going to go down to the Spacing palette, and the current Spacing is set at 12%. I am going to reduce this down a bit. So I am just going to tap down and get to about half, 6%, and now let's see what happens. Okay, now we've eliminated the tire tracks. So the Spacing palette is very important to get rid of this little artifact when you see it, just by lowering it you get a better result.

I do want to indicate too that this is very tied to your system's processor and performance. You may or may not be able to adjust it to this setting. I always call the correct setting the sweet spot. For each processor you want to nudge this down as far as you can and still not notice, when you start using the brush, see any performance loss. If it starts to lag you are going to have to play with the Spacing to find that sweet spot so that you minimize the Spacing enough to make it visually clean, but at the same time not lower it so much that it impinges on your performance.

So that sweet spot is always going to happen right in the Spacing palette. Next, we are going to take a look at the character of the makeup of the Bristles within the stroke, and that's going to happen once again within the Bristle palette. We have two things to deal with here. One is Thickness, and Clumpiness. Thickness, if you watch up in the preview as I adjust this up and down, controls how thick all of the dabs together are going to get. So I am going to thin it down a ways. And now we are going to take a look at Clumpiness.

Clumpiness plays with the differences between all of the individual clumps. And you can see how you can make them almost all the same, or very different. So how you adjust this also controls the character of the brush. Let's go ahead and do a sample here. So that one is still pretty similar. Let's go ahead and lower our Thickness a bit. And this is how this works. It's just one change at a time and try it out. Now we've got a much thinner stroke, but with a lot of variation in the hairs themselves.

Finally, let's play around with Hair Scale a little bit, and you can see how now I am decreasing the total number of hairs, but I am also enlarging each one of them. And let's see how that looks. Now there is a look that I like. So this iterative process is one of making a change, testing the stroke, examining what you like, going back. And you can see how it's an iterative process that as you go along you are observing one change per Playback of the stroke.

And this is an excellent kind of forensic for creating a brush to get it to the exact way you'd like it to look. Then eventually, you're going to want to turn off Playback Stroke, Select All, and Delete. And now I can play with it as the brush and not so much as an isolated experiment by playing it back. So this is the basis for how we go through and test brushes to get them the way we want. The iterative process is really a very organized way to go about this.

So let's go on and keep trying some different brushes.

Find answers to the most frequently asked questions about Corel Painter 11: Mastering Brushes.


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Q: In the chapter 9 video "Understanding the Master Brush Library and the User Brush Library,” at the beginning of the video the author states that the demo will be on a Mac but that the Windows file system information will be displayed as well. The Windows path information never appears. What is the correct file information for using this tutorial with Windows?
A: Unfortunately, the Windows portion is indeed missing from the video. Below is the pertinent information.

Painter 11 Windows Master Library Location: 
Windows XP: Program Files > Corel > Painter 11 > Brushes > Painter Brushes 
Windows 7 or Vista: Program Files (x86) > Corel > Painter 11 > Brushes > Painter Brushes 

Painter 11 Windows User Library Location: 
Windows XP: Documents and Settings > [User Name] > Application Data > Corel > Painter 11 > Default [or custom workspace name] > Brushes > Painter Brushes 
Windows 7 or Vista: Users > [User Name] > AppData > Roaming > Corel > Painter 11 > Default [or custom workspace name] > Brushes > Painter Brushes 
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