IntroductionWelcome| 00:00 | Hey! Hi there. I'm John Derry and I'm one of the original authors
of Painter and so I guess that means I've been around the
| | 00:06 | block a couple times in terms of moving pixels around.
So what we're going to do here is Painter Essentials X and
| | 00:14 | we're going to be covering things like how to organize your brushes,
understanding the interface, being able to use layers to paint,
| | 00:21 | for example, or even using Auto-Painting, which is
the way you can just basically take a photograph and
| | 00:27 | have Painter apply its smarts to it
to make a finished painting for you.
| | 00:32 | We're going to do all that and more and as you can
see here we're going to be having a lot of fun as we
| | 00:37 | go through this. So I hope you'll join me and at the end of
this my hope is that you going to be a really excited about
| | 00:45 | Painter as well as expressing yourself through
this amazing mark making tool. So come join me.
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| Using the exercise files| 00:00 | If you're a premium member of the lynda.com Online Training
Library or if you're watching this tutorial on a disk,
| | 00:07 | you have access to the exercise files used throughout this title.
| | 00:10 | So all the exercise files are found in a folder which is
amazingly named exercise files. If we open this up you'll
| | 00:16 | find all of the various chapters with additional folders and
inside each one of these there will be the content that's used
| | 00:24 | along with each lesson.
| | 00:25 | Now I'll open one up
| | 00:27 | and you'll see that this is the file that I would be using
for Chapter 1 and if we look over here you'll see that some
| | 00:34 | files are RIF, some are PSD. The RIF format is Painter's
native format. The PSD format is Photoshop's native format.
| | 00:42 | RIF sometimes is used to save very specific information,
but I've split the difference here because 99% of the time
| | 00:49 | you can save files in the Photoshop format.
| | 00:52 | This is also important because it allows you to move your
files back-and-forth between Painter and Photoshop and use
| | 00:59 | each application for what it's best at.
| | 01:02 | If you're a monthly or annual subscriber to lynda.com, you're
not going to have access to the exercise files, but you'll
| | 01:08 | see that in many cases I'm starting with an untitled document
so you can follow along that way from scratch or you can
| | 01:15 | use your own assets.
| | 01:16 | Let's get started.
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1. Understanding Painter XUnderstanding what Painter X can do| 00:00 | Sometimes I hear people ask, "What do I need Painter for? I already
have Photoshop." Well, I can distill it down to a single word,
| | 00:08 | Brushes.
| | 00:10 | Maybe two words, Expressive Brushes.
| | 00:13 | You're going to hear me use the word Expressive
a lot throughout this title, and the reason is,
| | 00:18 | Painter has got so many qualities. Combined with the use
of the Wacom tablet, you can express a wide range of emotion
| | 00:27 | and feelings through those brushes and ultimately that's
what Painter is designed to be, a tool that allows you to take
| | 00:34 | what's inside you and express it to others. That is something
that is difficult for other applications to do at times.
| | 00:42 | Painter does it in spades. You just have so many
brushes and ways to do expressive mark marking in
| | 00:49 | Painter that there is just nothing else like it. Photoshop
is great as a compositing and pixel manipulation tool.
| | 00:56 | It is the best when it comes to things like correcting colors and
compositing multiple elements together. Painter on the other hand
| | 01:04 | is a Brush Engine. It's designed to apply
marks onto the screen as quickly as it can,
| | 01:11 | and with all of the various possibilities in the way that
it makes marks, it makes it a very, very expressive tool.
| | 01:19 | And like I say, I am going to be using that word expressive
a lot. If you are an artist or aspire to be an artist,
| | 01:27 | one of the things you want to do is to be able
to express yourself, and Painter does it well.
| | 01:33 | So that's really what Painter is about, and I could go
on about other features in it, but more than anything
| | 01:40 | else the way that it enables you to use mark marking tools
for the purpose of personal expression is something you
| | 01:47 | can't do anywhere else other than
traditional media. So Brushes.
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| Emulating natural media| 00:00 | What Painter is best at is emulating traditional media.
| | 00:04 | The idea behind Painter is to be able to emulate all the various
forms of media that you'd find in a traditional arts store.
| | 00:12 | I am just going to go through and draw with a few
of them here to give a hint of what's possible.
| | 00:17 | This is a Scratchboard tool for example, and it's
a great tool with a nice thick-to-thin ratio;
| | 00:24 | and this is just great for creating pen and ink type drawings,
and I am not going to try to create any great art here,
| | 00:31 | but I just want to make a few marks with some of these
tools so that you get a sense of some of the elegant
| | 00:38 | and rather nerdly kinds of things that you can
do with some of these various pens and brushes.
| | 00:45 | So that's the Scratchboard tool.
| | 00:47 | We've also got Sponge for example.
| | 00:49 | What if you want to take a color and just dab
it into paint and then apply a texture with it.
| | 00:56 | That's something you can do with a Sponge tool, and it
gives you a very close simulation to what you can do
| | 01:02 | with a natural sponge and some paint for example.
| | 01:05 | Airbrushes. If I take this Airbrush, this actually
understands tilt and bearing, and so when I tilt,
| | 01:12 | you can see how this Airbrush actually is responding
to the way that I am turning and tilting the Airbrush.
| | 01:20 | It's almost like holding a flashlight
in your hand and depending on the tilt
| | 01:24 | of my pen I can control how it goes out onto the canvas.
| | 01:29 | So being able to emulate traditional airbrush media
is something that is very easily done in Painter.
| | 01:35 | Brushes. Painter has brushes in spades and I
can paint and you can see here how it smears
| | 01:42 | and treats the underlying imaginary very much
like it expect real, natural tools to work.
| | 01:50 | So being able to emulate traditional media
is something that is very adept in Painter.
| | 01:55 | There is no other application that does
it to the degree that Painter does.
| | 01:59 | What about a Palette Knife? That I can take here and
just smear my paint, and once again it's responding
| | 02:06 | to the bearing of my pen as I move it around.
| | 02:09 | I might want to go in here and take just a simple acrylic
brush to paint with color in a opaque fashion; so another tool.
| | 02:19 | I am just scratching the surface
literally of what's possible in Painter.
| | 02:25 | You can even go in here and use the Watercolor to apply water
that actually runs and takes a few moments before it dries,
| | 02:33 | where else could you possibly do
that other than in traditional media.
| | 02:37 | And the nice thing is here, all of this is digital.
| | 02:41 | So the world opens up to where I can begin to undo some of
what I have been playing with, you can't do that traditionally.
| | 02:49 | So Painter offers you this amazing ability to be able to go in
and work with a traditional, natural style tool that respond
| | 02:58 | and feel the way their traditional counterparts do, but the
big difference is, this is a digital canvas and so there is
| | 03:05 | so much more you can do that just is
not possible in traditional tools.
| | 03:10 | So I hope that you'll see throughout this
entire title that Painter offers capabilities
| | 03:17 | that you just will not find anywhere else, and hopefully
by the end of the title you'll get a good sense of how
| | 03:23 | to take these tools and be able to
express yourself in a meaningful way.
| | 03:28 | So natural media emulation is really the heart-and-soul of
Painter, and hopefully just a minutes of kind of noodling
| | 03:33 | around here on the canvas it gives you a good sense of that.
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| Auto-painting| 00:00 | You know, a certain component of Painter
users are those people who say,
| | 00:04 | "I can't draw or paint a straight line,
is Painter useful for me in any way?"
| | 00:09 | and the answer is a resounding yes.
| | 00:12 | Painter X includes an amazing Auto-Painting feature that
allows you take a photograph and reinterpret it into a painting
| | 00:20 | and it's actually so simple that it's really
nothing more than a simple click of a button.
| | 00:26 | I'm going to show it to you right here.
| | 00:28 | I've got this setup so that we're maximizing
the space so you can see this in action,
| | 00:33 | but I'm just going to go over to the Auto-Painting palette
and click on it and you're going to see the photograph that's
| | 00:39 | down in the lower left corner be
reinterpreted by Painter into a painted result.
| | 00:46 | Now, what's happening here is it pre-analyzes the image, it
looks for detail and it looks for edges and then it utilizes
| | 00:54 | that information to place the strokes
wherever the detail and the edges are
| | 00:59 | and the result, as you can see here is an amazing painting.
| | 01:03 | It has many of the hallmarks of how a
hand-painted work is done by an artist
| | 01:08 | in which they do spend time emphasizing
the detail portions of an image,
| | 01:13 | which is typically where you'll find the
subject and there it is, it's already done.
| | 01:17 | That's how easy it is to be able to create an Auto-Painting
within Painter and I'm going to do it one more time
| | 01:25 | because I'm going to show you another thing you can do.
| | 01:28 | You can stop this at any time.
| | 01:29 | You may have said, "You know, I liked it better kind of back here
| | 01:33 | when it was a little more impressionist,
so I can stop this as well."
| | 01:37 | So you have a lot of capability built into Auto-Painting.
| | 01:41 | Literally, any Brush in Painter can be put into the
Auto-Painting technology's hand to use as a brush.
| | 01:48 | So, all of this combines together so that even if you claim to
not have a background in art, you can still be calling the shots
| | 01:58 | and making the decisions about which brushes
you place in the Auto-Painting's hands to use
| | 02:03 | and within that alone there is a huge range of expression.
| | 02:08 | So, Auto-Painting is an amazing technology
in Painter that allows even those
| | 02:12 | who don't claim to have a background in traditional art,
| | 02:16 | it gives them the option and offers a possibility to be
able to utilize these tools in a highly creative way.
| | 02:23 | So Auto-Painting, I'm sure you're
going to spend time playing with it.
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| Painting from scratch| 00:00 | I've often been asked and this happens at trade shows back
in the past when we were showing Painter off. People that came
| | 00:07 | from traditional backgrounds would say, you know, can I take
my existing art skills and transfer it to the computer using Painter?
| | 00:14 | And the answer definitely is, Yes. In fact, one of
the things that I've seen happen at many of the
| | 00:21 | various public settings where someone with traditional skills
will sit down and they've never even been at a computer before,
| | 00:28 | which is kind of hard to believe these days,
| | 00:30 | but this actually was true once long ago. You actually
would get someone who was a painter or drew or had some
| | 00:39 | traditional skill, we'd set them down
| | 00:41 | and have them start to play with the tools that they
were familiar with in the traditional world and
| | 00:48 | in minutes they would be sitting there doing amazing work.
So yes, Painter can be easily transformed into a tool that allows
| | 00:56 | you to take your existing art skills and translate it to a
digital tool. Some of the things that you can do are things
| | 01:04 | that are not possible in the traditional world, like what I
am doing right here. Now I am painting underneath the pencil
| | 01:11 | drawing that I just did, that's something that's- well, it's
not easily possible by any means I know. The fact that I
| | 01:19 | can create on layers is far from what you can really
do in traditional media. So this ability to start to do
| | 01:27 | things that are also outside the realm of traditional tools
offers you some possibilities that you just can't get elsewhere.
| | 01:35 | So the thing I want to leave you with here
while I just mess around with this drawing
| | 01:40 | is to let you know that, yes, you can definitely take your existing
art skills and transfer them to the digital realm with Painter.
| | 01:49 | You'll find that not only can you transfer them, but you
can take advantage of things you could never do before.
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| Painting from a photo| 00:00 | One of the applications that Painter is
increasingly being used for is translating
| | 00:04 | or interpreting a photograph into a painted result.
| | 00:08 | In a lot of my workshops they are more and more filled with
photographers who want to be able to do this kind of translation.
| | 00:16 | So I am just going to quickly show
you how it's done here and then later
| | 00:20 | on in the title we will get into some of the specifics.
| | 00:24 | But I just want to get you started so that you can see
exactly what goes on in converting a photo to a painting.
| | 00:31 | So I am going to open up this Photopainting RIF file,
and it's the one that I have already basically done,
| | 00:39 | but I have left an area of it unfinished
that I will leave unfinished for you as well.
| | 00:43 | You could see, it largely looks like a painted image.
| | 00:47 | However, there is a bit of unfinished work here, and
so, I am going to go in here and just click on Layer 6,
| | 00:53 | and if you are not layer savvy we
will be going into layers later on.
| | 00:57 | So I might want to hold back on this but by going
to this Layer 6 you can actually work with the tool.
| | 01:03 | I am going to go in and select from the
Acrylics category, the Captured Bristle.
| | 01:09 | Now normally Captured Bristle has the ability to lay down paint.
| | 01:15 | We are going to take advantage of what I think
of is one of Painter's major fulcrum points.
| | 01:20 | We find it right up here in the Brush Selector Bar.
| | 01:24 | If I take my cursor and click on this and turn it down to 0, this
makes it a brush that only picks up paint and moves it around.
| | 01:33 | So by turning this down, I've now got
a brush that only smears wet paint
| | 01:38 | and this image at this point is as if it were wet paint.
| | 01:42 | So I am going to go in here and I am just going to start to smear
around and you can see right away how this is affecting the image
| | 01:49 | in a way that it very much gives it a painted result.
| | 01:52 | We are treating this photograph as if it were wet oil paint.
| | 01:56 | And I am taking a brush that doesn't have color on it, but
I am smearing the wet oil paint, and the result is an image
| | 02:03 | that starts to have the effect of looking
as if what were done in a painting.
| | 02:07 | That's basically all there is to photo painting.
We'll get into a lot more detail later on,
| | 02:13 | but I just want you to see how simple this
can be. It's just treating your brushes
| | 02:18 | as if they are moving around wet oil paint on the canvas.
| | 02:22 | So we'll look at this in-depth later, but I just wanted
to wet your whistle with a little demo of a feature
| | 02:27 | that has always been a part of Painter, the difference is
that now we can slip a photograph underneath these brushes
| | 02:33 | and do things that weren't possible without
that photograph underneath the image.
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| Using RealBristle brushes| 00:00 | One question I get is, how can I get the most realistic
brushes out of Painter? Certainly within Painter
| | 00:07 | there is a lot of control you have to adjust brushes and
tweak them to get them to be as naturalistic as possible.
| | 00:14 | But without the Wacom tablet you are going to miss out on a
lot of action in terms of being able to emulate traditional media.
| | 00:22 | What I just want to talk about here is the latest advance
in pen technology that Painter takes significant advantage of
| | 00:31 | and it's the Wacom 6D Art Pen. Now you will see more
about this in Chapter 7 where I spend a lot of time
| | 00:39 | discussing the Wacom pen, but I want to break this out
here so that you'll know is this a good investment or not.
| | 00:47 | These pens run around $70 retail, so it is an
additional investment, but it's the kind of thing
| | 00:53 | that if you want the most fidelity out of the brush, it's
the tool to get. It actually senses all six axis of motion
| | 01:01 | and once again in Chapter 7 I go into quite a bit
of detail about these axis of motion and how they
| | 01:07 | correspond to artist's expression of hand motion, but
the pen senses all of these. The latest one that just
| | 01:15 | finally cracked was the ability to sense barrel rotation.
If you think about a lot of traditional art tools,
| | 01:22 | how the pen tilts in the hand, rotates in the hand, all of these
things are conspire together to create a lot of the expressivity
| | 01:30 | that a traditional tool offers. With the 6D Pen now
Painter can capture all of that data and translate it into
| | 01:38 | tools that will act to the maximum degree like their
traditional counterparts. So if you're interested in trying to
| | 01:47 | get to the top level of expressive hand gestural drawing
and painting, the Wacom 6D Art Pen may be something
| | 01:55 | that you want to investigate.
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2. Understanding the InterfaceUnderstanding the Painter interface| 00:00 | One of the questions I hear from students that come into learn
Painter is, "Do I have to learn a whole new interface especially
| | 00:06 | if I have experience in Photoshop?" And the answer is, no.
| | 00:10 | Both Painter and Photoshop have a lot in common.
| | 00:12 | For example, keyboard shortcuts. If you know the
Photoshop keyboard shortcut you'd be amazed how many
| | 00:18 | of the same keyboard shortcuts work in Painter.
| | 00:21 | There is differences too.
| | 00:23 | Let's take brushes.
| | 00:24 | Photoshop has one panel to control their brushes whereas
Painter has many, many palettes and the reason for that is
| | 00:31 | that Painter excels at and is largely a brush engine.
| | 00:35 | So there are many more controls in
Painter to adjust the nuances of a brush.
| | 00:40 | Let's just look at some of the key features
that we want to deal with here in the interface.
| | 00:45 | Painter and Photoshop share many similar interface
customs. Again this means that as a user of Photoshop,
| | 00:52 | you will find that much of the knowledge you have already
learned in using Photoshop can be applied to Painter.
| | 00:59 | The keyboard shortcuts, they are very similar.
| | 01:02 | In fact, just like Photoshop there is actually
an ability to change the keyboard shortcuts.
| | 01:08 | So if you'd like to take Painter's keyboard shortcuts even
farther into the realm of Photoshop, you have that ability.
| | 01:14 | So been able to utilize the same pieces of knowledge
in both applications in terms of having a memorization
| | 01:21 | of several keyboard shortcuts is
something you can easily do in Painter.
| | 01:26 | Many of Painter's palettes are brush centric palettes.
| | 01:29 | Painter revolves around expressive brush marks, and
all of these various palettes are what enable Painter
| | 01:36 | to have such a wide range of looks in their brushes.
| | 01:39 | So the palettes are necessary, but
they also give Painter its power.
| | 01:44 | On the other hand, you can also use the
brushes in what I call, choose and use mode.
| | 01:49 | You can just use them as they are, store and
save them in Painter and just paint with them.
| | 01:54 | So if you just want to use them as
they are, they are excellent brushes.
| | 01:57 | If you want to get down into the control section of Painter, you
can adjust these brushes very much to suit your expressive taste.
| | 02:05 | So you have the option of either using them as they are, or fully
seasoning them to taste in the manner that you want to use them.
| | 02:14 | Painter is a sophisticated tool set, with a great deal of control
over the expressive subtleties of these brushes that it has.
| | 02:20 | You can control to dig all the way down into
customizing brushes or just use them as they are.
| | 02:25 | Either way, you are going to have access to a very
broad range of expressive natural media tools.
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| Using the Tool palette and the Property bar: Two sides of the same coin| 00:00 | Painter's Property Bar changes every time I
click on the different icon in the Tool palette.
| | 00:04 | What's up with that?
| | 00:06 | Well, Painter is doing exactly what it's supposed to.
| | 00:09 | The Property Bar is contextual, this means that it changes
according to the currently selected tool in the Tool palette.
| | 00:16 | Let's take a look, now the Property Bar in Painter
is right up top of the screen below the menu bar just
| | 00:22 | like many other applications and you will notice that as I click
in the Tool palette positioned on the left here that it updates
| | 00:29 | in the Property Bar for each of various tools I select.
| | 00:32 | Why does it do this?
| | 00:34 | Well, it turns out that the Property Bar is designed to
provide you with the most obvious or often used tools
| | 00:40 | that you are likely going to encounter
wanting to use with a particular tool.
| | 00:44 | For example, let's talk about text.
| | 00:46 | I am going to go up to the Window menu, go
down to Show Text and here is the Text palette.
| | 00:53 | Now, if we compare what we see in the
Text palette with the Property Bar,
| | 00:57 | you will notice that several of the
same controls are located in both.
| | 01:01 | In fact, if you go into the Text palette and adjust the
point size, look what's happening in the Property Bar,
| | 01:08 | you will see that the same control is occurring in both.
| | 01:11 | In fact I can do it the other way.
| | 01:13 | I can click here and adjust and sure
enough it's adjusting down below.
| | 01:18 | So what's happening here is you've basically got controls merged
from this palette up into the Property Bar, why would do that?
| | 01:26 | Well, rather than have to constantly go to the Text palette,
I can have this close and when I am in the text tool,
| | 01:32 | I automatically am going to have the controls available that
I would probably want to get from the Text palette anyway.
| | 01:39 | Another interesting feature is the Reset button.
| | 01:43 | The Reset button is the icon located
to the left side of the Property Bar.
| | 01:48 | So let's take the brush tool for example here and this is where
you are probably going to use this more than in any other tool.
| | 01:54 | Let's say I change the size then perhaps I adjust the opacity of
my brush and maybe for whatever reason I adjust re-saturation.
| | 02:03 | I have now made three adjustments to this brush.
| | 02:06 | If I want to get it back to a default setting, I could
go through and reset all those if I remember the number,
| | 02:11 | or I can just go over to the Reset button, click on it and that
returns this particular brush variant to its default setting.
| | 02:20 | So the Reset button is a really quick and easy way to
allow you to get your brush back to its default setting.
| | 02:27 | So the Property Bar is designed to provide you with the
most often used adjustments for the currently selected tool.
| | 02:34 | You can think of it as if it were a dashboard that both
provides you with tool feedback as well as quick adjustment.
| | 02:40 | Be sure to take advantage of it.
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| Using art material selectors| 00:00 | Now, you look around at the Painter interface you may
see it does look a lot like Photoshop in many ways,
| | 00:05 | but one of the questions I get asked a lot is, what are these
funny little colored things at the bottom of the Tool palette?
| | 00:11 | Well, in Painter these are called Selectors.
| | 00:13 | Selectors allow you to access various content painters in the
library that are associated with various tools like brushes
| | 00:20 | and gradations and what we'll do is go through and look at each
of one of these so that you can see how useful each of these are.
| | 00:26 | Now, there is two ways to get to the content
and I'll show you that in just a moment.
| | 00:30 | First, I am going to click on the Papers
Selector and you will see that a number
| | 00:34 | of paper grains are in the this particular list.
| | 00:38 | In fact, basic paper is the paper that I use in
concert with chalk to just paint a few lines here
| | 00:44 | and get the texture of that paper showing up.
| | 00:47 | So one of the things you can do in Painter
is select a lot of different paper grains
| | 00:51 | and get a lot of different character out of the tool.
| | 00:54 | So the paper grain that's current is going to have an effect on
the expressive qualities of that particular tool and this follows
| | 01:02 | through to the various libraries
that we are going to look at as well.
| | 01:05 | Now, another important feature of the Selectors is right up
here on the top right, this little triangle, when I click on it,
| | 01:13 | this brings up the Selector palette for this
particular Selector, which is the paper grains
| | 01:18 | and it gives me a set of commands I can work with.
| | 01:21 | The one I want you to really pay attention to is the
one right here at the top, this is Launch palette.
| | 01:26 | When I click on this, this brings up the Papers palette.
| | 01:29 | Now, as there are in both Photoshop and Painter, there is
usually more than one way to do things and this is one of those.
| | 01:36 | I can get at these palettes through the mechanism of the
Paper Selector palette itself, I can also for those of you
| | 01:44 | that are menu oriented, you can also go to the Windows
menu and go down to the Library palettes and you will see
| | 01:51 | that the same Selectors are available here as well.
| | 01:54 | So you have options about how you get these, but my advice is to
use this because it just makes more sense to me that is go over,
| | 02:02 | click, get it and you've got it, otherwise you are spending
a little more time navigating around on the interface.
| | 02:08 | So once you are in one of these palettes,
so this gives me various controls.
| | 02:12 | In this case, the Paper palette, for example I
can change the scale of it and just changing scale
| | 02:18 | for example can alter again the expressive quality
of it of how it interacts with a tool like chalk.
| | 02:23 | You can also adjust the contrast as well as the brightness
and once again, these are controls that I quite often refer to
| | 02:31 | and you will probably hear me say
this more than once season to taste.
| | 02:34 | None of these tools just by their default is
probably what you are going to end up wanting to use.
| | 02:39 | You are going to find, the more you use
Painter, the more you season to taste
| | 02:42 | to get particular expressive quality
out of a feature like the Paper Grains.
| | 02:48 | The next Selector we will look at is the Gradient Selector
and this has all of the various gradations associated with it.
| | 02:56 | In fact you can see here is once vivid colored stripes, I will
turn this on and that actually isn't vivid colored stripes.
| | 03:02 | That happens to be this pool light.
| | 03:04 | This is a set of different gradations that I can choose from
this list, and as before you can go in and launch the palette
| | 03:11 | and you will get a lot of different controls that you can
deal with in terms of each of the gradations that Painter has.
| | 03:18 | So each one of these is going to have a specific
controls associated with that particular content.
| | 03:24 | Next, we will go to the Patterns Selector.
| | 03:26 | Now, patterns once again let me work
with different patterns and depending
| | 03:30 | on how I use them, I can get a lot of different features.
| | 03:33 | For example, here I have used it in conjunction with
the pattern pen to actually paint with a pattern.
| | 03:38 | You can fill areas as well with patterns,
but here's an interesting use
| | 03:41 | where it actually becomes the mark made by the pen.
| | 03:45 | Also we have the Weaves palette and
this let's me play with various Weaves.
| | 03:50 | In fact you can go into the Weaves palette and
actually construct and adjust and make your own Weave.
| | 03:55 | So there is a whole loom buried here in
Painter that allows you to actually get
| | 04:00 | into making your own family tautened if you want to.
| | 04:03 | The next one, we'll look at the nozzles these are associated
with the image hose, and if I go up and open this up here,
| | 04:10 | you will see what this does is let me paint with bits of imagery.
| | 04:14 | So nozzles files are associated with the image hose.
| | 04:17 | The nozzle is the content, the image hose is the particular brush
that sprays this out and there are a number of them in Painter,
| | 04:24 | as well as you can make your own, and we'll
be looking at that in a later chapter.
| | 04:28 | Finally, you have Looks.
| | 04:30 | What Looks does is enable you to actually paint with a
combination of a brush and a piece of content in Painter.
| | 04:38 | In this case, I am looking at the Vivid Stripes,
and what Vivid Stripes does is it actually loads
| | 04:44 | up the correct pen and also the correct gradient.
| | 04:47 | So as I go in and paint on this area,
it takes care of remembering any
| | 04:53 | of the specific elements that were required to build it.
| | 04:56 | So Corel includes several looks in here that allow you
to very quickly try out various combinations of content
| | 05:03 | with various brushes and you can make your own looks as well.
| | 05:06 | So it's another way to construct brushes that have
a little bit more complexity with them in the fact
| | 05:12 | that you are combining multiple pieces of Painter
content in order to create that particular brush.
| | 05:18 | So the Selectors Placement at the bottom of the Tool
palette provides quick access to these content libraries
| | 05:24 | and provides expanded expressive options
in conjunction with Painter's brushes.
| | 05:29 | Papers are and especially capable of altering the appearance
of mediums, as you saw in conjunction with grain aware brushes
| | 05:35 | like chalks and pastels what paper is current is going
to drastically affect the character of that brush.
| | 05:42 | So Paper Selectors are a great way to explore
and get access to a lot of Painter's content
| | 05:48 | and take advantage of it particularly with the brushes.
| | 05:51 | So you are going to want to spend some time
evaluating and playing with the various Selectors.
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| The Color palette: Visual color selection| 00:00 | RGB, HSV, all these color systems are foreign language to me.
| | 00:05 | How can I get to the color I just want to paint with?
| | 00:08 | Well, the Color palette in Painter is
designed as a purely visual selecting tool.
| | 00:13 | When you were in grade school, do you remember ROYGBV,
the acronym for Red, Orange, Yellow, Green, Blue, Violet?
| | 00:19 | Well, that's all you need to know to use the Color palette.
| | 00:21 | Let's take a look at it.
| | 00:22 | OK, the Color palette is comprised of two basic parts.
| | 00:26 | It has the Hue ring and it has the Saturation and Value triangle.
| | 00:31 | To do this exercise let's find brown on here, OK?
| | 00:35 | I don't see brown, how do I get to brown?
| | 00:38 | OK, the only little bit of information you need to know and
you really don't even need to know that because I'll show you
| | 00:42 | in a moment is that brown is actually a dark shade of red-orange.
| | 00:48 | So all I really need to do is kind of move
around the Hue ring and eventually it's,
| | 00:53 | oh, look at there, I am in the Brown range, OK?
| | 00:56 | So the Hue ring just let's me get to the basic redness,
greenness, blueness and all of the ROYGBV colors of the spectrum,
| | 01:03 | and once I get to it I then go into the Saturation
and Value triangle and locate the color I want.
| | 01:10 | So I visually found the color brown without having to know
anything about HSV or RGB or any of these other numbers.
| | 01:17 | Now let's look at this a little bit more closely.
| | 01:19 | The way the Saturation and Value triangle work is that
when I am going around on the Hue ring the far right corner
| | 01:28 | of the triangle represents this hue at full saturation.
| | 01:33 | As I take the second middle indicator and move it towards
the top left I am tinting the color or moving it to white,
| | 01:41 | and what is in the actual upper left
corner of the triangle is the color white.
| | 01:45 | Conversely, as I move and go down towards the bottom
left corner I am shading the color or adding black to it.
| | 01:53 | So when I finally get down to the lower
left corner, guess what color is in there?
| | 01:57 | Black, and what you've got along this left edge then
is essentially a gray scale from black to white.
| | 02:03 | And contained within this triangle then are all of the possible
permutations if this hue in its varied combination of Saturation
| | 02:13 | and Value, and so basically color
is just a simple two-step process.
| | 02:17 | Find the particular hue you want to work with and then you
go in and you adjust it visually to get the particular color
| | 02:24 | that you want, and basically that's
all there is to the Color palette,
| | 02:29 | a very simple visual tool for selecting various kinds of colors.
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| The Color Info palette: Precise color selection| 00:00 | Here's the question I hear every once in a while.
| | 00:02 | I am used to Photoshop and Precise Color Selection.
| | 00:05 | I like color by the numbers.
| | 00:07 | Can I do this in Painter?
| | 00:08 | You sure can.
| | 00:09 | The Color Info palette provides numeric controls
for specifying color in either RGB or HSV values.
| | 00:16 | Let's take a look at the Color Info palette.
| | 00:18 | I am going to go to the Window menu and go down to Color palette,
| | 00:23 | and you'll see right there at the
bottom we've got Show Color Info.
| | 00:26 | That opens up the Color Info palette for us and you'll see
that I've got a set of RGB sliders that I can adjust color by.
| | 00:33 | I am also going to go in here and click on
the little option triangle at the right,
| | 00:38 | and this allows me to displaying either HSV or RGB sliders.
| | 00:43 | I want to show you this so that you can see as I adjust the
Hue Slider, looks what's happening on the Color palette.
| | 00:49 | It's only addressing or adjusting the
dimension of hue on the Color palette.
| | 00:55 | If I go to Saturation it's only going to address and adjust the
dimension of Saturation within the Color palette, and finally,
| | 01:02 | if I go to Value, you'll see it kind
of does a funny little twist here
| | 01:05 | but that is adjusting only along the Value
dimension of the particular hue we have selected.
| | 01:11 | So this independent control of each of these dimensions
makes it far easier to get to very specific values.
| | 01:18 | When I am moving this around you can see in the Color Info
palette I am almost always changing two values at a time.
| | 01:25 | And there are going to be times where you
just want to stay within one precise color,
| | 01:29 | only play with its value or only adjust its saturation.
| | 01:32 | So these give you very good fine
control over Precise Color Adjustment.
| | 01:38 | If you want to do it by the numbers, we can do that too.
| | 01:40 | Let's use the example I used earlier.
| | 01:42 | I want to get to Brown, and somebody
has given me a sheet that says,
| | 01:46 | here's the shade of brown, we want to particularly work with.
| | 01:49 | So they've given me an RGB set of values.
| | 01:51 | So I am going to put in 138 for Red, I am
going to put in 60 for my Green, and finally,
| | 01:59 | I am going to put in 18 and so there is my shade of brown.
| | 02:03 | So going in by the numbers and actually specifying
numerically is another way to get to color.
| | 02:09 | So if you are comfortable with by the numbers color
selection or if you want precise single dimension adjustment
| | 02:15 | of color, the Color Info palette was made for you.
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| Color sets: Choose 'n' use color| 00:00 | If you come from a traditional painting background
you may be used to working with colors with names like,
| | 00:05 | Cerulean Blue or Rose Madder. Without it, you are lost. You don't
know HSV from RGB. So you are going to want to take advantage of
| | 00:14 | Painter's Color Sets palette, a complete set of traditionally named
colors is available for your use. Let's take a look at them.
| | 00:21 | You'll see the Color Sets palette is part of the default Color
palettes that are displayed in Painter. I am going to open that up
| | 00:27 | with the little triangle,
| | 00:28 | and you'll see it first we get a series of
colors but nothing necessarily recognizable.
| | 00:33 | So I am going to go over to the little Menu arrow,
| | 00:37 | open it up and if you go down here
to Display Name and click on that
| | 00:42 | you'll now get colors that are both identified visually,
but you also get those names that you are used to from
| | 00:49 | traditional painting media like oil paint or chalks for example.
These are the names that you'll often find with a lot
| | 00:56 | of traditional media. So the Color Set palette
provides a full set of traditionally named colors,
| | 01:03 | that's really all you need to know, the name and there is the color.
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| The Mixer palette: Traditional color mixing| 00:00 | I prefer to mix my colors like Real Oils and
load my brush with color from my palette.
| | 00:04 | How can I do that in Painter.
| | 00:06 | The tool you want is the Mixer palette,
it's a virtual mixing area
| | 00:09 | that blends color together much like traditional paint media.
| | 00:13 | Many of Painter's brushes can be loaded with multiple
colors from the Mixer and even applying to an image.
| | 00:18 | Let's take a look at it.
| | 00:19 | Now traditional artists typically mix oils and
various types of material on a mixing surface,
| | 00:26 | that's what the Mixer palette provides
you, and in fact I can even get color,
| | 00:30 | so if I want to work my traditional colors I can select
from other palettes like the Color Sets or the Color Wheel.
| | 00:38 | And basically what it let's me do is go in
and lay some paint down, get another color
| | 00:44 | and you can see it actually starts
to mix these colors together for me.
| | 00:48 | So this gives me a very close approximation
to working with traditional oils.
| | 00:53 | I am going to go through and show you a little
bit of how the various controls in here work.
| | 00:58 | Because there is a lot of flexibility
and how things mix in the mixing area.
| | 01:03 | You'll see that there is actually two little
icons here on the left that look very similar.
| | 01:08 | The actual painting brush is the second icon.
| | 01:11 | The first icon is what's called Dirty Mode, and what that does
and what it's doing right now is if I start mixing a color,
| | 01:18 | let's just grab something little
different here, it's just like real paint.
| | 01:23 | Each stroke picks up the previous color at the end of the stroke
| | 01:26 | and it dirties the brush, so you
are just going to get dirty color.
| | 01:30 | If I turn that Off however now when I paint you'll see
that every stroke begins with a fresh load of that color
| | 01:38 | and so for most mixing I find that turning off Dirty Mode.
| | 01:43 | It may not be as real as real paint,
but it actually is a little easier
| | 01:48 | to mix colors you want rather than
contaminate your brush all the time.
| | 01:52 | So if you want the real traditional mixing certainly you can turn
on this Dirty Mode, but my advice is to typically leave it Off
| | 02:00 | and only mix with the actual Mixer and not
have this Dirty Mode affecting the colors.
| | 02:05 | So let's clean that Off and now I am going to go ahead again
and let's mix a few more colors, let's take some Magenta here
| | 02:13 | and move up here and grab some Rose and let's get some Yellow.
| | 02:22 | OK, now I want to start painting with these colors.
| | 02:24 | Maybe we will just add a couple more at the cool end
of the spectrum here, I am going to go right in here.
| | 02:30 | What you can see I think just watching
this happen how much you can either sense
| | 02:37 | of mixing very much as you would in traditional media.
| | 02:40 | Now to start to use this I am going to use a brush
that is sensitive to colors on the Color palette
| | 02:47 | and you'll see in a moment what I am talking about here.
| | 02:49 | I am going to go up to the Artist Oils and select
the Blender Brush, and normally I will just want
| | 02:57 | to maybe get a single color from my mixed color.
| | 03:00 | So the first eyedropper will pick up an
individual color and allow me to paint with it.
| | 03:07 | OK, so we are painting with various colors and you'll see
that these brushes do have a very realistic tendency to blend
| | 03:15 | and mix colors together, that's just one category
of Painter brush, there are very many possibilities
| | 03:21 | but you are seeing one really nice application of
a brush that knows how to mix color on the fly.
| | 03:26 | Now let's go to the next category and that's
the little dropper with the circle around it.
| | 03:32 | This picks up multiple colors.
| | 03:34 | So if I go to a location like let's take something obvious right
there, you'll see now my brush is what's called a Loaded Brush,
| | 03:41 | I am literally painting with multiple
colors across the width of the brush.
| | 03:46 | So much like a traditional artist will paint they will mix
several colors on the palette and then they will pick up color
| | 03:55 | and actually have that additional character of multiple
color within the brush stroke, and when you really know how
| | 04:02 | to use this, you can get some amazing effects with the fact that
you are putting multiple colors across the width of the brush.
| | 04:11 | So the Mixer palette basically gives me the
ability to go in and actually mix my colors,
| | 04:17 | and one last tool I want to show you is the palette
Knife, this sets me go in and it's just a Blending tool,
| | 04:23 | it's not laying down any color, but this is yet another
tool so that I can take two colors and mix them together.
| | 04:30 | So you've got both Paint Applying
tools as well as Paint Mixing tools.
| | 04:35 | All the functionality on here really gives you a
remarkable degree of expressive color in brush application
| | 04:41 | that is very similar to what you are
going to get in traditional media.
| | 04:45 | The Mixer palette enables a remarkable degree
of expressive color and brush application.
| | 04:51 | And the best part is, you'll never run out of paint.
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| The Brush Selector bar: An art store in a palette| 00:00 | You are sitting in front of Painter, you want to
work with chalk or a pencil or a sponge or a brush,
| | 00:06 | where do you find all of these tools within the application?
| | 00:10 | Well, if you look up at the upper right corner of the interface,
you are going to find an area called the Brush Selector Bar.
| | 00:17 | Very small, but very powerful.
| | 00:19 | I am going to click and drag on its little Menu Bar here
and pull it out, so we can look at it and focus on it a bit.
| | 00:25 | You'll notice, again it's very simple, but it tells you a lot.
| | 00:29 | First of all, you have got the icon on the
left, this is what's called the Category icon
| | 00:34 | and Painter is broken up into categories, like a real art store.
| | 00:39 | You are going to find an aisle with oil paints
in it, you are going to find an aisle with chalks
| | 00:44 | and charcoals, that's the same thing going on here.
| | 00:46 | So, when I click on this, this opens this up and you can think of
each one of these almost as if they are an aisle in an art store.
| | 00:54 | So, if I want fill pens for example, this is
where I am going to locate all my fill pens.
| | 00:59 | Each one of these has within them several
variations on the particular media that it's called.
| | 01:04 | So, for our example I want to a find a pin
and I know it's called the Scratchboard tool.
| | 01:09 | So, the first thing I have to do is go through the list
and go down to Pins and I click on it and you'll see
| | 01:15 | that it's instantly updated to that category and in fact it
even tells me in text right here that I am in the Pins Category.
| | 01:21 | Now the second icon is what is called the Variant pop-up.
| | 01:25 | The variant in the Painter pilots in just a specific
setting to make the brush act like a certain tool.
| | 01:32 | In this case, I want to get the Scratchboard tool,
so like the category pop up, I click on this.
| | 01:36 | This opens this up and now I have got all the
variations on pins that are in Painter by default
| | 01:42 | and I go down here and here is Scratchboard tool.
| | 01:44 | So, I click on it and sure enough just like the Pins
category is displayed now this specific variant,
| | 01:49 | the Scratchboard tool is displayed.
| | 01:51 | What you'll find in the icon here represents
just what the dab of the brush is made up of
| | 01:56 | and while it might look thin here, it's actually a round point.
| | 02:00 | So, don't necessarily get too confused
by the look of how these appear.
| | 02:04 | Basically what you want to pay attention to is the
Pins Scratchboard tool, so this again like a dashboard,
| | 02:10 | gives me an instant reference to what tool I am using.
| | 02:14 | Now let's just try it out here and sure
enough here's my Scratchboard tool.
| | 02:17 | So, I do have this ability to very quickly get to a brush.
| | 02:21 | Let's try another brush, now I want chalk.
| | 02:23 | So, once again go into the Category pop-up, go to Chalks, go
into the Variant pop-up and I want Square Chalk in this case,
| | 02:31 | so I click on it and now I have selected a different tool.
| | 02:34 | So, you can think of this area, while
it's very small, it's very powerful.
| | 02:39 | It has all of Painter's brushes and there is something
like 800 or so variants contained within this tiny spot.
| | 02:45 | So, even though this may look unassuming, this is your
art store of all of your art supplies and trust me,
| | 02:51 | this is where you are going to be spending a lot of
time going up to get your various brushes as you work.
| | 02:56 | So, think of the Brush Selector Bar as a doorway to an
expensive art store of expressive natural media art tools.
| | 03:02 | Anytime you want a specific tool, that's where you want to go.
