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Working with the Clone Source panel

From: Painter 12 Essential Training

Video: Working with the Clone Source panel

In this video, we're going to talk about Painter 12's new Clone Source panel. In the past, you had an entry in the File menu that allowed you to switch among any clone sources you had, but it wasn't visual in any way whatsoever. And so, one of the things that the Clone Source panel does, which I have right here, and if you don't have it you can go up to the Window menu and just select Clone Source and that panel will come up. The thing that it does now is it shows a nice little visual representation as a thumbnail, so that you can quickly just look and see what various clone sources you have available.

Working with the Clone Source panel

In this video, we're going to talk about Painter 12's new Clone Source panel. In the past, you had an entry in the File menu that allowed you to switch among any clone sources you had, but it wasn't visual in any way whatsoever. And so, one of the things that the Clone Source panel does, which I have right here, and if you don't have it you can go up to the Window menu and just select Clone Source and that panel will come up. The thing that it does now is it shows a nice little visual representation as a thumbnail, so that you can quickly just look and see what various clone sources you have available.

The other thing it does now is in the past when you had a clone source and a clone destination, you had to be able to keep track of those files, because the clone source document was off somewhere else. Starting with Painter 12, it now embeds a clone source document into your destination document or your clone. And so, those all travel together and you no longer have to worry about where are those image files? They're actually embedded and part of the image, and that's a real godsend in terms of six months later when you want to work on an image that some cloning activity was done on, I know I've done it in the past.

It's like where's that original image? I can't find it. That will never happen again because these are now embedded in the actual image file that you're cloning to. The other thing that's a little odd about the Cloning panel is, there's no where in here that you can actually instantiate a clone destination from a source document. So, for example, this document, I do want to clone it, but you'd think the Clone Source panel would somewhere have that ability in it. It does not. So how do you go about doing that? Well, you go over to the File menu and you select Quick Clone, and in doing that that is going to make, as we did in our last video, a copy of it and it clears the image, it deletes the source file.

So now I've got a single file open, which has embedded in it that lily_pads image. One of the things you can do is you can add multiple images to a document. And so, if I wanted to put different images in here, I could. One of the things that I would not want to do though is take another image of a different resolution or size and if you think well, I can use this to composite one element from one image to another, you can as long as the element in that other clone source is exactly where you want it and if it's not, all you can do is clone it where it was in that document and bring it up into the new document.

So, one of the basis for this new cloning system is that you can clone into a flat document. And so, the idea of trying to use this to composite multiple image sources really doesn't work very well, because unless you just had the miracle of all your elements and all your images exactly in the right place, when you want to clone them, you otherwise have to deal with the fact that well, that's where it is in the image. It's down in the lower left corner. I wanted it in the center. There's no way to do that. A better way to do that type of compositing is to treat elements like that as individual layers, and when we get into the layer chapter, we'll talk about that.

But a better way to utilize this is to use the same image that has variations in it, and I'm going to show you what I mean. Let's say, I do have this lily_pads image, but it did close and embedded in here. So I need to open it again. So I'm just going to go to my recent images here, and I'm going to go ahead and I'm going to make this a grayscale image. So if I go to Effects and go to Tonal Control > Adjust Colors, I can turn the saturation down in this image. So now it's essentially a grayscale image.

I'll save this into the chapter07 folder as lily_pads, but I'm going to append it with bw for black and white, and we'll save that. And now, let's go ahead and go to the Clone Source panel here, and I can close this. Now I'm back at my document that is a clone source. Before I go any further, I do want to mention here, this is where a Tracing Paper is located. If I want to turn Tracing Paper on and off, I do it right here in the Clone Source panel, and I can then further adjust its opacity.

So if I want just varying degrees of transparency of my Tracing Paper, I can do that, but in this case I'm going to go down here and use the Open Source Image file, and we'll go right back to our chapter07 exercise folder, and I'm going to load in the grayscale version. So, now I've got two versions of this image; one color, one grayscale, and by extension, one could be more saturated, one could be a painted image. Any combination of versions of this image that you may want to combine can be put into the Clone Source panel, and this makes much more sense because now as I paint with a cloning brush, it's going to bring up the same image but with differences in it, and they'll all be painted onto this flat document.

So, let's go over and grab the cloner brush, and I'll go ahead and I've got the lily_pads black and white on here. I'll just kind of go into an area here and bring this up, and maybe we want to zoom up a little bit more to see what we're doing here. But let's say, I want this area to be in color. Well all I have to do is switch to my normal area and I can even turn off Tracing Paper at this point, because I see the document in black and white, but now it's like I can magically paint in color in this particular part of the image.

