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In Painter 11 Essential Training, John Derry, one of the original Painter authors, demonstrates basic and advanced creative techniques that can get beginners up and running. He also shows old hands the new features that can get a creative vision out of the head and onto the canvas. John demonstrates how to establish an easy workflow in Painter by using a Wacom tablet, and he explains how to create, edit, and publish projects. Exercise files accompany the course.
Download the Painter/Photoshop Consistent Color Management PDF and the Brush Troubleshooting Checklist PDF from the Exercise Files tab.
So far we have taken a look at the concept of a source and a destination document and we have seen how you can use a destination document as a sheet of tracing paper. Now, we are going to go another rung of the ladder and actually take information from the source image, funnel it through a brush and apply it to the destination document. So I'm going to go back to my Cloners category and I'm going to go down and I want to get the Impressionist Cloner. So we are going to select that and to do this, we need to initiate the Clone command.
You are going to find that in the Effects menu, down in the Esoterica category and right there you will see Auto Clone and you can also use Shift+Command or Ctrl+G to initiate this command as well. So let's go ahead and initiate it and see what happens. Now what's happening here is it's taking a brush and it's applying the color from the source document through that brush and translating the image into those character of brush marks and I'm going to go ahead and stop it now and I do that by just clicking anywhere in the image.
That's how you stop this. It will sit here and do this forever if you want it to let but really all you need to do is let it completely fill the image, so that no background image we are seeing. Although, there are times where it kind of looks neat to leave it leave a little bit of an unfinished look. So if I stop right there, you can see just a few little bits of white are showing through. The good news here is that you can take a source image and make it into a destination image. Now at the time of this taping, I'm using the initial release version of Painter 11 on the Macintosh.
There appears to be, dare I said the word, bug, in here where you would assume that all of the cloners would work. I mean just for example, Furry Cloner. If I go to the Effects menu > Auto Clone, which we have just used, if I go down to where we actually found, it's grayed out. It's telling me you cannot auto clone with this image. Well, you can clone with this image and unfortunately, there is something preventing the Auto Clone feature at this point in time from believing that it can do that.
But I'm going to undo and I'm going to show you. Now I have got the Furry Cloner, the one that it says you can't auto clone with. Well you can't auto clone but you can still clone by hand and in fact, this is once again kind of going back to the use of the artist expressive characteristics to do this. In fact if I turn Tracing Paper on, I could stroke this in a way that kind go uses the information in source image as the direction I want to stroke things and so there may be some characteristic applied by stroking in the certain direction with certain brushes.
This one may not, I'm not really familiar with the Furry Cloner but I just want to show you that you can in fact, continue to clone with this. You just currently cannot auto clone at least on the Mac version. I'm not sure this is going to translate across to Windows or not. I'm going to turn off Tracing Paper and there is my cloned image. It just wasn't automatically applied for me. Now, I want to take this one step further. So I'm going to go to a brush here and let's-- I'm a big fan of Artist Oils. I'm going to go in here and I'm going to get to Dry Bristle.
And right now, it's just a normal brush, so let's see what it does. That's what it looks like, okay. Here is what I call a major fulcrum point in Painter. If we go over to the Colors palette, you will notice this little rubber stamp icon and notice right now, we are painting with color that's what everything is supposed to do as we have expected. But if I turn this on, watch what happens. You see how this is now grayed out. That is because we have just told this brush to use the current source image as its color source.
So it's telling us that by graying out the Color palette, it's no longer looking there for color. This is one of those cases where turning Tracing Paper on, may make some sense in the directionality factor of what's going on underneath. So I'm going to begin to just kind of painting here really quickly and it replaces like these trees, I'll just kind of paint in the angle that they are in the original image. So I'm using the source document. I'm taking advantage of Tracing Paper in this case but instead of just simply with our Tracing Paper, I'm using my expressive hand work here to bring it through and let's just temporarily turn it off, you will see that it's coming through but it's coming through very much in the mould of what the artist oils look like.
So let's just kind of do this. It was just enough information by seeing through to the tracing paper. The nice thing about this is I mean you can take advantage of what you are seeing in the source image. We can see very easily that the water, it has a very directional content to it. So an artist, whether he is painting like this from a photograph or from life, he is going to paint using the lines that somewhat are indicative of that motion and that action. So let's just get a little bit more in here and now I'll turn off Tracing Paper.
So in a way, this is little bug actually is great because it will encourage you to not rely on an automated process but you can see it's much more powerful, you are never going to get a look like this from any of the auto cloning brushes anyway. So as long as you are wanting to advance your skills, this is one great way to combine the possibility of a palette that is actually a confirmed to a photograph and use the mark-making capabilities of the brush to combine them to come up with some really interesting artwork.
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