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| Zooming in and out| 00:00 | When painters work on an image, one of the things that you will
see them do is as they work on the image, they'll move back
| | 00:05 | and forth from being very close to the canvas to being a distant
from it and the reason they are doing this is you want to be able
| | 00:12 | to look at the details, but you also need to
back away and look at the overview of the image,
| | 00:16 | so you can see the entire composition in context.
| | 00:19 | If you don't do this it's really easy to focus on an area
and then later on when you back out, if you haven't done it,
| | 00:25 | you will realize, oh, I just over emphasized that area.
| | 00:28 | So, being able to look an image at different viewing
distances is a key concept of working on an image,
| | 00:35 | and you can do that in Painter by using the Zoom tool.
| | 00:38 | So, let's take a look at it and I am going
to start off by going to the exercise files.
| | 00:42 | We will go in here and we'll open up the, image of wall.rif and
you will see right away that already it's doing some zooming.
| | 00:50 | Painter is intelligent enough to realize
that it wants to make the image open up so
| | 00:54 | that it doesn't go beyond the interface elements, and it's
already opened it up to something 66.57% so it's precise here.
| | 01:03 | There are several ways you can zoom an image.
| | 01:06 | The first thing I am going to show you is
just how to maximize the image on screen.
| | 01:10 | What I typically do is I want to get it right away at 100%.
| | 01:13 | So I can do that very quickly by going over
to the Magnifier tool and double clicking it.
| | 01:18 | Now I am at a 100%.
| | 01:19 | Now, I want to get it maximized on the screen on Macintosh just
go up and click on the Maximize button, maximize the canvas.
| | 01:27 | On Windows, you've got the Maximize button on the right side.
| | 01:30 | So, either way you can use that to get
the image in it's full size as much
| | 01:35 | as it's going to fit on the screen while you are working.
| | 01:37 | We have now got it zoomed in, and there
are several ways to zoom in Painter.
| | 01:41 | I'll show you a couple of here just quickly.
| | 01:43 | One is down here, the Scale slider.
| | 01:45 | You'll see I can kind of quickly move in and
out and it does a continues zoom as I do that.
| | 01:50 | I can also by using the Magnifier tool
just click and hold and that zooms in.
| | 01:56 | A key thing you're going to want to understand when
you are in the Zooming tool is holding down the Option
| | 02:01 | or Alt key will switch that from a plus to a minus.
| | 02:05 | That means now I can zoom out.
| | 02:07 | But, the thing I want to show you here is these two types
of zooming with the Scale slider and clicking and holding
| | 02:14 | or even doing this, if I just click and
drag with the magnifier, that will zoom up.
| | 02:18 | But, in every case, I am getting
to some odd kind of zoom factors.
| | 02:22 | 316.1% if I hold my Alt or Option key at back
out here, now you see now it's at 16.12%.
| | 02:31 | So what happens is you get a lot of intermediate scales here.
| | 02:34 | What you want to really be in is what's called Integer scales.
| | 02:38 | What this is, it's just the way the math is done to size the
image on the screen, and when you are in integer numbers,
| | 02:44 | it's the best way to sort of divide the number
of pixels on the screen to display the image
| | 02:49 | When you do that, you'll avoid a number artifacts.
| | 02:52 | Let's just kind of do a random kind of zoom level here.
| | 02:56 | So I am just going to zoom up a little
bit and now you will see right here
| | 03:01 | on this diagonal we're starting to
see some kind of stair stepping.
| | 03:05 | Now you're never going to totally avoid that,
but at certain just random zoom factors,
| | 03:09 | you can get some very kind of annoying artifacts in the zoom.
| | 03:14 | What you really want to be in are these Integers zoom.
| | 03:16 | So it's like 100%, 66.67%, 50%, 33%, 25 %,
I think you can see what's going on here.
| | 03:25 | But, by working in those increments you
are going to get the best level of zoom.
| | 03:29 | So, how do you get to those levels of zoom?
| | 03:31 | Well, there is a couple of ways to do it.
| | 03:33 | If I just use the Magnifier tool and click one
at a time, you'll watch up here if we start
| | 03:39 | from 100% by double clicking again on the Magnifier.
| | 03:42 | I am going to 100 %. If I just go in and start to click,
notice up here, that it's zooming at 25% increment.
| | 03:50 | That's not quite exactly the integer zoom factor we
want, but at least it's doing it in a regular fashion
| | 03:56 | so that you are not wildly zooming in and out.
| | 04:00 | Now, for you Photoshop users out there, you are
saying well, where are my Photoshop zoom levels?
| | 04:04 | Those are the ones I like to work with.
| | 04:06 | You can get those by using the keyboard shortcuts and it's
same as you'll find in Photoshop the Command or Control key
| | 04:13 | and by holding down that, and clicking on either the
plus or the minus key, you will see now it is jumping
| | 04:19 | out at 100% levels where I am more than 100%.
| | 04:23 | When I get down to under 100% it's
starting to show me 66.67%, 50%, 33%.
| | 04:30 | Now I am in those regular integer zoom levels that
you are familiar with if you work in Photoshop.
| | 04:35 | I find this to actually be the best way to do it.
| | 04:37 | Of course every body has different working methodologies but I
just find that using the keyboard shortcuts is the most efficient
| | 04:44 | and easiest way in which you can get to a zoom factor
that is both on integer level and it's very quick.
| | 04:52 | You can see here, I can very quickly get to where I want to go.
| | 04:55 | In the next movie, we are going to take a look at the
Grabber tool, which lets me scroll around on the image,
| | 05:00 | which is another very important aspect of zooming.
| | 05:02 | So we'll look at that in detail as well.
| | 05:05 | So remember, think of zooming as the equivalent of the
artist moving back and forth in front of their canvas
| | 05:11 | so that they can see the overview as well as work on the details.
| | 05:15 | You want to be able to do both because if you don't,
it's very easy to get a composition out of kilter
| | 05:20 | by paying too much attention at one level and not backing out.
| | 05:23 | So, take advantage of zoom.
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| Scrolling| 00:00 | In the last movie we learned how to zoom an image.
| | 00:02 | But once you are zoomed in an image, you'll find
that there are going to be elements of the image
| | 00:07 | that are not on screen, so how do you get to them?
| | 00:09 | Well, we are going to look now at the Grabber Tool
| | 00:12 | and the Grabber Tool is located right
immediately to the right of the Magnifier.
| | 00:17 | What this allows me to do is to place my cursor in the image and
then click and drag and you could see here that I can now move
| | 00:24 | around on the image to get to locations that are
not visible on the screen when I am over a 100%.
| | 00:31 | In fact if I use my Command or Ctrl key here and the Plus key
to Zoom up even more, you'll see it even becomes more useful.
| | 00:39 | Because as you start to Zoom up, the
image becomes larger on the screen.
| | 00:43 | Therefore you are going to find that you want to quickly move
around to be able to locate certain areas of your screen.
| | 00:50 | So the grabber is the way to do that.
| | 00:53 | Now, you can certainly go to the Grabber tool as I
have done and select it and start working with it,
| | 00:59 | but when you are producing the piece of work, you are most
likely in another tool and I find that this navigational time
| | 01:06 | that it takes to go, select the other tool and work starts to
take time, if you think about it over time that's going to add
| | 01:12 | up to a lot of moments where you are not focusing on the
work but instead you are moving around in the interface.
| | 01:18 | So, rather than take time to switch a tool on the Tool palette,
the way that I prefer to do it is to hold down the Spacebar
| | 01:26 | and this is the same on both Mac and Windows and yes
this is the same keyboard equivalent as Photoshop.
| | 01:31 | But now, I can be in a tool like the Brush and I can
also quickly just by holding down the Spacebar get
| | 01:38 | into that mode where I am now using the Grabber Tool.
| | 01:42 | We also learned in the last movie that if I double click on the
Magnifier, that takes it to a 100% and you'll also remember,
| | 01:50 | I have talked about moving back and forth between the scale
of your image, so that you can get the overview and also work
| | 01:56 | on the details and a quick way to see the
entire image on the screen is to- like we did
| | 02:03 | on the Magnifier, double click on the Hand tool.
| | 02:06 | Now, I see the whole image on the screen, so I can very quickly
move back and forth between a Zoom view and I can further Zoom
| | 02:15 | that with the keyboard shortcuts that I showed you
earlier, the Ctrl or Command and Plus and Minus keys,
| | 02:22 | but I can also then double-click over here on the Tool palette
to immediately get back to a full overview of the image.
| | 02:28 | So, a combination of the Magnifier and Grabber are tools that
you'll find you use all the time because as you work on an image,
| | 02:36 | you are going to need to work on it at these
different scales and the combination of the Magnifier
| | 02:42 | and the Grabber gives you just full control over what portion
of the image is on the screen and where you are on that image.
| | 02:49 | So, take sometime and learn to very fluently work
with your keyboard shortcuts, so that you can Zoom
| | 02:56 | and scroll around the image with the Grabber
tool, it's a very valuable thing to learn
| | 03:02 | in concert with creating Imagery and Painter.
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| Rotating an image| 00:00 | Imagine yourself at a desk with a sheet
of paper and you are going to draw.
| | 00:04 | When you draw you typically do not leave the
paper sitting in the same position on the desk.
| | 00:10 | You constantly are slightly adjusting the angle of that paper.
| | 00:14 | Why do you do that?
| | 00:15 | This is because the hand, wrist, and arm have a natural range
of motion that for drawing certain lines at certain angles
| | 00:24 | on that page, it's best to rotate the page rather than cramp
your hand and arm and wrist all up at an angle that makes sense
| | 00:31 | for working with the art that you are creating.
| | 00:34 | So what do you do in Painter when you have to deal with this?
| | 00:37 | Let's open up a new blank image and I will explain how
we can work just like if we were on our sheet of paper.
| | 00:43 | Now I am going to expand this by clicking and dragging this,
just so we can see the entire sheet of paper so to speak
| | 00:49 | or canvas on the monitor and let's take an example.
| | 00:54 | I am going to go up to my Brush Selector bar and I'll
go to Pencils and I am going to use the 2B Pencil.
| | 01:02 | Now when I draw and each person has a different arrangement
on their desk, I will tell you two things about me,
| | 01:08 | first of all I am left-handed so some of the angles you see
me draw will be kind of mirrored from what you right-handers
| | 01:14 | out there will typically notice and so that's
why you will see that a little different.
| | 01:19 | The other thing is I typically draw with
my tablet immediately in front of me.
| | 01:23 | Now some people like to set it off to the side and
that does change the mechanics of this a little bit.
| | 01:28 | But in both cases it's odd to not be able to rotate
your page and I am sure you will have a couple
| | 01:34 | of questions here but let's just look at this.
| | 01:36 | I want to draw a horizontal line right now and with my tablet
in front of me, when I try to draw that line I have got
| | 01:42 | to tuck my elbow up against my rib cage and draw at that
angle and what happens is, it's not easy to do that.
| | 01:51 | What I prefer to do and what's natural to do would be to have
the page at a different angle so I can draw more in an up
| | 01:57 | and down motion, that is much more mechanically
easy for my arm and wrist to do than it is to try
| | 02:02 | to draw at this ungainly angle at a horizontal.
| | 02:06 | So there are two things people will say- "well
why can't I rotate my tablet in front of me?"
| | 02:11 | You can, but that is a little bit like
trying to rub your head and your stomach
| | 02:15 | at the same time, it is kind of an odd way to work.
| | 02:18 | What you really want to do is rotate the page
and guess what you can do that in Painter.
| | 02:24 | Now I'll show you where this tool is located.
| | 02:25 | If I click and hold down on the Grabber you will see that
there is a little arrow and a circle, that is the Rotate tool.
| | 02:32 | When I am in that tool that gives me this little
finger that allows me to rotate the page to any angle.
| | 02:38 | So this gives me the equivalent of
naturally re-doing a page through new angle.
| | 02:43 | Now I can draw that angle much easier than I can when it
is located at the bottom of the page and like the Magnifier
| | 02:52 | and the Grabber tool we looked at in the previous movies,
rather than spend the time to go to up to the interface
| | 02:57 | and located this tool by clicking on the
Grabber, there is a much quicker way to get
| | 03:02 | to that tool and I am going to show this to you now.
| | 03:05 | The easiest way to do it is to hold down the
Spacebar and at the same time hold down on the Option
| | 03:11 | or Alt key and that changes to the Rotate tool.
| | 03:16 | So I can still be in another tool and by holding down
those keyboard combinations the Spacebar and the Alt
| | 03:22 | or Option key I can instantly get
myself to rotate that page around.
| | 03:27 | So now I can draw at different angles that makes sense for the
kinds of line work I want to do and that is what really makes,
| | 03:36 | being able to draw with Painter so natural is
that you actually have this very easy capability
| | 03:41 | to get to any angle on the page that you want.
| | 03:43 | I can tell you another place that this
happens is drawing a circular angle.
| | 03:48 | Now for a left-hander this is a little hard to
draw this, I can do it but it is far easier just
| | 03:53 | for me to rotate the page and draw like this.
| | 03:57 | So this rotational ability is very, very
useful especially when you are drawing.
| | 04:02 | Now another thing if you hold down once again the
Spacebar and the Option or Alt key to get to this tool,
| | 04:09 | just a single click in the image will instantly return it
back to it's default setting and another thing you could do
| | 04:15 | and once again Spacebar Alt or Option key and also the Shift key
that will constrain it to 90 degree angles which is also useful.
| | 04:25 | So you have got a set of keyboard shortcuts here that are in a
way related to both zooming and grabbing to move the image around
| | 04:34 | and this set of different kinds of keyboard combinations are
sometimes referred to as chording, to learn these various chords
| | 04:41 | or sets of keyboard shortcuts with your hand is highly useful and
I can't emphasize enough how important it is to take a little bit
| | 04:49 | of time and kind learn these so that they become
internalized and you don't even think about them.
| | 04:54 | That's the way I work now, I just don't even think about these
tools it is just a natural part of my working environment.
| | 05:00 | So all of these tools together constitute a trio very
powerful mechanisms for moving around and adjusting
| | 05:07 | in getting your image set to the way you want work with it.
| | 05:10 | So take some time, learn these various keyboard
combinations, you will thank me later on.
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| Full Screen mode| 00:00 | OK, I am sure that some of you out there who are
absolute neat freaks and have nothing on your desktops,
| | 00:06 | you have no icons laying around, you have no
opened folders or files but I am not, I am a slob.
| | 00:12 | So, what happens is I have a lot of clutter on my desktop.
| | 00:16 | One of the things that's a problem with this is it's distracting.
| | 00:20 | When you are working on an image, one of the
things you want to do is focus on the image
| | 00:24 | and all of this clutter just is a distraction to the eye.
| | 00:28 | The other thing that can happen is any kind of coloration
| | 00:31 | on your background can influence your sense
of color when you are working in the image.
| | 00:35 | Preferably, you would like to have a neutral color behind there.
| | 00:38 | So, what we are going to look at here to eliminate all
this is Full Screen mode and to invoke Full Screen mode,
| | 00:44 | I am going to go up to the Window menu, go
down to the bottom here to Screen Mode Toggle
| | 00:48 | and notice why we are here is also a keyboard
shortcut for this, Command or Ctrl+M.
| | 00:54 | Now, I am in Full Screen mode and using the tools that we learned
in the last couple movies, I can use my Grabber tool for example
| | 01:01 | to move this around, I can use my keyboard shortcut
with the Spacebar, an Alt or Option key to rotate,
| | 01:08 | I can use the keys to be able to Zoom which would
be my Command or Ctrl key and Plus or Minus.
| | 01:16 | So, what this lets me do is have full
control over my image on the screen.
| | 01:22 | Now, one other little thing I am going to show you here, if
you use your Tab key, you can instantly hide all of the menus.
| | 01:29 | So, now you can literally have nothing, but the image on
the screen, but still has access to your keyboard commands,
| | 01:36 | so that you can work on the image without
any additional Imagery around you.
| | 01:41 | The Tab key, click it again and we
are instantly back to those tools.
| | 01:44 | So, Full Screen mode is a great way to eliminate distractions
| | 01:49 | and also eliminate any possible color
contamination by extraneous colors around the image.
| | 01:55 | So, keep your image in Full Screen mode as
much as you can, because it's just a great way
| | 02:00 | to avoid distractions and keep yourself focused on the artwork.
| | 02:04 | Full Screen mode, be sure to use it.
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| Keeping your palettes organized| 00:00 | One of the statements I hear when I am
teaching classes is someone will say,
| | 00:04 | I don't care for the way Painter's palettes are organized.
| | 00:07 | Is there anything I can do about it?
| | 00:09 | Whenever that happens I tell them you just asked the $64,000
question, Painter's palettes are completely customizable
| | 00:16 | and you can arrange them in any manner that suits your workflow.
| | 00:19 | So, there is just a few rules and
procedures you need to understand here,
| | 00:23 | but you can very much organize the palettes the way you want.
| | 00:26 | Along the way here I will even show you a way that I think lays
| | 00:29 | out the palettes a bit better than
they happen to come from the factory.
| | 00:33 | So, let's just take a look at Painter's palettes.
| | 00:36 | Now, you will notice by default from the factory Painter comes
with a set of Color palettes in what I call a palette stack.
| | 00:43 | There are multiple palettes in here.
| | 00:45 | Now, how do you get to those?
| | 00:46 | Well, one of the things that you will quickly learn is
these little triangles what I call disclosure triangle,
| | 00:51 | by clicking on it, it closes it.
| | 00:53 | So, now we have collapsed this palette
stack down into it's minimum configuration
| | 00:58 | and I can open up various palettes when I want to.
| | 01:01 | So, each time I click on one of these it opens it up.
| | 01:04 | You can also have multiples open, but you will start to
see what is happening here, is even though this is open,
| | 01:09 | I certainly have to do some additional work
in order to start to see these palettes
| | 01:14 | because they are starting in some cases to get hidden.
| | 01:16 | One way to think of the way these palettes work, they do
have a behavior and they are somewhat accordion like so
| | 01:22 | that as certain palettes open up it will maximize, so you see
that palette and the other palettes will be discounted a bit,
| | 01:30 | so that they are not necessarily in view, but it can get a
little aggravating when you can't see a palette you want.
| | 01:35 | I will show you another little bit of behavior here.
| | 01:38 | If you click on the name of a palette versus the disclosure
triangle, what happens is it will open just that palette.
| | 01:46 | This is like an elevator.
| | 01:48 | Let's say I want to go to the Colors floor I
click on it, it takes me to just the Colors floor,
| | 01:52 | or when I want to go to Colors sets
floor, it opens up just that palette.
| | 01:56 | So, this is one way you can quickly focus on a particular
area that you want to go to without necessarily having to open
| | 02:04 | and collapse a bunch of other palettes, just simply
clicking on the name, opens that one palette.
| | 02:09 | So think of it like an elevator, in that case when
you are just pressing on the floor you want to go to.
| | 02:14 | Now, let's go to the next level here.
| | 02:16 | What if we want to start to organize these a little differently?
| | 02:19 | Well one of the things you can do and for
simplicity sake let's close these down.
| | 02:23 | Let's say I want color sets to be located somewhere else.
| | 02:26 | You will notice that when I am not over the name or
over the disclosure triangle that the hand appears.
| | 02:32 | This is a different function now and I can actually
click and drag this and put it in a new location
| | 02:37 | and you can do this whether they are open or closed.
| | 02:39 | So, if we open this up a bit and open couple of these up,
| | 02:43 | you will see I can take color sets and
move it down and place it at the bottom.
| | 02:47 | So you can put the palettes where you want.
| | 02:50 | You can organize them the way you want them to be organized.
| | 02:53 | Now here is another very nice feature.
| | 02:56 | I can actually take a palette and click and drag it and bring
it out, and now it's, it's own palette, but wait a minute,
| | 03:03 | we don't want to start filling up
the screen with lots of palettes.
| | 03:06 | So, while this is interesting it also can lead to total
chaos with a number of palettes all over the screen.
| | 03:12 | So, here is what I am going to show you, I am
going to put this back and it's the reverse,
| | 03:15 | I just place it in there and now it's positioned.
| | 03:17 | But look at this, here is one of the problems
with the way this comes from the factory.
| | 03:21 | If I start to open all these up and I want to get
to these, well now I am hiding the Layers palette
| | 03:28 | and there is this accordion behavior built
into this that makes this functional in a way
| | 03:33 | that it shows you the palettes that you want to work with.
| | 03:36 | So, what I am going to do is take the Layers palette
and drag it out and guess what, I cannot take that
| | 03:42 | and put it into here and let's open that up so we can see it.
| | 03:46 | We see now the layers palette is in the same palette stack.
| | 03:49 | I am going to do the same with the Channels palette.
| | 03:52 | Now, these are all in one palette stack.
| | 03:56 | I find this to be a much more useful way to work
than accidentally hiding the Layers palette.
| | 04:02 | Now, I have an accordion like method
to really get to these various palettes
| | 04:07 | without having to place palettes on top of palettes.
| | 04:10 | That gets a little bit easy to lose things on screen.
| | 04:13 | Here is another little shortcut.
| | 04:15 | I am going to hold the Shift key and I am going to click on
my triangle, I can click on any triangle, what it does it,
| | 04:21 | it instantly closes all of the palettes down.
| | 04:24 | The inverse is true if I click when they
are closed, it will open them all up.
| | 04:28 | So, I have got another little bit of behavior here that allows me
to quickly open up and get to specific palettes and collapse them
| | 04:35 | down into their minimum state when I want them to appear.
| | 04:38 | Another thing that you can do is, you will see these little boxes
with the Xs in them, this allows me to eliminate that palette.
| | 04:45 | So it's no longer there.
| | 04:47 | Now you are going to say, where to go?
| | 04:49 | Well, it's in the Windows palette and it's still there.
| | 04:51 | You just close down the Show Color sets
palette and now I can open that back up.
| | 04:56 | So, there is a way to get to these even if you eliminate them.
| | 04:59 | Here is another little bit of organization that I like to use.
| | 05:02 | Go to the Color palettes and Color Info, it's very
useful and it's another way to deal with color.
| | 05:09 | I like to position this immediately below my Colors palette.
| | 05:13 | I don't have it open all the time but it's nice to have it
there and have it available when I want to be able to do colors
| | 05:20 | by their numbers rather than do them visually
with the actual Colors palette itself.
| | 05:25 | So, just to have it there at the ready is a
nice way to have access to that information.
| | 05:30 | So, you are seeing here that you can customize the palettes very
much to suit your work flow and that's a very powerful feature
| | 05:39 | to take advantage of because you are going to have times where
just want things organized the way you would like them to work.
| | 05:45 | You can save these layouts too.
| | 05:46 | If we go to the Window palette and go to
Arrange Palettes, I can save a layout.
| | 05:52 | So let's just call this One stack to represent the fact
that all my palettes are now in one stack rather than two.
| | 05:59 | I can now go back and say, well I just want
the default layout, I will go into default.
| | 06:04 | OK, here it is like it comes from the factory but If I want to
get back instead of having these two palettes stacks to kind
| | 06:11 | of intrude on one another, I would go back and set my palettes so
I want my one stack arrangement and now it's organized that way.
| | 06:18 | This is really good for- you might want to have a painting
layout, you might want to have a drawing or whatever kind
| | 06:25 | of activity you do, you can have various palette constellations
organized for the type of work flow you are doing.
| | 06:31 | So, being able to customize the organization of your palettes
is a powerful feature and it's just yet another thing in Painter
| | 06:38 | that allows you to customize the
environment the way you want to work.
| | 06:42 | I like to think of them almost like a pair of jeans, when you get
the pair of jeans they are just generic and they don't quite fit,
| | 06:47 | but the more you wear them, the more you wash them, the
more they conform to you and they become your jeans.
| | 06:53 | The more you work with Painter's palettes
and organize them the way you want,
| | 06:56 | it's like the pair of jeans, they
fit you just like you want them to.
| | 06:59 | So work with the palettes and get them to
fit you like a nice well worn pair of jeans.
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| Using workspaces| 00:00 | You have probably had enough time to look around Painter
to realize it there are something like a gazillion brushes
| | 00:05 | within Painter and it's nice to have
all of this brush power available,
| | 00:10 | but it also can end being something
you have to spend time going through.
| | 00:15 | You go in here.
| | 00:15 | I go to something like acrylics and I open this up and
alright, well there are a lot of brushes going on in here.
| | 00:23 | In fact one thing that they did a couple of versions ago that
maybe some people find useful but others are not and depending
| | 00:30 | on which side of the fence you are on, you have
control over this, I'll show you in a moment.
| | 00:34 | What you see here is this brush for example Glazing acrylic.
| | 00:37 | You'll see there are one, two, three Glazing
acrylic brushes and each of them has a number.
| | 00:43 | This is essentially the same exact brush, it's just
been saved at different sizes and while that's nice
| | 00:50 | for a marketing bullet point to show how many hundreds of
brushes you have in Painter, it's also a bit confusing for people
| | 00:56 | who don't necessarily want to always
open up a brush to a specific size.
| | 01:00 | So I am going to show you how you can narrow
this down to have just one iteration of each
| | 01:05 | of these brushes in here without having all of these.
| | 01:07 | Because you can see this just does get into a rather long list
and you are going to find there are brushes and categories
| | 01:13 | that you don't use and I am going
to show you how to shut them off.
| | 01:16 | They will still be there but you will be able
to pair down or weed out your brush garden
| | 01:21 | down to the size that you are comfortable with.
| | 01:24 | So let's look at the Workspace feature that controls all of this.
| | 01:28 | I go to the Window menu, I go to Workspace
and we are going to Customize Workspace
| | 01:34 | and this brings up the Customize Workspace dialog.
| | 01:37 | Now you'll see right over here on the Media list, I can open
up Brushes for example and if I click on Painter Brushes,
| | 01:44 | you'll see this shows me all of the
various categories that appear over here.
| | 01:49 | So this is really just the same list that you see in
the category popup that is what we're seeing here.
| | 01:55 | You'll notice there are these little eyes and what
we're going to do is we are going to poke out some eyes.
| | 02:00 | For example, let's just say that we
don't want to use the Tinting brushes.
| | 02:05 | So I click on that and by closing that eye we'll find out here
in a moment that it's going to eliminate that from my list.
| | 02:11 | So I am going to go through a few of these like
let's say I don't want to use this Sumi brushes.
| | 02:15 | I am not interested in the palette knives.
| | 02:17 | I don't want the Gouache brushes or the Felt pens.
| | 02:22 | Now again each of you are going to have a different
set of tools you may or may not care about working with
| | 02:27 | but what I would advise you is as you work with Painter, if you
find you are just not using certain brushes why not shut them off
| | 02:32 | because all they are doing is giving you a longer list
to have to look through each time you open up that menu.
| | 02:38 | So I am just going to close a few here.
| | 02:40 | I am going be a little extreme because I want
to show you a rather radically how nice it is
| | 02:44 | to be able to shut off categories that you never use.
| | 02:48 | So let's say Done and let me close this and open it back up.
| | 02:51 | Now look my list is already shrunk up to a much smaller size.
| | 02:56 | In fact I can close this up.
| | 02:57 | Now I have got a more manageable set of brushes.
| | 02:59 | I don't have to scan through here all
the time in order to find them in as long
| | 03:05 | as a list, it's just easier to locate your brushes.
| | 03:07 | You may notice too that these happened to be alphabetized
and those of you who watched our earlier movie,
| | 03:13 | alphabetizing your brushes that is done with the Workspace and
if you haven't done it, go back and watch that particular movie
| | 03:19 | and you'll see how you can load up a Workspace that
automatically alphabetizes your brushes for you.
| | 03:25 | Now let's go to the next step.
| | 03:26 | Let's go into say Acrylics and we'll open this up and
sure enough here's all of these different variants
| | 03:33 | that are actually triplets of the same brush over and over again.
| | 03:36 | So I am going to go back to Workspaces, Customize Workspace,
we're going to open up Brushes but this time we're going
| | 03:42 | to open this up and now this gets me into each of the category.
| | 03:47 | So if I go to my Acrylics, now I actually
see the list of the individual variants
| | 03:53 | in that Variant pop up in the Brush Selector bar.
| | 03:56 | What I would advise you do is leave the middle
size brush and shut off the 10s and the 30s, OK.
| | 04:03 | They are still there remember, if you find oh, I
really do want to have those brushes available,
| | 04:09 | you can always go back and turn this back on.
| | 04:11 | Some of these aren't free and in this case there are just a
couple, but I am just going to narrow this down so that instead
| | 04:17 | of multiple copies of brushes floating around in my
Variant pop up, I am going to have just a minimal number.
| | 04:24 | Remember the way Painter's Variants work, as you adjust
the variant it remembers that so the next time you go back
| | 04:30 | to a variant it's going to be set exactly like
you did it and I find this method much better.
| | 04:35 | I adjust a brush, the next time I come back to it,
it's adjusted the way I previously adjusted it.
| | 04:40 | Rather than going through the menu to
constantly locate a specific size brush,
| | 04:45 | I just work with one brush and it's
adjusted to the last time I worked.
| | 04:51 | We have halved the size of that menu.
| | 04:54 | All the brushes are still there, I just don't have
multiple iterations of the same brush in different sizes.
| | 04:59 | So this combination of being able to pair down the number
of categories that show and the number of variants that show
| | 05:07 | up in each category is a way that you can definitely
eliminate a lot of extra navigational work having to seek out
| | 05:14 | and spend time scanning list to find the brushes that you want.
| | 05:20 | So we have learnt how to cut down on the number of categories
that we displayed in the Brush Selector bar category pop up
| | 05:27 | and we have also learnt how to prune down the number
of variants that show up within these categories.
| | 05:32 | Let's go one step further.
| | 05:33 | I am going to go to Workspace and
I am going to say Export Workspace.
| | 05:39 | What this let's me do is save this workspace out in a
fashion that can be handed off to other Painter users.
| | 05:46 | So let's just call this up Pruned and
this is just a nonsensical example.
| | 05:53 | But if you have a custom brushes, if you have
palette layouts, if you have a certain organization
| | 05:58 | of the brushes, all of that is saved within the Workspace.
| | 06:02 | All of the content, all of the palette arrangements, all of
the brush organization, any new brushes that you have included
| | 06:09 | in the Painter, those will all be saved in this
workspace and I'll just do this is right to the Desktop.
| | 06:15 | I will say Save and what that will create if we go out
and take a look now, we'll see that I have got a new file,
| | 06:22 | the nice thing about this is, this is a single file
that contains everything that Painter needs to know
| | 06:29 | to add that workspace to another copy of Painter.
| | 06:32 | It's so simple, you can just double click on this it will go to
Painter X, launch it and install this workspace so it will show
| | 06:40 | up within your copy of Painter that you are adding it to.
| | 06:44 | So this opens up a new door in Painter.
| | 06:47 | It used to be very hard to exchange
brushes and various forms of content.
| | 06:51 | The workspace concept and the fact that it's all contained in a
single file, makes it very easy to exchange Painter content now
| | 06:59 | in a fashion that is just so simple that it's just
a matter of clicking on this file to open it up.
| | 07:05 | Alternatively, you can also go in and you could
say in Workspace, say I want to import a workspace
| | 07:10 | and if I go to the Desktop here, of course there it is.
| | 07:13 | So you can either double click it or import it from the
actual workspace command in the Windows menu itself.
| | 07:20 | But it really opens up a big door in
the Painter community for being able
| | 07:24 | to exchange content as well as various palette organization.
| | 07:29 | So Workspace is a new feature and a very powerful one that
extends sharing Painter with other users in a very easy fashion.
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|
|
3. Getting StartedCreating a new image| 00:00 | You have launched Painter, now you are sitting
staring at the screen wondering, what do I do next?
| | 00:05 | Normally the first thing you are going to want
to do is open a new image that you can work on.
| | 00:09 | Let's go up to the File menu
| | 00:11 | and click on New. Notice that you can also use the keyboard
shortcut Command or Ctrl+N to launch the same dialog.
| | 00:19 | So here we find ourself in the New Document dialog and
many people work in pixels, that's how I typically work.
| | 00:25 | However, there are other measurement systems you might
want to work in. Inches, centimeters, points, picas, columns.
| | 00:31 | Let's say we want to create an 8x10 inch document.
So I am going to set my units of measurement to Inches
| | 00:38 | and I will go in here and I am going to
create a 10 inch wide x 8 inch tall document.
| | 00:43 | You can also set the resolution here and be sure that if you
have set this to inches, you want to make sure this is
| | 00:48 | pixels per inch, not the alternate pixels per centimeter.
| | 00:52 | Awnd this is where you would adjust resolution. It's set to
72 pixels per inch by default and that's great for web work.
| | 00:59 | However, if you are going to do print level work, you are going
to want a higher resolution. 300 pixels per inch is often a common
| | 01:06 | value when you work with inkjet printing, for example.
| | 01:10 | Depending on the printer there may be a preferred resolution
that you want to put in there, so check with your printer
| | 01:15 | to see what is a appropriate resolution to print out for that device.
| | 01:20 | Once we have input our height and width
and resolution, we'll click OK
| | 01:24 | and there is our new document.
| | 01:26 | Basically that's it. If you can do this what I have to say to you
is congratulations, you have just created a new image to play on,
| | 01:33 | so go and play.
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| Opening an image| 00:00 | So you have successfully launched
Painter, now you want to work with an image
| | 00:04 | that you know is somewhere on your
hard drive, How do you get to it?
| | 00:08 | Well it's very easy we are going to go up to the File Menu,
open it up and you will see that there is an Open command.
| | 00:14 | You can use the keyboard shortcut
Command+O or Ctrl+O to do this as well.
| | 00:18 | We will go ahead and click on Open
and this brings up the Open dialog.
| | 00:23 | I want to find a specific image, which happens to be here in
Chapter 3, and I want to go to Open Image, so I can select it
| | 00:30 | and you can either click the Open button or simply
double click on it and this will open the image.
| | 00:36 | Once you have got an image open, you are sometimes going to
find yourself wanting to close it amazingly and so you can go
| | 00:42 | to the File Menu, you will find that
you can use the Close command
| | 00:45 | which also has a keyboard shortcut
associated with it Ctrl+W or Command+W.
| | 00:50 | So simply click on the Close button
and that will close up that file.
| | 00:55 | Now when you have been working with several files, Painter has
a nice facility, if you go to the File Menu again look down here
| | 01:01 | at the bottom, Recently Opened Files show up in a list at the
bottom and sure enough here is my open image file so just simply
| | 01:09 | by clicking on it, that will once again open that File for me.
| | 01:14 | You have got a nice facility here for opening and closing
files and it's just all part of the File Menu's Open command.
| | 01:22 | If you want to get anywhere in Painter it is like keys
to the car, you have to know where that Open command is
| | 01:28 | and it is going to be found right here in the File Menu.
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| Saving an image| 00:00 | Well you have finally arrived at that point in Painter where
you have created your first masterpiece, what do you do next?
| | 00:06 | What you are likely going to want to do is save the file and
there are several options, input format you can save a file in
| | 00:14 | and we are going to go over those in this particular video.
| | 00:17 | Painter like Photoshop has a number of unique features that can
only be saved in its native format, which is the RIF format.
| | 00:27 | The gotcha about the RIF format however is that
not many other applications read that format.
| | 00:33 | Here is my strategy for how to save your imagery so
that you maintain the most flexibility down the line.
| | 00:42 | If I have created an image that I like, whether
or not it has a particular features in Painter
| | 00:48 | that you are familiar with, something like say Watercolor layers.
| | 00:53 | That is a unique Painter feature that
you won't find in any other application.
| | 00:56 | Unless that's saved in that RIF format,
you will lose that information later on.
| | 01:00 | My advice is to save and I am going to go to the Save As
here and I am just going to re-save this for our purposes,
| | 01:08 | but I would say first and foremost
save the file in the RIF format.
| | 01:14 | You have also got the option of whether
to compress it or uncompress it.
| | 01:19 | As unwilling as I am to say this, I will
tell you that the RIF format has somewhat
| | 01:25 | of the checkered past in terms of the compressed format.
| | 01:29 | I would opt to save it in an uncompressed format.
| | 01:33 | It's going to take up more space but I think you are going to be
a little safer by saving RIF files in the uncompressed format.
| | 01:41 | I am going to go ahead and hit Save.
| | 01:43 | In this case we will replace it but if it was a
new file we would be saving it for the first time.
| | 01:48 | I have now got this file in this RIF format.
| | 01:50 | Any special information that is Painter
only information is in that RIF format
| | 01:56 | and it can be recalled when I call up that RIF file.
| | 01:59 | The second part of my strategy is if this were to be say
a web oriented file, I might want to save it in JPEG,
| | 02:07 | but I am only going to start saving it in these other formats
after I have saved it in what I call the RIF Master format.
| | 02:15 | By saving it in that format I know
I am not going to ever lose any
| | 02:19 | of the unique qualities that I may have used within this image.
| | 02:23 | So I am going to save it again knowing
that I have already saved it as a RIF file.
| | 02:27 | Now I will say Save As and in this case
let's go and save it as a JPEG file.
| | 02:33 | We did this earlier but I am going to re-click this, I want
to make sure that I save the JPEG extension along with it,
| | 02:39 | so I can see it in the File Menu later on and know
that this is a JPEG versus the RIF form of that image.
| | 02:46 | I am going to go ahead and hit Save and you will
see now that a dialog comes up and it is telling me
| | 02:52 | that only the RIF format can save all of these layers
and by doing this as a JPEG I am going to lose that,
| | 02:59 | but since I know I have already saved my
RIF file I am free to go ahead and say OK.
| | 03:04 | At this point I will get a JPEG dialog
that allows me to encode it the way I want,
| | 03:09 | I will say High for this one but again this is a personal choice.
| | 03:12 | You can make a decision about what
level of quality you want to save it as
| | 03:16 | but once I say OK I will now have
that image saved in two formats.
| | 03:20 | I have got it saved under its original RIF file
and I have also got it saved in a JPEG format.
| | 03:27 | Now if you move back and forth between
Photoshop that is a third option.
| | 03:31 | If I want to continue to work on photo in Photoshop with all of
these layers, I am going to want to save it in yet another format
| | 03:39 | and that format in this case would be the
PSD extension, which is the Photoshop format.
| | 03:45 | Now I can go ahead and save it and once again remember you
always want to do this if you have the intention of saving all
| | 03:51 | of the Painter specific features
that you may have used in the image.
| | 03:55 | You are going to want to be sure you have that Master
RIF file with all of those attributes saved in it.
| | 04:01 | We will hit Save and this is where I can decide
whether I wanted it to be in RGB or CMVK.
| | 04:07 | I am going to say RGB in this case, click OK.
| | 04:10 | Now it is saved in a Photoshop format.
| | 04:13 | So if we go out and look at our directory for Chapter 3, you
will see that I now have that same image saved as a PSD file,
| | 04:24 | a JPEG file as well as the original RIF file.
| | 04:28 | These three files are just the various
ways to save the same information.
| | 04:32 | RIF will save all the Painter centric
information, the PSD format will save it in layers
| | 04:39 | and the JPEG format will compress it down
to a flat image suitable for web work.
| | 04:44 | So you have got a lot options here in saving,
but just be sure you save your master files
| | 04:50 | in RIF format first then you could go ahead and save in any other
format you want because you can always re-open that Master file.
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| Setting preferences| 00:00 | As you are working with Painter, you may discover that there
are various things you would like to change about it's behavior
| | 00:06 | like what the Drawing cursor looks like or how files are saved.
| | 00:10 | The place to do that is in Painter's Preferences.
| | 00:13 | I am just going to quickly show you where Preferences are, what
the various categories are and then we will drill down into some
| | 00:20 | of these areas in a little greater depth, but this just a
simple little video to show you where you are going to find
| | 00:25 | all of these Preferences.
| | 00:27 | So on the Macintosh you'll go to the Corel Painter X Menu, on Windows
it would be in the Edit Menu and you'll just go to Preferences.
| | 00:36 | Use Command+K or Ctrl+K to launch the General
palette and once you are in this palette
| | 00:42 | you then have a pop-up that will let you
get to the other sub-sections of Preferences.
| | 00:47 | Within Preferences you have got a category called General,
| | 00:51 | Brush Tracking which allows you to
adjust the sensitivity of your tablet,
| | 00:56 | Customize Keys which we just covered in another video.
| | 00:59 | You have also got Undo Levels, you can control
attributes about Painter's shapes, how files are saved.
| | 01:06 | How the palettes and UI work, the User Interface as
well as the Memory & Scratch space that Painter goes out
| | 01:13 | and uses when it runs of out RAM memory.
So this is really just a clearing house
| | 01:18 | for all of the Preferences in Painter.
| | 01:20 | In following videos we will go into some of
these areas and get more specific about them.
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| Defining cursor appearance and behavior| 00:00 | One of the things I hear quite often in relation to Painter
from users is, I don't like the way the cursor looks and I guess
| | 00:07 | in some ways Painter's cursor is an
extension of our own personality.
| | 00:12 | Depending on your sensibility and I am going to show you
several options in how you can make the cursor appear on screen.
| | 00:20 | So to do that we are going to go the Corel Painter
10 File on a Mac, in Windows you will find this
| | 00:25 | on the Edit menu and we will go to Preferences, General.
| | 00:30 | Once this is open, the area we want to
concern ourselves with is right here.
| | 00:34 | This is the Drawing Cursor Control.
| | 00:36 | Right now I want you to notice that Enable Brush Ghosting is on.
| | 00:40 | I am going to shut that off and say
OK and I want you to see what you get.
| | 00:44 | You will see I get a very simple
cursor in the shape of a little brush.
| | 00:49 | The setting that we just looked at will do that for you.
| | 00:53 | By disabling Enable Brush Ghosting
you will get just a simple cursor.
| | 00:58 | You can do things like control the angle
that this appears to be coming from.
| | 01:02 | You can also change the color if you would like.
| | 01:06 | Some people like to have red- let's just say OK and
now you will see that my cursor now is the brush,
| | 01:12 | but it is at an angle for whatever reason that
would be comfortable for you and it's in red.
| | 01:18 | We can go further.
| | 01:19 | We can go back in here and you can change
it to anyone of these other cursors.
| | 01:24 | For those you who are long time Painter users this triangle
was the original Painter cursor, in fact was in red.
| | 01:31 | If you want a little bit of nostalgia to go along with your
copy of Painter, you can set it up and this very Painter one,
| | 01:37 | Painter two-ish in terms of it's particular cursor appearance.
| | 01:42 | As Painter has gotten more sophisticated
and as processor have improved
| | 01:47 | in their speed, we have been able to do more with cursors.
| | 01:50 | Now I am going to turn on Brush Ghosting and let's say OK
and you will see that now what I am getting is an image
| | 01:58 | of what the dab that makes this brush stroke up.
| | 02:01 | The actual fundamental piece of information
that controls how the strokes look.
| | 02:07 | Let's go to another one, for example
I will go the Chalk Category,
| | 02:10 | Square Chalk and you will see once again what
we are getting here is a cursor that shows me
| | 02:16 | in advance what that particular mark looks like.
| | 02:20 | So it is also useful because you can see,
I can see exactly how big a mark is going
| | 02:24 | to be before I make it and that is a useful feature.
| | 02:29 | You can also use this enhanced Brush Ghost to see what various
cursors are going to look like in advance of using them.
| | 02:37 | Some people prefer to be able to see that.
| | 02:39 | Finally- and you will see, in Painter X there
is a new one called Enhanced Brush Ghost.
| | 02:45 | I am going to turn that on and let's see what happens.
| | 02:48 | You will see now I get a cursor that
is a circle or in this case an ellipse
| | 02:53 | and there is also this other piece
of information that is happening.
| | 02:56 | I am going to clear the screen so you can see it more clearly.
| | 02:59 | What this is doing is it's showing me the
orientation of my pen and my hand right now.
| | 03:06 | For example if I set my pencil that is perpendicular to
the tablet, it's like I am looking straight at the pen.
| | 03:13 | As I tilt it, it is now titling and
showing me in the cursor how it's tilting.
| | 03:18 | It can also show me bearings.
| | 03:20 | I am moving my cursor around in a circle over the tablet.
| | 03:24 | It's giving me that information as well.
| | 03:27 | So I have got a bunch of additional feedback
as to how the cursor is responding in terms
| | 03:32 | of its orientation in relation to the tablet.
| | 03:35 | Now I will tell you that for some of the
brushes in Painter, this cursor on slower,
| | 03:41 | lower performance systems can slow your system down.
| | 03:46 | One that I know you can look at is if you go the Real
Brush category and go down to the Real Tapered Bristle,
| | 03:55 | if you use this brush on a system that is not up to current
performance levels, if you draw really fast with it,
| | 04:04 | you will see a lag or a slow down in your cursor.
| | 04:07 | When Painter X first came out the, 10.0 version
of Painter actually had this cursor on by default
| | 04:13 | and a lot of people unknowingly thought that the
brush performance had slowed down in Painter X.
| | 04:18 | It turns out that because this was on by default, some
systems that were a little older or suffering in terms
| | 04:25 | of how fast the brush could draw because
it does take some additional horsepower
| | 04:30 | on the part of the processor to display this cursor.
| | 04:33 | My advice to you is, if you are on a system and you notice a
slow down in some of your brushes, go to Preferences palette,
| | 04:41 | the General tab and disable Enhanced Brush
Ghost and then try the same brush out.
| | 04:47 | I think you will find performance has enhanced and I have
verified this several times with people on various forums
| | 04:53 | that as soon as they turn that off, all of a sudden they are
like, oh my God, I didn't not realize it could be so fast.
| | 04:59 | So be advised of that, when you are testing brushes out.
| | 05:02 | It could even be degrading your performance
a little bit, if you are on an older system.
| | 05:07 | Cursors, you now know more about cursors in
Painter than you've probably ever wanted to know.
