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Corel Painter 11: Mastering Brushes
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Using sponges and modifying captured dabs


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Corel Painter 11: Mastering Brushes

with John Derry

Video: Using sponges and modifying captured dabs

One of the novel uses of sponges as a mark-making tool is as a graphic stamp. A natural sponge's structure is made up of a complex cellular arrangement, contained within a three-dimensional volume. The surface of this material presents a complex organic structure. Dabbed with paint and used as a stamp, the surface can create an amazing texture, especially when overlaid with multiple colors. In this movie, we'll take a look at how this variant is able to apply this texture as well as discover what a gaping opening it makes for creating a wide variety of other brushes.
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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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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
Subjects:
Design Digital Painting
Software:
Painter
Author:
John Derry

Using sponges and modifying captured dabs

One of the novel uses of sponges as a mark-making tool is as a graphic stamp. A natural sponge's structure is made up of a complex cellular arrangement, contained within a three-dimensional volume. The surface of this material presents a complex organic structure. Dabbed with paint and used as a stamp, the surface can create an amazing texture, especially when overlaid with multiple colors. In this movie, we'll take a look at how this variant is able to apply this texture as well as discover what a gaping opening it makes for creating a wide variety of other brushes.

Let's take a look at sponges. I'll go up to the Brush Selector Bar and we will drop down here Sponges and we're going to work specifically with the Sponge tool and the first thing you want to know about this brush is that it takes advantage of what's called the captured dab. And if you look at the Size palette, you'll see that rather than just a simple circle, we've got a very complex pattern or something going on here and if we reduce the size of this, you'll see that this is actually a sponge-like texture that is the dab of this brush.

And you can capture any graphic element and make it into a dab for a brush and this means in some ways, this is the most customizable brush possible within Painter, because what that dab is totally impacts everything else about how the stroke is going to look and then you have, as well, all the little stroke controls to do things with this particular dab. So, let's take a look at how the Sponge utilizes this dab and then I'll show you how you can actually create your own dabs.

So, I'm going to just take a color here and as I'll start to paint, you'll see it's taking that dab shape and it's just applying it to the surface of the image and just by changing colors, you'll get an interesting buildup because some of the original colors shows through the transparent parts of the stamp and other parts are clouded with the new color, so just a few passes of color will start to build up interesting textures based on the combination of color and overlaying textures, as they're applied.

So, right off the bat, I think you can see how a captured dab can be a very powerful tool to create any wide- ranging ideas that you may have for a particular kind of graphic image or brush you want to create. So, let's take a look at how this is actually created. I'll go ahead and clear off my canvas and let me explain that when you create a dab, it can only be black and white. You would never see color within this window and that's because the way the dab works is black areas are considered opaque, white areas are considered transparent and any gray scale in between black and white are considered varying levels of transparency.

So with that knowledge, you can use this to create a brush that has very opaque parts, very transparent parts and all levels of transparency in between. So, for this exercise, I'm just going to make something like a cloudy, foggy brush and I'm not sure what it's going to end up looking like, but let's try and see what we get. So, I'm going to use my airbrush to do this. And I'm going to start with some black and I'm just going to apply some texture here.

I'm also going to turn down my Opacity quite a bit. So, I've dropped it down to 10. I will probably just go ahead and start over, because I want to make sure, yeah this is better. So, I'm just going to create interesting kind of textural thing using kind of a wavy type stroke pattern here. The thing about this is there is somewhat of an experimental aspect to it, because it's hard to know exactly what a dab is going to do once it's on the end of our brush. And you may have to do multiple iterations in order to find out what works.

So, I'm just building up density here to get just an interesting kind of organic style pattern. Let me go back in with some white here and just kind of break it up even a little bit more, maybe with some direction in this way. Since we're going to put it right in the same slot basically that the Sponge dab was in. So, all of the other behavior associated with the brush will remain. Maybe a little bit of size change here will also adjust it. That's too small. Maybe a little bit of intermediate size here will work.

So, we are not going to spend too much time to make the perfect brush, but I just want you to see what happens when we take this and put into the placeholder that right now is the sponge texture. So, let's go back. We want to go back to the sponge because we want to make sure that's the brush we're going to apply this to and to capture this we use a rectangular selection. And if I just click and then hold down the Space key, this will constrain this to a square.

And I'm just going to make sure that I've gotten enough space in this to fit my entire graphic and then I will fit it in here this way. Now that we've got that, we're going to go ahead and go up to the Brush Selector Bar, and right here at the top we've got Capture Dab. So, I say Capture Dab and you can see what's instantly happened is it's changed what was the sponge texture for our new texture we've just created. Let's open up a new image and every other bit of behavior will be the same here.

It'll just be that the dab is now changed. So, let's go ahead and draw with this and we will just try some color. Now, you'll see that sometimes this happens and what you have to do, it's still in memory what the old brush is. Just by changing this slider at all will update it. So now it's using the new texture. That's something that if you don't know that, you could wonder why didn't it take. And the reason is it needs to be updated by just adjusting that Size slider in order to see it.

I'm going to reduce the Scale a bit, so that we are not looking at such a large brush, and what may be not working really well for this is the particular method. So, this is where everything we've been learning about in this title starts to come into play. I can try different methods, like I'm thinking Soft Cover might be better. So, there is a nice kind of soft cover and you know this may not end up being a brush that you would particularly want to save, but you can see how the fact that this is automatically rotating every time it's applied, and it's even changing scale a little bit starts to create a very complex pattern that there was no brush in the world that did this before and now we've got a brush that does this.

So, the world of brushes are available to you in terms of customizing and I've found over time that the most customizable aspect of brush making is the captured dab. It just really opens up a very major opportunity for creating a very wide range of expressive possibilities. So, definitely check out the captured dab and my best advice is do what we just did here.

Take an existing captured dab brush, because it's already been set up with a certain set of behaviors that are intended to work with a captured dab, so it's probably your best starting point. And then from there, you can start to make the adjustments as we did here and just tweak it till you get the brush you're looking for.

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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