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Using each application for its strengths

From: Painter 11 Essential Training

Video: Using each application for its strengths

In this movie we are going to take a look at Painter and Photoshop. Both are world-class applications in their fields. Photoshop is excellent photo retouching and color manipulation tool, whereas Painter is best at expressive brush strokes and I use both in my workflow, because each application has its strengths and I use each for what they are best intended for. So I'm going to show you just a little set of slides here that kind of explain how I do my work and how I break it out.

Using each application for its strengths

In this movie we are going to take a look at Painter and Photoshop. Both are world-class applications in their fields. Photoshop is excellent photo retouching and color manipulation tool, whereas Painter is best at expressive brush strokes and I use both in my workflow, because each application has its strengths and I use each for what they are best intended for. So I'm going to show you just a little set of slides here that kind of explain how I do my work and how I break it out.

I basically call this my Photoshop Sandwich with Painter in the Middle workflow, because I start and I end with Photoshop to do what it's best at, in the center of the sandwich, where the meat is. That's where I do all of the expressive work. So I start, as I said, in Photoshop, and for Photoshop once I'm working with an image, and this is particularly related to photography, I'll prep the image using Photoshop. I'll resize it for intended output. We mentioned resolution in an earlier video, resizing and knowing what that's going be upfront is absolutely critical.

So, I use Photoshop while I'm in there to do that. I also, in some of the my images, and for variety of purposes, there are times where you may want to include, what I call an outset, some extra non image space that you are going to paint in to. I do it myself to get kind of an unfinished edge to a lot of the work that I do, but again I'm in Photoshop, I'm getting the dimensions and the resolution of the image set there. I also use Photoshop for what its best at, Color and Tonal adjustments. Using Photoshop, it's got the most sophisticated tools, Painter has some similar tools, but if I'm going to be using Photoshop, I'm going to use it for what its best at, and this is where a Photoshop really shine.

So in this first part of my sandwich I'm going to use Photoshop for that. Then finally, if there is any Retouching, Compositing of multiple elements, that all happens in this initial phase. So that's the first kind of piece of bread on the top of our sandwich. Next, I take that image, once it's finished, into Painter, and this is where all the expressive interpretation takes place. I'm going to do all my brushwork. I'm going to apply any texture. I'm going to do-- I'm going to do all the border treatment. While I said that much more quickly than I did in talking about Photoshop, this is actually where 80-90% of my time is spent.

This is where all of the expressive addition occurs in the image, and so you are going to be spending the bulk of your time in this really fat sandwich with a really juicy, meaty center in Painter. Then when I'm done, I go back to Photoshop and I do, again, more image work. I'm going to go in and I'm going to prepare this image for any local color adjustments that need to made or tonal. What happens in mixing colors in Painter, sometimes you dull them down and you may need to make color corrections or tonal adjustments just to help, whatever your subject is become the most dominant element within the image, and through both tonal and color adjustments, you can do that.

I also -- any final color corrections I want to do, this is where it's going to happen. Then finally, I want to convert this image to its intended output profile. Hopefully, you are working or considering working in a color managed environment. Particularity if you are doing any work that goes out for printing, you really need to have that color managed environment. You are dead in the water if you send the file somewhere or even to your own printer, if you are not using profiles and color management, you are just kind of shooting in the dark and maybe occasionally getting what you want.

Using the output profile on that image, as well as the total color management environment, is going to ensure that what you see on your monitor is what you are going to see onto printout. So that's my Photoshop Sandwich with Painter in the Middle Workflow, and it works particularly well when I'm doing photographic expressive interpretation from a photo to start with. If you are just starting, painting from scratch, you can eliminate the top part of the sandwich and make it an open face sandwich, by just doing Painter to start with and then using your application of choice, typically Photoshop, to do that final editing and clean up for whatever form of output you are going to do.

So take my advice and go eat a sandwich.

