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So far we have taken a look at the cloning tools. They are kind of the basic level of cloning tools. Now we are going to take a look at the Photo Painting palettes and the Photo Painting palettes are kind of a super charged cloning tools. So, that was the first level of cloning that has been in Painter for a long time, but in the last few years the Corel guys have put some really cool stuff in it. Let's roll. So, we have talked about cloning really in the basic techniques. We are now going to take it another step further and we are going to start to look at some more advanced ways you can take advantage of a source image and apply cloning techniques to it.
And to get to the Auto-Painting palettes, we'll go the Window menu and just go down and click on Auto-painting and that brings up our palettes. So, the way these are organized is you have got the Underpainting palette, then we have the Auto-Painting and then we have the Restoration palette. The Underpainting palette borrows that term from traditional painting in which an underpainting is kind of the first step a painter does on a painting in order to complete it and he is really working from very basic blocked outlines and under colors that are just there to start the image and then he is going to go through a process of working that image up more and more until he builds it up to all the detail that gives him his completed painting.
So, underpainting really the idea is it is a simplified beginning and then more is going to be done to it. And in that spirit the Underpainting palette basically does that same function in this digital version of Auto-painting. So, I'm going to go and open up an image we are going to work with. We'll go over to our Exercise files and I'm going to select morning_sun, okay. Now, it's a good image but I see some problems. It is a little washed out and perhaps could use some contrast and just some adjustments. So, part of the function of the Underpainting palette is to be able to do just that and you can see I have got several sliders here.
So, one thing I may do is add a little bit of Contrast to this and these settings are non-destructive so that I'm not permanently changing this at this point and I can even add them together. So, I also want to put a bit of Saturation in there and the idea behind these sliders is you can do what I here refer to as season to taste. You can get the image visually to look the way you want it. Since this is going to be a painting one of the things I like to do is give a bit more color punch than perhaps that photograph has. So, I may even punch this up a little bit more. So, it's a little hyper real but then it is going to be a painting, not a photograph.
So, I have the option here to make changes to the way I want this image to be portrayed once it is painted. Another feature here is the Color Scheme pop-up. This let's you apply preexisting colors to the image. An example would be the Impressionist Scheme, you can see. Now, I would not call this the Impressionist Scheme. I'd be more likely to call it the 1968 San Francisco Color Scheme. But it really depends on what image it's applied to. In this case it really doesn't work very well and to be honest most of these, they are kind of generic, they are in built-in, they show you what it can do.
But I'll show you a better way to add color to your image. To do that I'm going to open up a second file. So, we are going to go in once again to our Exercise files and I'm going to grab this second file, swing. Now it is similar in content and everything, but it has got a slightly different color feel to it. Now, we'll go back to the file that we are working on, we'll go back to Color Scheme. But you will see that now swing appears in the list. morning_sun does as well, but it doesn't make sense to apply an image's own colors to itself. What we want to do is apply swing, the opened up image, to it and you can have several images available here to try this out on.
But we'll go ahead and hit swing and you will see now it has taken on some of the coloration that's in that other image because that's where the colors are coming from and I kind of like the way it warmed up. Again, I'm not so concerned at this point about reality as much as I am a feeling or a mood and I like the way that it gives you that warm summer morning feeling. In fact when I shot this there was some condensation on the lens. That's why I got this kind of hazy feeling. But it is actually one of the most happy accidents. I like the way it looks. So, we have now got our image adjusted.
I'll show you a couple of other things you can use this for. One thing is the Edge Effect and I'll just take Circular for example and it is just going to create a Circular Vignette around the image and you can use the Amount slider to control how much it vignettes. It is kind of interesting and there is time when you use it. I'm not interested in it for this image, but I just want to point out that it is there. Then the last thing I'm going to show you and I'm going to zoom up here to let you see this up close. Let's just look at high detail area like this bark on the tree. I'm going to apply some Smart Blur and I'll first apply and then I'll talk about what it does.
Smart Blur preserves the high contrast edges it finds in an image. It kind of masks them, but then it takes the high detail areas and essentially blurs them out. So, what's happened now is we still have that crisp definition of the shapes in the image, but the detail has been drained out of it. And you can control through the Smart Blur slider just how much you are doing that. I have turned it down a bit and I have reintroduced a little bit of the detail. So, the Smart Blur Filter is basically acting as a cut-off point to say at what level of detail do you want to suppress that higher range of detail and you can very nicely dial in exactly the level you want.
I like Smart Blur so much that sometimes it stands onto itself. It just makes an interesting image because it is starting to be more painted rather than purely photographic. While photographs are full of high detail, paintings tend to be somewhat simplified. So, this does some of that in an automated way for me. Once I have configured this the way I see visually that I want it to be, I'm going to apply the Filter that's all combined here. And if I didn't like it, I could hit Reset and it would take me back to the photograph. So, I could experiment. Don't like it, hit Reset and try it again.
All of these are non- destructive until you hit Apply. So, I'm going to hit Apply and now that is my image. So, we have done the underpainting, we have simplified it down, we have adjusted the colors, we have got it into a beginning point that we now want to apply Auto-painting to it. So, we are one step of three steps to our final result. In a moment here we are going now take a look at Auto-painting.
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