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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.
As we continue our investigation of dry media, we're going to take a look at chalk, charcoal and Cont?. These are all pigment-based mediums that are compressed into a stick form and held together with some form of binder and they're all sufficiently alike. There's really no reason to investigate every category. I think we can cover it by just looking at chalk alone. But I want you to know that within all of these categories you'll find some variants to begin with Real and whenever it's says Real, as I've mentioned before, that means that that particular variant is utilizing the Hard Media palette within Painter 11.
So just to take advantage of the Real based brushes because they offer the greatest simulation of these particular tools. We're going to start off by looking at how these various mediums interact with paper grain and I'm going to take advantage of the Small Dots paper texture. I'm also going to open up the palette here, and this is a somewhat of an artificial paper texture but it's excellent for showing off this effect I'm about to demonstrate to you.
So we're going to create a bit of a test bed to work on. I'm going to use the Fill command, which is either Command or Ctrl+F, and fill it with a neutral mid-tone gray. Then let's go ahead and get our chalk. So I'll go to the Chalk category. I'm going to use Real Hard Chalk and then just paint in here, with a bit of a darker gray. So we can very readily see this paper grain and within the paper grains, you've got a feature here that is called Directional Grain.
I'm going to enable this and what this is going to do, unlike what I just drew here, this is without Directional Grain. It's just a one-dimensional approach to revealing grain and you'll see here in a moment when Directional Grain is enabled, you get a much more realistic approximation of the way that media works in the real world. So let's take some various colors. I'll start with a kind of a red-orange here and I'm going to stroke just in a down direction from the upper-left towards the lower right and we might even want to zoom up on this little bit, so you can see what's going to happen.
As I do this, this is only going to apply to one side of the screen. Remember this is like a little mini mountain range and if there was a storm coming in with orange snow from the Northwest up here, it would only be applying that snow to the northwest face of the mountains and that's what's happening. Now let's take a complementary color. I'm going to come in from the opposite direction from the lower right and you'll see that what happens is now the blue snow from this storm is only falling on what would be the southeast face of these little mountains.
Let's take another one and now I'll come up from the northeast here and you'll see that once again it's only applying to the face of the texture in the direction that I'm stroking. So each time I select a new color and come from a different direction, I'm actually applying that color only to that face of the texture that I'm stroking in the direction towards. And a lot of people do this in many different dry mediums where they'll take advantage of a textured surface to apply color to a certain angle of the texture to build up some interesting color variations.
So let's erase all this and now I'll just take a more natural texture, like Basic Paper. Now it's not going to necessarily appear as obvious as it did in that perfect sample that I showed you before but it still works and you can turn this on and really not necessarily even think about it because once it's on, it's just going to work based on whatever direction you're stroking in and so you can turn this on and just start to draw-- if I go back and forth both ways just like in a real medium, it's eventually going to cover- up both sides of the faces of the texture that I've painted on and if I come in from a different direction, I'm going to lay down texture in a different manner.
So this isn't something that you necessarily are going to take obvious usage of but it's a subtle way to introduce more reality into your textures with Dry Media than you've been able to do with just the normal setting. In fact, if I turn the normal setting back on and paint with some black, you'll see that once again it's non-directional. Now it's just coming straight down from the top and touching those grains directly, which is also a very useful way of working with texture, but now with the knowledge of directional grain, you've got actually two different methods for applying dry media to your textured surfaces and end up with different kinds of results.
So directional grain, very important in concert with dry media. The other thing I want to show you is-- and we'll look at this in the pastels as well. What color the media is actually sometimes it's what makes a medium look more like that medium than anything else and a good example that is Cont? crayons. I'm going to open up the Cont? and what happens with a lot of dry media drawings is they happen on a non-white surface and so I'm just going to do maybe kind of a cool charcoal gray here, just a little bit color in it, and fill my canvas with that color and one thing I could do here too to enhance this, you never know when you're going to want to erase or undo this stuff.
So creating a layer to do this on is one way to preserve my paper color and not necessarily have to always start from scratch. What I'm going to do now is shut down the Colors palette and go to my Color Sets. So now we've got Color Sets open, I'm going to take advantage of the little Library icon down here and I'm going to say Open Color Set and we're going to just load it and I'm now going to go to my Exercise Files, in Chapter 5. You'll find that I've created some color sets for usage with some of the media that we're exploring.
So I'm going to go to the Cont? crayon color set, open it up and this is a set of colors associated with Cont? crayons. So I've now got my non-white surface. This enables me to start to use these on that surface and I'm just going to take one of the real variants here. Let's take the Real Soft Cont? and I can go in here now and use it like a mid-tone for example. I'm just going to kind of noodle around here. I'm not going to try to do anything spectacular but what's going to make this look like a Cont? crayon rendering more than anything else is the combination of the texture as well as the colors that I'm using because these colors come in a particular set almost constantly.
There is very limited numbers of colors for Cont?. You don't buy a 50 color set of Cont? crayons. You usually get them in a very narrow set of colors and what I'm proposing here is that in order to look like Cont?, the best thing to do is to limit your palette of colors to only those colors that are typically associated with a Cont? crayon drawing. For example, if I went in here now and went in and got a bright green and painted on here, that doesn't look like Cont? crayon because you never see that color associated with it.
If I stay strictly within the colors that are in this color set however, I'm going to limit my colors to only the ones that you would ever see a Cont? crayon drawing done in. This is the best way to make a category like Cont? crayon, which is very specific to certain colors that it's known for, to get a believable result that looks like the medium. So take advantage of this Color Set that I've created as a way to keep your colors limited to only colors that you would find in a set of Cont? crayons.
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