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Using cloners

From: Corel Painter 11: Mastering Brushes

Video: Using cloners

The Cloners category variants work in concert with source and destination imagery. With this relationship established, the colors of the source image can be funneled through a cloner brush, and impart that brush's expressive characteristics to the destination file. Beyond the Cloners, almost any brush in Painter can be easily called into service as a cloner. Let's go ahead and take a look at cloning brushes. I'm going to start off by giving you a little demonstration of what often happens when people first encounter cloning and aren't aware of this source and destination image relationship.

Using cloners

The Cloners category variants work in concert with source and destination imagery. With this relationship established, the colors of the source image can be funneled through a cloner brush, and impart that brush's expressive characteristics to the destination file. Beyond the Cloners, almost any brush in Painter can be easily called into service as a cloner. Let's go ahead and take a look at cloning brushes. I'm going to start off by giving you a little demonstration of what often happens when people first encounter cloning and aren't aware of this source and destination image relationship.

They'll though often get to a cloner brush, which we've got here in the Cloners category and start drawing. And without any knowledge of what's going on, they'll wonder where are these funny colors coming from? And the way that cloning works in Painter, there must always be a clone source established. So if you haven't even gone in and created a source and destination file, Painter still has to have that connection established and when one has not been user created, it's going to utilize the current pattern.

And the Pattern that is there by default is called Hens & Chicks and it's this pattern that typically people will start to see these colors and they'll wonder why am I getting this? And this is the reason. That Hens & Chicks, which is the default pattern, tends to be the one that without any dictation from the user will start to come out of the cloning brush itself. So I just wanted to let you know if you've encountered this, why and where these particular colors and patterns are coming from and it just relates to the way Painter works with the cloning in general.

Now just to review, I'm going to call up the clone chart here and show you what I'm talking about. If you have an image and it can be any image. It can be a photograph or artwork you've done. Whatever that image is, you create from it a clone. So the original image is what I always refer to as the source image. This is where the color information will come from and it goes through one of these cloner brushes and whatever that brush is set up expressively to do, it will take those colors and impart it to the dabs that it's applying to the destination image.

So this unique relationship between these two files is what creates the ability to do cloning of in this case a photograph through to a second image. They're two separate images but they are linked by the fact that the cloning command has been used to create this relationship. So let's open up an image, and this is an image you'll find in your Exercise Files. It's called autumn and we're going to create this relationship by going to the File menu and I'm going to take advantage of the Quick Clone command here.

And in this case, it's automatically erasing the image from the destination file but don't be fooled. There is still a relationship established between these two. The quickest way to see that is to go up to the Tracing Paper icon here and when you turn it on, we're now seeing a ghosted version of the source image in the destination. This can actually be used as tracing paper if you'd like to use it that way. But it's just a way to able to see the imagery as you apply it. And in this case, we've got this Flat Cloner.

So I'm going to use the fact that I can now see this, so that I can go in here and I'm doing it very roughly, but I am placing these strokes not just anywhere. I'm placing them based on the underlying imagery. So the fact that I can see through to this and yet have it as a separate file gives me this remarkable ability to paint from the source image and not worry anything about where the color's coming from. I'm just taking advantage of the particular quality of this brush and the fact that in the same resolution source file, it knows how to constantly pick up the color from that location in the source and apply it to the destination.

Now if we turn this off, you'll see that it's by no means a finished image but the strokes that I'm placing are somewhat intelligently placed, because I'm using the reference of the source image to create that image. If I turned off cloning, and I'm going to show you this now. In the Colors palette, there is a little icon right here. This is the Clone Color button. If I disable this, you'll see that know the Color palette is back to its full colors and what that means is the color is now coming from the Color palette.

As soon as I enable the Clone Color button, it grays out because we're telling the brush to ignore the Color palette and now get the color from the source imagery. With this knowledge, this means that almost any brush in Painter, and I'll qualify that, not every brush but almost any brush in Painter can be turned into a cloner. So let's go to a non-cloning category. I'll go to Chalk for example and here is the Real Soft Chalk. So I'm just painting with it and it's a brush that utilizes texture and there is some qualities that are happening based on my tilt and bearing.

So this brush has particular expressive capabilities but it's being used at this point in tandem with the colors on the palette. But by simply clicking on that Clone Color button, we're now saying ignore the colors in the palette and instead get your colors from the source image. And once again, I'll go ahead here quickly and delete the current imagery and by turning this on, I can once again go in here, but now unlike the more Oil style brush you saw earlier, I'm now creating an image in the style of chalk.

It's using texture. It's playing with the ability of turning the different angles and applying different widths to it. So now I am funneling this source image through the medium of chalk and whatever kind of capabilities this particular variant has been set up to do, I can interpret the source photograph in this case to this piece of chalk. So if we close it off, you'll see once again nowhere near a final drawing, but now this does look like chalk and you can almost think of the source image as your color palette.

That is where the color comes from and you're relieved of having to think about establishing the colors you're painting with, because that heavy lifting is being done by the cloning activity. You're still applying your expressive sensibilities to the way you're using this particular brush and the way that you're applying it and combined, you get a very unique way to create imagery using a separate image as your source. The cloning brushes were one of the first features of the original version of Painter and it really garnered a lot of attention at the time. It was very revolutionary to be able to do this.

Cloning techniques have evolved in Painter, particularly with regard to the smart stroke brushes, which we'll be looking at shortly. But the cloners still provide a very useful technique for transforming an image into a different style. So if you want to take advantage of that, visit the Cloner category.

Show transcript

This video is part of

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

58 video lessons · 7119 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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