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Working with hard media

From: Painter 11 Essential Training

Video: Working with hard media

Many traditional mediums have irregularly shaped tips and if you think of things like certain kinds of chalk or even after chalk has been used, it will wear down an edge of it or pencils. Pencils is a great example. You can take advantage of these irregular edges. I'm using the pencil is an example. Think of when you're normally drawing with a pencil, the tip itself is coming in contact with the paper but as you start to angle the brush down so that it gets more and more perpendicular to the surface, the edge of the lead start to get elongated along there and the artist will actually take advantage of that and use it more as a shading medium.

Working with hard media

Many traditional mediums have irregularly shaped tips and if you think of things like certain kinds of chalk or even after chalk has been used, it will wear down an edge of it or pencils. Pencils is a great example. You can take advantage of these irregular edges. I'm using the pencil is an example. Think of when you're normally drawing with a pencil, the tip itself is coming in contact with the paper but as you start to angle the brush down so that it gets more and more perpendicular to the surface, the edge of the lead start to get elongated along there and the artist will actually take advantage of that and use it more as a shading medium.

So, one tool, like a pencil, can actually have a pretty wide range of expression based on this tilt factor and the new hard media brushes in Painter take advantage of that and what we're going to look at in this video is just a couple of examples of that tool but the one thing I'm going to mention upfront is I have a bit of a beef with Corel right now because they've sort of broken a little bit of a rule about naming conventions and here's what I mean. If you go to RealBristle Brushes, there's this convention. The word Real appears at the beginning of those but now we're getting into some other categories like Oil Pastels.

There is something in here called the Real Oil Pastel, which has nothing to do with the RealBristle Media. So, in a way it's a little confusing if you've gotten acclimated to the use of word Real at the beginning of a variant to indicate what the behavior of that brush is going to be. It's a little bit broken here because all of a sudden, Real has a different meaning. It means it's a hard media brush in this category and it can be a little confusing and it's really a minor knit on my point but I just want to point that out that if you're confused about well, I thought Real was relating to RealBristle Brushes, why are they over here? Because these brushes that you'll find peppered throughout the brush categories now are also indicating that they are a hard media brush that does something unique with the relation of the tilt of the brush.

So let's get into it and look at it a little bit. So I'm going to start with this Real Soft Pastel and I'm just going to draw a little kind of cartoony pencil here. But you'll notice now I'm holding my pen straight up and down but as I put it on edge, you can see I can now get a much more wide brush. So, just the aspect of this brush is making a big difference in how it's working in my hand and as soon as you kind of acclimate to it, you immediately could see the value of it, like wow! That really does a nice job of providing a very interesting usage of tilt and it's very authentic to the way Real Media works.

As I go through here, I find it's a good thing when you first experience a medium like this, you're going to obviously try it our and explore what these expressive capabilities are. But what I found over time is you've really sort of internalize what this doing and you're not even going to pay attention to it after a while because you're actually in this process, just getting the feel of the brush in your hand and not having a actual, or what I'd call, kind of consciousness of the fact that you're relying on the various angles of the brush.

You just become part of the nature of the brush. So, literally at this point where I'm kind of getting aware. I'm going to switch in a moment to a Pencil to hit a little bit more character and finish on the end of this brush. So, we'll switch over now to Pencils and here I am now. I'm in the Real 2B Pencil. So once again this is telling me that this is a brush that actually has some character in terms of that tilt. And once again I'm not even spending much time thinking about it, but as I get down to a little place like this, yes, I'm now tilting that edge to put a little bit more shading on here and there you see now, I'm holding the tip of the brush.

I want to add a little bit of appearance of grain here and see once again now, just like I would with a traditional pen, I'm holding it up right in my hand and that gives me that nice sharp edge that I want to use to kind of delineate the edge of the drawing here and I'll do this real quick. So what I'm trying to create is museum quality art but I think you can see how this tool really has a very interesting quality. It's remarkable for it's ability to simply be able to, through one brush, have so many expressive possibilities.

Without it, you wouldn't be able to do this. You would have to resort to different brushes or changing size. I'm doing none of that. This is all being done while I'm just drawing with it. So this is my raging pencil and hopefully you can see how this gets across the point, literally again, of the way these brushes will work based on tilt. So, the new hard media brushes really bring a new degree of realism to the look of Painter's brushes and you don't need a 6D pen or anything to utilize it.

It will work with any Wacom tablet that has tilt is a part of its characteristics.

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This video is part of

Image for Painter 11 Essential Training
Painter 11 Essential Training

92 video lessons · 12157 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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