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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.
The Artists category has been used as a container over time for various brushes that provide or exhibit aspects of either a well-known artist's style or just a painting style in general. Now, while I'm going to focus on the Impressionist brush, I urge you to play around with the other variants as well. Now on to the Impressionist brush. We're going to go up to the Artists category and one of the brushes you will find in here is the Impressionist. And I'm just going to do a few sample strokes here so you can see basically what's going on.
This brush uses what's called a captured dab and I'm going to open up the Brush Controls General palette here to show you this. I'm not going to go into great depth about the captured dab here, but in a couple movies from now, we're going to take a really close look at it in the Sponges category, but this will at least introduce you to it and you'll see how it can be applied to a specific brush and then later on I'll show you how you can get in and customize these to your heart's desire. The idea behind the Impressionist brush is that it's using an individual captured dab, a piece of graphic that was created to emulate the look of a dab of color from a paintbrush, and it's using Jitter to move that brush around.
The third thing it's doing is-- and perhaps it would make sense for us to see this within the Brush Controls. One of the things that's happening if we go to Angle, you'll see that this dab, and there's the actual graphic of it, is being controlled by direction. So, whatever direction I go you can see it's just like a little school of fish. It always follows the direction I'm going. So, that means that as I paint with it, I'm always going to get a series of randomly placed strokes along my single stroke to give this illusion of many individual strokes being applied.
And yet it's actually pretty simple to create the illusion of a great deal of complexity just by stroking a few times. The other thing that's happening is if we look here at Color Variability, you'll see that the value component of the color has been turned up. So, it's not changing Hue, but it's adjusting the Lightness to Darkness values within whatever color is selected. So, if I select a different color, we're going to see some value variations within that color as I paint with it. So, the combination of this directional stroke along with some Jitter added to randomize where these little individual dabs are placed along the stroke, as well as some variability built within the color itself, all add up to a brush that gets you a very impressionist style brush.
And as I said, gives you this ability to start to paint and get a very nice impressionist quality and the workload is actually somewhat minimal. I'll just do a quick little sketch of a tree and you'll see how quickly this starts to have a very impressionist style about the way it's constructed because of these dabs and the slight change in color that's happening. But think of drawing this with chalk or pencils or whatever. You wouldn't nearly get the amount of information that we're seeing here happen so quickly, because this is doing a lot of heavy lifting for us by actually moving around all of these little individual dabs and randomly changing some of the colors within them to give a very nice impression of Impressionism.
I'll go in here and add a little bit of shadow detail and then when I'm finished with this, we'll just toss in a little bit of sunlight hitting the tops of these clusters of the Impressionist leaves. But you can see there, I didn't have to spend very much time and I've gotten a nice little rendition of a tree done in a style that is very reminiscent of the Impressionists. I'll show you a couple of things you can do here. One is, as we were looking at angle, you'll notice that it was set by direction. Well, an interesting little change we could do here is we could say let's do this so it's random.
Now, instead of following direction, we get strokes that are in every direction randomly. So, this provides a different kind of flavor to the way the brush strokes look as they're applied, but it's also equally valid. So, just depending on the kind of look you're going after, you may want to switch this to a random angle as opposed to directional. The other thing we'll quickly look at, and I'm going to open up an image that is in the Exercise folder for this chapter. And I want to show you we can clone this image as we've already done previously.
So I'm going to go up to the File menu and just hit Clone. And I can instantly turn this into a cloner file, and what I want to do with this in particular is go ahead and Select All and Delete and now when I start to paint, you'll see what's happening is I'm getting an instant Impressionist image done with this particular underlying photograph. In fact, if we wanted to take advantage of a command we've used earlier, I could record just a simple little stroke like this and since it's random, when I go and take advantage of the Auto Playback, it'll just start applying this and it's constantly sampling the particular location in the image.
Now, there's not much detail in this so one of the things you could do is start to decrease the size of this brush. So, if I go up to Size and just lower it by about half and then Auto Playback a second time, I'll start to get more detail within the image. And one of the things that happens in cloning is the size of the brush is almost like an aperture is in photography. The smaller the brush size, the more detail you're going to get in your image. So, if I go down one more time, about half of that, and use my Auto Playback, in this case to just apply it to the image, you'll see now we are even getting finer detail in there.
So, the Artists category just basically has several different brush types that relate to different artistic styles and I've kind of taken it off in a different direction here by actually ultimately turning it into a cloner and having it Auto apply from the source image. But you can see how a brush with certain characteristics can be called into service to be used in a number of different ways. This could be hand applied or in this case we're using an automatic function to do it as well. But take a look at the Artists brushes and I think you'll find that you've got a wide range of possibilities in both image creation, as well as interpreting existing imagery as we're doing here.
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