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This video is part of

Image for Painter 11 Essential Training
Painter 11 Essential Training

92 video lessons · 12165 viewers

John Derry
Author

 
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  1. 1m 49s
    1. Welcome/demo
      54s
    2. Using the exercise files
      55s
  2. 3m 45s
    1. What Painter can do
      1m 15s
    2. Let's paint!
      2m 30s
  3. 23m 16s
    1. Starting Painter for the first time
      6m 39s
    2. Creating, opening, and saving files
      4m 52s
    3. Sizing image resolution for output
      6m 16s
    4. Extending the canvas
      2m 36s
    5. Creating and using templates
      2m 53s
  4. 37m 46s
    1. Navigating Painter
      8m 46s
    2. Rotating the canvas
      3m 3s
    3. Using the Tool palette and Property bar
      6m 41s
    4. Understanding Tool palette selectors
      8m 58s
    5. The Brush Selector bar: an art store in a palette
      4m 2s
    6. Configuring palettes
      6m 16s
  5. 28m 37s
    1. Accessing and controlling color with the Color palette
      8m 27s
    2. Mixing color in the Mixer palette
      10m 41s
    3. Color sets: choose 'n' use color
      9m 29s
  6. 37m 13s
    1. Understanding the six axes of motion
      3m 19s
    2. Introducing tablets: Intuos3 and Intuos4
      8m 6s
    3. Introducing tablets: Cintiq
      7m 49s
    4. Customizing your Wacom tablet: part 1
      4m 57s
    5. Customizing your Wacom tablet: part 2
      9m 25s
    6. Maximizing your tablet's pressure response
      3m 37s
  7. 14m 56s
    1. Understanding the selection tools
      2m 16s
    2. Making selections using the Lasso tool
      3m 20s
    3. Making polygonal selections
      2m 51s
    4. Making selections using the Magic Wand tool
      6m 29s
  8. 42m 34s
    1. Understanding layers
      8m 1s
    2. Using the Preserve Transparency control
      2m 50s
    3. Using the Pick Up Underlying Color control
      4m 36s
    4. Resizing and rotating layers using the Transform tool
      5m 45s
    5. Making selections using channels
      4m 23s
    6. Working with layer masks
      9m 52s
    7. Adding text
      7m 7s
  9. 37m 40s
    1. Understanding the Brush Creator workspace
      6m 11s
    2. Exploring brush properties using the Randomizer
      8m 15s
    3. Exploring brush properties using the Transposer
      4m 45s
    4. Using the Stroke Designer to create custom brushes
      9m 39s
    5. Managing brush variants
      8m 50s
  10. 38m 24s
    1. Adjusting brush size: three techniques
      3m 3s
    2. Fine-tuning your stroke in the Brush Controls palette
      5m 12s
    3. Working with texture-aware media
      8m 59s
    4. Painting with Artists' Oils brushes
      10m 45s
    5. Painting with RealBristle brushes
      3m 39s
    6. Working with hard media
      4m 57s
    7. Painting with markers
      1m 49s
  11. 20m 21s
    1. Understanding the Image Hose
      3m 26s
    2. Controlling the Image Hose
      8m 32s
    3. Creating a nozzle file
      8m 23s
  12. 22m 11s
    1. Warmup exercises
      7m 54s
    2. Draftsmanship: drawing media
      10m 56s
    3. Doodling
      43s
    4. Creating outline sketches utilizing the conceptual squint
      2m 38s
  13. 17m 28s
    1. Understanding cloning
      3m 1s
    2. Tracing a clone's source using Tracing Paper
      3m 27s
    3. Painting a cloned image
      5m 55s
    4. Creating a Quick Clone
      2m 46s
    5. In-document cloning
      2m 19s
  14. 25m 51s
    1. Understanding the vocabularies of paint photography
      8m 51s
    2. You must destroy detail
      6m 20s
    3. Focusing on the subject
      4m 1s
    4. Adapting color in a photograph for photo painting
      6m 39s
  15. 28m 16s
    1. Under-painting
      6m 26s
    2. Auto-painting
      5m 25s
    3. Using manual controls for auto-painting
      11m 53s
    4. Restoring detail using the Restoration palette
      4m 32s
  16. 18m 44s
    1. The photo as wet oil paint
      6m 47s
    2. Cloning the canvas and building detail with multiple layers
      11m 57s
  17. 25m 57s
    1. Applying surface texture
      6m 53s
    2. Matching the color palette between two images
      4m 10s
    3. Marbling
      9m 27s
    4. Exploring the Growth effect
      5m 27s
  18. 25m 10s
    1. Understanding frame-by-frame animation
      2m 9s
    2. Creating an animation with onion-skinning
      11m 51s
    3. Using a movie clone source
      11m 10s
  19. 17m 47s
    1. Using each application for its strengths
      4m 24s
    2. Working with Photoshop's PSD file format in Painter and Photoshop
      4m 52s
    3. Configuring color management
      8m 31s
  20. 33m 25s
    1. Setting preferences
      7m 37s
    2. Customizing keyboard shortcuts
      5m 5s
    3. Saving and restoring palette layouts
      4m 3s
    4. Creating custom palettes
      3m 36s
    5. Accessing favorite brushes using the Tracker palette
      5m 55s
    6. Organizing custom workspaces
      7m 9s
  21. 8m 17s
    1. Undo, undo, undo
      3m 33s
    2. Painting on layers
      1m 57s
    3. Save often, save early
      2m 47s
  22. 10m 7s
    1. Resetting brushes: Painter's panic button
      2m 0s
    2. Resetting workspaces with the Shift key restart
      6m 12s
    3. Troubleshooting brushes with the brush checklist
      1m 55s
  23. 16s
    1. Goodbye
      16s

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