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| Customizing keyboard shortcuts| 00:00 | Oh, keyboard shortcuts.
| | 00:01 | Some of us live and die by keyboard shortcuts.
| | 00:04 | They are very efficient way to invoke commands that you
will otherwise have to go into the interface to get to
| | 00:11 | and you can see here, Group for example has
a keyboard shortcut Command+G or Ctrl+G.
| | 00:16 | Rather than take the navigational time to
come up to the Layers palette and select it,
| | 00:20 | if you know this keyboard shortcut you can save a lot
of time and become much more efficient in your work.
| | 00:26 | The negative thing is there seems like every
application has its own set of shortcuts
| | 00:31 | that are not compatible with other applications.
| | 00:34 | So you have got to have a head full of various shortcuts
for various applications and that can be very unmanageable.
| | 00:40 | Fortunately Painter has a customized
keyboard shortcut facility that enables you
| | 00:45 | to assign any keyboard shortcut to a command in Painter.
| | 00:48 | If you already know some commands say in Photoshop, you can
assign them to the same functions in Painter and as much
| | 00:54 | as Painter tries to mimic Photoshop, there are some areas
where they just do not have the same commands set up.
| | 01:00 | We will address that here in a moment.
| | 01:02 | Let's go into the Preferences.
| | 01:05 | On the Macintosh you will go to the Corel Painter X menu,
| | 01:09 | on Windows it would be in the Edit menu
and we will just go to the Preferences.
| | 01:14 | We go down to Customize Keys and this brings up the
Customize Keys dialog and I can do several things here.
| | 01:20 | I can adjust keyboard commands that are found in the
Application Menu, those are the menus along the Menu bar.
| | 01:26 | I can also change commands or add commands for the palette Menu
and those are the pop-ups associated with each of those palettes.
| | 01:34 | I can also address the Tool palette.
| | 01:37 | Each one of these has a single letter keyboard command that
you can use to move to that tool which can be very efficient.
| | 01:45 | Finally there is a little catch all category here for other
commands that don't fit into any of the other categories.
| | 01:51 | So as long as you could find that command in one of these
four menus, you can assign a keyboard shortcut to it.
| | 01:57 | Let's get back to our Photoshop issue here.
| | 01:59 | In Layers you will notice that there are no
keyboard shortcuts assigned to moving layers
| | 02:05 | within the Layer palette up and down in that Layer stack.
| | 02:09 | In Photoshop there is a very convenient set of keyboard
shortcuts that are a combination of the Ctrl or Command,
| | 02:14 | the Shift and the left and the right bracket keys.
| | 02:17 | I am going to assign those same keyboard
commands to Painter so that I can move layers
| | 02:22 | within the Layers palette up and down within a Layer stack.
| | 02:25 | I will go to the Move to the bottom command and by clicking
on it brings up a little blue highlight here that tells me
| | 02:31 | that I can now add a keyboard command to this area and it
is just a matter of pressing those keys on the keyboard.
| | 02:37 | So in this case it would be Ctrl
or Command+Shift+Left Bracket key,
| | 02:42 | which will move a layer all the way to the bottom of the stack.
| | 02:45 | Let's go move to Top now and in this case, it
would be Ctrl or Command+Shift+Right Bracket key.
| | 02:52 | If you move down one layer, that would be
the Ctrl or Command and Left Bracket key.
| | 02:59 | In this case you can see, this keyboard shortcut is in use by
another command in Painter, the Set Shape Attributes command,
| | 03:07 | I never use this command, but this is going to
be something each person will have to evaluate
| | 03:11 | and decide whether they want to give
up one keyboard command for another.
| | 03:14 | I can tell you that the Set Shape Attributes command
when you are in the Shapes Tools Property bar,
| | 03:20 | there is an actual icon to invoke this very same menu.
| | 03:24 | That's how I use it.
| | 03:25 | I never use this keyboard command in
Painter for getting to Set Shape Attributes.
| | 03:30 | So I am going to simply accept this and that now replaces that
command with my preference and finally we have move up one layer
| | 03:38 | and that would be the Command or Ctrl and our
Right Bracket and we have another conflict here.
| | 03:44 | This is also a command I never use.
| | 03:46 | You could say Accept and Go To Conflict, which will take you
to that conflicting command and change it if you would like.
| | 03:52 | Once again though I am going to accept it.
| | 03:54 | So what I have now done is assign these four Photoshop
centric keyboard commands to the same commands in Painter.
| | 04:02 | I will go ahead and click OK and now those
keyboard commands are part of the keyboard set.
| | 04:07 | In fact let's go into Customize Keys and sure enough we will find
| | 04:12 | that those keyboard commands are now part
of keyboard shortcuts within Painter.
| | 04:18 | If you click on this little icon of a document with
a little arrow this allows you to save this summary.
| | 04:24 | So I will give it a name and I will save it and say
OK, go out to the Desktop and go to Chapter 3 here.
| | 04:33 | We will see that my shortcut is now there.
| | 04:35 | If I double click on this, watch what happens.
| | 04:38 | It actually launches your browser because this is an
HTML file and it creates a nice shortcut list of all
| | 04:45 | of the shortcuts that are currently setup in Painter.
| | 04:48 | If we go down here to Layers we will see that sure enough I
have now got my Photoshop centric keyboard shortcuts assigned
| | 04:55 | to the same functions here in Painter.
| | 04:58 | Over time what I have found, having used a lot of Photoshop I
will start to use a command and realize oh it does not work.
| | 05:05 | That's when I will go to the Keyboard Shortcut menu and
change that keyboard shortcut to be what I know in Photoshop.
| | 05:12 | Over time I have migrated a lot of Photoshop keyboard
functionality to Painter and it just makes it easier to work
| | 05:19 | with particularly when you switch back
and forth between those two applications.
| | 05:25 | So using Preferences, Customize Keys
feature you can closely match Photoshop's
| | 05:30 | or any other application's familiar keyboard
shortcuts with those found in Painter.
| | 05:35 | You can even save these shortcuts as a handy HTML file.
| | 05:38 | I just can't emphasize enough how much you can improve
your efficiency by working with keyboard shortcuts
| | 05:45 | and by merging the same shortcuts from
another application like Photoshop.
| | 05:50 | You can really make this a very easy set of commands to remember
since they are now being used within these multiple applications.
| | 05:58 | Take advantage of this functionality.
| | 05:59 | It is very useful.
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| File-saving preferences| 00:00 | If you have been working in Painter for a while and saving files,
you may go into your directory and find that besides the files
| | 00:08 | that you have saved there are these
second files with .bak extension on them.
| | 00:14 | What is that?
| | 00:15 | What Painter is doing is trying to be clever and provide
you with a safety net to save not only the original file,
| | 00:21 | but a second backup file just in case
something goes wrong with the first file
| | 00:26 | or if you were happened to lose it, you'd have this backup file.
| | 00:30 | That's great but some people may not want to fill
their disk up with a second copy of all of these files.
| | 00:35 | So what we are going to do is, go into the File Preferences
for Saving and I will show you how you can adjust this.
| | 00:42 | Now on the Mac you go to the Corel Painter X
menu, on Windows you'd go to the Edit menu,
| | 00:47 | go to Preferences and we are going to go down to Save.
| | 00:50 | What you will see right here is, this is
enabled by default, Create Backup on Save.
| | 00:55 | If you do not want to save these backup files just uncheck
that and you will no longer get the second file appearing along
| | 01:02 | with the original in each case of saving an image.
| | 01:06 | Also file extensions, it's really smart to save an image with
a file extension, so you will know it is a Photoshop file
| | 01:14 | or a Painter RIF file, you can set
it so that it always does that.
| | 01:18 | By default it will ask when saving.
| | 01:20 | It is just an extra step.
| | 01:22 | My advice is to set it to Always.
| | 01:24 | That way it will always save it.
| | 01:26 | It is up to you, if you want it lower or
upper case, I just leave it at lower case.
| | 01:30 | Finally when you save either a TIF or a PSD Photoshop
file, you are going to always get a prompt that's going
| | 01:38 | to ask you, do you want to save this in RGB or CMYK?
| | 01:41 | Trust me on this, 99.9% of the files you would
ever save in Painter are going to be RGB files.
| | 01:48 | If you really do want to work in CMYK I suggest
saving your RBG file in Painter and taking it
| | 01:55 | to a color savvy application like
Photoshop and convert it to CMYK there.
| | 01:59 | It is far better application for doing that than
Painter where you really don't have a lot of control.
| | 02:04 | What I do for this is, I just set both TIF
and PSD files to automatically save in RGB.
| | 02:10 | That's way it is not always asking me
this additional dialog when I quit.
| | 02:13 | It will just automatically save in RGB.
| | 02:16 | So what we have done here in the File Preferences
is eliminated that second back up file.
| | 02:21 | We have also set it so that our file extension
is always appended on to the end of our image.
| | 02:28 | And finally we have set it so that both TIF and
Photoshop files always save in the RGB format.
| | 02:34 | This set of settings, just makes life a little bit easier for
you and a little more streamlined when you are saving your files.
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|
|
4. Using a Wacom Tablet: A Must-Have ItemWhat is a Wacom tablet?| 00:00 | Sometimes I hear people ask, do I really
need a Wacom tablet like to save a few bucks?
| | 00:05 | I have already got a mouse.
| | 00:06 | But let me tell you something, a mouse is a
great pointing device, however, trying to draw
| | 00:12 | or paint with a mouse is like trying to draw with a bar of soap.
| | 00:16 | It just does not have the localized
feel that a stylus in the hand does.
| | 00:21 | Consider traditional art instruments, pencils, brushes,
chalks, charcoals, all of these are stylus-based instruments.
| | 00:29 | So it's an excellent ergonomic form for the hand to
hold and use the point to communicate expressively.
| | 00:37 | Without a stylus in the hand, you are
going to get a very generalized feel.
| | 00:42 | More than that the Wacom tablet understands
pressure and movement.
| | 00:46 | We are going to go through and look at those in a movement
but I just wanted to show you a side by side comparison.
| | 00:52 | Painter has a scripting facility, so I was able to record
this little drawing and then I was able to play it back once
| | 00:59 | with the pen, with pressure enabled and
then a second time without pressure enabled.
| | 01:05 | What you are seeing here is a side by side comparison of the
exact same drawing and I think it's a no brainier to look
| | 01:11 | at the two and determine which one is
the most expressive drawing of the two.
| | 01:16 | The one in the left has a lot of change in the
opacity and thickness of the lines used to create
| | 01:23 | that drawing whereas the other one, it's all single dimension.
| | 01:27 | One could say well that looks like a nice pen and
ink drawing but it was not intended to look that way
| | 01:33 | and to my eye the one on the left is far better.
| | 01:36 | Right away that tells me pressure is the
correct tool to use and Wacom has it.
| | 01:42 | There are six axis of motion that
the hand, wrist and arm move around.
| | 01:48 | All objects can move around in six axis.
| | 01:51 | I am going to show you how they relate to the Wacom Pen.
| | 01:54 | So, let's imagine first just we have got this theoretical brush.
| | 01:59 | The first thing that happens in describing the motion of a brush,
is we can place it on a grid and once we place it on a grid,
| | 02:07 | we have got a two dimensional plane that can describe X and Y
motion and this is kind of the geek terminology for this but X
| | 02:15 | and Y are the two axis of motion that can be
described on a two dimensional flat plane.
| | 02:22 | Next you have got another geek term called Z but we can
think of it as pressure and that's the amount of pressure
| | 02:30 | that the hand can exert when pressing on the Wacom tablets.
| | 02:34 | So now we are up to three axis of motion.
| | 02:37 | Next is Tilt, the measurement of the pen in relationship
to its angle relative to the tablet is Tilt and that is
| | 02:46 | yet another dimension that can be pulled from the Wacom tablet.
| | 02:51 | Next up we have Bearing, once you have got Tilt, you can start
to rotate that pen in a conical like motion known as Bearing
| | 03:00 | and that is yet another axis of motion we can have.
| | 03:03 | Most Wacom tablets have these five axis of motion.
| | 03:07 | Recently, the Art Pen has come out which is called
the 6D Art Pen and it also is able to transmit data
| | 03:15 | about the sixth axis of motion which is barrel rotation.
| | 03:20 | All of these six axis together that you are seeing here are
what the hand is ultimately doing with the pen in its grip
| | 03:29 | and all of these motions are what end up
expressing your emotions, your feelings.
| | 03:35 | They all come through the tablet through to Painter, which
interprets all of these dimensions and takes advantage of it.
| | 03:42 | The more of these dimensions Painter has access to, the
greater the fidelity of the expressive quality of the brushes.
| | 03:51 | Some of the tablets have all of these possibilities others don't.
| | 03:55 | The entry level Bamboo and Graphire tablets,
they do not support Tilt, Bearing or Rotation.
| | 04:02 | So all they have is pressure and X and Y position.
| | 04:06 | Not bad for a start but I am informing you that
this is not going to have all of this control built
| | 04:12 | into it that Painter is able to take advantage of.
| | 04:16 | Intuos3 and Cintiq tablets support Tilt and Bearing
with the standard Grip Pen that comes with the tablet.
| | 04:24 | Right there you have got five axis of
motion that Painter is able to interpret.
| | 04:28 | Then finally the Intuos3 and Cintiq tablet support everything
including barrel rotation if you have the optional 6D pen
| | 04:39 | and that is an additional expense
and it is really up to each person
| | 04:43 | to decide whether or not they want to make that investment.
| | 04:45 | But if you do want to get the full expressive power of
your hand through all of these motions that it makes,
| | 04:53 | the 6D pen in concert with Intuos3 and Cintiq tablets
are the only way that you are going to get it.
| | 05:01 | You will do fine with the Grip Pen too.
| | 05:04 | The barrel rotation is really cool.
| | 05:06 | It does add an extra dimension but if you do not have
it, it's not like that you have last year's model,
| | 05:12 | it's still very powerful with those five axis of
motion that the standard Grip Pen is able to transmit.
| | 05:19 | Motion of the hand translated through the Wacom technology
to Painter is a way to transmit your expressive nuances
| | 05:29 | through painter and hopefully to
other people when they view the art.
| | 05:33 | That's the 411 on motion and the tablet.
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| Understanding the six axes of motion| 00:00 | We have talked about the six axis of motion.
| | 00:03 | Now we are going to put it to use here.
| | 00:04 | I am just going to show you so that you can see physically what
is happening on the tablet at the same time things are happening
| | 00:11 | on the screen and I think it will give
you a better sense of how things work.
| | 00:15 | I am going to start with the standard Intuos Grip Pen.
| | 00:19 | This senses five axis of motion, everything but barrel rotation.
| | 00:24 | This one does not include barrel rotation,
however, you still have a lot of flexibility
| | 00:29 | in the tools and let's just take a look at it.
| | 00:31 | For one thing I am now working with the Enhanced Ghost
cursor and you'll notice that when I put my hand straight up
| | 00:38 | and down that little line becomes a point because
it is mimicking the angle that I am working at.
| | 00:44 | You can see now as I rotate and bearing, same thing is happening.
| | 00:48 | This gives you visual feedback as to what is
happening with your pen as you are drawing.
| | 00:54 | I am going to use the Flattened Pencil from the Pencils category
because this one employs Tilt even without one of the 6D pens
| | 01:02 | that also senses Rotation, you can still get some
really nice expressive changes going on in your strokes.
| | 01:09 | Now, I am going to start from straight up and down you
will see that this pretty much gives me a real pencil.
| | 01:14 | It is giving me just the point aspect of what's
drawing, but as I start to tilt see how it flattens out.
| | 01:21 | This is because this pencil is specifically designed to take
into account the tilt and that is just like a real drawing.
| | 01:29 | If you have ever done any shading for example, you will know
that when you are normally drawing you are kind of more upright
| | 01:35 | with the pencil, but when you want to
kind of start to shade you put the pencil
| | 01:39 | on an angle and it starts to fill up a larger area.
| | 01:41 | Now I am going to use Command+A or Ctrl+A, or Delete or Backspace
here, but I am just going to draw just kind of nonsensically here
| | 01:49 | but the idea behind this is, it is
interesting at first when you think about oh,
| | 01:53 | that is really cool how I can control those angles.
| | 01:56 | The real way to use this though is to not think
about it, just draw because what happens is all
| | 02:02 | of those expressive marks you do
not necessarily think consciously
| | 02:06 | of how you are addressing and adjusting a pencil as you draw.
| | 02:09 | All of that natural change in the brush happens on it's own and
what I am trying to get across here is just even with this sort
| | 02:16 | of nonsensical drawing you can already see with one pencil
look at all the changes that have happened in this line due
| | 02:24 | to the fact that the tilt actually has
quite an effect on how this pencil works.
| | 02:29 | I really like the Flattened Pencil just for that reason.
| | 02:33 | As a single tool it is amazing, the
kinds of different qualities you can get
| | 02:37 | out of it just based on the hand and arm and wrist motion.
| | 02:41 | So that covers the Regular Grip Pen.
| | 02:44 | I am now going to switch to the 6D Art Pen and you will see
the difference between these two if I put them side by side
| | 02:52 | that the Grip Pen is actually oval shaped as opposed to
round and it has also got a Felt Tip marker tip on it.
| | 03:01 | The reason for that is that when I am holding this in the
hand I now have tactile feedback that tells me what added
| | 03:09 | to this barrel is in my hand because the 6D pen goes beyond
the Art Pen by itself and also senses barrel rotation.
| | 03:18 | So I am going to once again Command or Ctrl+A, Delete,
Backspace here and we are going to switch to one
| | 03:24 | of the RealBristle brushes, in this
case this is called the Real Round
| | 03:28 | and you will notice another indicator
now is appearing on the cursor.
| | 03:33 | It is still giving me that Bearing and Tilt information
but you will notice and I have got a position right now
| | 03:39 | where there is a little dot at the top of the circle
and as I rotate the barrel it is changing position
| | 03:46 | because it is sensing the rotation of the barrel itself
| | 03:49 | and what I have done here is i have created a
palette with some pretty different colors on.
| | 03:54 | I am just going to sample of it.
| | 03:55 | I will paint and you will see that as I rotate the barrel
in my hand that I am literally rotating all of those here
| | 04:04 | at the same time so that I get a fundamental
change in the way the brush looks.
| | 04:09 | You are not necessarily going to use this consciously.
| | 04:12 | I am sitting here and kind of working
hard to show you this barrel rotation
| | 04:17 | but nobody paints the way my hand is now painting.
| | 04:19 | It's going to be a much more natural kind of painting so
that I am changing the barrel every once a while as I draw
| | 04:26 | because I have that tactile feedback associated
with the oval character of the barrel,
| | 04:32 | of the pen itself so that does let me kind of change
what happens, I will grab some other colors here,
| | 04:39 | it just gives me some control over the nuance of where colors
are going to fall on the canvas as I paint so the 6D Pen gives me
| | 04:50 | that additional quality of being able to rotate the barrel.
| | 04:54 | Painter right now has just a few brushes actually
set up in the Real Brush Bristles category.
| | 05:00 | Take advantage of this and it is a bit beyond this training
to get talking about all of the nuances of brush creation,
| | 05:09 | but once you do dig down into creating brushes you can
literally take advantage of rotation with just about all
| | 05:16 | of Painter's various brushes to incorporate it or in designing
your own brushes but again that's another title for another day
| | 05:24 | but the idea here right now is just to get you acquainted
with and acclimated to this enhanced cursor as well as some
| | 05:31 | of the capabilities that the Wacom tablet offers in terms of
things like the six axis of motion because the more of those
| | 05:39 | that the pen senses and uses the greater range of expressibility
you are going to see in the final strokes that are made
| | 05:47 | because it is capturing every nuance of the arm, hand and
wrist and that is where all the expression comes from.
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| Maximizing your tablet's pressure response| 00:00 | Whenever you travel and you rent a car, don't you
always have to sit in the car and adjust the seat,
| | 00:06 | maybe set the tilt of the steering
wheel, check the mirrors and adjust them.
| | 00:11 | I even go so far as to reprogram the buttons on the radio.
| | 00:15 | These are just the things you do when you get into something
that you are going to be operating to make it fit you.
| | 00:22 | The nice thing about the Wacom tablet and Painter
is, you can do the same thing with the tablet.
| | 00:27 | Think of this like as you are getting into that rental car,
you want to adjust things so that they work best for you
| | 00:33 | and in this case the aspect of you that's really
important is, how your individual hand sensitivity works?
| | 00:40 | Everybody is different, depending even on the
time of day, how much caffeine you have had?
| | 00:45 | How much stress you are under?
| | 00:46 | All of these things can actually change how
you communicate expressively through your hand.
| | 00:52 | The idea here is to adjust Painter to your
particular pressure and how you apply it
| | 00:59 | when you are working with a stylus based instrument.
| | 01:02 | The first thing we are going to do is, we are going to go to
the Wacom Preferences, Control panel and it looks the same
| | 01:08 | in both Mac and Windows, you will see a very similar set up here.
| | 01:13 | The thing I want you to look at right here is this Tip field.
| | 01:17 | Now some people going in and they play with it and they adjust
it, what I would suggest you do is, just keep it centered.
| | 01:23 | So it's neither biased towards soft or firm.
| | 01:26 | That way you are not going to confuse Painter.
| | 01:29 | Painter actually has a more sophisticated way of
measuring your sensitivity than the Wacom driver does.
| | 01:35 | By putting this in its No or zero position you will be
eliminating the bias that this could introduce into the process.
| | 01:42 | That's the first thing you want to do, is just check your
Wacom tablet Control panel, Preferences and set this to zero.
| | 01:50 | So, now we are in Painter and I have actually set
this up in a way that is not the way I normally work.
| | 01:55 | I am using the Scratch Board tool.
| | 01:58 | This is a great tool to test pressure-sensitivity
because it has a very fine thick to thin ratio.
| | 02:05 | Normally you can get very nice thin lines with light
pressure out of it but I have adjusted it here now
| | 02:11 | and I am just going to- let me just
sign my signature for example.
| | 02:14 | OK, there is no expression going on in that at all.
| | 02:18 | It's all going to full thickness.
| | 02:20 | I will try the best I can here.
| | 02:23 | I could kind of get a thin line but you can see I
am almost just dragging the point along the tablet
| | 02:29 | and any pressure whatsoever is moving
it towards the thick right away.
| | 02:34 | So, this tablet is not adjusted for
me, it's like I am getting in a car
| | 02:38 | for a seven foot NBA Basket Ball player
and it's completely adjusted for him.
| | 02:42 | I need to set everything up now for me.
| | 02:45 | Let's take this off and we are going go up to Corel Painter X
Menu in MAC and on the Edit Menu in Windows and we are going
| | 02:53 | to go to Preferences and you will see
the second entry here is Brush Tracking.
| | 02:56 | So, I am going to open Brush Tracking.
| | 02:58 | This opens the Brush Tracking window and what you
are presented with here is a large Scratch Pad.
| | 03:04 | If you draw a sample stroke in here like you typically draw,
Painter can pull that information and actually adjust it
| | 03:13 | to your pressure response and you will
right now these are set in a particular way.
| | 03:18 | I am going to go ahead and just draw a stroke.
| | 03:20 | It's more of the way I draw and you see how these have change.
| | 03:24 | It's taken the measurement of how fast I
draw, how light I press, how hard I press
| | 03:30 | and it's managed to get all that out of that stroke.
| | 03:32 | So, now let's say OK and I am going to go
back here and now I will draw my signature.
| | 03:37 | Now you can see how I have full thick to thin
control over the pen whereas before I didn't.
| | 03:45 | That right there is going to make such a difference in your work.
| | 03:49 | I have been in workshops where I have been working with
students and I forgot to go through this exercise with them
| | 03:54 | and like a half a day or something went by and I came up when
they were working and I said, why does your work look like that?
| | 04:00 | And they said, well look at my pen
this is all the better I can get.
| | 04:03 | Now realize, you are sitting in the NBA player's 7 foot
tall, rental car, we need to set everything up for you.
| | 04:10 | So, by just having them go into this little exercise by going to
Brush Tracking and doing a sample stroke and it's like a new day
| | 04:18 | that has dawn they are amazed at how much more control
they have over their brushes once they have done that.
| | 04:25 | So, getting the maximum brush control and customizing
the pressure response to your specific tendencies
| | 04:32 | in your hand pressure is the best thing you can do in Painter.
| | 04:36 | It's just like a rental car, you don't
want to drive around in the car set
| | 04:39 | up for a 7 foot NBA player unless you are 7 foot NBA player.
| | 04:43 | But, most of us aren't and so you are
going to want to adjust everything
| | 04:46 | to your physical set up which in this case is your hand pressure.
| | 04:50 | So, take advantage of the setting and be sure you set it.
| | 04:54 | Once you set it you can do what I call Set it and forget it.
| | 04:57 | I don't go back into mine and change it all the time.
| | 05:00 | Some days you will get up and you just start get
working, you realize things don't quite seem right,
| | 05:05 | that's the time maybe going there, do
another stroke and start drawing again.
| | 05:09 | Typically you can pretty much leave
it set as you have adjusted at once.
| | 05:13 | So take advantage of it.
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| Customizing your Wacom tablet| 00:00 | You may find sometimes when you are working in
Painter with your Wacom tablet that you can be drawing
| | 00:06 | and all of a sudden something like what's
happening here to my image is happening.
| | 00:12 | It's like it's gone nuts.
| | 00:13 | Why is it doing this?
| | 00:15 | Well what's happening is these little Touch Strips on the Wacom
tablet are automatically programmed to Auto Scroll and Zoom.
| | 00:26 | So that's what's happening right there you can
see, how it is working and I find it very annoying
| | 00:31 | because it is just almost always going to happen that you
are touching these inadvertently based on different times
| | 00:38 | that you are working on an image and
fortunately there is a way to fix it.
| | 00:42 | I am going to the Wacom Preferences panel or Control panel.
| | 00:47 | It looks the same in both Mac and Windows and you
can see right here it is set to Auto Scroll and Zoom.
| | 00:54 | Couple of things we can do here, first if you
click on the Advanced Key, you will see right here,
| | 00:59 | you can accept Touch Strip input from pen only.
| | 01:03 | So I am going to do this for both because it's just- sometimes
even my other hand gets over there can cause a problem.
| | 01:08 | So I am going to say OK and let's
go back there now and you will see,
| | 01:13 | see I can no longer inadvertently
scroll my image to zoom in and zoom out.
| | 01:19 | So the other thing that would be nice is this is
otherwise a very good panel and in fact I can use it now,
| | 01:27 | you will see only with the pen going up and down on that strip.
| | 01:33 | No longer does the hand work, just the pen and
so it would be nice to somehow take advantage
| | 01:39 | of this functionality rather than
it being a liability as it has been.
| | 01:43 | So I am once again going to go back to the
Preferences here and we are going to change this.
| | 01:49 | I am going to go in here and say instead of Auto
Scrolling and Zooming, I am going to say Key Strokes
| | 01:56 | and now I can set a couple of key
strokes here to do whatever I want.
| | 02:00 | One of the things that Painter is set up to do is use the left
and right bracket keys to increase and decrease brush size.
| | 02:08 | So I am going to set this up so I can use
this to actually change my brush size.
| | 02:12 | So I am going to first click on the top one
and I just think of that as enlarging my brush.
| | 02:18 | So with this open I am going to click on the right
bracket key and I will say OK then I am just going
| | 02:26 | to call this Increased size and we will say OK.
| | 02:32 | Now I am going to click on the bottom one
and I am going to do just the opposite.
| | 02:36 | I am going to use the left bracket key and say OK and now I will
call this Decreased size and say OK and now let's go back here
| | 02:49 | and I will begin in a brush and here we can see it and now
watch, I will go over here and I am adjusting the brush size.
| | 02:58 | If you look up at the Brush Property bar here you will see that
as I am scrolling, now all the way down to 1, I am moving it up.
| | 03:07 | So this gives me a way to quickly increase and
decrease my brush size, so if I am drawing along here
| | 03:14 | and I want to enlarge it I quickly
can, I want to decrease it, I can.
| | 03:19 | This is a nice way to take advantage of this
Touch Strip so that you can adjust the brush size.
| | 03:25 | Now you may want to go ahead and program your
non-drawing hand so that the other side is for zooming.
| | 03:31 | The combination of Wacom Preferences or Control panel and
Painter's ability to utilize these Key Strokes gives you a way
| | 03:39 | to really take advantage of these control surfaces far
beyond what you have been able to use them for before.
| | 03:46 | I am going to show you here in a moment how we can now program
these buttons and we can assign keyboard shortcuts too.
| | 03:53 | I have got a set that I use that I will share with you.
| | 03:56 | It has to do with zooming in and out of images.
| | 03:59 | You can use the keyboard shortcuts that we have been
working with, the Command and Ctrl and plus and minus signs,
| | 04:05 | you can also put these commands on
these buttons, assigned them to them.
| | 04:10 | So I am once again going to go back to the Wacom Control panel
here and we were working in the Touch Strip panel of Preferences
| | 04:20 | but now we are going to go to Express Keys and you can see
the defaults are set up assigning different modifier keys.
| | 04:26 | We are going to go through here and we are
going to go in and we are going to change them
| | 04:31 | to Key Strokes and here is what I am going to do.
| | 04:34 | I like to use these so that the two smaller buttons here,
the one up on top zooms out, the one on the bottom zooms in
| | 04:42 | and then this large button on the left side is used to fit
an image to the screen size that it is at and finally the one
| | 04:50 | on the bottom, we can set so that it is a screen mode toggle.
| | 04:53 | So we can go between, when we have the window around the image
and you see the Desktop or you can toggle it so that everything
| | 05:02 | like in the Desktop is grayed out and
there is just a neutral gray background.
| | 05:07 | So let's start with the first modifier here.
| | 05:11 | We are going to do this to Zoom to fit.
| | 05:13 | So I am going to say Key Stroke and the
Zoom to fit command is Command+0 or Ctrl+0.
| | 05:20 | So I am going to press those keys, I am going to
say OK and I am going to call this Zoom to fit.
| | 05:26 | OK. So we have got that key programmed.
| | 05:30 | Now we will go to the next one and this one I want to do a
Key Stroke combination for Zooming out and that is Command-.
| | 05:39 | So I will say OK and I am going to
say on this one, call it Zoom out.
| | 05:47 | OK, now let's go down to the next one here and we will
assign it the keyboard shortcut of Command+ and it would look
| | 05:55 | like a equal sign but it means it is the
same key, the minus and the plus key.
| | 06:00 | So we will say OK and now I will call this
one Zoom in and finally this bottom one,
| | 06:08 | we are going to use that for assigning
the keyboard shortcut of Command+M,
| | 06:14 | which is the mode toggle between full screen and normal mode.
| | 06:18 | So we will say OK and we will call this Screen Toggle.
| | 06:25 | OK. So we have now done that, let's go
back here and let's just check our work.
| | 06:30 | So I am working away on an image, I can come in here, make my
brush smaller if I want by using the Touch Strip and if I want
| | 06:38 | to zoom out from my image I just use this button and a little
tip that I figured out, I used to always stop and use my finger,
| | 06:47 | but I realized very quickly you can
just click with the pen itself.
| | 06:51 | So you don't have to change your
attitude in the hand and this zooms up.
| | 06:57 | This one automatically takes me back to fit within the
window and finally this one is my screen mode toggle.
| | 07:05 | So between all these or among these I have got a
very nice elegant way to change and adjust my screen
| | 07:13 | without resorting to going up to the keyboard.
| | 07:17 | I have included a file Wacommapping.pdf in the exercise
files that lays out everything we have talked about here.
| | 07:24 | So if you don't want to go back to the video,
you can open it up and take a look at it.
| | 07:28 | There is a lot flexibility in your Wacom tablet that you
can take advantage of it and I can encourage you to do so.
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|
|
5. Using Brushes to Express YourselfUnderstanding brush categories and variants| 00:00 | Brushes are the heart of Painter,
| | 00:02 | really that's what Painter is all about.
| | 00:05 | In fact, you can think of Painter as a Brush Engine,
| | 00:08 | and what's happening under the hood is all of the various
controls that make up Painter's brushes are really just a
| | 00:14 | bunch of different knobs and sliders and buttons
that adjust that engine to act as a particular medium.
| | 00:21 | So what we are going to do here is just revisit
| | 00:24 | the Brush Selector Bar and think about
how you get at this amazing power.
| | 00:31 | The first thing you do is you look at the Categories.
| | 00:34 | This is like an art store,
| | 00:35 | and I am walking up and down the aisles. I am in the chalk aisle,
| | 00:39 | I am in the erasers aisle, I am in the oil pastels aisle.
| | 00:43 | Each one of these is a section
| | 00:46 | where you're going to find all the variations on a particular medium
| | 00:50 | like chalk, for example.
| | 00:52 | Now, that I am in the chalk aisle, all of those variations are
in fact called Variants, and what we have to the right here
| | 00:58 | is the Variant pop-up list.
| | 01:00 | So you have got the Category pop-up list, which are like
the general containers or aisles in an art department store,
| | 01:07 | and what you have got the Variant pop-up
| | 01:09 | are like the shelves in those aisles with the various media in it.
| | 01:13 | So you are going to go through and
say, oh yeah, I want a Sharp Chalk,
| | 01:16 | and you'll go ahead and use it.
| | 01:18 | So that's as easy as it can get. You go down
an aisle, you pick up a tool, you start using it.
| | 01:24 | But you may find, well, I want
| | 01:26 | some other forms of expression within the realm of chalk.
Well, you go back to that shelf and you look around and go,
| | 01:34 | Oh well, yeah, maybe I am going to try Blunt Chalk.
| | 01:36 | And you can see, Blunt Chalk, while it
still has characteristics of chalk in it,
| | 01:41 | it's different, it's a larger, round chalk, almost
like a large sidewalk chalk, it's much more aggressive,
| | 01:46 | it wants to fill in the grain more quickly.
| | 01:50 | So even within this category Chalk,
there is a lot of expressive variation found
| | 01:56 | in the Variant pop-up, and you are not just
going to automatically know what all these are.
| | 02:02 | Part of the joy of Painter in the beginning
is just playing with the categories,
| | 02:07 | going down these aisles, then picking up various media off
the shelves and just trying them out, like I am doing here.
| | 02:13 | You don't have to start from a standpoint of,
I am immediately going to create a finished image.
| | 02:21 | What I would say is the first hours of
Painter should just be an explorative playtime
| | 02:27 | where you are going through these various aisles
| | 02:30 | and selecting and picking up various kinds of tools.
| | 02:34 | Now, I am going to change my brush color here, so I am going up
| | 02:37 | and adjusting the color in the Color palette to do that,
| | 02:40 | and now I have got Oil.
| | 02:42 | Here is a very different medium. Same Brush
Engine, just tuned a very different way.
| | 02:47 | If you want to think of a more technical way
| | 02:51 | of working with these Variants,
| | 02:53 | what a Variant is is simply a laundry
list of all of the settings in Painter
| | 02:59 | that make up the Brush Engine to act this way.
| | 03:02 | Each Variant is nothing more than a variation
| | 03:06 | on a list of a bunch of settings that are
telling Painter's Brush Engine to act a certain way.
| | 03:13 | So now I have got this very different kind
of expression going on; here is a smeary
| | 03:18 | oil paint that looks very different than
the chalk I was just using, and yet
| | 03:23 | it's all of the same engine, its just how its adjusted.
| | 03:27 | What you are doing is basically
| | 03:30 | going in, finding a medium, and we select a Variant.
| | 03:34 | It's almost like the list on a synthesizer;
a synthesizer only knows how to make sound,
| | 03:40 | but it can be tuned to sound like a piano or an oboe or a
violin, and when you press a button, you are just resetting
| | 03:46 | everything internally so that it makes that sound.
| | 03:49 | This is the same thing, these are simply presets that make the engine
| | 03:53 | sound, or in this case look, like the media
| | 03:57 | that you want it to be.
| | 04:00 | I want to mention that as I pull this down,
| | 04:03 | you'll notice that this is in alphabetical order,
and your copy of Painter at home probably is not.
| | 04:09 | Don't forget to go to one of the opening movies called 'Alphabetizing
Your Brushes,' and I show you exactly how to do that.
| | 04:17 | So you won't have to
| | 04:18 | hunt and peck in a non-alphabetized list, because I can tell you
from experience, that's painful to do, and in alphabetized order,
| | 04:25 | it's a much easier to find your brushes.
| | 04:28 | It's automatically alphabetized in the Variant pop-up.
| | 04:32 | It's just- something happened at the delivery of the product that
they forgot to alphabetize. So we fixed that, and you will find out
| | 04:39 | about that in 'Alphabetizing Your Brushes.'
| | 04:41 | So I encourage you, when you first sit down
with Painter, spend a few hours just playing
| | 04:46 | with this art store palette,
| | 04:49 | and try out different things. You'll
find the tools that appeal to you
| | 04:53 | and you will start to develop a sense of what you
want to express yourself with using these brushes.
| | 04:59 | So have fun exploring Categories and Variants.
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| Adjusting brush size| 00:00 | Of all of the potential adjustments you can
make in Painter, probably the one you are going
| | 00:04 | to be using the most is adjusting your brush size.
| | 00:08 | You won't just use a brush and always use it at the same size;
| | 00:12 | you are going to want to change your brush
size occasionally, and in many cases a lot.
| | 00:18 | So there are three main ways I am going to show you here to
change brush size, and just depending on your working method
| | 00:25 | and your constitution, one of these will probably
be the one that you will find you use the most.
| | 00:31 | The most obvious one is located right up at the Brush Property
Bar, and you will see that we have a size indicated right here.
| | 00:38 | The way you can adjust size is by clicking on the little
rectangle with the down arrow, when you click on that,
| | 00:44 | that opens up a slider, and you can click and adjust this slider,
and you will see, when I set that, it's now set to a new size,
| | 00:53 | in fact, whatever I set it to, it will adjust it.
| | 00:56 | A lot of people think that this is a two-action
process; that you have to click and then drag this.
| | 01:03 | Actually, you can just click and drag.
| | 01:06 | I didn't go down and actually grab the pointer here to adjust
the size, I just clicked on the rectangle and started dragging,
| | 01:14 | and instantly I am in the process of adjusting my brush size.
| | 01:18 | So that's one way you can do it, and it's always
going to be available up here in the Property Bar.
| | 01:24 | A second way you can do it is a more visual way, and if you
hold down the Command or Ctrl key and the Option or Alt key,
| | 01:33 | what you will see is your cursor, when you are in
the Brush Tool, changes to a little cross here;
| | 01:39 | I will let up and now I am back seeing
the size of my brush with the cursor,
| | 01:43 | but when I hold down that Ctrl or
Command and Alt or Option key it changes.
| | 01:49 | Now, what happens when I click and drag; you see that circle,
that circle is visually resetting the brush size, in fact,
| | 01:56 | if you look up at the brush size right now, its 23 pixels,
when I let up now, I just made it larger, to 43 pixels.
| | 02:04 | So clicking on the Command and Ctrl or Alt and Option key
gives you a very quick way to visually change your brush size.
| | 02:16 | You can see by using that keyboard combination
how quickly I can change my brush size.
| | 02:21 | Now, the third way is a more Photoshop centric way to
do it, and that is with the left and right bracket keys.
| | 02:28 | I am going to enlarge the brush.
| | 02:29 | So I am going to click on the right
bracket key, and if you look up here,
| | 02:33 | you can see I am increasing my size by 1 pixel at a time.
| | 02:37 | Now, the problem with that is, for some people,
is that's a long, slow way to change brush size.
| | 02:45 | I prefer to use this mostly for fine adjustments,
and use something like the Command or Ctrl and Option
| | 02:52 | or Alt for my gross course changes, and
use the left and right bracket keys,
| | 03:00 | when I just want to slightly change it for fine detail changes.
| | 03:04 | So you have got basically three different
ways to adjust your brushes here.
| | 03:09 | The one last thing I am going to tell you
about the left and right bracket keys is,
| | 03:14 | if you want to change this Increment Setting, so that its
not simply 1 pixel at a time; if you go up to Preferences,
| | 03:21 | which is in the Corel Painter X Menu on Mac and the
Edit Menu on Windows, go to Preferences, General,
| | 03:27 | you will see that right here I can adjust Brush Increment Size.
| | 03:31 | So if I change this say to a 5, now, when I click, see how
much quicker, and now it's jumping in 5 pixel increment.
| | 03:40 | So this gives me a way to very quickly change
the brush with the left and right bracket keys,
| | 03:47 | but in an increment that I decide I wanted to work in.
| | 03:51 | There is no magic number for what the correct brush
increment size is, it's what works right for you,
| | 03:58 | so play around with this a little bit and try different
numbers in there, and eventually you will find the sweet spot
| | 04:03 | for what works for you in terms of changing your
brush size using the left and right bracket keys.
| | 04:08 | So changing brush size is a useful tool, and its
one you are going to be using a lot in Painter,
| | 04:13 | because it's just to change the expressibility
of all these tools,
| | 04:17 | brush size alone is one of the key
parameters for adjusting that expressibility.
| | 04:22 | So, learn how to adjust your brushes in a
couple of these different ways I have shown you,
| | 04:27 | and you will find that you will be a happy camper in brushland.
