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Painting with gouache

From: Corel Painter 11: Mastering Brushes

Video: Painting with gouache

In this video, we are going to take a look at the medium of gouache. What is gouache? Gouache is basically an opaque watercolor and it's used a lot by commercial artists for things like posters, illustrations, comics, a lot of different types of design work, and it's used in fine art as well. But the principle aspect of it is that it's an opaque color medium as opposed to one that is transparent. And we are specifically going to take a look what's in the Gouache category at a dab type that it uses and that is the Continuous Stroke, and within that we are going to look at Camel Hair.

Painting with gouache

In this video, we are going to take a look at the medium of gouache. What is gouache? Gouache is basically an opaque watercolor and it's used a lot by commercial artists for things like posters, illustrations, comics, a lot of different types of design work, and it's used in fine art as well. But the principle aspect of it is that it's an opaque color medium as opposed to one that is transparent. And we are specifically going to take a look what's in the Gouache category at a dab type that it uses and that is the Continuous Stroke, and within that we are going to look at Camel Hair.

So let's go ahead, take a look at Gouache. So I am going down to the Gouache category, and we are going to be looking at the Fine Round Gouache 30. And if we go over to the General palette, I want to show you this. The Dab Type here is Camel Hair. And this is completely different than the dab type we looked at in Acrylics where that's actual individual dabs that are closely spaced together, so that you get the appearance of a continuum of overlapping dabs to make the illusion of a single brush stroke.

With the continuous brush stroke, these actually are continual brush strokes, there is no real dab. It's actually a bunch of anti-aliased one-pixel lines that make up all the individual hairs that are the brush bundle of these continuous strokes. And there are several of the dab types that use this technology. The Camel Hair is one, and that's the one we are going to be looking at. But also the Flat, which is the same brush. It's just, instead of circular, it's an elliptical shaped brush. Then you get the Palette Knife, the Bristle Spray, and the Airbrush. These all are continuous strokes and as such they use the same controls that we will be looking at when we are adjusting the Camel Hair brush.

But I just want you to be aware of what looks like lots of different types in here, really they are bundled together. The whole group of these actually makeup this one category known as the continuous stroke. So let's take a look at it. And I am going to go ahead and just draw a sample stroke or two here, and right now, you can just start to see that there's some hairs within these bundles but it's very dense. So what we want to play with here is how do we adjust the density of the bundle of brushes, and that's done in the Size palette, and where this is typically grayed out with dab types that are overlapping dabs, all of a sudden we now have this Feature slider that's available to us.

And I am going to go ahead and I am going to turn it up to a higher number and let's see what happens. See now how it's a much more sparse bundle of hairs and let's go back and do our stroke test that we want to do here. So I'm going to take advantage of the same stroke I was using earlier, there it is. So now as I start to go through and make adjustments, I can watch what happens here. So let's just try turning Feature size down a bit. See how the hairs are now getting more dense? As I keep taking this down you see what happens is as Feature size decreases, the number of hairs within a brush increase.

So this is also another performance issue. You can get this down to some very small number and I even saw it right there, it took it longer to draw that stroke. If I were to try to draw this stroke by hand it would lag and be very slow. So, what you have to do on various systems because of the performance level of the processor in a specific system, Feature size may have to be adjusted upwards or downwards. And again, that's what I call the sweet spot. So when you're making brush adjustments, you sometimes have to sacrifice the absolute look of hairs that you'd want in a bundle for a brush that is performing adequately.

And so there's always going to be some sweet spot in here but I always find, I actually like this brush with some available air in between the brush strokes. So I am going to turn this up a little bit more. And now I am getting a nice distribution but I am going to show you another characteristic that we can enter into this, and just so we can see this I am going to go ahead and Select All > Delete. And let's go through one other change here, and that is in the Random palette. So I am going to open that one up as well. We are going to play with Jitter.

And watch what Jitter does. Let's put our sample up here. Now I am going to turn this up to some high number, like around 1. Oh, look at that. Now that is really wild. What it's doing is its really taking these individual lines and randomizing them but because they are continuous lines, they will always stay connected. But you can see what happens as we get an overabundance of randomness. Now, for some brushes, this actually may be a desirable characteristic, but for my brush I want it to look more realistic, so I am going to turn this down and just try it again.

Now see I am still getting quite a bit of randomness in there, so I am going to keep turning it down. Even that's quite a bit. So now I am going to really refine it down, and take it somewhere below about a 6th or 8th, so let's see what we get there. Now I'm almost not seeing it. Let's take it up one more, there. Now there's a little bit of what I call Analog Glow being introduced into this brush, rather than it being perfect, there's just some randomness being introduced into it. So let's go ahead and turn off the Stroke Playback and Select All > Delete.

And see now I get a brush that has some randomness in the hair but not necessarily too much. That might be a little bit much. So I will make another refinement, take it down a little bit, there. Now I am getting a brush that I like the way it looks. Another characteristic of the way Jitter works, notice if I draw real fast, there's not much change in that line whereas when you draw slow, it has more time to do the Jitter effect. And so it's also based on kind of how fast you draw as well.

So you've got the characteristic of both being able to adjust the Feature size of a brush as well as Jitter to play around with how you get a variable characteristic into the brush hair bundle that you're working with when you work with continuous stroke brushes. So now you've got both static dabs and continuous strokes under your belt. You're starting to now see how the different types of dabs have different effects in the way they look. And it's all of these different dab types that really give Painter the wide expressibility that it has.

So now that you are starting to learn how to adjust these, you are going to start to see that you can customize these variants so that you're not using just the plain vanilla ones that came with Painter, but you are starting to add your own flavor into these brushes.

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This video is part of

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

58 video lessons · 7251 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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