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Painter 12 Essential Training

Working with the Restoration palette


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Painter 12 Essential Training

with John Derry

Video: Working with the Restoration palette

I have now kind of cleaned up the painting by doing a little bit of hand work using the same brush that we auto- painted with to get rid of some of the edge corruption, or whatever you want to call it, that happened along the edges. And we're now ready to do any restoration we want, and this presents a couple of interesting things. The fact that I happen to use the brush John's Impasto Oil that has Impasto layer associated with it, means that we'll see here in a second, when I start to do some restoration, it's going to restore whatever the original imagery is, but in this case, the Impasto layer is going to be enabled, and on, and I'll show you what that means.
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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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Painter 12 Essential Training
5h 28m Beginner Feb 15, 2012

Viewers: in countries Watching now:

Join John Derry, one of the original Corel Painter authors, as he shares the creative techniques that will get beginners up and running, and shows old hands the new features that can get a creative vision out of your head and on to your canvas. The course demonstrates how to create projects, use Painter brushes and painting styles, build templates, and work with layers and channels. John also shares pointers on setting up a Wacom tablet to interface with Painter.

Topics include:
  • Exploring the changes in the Painter 12 interface
  • Customizing brushes and selecting painting styles
  • Laying out the optimal workspace
  • Controlling color with the color palettes
  • Adjusting brush size and stroke attributes
  • Working with texture-aware media
  • Quick cloning with the Clone Source panel
  • Auto-Painting with the Underpainting, Smart Stroke, and Restoration palettes
  • Preserving transparency in layers
  • Creating layer masks
  • Painting with symmetry
  • Working with the Image Hose
  • Integrating Painter projects with Photoshop
  • Troubleshooting brushes and other issues
Subjects:
Design Digital Painting
Software:
Painter
Author:
John Derry

Working with the Restoration palette

I have now kind of cleaned up the painting by doing a little bit of hand work using the same brush that we auto- painted with to get rid of some of the edge corruption, or whatever you want to call it, that happened along the edges. And we're now ready to do any restoration we want, and this presents a couple of interesting things. The fact that I happen to use the brush John's Impasto Oil that has Impasto layer associated with it, means that we'll see here in a second, when I start to do some restoration, it's going to restore whatever the original imagery is, but in this case, the Impasto layer is going to be enabled, and on, and I'll show you what that means.

Let's go ahead and go to the Restoration palette, and basically what this does is it gives me a cloning brush that is going to bring through the imagery associated with the source document, which is that image that we applied some color saturation too, and I also used the Smart Blur to simplify it a bit. So, let's take this. I'm going to turn it up a bit, and we'll select the Soft Edge Cloner, and I'm going to go to one of these detail areas we know is here, somewhere I think right here, we have where the elements with the needles are still in place to some degree.

It depends on how much Smart Blur simplified that area, but I'm going to go ahead and paint in this and it doesn't seem like much is happening. Now there we're seeing some more detail. Let me turn off Impasto, and now you're seeing this is the painting minus any Impasto that we applied to it with the Impasto enabled brush. So, when I paint without Impasto on, you can see how direct it's actually bringing that through, but when we enable Impasto, we're getting the character of the brush strokes as part of the Impasto layer, but we're now letting the original imagery come through underneath that Impasto layer. Which is actually kind of neat here, because we are restoring areas of the image.

But the character of the brush strokes is still somewhat retained because of that Impasto layer. And as a result, I can bring through some detail in here and assuming there is Impasto details still available above it in that layer, I can bring through -- it's not truly photographic anymore because we've simplified it, but you can see, there's more detail now even in this area than there was previously. And if I'm going to do any of this at all, I'm probably going to restrict it kind of to this central bit of cactus in the foreground.

As it goes farther back, it's not as much of a center of interest as the near elements of the cactus. So you really have a choice here; you know, how much do you want to bring back? If it's a portrait, for example, if you're doing something with a face, I can tell you from experience that Auto- Paint just isn't going to render a face in a painterly manner that you're probably going to like. And so, what I will very often do is use the Restoration brush to just sort of feather up some of the detail of the face, so that looks like you want it to look, because in particular portraiture, you're going to want the person's face to be the most clear image element in that entire painting.

When we go back, you really lose a lot of what the detail is doing because the display is sort of corrupt, so it doesn't do the greatest job showing all this at a reduced scale. But you can see now there's just a bit more detail in those areas. And so, the Restoration brush is a great way in particularly, and this is just kind of happened accidentally when I use the brush that happened to have Impasto associated with it. It has this extra benefit of you're bringing through the original imagery, but you are also allowing the stroked Impasto data to still remain, and so it's a nice hybrid between the simplified imagery in the source document, as well as the auto-painted imagery that was done with an Impasto brush.

Now, the last thing I want to tell you is if you're finished with an image like this and you want to take it somewhere like Photoshop, because the Impasto layer in this case, and this applies to any imagery that you've done with Impasto, if that layer is there and you save it as a Photoshop file, because the Impasto layer is a Painter specific layer, that data will be lost and what you would end up then would be a version of the image that looks like this. There's no Impasto data on there at this point.

And so, you have to have some technique for, how do I keep the Impasto data even though it's going somewhere else? The only way to do that in Painter is to make a clone of it. So, if I go in here and just say Clone, okay I've just cloned that image. If we go up here, that is now a flat image, it no longer has a Impasto layer, it's just been flattened into the image. If I go ahead and save this now, and I'll save it into the exercise files so you can look at the finished file, you'll be able to see that even if you're not in Painter, even if you save it as a JPEG, for example, to put on the web, you'll be able to still retain the look of Impasto even though you no longer have an Impasto layer, because now by making a clone, we've literally flattened the image and embedded that Impasto layer into the image, so that it's now just a single flat image that happens to have the Impasto effect on it.

So, this basically concludes looking at auto-painting. There's no time really to be able to show you all the different brushes that are in the set that I'm including here, but I can tell you that it's very much the experimental thing and I encourage you to try the same image and just select different brushes and let the process run through, and you'll be surprised how many different finished results you can get based on the brush that you've selected to apply to your source document.

Find answers to the most frequently asked questions about Painter 12 Essential Training.


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Q: When I double-click the John's Smart Brushes.brushcategory file as shown in the Chapter 8 movie "Understanding the Underpainting palette," the brushes do not install. Instead I get the message "There is no application set to open this document."
A: This is because your operating system does not recognize the .brushcategory file type.  This can be circumvented by selecting the file, right-clicking, and choosing "Open With…".

If Painter 12 is not in the list, use "Other…" to locate and select Painter 12.

The file will be read by Painter and the brush category will be installed.
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