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| Managing brushes and paper texture| 00:00 | In many traditional media, the surface that is used to apply
the media has a grained or erased surface to it, and this grain,
| | 00:08 | let's take Canvas, for example, in conjunction with Paint,
can impart a character or a quality to the look of the marks
| | 00:16 | that are made on that canvas with a
brush that is lightly applied to it.
| | 00:21 | Another example is Chalk; Chalk reacts to the surface and
the texture of that surface in the way that it's applied.
| | 00:29 | Painter mimics this with paper textures, its a virtual
paper grain that some of Painter's tools interact with.
| | 00:37 | One of the questions I get asked is, well, which one's are they?
| | 00:40 | Let's just take a look at the categories; it's going to be
the obvious ones, I mean, Chalk, Charcoal, Conte Crayons,
| | 00:48 | Oil Pastels, Pastels, Pencils, there are the obvious categories.
| | 00:53 | But for those of you who are really inclined to want
to know, well, exactly which ones are going to respond
| | 00:59 | to Grain, or what I call our Grain Aware Brushes.
| | 01:03 | If you go to the Window, and we are going to jump
in here and go to Brush Controls, Show General.
| | 01:10 | Right here in the General palette, you will see
the word Grainy appearing here in this subcategory.
| | 01:16 | You don't need to know what all this is right now.
| | 01:19 | Just know that the word Grainy, when it appears,
means that, that brush response to Grain.
| | 01:24 | So if to you it's not so obvious that the
natural media that normally respond to texture,
| | 01:31 | when applied to a surface is not
obvious in the name of the category.
| | 01:35 | You can always resort to going to this General pop-up Menu and
looking at the subcategory, and if the word grainy is in it,
| | 01:43 | then it is definitely a Grain Aware Brush in Painter.
| | 01:48 | But trust me, the most obvious ones are going to be the
ones that are Grain Aware, and let's just look at that.
| | 01:54 | Now, I am in the Chalk category and
I have grabbed Square Chalk here.
| | 01:57 | I am using my tablet and I am going
to apply with very light pressure.
| | 02:02 | You can see how a Grain is just starting to show up, but the
harder I press, the more and more aggressively my color goes
| | 02:11 | down in to that Grain, until it completely fills it up.
| | 02:15 | Now, where is that Grain coming from?
| | 02:17 | It's right over here in the Paper Selector.
| | 02:21 | All of these are various Paper Grains that Painter
uses, and I am going to go over to the Menu pop-up here
| | 02:28 | and launch the Paper palette, so that we can look at it.
| | 02:32 | That's the Grain right there, and that's what the brush is
responding to in terms of this virtual surface that it's finding.
| | 02:41 | You can change the character a lot of even one Paper Texture.
| | 02:45 | For example, if I scale this up, and do it now.
| | 02:48 | Notice, the same exact texture at a different scale,
and it gives a very different kind of character.
| | 02:55 | I can go the opposite direction and
scale it down, again, same texture,
| | 02:59 | but it looks and gives a different expressive
quality based on the size of that Grain.
| | 03:06 | So the Size Slider alone offers a great deal of
adjustment in the Grain character and the way it looks.
| | 03:14 | You can also use the Brightness and
Contrast sliders to adjust it.
| | 03:18 | For example, if I make this much more contrast-y, you can
see the Grain is much more aggressive than it was before.
| | 03:25 | It doesn't have as much subtlety any more.
| | 03:28 | So these sliders, the Scale, Contrast and Brightness sliders,
can all be used to adjust the character of even a single Grain.
| | 03:38 | Then you have got a lot of different Grains
in here; here is a small Dot Pattern,
| | 03:45 | or I can go to something like a Coarse Cotton Canvas.
| | 03:49 | You could see here, again, very different texture.
| | 03:52 | I am going to change color in the Color palette, so you
can just see it happening, overlaid with other colors.
| | 03:59 | But each one of these has a very
different kind of characteristic to it.
| | 04:05 | An interesting aside here is, you couldn't do this in
traditional media, the surface is the surface, whereas here,
| | 04:11 | I am literally changing my Grain or my Surface by
changing the Paper Grain that's current in Painter.
| | 04:22 | Another way to think about this is, there are almost like little
mountain ranges, and when you apply color very, very lightly,
| | 04:30 | you are just dipping along the top of the mountain
range, but as you press harder and harder,
| | 04:36 | you are working down into the valleys, until you
are finally, completely filling in that Paper Grain.
| | 04:43 | The last thing I am going to show you
is up here in the Brush Selector Bar.
| | 04:48 | When the brush uses Grain, the Grain Slider will appear,
and if I turn this down so it's less aggressive, now,
| | 04:56 | as hard as I can press, that's all I can get.
| | 04:58 | You can barely see anything.
| | 05:00 | Some of these Grains are very sensitive
at a small or low Grain levels,
| | 05:06 | and I am going to use just the little arrow
here to just click this up a couple of notches.
| | 05:13 | Now, I am pressing this hard as I can, and I
cannot get all the way into the Paper Grain.
| | 05:17 | So you can also use the Grain Slider to
determine how aggressively a Paper Grain is going
| | 05:24 | to work its way down into a surface.
| | 05:27 | Most of the time you will want it to be able to go
all the way into the nooks and crannies of the Grain,
| | 05:32 | but there are times where you just want to apply a Grain
without necessarily completely blocking in all of that grain,
| | 05:39 | and this is a great way to do it, just
using the Grain Slider to adjust it.
| | 05:44 | So the Paper Grain Aware Brushes in concert with the Paper
Selector, and the Paper's palette can offer a wide range
| | 05:53 | of expressive variation, even within a single tool.
| | 05:58 | So learn about Paper, learn how to adjust
them, and it will add to your arsenal
| | 06:03 | of expressive characteristics that
you can employ in your brushes.
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| The Papers palette| 00:00 | In the last movie we looked at how Paper Grain
adds an expressive quality to Grain Aware Brushes.
| | 00:06 | In this movie, I am going to spend a little bit more time looking
at the Paper palette, and a few more adjustments you can make
| | 00:12 | to even get some more expressive
quality out of these Paper Textures.
| | 00:17 | So I am going to go to the Paper Selector, click
on it, and go to the little Fly Out Menu here,
| | 00:22 | and go to Launch palette; this brings up the Papers palette.
| | 00:25 | One thing I am going to show you right away, that is something
that is a little bit of a gotcha relating to the Paper Textures.
| | 00:33 | If I am using a Paper and I make adjustments on it, like I
adjust the Size, or I play around with things like the Contrast
| | 00:42 | and Brightness to alter the character of it, there is no way
currently in Painter to get back to the default settings.
| | 00:50 | In fact, if you leave the Paper palette or even
close Painter, the next time you open it up,
| | 00:54 | this Paper remembers these settings, or what I call sticky
settings, and it would be great if in here there was a way
| | 01:01 | to restore a default, or if you can click on these
and pop them back to default, it's not there now.
| | 01:07 | So you need to know that the default
settings are 100% for your scale.
| | 01:14 | The Contrast needs to be set at 200%, and you might need to use
the little arrow indicators at the end to get to these numbers.
| | 01:22 | Just clicking on these arrows will move the
value up and down, one increment at a time.
| | 01:29 | The third value, the Brightness needs to be at 50%.
| | 01:33 | That is the default setting.
| | 01:34 | So if you remember, 100, 200, 50, or this constellation of
slider settings, this will enable you to get back to the default.
| | 01:43 | So you want to keep that in mind; the way to get
to default is to set these manually yourself.
| | 01:49 | Now, you will notice, there are a couple of other
buttons in here, and we are going to cover those now.
| | 01:53 | To do the first one, which actually is called the Directional
Grain Enabler here, I am going to go to a different Texture,
| | 02:01 | and I want to go to a one that's a fairly Aggressive Grain.
| | 02:06 | So we are going to use this Pebble Grain.
| | 02:09 | I am going to Undo here, Command or Ctrl+Z,
and I want to show you what this does,
| | 02:15 | but first I am just going to do some sample marks on here.
| | 02:18 | I am going to draw a little bit with white, and then I am going
to go and I am going to switch to black in the Color palette.
| | 02:25 | You will notice that what happens is, it's using
the Grain and it's using it exactly in place,
| | 02:32 | so that where I was applying white before,
it's now filled in with black or vice versa.
| | 02:38 | Right now the grain is responding in the default manner.
| | 02:41 | However, and once again, I am going to switch to black here.
| | 02:46 | I am going to enable Directional Grain, and I am going
to just draw in one direction here and I am going
| | 02:54 | to do it lightly so I can get some light strokes.
| | 02:57 | I am left-handed so I am doing it from the upper
left towards the right to get some samples here.
| | 03:04 | Now I am going to switch to white, and I am going to come in
the opposite direction, and you will see what's happening is,
| | 03:10 | it actually understands the directional quality of that Grain.
| | 03:16 | Again, think of them like mountain ranges and it's like the wind
is blowing right now from beneath and its only applying the snow
| | 03:26 | on the lower side of these peaks,
whereas when I switch this direction,
| | 03:33 | now it's applying the snow on the upper side of the peaks.
| | 03:38 | So you can enable Directional Grain and actually mimic
what real Grain does with many traditional media.
| | 03:46 | You will see this a lot in Oil Pastels or Pencil drawings, where
the artist will take advantage of the fact that by stroking
| | 03:53 | in a certain direction, he can actually apply color only
to one side of a Grain, and that enables you to start
| | 04:02 | to use the Paper Grain to even move expressive capabilities.
| | 04:06 | See, now I am coming in from the left and it's
only applying to the left side of the Grain.
| | 04:10 | Take another color, coming from the other side.
| | 04:12 | You can literally have four colors starting to show up
on different sides of these little mini mountain ranges,
| | 04:20 | and it's kind of what direction your color is coming
in from, that it's applying only to that surface.
| | 04:25 | So Directional Grain is a really interesting tool
for getting more subtlety out of Paper Grain.
| | 04:33 | I am going to shut it off, and I am now going to turn on to other
one, which is just Reverse Grain, and let's take a look at that.
| | 04:39 | When I use Grain in its normal sense, it applies to the
Grain like so, when I reverse it, see what's happening now.
| | 04:48 | Now, it's going to the opposite side of that Grain, in
fact, if I switch to a different color here you can see.
| | 04:56 | What we are doing is we are reversing
the scenes of the mountain range.
| | 04:59 | The valleys are becoming the peaks and the
peaks are becoming the valleys, in this case.
| | 05:03 | Again, knowing this can give you some interesting possibilities
about how you create a certain kind of texture or appearance.
| | 05:13 | So here I am using the Grain in one sense, I flip it around,
take a very different complementary color and apply it,
| | 05:22 | and now I have created kind of an
interesting texture made up of two colors.
| | 05:26 | So being able to invert the Grain is another quality that
you can take advantage of in relation to Paper Texture.
| | 05:34 | So not only do the sliders for scaling and adjusting their
contrast and brightness, but actually playing with the sense
| | 05:41 | of the Grain, treating it as if its a literal three
dimensional surface, and coming in from an angle,
| | 05:47 | you can apply color to a specific side of a Grain,
and you can also invert the sense of the Grain.
| | 05:52 | So as I mentioned before, the valleys become
the peaks, and the peaks become the valley.
| | 05:57 | So here is simple little palette Papers and yet right within it
you have a lot of control over how you express marks on the page.
| | 06:07 | So take advantage of these different features.
| | 06:10 | You won't use them everyday, but sometimes when you are working
on a certain image or project, it will hit you that, oh,
| | 06:16 | this particular quality is something that I want, and there
it is right there available for you in the Paper palette.
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| Making basic brush adjustments| 00:00 | One of the keys to using Painter successfully
is to learn how to exploit in as many ways
| | 00:06 | as possible the expressive potential within each Brush.
| | 00:11 | In art, expression is everything, and a lot of it is communicated
through the hand; how you gesture on the tablet, the pressure,
| | 00:19 | the tilt, the bearing, all of these various factors combine
to produce an expressive mark that is unique to you,
| | 00:27 | but beyond that, the Brushes themselves have a lot of ability to
be changed in their expression, and I am going to go through some
| | 00:36 | of the basic Brush Adjustments you
can use to play around with and adjust
| | 00:41 | and do what I call season to taste
the various qualities of a Brush.
| | 00:47 | When you are done here, I think you will be able
to take your expressive abilities up a notch,
| | 00:52 | knowing how some of these characteristics work.
| | 00:55 | I will inform you at the very beginning that I am going to
show you a set of controls that are related to many Brushes
| | 01:02 | in Painter, However, Painter has a lot of different
internal Brush Models, and as Painter has advanced,
| | 01:09 | it does not necessarily have the same controls for every Brush.
| | 01:13 | So don't be confounded if you find that in another Brush, these
controls aren't here, that's another day and another chapter.
| | 01:21 | But today, we are going to through the
basic Brush Adjustments that you can make
| | 01:25 | to just alter simply the various characteristics of the Brush.
| | 01:30 | We have already looked at Brush Size.
| | 01:32 | We know that I can use a keyboard command like the left and right
bracket keys, for example, here to change my Brush character.
| | 01:39 | That alone can have a lot to do with the expression of a Brush.
| | 01:44 | But we are going to go now to the next category
here on the Brush Selector Bar, and that's Opacity.
| | 01:50 | Opacity is how aggressively color is laid down in a Brush.
| | 01:55 | For example, if I take this all the way up to
100%, look at the difference in that Brush now.
| | 02:00 | So right there, changing Opacity makes a lot of difference.
| | 02:04 | These are, in this case, a pressure controlled Brush, so very
light pressure, I can get down to the lower reaches of opacity,
| | 02:13 | but at a 100% even with the pressure, the sensitivity
of the brush, it's a little hard to get to it.
| | 02:19 | So you can adjust this on the fly,
and you take it down very low as well.
| | 02:25 | I am going to show you a little technique that
I use too sometimes when I am adjusting these.
| | 02:30 | You want to move them up in just single
increments, and it's very difficult to do just
| | 02:35 | by clicking and sliding the slider up and down.
| | 02:38 | When you are in a slider, you can use the up and down
arrow keys, as I am doing, I am pressing the up arrow,
| | 02:44 | and it moves it up one increment at a time, the
down arrow moves it down one increment at a time.
| | 02:50 | So a way to finesse these various sliders in Painter, and
this applies to any slider in Painter, the up and down arrows
| | 02:57 | and in fact, even the left and right arrows will do the same
thing, you can use these to fine tune your values without trying
| | 03:04 | to coarsely adjust it with this actual slider itself.
| | 03:08 | But I am going to take this down to 1%, and you can see now it's
very subtle and it takes many, many passes over itself to start
| | 03:16 | to build up to any kind of intensity
like it does when its at 100%.
| | 03:21 | So adjusting this Opacity can have a lot
of effect on the character of a Brush.
| | 03:29 | So Opacity is a very important tool in getting
various characteristics out of your Brush.
| | 03:34 | The next pair we are going to look at
here is what is called Resat and Bleed.
| | 03:39 | Resat is actually just shortened form of Resaturation.
| | 03:43 | This sometimes is a little difficult to wrap your head around,
but Resaturation and Bleed are two aspects of something that,
| | 03:51 | in Painter internally, is referred to as the Well.
| | 03:54 | Think of a Brush or a Pen that has a reservoir with ink
in it or the bundles of hair in a brush are a reservoir
| | 04:01 | that holds paint, that is a well and that well holds color.
| | 04:06 | Resaturation refers to how much color is dispensed on to the
medium, or the canvas, Bleed refers to how much does it pick up
| | 04:18 | or interact with color that's already on the canvas.
| | 04:22 | So these two controls, as I will show you, can
drastically change the character of a Brush.
| | 04:28 | Let's just for example, take Resaturation all the way down to
0, and I am going to show you this for a couple of reasons.
| | 04:35 | A lot of times people will say, my Brush isn't working.
| | 04:38 | Now, a little bit is happening there, but typically, you
will get into situation where no color seems to be applied.
| | 04:44 | If Resaturation is down to 0, its not depositing any color, so
you need to be aware of the fact that if you have been playing
| | 04:52 | around with Brush controls, sometimes you may have inadvertently
or forgotten that you have adjusted Resaturation down to 0,
| | 04:59 | and when you do that, well, the Brush no longer applies color.
| | 05:02 | So one of my bits of advice that I will give
people, when I either hear from them in the class
| | 05:10 | or online, they will say, my brush doesn't work.
| | 05:11 | I will say check your Resat slider, and
a lot of times, oh yeah, its down to 0.
| | 05:15 | You turn it back up and oops, there it is, the
color is coming back up off the Brush again.
| | 05:20 | So Resaturation is controlling how
much color is coming off the Brush.
| | 05:25 | Now, let's turn it all the way down to 0
again, but now I am going to turn Bleed up.
| | 05:29 | Now what happens?
| | 05:31 | You see what's happening now, and it may make sense
here at the moment, I will put some more colors on,
| | 05:35 | because it's difficult to tell this,
even if I switch to a different color.
| | 05:39 | You will see it's no longer applying color,
it's picking up the color underneath of it,
| | 05:44 | perhaps turning Opacity up a bit here
will make it a little bit more aggressive.
| | 05:48 | Now, it's a Blender Brush in fact, and there are a category
of Brushes in Painter called Blenders, and in fact,
| | 05:56 | if you look at them, you will notice that they all have
Resaturation turned down to 0, and Bleed turned up.
| | 06:03 | What happens is, the ratio between Bleed and
Resat can have an influence on the Brush.
| | 06:10 | For example, if I turn this up a little bit, maybe not quite
as much as Bleed, you will see that now color is being applied,
| | 06:19 | but it's going to start to, and it depends on the ratio of these
two, you can get into a situation where now it's applying purple,
| | 06:27 | but it's also blending it with the underlying color; see how-
it's almost as if I am mixing orange with blue in this case.
| | 06:36 | So the ratio of these two sliders is going to
influence how a Brush acts and treats color.
| | 06:43 | In general, I can tell you that, whichever of these two values
is higher, that is the quality that's going to predominate.
| | 06:51 | As you see now, right now this is predominantly a Bleed brush;
| | 06:55 | it wants to mix underlying color,
more than it wants to apply new color.
| | 07:01 | Now here I will use another color now.
| | 07:03 | Again, it's mixing, but it applies at the same time.
| | 07:08 | Now, if we turn this down and turn this up, well,
now it's predominantly a color applying Brush,
| | 07:15 | and in fact it's over powering any Bleeding that it's doing.
| | 07:19 | But you can use Resaturation and Bleed as a way to pull
a lot of different expressive qualities out of your Brush
| | 07:29 | and how it interacts, particularly with any
underlying color that is on your canvas.
| | 07:34 | Now, the last of what I am going to show you here is Jitter.
| | 07:37 | I am going to use my bracket key here
just to reduce the size a little bit.
| | 07:43 | Normally, this Brush appears as if its a continuous
Brush applying color, in fact, internally in Painter,
| | 07:51 | its really overlapping the series of dots, very close together,
| | 07:54 | and its fooling your eye into thinking
that it seems a continuous stroke.
| | 07:59 | What Jitter does is it starts to take
these individual dabs, as we call them,
| | 08:04 | and it starts to take them and randomize it a little bit.
| | 08:08 | Now see, now those dots are no longer in a straight
line, and in fact, you can get these wildly apart,
| | 08:13 | the way you start to get salt and paper kind of effect.
| | 08:17 | It goes all the way up to a maximum
of 4, but you can see right here,
| | 08:21 | you can start to introduce an interesting quality
in a brush, just by playing with the Jitter.
| | 08:29 | Sometimes I use just a little bit of Jitter in various brushes to
introduce a little bit more, of what I call an analog feel to it,
| | 08:36 | where its a little bit more like the traditional
media, as opposed to a purely perfect digital media,
| | 08:44 | because there is a lot of little accidents that occur in
traditional media, and that's part of what gives it its charm.
| | 08:53 | So by introducing a little bit of randomness, I am doing it
very radically here, we will turn it down just a little bit.
| | 08:59 | I am going to Select All and clean off my screen here.
| | 09:03 | You see, just even a little bit there- now,
introducing a little bit of noise into that line,
| | 09:10 | and it probably is a little bit more obvious at smaller
scale, but right there, that starts to have a little bit more,
| | 09:16 | kind of an analog feel, and just depending on how much of that
you want to put into it, you can start to get a little bit
| | 09:23 | of a nice random quality within a line that gives it
something that doesn't look purely, perfectly digital.
| | 09:32 | So these various controls that you will find with many of your
Brushes at the top of the Brush Property Bar are all elements
| | 09:40 | that can be used to subtly or radically
adjust the expressive character of your Brush.
| | 09:46 | The more you delve into Painter, the more you are
going to find that really what you are striving for is
| | 09:52 | in the expressive quality, that is fine tuned
to what you want to express in your work.
| | 09:58 | These controls are going to give you all of the finesse and
fine-tuning that's required to adjust the Brush into exactly
| | 10:07 | that expression that you want to communicate in your work.
| | 10:11 | So don't be afraid of these sliders up here, and always remember,
if you have adjusted a Brush way out in playing with it,
| | 10:18 | always remember, you can go over
and click on the Reset button here
| | 10:23 | on the far left side, and now I am back to my default Airbrush.
| | 10:27 | So this gives you a safety net to play with a Brush, and not be
afraid that you are going to somehow permanently mess Painter up,
| | 10:37 | so that you no longer can have an Airbrush, rest
assured, you can always get back to the default setting.
| | 10:41 | So play around with the expressive qualities of a
Brush, and I think in the long run you will be thankful
| | 10:47 | that you have this ability to fine tune
how you express yourself using Painter.
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| Custom palettes| 00:00 | So far we have been looking at Brushes,
pretty much from the point of view
| | 00:03 | of the Brush Selector Bar and Categories and Variants.
| | 00:07 | It may have come upon you that, it sure seems like you
have to spend a lot of time going up here and navigating
| | 00:14 | through these palettes to get to your Brushes.
| | 00:18 | It's true that, to use my analogy of these being an
art store, you certainly have to stroll down the aisles
| | 00:24 | and pick out from the various shelves the
different Brushes or media that you want.
| | 00:31 | However, I can show you a way here where you can
kind of fill up your shopping bag and keep it handy
| | 00:37 | so that you don't necessarily have to
go to the grocery store here every time.
| | 00:42 | Let's just take some examples of Brushes that I might use in a
project, and this is where you will see that this is very useful.
| | 00:49 | What we are going to do is we are
going to work with Custom Palettes.
| | 00:52 | This is a feature that allows you to configure your own
palettes of brushes and art materials for that matter.
| | 00:59 | So let's just go in, and one of my favorite
Brushes that I use a lot is the Scratchboard Tool.
| | 01:04 | So I am going to go to Pens, and I am
going to go down here to Scratchboard Tool.
| | 01:10 | OK. I have got that Brush.
| | 01:12 | Now, here is the trick.
| | 01:13 | If I go in here and just click and drag, you see
that little square, that represents that Variant,
| | 01:22 | and when I let it up, it makes a brand new Custom palette for me.
| | 01:26 | So I have now got a Custom palette,
that no matter what Brush I may have,
| | 01:31 | when I click on this, I am going to get the Scratchboard tool.
| | 01:33 | Let's take another tool, let's go to Airbrushes.
| | 01:36 | I use the Digital Airbrush a lot, so I am going to
click and drag, and now I have got the Airbrush.
| | 01:41 | What else might I use here?
| | 01:44 | Let's see, I like to use in Artist
Oils, this Blender Bristle, for example.
| | 01:48 | So I am going to put that there as well.
| | 01:50 | Then the fourth one I may put on here
is in Blenders, the Just Add Water Tool.
| | 01:58 | So I have now created four of these.
| | 02:00 | You can make these as big as you want, but I am going
to show you something that you might want to think
| | 02:06 | about keeping these in a constellation of four.
| | 02:09 | That's because I can take this and drag
it and put it into my palette here.
| | 02:15 | So I can close this up, but it still is part of my palette
group, and I can open it up, and I have instantly got this.
| | 02:23 | If I want to get my Scratchboard Tool, there it is.
| | 02:27 | I go and I get my Just Add Water, I can use that.
| | 02:31 | I have a Blender Brush, got that.
| | 02:35 | Want to use my Airbrush.
| | 02:37 | So this gives me a very quick way to quickly get to
Brushes that I use regularly, and the nice thing is,
| | 02:46 | you can have it right here, instantly available at any time.
| | 02:49 | I am going to show you a few more attributes about these.
| | 02:53 | For example, I might want to permanently save this.
| | 02:56 | So if I go to the Window Menu, and we go down
here to Custom palette, I can go to Organizer.
| | 03:03 | What I am going to do is just click
on this, and I am going to rename it.
| | 03:07 | So I am just going to call it Favorite.
| | 03:10 | Or if it's a particular project you are working
on, or it's a set of oil brushes, whatever it is,
| | 03:16 | you can name it whatever you want, so it
has got a name that makes sense to you.
| | 03:21 | This way I have now gotten my Favorites available at any time.
| | 03:26 | I am going to show you a couple of other things you can do here.
| | 03:29 | If I hold down, for example, the Shift key, this
lets me move this around, and in order to move these,
| | 03:37 | I am going to actually enlarge this temporarily
so that I can move them in a new arrangement.
| | 03:43 | I am going to click and drag, and you
can see that this lets me organize these.
| | 03:47 | So I may decide, really, I want the Oil Brush over here, and this
is always on a grid, so it's always snapping to a grid for me.
| | 03:59 | I will take this a step further; if you have a
certain paper that you use, like Cotton Canvas,
| | 04:05 | I can open up my palette here, and
I can take this paper and add it.
| | 04:12 | Now, I have just clicked on the icon up
here that represents the pop-up list.
| | 04:18 | For example, if I get another one, I can just
click and drag that and put that on there as well.
| | 04:23 | So I can put Papers, I can put Gradients, Image
Hoses, any of my art materials can go in here as well.
| | 04:30 | But now let's say OK, I have shown you
this, but I really don't want this here.
| | 04:34 | Once again, I am going to hold down my Shift key, if I
just click and drag it off, it instantly gets rid of them.
| | 04:41 | So the key here is to understand that Custom Palettes let me take
often used or favorite tools, and put them right up on the top
| | 04:49 | of the interface, so I am not constantly
having to go into the art store,
| | 04:53 | go up and down the aisles, pick my tools off of the shelves.
| | 04:56 | I can take them out of the art store and
have them on my own little palette here,
| | 05:01 | which I keep if I want right in the top of my interface.
| | 05:05 | So I have these here all the time.
| | 05:08 | This is a great way to start to cut down on all
of this navigational effort that's required,
| | 05:15 | and let you instead spend your time at the task at
hand, and not going into the art store constantly.
| | 05:24 | So Custom Palettes are a very, very powerful way to increase
your efficiency, and also, it makes it more fun to work
| | 05:33 | when you can just quickly pick up a
Brush and grab it and start using it,
| | 05:36 | rather than having to navigate all the
way down into these Palettes to find it.
| | 05:40 | So take advantage of Custom Palettes, and you will
see that your efficiency, and probably your excitement
| | 05:47 | about your artwork, will drastically improve.
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| The Tracker palette| 00:00 | In the last movie we took a look at Custom palettes as a
way to have several of your favorite Brushes right up on top
| | 00:07 | of the interface here, so that you don't have to spend
a lot of time going down through the Brush Selector Bar
| | 00:14 | to get to a Brush every time you want to use it.
| | 00:17 | It's a great tool, but it does have a limitation,
and I am going to show that to you right now.
| | 00:21 | I am going to create a new Custom
palette using this Smeary Round Variant.
| | 00:26 | So I am going to drag it out of the Brush Selector Bar, make
a new Custom palette, and here is where the problem lies.
| | 00:34 | Let's select another one, like I also
might want to use the Opaque Flap.
| | 00:37 | So I am going to take that and I
am going to add it on here as well.
| | 00:40 | Now, you might already begin to see the emerging problem here.
| | 00:44 | Let's get another one, like Thick Wet Oils.
| | 00:46 | I will take that and I will drag it here.
| | 00:48 | Well, the problem is, which one is which?
| | 00:52 | You maybe able to remember three Brushes in a category if you
use them all the time, and know well, that are those three,
| | 01:00 | but more likely than not, you are going to look at
this in a day or two and go like, which one is which?
| | 01:05 | The only way you can find out is, you have to hold the
cursor over that icon in order for the name to come up,
| | 01:11 | and you can see, it takes a while for that to appear.
| | 01:15 | So that's really not a productive way
to determine what these Brushes are.
| | 01:19 | In fact, this is where the Custom
palette sort of runs out of steam.
| | 01:24 | It's great when you are using Brushes from
different categories, because each icon is different,
| | 01:30 | therefore it's easier to remember,
that Brush is from that category,
| | 01:34 | I know that's a Pen tool or it's an Airbrush or whatever.
| | 01:37 | But when you start putting same Brushes from the same category
into a Custom palette, the weakness shows up in this sort
| | 01:46 | of replication of the same icon, and
no way to know which one is which.
| | 01:51 | So it will be great if there was a way around that.
| | 01:55 | Well, I am going to show you yet another Brush Management
Tool in Painter, but one that maybe able to help us out.
| | 02:01 | So we are going to go to the Window
Menu, and I am going to go down here,
| | 02:05 | and I am going to Show Tracker, and here is the Tracker palette.
| | 02:09 | What the Tracker palette is literally is a Brush
History List, and I will show you what I mean here.
| | 02:16 | I am going to start grabbing some
different Brushes and using them.
| | 02:20 | So let's grab this and I will use it.
| | 02:23 | As soon as it gets used, it applies
that Brush to the History List.
| | 02:27 | It does not apply it just by simply selecting
it in the Brush Selector Bar, you must use it.
| | 02:34 | At that point, it adds the Brush to the
History palette, which is called the tracker.
| | 02:41 | Here is Pencils, for example.
| | 02:43 | So what this is good for is, when you are working and you
want to remember, now, what Brush was I using back there?
| | 02:50 | This gives me a way to go back and see
in the History of selecting Brushes
| | 02:56 | from the Brush Selector Bar, what tools I have used.
| | 03:00 | However, this also can have a downside.
| | 03:04 | Let's just take a brush, like the
Airbrush here, and let's say I use it.
| | 03:09 | OK. Now, I decide, you know what,
I really want a very light Opacity,
| | 03:13 | so I am going to turn it down, and
now I get a nice light Opacity.
| | 03:18 | But look what's happen here, it's a
similar problem of what we see over here.
| | 03:21 | It's the same Brush, but because I have just changed
it a little bit, the Brush Tracker adds it to the list,
| | 03:27 | because its changed from this version, which is
like this, to this version, which is like this.
| | 03:34 | Great, except you can't tell those differences from these names.
| | 03:38 | So what can happen with the Tracker is, as you make
adjustments to a Brush, you are going to make entries
| | 03:49 | that say the same thing, and yet each one
of these is an adjustment to that Brush;
| | 03:53 | that's what the entry represents, the adjustment to the Brush.
| | 03:57 | So if you are working with the Brush and you over time are
making several adjustments to it, every time you do that,
| | 04:05 | it's adding that same Brush name to the Tracker List.
| | 04:08 | So that's kind of the Achilles' heel of the Tracker, is
that it, like the Custom palette, can lead to a same name
| | 04:20 | or same icon situation that is difficult
to determine which one is which.
| | 04:25 | My advice when this happens, and it doesn't happen all the
time, it only happens when you are making a lot of adjustments
| | 04:30 | to a Brush or you get into several entries that are the same,
but the best thing to do is to try the Brush; no, that's not it.
| | 04:38 | Try it again, no, that's not it.
| | 04:40 | There it is, that's the version I wanted.
| | 04:41 | So that's a way you can use this to get back.
| | 04:45 | But besides this limitation, there is something
else we can do here that's really powerful,
| | 04:50 | and kind of helps us out of this issue, and I will show you that.
| | 04:54 | Let's say I want to use this Artist Oil.
| | 04:57 | So I am going to show you a way now how we can take
advantage of this palette and get past this issue of sameness
| | 05:05 | that we are finding in both of them, and yet give me
a way to instantly have access to often used Brushes.
| | 05:12 | So let's go in here.
| | 05:13 | I am going to select another Brush now from a different category.
| | 05:16 | I am going to go to Artist, Brushes, and I like
the Blender Bristle here, so let's take this.
| | 05:22 | You can see, it's added it to that list now.
| | 05:25 | Here is the cool thing we can do.
| | 05:28 | I can take this, and I can lock this Variant on to here.
| | 05:34 | Let's just see what this means.
| | 05:36 | I will go to another Brush in here,
like the Dry Brush; we will select that.
| | 05:41 | Now you can see it's added to the list.
| | 05:43 | Now, I am going to go and I am going
to lock that Variant on here.
| | 05:48 | Now I will go to a different category, let's
go to Pens, and I like the Scratchboard Tools
| | 05:53 | So I will just use it, I will select
it, and I am going to lock it.
| | 05:58 | What's happening now is, I am creating a
list, and even if I go in here and say,
| | 06:03 | this is one of the things you can do,
you can say clear everything on here.
| | 06:07 | It clears everything except the locked Variants.
| | 06:10 | So while this was not necessarily the original intention
of the Tracker, what this lets me do is create a set
| | 06:19 | of often used Brushes, but without the problem of the same icon.
| | 06:24 | Each one of these is using the name of
the Brush, so I can identify it as text,
| | 06:30 | and it gives me a way to very quickly get to this Brush.
| | 06:34 | So now I can click on each one of these; there is my Blender
Bristle, here is my Scratchboard Tool, here is my Dry Brush.
| | 06:41 | Let's add a few more on here.
| | 06:42 | Let's go to Blenders, just add Water,
that is one I like to use a lot.
| | 06:47 | So once again, I am going to take this, I am going to lock it.
| | 06:50 | What else?
| | 06:51 | Let's go to Chalk, Square Chalk, I will
use that, or Sharp Chalk, use that.
| | 06:56 | Then I will lock that.
| | 06:58 | So now I am starting to get a set of regular Brushes that I use,
and here is the thing that we have looked at in relationship
| | 07:07 | to Custom palettes, you can do this with the Tracker palette.
| | 07:11 | I can take this and drag it and place it
right in to my regular Palettes stack.
| | 07:17 | Now, I may not want to have it open all the time, but anytime I
want to get to one of these Brushes, so that I can quickly use it
| | 07:24 | and its going to change with whatever color I have,
this gives me a way to be able to get to these Brushes;
| | 07:32 | just look how fast I am able to get into these
Brushes and change them so that I don't have
| | 07:38 | to spend the navigation time going
up into the Brush Selector Bar.
| | 07:43 | This for me is probably the best way to
build sets of Brushes that you want to use.
| | 07:50 | Now, you can only have one of these, you don't want to make a
list so long that it fills the screen, but my advice there is,
| | 07:56 | do you really need 20 or 30 Brushes at hand
all the time; I am going to talk about this
| | 08:01 | in another chapter, but less Brushes is better.
| | 08:05 | This is one of those cases where less is more, and perhaps
the fact that this kind of restricts you to a limited number
| | 08:11 | of Brushes, in a way- it can be a way to improve your
artwork, because if you start adding too many Brushes
| | 08:16 | to a work, it just starts to look messy and unfocused.
| | 08:20 | A really good art typically does not use a lot of different
tools, they tend to stay in a limited set of medium,
| | 08:28 | and it's the expression of the artist, rather than
many, many different tools that make the work.
| | 08:33 | So this really isn't so much of an impediment as you may think.
| | 08:37 | You can combine it with this; if these were different
icons, that could be yet another set of Brushes that I use.
| | 08:45 | So both of these mechanisms here; the Custom palette
and the Tracker palette, and with locked Variants on it,
| | 08:52 | give me a way to have instant access to Brushes that I
otherwise spend time looking for in the Brush Selector Bar.
| | 09:01 | So take advantage of these mechanisms to keep your most
often used Brushes right at the top of your interface,
| | 09:09 | and in that way you can just quickly grab
them in work, without having to be distracted
| | 09:14 | by searching for them in the Brush Selector Bar.
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|
|
6. Using the Brush CreatorIntroducing the Brush Creator| 00:00 | Perhaps you have been playing around with
Brushes long enough now to start to wonder,
| | 00:04 | how can I start to get into the more
advanced levels of Brush creation?
| | 00:10 | We have taken a look at how we can make adjustments through
the Brush Property Bar, and you can also find different Brushes
| | 00:17 | within categories that act differently, but at
some point you may want to move out into the wild,
| | 00:23 | wild world of Brush creation, and where do you start?
| | 00:28 | Well, the best place to do that is in
a feature called the Brush Creator.
| | 00:32 | The Brush Creator in Painter is almost like a separate
application, because when we go into the Brush Creator,
| | 00:38 | we are no longer really in the same environment
as Painter is; its a separate room if you want
| | 00:44 | to call it that, that we go into to design Brushes.
| | 00:47 | To get there, we go to the Window Menu.
| | 00:50 | I am going to go down to Brush Creator, and you
will notice that the interface has changed somewhat.
| | 00:57 | For example, the Tool palette no longer has all the
tools that it had in the regular Painter environment.
| | 01:04 | Also, the Menu has changed somewhat.
| | 01:07 | The reason that's happening is, this is isolating
in the interface just the aspects of Painter
| | 01:13 | or that Control Brush Modulation
or changes, and so this focuses all
| | 01:20 | of Painter's interface just on the activity of changing Brushes.
| | 01:25 | Now, the Brush Creator itself actually
has kind of two main areas in it.
| | 01:31 | On the left, this is the area where you are going to be doing
adjustments to Brushes, and there are three primary modules
| | 01:39 | within the Brush Creator that you can work with.
| | 01:42 | There is the Randomizer, and I think of this
as almost like a Las Vegas style slot machine,
| | 01:46 | where you pull the handle and you will get some variations.
| | 01:50 | It's more for the people who want
to just play with Brush Creation,
| | 01:54 | but not necessarily get down into the
nitty-gritty of all the different controls.
| | 01:58 | So when you play this Las Vegas style Brush slot machine,
you may get a really cool Brush or you may get nothing.
| | 02:06 | There is no guarantee that you are going
to get a really good outcome from this,
| | 02:11 | but it does give you a way to just kind of play around.
| | 02:14 | There are times where you will get the three cherries,
and it's like wow, I just got a really cool Brush here,
| | 02:19 | and you can save that, and it can become a Brush in the library.
| | 02:23 | The second module that we will look at is the Transposer.
| | 02:26 | The Transposer, starting the move a little bit
more into like, well, I sort of know what I want.
| | 02:31 | What the Transposer does, it will allow me to take two different
Brushes in Painter, and I select them at the bottom and the top,
| | 02:40 | and we will come back and look at this in depth.
| | 02:42 | But what you do with these two Brushes, instead of
Randomizing, it's like you are genetically splicing the DNA of,
| | 02:50 | in this case the Chalk Brush, with the DNA of
the Pencil's Brush, and when I click on this,
| | 02:55 | it will create a blend from the characteristics of the Chalk
Brush to characteristics of, in this case, the Pencil Brush.
| | 03:04 | So if you sort of know what you want, you can actually
say, well, I like characteristics of both of these Brushes,
| | 03:11 | you could bring them into the Transposer
and use it to blend Brushes together.
| | 03:16 | Then the third area is the Stroke
Designer that we would be talking about.
| | 03:19 | This is where you really start to
actually attack and adjust Brushes,
| | 03:24 | knowing what these various elements in
Painter do, in term of Brush control.
| | 03:29 | So this is for the more experienced end of
the spectrum, where you are going to start
| | 03:34 | to adjust Brushes precisely by certain
features of the Brush controls.
| | 03:41 | Each one of them, as I said, moves up the chain
to a more sophisticated control of Brushes.
| | 03:47 | So now that you understand what the Brush Creator is for,
we are now going to go into the specifics of the Randomizer,
| | 03:53 | the Transposer, and the Stroke Designer, and
we will look at those in the next three movies.
| | Collapse this transcript |
| The Randomizer| 00:00 | In this movie we are going to take a look at the Randomizer.
| | 00:02 | The Randomizer is going to take the current Brush, which happens
to be Chalk, and it's going to randomize it and put Variations
| | 00:08 | into each of the little wells that you see beneath.
| | 00:11 | We have a Scratch Pad, and this will just let
us, as we are adjusting Brushes, try them out.
| | 00:18 | You do have a sample stroke that
shows up here in the bottom left side,
| | 00:21 | that gives you a generic stroke of the currently adjusted Brush.
| | 00:27 | So you can get a general sense of what the quality of this Brush
is, but you will never get the full quality of what it does
| | 00:34 | until you try it out by hand, because it's really
the combination of the hand, wrist, and arm,
| | 00:41 | in concert with this art making tool that
is going to really tell you what it does.
| | 00:46 | So this is a good general indicator, but you will really find
out by playing around with it, and because it's a Scratch Pad,
| | 00:53 | it's designed to just be cleared
very quickly and start over again.
| | 00:56 | You can also here adjust the size of the
Brush, so if you want to play with it.
| | 01:00 | But really, this isn't designed to be like a normal canvas
in Painter, this is simply an area where you can kind of test
| | 01:07 | out the strokes to get a clear sense of their quality.
| | 01:10 | So let's start with the Randomizer
and just see what's going on here.
| | 01:14 | So Square Chalk happens to be loaded up, and just like
the Brush Selector Bar in the main interface of Painter,
| | 01:21 | you can select from Categories and the Variants
within a Category in the pop-up Menus here.
| | 01:27 | What's different about it is, over
here it has this Randomizing button.
| | 01:32 | The other thing that's important, down here,
this adjusts the strength of the Randomization.
| | 01:38 | What you are seeing within these panels
is, it's taking the current Brush,
| | 01:44 | and this is like my Las Vegas style slot machine handle; when
I click on this, its going to generate several Variations.
| | 01:51 | Now right now, it's not generating a lot of Variations,
because the Randomization Strength is turned down.
| | 01:57 | Let's crank it all the way up, and you can see already now,
just turning it up, it has generated a new set of Variations,
| | 02:05 | and there is some difference starting to happen in them.
| | 02:08 | So what you can do is select one of these that visually
looks like the direction you would like to go in.
| | 02:16 | So let's say this has some interesting character.
| | 02:18 | So I am going to select this one, that now becomes the new Brush.
| | 02:23 | When I click on this or in effect
pull my Las Vegas style handle here,
| | 02:28 | it's going to generate a new set of
Random Variations based on this one.
| | 02:32 | So let's click it.
| | 02:34 | Now, it's even pulled them farther into Randomization.
| | 02:39 | I like this one because it has that character of
sort of Jittered or Random dabs being applied,
| | 02:46 | but color is starting to be introduced into it.
| | 02:48 | So I am going to select that one.
| | 02:49 | Now, I am going to pull the handle again, and
now it's starting to take it even further,
| | 02:54 | now we are getting more Random Variations
with color happening in it.
| | 03:00 | Now this one is kind of interesting, and you can see
here; this is just kind of an exploratory process.
| | 03:06 | You are being guided, or you are guiding it by selecting what
you like in terms of a direction, and then when you click this,
| | 03:14 | it uses this direction you have chosen to Randomize again.
| | 03:19 | So now you can see, now we are getting more
Randomization, but it's using that character you like.
| | 03:24 | Let's take this one.
| | 03:26 | Let's Randomize it.
| | 03:27 | You can see each time I click this, its going to take me further
and further down a path that you don't really necessarily know
| | 03:36 | where its, going but it does go in a direction that
you are dictating by the Randomization that you choose.
| | 03:44 | Now see, now this is actually kind of an interesting Brush.
| | 03:48 | This is where, I mentioned earlier, you could play with
this and just end up with a Brush you don't like it all,
| | 03:55 | or you can get to a point and say hey, this is really kind of
interesting, it's almost like a Seurat style pointillism brush,
| | 04:04 | the way it works, and as I change colors, it
will utilize the colors I am selecting here.
| | 04:12 | I can get to some very interesting combinations.
| | 04:15 | Now, this one is got so much color variation
in it that no matter what color you choose,
| | 04:20 | you tend to get the same kind of random color set in it.
| | 04:24 | If I want to choose to go down a path with not so much
Randomization, I could select something like this.
| | 04:31 | Now I am in a place where I am getting Random
Tonality difference, but I am staying in the same Hue.
