Corel Painter 11: Mastering Brushes
Illustration by John Derry

Using FX brushes


From:

Corel Painter 11: Mastering Brushes

with John Derry

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Video: Using FX brushes

There are several novel variants within the F-X category, and I urge you to take a look at all of them. But I have selected one for improvement that I feel has the most broad usage. It's the Fairy Dust variant. There are many types of imagery, where the addition of a mystical, magical quality is desired, and Fairy Dust is perfect for sprinkling into these situations. Let's see how we can improve this variant. The first thing I am going to do is that we want an image to work on in this case. So I am going to bring up the image we have been using throughout this chapter, our autumn image.
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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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Watch the Online Video Course Corel Painter 11: Mastering Brushes
4h 53m Intermediate Jan 28, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Comparing real-world brush behavior with brushes in Painter
  • Saving a brush variant for future use
  • Using loaded brushes
  • Using sponges and modifying captured dabs
  • Drawing with pastels and chalk
  • Painting with the traditional watercolor brushes
  • Packaging brushes for distribution
Subject:
Design
Software:
Painter
Author:
John Derry

Using FX brushes

There are several novel variants within the F-X category, and I urge you to take a look at all of them. But I have selected one for improvement that I feel has the most broad usage. It's the Fairy Dust variant. There are many types of imagery, where the addition of a mystical, magical quality is desired, and Fairy Dust is perfect for sprinkling into these situations. Let's see how we can improve this variant. The first thing I am going to do is that we want an image to work on in this case. So I am going to bring up the image we have been using throughout this chapter, our autumn image.

And I want this to be more of a twilight or early evening image, so we are just going to do a quick adjustment here. I am going to take some Brightness/ Contrast and just push it all the way down, so we get an image that seems to be later in the day. Let's go to the F-X category and we are going to work with, as I said, Fairy Dust. Now, this can work on a layer, so I am also going to do that just so I am not actually applying pixels to the actual image itself. Let's just see what this currently does.

Now, it is based on color, so what we are going to get is a set of little highlight blips that appear to be little sprites within the image. You can play around and color them as well, but I think we can improve on this particular look. The first thing I want to take a look at here, just do it right down here in a corner, maybe let's do it with some white. If we go up and look at this up close, you will see that these little pings of light are-- it's actually one captured dab element, but it's rotating to be at a different angle every time, which in some cases would work well.

But I think in this case, I want this to actually always be consistent, because I want it to look somewhat photographic, and what happens with little highlights in photography is the little radiant arcs that you get off of the highlights will always be exactly the same. So we want to correct that. If we go in and take a look at the Brush Controls, let's go to the Angle palette here and we will see right now that dab is being randomly rotated around. I am going to change it so that it's None and what will happen now is now every one of those is exactly the same.

It's subtle, but it does kind of connect with the brain for being a little bit more of a photographic style highlight, like you would see whenever we all go out and see fairy dust. It does look somewhat like this. So that takes care of one aspect of how I want this to look. The other thing that's sort of problematic right now is it's just all too bright in the scene and so I want to correct that. And randomness is a good thing, but maybe the place we want to take advantage of it is in the Opacity.

So I am going to go ahead and say I want my Opacity to be Random, and now you will see now I get nice differences in the apparent brightness of these. If we Select All, Delete, and do a little bit here, you will see what happens is that apparent brightness fools the eye into thinking it's seeing these objects closer and farther away in the scene. So it actually integrates in with the scene even a little bit better here, because we now have the feeling that these are floating in a 3D space, as opposed to the way they looked before. They were just flat in one plane and it defied the look of 3D here.

So we have got that going for us. The other thing is I can change the individual color, but what if these could be different colors themselves? And we can do that by going to Color Variability. I am just going crank up the Hue Variability, and let's try that a little bit. Now you can see it's starting to get different colors within each one of those little highlights. I can now control the Saturation value of those, just by where I place my cursor within the Color palette.

So let's go ahead and delete all this one more time and we can get rid of this now. Now I am just going to paint in here a bit, just so we have got some of this kind of floating around in this environment. I could even go back with my Eraser here quickly and just if I want some of this to look like it's more behind some of these elements, I can just erase them so that they are in the foreground, but they seem to be going back into the scene a little bit more. The other thing we could do is even add a second layer and go back and paint some more.

I can take this layer and just by reducing its Opacity a bit, you can see I can season to taste here, now where they seen more back into the scene a bit. I will go to this one, this layer, and also maybe make my brush just a little bit larger. So this will have the effect of making these seem even more closer to the foreground, and I can see what I could do here. I am going to undo those. I am going to turn my Opacity up to 100%, so that will increase their brightness just a little bit.

So now we have got some of these that seem to be actually floating closer to the camera. So this is a rather fanciful usage of Fairy Dust, as if there were actual real world situations you would use it in. But the idea here is that this brush has been taken from,what was a good brush, and in this particular case we have actually enhanced it and made it a really good brush for the kind of look that we want. So by making selective adjustments, as I said, you can take a good variant and make it into a great one.

This selective adjustment is mainly what I call "season to taste." The decisions are up to the individual making the adjustments. Painter is full of variants just waiting to be adjusted to suit your tastes. Go forth and adjust.

Find answers to the most frequently asked questions about Corel Painter 11: Mastering Brushes .


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Q: In the chapter 9 video "Understanding the Master Brush Library and the User Brush Library,” at the beginning of the video the author states that the demo will be on a Mac but that the Windows file system information will be displayed as well. The Windows path information never appears. What is the correct file information for using this tutorial with Windows?
A: Unfortunately, the Windows portion is indeed missing from the video. Below is the pertinent information.

Painter 11 Windows Master Library Location: 
Windows XP: Program Files > Corel > Painter 11 > Brushes > Painter Brushes 
Windows 7 or Vista: Program Files (x86) > Corel > Painter 11 > Brushes > Painter Brushes 

Painter 11 Windows User Library Location: 
Windows XP: Documents and Settings > [User Name] > Application Data > Corel > Painter 11 > Default [or custom workspace name] > Brushes > Painter Brushes 
Windows 7 or Vista: Users > [User Name] > AppData > Roaming > Corel > Painter 11 > Default [or custom workspace name] > Brushes > Painter Brushes 
 
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