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Using felt pens and markers

From: Corel Painter 11: Mastering Brushes

Video: Using felt pens and markers

Markers, as a medium, are great for spontaneous loose sketches and comps. They see a lot of use in design environments. Many design markers come in a wide spectrum of color to enable broad visualization uses. Painter's Marker category does an impressive job of emulating the look and feel of traditional markers. Let's take a look at how to fine-tune them. I'm going to start off by showing you the Felt Marker from Painter's Felt Pens category. This was the original marker in Painter for several generations of the product and I'll just do a little bit of drawing here and you'll see like real markers, it does tend to move towards black but a lot of people over the years kind of complained that it changed colors too quickly and even in real markers that's sometimes not a desirable attribute.

Using felt pens and markers

Markers, as a medium, are great for spontaneous loose sketches and comps. They see a lot of use in design environments. Many design markers come in a wide spectrum of color to enable broad visualization uses. Painter's Marker category does an impressive job of emulating the look and feel of traditional markers. Let's take a look at how to fine-tune them. I'm going to start off by showing you the Felt Marker from Painter's Felt Pens category. This was the original marker in Painter for several generations of the product and I'll just do a little bit of drawing here and you'll see like real markers, it does tend to move towards black but a lot of people over the years kind of complained that it changed colors too quickly and even in real markers that's sometimes not a desirable attribute.

If I want to fill this in, you can see it's very hard to get a consistent, solid, same color within the area that I've filled with the marker. So what the engineers at Corel did is they came up with a new method. You can see this old method uses just the simple circular dab type and a Buildup style method but if we go to the new Markers category, you'll see that there actually is a new method called Marker and this is a dramatic improvement over what we had here.

Now I'll use the same color and show you what the difference is. When I go in here and start to do in area, you can see what happens. When I go back over it, it doesn't change color at all. As soon as I lift up and start drawing again, it will darken that area but this is actually the idealization of what many artists want a marker to do. They wanted to stay in a very solid color and build up density by applying color multiple times. This new Marker category almost works similar to the way that some of the Photoshop brushes work, where once you've touched an area it doesn't change color and that's exactly what's happening here.

But as soon as I generate a new stroke, well now it's starting afresh and adding a second layer of density to that. But the result of this is that it actually is closer to getting the look of markers than previously were possible with Painter's old Felt Pens model. So if I'm going to do just a simple idea of a maybe a box or something just like you do in real comps. And I'm going to do this very loose because this is often the kind of look that initial just rough drawing off the top of an artist's head will end up as.

It's not a final fine art making tool. It's much more used to just visualize for someone what is it you're trying to get across in terms of packaging or how things are going to be laid out. As such it enables a very just spontaneous approach to drawing very simple kinds of ideas without investing a whole lot of time or technique into it. And the one thing that this does rely on is the Hard Media category. So this is another brush that when I am drawing straight up and down with my pen, I get kind of the chiseled end tip of the marker but then as I bear sideways with my pen, now I get a much wider mark.

So this ability to actually go in and change shape just like a real marker is another reason why this is such a good tool for this kind of quick spontaneous style work, and I by no means am an expert of the use of this particular medium but I think you can see how just even noodling around with it, I'm getting a very good quick look that has that spontaneity that many people associate with marker work. So markers in Painter have been improved and have a much better fidelity when it comes to emulating the look of traditional markers and the other really nice thing is the way that one applied stroke will not overwrite itself until you start a new stroke and that's when you'll start to build up your density.

So markers are great for doing design and drawing work in a very casual fashion. Their look promotes spontaneity. I actually know of a storyboard artist that has for years done traditional marker work for his clients. Now, he's moved on to digital but the clients' still want the marker look. He's transitioned, he is using Painter for this work and his clients don't even know that he's no longer using the traditional medium. So these markers really enjoy the benefits of working digitally and satisfy the clients' desire for a traditional marker look.

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This video is part of

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

58 video lessons · 7121 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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