| | 04:39 | So maybe this is a little bit more useful Brush in terms
| | 04:44 | of the way it lets me select the major color,
its going to do this kind of look with.
| | 04:52 | So if I wanted to save this Brush now, and I like it, what I
do is I go up to the Variant Menu, and I can save this Variant.
| | 05:01 | So if I say Save Variant, I am going to call it
Varied Chalk or Variegated Chalk, let's call it that.
| | 05:09 | So now I have got Variegated Chalk, and I save that.
| | 05:13 | Let's just temporarily- I am going to jump
back into Painter here, if I go into here
| | 05:17 | and we look in the list, here is my Variegated Chalk.
| | 05:20 | So I have just added a new Variant to
Painter's Brushes in the Brush Creator.
| | 05:27 | Now, I am going to go back to the Brush Creator, and
remember, you can also use the Command or Ctrl+B to get to it.
| | 05:35 | So another way to do it is from the keyboard.
| | 05:37 | So now we are back in here, and we have
created a Brush using the Randomizer.
| | 05:42 | Now, I am going to clear this.
| | 05:44 | OK, so we have looked at the Randomizer, now we are going
to move on to the Transposer, where you are going to able
| | 05:48 | to blend two brushes' characteristics
together to create a new Brush.
| | Collapse this transcript |
| The Transposer| 00:00 | We have look at the Randomizer which gives
you the ability to push a brush in a direction
| | 00:06 | and some of it has got a certain amount of randomization in it,
| | 00:09 | so that there is a little bit of the
Los Vegas style slot machine in it.
| | 00:12 | We are going to move up to the next level now which
is the Transposer and the Transposer is a little bit
| | 00:18 | like generic splicing because I can take two different
variants, one is located here at the top and we use the category
| | 00:28 | and variant pop-ups to select a starting brush
and then at the bottom you will see I have got
| | 00:34 | like a second one here same thing another pop-up,
this is like whoever going to splice this brush to
| | 00:41 | and in between are the iterations of brush that
it will generate and you can make more iterations
| | 00:50 | between it and it's largely just your screen will stay.
| | 00:52 | You see how I am pulling this down.
| | 00:55 | Now, if you have got a larger monitor, you would maybe even have
more iterations in between but it will make as many iterations
| | 01:02 | as you have room to pull this window
down to make more of these up here.
| | 01:12 | So, you can either have it very minimal
but I suggest you as many as you can make.
| | 01:16 | It just gives you more of a gradation.
| | 01:18 | That's what you are doing, you are making
a gradation between these two brushes
| | 01:23 | and it will generate the intermediate brushes based on
the number of iterations that you have chosen to display.
| | 01:30 | Now, I am going to tell you that in Painter there is a lot of
different mechanisms or models of brushes internally to Painter.
| | 01:39 | Some of them are just plain incompatible with
one another and without knowing what those are,
| | 01:46 | you can very likely choose two brushes that you are going to
try to blend between and get some pretty nonsensical results.
| | 01:56 | So, while this does have a little bit more intention of control
by being able to say, "Well, I like the characteristics of Chalk,
| | 02:05 | I like the characteristics of Pencils, I
want to blend those two brushes together
| | 02:09 | to get some intermediate meanings of those tools."
| | 02:13 | It may work and it may not work.
| | 02:15 | So I just want to set your expectation level
to a point that you will know some combinations
| | 02:21 | of brushes are just not going to do anything.
| | 02:23 | It could be a little frustrating but on the other hand like
the Randomizer, you may run into combinations of settings
| | 02:31 | between two brush models that create some very interesting
outcomes that you otherwise would never have tried.
| | 02:38 | So, even though there maybe some limitations to which brush
models can actually be genetically splice with another brush,
| | 02:46 | don't be fearful that you are going to break Painter,
you can't break Painter and the other thing I am going
| | 02:52 | to do here, you can do this within all of these modules.
| | 02:56 | Don't forget that whatever this is set to
right now, this is some variation on Chalk.
| | 03:02 | If I want to get back to my Default Chalk, all I have to do
is go up to the Brush Property Bar and click the Reset Tool
| | 03:10 | and you can see now that has reset the
brush back to it's default setting.
| | 03:16 | So, it's going to work between this brush and the 2B
Pencil and I am also going to change the color here,
| | 03:22 | just so it will show up in black
when I press the Transposer button.
| | 03:27 | Well, let's go ahead and click on
it and let's see what result we get.
| | 03:30 | OK, so it's started with a Chalk and now it's taking some of the
characteristics it has found in the 2B Pencil and one thing is,
| | 03:39 | it's a more opaque medium maybe with not quite as much and I
am going to select this one, so we can see what it looks like.
| | 03:47 | We have altered the characteristic of the Chalk a bit here.
| | 03:51 | So, it's no longer acting like this
Chalk and I am going to clear.
| | 03:57 | So, you can see here is the characteristic of this Chalk
and then down here picking this one, it has changed it.
| | 04:07 | Now, depending on what the two models are, different things
will happen and that's what I said, you are going to find cases
| | 04:13 | where you just going to get a nonsensical
result, let's do a sample here.
| | 04:18 | Like here is a Pencil, let's go to Pins in the
Scratchboard Tool and let's click and see what we get there.
| | 04:26 | OK, well you know here it's the Scratchboard Tool and down here
it's decided to be kind of a semitransparent version of the tool
| | 04:40 | and as I said, you just never know
when you select a brush on here.
| | 04:44 | Like I am going to select Oils, the
Oil Bristle, let's see we get there.
| | 04:48 | See here is a case where two different brush
models just really don't yield much difference.
| | 04:55 | So, you will find situations and you
make scratch your head, wonder, "Well,
| | 04:59 | why didn't I get something that goes
from a Pin to Oil looking brush?"
| | 05:04 | And this is just one of those cases in Painter where the
brush model that's used to generate the Scratchboard Tool
| | 05:13 | and the brush model that's used to generate Bristle Oils are so
different it really can't come up with any logical combination.
| | 05:22 | We could certainly in our minds think,
"I can imagine how this should transpose,
| | 05:27 | but it's largely based on the underlying
brush models that make these up."
| | 05:31 | So while in a physical sense you could
possibly imagine the interpolation
| | 05:37 | between a Scratchboard Tool and an Oil Bristle Brush.
| | 05:40 | The reality is that it's using the internal models of these to
try to blend them together and they are just not compatible.
| | 05:48 | So, when you see this kind of result then you will know "Well, I
am generally working with an incompatible pair of brush models."
| | 05:57 | Let's change it and I am going to try to use a little bit of
knowledge here to take this Oil brush and maybe try to blend it
| | 06:05 | with something where we might get some
sort of result that will give us something.
| | 06:10 | So let's try this and let's blend between the two.
| | 06:15 | Now once again you may or may not get a really big difference.
| | 06:21 | You can't see this one has got some randomization in the
individual hairs that make up the brush stroke where as this one,
| | 06:31 | they are thicker and there is no kind of randomization going on.
| | 06:36 | So, the second model, the Transposer can sometimes come up
with some really good outcomes, other times perhaps not.
| | 06:45 | Now, I am going to try one more here before
we go to see if I can get a good result here.
| | 06:50 | I am going to take Colored Pencils and let's go to just
Pencils and see if we can get a combination between those two.
| | 06:57 | Let's clear this off and we will go ahead we will click.
| | 07:01 | OK, so now here are two brush models that are fairly compatible
and so you can see it's taken from the Colored Pencil model here
| | 07:13 | and now it's got a brush that's just- the quality is changing.
| | 07:18 | I am not going to try to lead you down a path that tell you
that you can highly control what's going to happen here.
| | 07:25 | This is still a bit like the Randomizer, it gives you a little
more control by choosing qualities you like between two brushes
| | 07:34 | but you can't guarantee that you are going to get the exact
results that you may imagine because this is not based
| | 07:40 | on physical media, but it's based on internal brush models
that while they strive to emulate those traditional medias,
| | 07:49 | sometimes the way it's done internally in Painter
just doesn't allow some brush models to be compatible.
| | 07:56 | So that's the Transposer, in the next movie, we are going to
take a look at the Stroke Designer where you have full control.
| | Collapse this transcript |
| The Stroke Designer| 00:00 | OK we have looked at the Randomizer, which is a Las
Vegas slot machine that lets you just make up brushes
| | 00:06 | without any control over what's going to happen.
| | 00:09 | We have looked at the Transposer which has some more
control because I can now take two different brushes
| | 00:15 | and sort of breed them together and get a
number of iterations between those two brushes.
| | 00:21 | But now we are going to look at the Stroke Designer
and that's the third panel over on the right here.
| | 00:26 | This is where you really have full control over
Painter and along with that comes some responsibility.
| | 00:34 | It's also where you start to need to know
fundamentally how Painter's brushes work
| | 00:41 | and it's certainly not the intent
of this movie to teach you that.
| | 00:45 | That's a whole other title that could exist.
| | 00:48 | But I am just going to introduce you to the basics
of the Stroke Designer and show you how you can start
| | 00:55 | to use it as a way to learn about Painter's brushes.
| | 00:59 | I am going to select a tool here and
before I do I want you to notice that some
| | 01:04 | of these are dark and some of them are grayed out.
| | 01:08 | Now I am going to select another tool.
| | 01:11 | Let's go to Chalk and we maybe didn't get a big change here.
| | 01:17 | Let's to some of the Artist's Oils there.
| | 01:19 | Now some of those have turned on
and some of those have turned off.
| | 01:23 | Right away this is a piece of important information
because what this is doing is it's lighting up the controls
| | 01:33 | in the Brush Engine that are important or useful for this tool.
| | 01:39 | The ones that are grayed out like Spacing for example,
these mean nothing with this particular brush model.
| | 01:46 | When I talk about Brush Models in Painter, if we go to the
General tab when I talk about Brush Models this is really
| | 01:54 | where all of that happens and again it's not my goal here to
teach you about each and every brush model in Painter today.
| | 02:03 | My goal is to just show you that there are several
different kinds of brush models in Painter and depending
| | 02:10 | on the designer's intent as to what kind of brush they want to
make, they can choose from all of these various brush models
| | 02:18 | to create a specific kind of brush and some
of them were incompatible with one another.
| | 02:23 | That's also why when you are in Painter sometimes the Brush
Property Bar will change and you will get different controls
| | 02:31 | on it because that brush is designed on a different
brush model then say the brush that was current before it
| | 02:38 | and so what's happening is this is kind of
the top level of what a brush is in Painter
| | 02:44 | and you know whoever is designing the brush is choosing one
of these models to work with in order to create the brush
| | 02:53 | and then when a brush model is active only certain controls
are going to be useful to it and other tools will not.
| | 03:03 | Now let's go to something like Airbrush for example.
| | 03:07 | Now you can see again this has changed but what this
also does is, as I click on each one of these it presents
| | 03:16 | on the right side the controls that Size uses to adjust it.
| | 03:22 | So here is where I can change the size of the
brush, which is the same thing, I can do from here.
| | 03:30 | They won't display at the same time but it's adjusting you
can see in the Brush Property Bar, that's changing with it.
| | 03:38 | So ultimately this is the primary control under the hood
so to speak that Painter is using to adjust the brush
| | 03:45 | and again I am not here teach brush building
today but I will just show you, for example,
| | 03:50 | some brushes have more than one size
and that's where you use this slider.
| | 03:55 | You can see that inner circle that determines the minimum size a
brush can be and this determines the maximum size a brush can be
| | 04:04 | and then you can say have something
like pressure control that brush.
| | 04:08 | So now here is the brush.
| | 04:10 | You see how it's changing, let me clear this, I will use black,
you can see now pressure is controlling and changing that brush.
| | 04:21 | So I have changed the character of this particular brush
| | 04:26 | and given it a different quality by
using controls within the Size panel.
| | 04:31 | I am going to click on the Reset button in order
to just get it back to where it was but each one
| | 04:36 | of these then are controls associated
with various qualities of the brush.
| | 04:43 | I spoke in another movie about Resaturation and Bleed.
| | 04:46 | Here is where Resaturation and Bleed live.
| | 04:49 | They live in the Well palette.
| | 04:51 | So you have got all of these controls that are available to you
to adjust and design a brush and depending on what the brush is,
| | 05:02 | the qualities or the controls will change
for the brush model that's selected.
| | 05:08 | That's a lot to try to absorb in such a short movie.
| | 05:12 | So this is a topic for another day but I do want you to
understand that if you wanted to control various aspects
| | 05:21 | of a brush, don't be afraid to go in here and try these
because as you try them out notice that the brush stroke
| | 05:28 | at the bottom changes to see what those
different qualities do to a brush.
| | 05:36 | You can see this is got a little bit of a taper
on it because it's got size controlling it.
| | 05:41 | So feel free to go in here.
| | 05:43 | Just see what it's just going to do.
| | 05:45 | You can see now the quality is changed.
| | 05:47 | I am playing with Spacing for example and if you get to a
point where well I don't understand what I have done with all
| | 05:53 | of these sliders to make it do that,
just again, click on the Reset button
| | 05:57 | and you will be back to where the brush originally was.
| | 06:00 | Now the last thing I am going to show you and I
am going to go back now using the Window command,
| | 06:05 | we are going to hide the Brush Creator
and we are back in Painter now.
| | 06:09 | All of those controls I just showed you in the Brush Creator
you can also go in the Window menu while you are in Painter
| | 06:17 | and if you just select any one of these, I normally just select
Show General, here are all of those controls once again displayed
| | 06:26 | but in the Painter Interface, the reason they are here is you
can consider brush building a separate activity and when you go
| | 06:33 | into the Brush Creator that's exactly what's happening.
| | 06:36 | You are going into a different environment dedicated to creating
brushes but there are times when you are working on a canvas,
| | 06:43 | when you are knowledgeable about the various
controls you are going to want to adjust them
| | 06:48 | but not necessarily completely change
into a different environment.
| | 06:51 | You may have some painted work you are doing and you want to try
in context to that painted work by calling up the brush controls
| | 07:00 | in Painter I can say, yeah well, I do want to go in and
play with the Spacing on a brush right now, to adjust that.
| | 07:07 | I am working with it here and I decided I want to get a
brush that changes it's character here and you certainly need
| | 07:15 | to be knowledgeable to go in and just start changing these and
knowing what's going to happen and that comes through experience
| | 07:22 | of playing with the controls in the Brush Creator but
just lets you work right in the context of drawing
| | 07:30 | or painting you are working on to adjust a brush
without jumping out into the Brush Creator.
| | 07:35 | So you do have all of these controls
available in Painter as well.
| | 07:39 | Sometimes I refer to this as Painter 747 cockpit.
| | 07:42 | There is a lot of control in here and quite
frankly it can scare people when they see,
| | 07:47 | oh my gosh all of these controls, I have to understand them.
| | 07:50 | Well you can understand them in a much better sense when you
are in the Brush Creator but once you get the understanding
| | 07:59 | of them under your belt, this is no longer scary.
| | 08:01 | This is a set of controls that you can use in context to the
art to be able to either finely or coarsely adjust a brush.
| | 08:10 | So the brush control aspect of Painter is huge.
| | 08:15 | The nice thing is all of the settings
are encapsulated into Preset variants.
| | 08:21 | So if you never want to deal with this, all you have to do is
click on a brush and start playing with it and using it as it is.
| | 08:30 | It's only when you want to get into more control and
fine tuning that you are going to eventually want to go
| | 08:38 | into the Brush Creator and or the Brush Control palette.
| | 08:42 | So that is basically the Brush Creator.
| | 08:45 | You have got these three levels you can play
with all the way from Las Vegas slot machines
| | 08:50 | to actually very fine tuning a brush once you understand
the various controls and the Brush Creator can be used
| | 08:57 | as a learning tool to see what these various controls do to the
characteristics of a brush as you adjust the various sliders
| | 09:06 | and buttons that you will find in the Brush Creator.
| | 09:09 | So don't be afraid of this just understand that it is a
major topic and you will take time to start to master some
| | 09:18 | of the various dimensions of brush control but it's an entirely
wild frontier that you can go into and you can be rewarded with,
| | 09:27 | coming out of it with brushes that nobody
else has ever seen before and are very unique
| | 09:33 | and can become a part of your expressive set of tools.
| | 09:37 | So have fun creating brushes.
| | Collapse this transcript |
|
|
7. Getting Acquainted with BrushesWarming up: Exercises| 00:00 | Well, it's time for the stylus to hit the tablet and what we
are going to have to do here is a little bit of calisthenics.
| | 00:07 | Because without a little bit of preparation it's very easy
to start drawing or painting with a very tightened up hand
| | 00:15 | and I could tell you that it's very important
to have a loose quality to your strokes.
| | 00:21 | Now you can do all sorts of arm and hand exercises and
those are certainly good as well but to specifically focus
| | 00:28 | on making expressive marks, we need to practice on screen drawing
some expressive marks and I know that a lot of people say,
| | 00:37 | well I am not good at that, I don't know how to draw a
straight line for example, I am not expressive at all.
| | 00:43 | Well, if you are sitting here looking at this, I am sure
you want to be expressive because you have got Painter
| | 00:49 | and you are gearing to be expressive through this tool.
| | 00:53 | So we are going to do a little bit of hand calisthenics
and this will help you get loosened up as well
| | 00:59 | as learn the eye-hand coordination required for working
with a tablet where you are drawing on a surface but looking
| | 01:06 | at the screen which is detached from one
another and sometimes it takes a little bit
| | 01:10 | of orienteering to get to a point where that's comfortable.
| | 01:14 | Now the tool I prefer to use here and we are going up to the
Brush Selector bar, is in Pens and it's the Scratch Board tool.
| | 01:23 | This tool, and I will just do a little bit of drawing here and
let's also set it back to normal, this tool has a very nice thick
| | 01:32 | to thin ratio which means it's pressure controlled.
| | 01:36 | So my hand pressure is changing the lightness
and darkness of this particular tool.
| | 01:43 | So that's something that adds an extra sense of
expression to the brush and the mark that you can make,
| | 01:50 | that is very expressive even though you may claim to have
never made an expressive mark in your life, is your signature.
| | 01:57 | That is a unique set of marks that no one else can make,
only you are capable of creating your signature and to use it
| | 02:07 | as an example and at practice is a great way
to start to loosen up and feel comfortable
| | 02:13 | with this interface of a tablet and a screen.
| | 02:16 | So I am going to just start and start writing my signature and
you can see I have some thick and thin lines in it, that's good,
| | 02:25 | we want to sense the expressibility of the tool as we write
and I like to just write it where it almost becomes a pattern.
| | 02:37 | You stop identifying it as an individual signature
and instead it just becomes an interesting pattern.
| | 02:45 | So already we have taken something that is very common, at
least to me because I see this all the time and it's starting
| | 02:53 | to be more of a design element rather than just my signature
and it is expressive and I am able to repeat the expressibility
| | 03:02 | of my signature over and over and over, because it's something
I have done so many, literally thousands upon thousands
| | 03:11 | of times throughout my life and your
signature is the same way for you.
| | 03:16 | So the first exercise I recommend is just sitting down
and writing your signature and you can do your full name
| | 03:24 | or just your first name like I am
doing here and just practice it.
| | 03:29 | If nothing else it actually ends up being a rather interesting
overview or a pattern that's made up of a very unique set
| | 03:37 | of marks and yet somebody walking in and looking over your
shoulder right now might not even recognize it as your signature
| | 03:44 | and yet you are creating a very expressive quality in
the way these lines are repeating over and over again.
| | 03:52 | So sit down, take some time and work with your
signature as a way to start to loosen up your strokes.
| | 04:00 | Now in the next movie I am going to show
you some other exercises you can do,
| | 04:04 | hand calisthenics that will further loosen
up your hand in preparation for painting.
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| Warming up: Calisthenics| 00:00 | Well hopefully, you have been practicing your signature
a little bit as I instructed in the last movie,
| | 00:05 | these are just ways to warm up your hand and get
confident using the pen and tablet as an expressive tool.
| | 00:13 | We are now going to go to another level that's a little bit maybe
basic training orientated where I am going to line you all up
| | 00:20 | and you are going to do your sit-ups and your push-ups,
it won't be that physical but you will see here,
| | 00:24 | there is a little bit of a challenge involved.
| | 00:26 | So I am going to go to the exercise files and in
Chapter 7, I want you to get the Calisthenics file.
| | 00:34 | We will open it up and basically I have ruled a bunch of
lines here and we are going to just do some sample exercises
| | 00:43 | and again I am going to use the Scratch Board tool for its
ability to do a nice thick to thin ratio because in a lot
| | 00:50 | of cases here we are going to be playing around with
the ability to change a thickness based on pressure.
| | 00:58 | The first one is actually a pretty simple operation here.
| | 01:02 | We are just going to take this row
and kind of like a size and the graph.
| | 01:06 | All I want to do is just draw up and down lines with a goal
of staying as close as I can to being in those lines, OK.
| | 01:15 | So I am just up and down, up and down and
staying as much as I can in the lines.
| | 01:22 | Now I am only going to do one or two of each of these as we go
but if you want to spend some time doing these and getting better
| | 01:29 | at it, it will help you with your
expressive nuances in your tools.
| | 01:34 | So you might want to try doing a whole page of this, for
time's sake I am going through some of the different exercises
| | 01:40 | but certainly feel free to do more of these, a whole page at
a time and the more you do, the more it's going to pay off.
| | 01:49 | Now we are going to do the size and the graph thing again but
the goal this time is to start and then I want to get as light
| | 01:56 | as I can, in this case it's going to make a thin line.
| | 01:58 | Then I am going to start to increase my pressure and
then I am going to go back to medium to fine pressure.
| | 02:06 | So what I am going to end up here with is a modulation
from maximum pressure to thin pressure and back,
| | 02:13 | and this helps you to control the thickness
of the lines based on hand pressure.
| | 02:19 | Being able to get a sense of what constitutes the
pressure on your pen is really an important component
| | 02:26 | to getting the full expression out of those lines.
| | 02:30 | So that's an exercise you can do and again I am just
kind of going through them here to show them to you
| | 02:37 | but I would encourage you to do whole pages of these and you
don't have to save them as if they are prominent artworks.
| | 02:43 | It's just an exercise you can do to work out these
qualities of your expressive ability of your hand.
| | 02:50 | Now here is another one.
| | 02:52 | This one, I am not going to worry so much about
pressure but I am going to go from full size to small
| | 02:59 | and then back up to full size and then small.
| | 03:03 | So you can see here what we are doing is we are kind of
learning how to control the height of the marks we are making
| | 03:11 | and again this is just a calisthenics exercise
to get you to learn how to control your pen.
| | 03:18 | Now let's go one step further and remember each one these can be
a whole page of exercises but what I am going to do now is start
| | 03:28 | and then get small and very light and then get large and very
dark and again that's all hand pressure that's doing that.
| | 03:39 | Then you might want to switch is up, get
small and dark and then large and light.
| | 03:44 | Small-dark, large-light.
| | 03:49 | So you can see this now is a combination of both motor control
to get the large and small lines but it's also now doubling up
| | 04:00 | and you are including some pressure in it as well.
| | 04:03 | So these ones can be a little bit more to learn
and get comfortable with but you want to learn how
| | 04:10 | to do these various kinds of nuances with the pen.
| | 04:13 | We are going to switch gears a little bit and for
this one I am going to start to do circles, OK.
| | 04:20 | So again same kind of technique we did before here, you want to
continue to make circles but keep them as controlled as you can,
| | 04:28 | so that they are pretty much the size of the pair of lines we
are working in between and probably already thinking ahead here,
| | 04:37 | the next exercise is going to be to do this but change pressure.
| | 04:41 | So get light and then get dark and then get light
and dark and just alternate between these two,
| | 04:51 | always trying to maintain that circle
about the same size as you go.
| | 04:56 | I guarantee you, this will pay off big time.
| | 05:02 | Now I am going to delete back here away, OK and what
we are going to do is another exercise that starts
| | 05:11 | to get even a little more complex and you are not going to
necessarily be able to sit down and do these all at once.
| | 05:18 | You will find that it's going to take some time
to learn how to do these and get fluent with them.
| | 05:23 | This one is kind of a curly Q where you are
just going to draw this kind of curly Q across
| | 05:31 | and just keep it in the line just close as you can.
| | 05:36 | There is no rule that they have to be exact, nobody can do
that but we just want keep it fairly close and fairly regular
| | 05:45 | and then as before we start to play around with
thicker then thinner then thicker then thinner,
| | 05:53 | so now you will combine your couple of motor skills here where
you have to control the aspect of what you are drawing as well
| | 06:01 | as play with the pressure and then take it up yet another
notch, you can do one where you go from large to small,
| | 06:11 | then back up large to small and certainly then you can get
into large and dark, and small and light and vary those two
| | 06:22 | or mix it up, small then large and light
then small and dark, large and light.
| | 06:28 | So you can see here there is a lot you can do in terms of
exercises, so I encourage you to go through and do these.
| | 06:37 | I am going to close this now and another document that you
will find in Chapter 7 is this Wacom Calisthenics document.
| | 06:45 | I am going to open it up here so that you can see it.
| | 06:49 | This is just a set of these that I have
pre-created so it gives you kind of guideline,
| | 06:55 | you can look at these and see how you can do different exercises.
| | 06:59 | Some of these we didn't do but each one of these pages gets a
little more complex each time and it can get a little harder.
| | 07:07 | Like here you start to play around with making a circle
and then making it into an oval and back to a circle,
| | 07:14 | then you can start to get into flipping it in various ways.
| | 07:17 | Finally you can get into the loopty-loos we were doing
here, and various types and nesting them together.
| | 07:25 | All of these various exercises are aimed at getting you
to improve your fine motor skills and your hand as well
| | 07:34 | as your eye-hand coordination and the goal of all of these is
to just help your hand loosen up as well as get an overall sense
| | 07:45 | of the expressibility that's possible using your arm, hand and
wrist along with a pressure sensitive pen tablet like a Wacom
| | 07:54 | to be able to get the most expression out
of your hand as well as Painter's brushes.
| | 07:59 | Because they literally go hand in hand.
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| Less is more: Too many brushes spoil the stew| 00:00 | One of the mistakes I see people make
when they are first introduced to Painter
| | 00:04 | and all of these brush selection that's available
is they tend to use every brush in Painter
| | 00:13 | to create an image and my question is, are more brushes better?
| | 00:18 | There is a famous phrase from the world of architecture, that is
this, less is more and it turns out with relationship to brushes,
| | 00:28 | the less brushes you use, the more
coherent your image is going to be.
| | 00:33 | Too many brushes is like several different
voices all screaming at the same time.
| | 00:38 | It turns into a literal cacophony
and we don't want that to happen.
| | 00:42 | What we want to happen here is a clear single voice.
| | 00:46 | Yes sometimes three or four voices can sing in harmony and
that is definitely pleasing and something you want to do.
| | 00:53 | But what I am going to do here is introduce you to an exercise
in which you restrict your drawing or painting to one brush
| | 01:03 | with the goal being to express yourself as
much as you can by using just one brush.
| | 01:08 | So its kind of an artist's equivalent
of tying one hand behind your back.
| | 01:12 | You can't use all of the tools that
are in the art store in this case.
| | 01:17 | You can only use one and by restricting yourself to a single
brush and doing this exercise multiple times, multiple subjects,
| | 01:27 | different brushes, but just take the one tool
and don't allow yourself to use multiple tools.
| | 01:34 | You will start to learn how to have a very clear expressive image
without all this extraneous noise of multiple brushes competing
| | 01:43 | for various kinds of textural attention
in the image and so the watch word here
| | 01:49 | or the watch phrase in this case is, less is more.
| | 01:53 | So the brush I am going to use is in the Artist's Oil and
it's down here at the bottom, it's called the Wet Brush.
| | 02:00 | Let's just do a few test strokes with it so we can get a sense
of what it does and rather than black I am just going to move it
| | 02:07 | up to a color here in the Color Wheel and
let's see what the character of it is.
| | 02:12 | So it's a brush, but it's a brush that runs out of paint, OK.
| | 02:16 | So you can't just paint endlessly with
it, it's going to run out of paint
| | 02:20 | and let's change colors a little bit and see what happens.
| | 02:23 | You will see that this brush also tends
to mix color together on the canvas.
| | 02:30 | So you start to get a nice quality that is partially
brush stroke but it's also largely influenced
| | 02:37 | by the way it mixes colors as it's running out of paint.
| | 02:42 | In fact you can just sit here and even use it to mix
paint after it's run out, just like a real brush.
| | 02:47 | So this brush has a nice character to it but we are not going
to use the crutch of, oh, I need to use more of brushes,
| | 02:56 | that will make the image better, that's not true.
| | 02:58 | The less brushes the more of a coherent
image you are generally going to get.
| | 03:03 | So I am going to clear this off, with Command or Ctrl+A, Delete
or Backspace and I am just going to paint a simple apple here.
| | 03:12 | I will talk my way through it so you can get my
rationale as I am drawing it but let's just go
| | 03:19 | through this to the end and not change our brush.
| | 03:22 | The one thing that I will allow myself to do is change the
size, and as we learned in an earlier video, I can use my left
| | 03:30 | and right bracket keys as I am doing here to enlarge and reduce
the size of that brush and you will see my brush is changing size
| | 03:39 | as I go, you might even hear a clicking a little bit.
| | 03:41 | As I am working I am keeping my fingers on the left and
right bracket keys which turns out for a left hander,
| | 03:48 | it's actually pretty nice because I have got my stylus
in my left hand and I can position my right hand
| | 03:53 | so that my fingers are over the left and right bracket keys.
| | 03:56 | Now for you right-handers out in the world, you can use Painter's
keyboard customization facility to change couple of the keys
| | 04:06 | over on the left side of the keyboard so that
as you are painting with your right hand,
| | 04:11 | your fingers of your left hand can be
using the tools that I think I have played
| | 04:15 | with before is the tilde sign and the one key.
| | 04:18 | You would be giving up one of Painter's palettes that
normally are called up possibly by the one key but the tilde
| | 04:26 | and the one key are up in the upper left corner of the keyboard,
it's beneath the function keys and that's a similar way to do it.
| | 04:33 | But you will see while I am working I am constantly
adjusting my brush size by clicking and adjusting the sizes.
| | 04:40 | So all I am using is the one brush here and let's get started.
| | 04:44 | I am just going to make and outline here of an
apple shape and I am going to start to fill it in.
| | 04:49 | Now you are used to regular paintbrushes and you
would say, "Well this is taking a long time,"
| | 04:55 | because you are not just able to fill
it in with paint that never ends.
| | 04:59 | Actually this is preferable from the standpoint of
emulating traditional media because a real paintbrush runs
| | 05:05 | out of paint and I want this to look natural media like.
| | 05:09 | I am going to change my colors here a little bit.
| | 05:12 | Now I am going to start mixing so that I get a bit of
highlight and a shadow in here and the idea again is
| | 05:21 | that it's a combination of all of these brush strokes that
are going to make up a brush or an image that's constituted
| | 05:29 | of same style strokes, I guess you would call it.
| | 05:34 | Let's just keep going here and the other thing that happens
with fruit is sometimes you get variations in color in here.
| | 05:41 | So I am just going to throw in a few variations.
| | 05:45 | Notice too this is my style of painting and
everybody doesn't necessarily do it the same.
| | 05:50 | I don't dote over individual strokes, it's the
looseness and quickness with which strokes are applied
| | 05:57 | that really give this kind of spontaneous
style of drawing and lot of its charm.
| | 06:02 | So you don't all necessarily want to
be clones of the way I paint here.
| | 06:06 | It's definitely a technique that I find very useful in
getting a nice spontaneous style of drawing as I am working.
| | 06:14 | Now I have reduced the size of my brush here and I am just
using this to put a bit of an outline around the outer edge
| | 06:22 | of my brush just to give it a little definition.
| | 06:24 | Now I am going to paint a leaf of
the apple here, so let's do that.
| | 06:29 | I am going reduce my size here, a little darker, maybe make
it little orange-red, put some veins in there and doesn't hurt
| | 06:37 | to have a little bit of a herringbone or marks along our edge
that are serrated and let's also, remember we learned earlier
| | 06:47 | where to find brown, it's basically in the
orange-red area and I am going to put a stem on there.
| | 06:55 | Sometimes the apples are partially ripe and so I am just
putting a few alternating colors in here to sort of get
| | 07:07 | into that partially ripe appearance,
like darken this up a little bit.
| | 07:18 | OK, well I was going to finish this off
with a little bit of highlight on the stem.
| | 07:24 | This is very quick and the idea here isn't
to have any kind of great art or whatever,
| | 07:28 | but I think you can see that as a drawing this holds together
because it's almost fractal because it's self similar,
| | 07:37 | every stroke is made up of a similar stroke and because
the amalgamation of all of the strokes together arrives
| | 07:46 | at finished image you just get a very
nice quality of coherence in the image.
| | 07:52 | That's what you want to strive for in your work.
| | 07:54 | If I were to do this with many different brushes it might
look interesting but it's going to get busy and visually noisy
| | 08:00 | and the idea here is to rather keep it
coherent and yet loose at the same time.
| | 08:06 | So follow my advice and think of brushes as- they are great tools
| | 08:12 | but too many brushes can spoil the
stew and we don't want to do that here.
| | 08:16 | So the last thing I will leave you with is, less is more.
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|
|
8. Using the Image HoseNozzle files| 00:00 | Wouldn't it be great if instead of having to paint every leaf on
a tree, you could just paint with a brush that painted leaves?
| | 00:09 | That would certainly eliminate a lot of the time consuming
hand work that would be required to create all those leaves.
| | 00:17 | Well in Painter you can do it and it is
possible with a tool called the Image Hose.
| | 00:22 | Why is it called the Image Hose?
| | 00:24 | Think out of the Garden Hose, what comes out of it?
| | 00:26 | Water. So if something is called the Image
hose, what do you think comes out of it?
| | 00:31 | Imagery, OK.
| | 00:33 | So we are going to take a look at the Image Hose here and
then in the next couple of videos I am going to show you how
| | 00:38 | to make your own content as well as
control how it comes out of the Image Hose.
| | 00:44 | So, there are two components to this.
| | 00:46 | We are first going to go to the Brush Selector bar and
we are going to go down the Image Hose, that's a category
| | 00:53 | and we are now going to look at the
various brushes that are available here.
| | 00:59 | What I am going to select in this case is
one called Linear-Size-R, OK and Angle-D.
| | 01:08 | We will find out a little later what all of that mumbo-jumbo
means but for now I just want to you see how this work's.
| | 01:14 | So I am selecting it, I am half way there.
| | 01:16 | I have got an Image Hose but I need to connect it to content and
the content for a Painter Image Hose is called a Nozzle File.
| | 01:26 | You will find Nozzles down in the
Selector at the bottom right here.
| | 01:31 | This is the Nozzle Selector and if I click on
this, the one I want to go to is Urban Fixtures.
| | 01:38 | So I have now got an Image Hose, I have
now got a Nozzle and what I am going
| | 01:42 | to do here is just paint a little bit
with it so you can see what's happening.
| | 01:47 | I am painting with a set of various fixtures that you will
find in the city, light poles, light standards, stoplights,
| | 01:55 | and there are a couple of things going on here.
| | 01:58 | Let's select all and delete and see what's happening?
| | 02:02 | For one thing I am getting just a
random sizing of all of these elements.
| | 02:09 | It's also based on my direction.
| | 02:12 | I am going to control the angle of these.
| | 02:16 | So I can do something like this, where I can paint an
array of these almost like a burst of these fixtures coming
| | 02:25 | out from a central point, based on the fact that
I can control the angle based on my direction.
| | 02:31 | So that's one kind of Image Hose we can work with.
| | 02:35 | Now, I am going to load up another one.
| | 02:38 | Select All, Delete and in this case I am going to select
Spray Size-P, Angle R. Once again kind of mysterious
| | 02:47 | but we will learn more about it coming up here.
| | 02:52 | Now let's try this one.
| | 02:54 | OK this one is now pressure controlled so that I can control
the size of it but the angles are coming out randomly
| | 03:03 | and the only reason I am using this particular
hose because is because it's a linear element.
| | 03:08 | You can see very clearly, how it's randomly rotating
| | 03:12 | that imagery each time it applies itself
and I can hand control the pressure as well.
| | 03:19 | So we were talking earlier about expressive marks.
| | 03:22 | What about a signature that's made
up of light standards and stop signs?
| | 03:29 | Little hard to read but you can see here that there are a
amazing possibilities with these, just depending on the content
| | 03:38 | of the Image Hose you can do a number of things and
as I mentioned earlier here I am going to show you
| | 03:47 | in a little while how you can control these to get what you want
as well as create your own content, which takes it much further
| | 03:55 | than just playing around with the particular Image Hose
Nozzles that we have added or put into the library here.
| | 04:03 | The real power is in creating your own contents.
| | 04:07 | So we will look at that in the next movie.
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| Creating a nozzle file| 00:00 | In the last movie I introduced you to the Image Hose
and Nozzles and you saw that there is already a set
| | 00:07 | of pre existing nozzles over here
and the Nozzle Selector palette.
| | 00:12 | What you really would like to do is not just rely on small
number of pre-existing nozzles, but creating your own nozzles
| | 00:20 | and the cool thing is there is a very simple procedure that
is required to create a nozzle and it's all based on layers.
| | 00:29 | So you do need to have a little bit of layers now as but I'll
show you and walk you through this so you can see how it works
| | 00:36 | and the idea is that each nozzle element you want to spray from
an image hose has to be on it's own layer as you make them.
| | 00:45 | The good news there is that because Painter and Photoshop
can work back and forth in the PSD Photoshop format,
| | 00:52 | you can use tools in Photoshop to create a
number of independent layers and then use
| | 00:59 | that as your imagery that you are going use for a nozzle file.
| | 01:03 | So particularly in photographic work where Photoshop
actually has a far better set of Selection and Masking tools
| | 01:09 | than Painter does, I would recommend actually
going over to Photoshop, to use those tools,
| | 01:15 | to extract photographic imagery from other sources.
| | 01:19 | So you will find that Photoshop actually may
be better nozzle building tool than Painter.
| | 01:25 | In my case I am going to do a hand drawn set of nozzle elements
here but either Painter or Photoshop can be used as long
| | 01:33 | as you follow the procedure I am going to show you here.
| | 01:35 | So let's start and I am in the Layers palette and I
am going to use this little icon here at the bottom,
| | 01:41 | it's the third one form the left, this just
creates a new layer when I click on it,
| | 01:46 | just a quick way to create a new
layer without going to other menus.
| | 01:50 | So I'll be using that each time I create a layer to work on and
I am just going to use this Wet Brush that I have set up here
| | 01:58 | and I am just going to paint three flowers and I am not
going to try to spent a whole lot of time but I just want
| | 02:04 | to have a little bit of some elements going on here that we can
see what it's going to look like when I can spray these out.
| | 02:13 | I am going to reduce my size.
| | 02:14 | I am using my left and right bracket keys to do that.
| | 02:19 | We are just going to very quickly
here, I missed that, we put in there.
| | 02:26 | So the idea here is I just want to create
something kind of visually interesting.
| | 02:32 | Let's a put a center in here just to give it some interest.
| | 02:39 | So I have created a flower on a layer, I am going to turn
on Auto Select with relationship to the layer adjusted tool.
| | 02:47 | It's just going to help here when I want to pick up each layer.
| | 02:50 | I have got an independent layer, I am going to down create
a new layer, OK and I go back to my brush and just go
| | 02:57 | through the same thing but I will
probably change the colors a little bit.
| | 03:01 | Now it's just going to create some visual interest as these
start down to lay down as nozzle elements from the image hose.
| | 03:07 | So here we will just quickly create another flower, five
petals each time and once again I am going to reduce the scale,
| | 03:18 | just add a little bit of an outline around this, the nice thing
is by doing this hand work you will see when we apply this,
| | 03:27 | it's a great way to create the illusion of
complexity with just a limited number of elements.
| | 03:33 | It's surprising how few elements you need to actually create
what looks like a much greater complexity than is actually there.
| | 03:42 | So once again this is a layer, I am going
to create one more layer and we are going
| | 03:48 | to paint a third flower here again with
just a little variation in the color.
| | 03:53 | Five petals and maybe a little bit more towards
orange, yeah and we will just do this very quickly.
| | 04:02 | Obviously you may want to do a much more, I am going to
use the Eraser here to just kind of fix this and repair it.
| | 04:09 | So we will just even that out, again a darker color, smaller
brush for that being changed via the left and right bracket keys,
| | 04:21 | add some little veins in the various petals
and finally let's put in another center.
| | 04:35 | OK, so now we have created our three independent layers.
| | 04:41 | Now what I am going to do here is I am going
to group them together and since I am already
| | 04:46 | in the Layer tool I can just click and
drag and that will select all of my layers.
| | 04:50 | The next thing I am going to do is I am going to go
up to the Layers palette and I am going to say Group
| | 04:57 | and of course you can also use the Command or Ctrl+G to do that.
| | 05:01 | So now I have grouped these together.
| | 05:03 | We are going to go over to the Nozzle Selector.
| | 05:05 | I am going to click on the Nozzle Selector which opens
up the library we currently have but now we are going go
| | 05:11 | to the Nozzle menu and you will see there is
a command right here, Make Nozzle from Group.
| | 05:18 | So let's click on that and what it's going to do is, it's going
to create a new file and it may look rather odd right now,
| | 05:25 | but it quickly measures the maximum height and width
of each one of these and places it on an internal grid
| | 05:33 | that it understands and it's a part of the file when we save it.
| | 05:37 | So it must be saved as a RIF file to do this.
| | 05:41 | So I am going to save it.
| | 05:43 | I am going to call it Flowers, I
want to make sure it's a RIF file.
| | 05:48 | I am going to tell it to append the RIF extension
on it and it's going to save it in my Chapter 8.
| | 05:54 | OK so I am going to close this and the next thing I am going to
do, let's open up another image to work on here and now I need
| | 06:07 | to load that nozzle so I am going to go
back once again to the Nozzle Selector,
| | 06:12 | open this up and I am going to say, Load Nozzle and there it is.
| | 06:17 | That's the RIF file Flowers I made.
| | 06:20 | It's a flat file but it's got this grid with the elements in it.
| | 06:23 | So I am going to open that up, that nozzle is now loaded.
| | 06:27 | So I am going to go over and select my Image
Hose and I am going to make it a little larger
| | 06:35 | but let's spray it out and there are my nozzles.
| | 06:39 | Now right now it's just spraying them out but it's not
actually randomly rotating about which I would like to do.
| | 06:46 | So I am going select another nozzle here in
which the angle is random and I will get into all
| | 06:52 | of those meanings in the next video that we do.
| | 06:55 | I am also going to do this on a layer just because it's
kind of neat to see that these work on layers as well.
| | 07:01 | The others thing I might want to do here is spray these out.
| | 07:05 | So I am going to use a spray that is also random.
| | 07:11 | Now we get a nice kind of randomization
of these and they are on a layer.
| | 07:18 | So I can even create another layer
here, and spray these on that layer.
| | 07:27 | So it's a way you can build things up or each of these
could become new nozzle elements, that would be built into
| | 07:36 | yet another group and saved as a nozzle file.
| | 07:38 | So you can actually sort of concatenate complexity
upon complexity and these could became nozzle files.
| | 07:44 | So there is a wide-open world of what you can do in
creating these nozzle files and how you construct them
| | 07:52 | and you can even then use the Image Hose itself as
a tool to construct new nozzle elements if you wish.
| | 07:59 | So that is the basic way you construct
a nozzle file and just to reiterate.
| | 08:05 | Each nozzle element that you construct
has to be created on an individual layer.
| | 08:10 | Those layers must then be grouped and then that
grouped set of layers must be made into a nozzle file.
| | 08:20 | It's not highlighted right now.
| | 08:21 | We will make nozzle from group, which you
will find over in the Nozzle Selector command.
| | 08:27 | Then once you have made a nozzle from a group you are
going to get that flat file with the black around it.
| | 08:32 | You save that as a RIF file then you will load that
nozzle right here again from the Nozzle Selector menu
| | 08:41 | and then use an image hose to spray
it out and that's all there is to it.
| | 08:46 | It's really very simple.
| | 08:48 | You can have more complexity by creating more visual elements.
| | 08:53 | These are only three elements but even
that- flowers tend to look very similar.
| | 08:58 | So each of these layers are nothing more than three
elements that are randomly rotating in this case
| | 09:06 | and I have changed the scale a bit by hand pressure.
| | 09:09 | This one might be better to turn off so you can see.
| | 09:11 | This one actually is a little bit better.
| | 09:14 | So only three nozzles.
| | 09:15 | It's seems much more complex than those three elements.
| | 09:19 | So nozzle building is a major tool for being able
to take advantage of the Image Hose and I hope based
| | 09:27 | on what you have learned here you
will go forth and create your nozzles.
