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We are talking about safety nets and another key safety net that Painter has is layers. I used to paint way back when there were no such thing as layers on a single flat file. That presented a very different kind of thinking about how you are going to do things, because before you ever did something you may have had an undo or a few undos to try things out. Now that we are in this world of layers, you can start to paint on multiple layers as we looked at in the layers chapter, and being able to do so just isolates portions of artwork that you may want to go back and alter later on.
Particularly, if you're in a production environment where it's likely a client or an art director is going to say, can you move this, can you change this, we need this in a different color, eliminate that. Well, the more layered your image is, the more you can successfully do those kinds of things without having to do a big exercise of repairing all sorts of parts of an image that really aren't what needs to be changed, but they have to be changed in order to get to the final request that's being asked for.
One of the ways I work is, whenever I get to a point in a painting that I think I may like what I am going to do, or not, and I don't want rely on just a few undos to get me back, I'll go ahead and create a new layer and then start working on that layer. And then that gives me that safety net. I can always get back to where I was before I made that decision, if I totally decide it's no good, I'm not losing a bunch of time and work because I painted right on top of earlier brushstrokes that I had created.
That's how you're going to make breakthroughs in art when you give yourself the opportunity to try something you haven't done before. And a mechanism like layers encourages you to do that.
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