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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 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.
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