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| Controlling the Image Hose| 00:00 | OK, so you now know how to make Nozzles
if you have watched the previous video.
| | 00:05 | Now I am just going to show you very quickly how you control
them because there is rather cryptic set up of standards here
| | 00:11 | that are associated these Nozzle files and I
am just going to go through them very quickly
| | 00:16 | and maybe show you a little bit of how they work.
| | 00:19 | Here is the basic meaning of these little
single letter designations, B stands for Bearing
| | 00:27 | and maybe I should show you this as we go through.
| | 00:29 | So I am just going use Urban Fixtures again just because there
directional, it helps to show what I am talking about here.
| | 00:36 | So these are based on Bearing right now and Bearing is
the angle that I am actually twisting my Pen around.
| | 00:48 | So Bearing is related to the angle that
the pen is in relation to the tablet.
| | 00:56 | It' s one of those things, it's almost
more difficult to describe than it is
| | 01:00 | to just get this pen out with one of the Image Hose Nozzles.
| | 01:05 | Once you play with it you will get a
sense of control, based on Bearing.
| | 01:09 | So B stands for Bearing.
| | 01:12 | W stands for Wheel and what does Wheel have to do with anything?
| | 01:17 | Well it's actually very arcane at this point
in the history of Wacom pens and brushes.
| | 01:23 | They used to have a specific pen that was designed to be very
much like an Airbrush tool and it had a little wheel on it
| | 01:33 | that you could use to change the
size of things based on that wheel.
| | 01:38 | That tool is now kind of defunct and no longer around.
| | 01:42 | So anything with a W and it actually is sort of not useful.
| | 01:45 | You could use it and what we will little do
is paint with this coming out in one angle
| | 01:51 | but a lot of times anything other
than that angle may not be desirable.
| | 01:55 | So it's not necessarily a tool most
people are even going to use anymore.
| | 02:00 | The next one is P and that stands for Pressure.
| | 02:04 | So in this case Size is going to control by Pressure.
| | 02:08 | So you can see as I do very light pressure, I get
small and as I do larger pressure I get large.
| | 02:15 | The other thing I want to mention here is you can that these
are all linear brushes and then there is another category Spray.
| | 02:22 | Linear just means that there is no random dispersion
of the Nozzle element because they are coming
| | 02:29 | out without any sort of spray pattern which is the other one.
| | 02:32 | So linear just means they come out without
randomly sort of jittering around on the canvas.
| | 02:40 | You can start to combine these together.
| | 02:42 | So you can have size been controlled
by Pressure and angle by Bearing.
| | 02:48 | So that means I can be small and
change the Bearing at the same time
| | 02:54 | and it just gives me two dimensions of
control now, I didn't have previously.
| | 02:59 | So combining two of these features together
starts to open up more possibilities.
| | 03:06 | The other letter that we are going to begin
with, well there are two more letters.
| | 03:09 | One is R for Random and what that does is, all of these
are coming out in a random fashion now and nothing else.
| | 03:18 | They stay at the same angle but they come out randomly.
| | 03:23 | Let's select all and delete so we
stay clean as we work through these.
| | 03:28 | Another one is D which stands for
Direction and let's just try that.
| | 03:33 | Size is going to be random in this one.
| | 03:35 | So you can see it's random but it's based
on the direction I am painting as I draw.
| | 03:41 | It's similar to Bearing but it's a little more
controllable and again it's hard to explain this totally
| | 03:49 | to you without you actually sitting and trying it.
| | 03:51 | I would encourage you to use the Urban Fixtures
because they are very directional, all of them.
| | 03:57 | It's very obvious when you play with it, what's going on?
| | 04:01 | So D is direction.
| | 04:04 | As I said, these combinations are just a combination
of Pressure and angle is random or size is controlled
| | 04:14 | by Pressure but angle is controlled by Direction.
| | 04:16 | Then you get into the Sprays and I'll
do what here, where spray is controlled,
| | 04:21 | the size is pressure, but you will
see how it's spraying them out.
| | 04:25 | They are not linear any more, they are going off of the
line of the brush stroke and that's what a spray does
| | 04:33 | and in this case I can control the size by
p. Then you get into a whole set of these
| | 04:40 | that are either single like Spray but size is random.
| | 04:46 | So you can see here, it doesn't change direction at any point.
| | 04:50 | It just sprays them out randomly as you press down.
| | 04:57 | Then you finally get into these combinations of multiple ones, so
I can have Size it Random but Angle is controlled by Direction.
| | 05:05 | So let's see what we get there.
| | 05:06 | Here is where- Pressure is not doing anything, in fact I could
use my mouse to do the same thing and which I am doing here.
| | 05:14 | So if it doesn't have Pressure on it you
literally could do this with a mouse.
| | 05:19 | But most of the time Pressure is some
attribute that is going to control it.
| | 05:24 | So this little cryptic set of letters once again B is Bearing,
W is Wheel, which is kind of defunct and unless you happened
| | 05:33 | to have an older Intuos2 tablet with the
Airbrush pen, this is really not used anymore.
| | 05:40 | P is Pressure, B is for Bearing which relates to
the Angle of your pen in relation to the tablet.
| | 05:49 | D is Direction which sometimes makes me confuse with Bearing
| | 05:53 | but it's actually just the direction your drawing will
cause the Angel to change so that as you change direction,
| | 06:01 | the brush will keep with it and draw the
elements in the direction that you are going.
| | 06:08 | Then R is Random.
| | 06:11 | So those are the various kinds of controls you can have and
basically you have got either Linear or Spray oriented brushes
| | 06:19 | and the best way to really test this out is to just sit down
and pull out something like Urban Fixtures and go through
| | 06:26 | and play with them and you will get a sense
of the various kinds of control you have.
| | 06:31 | So the combination of making your own Images hoses
and combining them with the various types of hoses
| | 06:38 | and nozzles together is really where the full power
of Painter's image hoses and nozzles comes out.
| | 06:45 | So have fun making your own nozzles and then
go nuts using the various types images hoses
| | 06:55 | that are in here, to apply your nozzles.
| | 06:58 | So happy nozzling!
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|
|
9. Painting from ScratchUsing compositional aids| 00:00 | One of the things that students will sometimes ask in a
class is do you have any tips on how I can create great art
| | 00:07 | and my answer to them generally is, sure, practice.
| | 00:12 | Actually you can get around some practice with a few
well-known Compositional Aids that are available,
| | 00:18 | and fortunately Painter has these built right into them.
| | 00:21 | So I am going to show you these Compositional
Aids in use and then in the next movies,
| | 00:26 | we will go through how you access
and adjust these aids within Painter.
| | 00:30 | So you can apply them and use them with your image design.
| | 00:34 | Well, composition is one of the basic elements in art
design and there are combinations of proportionality
| | 00:40 | for example that are endlessly repeated in nature.
| | 00:43 | As a result certain proportions tend to appeal to the eye.
| | 00:47 | Overtime artists have encoded these known
proportions into formulas with esoteric names
| | 00:52 | like the Divine Proportion and the Rule of Thirds.
| | 00:56 | In this chapter, we are going to go through each one of those.
| | 00:59 | OK, so the first one we are going to look at is the so-called
Rule of Thirds and it's a technique that breaks up an image
| | 01:06 | into such a manner that it makes it
fairly easy to organize a composition.
| | 01:11 | Now, the image that we are going to use here is by George Seurat,
| | 01:15 | it's sometimes known as La Grande Jatte
or A Sunday Afternoon in the Park.
| | 01:19 | Very famous work.
| | 01:21 | Seurat was very interested in scientific technique.
| | 01:25 | For example, his optical mixing of color, pointillism
was all based on scientific theory of the time
| | 01:32 | and likewise he was very interested in rules within composition
and ways that you could kind of encode the certain senses
| | 01:41 | of proportion and as a result it shows up quite frequently
in his work, and if preparing for this I discover
| | 01:47 | that this particular image it actually employees all of these
various Compositional Aids that we are going to go through.
| | 01:53 | So it's a great image to show you the different ways
these aids can be used actually on one composition.
| | 01:59 | So let's a look at the Rule of Thirds, and you can see basically
what it does is it breaks an image up into thirds with a set
| | 02:06 | of lines and I want you to notice that there is the four areas in
the image where they cross here or where the grid lines overlap.
| | 02:15 | Sometimes in the Rule of Thirds circle these are known as the
power points and if you place compositional elements either on
| | 02:23 | or near these four power points, it
generally leads to a pleasing composition.
| | 02:30 | Take a look at how much Seurat took advantage of.
| | 02:33 | You can see even some little piece of whatever coming
up out of the bottom of the image through to the top.
| | 02:40 | I mean it's a very obvious that this is all lined
up along this particular Rule of Thirds line.
| | 02:47 | You can go over here.
| | 02:48 | Once again, here is a centered compositional element.
| | 02:50 | The girl certainly is centered on it and even this
couple, right here are centered on it as well.
| | 02:56 | Along this side once again you can see how the
way the shape of forehead is tangent to that line.
| | 03:01 | We go across and we find here is a
couple that's resting right on that line.
| | 03:06 | This major figure right here bisected by that line.
| | 03:09 | Then you get over here and the trees at the edge of the
composition look where they are in right on that line.
| | 03:16 | So he definitely took advantage of this compositional
aid to help organize his overall composition.
| | 03:25 | The next one we are going to look at is this divine proportion.
| | 03:28 | Basically divine proportion is based on a set of reoccurring
proportions and numbers found throughout nature and architects,
| | 03:37 | artists, musicians are just being used in many different
forms visual as well as architectural music over the eons
| | 03:46 | and this particular one has a very interesting look to it.
| | 03:50 | Once again, just setting it up and looking on this Seurat
composition you can see how for example, this line.
| | 03:57 | He has definitely lined up several compositional elements
within the overall composition to follow that line.
| | 04:05 | This one as well.
| | 04:06 | You can see right along here, all of
these elements are almost forming kind
| | 04:10 | of connected dots scenario where it's describing this line.
| | 04:15 | You can go this way, it pretty much
bisects this umbrella element.
| | 04:19 | It goes on through she is centered on actually these two lines.
| | 04:24 | Look how that ends right there on that line.
| | 04:26 | Believe me that's not an accident and it comes
down through and follows the shape of this person.
| | 04:31 | Then the Spiral that's often associated
with the Divine Proportion.
| | 04:36 | Also you can see here how it wraps around into
and becomes kind of the central energy focus
| | 04:42 | for this composition of people sitting on the lawn right here.
| | 04:47 | In fact if you kind of look at this, your eye almost reads this.
| | 04:51 | You know it start with the largest element and your eye almost
tends to follow this spiral into this particular element.
| | 05:01 | So this is no accident that this fits on here so well, trust me.
| | 05:05 | He definitely was aware what he was doing in
relation to the use of the divine proportion
| | 05:10 | of the golden rectangle to organize this composition.
| | 05:14 | Now the third one, we are going to look at is Perspective.
| | 05:17 | Perspective is the illusion in a 2D
space, which a drawing or a painting is.
| | 05:23 | To produce the illusion that there is a three-dimensional
space in it and in looking at this you can see our eye goes off
| | 05:31 | into the distance somewhere out here and if
we look at a perspective grid laid on to it.
| | 05:37 | You can see exactly how all of these figures are
becoming smaller as distance retreats the plane
| | 05:46 | of the ground here also moves that direction.
| | 05:50 | But what Seurat employed here and
what's known as a one-point perspective.
| | 05:54 | All of these grid lines all go to this point right
here and this is basically right in that area.
| | 06:01 | That is where the vanishing point on this composition occurs and
in doing that it leads our eye if we turn it off for a moment.
| | 06:09 | Our eye just kind of goes into this pesudo three-dimensional
depth because of a well constructed perspective within the image.
| | 06:18 | So if you are just starting to these, grid overlays
could be very helpful to organize Perspective.
| | 06:24 | One of the first things people encountered in drawing that
can sometimes be a little daunting is setting up Perspective
| | 06:31 | and Painter has a full system that you
see right here contained within it.
| | 06:35 | So you can use this to set up, while
you have seen with Perspective in it.
| | 06:40 | So all of these Compositional Aids are
great for demystifying good composition.
| | 06:46 | A lot of well-known information is contained within these aids.
| | 06:51 | However, I will tell you, you want to learn these and you want
to understand how they work, but don't become a slave to them
| | 06:58 | because what can happen is if you use this too much,
your work starts to take on kind of a sameness.
| | 07:05 | There is a lack of excitement in the work sometimes and
so my advice to you is don't become a slave to them.
| | 07:12 | You don't want to always use these exactly as they are
| | 07:15 | because sometimes the most interesting compositions
are the ones that break these so-called rules.
| | 07:21 | So you just need to be sure that you know them first.
| | 07:24 | So Compositional Aids, great tool
just don't let them become a crutch.
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| The Layout Grid composition tool| 00:00 | In the intro movie, we looked at the various compositional
aids and the first one we talked about was the Rule of Thirds.
| | 00:07 | The Rule of Thirds is actually part of Painter's layout
grids and sometimes people want to know how to get to them
| | 00:15 | because it's not exactly obvious where they are located.
| | 00:18 | So we're going to open up a practice image, and I'll
show you how you access them and how you use them.
| | 00:24 | So I am going to go to the exercise files here in Chapter9
and we're going to open up lighthouse.ref and I am going
| | 00:32 | to resize it quickly here so it fits on the screen.
| | 00:35 | What you have to do in order to get to these is in the
Tool palette, you'll see down here there is am icon here,
| | 00:44 | what that actually is, it's the Divine Proportion
tool, that's not the one we want right now.
| | 00:49 | So what you need to do is click and hold your mouse down and
you'll see these pop-up and center one is the Layout Grids.
| | 00:56 | The third one is Perspective, which we'll also be going to
but all of that Compositional Aids are located in the fly
| | 01:02 | out menu well where the Divine Proportion is normally located.
| | 01:07 | So now that I have loaded that up, the tool bar changes
up here to give me my control over Layout Grids,
| | 01:15 | and you turn them on and off by clicking on the eye here.
| | 01:20 | So this is how you access them and there is our rule third, in
fact that is the default grid that is set up here and you can see
| | 01:29 | for this composition it's basically taking advantage of the Rule
of Third, so that the horizon breaks along the lower third line,
| | 01:37 | the lighthouse is near this power point and almost
along the one-third line here, as well as the sailboat.
| | 01:46 | So this image has been cropped in a way that it is using the Rule
of Thirds in a manner that helps to give a pleasing composition.
| | 01:55 | So you can see here where things are placed in
here, I didn't have to think too much about it,
| | 02:00 | I just set up my Rule of Thirds grid and then crop the image
appropriately so that I had the image where I wanted it.
| | 02:08 | This Layout Grid tool actually has the ability to show many
different grids, like here is a 3x5 grid, here is a 5x5 grid.
| | 02:15 | You can actually create your own custom Layout Grids with this.
| | 02:20 | To get to the Layout Grid palette, you
go over to the Windows menu and if you go
| | 02:25 | down here to Show Layout Grid that will bring this up.
| | 02:29 | So it's a separate palette and I have just
set it over here to so it's out of harms way.
| | 02:34 | But this is where I can go in and add, subtract
as many different grid elements as you want.
| | 02:39 | So even beyond compositional layout for something
like a photograph or a painting this can be useful
| | 02:46 | if you are doing something with text for example and
you want to build things into columns or whatever,
| | 02:51 | this gives you a pretty good tool to do that.
| | 02:54 | You can then save these if you click here
you can give the setting of grid lines a name
| | 03:00 | and it will then become part of the pop-up menu here.
| | 03:04 | If you have certain layouts that you repeatedly use, you
can actually save them and add them to this pop-up menu.
| | 03:12 | So the Layout Grids are a great way to
have a nondestructive line on your image,
| | 03:19 | you can take this and I am painting with image hose.
| | 03:23 | Here we can see the grid stays there but
does not interfere or is part of the artwork.
| | 03:28 | So take advantage of these Layout Grid when you need them and
just be aware that you can turn them off anytime you want.
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| Understanding the Divine Proportion tool| 00:00 | Divine Proportion- it sounds like a religious experience.
| | 00:05 | Actually, Divine Proportion is also known as the golden
rectangle, and this particular proportion has fascinated artists,
| | 00:14 | architects, scientist, musicians and mystics for eons as
a means of creating an aesthetically pleasing proportion.
| | 00:22 | They are proportions that are often found
in nature, and by coming up with a formula
| | 00:29 | that uses this proportional relationship
to many things found in nature.
| | 00:34 | It's been discovered that using these proportions and design
and art, you can get a nice arrangement by using this tool.
| | 00:43 | So where is Divine Proportion within Painter?
| | 00:48 | As we looked at earlier, this icon right here, this is actually
the Divine Proportion tool, and if I click and hold this a fly
| | 00:56 | out menu will give me the other Layout Grids
or Compositional Aids that are in Painter.
| | 01:03 | So you have got Layout Grids here, Perspective and
we're going to concentrate here on Divine Proportion.
| | 01:10 | So once again, I am going to use the image that we
used earlier here in Chapter9 the lighthouse image,
| | 01:16 | and I am going to size it here so that it fits on the
screen and like the Layout Grids in the Property Bar,
| | 01:24 | if you click on eye that enables the Divine Proportion
set of overlays that you can use to work with an image.
| | 01:34 | You can see this image.
| | 01:35 | I played around with it and have cropped it to
utilize these particular power points located
| | 01:43 | within Divine Proportion rectangle as a
means of placing where this lighthouse is.
| | 01:51 | So by placing it on there even with the grid off, by putting
it in there that puts this in a compositional arrangement
| | 01:59 | that helps this image have an attractive sense to many eyes.
| | 02:04 | The other thing that I did is I actually cropped
this image so that it is in the proportion
| | 02:10 | of the golden rectangle of Divine Proportion.
| | 02:13 | Now, if you want to get to the Divine Proportion palette.
| | 02:18 | Go to the Window menu and right here is Show Divine Proportion
and this let's me play around with the arrangement of it.
| | 02:26 | For example, you can flip it into different angles,
so that you can look at it and see how areas
| | 02:33 | of a composition may or may not match up to it.
| | 02:36 | You can also use this not from the standpoint of an
existing image and trying to crop it in such a way
| | 02:41 | that it matches the power points in a golden rectangle, but you
can also start from a blank canvas and use these lines as a way
| | 02:50 | to paint and place compositional elements within that painting.
| | 02:55 | You can also it in a vertical sense to a
portrait mode and this just gives you a lot
| | 03:00 | of flexibility over how you set this up and work with it.
| | 03:05 | So Divine Proportion is a classic layout tool and it
just really helps you organize things in such a way
| | 03:12 | that you can end up with a pleasing composition.
| | 03:15 | So Divine Proportion, great, classic, compositional tool.
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| The Perspective Grid| 00:00 | The third tool in our trio of Compositional
Aids is Perspective Grids.
| | 00:05 | And Perspective Grids are a great way
to have a sense of three-dimensionality
| | 00:11 | within what is really a two-dimensional space.
| | 00:13 | A drawing or a painting is flat, it's not three-dimensional,
however through the ages, many artists have portrayed a painting
| | 00:24 | or a drawing, as if you are looking
into a three-dimensional space.
| | 00:28 | So in order to convincingly convey that you need to
understand that laws and the rules of Perspective.
| | 00:35 | Fortunately, these can be encoded into a grid layout
and Painter has that tool available to you to use to set
| | 00:45 | up a three-dimensional space on what is really a 2D flat plane.
| | 00:50 | So I am going to create a new image here to start with.
| | 00:55 | The first thing you need to know is
how do you get to Perspective Grids.
| | 00:59 | What you need to do is go to the Canvas menu and right
here Perspective Grids, we're just going to say Show Grid.
| | 01:06 | So now we have Show Grid enabled.
| | 01:10 | The other thing you might want to do is go in here
and you can see that once again this fly out menu is
| | 01:15 | where the Compositional Aids are located, the grid seems
to be receding into space is the Compositional tool
| | 01:23 | that it will give you these cursors,
so that you can arrange this.
| | 01:26 | The first thing you need to understand is this
is what's called a single point perspective.
| | 01:31 | All of these lines are receding to some point
on a horizon, and this is our horizon line.
| | 01:41 | So the first thing I could do is I can set the horizon line.
| | 01:45 | So if I want to look like I am going off into the desert,
a very low horizon line will give you that effect.
| | 01:51 | However, if you are in San Francisco
and you are looking up a steep street,
| | 01:55 | you are going to have a high horizon line
associated with that kind of composition.
| | 01:59 | The other thing that here is this little single line
that's along the horizon line, this is the vanishing point.
| | 02:06 | This is the point which all of these grid lines are receding
too and you can click when you see this four-way arrow,
| | 02:13 | you can use this to place both the horizon
line and vanishing point anywhere you want.
| | 02:19 | Now there is more control you can have over this,
however in this is 100% view we are not seeing all of it.
| | 02:25 | So I am going to use my Command or Ctrl and
minus key so you just zoom out a little a bit.
| | 02:31 | And what you'll see is there is actually more going on here.
| | 02:34 | For example I can grab the nearest plane of my
ground plane here, and I can adjust it well.
| | 02:41 | As well I can also go here and adjust this
vertical plane, oh it's almost like a wall,
| | 02:47 | that is again receding into the horizon
line and the vanishing point.
| | 02:53 | So the controls that you have then are you can adjust these
frontal planes of each the vertical and the horizontal.
| | 03:00 | You can adjust the horizon line and
you can adjust the vanishing point.
| | 03:08 | So a combination of all of these gives you a pretty
powerful set of tools to create any orientation
| | 03:15 | of a single point perspective that you would like.
| | 03:18 | So the Perspective Grid is a really good tool particularly
when you are first learning to draw and perspective-
| | 03:26 | and just to have this visual aid available, to be able to set
it up and then use it as reference as you rough in your drawing
| | 03:34 | or painting can go a considerable way to help
you avoid perspective mistakes that can occur
| | 03:41 | and our eyes are very trained looking at
perspective because that's how we view the world.
| | 03:46 | So when we see errors in Perspective particularly
in art, the brain pick up on it pretty quickly,
| | 03:51 | they will notice something is not quite right.
| | 03:53 | So by using this grid you will construct a convincing
sense of three-dimensionality on a 2D plane.
| | 04:00 | So take advantage of the Perspective Grid system within Painter.
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|
|
10. Working with LayersThe benefits of working with layers| 00:00 | When you first start using Painter, one of the
common things that happens and it's just part
| | 00:04 | of the beginning elementary steps that one takes.
| | 00:07 | You'll find that you generally are painting on the canvas.
| | 00:11 | There is nothing wrong with that, however Painter
does have layers and you can paint on layers.
| | 00:19 | So once you understand the concept of layers
and start using them, you'll never go back,
| | 00:24 | because you can use it as what I call a safety net.
| | 00:27 | When you start working in a layered painting environment,
you'll find that an element that needs to be changed,
| | 00:33 | that's on an independent layer, doesn't
means starting over again.
| | 00:36 | You can just go back to that layer and either move it or repaint
to that element, but Layer Painting is an advanced forward
| | 00:45 | in your production and work flow that enables
you to have a correctibility built in to an image
| | 00:53 | and in the next few movies here, I am going to go
through some of the just basic concepts that revolve
| | 00:59 | around using layers as a way to build up a painting.
| | 01:04 | To start, I am going to show just some of the
basic understanding of how you can control layers.
| | 01:10 | So I am going to go to the exercise files
and we'll go to the chapter 10 here.
| | 01:15 | And I am going to go to the one called layer painting.
| | 01:19 | This is just a painting, I constructed earlier
that is actually built up of multiple layers.
| | 01:25 | When you work with layers, you need to be in the
right tool and the tool that is the one we want to be
| | 01:31 | in here is what we call the Layer Adjuster
tool, similar to the Move tool in the Photoshop.
| | 01:36 | I am going to click on that and the first thing I
would like you to do because it just by default,
| | 01:40 | it's not turned on, but I can't see working any other way.
| | 01:44 | You want to turn on Auto Select Layer.
| | 01:47 | What that does is when I click on any layer element, it
immediately selects it for me, otherwise I would have to go over
| | 01:54 | and pick it out of the layer palette list
and it's far easier just to visually click
| | 01:59 | on a layer and select it and be able to work on it.
| | 02:03 | We are going to be working in the Layer palettes.
| | 02:05 | I am going to do a little description here for you as well.
| | 02:07 | We'll go into greater detail about some of this, but what
we'll focus on at the moment is the Layer palette list itself.
| | 02:14 | You always have to have a Canvas in Painter, there is no
way to not have a Canvas in Painter, so that's always there.
| | 02:20 | OK, and then as you create layers you
can control them, you can name them.
| | 02:25 | Naming is just a matter of double-clicking,
that brings up the layers attribute box
| | 02:30 | and then in this name field, you can type in a name.
| | 02:33 | I recommend organizing your layers and naming them.
| | 02:36 | It's very easy to quickly create them and
you can just have a whole rats nest of layers
| | 02:41 | that it's difficult to know well which one is which.
| | 02:43 | If you get into the habit of naming them as
you make them, it's far easier to just look
| | 02:48 | over here and know where layers are oriented.
| | 02:51 | Another little hint I am going to give you that is not obvious
in Painter is you can expand and contract this layer list.
| | 02:59 | The way you have to do it is you take your cursor
and you go down right here towards the bottom,
| | 03:03 | you see how that icon is now changing when I get there.
| | 03:06 | When it's in that mode I can click and drag this and
open it, I am limited by the resolution of this monitor,
| | 03:13 | but depending on your monitor resolution
you can stretch this out as long you like.
| | 03:17 | It's not an obvious thing, there is nothing to indicate you
that this is going to happen, but it's important to note that
| | 03:23 | and in any palette in Painter that does have a list area like
this that particular mechanical behavior is built into it.
| | 03:31 | So what we're going to do here is, we're just going
to rearrange our plate here of cheese and grapes.
| | 03:37 | I am going to click and notice right now cheese is up here.
| | 03:40 | I am going to click on it here, see
how it's automatically selected.
| | 03:43 | That means I can now pick it up and move it around.
| | 03:46 | What I am going to do is, I am going to place
it over here on the left and I am going to click
| | 03:51 | and grab the grapes and move it over here on the right.
| | 03:53 | Hey! We have just changed this composition,
but look here is a problem.
| | 03:57 | See what's happening because of their layer order, we no longer
have that illusion that the grapes are in front of the cheese.
| | 04:05 | So if we look in the Layer palette list, you'll see cheese is
higher up in the hierarchy of these layers that are all resting
| | 04:13 | on top of one another, and this is
an analog to how they are arranged.
| | 04:17 | The top most layer is the cheese layer, all the
way back down to this background layer right here.
| | 04:23 | And what I need to do is I need to swap out these
two and all I have to do is just click and drag
| | 04:29 | and I could do this either click and
drag the cheese and take it down a layer
| | 04:32 | or click and drag the grapes and bring it up a layer.
| | 04:35 | See now I have altered the layer order, and that makes
it possible now to make this illusion look correct
| | 04:42 | for this orientation of these pair of layers
so that the illusion of debts is preserved.
| | 04:48 | So you can click and drag these elements to arrange
them in any order you want and it's very important
| | 04:54 | as I said, be sure you select Auto Select Layer.
| | 04:57 | Even if you are not going to move a layer, if I just want to
work with a layer like this Checkerboard layer, I can click on it
| | 05:02 | and it's instantly selected and then that
enables me to either paint further on that layer.
| | 05:08 | Or if I do want to adjust it I can, but the ability to just click
on any layer element and pick it up and move it, is very nice.
| | 05:15 | Don't forget, if I do completely move things around, I can always
use my Undo to get back to setting this up the way I want it.
| | 05:23 | So you can see here Painter by default 32 levels
of Undo and we'll be talking about that later.
| | 05:29 | But that gives you the ability to change things
around, and yet back to where you were earlier.
| | 05:35 | The key concepts for you to understand is that the Layer
Adjuster tool has this Auto Select feature in it and you want
| | 05:41 | to take advantage of that and you also can
organize and place things wherever you want them.
| | 05:48 | This is rather nonsensical, but you can see how you can quickly
adjust the layer order very easily using the Layer palette list,
| | 05:57 | and just clicking and dragging the
layers within the list to place them
| | 06:01 | where you want them in the order that you want to work with.
| | 06:04 | So that's the first part of layers.
| | 06:06 | We'll talk about it little more in the next couple of movies.
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| Creating and deleting layers| 00:00 | In this video we are going to take a look
at some of the basic mechanics of layers.
| | 00:04 | So you know how to create and delete them and maybe a
couple other more things as we were going through it.
| | 00:09 | The first thing you need know is how to create a new layer.
| | 00:13 | It's typical in Painter and even Photoshop there are multiple
ways to do this and just depending what kind of a person you are,
| | 00:20 | one of these methods will probably
appeal to you more than the others.
| | 00:24 | The first way to do it would be to go Layers palette
itself and go here and you can just do New Layer.
| | 00:30 | So I will create a new layer.
| | 00:31 | I am just going to click on it and you can see a new
layer has now been created over in our Layers palette.
| | 00:37 | You will also notice up there that the keyboard shortcut
Shift+Command+N or Ctrl+N also will create a new layer.
| | 00:45 | So I am going to create another new layer using that method.
| | 00:47 | So I am using Shift+Command+N or Ctrl+N
and now I have created a new layer.
| | 00:52 | The third way to do it is right in the Layers palette itself
and this third icon from the left is the New Layer icon
| | 01:00 | and by clicking on that you create once again a new layer.
| | 01:03 | So you have got either a menu-based technique,
| | 01:06 | a keyboard shortcut based technique or
a icon in the Layers palette technique.
| | 01:12 | Anyone of these will create a new layer for you.
| | 01:16 | Now how do I get rid of a layer?
| | 01:19 | Now in Photoshop you can click and drag a layer
to the Trash, you can't do that in Painter.
| | 01:25 | So don't try to do that and if you do all you are going
to be doing is moving the layer in the Layer palette list.
| | 01:30 | You can exercise it all the way down and delete it.
| | 01:33 | So there are a couple of ways again to do it.
| | 01:36 | You can select the layer you want to delete
and you can either go up to the Layers palette
| | 01:40 | and you can go here and you can say Delete Layer.
| | 01:43 | So I have just deleted that layer.
| | 01:44 | Or I can select the layer and once again
the icon-based way to do it is to click
| | 01:49 | on the Trash Can at the bottom and that deletes a layer.
| | 01:53 | So now you know how to create and delete layers.
| | 01:56 | Another thing that I see in classes a lot,
people want to know how can I duplicate a layer.
| | 02:02 | Once again in Painter, there are multiple ways to do that.
| | 02:05 | I am going to paint on this layer just a little
bit so we can observe what's happening here.
| | 02:08 | So, this is a layer, I am creating some artwork on a layer
and if you remember earlier if I go to Layer Adjuster tool
| | 02:18 | and I recommend having this Auto Select turned on.
| | 02:21 | I can now pick this up and move it round.
| | 02:24 | A lot of times people want to know how can I duplicate a layer?
| | 02:27 | There are a couple of ways to do it in Painter.
| | 02:29 | One technique is very different than Photoshop.
| | 02:31 | In painter I can use either my keyboards shortcut
or go up to Select here, and say Select All.
| | 02:40 | If we are back out of our image, I am using my keyboard shortcut
Command- or Ctrl-, you could see that I have selected everything.
| | 02:48 | If I then copy which could be either the command in
the Edit menu or Command+C or Ctrl+C and if then paste,
| | 02:57 | which would be either the Paste command or Command+V
or Ctrl+V, I have just created a duplicate layer.
| | 03:05 | So that's one way you can create a Layer and that
is a little bit different behavior than Photoshop.
| | 03:11 | So I am not going to delete this by clicking on the Trash Can.
| | 03:15 | We are now down to one layer again.
| | 03:17 | The other way to do it is just to
target the layer you want to duplicate,
| | 03:20 | go to Layers and say Duplicate Layer and
that also creates a second layer for me.
| | 03:26 | So you have got a couple of ways to duplicate layers here.
| | 03:29 | Some people tend to be menu oriented, some are
keyboard shortcut oriented and some are icon oriented.
| | 03:34 | So you have got different ways to do
these various types of activities.
| | 03:39 | So those are just some very basic layer concepts and maybe
the last one I will leave you with here is an important one is
| | 03:45 | when a layer is selected you can use the Transparency
slider here to adjust the Opacity of the targeted layer.
| | 03:54 | One thing you might want to also understand here is that besides
using the slider itself, this is another Photoshop type control,
| | 04:03 | I can control the transparency of a layer
numerically by using the 1 through 0 keys.
| | 04:09 | The 0 key will represent a 100%.
| | 04:12 | Now I will press on the 1 key and this only works when you are
in the Layer Adjuster tool but as I go up through the numbers
| | 04:19 | where you could see I can increase the value of the opacity
of this layer in 10% increments by using the number keys.
| | 04:26 | So that's another way to quickly
adjust the transparency of a layer.
| | 04:32 | So adjusting transparency is another feature that
gives you a way to modify or change the expression
| | 04:39 | of a particular layer element that you maybe working on.
| | 04:43 | So those was some basic controls with layers and in
the next couple of videos I am going to talk a bit more
| | 04:49 | about how painting on layers can be controlled in various ways.
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| Using the Preserve Transparency function| 00:00 | Something that's built into Painter's layers
and then there is a similar concept in Photoshop
| | 00:05 | as well is the ability to preserve transparency on a layer.
| | 00:10 | Sometimes this is a bit difficult for people to wrap their heads
around when you are trying to figure out what does it mean?
| | 00:17 | I just create a layer here by clicking
on my New Layer icon at the bottom
| | 00:21 | of my Layers palette and I am just going to paint in it here.
| | 00:24 | Let's just paint a shape, so it's just something.
| | 00:28 | When you paint in Painter or in Photoshop for that matter,
everything in this layer is transparent until you paint on it
| | 00:38 | and something that's called a visibility mask is created at
the same time, you are painting the pixels that make the color.
| | 00:45 | So there are two levels of information here.
| | 00:48 | There's the color but there is also a visibility mask, which is
hidden from the user and yet it's what makes these pixels visible
| | 00:57 | and they are turned on so that you can see
the color that you have applied to the layer.
| | 01:02 | Whatever I have not painted, there is no visibility mask.
| | 01:06 | Therefore everything is transparent.
| | 01:08 | With this preserve transparency ability I can enable Preserve
Transparency and what that does is, it says lock off any area
| | 01:18 | of a layer that is transparent and
don't allow it to be addressed anymore.
| | 01:24 | So see I cannot paint in here anymore.
| | 01:27 | However I can paint inside the non-invisible
areas, where it's non transparent.
| | 01:34 | So what this does is, it enables
something I call poor man's masking.
| | 01:39 | This is just knowing that painting on a
layer and using Preserve Transparency,
| | 01:43 | any shape that you create on a layer
and this is a movable element.
| | 01:48 | I can now take advantage of Preserved
Transparency to modify what I have done here.
| | 01:54 | For example if I just want to change the color maybe I
have decided really I wanted some green in that area,
| | 02:00 | well as long as Preserve Transparency is
enabled, I can take my Fill tool for example
| | 02:05 | and just fill that area and nothing else will change.
| | 02:09 | So it's a great way to edit or adjust
an area of an image that is on a layer
| | 02:15 | and this is another reason why layer
painting can be very powerful.
| | 02:18 | Because I can now edit this layer by actually
locking off the transparency and treating it
| | 02:26 | as if it were a mask to work within this area.
| | 02:28 | For example let's go down to Sponges.
| | 02:32 | I'll take the Sponge tool here and just take a
different color, maybe like this and this is showing,
| | 02:37 | the cursor represents what the brush dab is, I am just going
to click on this to just put a sponge texture into there.
| | 02:45 | So once again with Preserve Transparency on, I can do that.
| | 02:49 | If it's turned off this is what will happen.
| | 02:51 | See I am able to paint anywhere on the layer, I am no
longer preserving that particular area of the image.
| | 02:58 | Now if I turn it back on however anywhere that I have painted
| | 03:01 | which is this sponge pattern, now
it's a mask as well as a painted area.
| | 03:06 | So I can go in here take a different color and
just using even the same tool wherever it's finding
| | 03:12 | that color it's allowing me to paint on it.
| | 03:15 | It's just a very powerful tool.
| | 03:18 | I'll create another level of layer here.
| | 03:21 | One thing you need to know though too, this
is a little different behavior than Photoshop.
| | 03:25 | Photoshop treats transparency on a layer by layer basis.
| | 03:29 | So you can have some layers with their
transparency lock on and others off.
| | 03:34 | In Painter it's universal.
| | 03:36 | It's applying to all or none.
| | 03:39 | So if I want to paint on a layer I need to make
sure that I have disabled Preserve Transparency.
| | 03:44 | We'll just do yet another brush marks here.
| | 03:49 | I'll enable Preserve Transparency and take a contrasting
color and paint it again, maybe a little darker.
| | 03:58 | But this is on a separate layer.
| | 04:01 | Now I am actually picking up the one behind.
| | 04:02 | Here is the one in the foreground.
| | 04:04 | So again remember with Autoselect layer on whatever
you click on in terms of the color so some visible part
| | 04:11 | of a layer you can pick it up and move it around.
| | 04:14 | I am going also show you while I am
here because this is another useful tool
| | 04:18 | that you can use and this is again very similar to Photoshop.
| | 04:20 | If I am in a brush and I want to temporarily switch to the
Layer Adjuster tool, rather than going up to my Tool palette
| | 04:29 | and getting the Layer Adjuster all I have to do is hold down the
Ctrl or Command key and that instantly makes that tool available.
| | 04:37 | So I can just hold down that Command
or Ctrl key and be able to pick it up.
| | 04:42 | You see another feature here too and that is I can click
and drag and select multiple layers and move them around.
| | 04:49 | So that's another thing you can do, but Preserve Transparency,
when it's on takes any visible elements on a layer
| | 04:57 | and masks them temporarily, so that you
can paint or apply effects or anything
| | 05:03 | to that layer and it will only change what is visible.
| | 05:06 | As soon as you disable Preserve Transparency it's once
again a paintable layer where you can paint anywhere.
| | 05:13 | So Preserve Transparency and I could say
I think of it as a poor man's masking.
| | 05:18 | You don't need to understand any complex masking techniques other
| | 05:22 | than enabling Preserve Transparency
to work on selected areas of a layer.