And so, this to me makes a great deal of sense of how to take advantage of the Clone Source panel. It's a great way to bring multiple versions of an image together, so that you can have a very easy way to change your brush to automatically do whatever that particular version of your clone source document has in it. Now, you can see, I've got an image that's a black and white version of this image, but I'm able to selectively bring the color into this image. And as I said, if I had a painted version, I can start painting with a painted version of this same image, I could paint with a sepia-toned version of it.

I could paint with a high contrast version of it; anything that I've done to the same image, and probably the way to do this would be to take your image and do several different effects to it. Save each one of those individually, and then you can load them through the Open Source Image button right here in the Clone Source panel. So that's a great way to be able to do this. So the Close Source panel really is a definite improvement in Painter's cloning management. You now have all source imagery available to you with a visual reference in one convenient location, and each of those images can be a variation on the same image, making one brush a cloner brush automatically changed to do different kinds of effects based on which one of the clone sources you've selected.

Show transcript

This video is part of

Image for Painter 12 Essential Training
Painter 12 Essential Training

63 video lessons · 8650 viewers

John Derry
Author

 
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  1. 1m 20s
    1. Introduction
      44s
    2. Using the exercise files
      36s
  2. 5m 4s
    1. Understanding what Painter 12 can do
      1m 45s
    2. Let's paint!
      3m 19s
  3. 11m 52s
    1. Starting Painter 12 for the first time
      4m 4s
    2. Creating, opening, and saving files
      4m 36s
    3. Working with templates
      3m 12s
  4. 30m 37s
    1. Painter's shiny new interface
      6m 43s
    2. Understanding the Tool palette and property bar
      4m 12s
    3. Using media selectors
      3m 43s
    4. Working with the Brush Selector
      7m 17s
    5. Configuring panels and palettes
      3m 41s
    6. Navigating Painter
      5m 1s
  5. 22m 41s
    1. Setting preferences
      6m 59s
    2. Arranging palettes
      1m 28s
    3. Creating custom palettes
      6m 30s
    4. Customizing keyboard shortcuts
      3m 52s
    5. Understanding workspaces
      3m 52s
  6. 28m 37s
    1. Controlling color with the Color palette
      7m 12s
    2. Working with the Temporal Color palette
      3m 0s
    3. Mixing color with the Mixer palette
      11m 3s
    4. Working with color sets
      7m 22s
  7. 56m 31s
    1. Introduction to brushes in Painter 12
      41s
    2. Understanding brush size adjustment
      2m 46s
    3. Exploring brush controls
      17m 44s
    4. Using the Computed Circular palette and stroke attribute brushes
      4m 13s
    5. Painting with Real Watercolor brushes
      7m 34s
    6. Painting with Real Wet Oil brushes
      3m 20s
    7. Working with Impasto
      8m 10s
    8. Working with texture-aware media
      12m 3s
  8. 13m 38s
    1. Understanding Quick Clone
      3m 58s
    2. Working with the Clone Source panel
      7m 22s
    3. Tracing a clone's source using Tracing Paper
      2m 18s
  9. 22m 56s
    1. Understanding the Underpainting palette
      9m 25s
    2. Exploring the Auto-Painting and Smart Stroke palettes
      7m 26s
    3. Working with the Restoration palette
      6m 5s
  10. 22m 15s
    1. Working with the Rectangular Selection tool
      3m 25s
    2. Using the Lasso tool
      3m 26s
    3. Selecting items with the Polygon tool
      2m 39s
    4. Understanding the Magic Wand tool
      7m 55s
    5. The Channels palette
      4m 50s
  11. 29m 1s
    1. Understanding the flexibility of layers
      7m 25s
    2. Preserving transparency in layers
      5m 37s
    3. Picking up underlying color in layers
      5m 13s
    4. Using the Free Transform tool
      2m 52s
    5. Working with layer masks
      7m 54s
  12. 24m 3s
    1. Painting with symmetry
      9m 6s
    2. Understanding Smart Blur
      4m 43s
    3. Working with seamless patterns
      10m 14s
  13. 25m 10s
    1. Introduction to the Image Hose
      2m 13s
    2. Understanding Image Hose controls
      9m 58s
    3. Working with nozzle files
      12m 59s
  14. 14m 32s
    1. Using each application for its strengths
      4m 59s
    2. The PSD format: what's compatible and what's not
      5m 3s
    3. Color management compatibility
      4m 30s
  15. 7m 0s
    1. Your best friend: Undo
      1m 50s
    2. Painting on layers
      1m 55s
    3. Save often, save early
      3m 15s
  16. 9m 48s
    1. The panic button
      2m 13s
    2. Using the Shift key restart
      2m 1s
    3. Re-importing a workspace
      4m 4s
    4. Troubleshooting: My brush won't paint
      1m 30s
  17. 3m 20s
    1. Goodbye
      3m 20s

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