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| Using the Pick Up Underlying Color command| 00:00 | In this video we are going to take a look at a concept in Painter
that is known as Pick Up Underline Color and it's a checkbox
| | 00:08 | that is actually found in the Layers palette.
| | 00:11 | This is a very important checkbox in Painter.
| | 00:15 | In fact I will go so far as to say
it's one of Painter's fulcrum points.
| | 00:18 | Knowing about this and what it does
is very powerful knowledge to have.
| | 00:24 | To demonstrate this I am going to pull up a
sample image here that's in the exercise files.
| | 00:28 | We will go to Chapter 10 and pick up color
and I am going to create a new layer.
| | 00:35 | I am going to just do a couple of test strokes here, I am going
use a brush from the Oils called Smeary Round and I am going
| | 00:43 | to do this to first of all show a condition that some people
run into in Painter and they cannot figure out what is going on.
| | 00:51 | I'll show it to you and then I'll explain, what is going on and
then we will see how powerful Pick Up Underline Color can be.
| | 00:58 | So here I have got a color and I am using a dark blue, I am going
to draw and look what's happening, if I press down hard enough,
| | 01:08 | I am getting the shade I want but for some reason I am getting
white and that's not expected behavior at all and this happens
| | 01:17 | when you are using Painter on layers and you haven't
quite figured out everything that's possible with layers.
| | 01:23 | What's happening here is Painter has not been
told to pick up underline color and if it has not,
| | 01:29 | then it has to manufacture color and
as a default it just goes to white.
| | 01:35 | So right now it doesn't know about the colors underneath
but what should happen if we turn Pick Up Underline Color,
| | 01:42 | is this brush at very light pressure
actually picks up and moves paint around.
| | 01:47 | If I select all and delete on a layer what happens is it deletes
all the content from the layer but leaves the layer there,
| | 01:54 | so that is a quick way to eliminate all the paint on a layer.
| | 01:58 | I am going to draw now with Pick Up Underline Color turned on
and you will see here that it's smearing that underline color.
| | 02:05 | I picked the Smeary Round because it
happens to be a brush that uses pressure
| | 02:10 | to change the character of the brush as you add pressure.
| | 02:14 | At low pressure, all it does is basically
smear any underline paint it finds.
| | 02:21 | As I press down harder and harder it
imparts the current color into it.
| | 02:26 | So for example, if I go to some other color now once
again I am largely smearing both the underline color
| | 02:32 | and in this case the color that's on the layer as well.
| | 02:35 | But as I press down harder and harder,
it becomes more and more that color.
| | 02:40 | The illusion here is that, it's like an Oil
Painting brush at a very light pressure,
| | 02:44 | you are primarily using the brush
to just kind of move paint around.
| | 02:48 | Increasing pressure puts the color on the brush on to the canvas.
| | 02:52 | What's interesting about all of this is that Painter
treats layers almost as if you working on a flat painting.
| | 03:00 | So if I click on another layer here and let's just
take another brush to kind of show the variations here.
| | 03:06 | I am going to take in the Artist's Oils
here just the Wet Brush, that's fine to use.
| | 03:11 | Once again it's going to paint with color but then it runs out
and notice how aggressively it's now smearing all this around.
| | 03:19 | So the illusion at least right now appears as if I am
just painting on a flat canvas and like a real canvas
| | 03:27 | in real life you are smearing all of these paints together.
| | 03:31 | But look these are on layers and what that means is if I click
on this and pick it up and move it, you see- now out of context
| | 03:39 | when this is in the wrong location, it doesn't make sense.
| | 03:42 | But if I undo, in place this looks
exactly as if it were a flat oil painting.
| | 03:47 | In fact here is this other layer
and I can move it around as well.
| | 03:52 | So these are literally multiple layers of paint
and even the smearing which appears to be occurring
| | 03:59 | on a flat image is literally on multiple layers.
| | 04:03 | Now that really means a lot because what it does is, as I
mentioned earlier, I can turn this layer off and if I want
| | 04:11 | to adjust or do something to this layer like turn it off, I
can and still have my existing layer above it, still turned on.
| | 04:20 | If I turn it on however you will see that it appears
concurrent with any of the blending activity that's going
| | 04:26 | on with the colors beneath it and even
with the colors in the layer above it.
| | 04:30 | You can have two dozen layers here if you wanted and
every time you add a new layer and paint and smear,
| | 04:36 | it's going to treat all the colors that
it finds underneath of it because Pick
| | 04:41 | Up Underline Color is turned on, as if it was just a flat canvas.
| | 04:46 | There is no performance penalty imposed on your brushes.
| | 04:50 | It's not like the more layers it has to
understand, that there are colors underneath
| | 04:54 | of them, it just begins to slow your brush down.
| | 04:57 | That doesn't happen at all.
| | 04:58 | So layer painting opens up a pretty amazing possibility in
terms of building up an image in layers and still maintaining it
| | 05:07 | as if it apparently looks like a single flat image.
| | 05:12 | It's kind of an Alice in Wonderland possibility, that's just
not doable in traditional media, and that's one of the gifts
| | 05:19 | of computing painted environment like Painter offers.
| | 05:23 | All of a sudden things that were not possible
in the real world of paint, become doable here
| | 05:29 | and so it's a very interesting possibility that you can now paint
on layers and still preserve the illusion of a flat painting just
| | 05:39 | for the editability and the malleability of the imagery
that you are working on and I would say this to under 99.9%
| | 05:47 | of the circumstances you want Pick Up Underline Color turned on.
| | 05:52 | On my system it's on all the time.
| | 05:54 | I can't even think of a reason right
now why I don't pick up underline color.
| | 05:58 | You want it on.
| | 05:59 | By default Painter comes with it shut off.
| | 06:02 | So a couple of check points when you are working in layers.
| | 06:06 | Be sure when you are in the Layer Adjuster
tool you always want Auto Select Layer enabled.
| | 06:11 | Now I'll show you one reason why I might not want it on.
| | 06:15 | I am going to disable it and whatever layers happens to be
selected is what it will think that it is supposed to move.
| | 06:22 | I am going on the click on the underline layer and click
and drag and see how I can easily pick that up and move it.
| | 06:29 | I may not be able to tell in this blended
environment where that underline layer even is.
| | 06:35 | So by temporally turning off Auto Select Layer, targeting
the layer that I want to move regardless of where it is
| | 06:42 | in the stack, it gives me a way to pick up and move it.
| | 06:46 | This becomes even more powerful as you build up
more and more layers because it can be difficult
| | 06:51 | in this layer painting environment to really just know what
layer contains what color or content on it and that ability
| | 06:58 | to shut off Auto Select Layer occasionally to
select the layer and then move it with that regard
| | 07:04 | to actually clicking on a visible part of it, is a useful tool.
| | 07:07 | But normally you want that turned on and the other thing
you always want turned on is Pick Up Underline Color
| | 07:13 | and finally remember that Preserve
Transparency is universal in Painter.
| | 07:19 | Something that can happen is, you can have a layer that you
have created, I will put it at the top here and I select a color
| | 07:25 | and I go and I want to start painting and nothing happens.
| | 07:29 | If you are unaware of the fact that Preserve
Transparency won't let you paint on transparent pixels
| | 07:37 | which this entire layer is made up of now, you can get very
frustrated because you don't know why this is not working
| | 07:43 | and one of the first things I tell people,
when they say, I am not painting at all, I say,
| | 07:48 | look over in the Layers palette,
is Preserve Transparency turned on?
| | 07:51 | They will go, oh yeah it is.
| | 07:53 | Disable it, now paint.
| | 07:55 | OK, now it's working.
| | 07:57 | So Preserve Transparency, you normally want turned off.
| | 08:01 | You will only turn it on when you want do this masking technique
to use the already existing color on a layer as an area
| | 08:08 | that you want to touch up or address and nowhere else.
| | 08:12 | But it is easy to sometimes do some work like that
and accidentally leave Preserve Transparency on,
| | 08:17 | then you are suddenly in the state where I can't paint.
| | 08:20 | Most of the time if someone's just
inadvertently turned on Preserve Transparency
| | 08:24 | or forget to turn it off after they have used it.
| | 08:27 | So those were some little tricks you can do with these
various tools in the Layers palette that can offer a lot
| | 08:34 | of power and also eliminate lot of frustration.
| | 08:36 | Once you understand how they work and when they are
supposed to be on and when they are supposed to be off.
| | 08:41 | So good luck getting into layer painting.
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|
|
11. Mastering Cloning TechniquesCloning basics| 00:00 | Cloning is a technique that takes advantage of a Source and
a Destination and in the case of applications like Painter
| | 00:08 | and Photoshop, we are talking about
source imagery and destination imagery.
| | 00:13 | In specific to Painter, one of the things that it
does is it actually uses an entire image as a source
| | 00:21 | and uses the relationship between it and a destination image
| | 00:25 | which the Active Cloning creates to
do some very sophisticated things.
| | 00:29 | Painter is very well known for being able
to take a source image like a photograph
| | 00:35 | and translate it into an image that appears painted.
| | 00:39 | What's happening, this is literally funneling that photograph
through the medium of whatever the brush is, whether it is chalk
| | 00:46 | or oils and it reconstitutes the image using
the character of that particular brush,
| | 00:53 | whether it is strokes or chalk-marks with texture in it.
| | 00:57 | What happens is it utilizes this information
from the source to the destination
| | 01:02 | and you will hear me say this several
times throughout the cloning videos.
| | 01:07 | There always is a source image that's
relating to the destination image.
| | 01:12 | So, source and destination images are a unique relationship
and here's what's happening, the source image is being sampled
| | 01:21 | for color and wherever this brush that's on the
destination image happens to be in the destination image,
| | 01:28 | beneath it the source image is being sampled for the color
in exactly that area that color then goes through the brush
| | 01:36 | and whatever types of characteristics that brush
applies, it is no longer respecting the Color palette,
| | 01:43 | it is instead using these source colors to
feed it through the brush to paint with it.
| | 01:50 | So, you can do this either by hand or it can be
done automatically, but the goal of Cloning is
| | 01:56 | to use this unique relationship and capitalize
on it by borrowing this color set down here.
| | 02:02 | You can almost think of the source image as a Color palette
and the brush is automatically picking up the colors
| | 02:09 | from this palette in exactly the right place
and placing them in the destination image
| | 02:14 | in concert their location on the source image.
| | 02:17 | So, this source and destination image relationship is
something that is at the heart of how Cloning works in Painter.
| | 02:25 | As I said, you will hear me talk about those two terms, it's
good idea to think of them this way because it keeps it straight
| | 02:31 | in your mind, where is the color and the
imagery coming from and where is it going to.
| | 02:36 | So, Source and Destination, very important.
| | 02:39 | Now, we are going to take a look at
actually creating a Clone document.
| | 02:44 | OK, now we are in Painter, I am now going to show
you the process that takes place to create the source
| | 02:50 | and destination relationship between two images.
| | 02:53 | So, to do that we are going to start with a file.
| | 02:55 | I will go over to my Exercise Files here in Chapter11
and there is a image here called antique_center.
| | 03:02 | Well, I am going to open that up, get rid
of this and I have now got an open image.
| | 03:08 | When this image is opened, it now - and any image that's opened
can become the source image for a clone image relationship
| | 03:17 | and to do that, I am going to go to the File menu
and you will see there is a couple of commands here.
| | 03:21 | Clone is the older legacy command, you can use it as certainly as
well, but Quick Clone is probably the preferred way to do it now
| | 03:29 | and we talked about this a bit in the Setting Preferences
Chapter to explain how you can set these different parameters up.
| | 03:36 | But basically, I am going to use Quick Clone here to make a
copy and in fact that's what it looks like we have right now,
| | 03:42 | it looks like they are exactly the
same and at this point, they are.
| | 03:46 | It is just that notice the new image,
says Clone of antique_center.
| | 03:51 | This is the Destination image, this is the Source image.
| | 03:55 | So, the active creating that clone has now setup this source
and destination relationship between these two images.
| | 04:03 | To make this even a little clear here, I am going to select
all, Command or Ctrl+A and hit my Delete or Backspace key.
| | 04:11 | Taking that away does nothing to change relationship between
these two documents and I am also going to go into Artist's Oils
| | 04:18 | for example and this is the Brush that I have
been using in different demonstrations here.
| | 04:23 | What I am going to do though is one other
thing and that is in the Colors palette.
| | 04:28 | You will see this little rubberstamp icon.
| | 04:30 | This is the Clone Color icon, notice normally the Color palette
looks just as it does, watch what happens when I click this.
| | 04:39 | You see how this is great out now, what we have just
done is told Painter to ignore the Color palette
| | 04:46 | and instead treat whatever Destination image is and place as if
it were the Color palette that's our brush is going to work from.
| | 04:53 | So, when I paint now, it will just do this side
by side, so you could see what's going to happen.
| | 04:58 | As I start to paint, the colors are coming from that
underlying image and just the painting on the brush
| | 05:07 | that you use will take another brush like Chalk for example
and I am going to change it into a Cloning Brush once again.
| | 05:13 | You can turn this on and off whenever you want, but
this is a very, very powerful feature in Painter,
| | 05:19 | because you can literally turn any
brush in Painter into a Cloner.
| | 05:23 | So, now I have got the Square Chalk and we will just do a little
bit here, but you can even see the source point being selected
| | 05:30 | from there and I am now painting with chalk, but it is chalk that
magically, seemingly gets its color from the underlying image.
| | 05:41 | So, right away you have got this powerful tool to take
any brush in Painter and translate it into a Cloner.
| | 05:49 | So, that's one of the really neat
features about how Painter works.
| | 05:53 | I am going to show you one final thing here, we are
going to go ahead and delete what was the source image.
| | 05:58 | So, now I have got a regular image, but I want to show
you what can happen, because this does throw people off.
| | 06:04 | I am going to paint now, but this is no longer the
image, but somewhere Painter is seemingly getting color.
| | 06:12 | Where is this color coming from?
| | 06:15 | This mystifies a lot of people and I am
going to show you up in the File menu.
| | 06:20 | If we go down there is another entry here, Clone Source.
| | 06:23 | It shows me where my current clone source
is and it happens to be the current pattern.
| | 06:29 | Here is a thing about Painter, you need to understand.
| | 06:32 | There is always a Clone Source happening somewhere in Painter.
| | 06:36 | When there is no other image opened as in
this case, it becomes the current pattern.
| | 06:42 | So, if we go over here and we go and take a look in the
Patterns Library and I will launch the palette here,
| | 06:50 | you can see that what we are looking at is this.
| | 06:55 | This is the Clone Source right now, it is a pattern called
Hens & Chicks and it just happens to have these colors in it
| | 07:02 | and when Painter has no clone source assigned to
it through the act of using the Cloning Command,
| | 07:08 | it will automatically reference the current pattern.
| | 07:11 | For example, if I change it to another pattern,
you see now that's where the color comes from.
| | 07:16 | But hopefully, this clears up the mystery
of the unknown colors for anybody who tries
| | 07:21 | to figure out, "Why am I painting with some color?"
| | 07:23 | by default there will always be this Hens &
Chicks because it is the first one in the list.
| | 07:28 | But that's where it is coming from and if you ever can't figure
out, where your color is coming from, go to the File menu,
| | 07:33 | look under Clone Source and whatever
is checked, it will tell you.
| | 07:36 | Again, this is the situation when
there is just the image that is opened
| | 07:40 | or I guess the clone image is now open and the current pattern.
| | 07:44 | So, that's really the only place it can get the color from.
| | 07:48 | So, these are just the basics of Cloning and
understanding this Source and Destination relationship.
| | 07:54 | Just keep in mind, that even if you have
never established a source relationship,
| | 07:59 | whenever you turn on the Use Clone Color button or
any Cloner from say the Cloner catagory in Painter,
| | 08:06 | it will automatically assume that the
Clone Source is the current pattern.
| | 08:11 | So, just a heads up to let you know that this is something
that will happen occasionally and knowledge is power.
| | 08:17 | So, the best thing you can do is go check right here,
| | 08:19 | see what's your current Clone Source and
that will clear the mystery up for you.
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| Using Tracing Paper| 00:00 | So, we have been looking at the relationship
between source and destination documents
| | 00:05 | which is what happens when you clone an image in Painter.
| | 00:09 | We iterate here that trying to keep track of them, the best way
to do it is always think of the original as your source image
| | 00:16 | and think of the cloned image as your destination image.
| | 00:19 | It just makes it a little clear what's
happening in the relationship between these two.
| | 00:24 | Well, Painter has a few more tricks up its sleeve in terms of
what it can do with its source and destination relationship
| | 00:32 | and we are going to look at another one now and
I am going to open up a file here in Chapter 11
| | 00:37 | which is the antique_center image and we
will clean this out from our background.
| | 00:43 | So, I have now got a source image, at this point it
really isn't a source image, it is just an image.
| | 00:49 | But any image is a latent source image to be,
should you choose to use the Cloning Command.
| | 00:54 | So, I am going to do one thing in advance, because what we are
going to be talking about here is tracing paper and the idea is
| | 01:02 | that you can treat the destination document as if it were
a sheet of tracing paper and for those of you out there
| | 01:08 | who in grade school never could draw but used tracing paper,
well glory be here is Tracing Paper and Painter just for you.
| | 01:15 | Now, to use Tracing Paper and just kind of making it an automatic
process, if you go into preferences as I have done here,
| | 01:22 | you will see in the Quick Clone section,
there are some options here,
| | 01:25 | which you want to have to setup as, as like I have got it here.
| | 01:28 | I want to delete the image from the Clone because
I want it to be a blank sheet of Tracing Paper.
| | 01:32 | I want to turn on Tracing Paper, so that it
automatically is setup, so I can see the underlying image
| | 01:37 | and I don't want to switch to Cloner Brushes or anything.
| | 01:40 | So, you want these first two options enabled.
| | 01:44 | So, let's go ahead and say OK.
| | 01:45 | And now, I will go ahead and I will use Quick Clone and boom!
| | 01:48 | There I have a destination image, but it is semi-transparent
and allowing me to see the source image underneath of it,
| | 01:56 | in fact if we go up to the upper right
corner here, this is the Tracing Paper toggle
| | 02:01 | and if I click on it, you see now it is opaque.
| | 02:05 | So, this is just like a normal sheet of paper, when you click
that toggle, it is almost as if you are turning on a lightbox
| | 02:12 | and it is enabling you to see this document
through the semi-transparent Tracing Paper.
| | 02:17 | One other little thing you can do here is if
you click and hold on the Tracing Paper toggle,
| | 02:22 | you can actually adjust the opacity of Tracing Paper.
| | 02:26 | So, just depending on the kinds of brushes you are
using, sometimes more or less opacity is desired
| | 02:32 | and you can certainly do it here,
but I typically keep it right at 50%.
| | 02:35 | So, I am going to use my Scratchboard Tool here, which I have
got and I am going to set it up for black that's also going here.
| | 02:42 | I am going to just Zoom up on the shopper here.
| | 02:46 | So, let's position it there, get my Scratchboard Tool and I
am going to simply just draw using her outline as my guide,
| | 02:55 | so that I can trace her profile and this
is exactly like it was in grade school,
| | 03:04 | I am just following the known lines
of composition here underneath my pen.
| | 03:12 | I will say too, you can use it for
something as simple as tracing or if you want
| | 03:17 | to convert a photographic artwork into a traced image.
| | 03:22 | Certainly, this is the way to do it as well.
| | 03:25 | So, anyway you are familiar with working with Tracing Paper,
you can use the same technique here and the cool thing is
| | 03:33 | that this is indeed a separate sheet of paper.
| | 03:36 | So, I am going to toggle of Tracing Paper and
here is my document with the image of the woman
| | 03:42 | in a hand-drawn outline form based on the original image.
| | 03:47 | What if save this now, this is a completely separate document.
| | 03:50 | So, if we wanted to now, we could continue
on and continue to ink the rest of this image
| | 03:55 | and end up with a very nice hand-rendered
drawing based on the photograph.
| | 03:59 | So, Tracing Paper is just kind of a unique
way of taking advantage of the source
| | 04:05 | and destination relationship between these two documents.
| | 04:10 | So, Tracing Paper for those of you who
are drawing challenged, it is a God sent.
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| In-document point-to-point cloning| 00:00 | We are going to look at in-document cloning, which is something
that many people are familiar with particularly in relationship
| | 00:05 | to Photoshop, which has some excellent Cloning tools as well.
| | 00:09 | What I am going to do here is we have got this figure of a statue
and I am just going to eliminate it by using in-document cloning
| | 00:18 | and to do that I am going to go up to the Tool palette and
if it is not visible, it is going to look like this to you.
| | 00:24 | If you just click and hold here, this will let you get the Rubber
Stamp Tool and now, I am able to do a Cloning from one point
| | 00:32 | in the document to another with this tool and by holding
down the Option or Alt key that brings up my crosshairs.
| | 00:38 | This is going to define the source point.
| | 00:41 | So, I will click on that and now, I am going to go down and I
am going to click again and that defines my destination point.
| | 00:48 | So, now I am going to go in here and just
simply eliminate that bit of imagery.
| | 00:52 | Another place we could do it is if we
wanted to extend this bush out, for example.
| | 00:57 | I am just going to click in here and then move over and wherever
I start painting, that's where my destination point will be.
| | 01:05 | Now, I'll share a little secret with you.
| | 01:08 | I typically do this in Photoshop.
| | 01:11 | As nice as Painter is, it doesn't have some of
the niceties of the Photoshop Cloning tools,
| | 01:16 | however I know some of you out there do not have Photoshop.
| | 01:19 | So, these are great Cloning tools.
| | 01:22 | It goes both ways.
| | 01:24 | Painter does have Cloning tools, but if you have got
Photoshop, you may be more facile and feel more comfortable
| | 01:29 | over there doing that and nothing wrong with that at all.
| | 01:32 | So, you have got the choice if you have both applications.
| | 01:35 | If you don't and you just specifically using
Painter, well, it also is a great Cloning tool.
| | 01:41 | Think of it this way, in Photoshop you are typically
cloning to end up with a photographic image that looks
| | 01:48 | for all the world like there never was a statue here.
| | 01:50 | You can see in my application here,
I didn't quite get those lined up
| | 01:54 | and in the Painter you really don't have a
precise way to do it, like you do in Photoshop.
| | 01:57 | So there is a little bit of an angular
thing going on here, however in Painter,
| | 02:02 | most cloning is done in advance of painting the image anyway.
| | 02:05 | So, these kinds of little imperfections are find
are if you are going to go in paint this image.
| | 02:09 | So the Cloning tools are fine as they are in Painter,
| | 02:12 | but as I said if you are comfortable in
Photoshop, feel free to go there as well.
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| The Underpainting palette| 00:00 | We are now going to take a look at a really neat part of
Painter X and it is called the Photo-Painting palette System,
| | 00:07 | I think Corel refers to it as the Photo-Painting System.
| | 00:09 | But it is really three palettes and if we go to the Window
menu and go here, you can click on anyone of these three
| | 00:15 | because these are the three components
of the Photo-Painting System.
| | 00:18 | It will bring all of them up and they are
organized in kind of a workflow-oriented manner.
| | 00:23 | Underpainting traditionally refers to a Painter blocking in, a
paintings composition with some of the basic colors it is going
| | 00:32 | to use and then on top of that the final paint is applied to it,
| | 00:36 | but Underpainting traditionally just
means kind of the beginning of a painting.
| | 00:41 | So, that's where we are going to start and
then the second palette will be Autopainting
| | 00:46 | where we will take our Underpainted palette and actually use
Painter's Autopainting technology to paint this underpainting
| | 00:53 | and finally, the Restoration palette, which is the third
palette in the trio of Photo-Painting System palettes.
| | 01:00 | It's Restoration where I can actually then bring
back a little bit of the detail in the image.
| | 01:06 | So, we will look at each of these in this particular
video, I am going to concentrate on Underpainting
| | 01:11 | and then we will move ahead with Autopainting and Restoration.
| | 01:14 | So, for now we are going to look at Underpainting, I am going
to move it off to the side here, just so we see our image
| | 01:19 | and there are some things I might want to
do to an image in advance of painting it.
| | 01:23 | There is actually some pretty neat stuff you can do here.
| | 01:26 | For example, Painter allows you to take already existing
color schemes that they have and apply it to the image.
| | 01:34 | So, for example I will try Impressionist,
we will see what happens.
| | 01:38 | OK, not to my taste necessarily, but I want you to understand
as we go through this that this is a new technology in Painter,
| | 01:46 | you were probably used to it in Photoshop, these are
the live previews, but they are not actually committed
| | 01:52 | to the image, until I hit this Apply button down here.
| | 01:55 | So, at this point I can try all these things out and I am
not really changing the image until that Apply button is hit.
| | 02:02 | So, I am just going through here, I am looking at some of
these schemes to see if there is one that I might want to do
| | 02:08 | as a color look, I kind of like this
one right here, this is actually nice.
| | 02:12 | So, what we are doing here is we are just taking this image and
moving it away from its photographic color set in this case,
| | 02:20 | they call it the Chalk Drawing Scheme, I am
not going to necessarily do a Chalk Drawing.
| | 02:24 | But I just like the warm tonalities that are added to it.
| | 02:27 | So, that in itself is nice.
| | 02:29 | Now, let's go a little further in the Photo Enhance
section here icon pop up and I can do things like Add
| | 02:36 | or Lower Contrast and these are just presets that I can use.
| | 02:40 | But I am going to go a little bit further ahead here and
I am going to actually do some of those settings myself.
| | 02:45 | So, for example I can punch up contrast a little bit.
| | 02:48 | Maybe I want to increase Saturation, again I might- what
I want to do is sort of move these towards more of a set
| | 02:55 | of paint colors as opposed to photographic color.
| | 03:00 | So, I might also increase Brightness
a little bit or maybe I will go down,
| | 03:04 | just the nice thing is here, this is totally season to taste.
| | 03:08 | You just play around of these sliders to
kind of get it into a look of that you like.
| | 03:13 | Now, here is a very important slider and painter
in terms of the Under-Painting, Smart Blur.
| | 03:20 | I am going to turn to that peer, so we can see what it is doing.
| | 03:22 | I will go about halfway and I am going to Zoom up and I am
going to turn it back off, so you can see the difference.
| | 03:29 | What Smart Blur does is it tends to filter out the detail
in the image, but it also preserves edges at the same time.
| | 03:37 | So, what it does is it just kind of pre-simplifies the image.
| | 03:41 | I have used this sometimes just as an end onto itself,
because it really creates a very interesting look to the image
| | 03:49 | by just simplifying the detail by preserving the edges.
| | 03:54 | So, I like what we have done there and I
have just double clicked on the Grabber tool
| | 03:58 | to get this image back into fitting the screen here.
| | 04:01 | Now, we are going to go down to the next level here.
| | 04:04 | This is the Edge Effect and I am going to give it a Rectangular
Vignette and what it is going to do here is just soften
| | 04:10 | out my edges so they kind of blend out into white.
| | 04:14 | I can also control the amount of that.
| | 04:16 | So, if I turn this up a bit, it is going to
be a more aggressive vignette into my image.
| | 04:21 | So, this is yet another thing I can do.
| | 04:24 | So, I have made a number of setting changes here, I have changed
to a different color scheme that wound up the image overall,
| | 04:31 | I have adjusted my Brightness and Contrast, turned up Saturation,
lowered value, gave it quite a heavy dose of Smart Blur here.
| | 04:39 | We have also added a Rectangular Vignette to this image.
| | 04:42 | So, I am go ahead and say Apply that
because I like what I have done and now,
| | 04:46 | we have got the committed image that we are going to work with.
| | 04:49 | So, I am going to keep this image and in the next
video, we are going to go into the whole world
| | 04:55 | of Auto-Painting, which is very fascinating and powerful tool.
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| The Auto-Painting palette| 00:00 | OK, so we have successfully used Under-Painting on
an image to move it from its photographic origins
| | 00:08 | and already moved it towards more painterly
colors and we have added this Vignette around it.
| | 00:14 | Now, we are going to do the real piece
de resistance, and that is Auto-Painting.
| | 00:19 | But before we do it, we are going to use the Quick Clone button
here and even before I do that, I am going to use Command
| | 00:26 | or Ctrl+K to open up my Preferences and we
are going to look right here at Quick Clone.
| | 00:31 | Earlier, we were doing Tracing Paper, this
is the way you would normally set it up.
| | 00:36 | What I am telling you here is totally optional
because you can do this manually as well,
| | 00:40 | but you may want to turn on switch to Cloner Brushes.
| | 00:44 | Although, I will tell you it can get annoying because it
automatically wants to always go to this category right here,
| | 00:53 | the Smart Stroke Brushes and it always wants to use the first one
on the list which actually is the one I happen to want to use.
| | 01:00 | But if you are getting into trying
different brushes, it can be annoying.
| | 01:04 | So, there are times when you going to want to switch this off.
| | 01:06 | But I am going to turn it on because it is the way it comes from
the factory just as the behavior you probably already have seen
| | 01:12 | if you have played around with Auto-Painting.
| | 01:14 | I don't care for Tracing Paper to be turned on, but I am going
to let it delete the image, because it is more interesting
| | 01:20 | to watch Auto-Painting start from blank and build
it up rather than do it on top of the Photograph.
| | 01:25 | I am going to for the moment enable the top and the
bottom options in the Quick Clone section of Preferences.
| | 01:32 | So, we will click OK, let's go ahead and hit Quick Clone
button here, it is the bottom of the Under-Painting palette.
| | 01:38 | So, it has done a couple of things, it has created a
clone or destination image as I have preferred to call it,
| | 01:44 | was nothing on it, it is also switch
to the Cloners category and I think
| | 01:48 | in this case it went to the last one which I was using earlier.
| | 01:51 | So, I am going to go in here and we are going to
actually jump over to the Smart Stroke Brushes.
| | 01:59 | I am going to use this Acrylics Captured Bristle.
| | 02:03 | OK, so that's the brush I want to use, I am going to
start this process and talk about what is going on
| | 02:08 | and I will just allow the background to show up
a little bit, so we can see what is going on.
| | 02:12 | We are done in the Under-Painting palette and also I am
going to click on Auto-Painting that opens this palette up.
| | 02:18 | The other thing we are going to do here is and
trust me on this, you get far better results
| | 02:22 | if you just enable these two options,
Smart Stroke Painting and Smart Settings.
| | 02:27 | At this point, all we have to do is click
on the Green Go button or Play button.
| | 02:32 | It is going to start Auto-Painting.
| | 02:34 | Now, I will explain what is happening here.
| | 02:36 | For one thing at the beginning it is like what am I seeing there.
| | 02:40 | It always starts with larger strokes
and then refines them down as it paints.
| | 02:45 | There are two things going on, it
pre-analyzes the image for a couple of things,
| | 02:51 | it looks for areas of high-detail and it looks for edges.
| | 02:55 | As it paints now, it is going to
spend more of its painting energy
| | 02:59 | in the high-detail areas and not
spend time in the low-detail areas.
| | 03:04 | It is also going to use any edges that it finds and it is
going to stroke the brushes actually along those edges.
| | 03:12 | So, both of those characteristics mimic what artists do and if we
go up here to a 100%, you can see that this has done a nice job
| | 03:22 | of translating the photograph into a painted result.
| | 03:28 | Now, I am going to Undo, so I am going to hit Command or Ctrl+Z
and I am going to go back and let's just select another brush
| | 03:36 | on here, for example, I could go in here and do Charcoal.
| | 03:40 | So, I am going to select the Charcoal Brush and once
again everything is taken care of when you have both
| | 03:46 | of the Smart Stroke Painting and Smart Settings enabled and
we will just click OK and now, it is performing the same kind
| | 03:54 | of technique where it is spending more time in the detail areas
| | 03:57 | and it is actually stroking along a
straight edges that it finds in the image.
| | 04:03 | It is just going to go through here and one thing,
sometimes as it gets closer and closer to the end
| | 04:08 | of the image, it is hard to tell has it stopped or not.
| | 04:11 | You can always tell by looking over here when the red button or
the Stop button is enabled that means it is currently drawing.
| | 04:19 | See right now, it is hard to see anything going on.
| | 04:21 | The other clue is that my curser is
still showing as the Wait curser here.
| | 04:26 | So, at this point it is still adding
more and more detail to the image.
| | 04:31 | There, now it is just finished up and it is stopped.
| | 04:34 | So, that is yet another drawing or painting that
we have done only this time in the realm of Chalk.
| | 04:41 | Now, I am going to Undo one last time and instead of working
in the Smart Stroke brushes, let's go over to the Cloners.
| | 04:48 | There is a brush in here called the
Impressionist Cloner that I like.
| | 04:51 | It still going to use the Smart Stroke Settings, so
any brush that is a Cloner or has enabled as a Cloner
| | 04:58 | as I mentioned earlier in the Cloning section,
this button is like a fulcrum point in Painter,
| | 05:03 | you can take any non-cloning brush, click on there and
when it grays out the palette, it says, "I no longer -
| | 05:10 | I am going to look to here for my color, I am going
to treat the source image as my Color palette."
| | 05:16 | So, that's what we have just done, now we will just go back
to our palettes and I am going to shut Under-Painting off.
| | 05:24 | We will turn this on and once again it
is going in, only it is using this kind
| | 05:30 | of Expressionist oriented brush to create the image.
| | 05:33 | You will see in some of these areas where the canvas
is showing through, those are areas of low-detail.
| | 05:38 | So, it is not spending much time in there and that's
why it is not even painting much in those areas.
| | 05:44 | We can touch that up afterwards if we want, but sometimes I
like a little bit of unfinished canvas showing through an image,
| | 05:50 | it just adds to the analog feel of the image.
| | 05:54 | I am going to stop this and I can just stop by
click here and I am going to Undo and I am going
| | 05:59 | to show you one last thing that you
can do here, while it is going.
| | 06:03 | I may see a point at which I like this image where it
is rather Impressionist like somewhere right about now.
| | 06:08 | So, I am going to click and stop and that's
another thing you can do with Auto-Painting.
| | 06:12 | You don't have to let it finish, you can go ahead and decide
on your own when you see something that you would like.
| | 06:19 | I know from experience, sometimes what happens
is it gets too far, it went by and you wish, "Oh!
| | 06:24 | I wish I would have done that."
| | 06:25 | Just repaint the image again and when you are anticipating that
moment coming up, click on the Stop button and you could stop it.
| | 06:32 | Now, I am going to go in here and with my brush,
you see here I can go ahead and I can paint
| | 06:37 | in these areas if I want to cover up the blank areas.
| | 06:41 | So, there is no reason you have to
put up a fad if you don't want.
| | 06:46 | But, like I say, I like a little bit of it showing through
because it just kind of adds to the analog quality of the image.
| | 06:52 | So, there is my interpreted painting
done with a brush that I picked
| | 06:55 | out of another category and utilize as my Auto-Cloning brush.
| | 07:00 | So, Auto-Cloning has a lot of exploration in it and you can
certainly spend hours and hours playing with different brushes
| | 07:07 | and just finding out what kinds of combinations suit
your fancy in terms of what you want to end up with.
| | 07:13 | But I guarantee you, once you open up the Auto-Painting
palette, you are going to spend a lot of time in it.
| | Collapse this transcript |
| The Restoration palette| 00:00 | Let's review what we have done so far, we have used
the Under-Painting palette to take our source image
| | 00:06 | and alter its color characteristics, add a Vignette to it
and remember that we used that Smart Sharpened Filter on it.
| | 00:14 | A reason that's important especially now is
that it has already pre-simplified the image.
| | 00:20 | One of the things that we work on in
workshops that I give is I constantly have
| | 00:25 | to berate people my mantra is simplify, simplify, simplify.
| | 00:32 | People coming from a photographic background typically
find it very, very hard to destroy all of this fine detail
| | 00:39 | in the image, because that's what they are accustomed to.
| | 00:42 | But a painter does not paint that level of detail, in fact
painting typically is what I call more of an indication.
| | 00:50 | Even in the image that we have got here, it is
indicating bushes and it is indicating the tree.
| | 00:56 | It is not attempting to do a photographic
level of detail with it.
| | 01:00 | So, simplification is something you
really want to strive for in your imagery.
| | 01:05 | So, the second thing we did is we took that source image
| | 01:09 | and on the destination we have created an Impressionist
image that does just what I am saying here.
| | 01:16 | It is indicating the scene without necessarily
literally showing it to me like a photograph would.
| | 01:23 | However, there are some areas in the image and let's
Zoom up here, where we might want a little more detail
| | 01:30 | like it is almost kind of hard to read that
this is the woman walking pass the scene.
| | 01:36 | So, we are now going to go to the Restoration palette
and I am going to click on this Soft Edge Cloner brush
| | 01:42 | and what this is going to let me do is
bring through to my destination image some
| | 01:48 | of that pre-simplified smart blurred imagery that is this
woman here and this is setup to be a soft slow build up.
| | 01:58 | So, I am going to very softly caress this part of the image
and just bring up selected bits of the profile of the woman.
| | 02:09 | But I will never bring back the photographic detail because
we have already used the Smart Blur filter to pre-simplify it.
| | 02:16 | So, I can bring this up knowing that I am not
going to necessarily bring up photographic detail,
| | 02:22 | I just want more detail because one of the tricks of the artist
for centuries has been to use detail to direct to the eye.
| | 02:33 | Maybe I want a little bit of what is going on
in this window scene for example to show up.
| | 02:39 | So, I am going to bring a little bit of that and what is going
on here is our brain, our visual system is hard wired for detail,
| | 02:51 | back when we were in the hunter gather stages, we
used the ability to see detail for two reasons.
| | 03:00 | One was to avoid getting killed by
that saber tooth tiger over there
| | 03:05 | and the other one was that, that gazelle might be my next meal.
| | 03:09 | So, by looking into the scene and seeing detail
was just part of how we survived for so long.
| | 03:18 | So, artists have taken advantage of that over time
as I have said as a trick to direct to your eye.
| | 03:25 | So, what I have done here, let's get this back.
| | 03:30 | Now, if you look at this, you can see that your eye just goes
to the detail in the image and I have done the most here,
| | 03:38 | because this is where I really want you to spend time, but
by putting the couple little islands of detail elsewhere
| | 03:44 | in the image, it gets your eye to start to move
around over the image rather than seeing it
| | 03:50 | as one overall sort of equally impressionist drawing.
| | 03:56 | So, using the Restoration palette is a great way to focus on
your subject and get your viewer's eye to go to these areas
| | 04:06 | in an image, when done properly, you can literally direct the
viewer's eye where you want it to go within a composition.
| | 04:14 | So, the trial of palettes that make up the Photo-Painting palette
System here, Under-Painting, Auto-Painting and Restoration,
| | 04:22 | each have their specific tasks and they
are actually ordered kind of in the order
| | 04:27 | that you would use them from top
to bottom to get your image done.
| | 04:31 | But Photo-Painting and the Auto-Painting
palette in particular is a really powerful tool,
| | 04:37 | particularly if you are among those who
say, "You know, I can't paint or draw."
| | 04:43 | This gives you an amazing power to interpret photography
especially into an interpreted image that very much mimics many
| | 04:56 | of the hallmarks found in traditional painting.
| | 04:58 | So, I hope you all enjoy and spend a lot of time
in these palettes because I will tell you it is one
| | 05:05 | of those tools you can sit down start playing with
it and the next time you look up at the clock,
| | 05:10 | something like eight hours is gone by and you won't believe it.
| | 05:12 | It is just a complete little world onto
itself that you can get absorbed into.
| | 05:17 | So, have fun with the photo-painting palettes.
| | Collapse this transcript |
|
|
12. Applying EffectsApplying surface texture| 00:00 | Painter has a number of interesting effects that you can apply
to an image and a lot of times I am not a big fan of effects,
| | 00:09 | but when used properly, they can add a nice little
extra bit of spice to an image or just imbue it
| | 00:15 | with something a little different than
you could get through normal drawing means
| | 00:21 | and the first one we are going to
look at is Apply Surface Texture.
| | 00:25 | One of the things that is lacking in a lot of digital
art is that there is no physical sense to the image.
| | 00:34 | It may look painted, but a real painting, when you look
at it, it has the weave of the canvas, the brush strokes,
| | 00:41 | all of these have a slight dimensionality to
them that are part of the look of a painting.
| | 00:47 | So, with the Apply Surface Texture effect, you can add
some of this appearance of a physical surface to an image.
| | 00:56 | So, let's load up an image that's already been painted
and if we go to the Exercise Files in Chapter12,
| | 01:02 | I am going to load up the first one here, this mister_toad_paint.
| | 01:07 | So, let's open that up and this is an image,
that was a photograph, but it is been painted.
| | 01:13 | I am also going to double click on my Magnifier to
bring it up to a 100% here because I want to be able
| | 01:20 | to observe the Surface effect at a 100%, if
you are looking at some Zoomed out factor,
| | 01:26 | you won't quite get a 100% accurate
rendition of what is going on.
| | 01:30 | So, it is best to look at these at a 100% and to play with
Apply Surface Texture, when I go up to the Effects menu,
| | 01:38 | by default it will always be at the
top, but whatever the last effect
| | 01:42 | that was used will actually show up in
here which is actually kind of useful.
| | 01:45 | However, if you have already played with Effects, you
will find this is Surface Control, Apply Surface Texture.
| | 01:52 | So, I want to click on that and this
brings up the Apply Surface Texture dialog.
| | 01:57 | Now, the first thing we are going to look at here
is the preview, because I need to explain to you
| | 02:02 | that in Painter almost everywhere, previews only happen in
this Preview window, they do not preview on the entire image.
| | 02:10 | It would be nice if they did, but as of Painter tend,
they still basically apply only in this Preview window.
| | 02:18 | One little trick that I have learned over time, when I want
to see what it looks like with and without the effect applied,
| | 02:25 | if you just click and move this with the Grabber tool,
you can see right now, the effect is not being applied.
| | 02:32 | As soon as I let up, whatever effect is
enforced, will show up with its current settings.
| | 02:38 | So, if you want to evaluate before and after,
sometimes I will just click and drag just a little bit
| | 02:44 | and that let's me see what the effect
is looking like at the current time.
| | 02:49 | Now, the next thing we are going to look at is this Using pop up.
| | 02:53 | You are going to find the Using pop
up in several areas of Painter.
| | 02:58 | What Using is referring to is what is it using as the source
of the effect and there are several things that could be used
| | 03:08 | in Apply Surface Texture, you have basically got
four here, Paper is referring to the current paper.
| | 03:16 | So, if I change this, you will see now this
effect has changed based on the current paper.
| | 03:22 | It can also use what is called 3D Brush Strokes,
this relates to if a clone has been made.
| | 03:28 | You may remember from another video, we talked about
there is always a clone source in Effect in Painter.
| | 03:35 | Since we have doing any Cloning, that current
clone source when one has not been defined
| | 03:40 | by the user will automatically be the current pattern.
| | 03:44 | So, right now it is getting this from the current pattern which
is down here, it is the infamous Hens & Chicks pattern which just
| | 03:52 | because it is the first one in the list, lot of
times people will see things like this happening,
| | 03:58 | they don't understand where is the source of that
coming from and it is usually this Hens & Chicks pattern
| | 04:04 | because it is the default clone source when
no other clone source has been selected.
| | 04:10 | So, that's where that happens to be coming from and you
can also go into Image Luminance which we will be using
| | 04:17 | and that actually uses the gray scale information.
| | 04:21 | You will think of this image in black and white, that
is luminance information and it is using the white
| | 04:26 | to black gray scale in that image to determine
what represents a sense of height in the image,
| | 04:33 | so this one is a highly useful and what we will be using.
| | 04:36 | The third one is Original Luminance, which once
again hurls back to the use of a clone source.
| | 04:42 | So, what is that?
| | 04:42 | Well, there is our Hens & Chicks again.
| | 04:44 | So, for our exercises, 3D Brush Strokes and
Original Luminance will not be coming into play.
| | 04:51 | The first one we are going to look at however is paper.
| | 04:54 | OK, we have closed the Patterns pop up list and
now, I want to look at the Paper Texture list.
| | 05:02 | Every time I change this, this is going to effect how a
Surface Texture like in this example, just so canvas appears.
| | 05:11 | We have several controls over how
we can make this texture appear.
| | 05:16 | One of them is the Amount slider.
| | 05:18 | As you will see as I turn this up, this
attenuates or makes more obvious the 3D effect.
| | 05:24 | It is almost as if you are enhancing its surface depth a bit.
| | 05:29 | You can also play around with Shine, so that
you can apply the illusion of a glossy surface.
| | 05:34 | It is playing with this specular highlights on whatever
the current source surface is and what I am going
| | 05:42 | to tell you is a little rule that I found for
myself, whatever looks good in this preview,
| | 05:47 | I would say at least 50% of what you are seeing here.
| | 05:52 | Because what going to happen when you are working with Effects
is you can get a bit enamored the way they look, you think, "Oh!
| | 05:58 | That looks so cool, let's apply this."
| | 06:01 | Look at it, it is so overpowering that you
are not even hardly aware of the art anymore.
| | 06:06 | So, the key to using Apply Surface Texture
successfully is subtlety is the rule here.
| | 06:14 | My comment I used earlier about less is more applies here too.
| | 06:18 | Less is definitely more, when applying these effects.
| | 06:21 | Now, I am going to Command or Ctrl+Z to Undo that and because
this is the last effect, I can use the Command or Ctrl key
| | 06:29 | and the Forward Slash, which is also the
same key with the question mark on it.
| | 06:33 | If I click that, that will bring back the Apply Surface Texture
| | 06:37 | or whatever the last effect was, in
this case it was Apply Surface Texture.
| | 06:42 | So, I want to play with this some more, but I am also
going to show you a limitation of working with the papers
| | 06:49 | and it is just a temporary one here, but I want you to see this.
| | 06:52 | Sometimes, you may want to adjust a paper texture more
and if you followed us in the chapter about the selectors,
| | 07:02 | you will know that you can go over here and pop up to get
to Launch palette, but you will notice here it is grade out,
| | 07:08 | that's because while this dialog is open,
Painter doesn't have access to that.
| | 07:13 | So, I am going to go here and cancel out and I am
going to launch the Paper palette before I go in there.
| | 07:20 | I will just put it over here, so that's kind of out of harms way.
| | 07:23 | But you will see here in a moment, why
it is important to have that available.
| | 07:27 | So, once again, I am going to use the Command or Ctrl and the
Forward Slash to just bring Apply Surface Texture back up.
| | 07:33 | The reason I am going to do this is not only do I have the
ability to get to various textures, but now I am going to control
| | 07:41 | over something like their scale which can be important.
| | 07:44 | One Paper Texture I really like to
use here is the Course Cotton Canvas.
| | 07:48 | So, I am going to select that, but you will
see right now, it is just goggly way too much.
| | 07:54 | So, I am going to reduce Shine almost to nothing.
| | 07:57 | In fact I am going to turn all the way down for the moment.
| | 07:59 | I am also going to reduce the Amount by quite a bit.
| | 08:03 | But I can already tell looking at this
texture, which is this Course Cotton Canvas.
| | 08:08 | Actually it is added in large scale from working with
earlier, it is way too large, so I am going to reduce it down.
| | 08:14 | But you can see now, I am able to play around with what
might look appropriate to the scale of my painting,
| | 08:21 | because depending on how large you envision this painting
to look, the scale of the weave would have an effect
| | 08:28 | on viewer's perception of how large is this painting.
| | 08:32 | So, the smaller the weave is, it is going to give the
painting a little bit more sense of larger painting
| | 08:38 | because the weave of the canvas is so fine on it.
| | 08:42 | I maybe going to put up a little shine, thus turn it up a little
bit, so you can see too much, but I just want to put a little
| | 08:49 | in there and I am going to turn this down a bit.
| | 08:52 | Now, the third thing I am going to show you, it is very useful
is right here, this shows where the light source is coming from
| | 08:59 | and right now, as if that we are coming
from the upper left of the painting.
| | 09:04 | However we could change that and there is
sort of some automatic adjusters right here.
| | 09:09 | So, you can change that lighting angle.
| | 09:12 | But you can also just click and drag this as well.
| | 09:14 | So, if I want to put it there on, I can.
| | 09:17 | Of course it will be way too much, but you can
actually set the lighting angle anywhere you want.
| | 09:22 | One of the things I will do if I am doing manual lighting
adjustment is I will click and drag this a little bit,
| | 09:28 | because what can happen is if you are not paying attention,
you may do something like this where you have darkened it
| | 09:32 | up quite a bit and if you apply that, notice you
would lose a lot of the definition of the image.
| | 09:37 | So, sometimes I will play with this and just click there,
I have to see am I darkening it more than I want to.
| | 09:44 | Ideally, you want to get it to where there
is not much difference, see now it is light.
| | 09:48 | So, it is just a little bit of seasoning to taste here.
| | 09:51 | See there, now it is adding the Surface Texture,
but it is not biasing that towards lighter
| | 09:57 | or darker and I am going to go ahead and apply this.
| | 10:00 | The other reason I did this is think about traditional gallery
lighting, it typically is not off to the side of an image,
| | 10:08 | they generally will position gallery
lights to be directly above the painting.
| | 10:12 | So, that's another little thing I will do as I just - I like
to adjust the lighting on Apply Surface Texture directly
| | 10:19 | above because it is a little bit more true to the
way, an actual physical painting would be lit.
| | 10:24 | So, let's go ahead and apply this and see what we have got.
| | 10:27 | OK, see now I am going to undo and redo here by toggling between
the Command or Ctrl+Z and Command or Ctrl+Y which undoes that.
| | 10:36 | See, now we can see the difference and I like this a lot
more than I did earlier because it is there but it is not,
| | 10:44 | it provides that sense of physical quality, almost tactical
quality that you could reach out and touch the image and
| | 10:51 | yet it is not so much that it is detracting from the image.
| | 10:56 | Now, I am going to Undo and I am going to use my Command
or Ctrl and the Forward Slash again here and I am going
| | 11:03 | to reduce the scale of this texture, even a bit more
because I think maybe it still looked a little large
| | 11:09 | for the painting and I will show you another figure.
| | 11:12 | Let's say we did canvas quite a bit, OK.
| | 11:15 | Once again, it looks too strong, now you could go
back and redo it, if we go up to the Edit menu here.
| | 11:20 | Painter does have the Fade command.
| | 11:22 | So, I can go in here and once again, you will only see this in
the preview, but if I undo this Zero amount, nothing changes,
| | 11:29 | if I undo it a 100%, it is as if the effect was never applied.
| | 11:33 | But now, here is another opportunity to season to taste, where
I can decide, how strong do I really want to apply that effect.
| | 11:42 | So, this gives me a second chance, even a more subtle kind
of ability to dial it into what I think is correct in -
| | 11:49 | just like before, kind of clicking and dragging
on that preview, lets me see before and after
| | 11:55 | and I am going to go ahead and do it like that.
| | 11:58 | There, I think that makes for a nice effect of the Surface
Texture of canvas on that image without overpowering it.
| | 12:08 | I said this ones already, but less is more and I
have what I call the 50% rule lf any effect I apply,
| | 12:14 | whatever looks good at the time you are adjusting it, keep in
mind that you are probably somewhat enamored with that effect
| | 12:21 | and almost always I find at least 50% less than I think
looks right at the time I said it, is actually more correct.
| | 12:29 | I can tell you from experience, you will set something, you
think it looks great and all it takes is walking out of the room
| | 12:35 | for a while and coming back and you will
look it and you will just realize, "Oh wow!
| | 12:39 | I really over-did that, so I need
to reduce it back down somewhat."
| | 12:44 | From that experience I have learned at least 50% is almost
always more true to what is going to look right for the image.
| | 12:52 | So, Apply Surface Texture is a great way to imbue a quality of
a tactical, physical surface to an image and it has got a lot
| | 13:04 | of power in it to the fact that you can use any
Paper Texture with it, even gives it a greater range.
| | 13:10 | So, if you are looking for an additional bit of seasoning
to your images to give them just a little bit more sense
| | 13:17 | of physical quality, particularly viewed on the
web, Apply Surface Texture is the way to go.
| | Collapse this transcript |
| Using the Match palette| 00:00 | Have you ever been in a museum and saw a painting
that you really admired and looking at you realize,
| | 00:06 | "I really like that artist's color palette, there is just
something about the colors that artist selected that I like."
| | 00:14 | Or maybe it is even more specific just within the range
of an artist work, there maybe some specific painting
| | 00:21 | with a color palette that was used that really appeals to you.
| | 00:26 | Then let's go a step further in my
little science fiction story here.
| | 00:29 | Let's say, you have created in Painter a really nice painting
and you wish, "I wish there was a way to take that color palette
| | 00:39 | that I loved about that artist's
work and apply it to my painting."
| | 00:44 | Well, guess what, you can and it is possible
in Painter with a feature called Match Palette.
| | 00:50 | The Match Palette Tool analyzes a source image for its
color and its value ranges and then it is able to use
| | 00:58 | that information to map it to any other image.
| | 01:02 | So, we are going to go through a little exercise
here and I am going to load up a couple images.
| | 01:07 | So, we are going to exercise files and Chapter 12 and the
first one I am going to open up is this water_lilies_paint.
| | 01:17 | This is based on a photograph I did and then I Auto-Painted it.
| | 01:21 | Subject matter first of all helps because it is water lilies
and Monet used water lilies in many, many of his images.
| | 01:31 | So, the first thing I thought about
this was, "This is very Monet like."
| | 01:35 | So, I went around to the web and looked at different Monet
images and I just loaded up this other one now, the Monet image.
| | 01:43 | So, here is a Monet painting with colors in his
palette that he uses and if we look at the two,
| | 01:51 | you will see my palette is really based on the photographic
colors in the image where as his are mixed color from oil-paint.
| | 02:02 | So, I realize I can use the Match Palette to
take these colors and apply it to this image.
| | 02:09 | That is done via the Match Palette command.
| | 02:12 | So, let's take a look at it.
| | 02:13 | We are going to go to Effects and we are going to
go to Tonal Control and we are going to go down here
| | 02:18 | to Match Palette and this brings up the Match Palette dialog.
| | 02:23 | What it is going to do actually when it first shows up, you
will see it, it looks like this, this is the initial setting.
| | 02:30 | It's as if nothing is happening for one thing.
| | 02:33 | So, what we first need to do is tell it
where is it going to get the color from.
| | 02:38 | So, I am going to open this up and I am going
to say get the color from the Monet image.
| | 02:42 | Even then nothing seems to change, that's because right
now the Color and Brightness sliders are set to zero
| | 02:48 | and these are what are going to start to take these
colors and values and apply them to this image.
| | 02:56 | So, what I am going to do is I am going to turn this all to 100%
and already I have started to get the Monet colors into my image.
| | 03:05 | If I turn up the Brightness, it is going to take the actual
Brightness level in the original painting and apply it.
| | 03:12 | The nice thing about these sliders is that I can
decide how much do I want to impart the value
| | 03:19 | and maybe in this case it looks like
it is darkening it up a little bit.
| | 03:23 | So, I am not sure I am going to want to go to a
100%, but let's just try it, no harm in trying.
| | 03:28 | So, if you look now, you will see how these
two images now share the same Color palette.
| | 03:35 | I have immediately been able to take this image and give
it the Monet mixed oil Color palette appearance on an image
| | 03:44 | that if I undo it, actually look like that which was
nice - that has its own quality that's very nice too.
| | 03:51 | But it is nice to see it in these Monet colors as well.
| | 03:54 | Now, I am going to undo it and if you remember it from the last
movie, I can use the Command or Ctrl and the Forward Slash key
| | 04:02 | to get back to the most recent effect
which in this case is Match Palette.
| | 04:06 | So, that gives me a way to quickly get back here.
| | 04:08 | The other thing I could do is I can play with these Variance and
what this does is if you look at - if we decrease the Variance,
| | 04:14 | it is just going to actually remove color from it.
| | 04:18 | If we go from its zero setting which is in the middle here,
it going to start to add more brilliance to the color.
| | 04:25 | So, I might want to add a little more brilliance.
| | 04:27 | I can also play with that Hue, you can see I maybe get it too
bright, but this gives me an opportunity to use this palette and
| | 04:35 | yet kind of adjust it way I may like and then finally,
the Amount slider down here, if I take all the way down.
| | 04:42 | This is the overall season to taste slider.
| | 04:45 | After I have made these adjustments, I can now
start pulling this up and the more I get to a 100,
| | 04:50 | the more it is going to fully imbue the image with that.
| | 04:53 | So, this still gives me kind of a
mix to your command at this point.
| | 04:57 | So, I guess that what I want all my color or I
want none of my colors or I want half and half.
| | 05:02 | So, you still even have more mixing ability than you can do.
| | 05:06 | Let's try this again, see now it is maybe a little too much, it
is really actually kind of knocking out some of those colors.
| | 05:13 | So, I am going to undo and use Command
or Ctrl+/ again to get here
| | 05:17 | and I think it is this Variance slider
that is causing the problem.
| | 05:21 | So, I probably don't want to do that, we will click on that and
there is a nice rendition of water lilies that I photographed,
| | 05:33 | autopainted and then used Monet's Color palette from one of his
images that I downloaded from the web and applied to my image
| | 05:41 | to get to a Monet's style palette on my image.
| | 05:46 | You can use any source image and it doesn't even have to be
a real high resolution image as long as the colors are in it
| | 05:52 | and you are reletively sure that they are accurate to
what you want, you can apply them to any other image.
| | 05:58 | So, it could be photograph to photograph, painting to photograph,
photograph to painting, I mean anything that you wanted
| | 06:04 | to get the colors from and apply to another
image, it can be done with the Match Palette.
| | 06:09 | Here we are, it is not science fiction, you can actually
change the colors of your painting after you have painted it.
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| Creating woodcuts| 00:00 | Long before there were cameras, one of the ways that imagery
was conveyed through reproduction was through Woodcuts
| | 00:09 | and Woodcut is an age-old technique that
implies the use of tools to gauge out wood
| | 00:14 | and leave only the raised portions that you want to print.
| | 00:17 | Then when ink is applied to those raised portions
and impressed against paper, an image results.
| | 00:23 | One of the charming qualities about Woodcut is
that it reduces reality to a very graphic effect.
| | 00:31 | Generally, the line work in the image is in black and then
additional blocks of wood are cut to add various colors
| | 00:39 | in the different areas of the image that the artist wants that
color to appear and it survives to this day and it's still a rich
| | 00:46 | and thriving art form and Painter has a
Woodcut tool that enables you to take an image
| | 00:52 | and convert it into a Woodcut like appearance.
| | 00:55 | So we are going to take a look at that and I am going
to go over to my exercise files, here to chapter 12
| | 01:02 | and we are going to use the image old_and_new.
| | 01:05 | This image just happens to be when I shot,
when I was doing some workshops in Australia.
| | 01:12 | This is in Melbourne, and one of the things that struck me about
this was the contrast of this older Victorian era architecture,
| | 01:20 | which is very gingerbread like quality to it and
then it's contrast again this is very modern, new,
| | 01:27 | curtained wall style architecture which is all glass,
and they have done a little bit of design in there.
| | 01:32 | But just the two contrasting against one another
was just very appealing to me, so I shot that
| | 01:37 | and I am going to use that as the source for this image.
| | 01:40 | So to get into, turning this into a Woodcut, let's go the Effects
menu and we are going to go to Surface Control and Woodcut
| | 01:49 | and this brings up the Woodcut dialog and it just
has a set of default settings that let's say OK,
| | 01:55 | and just get a look of what it does on its own.
| | 01:58 | Already that's very Woodcut, like you can see it's got the black
that is being used to largely describe the lines in the image
| | 02:08 | and then some color is being applied in the various areas.
| | 02:12 | One of the things that's notable about Woodcut
is it tends to be a limited color medium,
| | 02:17 | because you just can't keep making color upon color upon color.
| | 02:22 | Although there is a technique called Reduction Woodcut, which I
have seen where sometimes 40, 50, 60 colors will be used in it.
| | 02:28 | So in the modern era, they have gotten a little more
sophisticated about how many colors they may imply in a Woodcut.
| | 02:34 | But it still always has this very graphic quality.
| | 02:36 | Now I am going to use my Command or Ctrl+Z to undo and as we
have been doing here, I am going to use the Ctrl or Command
| | 02:43 | and the forward slash to invoke the last
effect, which in this case is our Woodcut.
| | 02:49 | I will show you some of these controls that we can apply here.
| | 02:54 | The first one we will look at is this Black
Edge and you will see here that as I turn it
| | 02:59 | down I am reducing the heaviness of the Black Edge.
| | 03:02 | Now, you can get it all the way down where it will just pop
to black, if it doesn't know what to do at the minimum level.
| | 03:07 | So as soon as you start turning it up you will see, you can get
more detail in it and the trick here is you don't want to make it
| | 03:15 | so detailed that it belies it's a purely photographic origin.
| | 03:20 | So sometimes, I will put it somewhere in a less
than full like this, where you are getting a lot
| | 03:26 | of detail, I will just turn it down a little bit.
| | 03:29 | Then Erosion Time, plays around with how quickly and you
might see this a little bit more when we go out here.
| | 03:37 | It starts to play around with how
it simplifies all of these lines.
| | 03:42 | You can see up here, it's not simplifying
at all, whereas the more I take it here,
| | 03:46 | it just tends to organically simplify all of the black detail.
| | 03:54 | The Erosion Edge also does the same thing, as you turn it up.
| | 03:58 | It just grossly starts to simplify the image.
| | 04:01 | I can tell you there are endless combinations in the
slider, so you can play with them quite a bit and see many,
| | 04:10 | many combinations that you may like and it is worthwhile.
| | 04:13 | We move around the image to see what's happening as you go.
| | 04:17 | Then finally you have the Heaviness slider,
which as you turn it down, you will see,
| | 04:21 | it just controls the overall heaviness
of these other sliders combined.
| | 04:26 | So there is a lot of adjustability in here or what I call
season to taste, you can season to taste all day long in this.
| | 04:36 | Now, I am also going to show you this,
because this is important up here too.
| | 04:39 | You can output just the black, so see I can reduce
this to a no color Woodcut, it's just the black.
| | 04:47 | Sometimes it's helpful to turn this off
and work with some of these controls,
| | 04:52 | because you are seeing more clearly just what
is actually happening in only the black level.
| | 05:00 | Then if we go the other way, you can turn off Black and see
only what's happening in the color and while this is set
| | 05:09 | for color only, I will show you here one of the
things you can do is like you can do with the black.
| | 05:14 | You can use this Color Edge and it simplifies the colors.
| | 05:18 | You can see I can get it so simplified,
it's not even recognizable anymore.
| | 05:22 | But Woodcut art is not going to cut out every color plate so
that it's mere photographic, they tend to simply things down.
| | 05:32 | So a bit of simplification is actually a good thing and
then finally you can play around with the number of colors.
| | 05:38 | You see as I turn this all the way up, it's almost
going to appear like it's full color source photograph.
| | 05:46 | I don't want to do that, I want to keep it down
to somewhere in the range of the number of colors
| | 05:52 | that say a reduction cut would do and 40 or so
is probably around what's a believable number.
| | 05:59 | So if you want to keep this within the believable range
of Woodcut, don't crank these colors up to in hundreds,
| | 06:07 | because no Woodcut has that many colors in it.
| | 06:10 | Let's turn back the Black back on and turn
that on, and now there is my Woodcut image.
| | 06:18 | So you can see here that there is again like many of the
effects in Painter, there is a huge latitude in this season
| | 06:24 | to taste capability and even this single image I can
play with it for hours and create dozens of variations
| | 06:32 | and end up with many, many different pleasing results.
| | 06:36 | There is no one single result that is the
best; it's the one that appeals to you.
| | 06:41 | So enjoy playing around with Woodcuts and you will see it's
another little world in Painter that you can spend hours
| | 06:48 | in having fun, turning your photographs or
just even hand drawn artwork into Woodcuts.
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| Creating custom tiled surfaces| 00:00 | So we have been looking at various effects in Painter and there
is as you have seen a lot of different things that you can do
| | 00:06 | with an image, one particular effect
that's kind of buried is called Custom Tile
| | 00:10 | like some of these other effects, we've looked at.
| | 00:12 | It has a lot of variability in it in this
what I a call "season to taste mode",
| | 00:17 | where you can really do a lot more with
it then maybe evident on the surface.
| | 00:22 | So I am going to open up an image and we're going to
take a look at this little world called Custom Tile.
| | 00:27 | So I am going into my chapter 12 images and I am going
to use the image fountain and what this enables you
| | 00:38 | to do is give an image the illusion that it's made up of
tiles and, let's go into effects and go down to Esoterica
| | 00:46 | and under Esoterica, you'll find Custom Tile.
| | 00:51 | And this is the default setting and I will just going
to go ahead and say, "OK, well just see what it does?'
| | 00:56 | So it's takes an image and specifically pixelizes
it into a pattern and you can control these patterns
| | 01:04 | so the default one is this brick pattern
and in and of itself it's interesting.
| | 01:08 | I could see something like this being as a program cover
or a background or something, but it is an interesting way
| | 01:14 | to take imagery and photographs are a nice source, material
and just apply this is to give it a graphic effect.
| | 01:22 | Now I am going to use my Command CTRL+Z here to undo.
| | 01:25 | And as we have been doing I am going to use Command or CTRL+/
to bring up the last effect, which in this case is Custom Tile,
| | 01:34 | and let's just look a little bit at
the controls that you can do here.
| | 01:38 | Now one of the things is you can make this look more as if it has
grout in between the tiles and by turning down these blur passes,
| | 01:47 | it will do that and once again let's
just click and see what we get.
| | 01:51 | So same effect, but now you have that black
outline around each of the tile elements itself,
| | 01:58 | I'll undo and we'll go back to the
Custom Tile effects again here.
| | 02:04 | Then you can start to play with the size of the tiles by playing
with the brick width and height sliders, so you can see here,
| | 02:13 | if I match these two numbers together I'll
get a square, OK and let's apply that.
| | 02:20 | So now we have broken this down to where it's much more
abstracted out, you can still see what it is- but this is a bit
| | 02:27 | like those blur filters they put on in front of
peoples faces on T.V. when they don't you to see them.
| | 02:32 | It starts to hide the content enough that it takes a little
bit of squinting to maybe get across with the image is.
| | 02:38 | But you can see here, how even within the basic controls,
you can start to get some pretty interesting combinations.
| | 02:47 | Now I think if I turn up, yes if you turn up blur passes
here, you can see even if you are not using grout,
| | 02:54 | you can use the blurring to hide the little lines that
still show up some of the photograph underlined it.
| | 03:03 | So now here is the same image again but now no grout.
| | 03:06 | So I am just going through this and it's showing you how
the different controls can affect the look of the image.
| | 03:14 | I can also go in here and I'll play
with the thickness of the grout.
| | 03:18 | So if I want really thick grout, maybe at this point,
let's turn these down a little bit something like that.
| | 03:24 | And that's maybe too thick but you can see here this is all in
that season to taste world I talk about where you can just play
| | 03:31 | with this endlessly getting a lot of variations with one
image and just the particular settings that you are using.
| | 03:40 | Now I am going to turn this down again.
| | 03:43 | And we'll get it back to where it was earlier.
| | 03:47 | And here's the next thing.
| | 03:49 | You have got all kinds of possibilities in
terms of the actual image that's been used.
| | 03:55 | So now here we have got Hexagons.
| | 03:59 | You can also adjust the angles of these.
| | 04:02 | So if want them to be at a specific angle
and in this case it's just a single element,
| | 04:06 | you just adjust the scale there is not X and Y control.
| | 04:11 | So now I can play around with even the angle that they
entire element is going to construct the image at.
| | 04:20 | One that I found to be kind of interesting
looking is this rather cryptic 1264, version 2.
| | 04:27 | It does some interesting almost stain
glass looking breakup of an image.
| | 04:33 | So once again you can see here there is a lot
of possibilities present within this dialog.
| | 04:41 | Now here is where it gets really
interesting and that is if you go to paper
| | 04:47 | but before we do that I am going to open the paper palettes.
| | 04:50 | So let's cancel, because you'll see by having the
paper palette open, I actually a bit more control.
| | 04:56 | So let's open this up and I'll move it over here.
| | 05:00 | And now we'll go back to our effects
Custom Tile and I am going to select Paper.
| | 05:07 | Now, it's going to use the current paper to start to break
up the image and you may find there is so much possibility
| | 05:16 | in here somebody could figure out ways to
use some of these very random patterns.
| | 05:20 | I am going to go to small dots because it's a regular pattern but
the world of possibility exists in whatever pattern is selected,
| | 05:28 | you are going to get a lot of variation here.
| | 05:30 | I am going to turn this down and by turning up
the blur, you'll see what's going to happen here.
| | 05:37 | And we can increase the scale of this if we turn this up a bit.
| | 05:43 | And I can eventually get to a point here
where if I turn the thresholding up.
| | 05:48 | Actually I want to turn blur and blur passes down.
| | 05:56 | What I found in this tool is a lot of experimentation, will
yield many results and so you might not even have quite an idea
| | 06:07 | where you want to go with this and it's
just a matter of playing with the sliders.
| | 06:13 | Here we go, now I am getting it in that what I want.
| | 06:15 | This is starting to break the image up, using this pattern
in very interesting and again just playing with the sliders,
| | 06:27 | I can get very, very many different kinds of qualities out of it.
| | 06:31 | And I am going to go ahead and say,
"OK, and let's just see what that did".
| | 06:34 | So now it's almost given it a light bright look, there
is a little toy where you plug the different pieces
| | 06:42 | of plastic into a surface that has a light behind it.
| | 06:45 | But I am going to show one another thing
here because in concerts with paper,
| | 06:51 | there is a secondary effect you can
apply to this, I'll close this now.
| | 06:55 | If I go up to my effects and go to apply
surface texture which if it's a not up here,
| | 07:01 | you'll find it in surface, so we will Apply Surface Texture.
| | 07:04 | It uses- the fact that this texture was used to create this
tile and also that that current texture or paper grain is still
| | 07:14 | in effect means that I can apply that paper grain to this
image and because there is a constancy between the fact
| | 07:23 | that that grain was used to create this
image effect and that that grain is still
| | 07:27 | in it's same orientation and scale
when I go to apply surface effect.
| | 07:33 | It's going to applied in such a manner that in this case it
gives the illusion of raising each of these little dots up.
| | 07:40 | So now you get almost like a beaded version of the image.
| | 07:44 | So this takes the earlier effect we looked at, apply surface
texture and it combines it with the Custom Tile effect
| | 07:52 | and because there is this option in Custom Tile to use
the current paper grain, assuming you don't change any
| | 07:59 | of the settings of that paper grain after you have applied it
using it for the Custom Tile command then it's still in place
| | 08:06 | to be treated as a pseudo 3 dimensional surface
when you go back over to Apply Surface Texture.
| | 08:12 | And so this shows you how sometimes there is
more power in multiple effects than just one.
| | 08:18 | The beauty of this one is it happens to use the same using
parameter, which is the paper texture in both the Custom Tile
| | 08:26 | and then in the Apply Surface Texture, and so the
end result is it's greater than the sum of its parts.
| | 08:32 | You can get an illusion here that there is not a single
effect in Painter that can do this but by understanding
| | 08:39 | that you are utilizing a paper grain in two different ways, here
one, two, break down an image into a simplified tile pattern
| | 08:48 | and then using it again to create
the illusion of 3 dimensionality
| | 08:52 | because they are concurrently overlaid in the same location.
| | 08:56 | You can do an amazing like this.
| | 08:58 | So this chapter is just introducing you and getting your
whistle wet for playing with Painter's various effects
| | 09:05 | and the more you play with them, you'll see how there
are interesting inter-relationships that can be created
| | 09:10 | between two different effects to end
up with something like we see here.
| | 09:13 | Have fun in the world of Painter's effects.
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|
|
13. Working with a Safety NetUndo, undo, undo| 00:00 | In these movies, I am going to be talking about Safety Nets.
| | 00:04 | I like to put Safety Nets in place, so that
like the tight rope walker I don't have to worry
| | 00:09 | about hitting solid ground if I make a mistake.
| | 00:13 | There are several techniques, I use in
Painter to provide myself with a Safety Net.
| | 00:17 | The fundamental use of the Safety Net for
me is that it encourages experimentation.
| | 00:23 | The more you know you can try things without
fear of permanently changing an image.
| | 00:29 | The greater your chances of finding interesting
little happy accidents, or new discoveries
| | 00:35 | or things that you would have otherwise
been somewhat reticent to try.
| | 00:40 | So putting Safety Nets in place is a great way to
encourage your exploration when you are being creative
| | 00:46 | with mark making tools like you find in Painter.
| | 00:49 | One of the first ones we're going to look at is Undo.
| | 00:52 | A lot of people will ask, "Does Painter
have a history function like Photoshop?"
| | 00:58 | and no, it doesn't.
| | 00:59 | The architectures are very different, so
they are really isn't quite the same thing.
| | 01:03 | However Painter does have multiple Undos and if we go
up to the Corel Painter X or the Edit menu in Windows
| | 01:11 | and go to preferences Undo, you will see
here that you can set up to 32 levels of Undo
| | 01:18 | in it and that's what it is set to by default.
| | 01:21 | And knowing that that's there let me try things out.
| | 01:26 | So if I am painting and just playing around with various
types of strokes or I want to see how things work,
| | 01:34 | I don't necessarily count 32 Undos
back but you get a sense over time
| | 01:43 | of how many strokes you have created that enable you to do that.
| | 01:49 | But if you look at this, you could see now I am
just going to continue to hit my undo key here.
| | 01:53 | So I can just go and go Undo, probably
all the way back to the beginning here.
| | 02:01 | Also by default in Painter Command+Y is the redo key.
| | 02:07 | So this let's me try out ideas visually and
decide maybe that last set of marks was too much.
| | 02:17 | So I do have the ability to move forward
and backward 32 actions in Painter.
| | 02:25 | It used to be that I warned people that setting
these Undo levels up here in the Undo preferences,
| | 02:35 | you might want to not have 32 Undo levels because they do
require memory and it's easy to- especially if you are working
| | 02:44 | on large images 32 levels of Undo could
potentially get your system to slow down.
| | 02:52 | In today's environment that's less of a problem but
not everybody necessarily has a current machine.
| | 02:58 | So I will just tell you this that if your machine
in Painter sometimes seems to get a little sluggish,
| | 03:05 | you may want to go in here and try
whittling down the number of Undos.
| | 03:09 | There has been times in the past where I used to set
to 5 levels of Undo because I just didn't want to give
| | 03:14 | up that much memory on the system I had at that time.
| | 03:17 | Nowadays I really don't think about it all that much.
| | 03:20 | But I just know from experience that if you see
performance degradation when you are working with Painter,
| | 03:27 | one of the first things I advice people to just
go in and turn down the number of levels of Undo.
| | 03:33 | And just try maybe a single digit number somewhere between one
and nine and see if you would stop noticing this performance loss
| | 03:41 | and then start upping the number over time and you may find that
sweet spot was like, "OK, I can live with this number of levels
| | 03:49 | of Undo and it doesn't seem to be causing me a problem".
| | 03:52 | So there is no magic number to plug into
here, it's going to be by experience.
| | 03:57 | But it comes with 32 levels of Undo and unless you
start noticing problems I would say leave it there
| | 04:03 | because the larger that number the bigger the Safety Net.
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| Painting on layers| 00:00 | We are talking about Safety Nets.
| | 00:02 | There are various ways to build a Safety Net into your work.
| | 00:06 | What I am going to talk about now is Layer Painting.
| | 00:09 | And Layer Painting is just a technique for painting
instead of on a single canvas, you paint on layers,
| | 00:17 | and the more layers you use, the greater the Safety Net.
| | 00:21 | And I'll just do a quick sample here, I am going to be using
from the oil pastels category, just the oil pastel 30 brush.
| | 00:29 | And I am going to create a new layer, which in
the Layers palette I can do quickly by clicking
| | 00:33 | on the third icon from the left, the New Layer icon.
| | 00:36 | So I have created a new layer and I am just
going to do a little bit of sketching here.
| | 00:40 | And we'll just do some imaginary
expressionist or leaves and flowers.
| | 00:46 | So as I go through this, each time I am going to
like change color or do a major different item,
| | 00:52 | I am going to change to a new layer,
or create a new layer to paint on.
| | 00:57 | So now we'll go in here and let's say it's going to be
some kind of flower and again this is just very quick.
| | 01:05 | Maybe a couple of shades in here.
| | 01:07 | I'll create another layer and you
can see here each time I decided
| | 01:12 | to do something a little different,
I am switching to a different layer.
| | 01:16 | Here we'll do another one, maybe this should be more of a brown.
| | 01:24 | Maybe it's some imaginary flower, so I don't know my etymology
that whether there are these things sticking out of there.
| | 01:32 | OK so we have got several different layers here and
it appears very much is if it's a single flat image,
| | 01:39 | however I could turn off and on these various
layers in order to have them isolated.
| | 01:47 | So that if I decide to change something, if I want to go back
I could say wrong kind of flower, I really don't want that.
| | 01:54 | So I can go in here and I'll just select all delete
and decide to paint some other flower on that layer.
| | 02:01 | Something a little different then I did the first time.
| | 02:05 | If we get into the situation like this,
you can use your Eraser tool to target
| | 02:10 | that layer and there is a couple of ways to do that.
| | 02:13 | If I switch to my layer selector tool, and make sure that this
is always turned on, we talked about in the layers chapter,
| | 02:21 | even if I am in a brush, I could click on this
and select that layer, so now it's selected.
| | 02:27 | Get my Eraser, erase that, and then click on
the layer I want to work on and I am back at it.
| | 02:34 | But I am still in my brush tool.
| | 02:36 | So at this point I could go in and I am Eraser there, so
you want to make sure you switch away from the eraser.
| | 02:42 | That does happens, sometimes you'll forget that you have
switch tools but again the multiple Undo in Painter gives you
| | 02:48 | that safety, that if that mistake is made you can correct it.
| | 02:52 | So now here I have gone back and change that layer which would
have been difficult to do had it all been on a flat image.
| | 03:01 | So by working in layers you have a big safety net to allow
you to do work without fear of being able to change it.
| | 03:10 | Now I have got a pre-prepared image I am going to show you
and it's in the exercise files, chapter 13 here, Layered Art.
| | 03:20 | I am starting it so that you don't see everything and first here
we are going to go through I am going to expand my layers palette
| | 03:27 | out by finding that little cursor change right here
at the bottom when you get down here it will change
| | 03:32 | to this little up down, or that lets me pull this out.
| | 03:36 | So I am going to start to turn these layers on, and you can see
how I build this image up through a number of layer elements.
| | 03:45 | So I'll turn on the sky that's the first thing I did.
| | 03:48 | Then I painted some clouds.
| | 03:50 | Now the nice thing is this is an element that I can adjust too.
| | 03:54 | So not only I am doing this for the Safety Net
but there is the ability to recompose as you work.
| | 04:01 | Then I want to have some sunlight off to one side
of the image, I'll move this over just a little bit.
| | 04:08 | Then I just put in a basic foreground
that I knew I was going to work with.
| | 04:13 | I also then brought in a photographic
element from an image that I have done.
| | 04:18 | Let's keep going up here, then I wanted to do more work
in the foreground here, didn't want just this green,
| | 04:23 | so I used the Image hose to just spray on some
weeds basically to have in the foreground area.
| | 04:31 | Then I went and painted on this layer on
top of all of what I have already done.
| | 04:37 | So this is just a paint layer, where it's
been picking up all the color underneath,
| | 04:42 | smearing it around using a brush that's not applying color.
| | 04:46 | Then I went in and added some detailed strokes
throughout the image and that's the basic image.
| | 04:51 | It's done.
| | 04:51 | But you could see how it's all in layers and
like I was saying particularly with these clouds,
| | 04:55 | I could decide where I want some of
these compositional elements to change.
| | 05:00 | Others you can't because that certainly would not
look correct and if I picked up the paint layer,
| | 05:06 | you can see out of context it's look rather but when it's in
the right place this whole thing, if you didn't see the layer,
| | 05:14 | you would think that this was simply a flat painting
and yet I had a lot of flexibility by building it
| | 05:21 | up in layers and this is how I work all the time.
| | 05:24 | I don't work flat anymore I love the ability
to change things like that paint layers.
| | 05:29 | If I decided that paint layer which is terrible, well
everything I have done up to then is still what I want to do.
| | 05:36 | I could delete the paint and start over again.
| | 05:39 | So that totally gives me a Safety Net to try painting in one
way and if I don't like it, I just undo it and paint it again.
| | 05:46 | Now if you are a traditional painter you are probably in
the process of picking your job of the floor right now,
| | 05:52 | because that's not something you can do in a traditional
medium and that's one of the great benefits of digital,
| | 05:59 | is that all of a sudden we are in this Alice in Wonderland
World there things are possible that you couldn't do before.
| | 06:07 | This enlarged safety net offers up a
great deal of experimentation and freedom
| | 06:12 | to try things out that you wouldn't otherwise do.
| | 06:16 | I highly advice you to investigate this concept
of layer painting as a major Safety Net.
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| Save early, save often| 00:00 | One of the things that can happen is you'll be working
away and lightning strikes your house or the power goes out
| | 00:06 | or something untold happens that causes you lose work.
| | 00:10 | That happens to all of us, there is no way around.
| | 00:13 | Nature sometimes gets into the way of our creativity.
| | 00:17 | So one of the pieces of advice that I have offered over time
is what I called save early, save often style of working.
| | 00:26 | I tend to save my work fairly regularly and it really takes
you losing your work once to quickly adapt to the save early,
| | 00:35 | save often scenario because you learn it's like boy
| | 00:39 | if I just would have saved five minutes
ago, I wouldn't have lost hardly any work.
| | 00:43 | And so it's a habit that you need to ingrain into
your workflow is that you regularly save your work.
| | 00:51 | So Painter doesn't have any automatic
save or anything that does that for you.
| | 00:55 | It's a manual process.
| | 00:56 | However it does have a process called Iterative Save
that will automatically number your work as you go
| | 01:03 | and it's not quite the same concept but it is one way to keep
track of your work, especially as you are working on a project,
| | 01:11 | I find it's very useful to keep iterations
of the work as it's progressing.
| | 01:15 | Even if you have got your layers Safety Net in place and even if
you are undoing another safety net that you can put into place is
| | 01:23 | to as you work on a project have
iterations of that image along the way.
| | 01:29 | And some times if it's a client-based work or whatever, you'll
get asked, can you change this, or whatever it is and you realize
| | 01:37 | if you have been saving iterations of an image that what,
if I go back four or five versions there was a point there
| | 01:43 | where I was working on that and it may offer you a layer or
something or if you have to go back just that far in work,
| | 01:51 | you'll find that having iterative savings of
the image as you go offers up possibilities
| | 01:58 | that would not exist had you only just worked on the image
all the way to finish and it's all in one image file.
| | 02:04 | It's one way of working that can help
you avoid sometimes some untold results.
| | 02:11 | So I am going to just do very simple thing here.
| | 02:13 | I am just going to go in and paint number one, OK.
| | 02:18 | So let's say I am working on my image and this is
around where I want to save, so normally you'd go up
| | 02:25 | and you would say save as and we'll just call it My_File.
| | 02:30 | OK, so we have got an image and we save it.
| | 02:35 | Now I go ahead and I do some more work.
| | 02:38 | So we'll just put in number two for another period
of time has passed that I have done some work.
| | 02:43 | Now I could go up and say save as and give it another name.
| | 02:47 | However you'll notice there is this option here Iterative Save.
| | 02:52 | If I save that, look what just happened, it's saved it
under My_File but it's added a 001 after that file for me.
| | 03:00 | Now I don't have to go in and type or anything, it just
saves as a new name, a new iteration of that file for me.
| | 03:09 | So I continue to work and now I have got three.
| | 03:12 | Now what you can do also is also is if you use the Option
or Alt+ Command and save, you can even do it easier,
| | 03:21 | all I have to do now is just hit Option or Alt
+ Command S to save and now it's just saved it.
| | 03:28 | So now I have got My_ File.002.
| | 03:32 | And so a good practice is to learn how to
quickly use those keyboard combinations.
| | 03:37 | So when you save, once you have a started a name convention
on a file, all you need to do is just hit the option or Alt
| | 03:44 | and Command and Shift to save it and it will
automatically append that number designation afterward,
| | 03:51 | and I don't know that you're going to go this far which can
go up to 999 iterative saves before it would rollover again.
| | 03:58 | So I find this a really great way to build several
images, even if we back and close this now.
| | 04:06 | I will go to My Exercise files in Chapter 13 here.
| | 04:11 | You see there is My_File then there is 001 and 002.
| | 04:16 | So that is a very nice way to save a series of files
without renaming and possibly misnaming it or whatever,
| | 04:24 | this just automatically appends those number on their for you.
| | 04:27 | So this is yet another Safety Net that lets you get back to the
earlier versions of an image where you may have made changes
| | 04:35 | in images after that and you'll realize, "Oh there is a layer on
that second iteration that I still have that I could pull out of
| | 04:42 | that image and put into the later image and I'd
be OK, I wouldn't have to redo all the work".
| | 04:47 | So this is another Safety Net and the
more safety nets you have in place,
| | 04:51 | the more times you can bounce before you
are going to hit the hard cold earth.
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|
|
14. Using Painter and Photoshop Effectively Using each application for its strengths| 00:01 | Painter and Photoshop each have their own strengths. And I find
using them together gives you a very powerful toolset that
| | 00:10 | is hard to beat with any other combination of applications that
I know of. If you've got Painter and Photoshop, you've got just
| | 00:17 | about every tool you need to adjust,
tweak, change pixels that is possible.
| | 00:24 | I have a certain working methodology that I am going to
describe to you in which each application is taking advantage of
| | 00:31 | it's own strengths and I call it the Photoshop Sandwich with
Painter in the Middle workflow. And what I find is by starting
| | 00:40 | and ending in Photoshop and using Painter in the middle,
that gives me the correct tools for the correct aspect
| | 00:48 | of the job as I go through my workflow.
| | 00:52 | First of all,
| | 00:53 | Photoshop is the first layer in the sandwich and this is
where I do all of my image preparation. Things like resizing
| | 01:01 | for intended output. Sometimes I do border treatments to images
and it's important at the beginning rather then the end
| | 01:09 | of the job, to add any additional border that you may want to
add because if you have sizing requirements you would rather do
| | 01:18 | the image at a 100% scale with that
additional outset of the non-image area
| | 01:24 | to work in for any ragged edged borders or
painterly edge borders. Whatever they are, it's best to
| | 01:31 | figure all that out at the beginning. So I do use Photoshop
for just getting the image sized correctly. Secondly,
| | 01:39 | the tonal and color adjustment. Photoshop is unparalleled when it
comes to adjust color and tone. So I take advantage of Photoshop's
| | 01:48 | world class tools for just that purpose in preparing my image.
| | 01:54 | And then finally if there is any retouching or
compositing work that has to be done. Once again that's
| | 02:00 | the domain of Photoshop and I really prefer to use it's
tools. That's the first segment of my Photoshop sandwich
| | 02:09 | with Painter in middle. Now let's look at the middle, which
is Painter. OK, secondly now this is the middle part and
| | 02:14 | to be honest this is where you are going spend the most
time. Even though there is Photoshop on either end of job,
| | 02:20 | Painter really is where the bulk of the work gets done
and of course for expressive interpretation, creating
| | 02:28 | brush work or applying brush work over a photograph, there is
no better tool than Painter for that. The central expressive area
| | 02:36 | of the workflow is by far the most critical
| | 02:40 | and you take advantage of Painter's arsenal
of expressive mark marking tools to do that.
| | 02:47 | So all of the brush work gets done in Painter. Any
texture application that I want to apply, I use Painter's
| | 02:54 | tools for that. As I mentioned if you are going to add a
border when you do that in Photoshop then the border treatment
| | 03:00 | that you may add to it, you'll do in Painter, but
because you did the correct sizing in Photoshop earlier,
| | 03:07 | you'll have that extra white blank space
| | 03:09 | around the outside of your image to paint into, so that
you have got that extra edge available to work with.
| | 03:16 | So Painter let's you work with expressive mark
making tools in a way that you can't do anywhere else.
| | 03:24 | And then for the third part of our sandwich, we go back
to Photoshop and this is where I finalize the image.
| | 03:31 | When you paint in Painter, you are mixing pixels and so sometimes
some of the saturation of color gets a little dulled down because
| | 03:39 | of that intermixing of color. So there are times where
you are going to need to do some color correction. Just
| | 03:47 | local tonal adjustments. Particularly in the world of
portraiture, you can do some tricks in Photoshop to
| | 03:54 | emphasize the subjects face and de-emphasize some
of the non-subject areas of the image through various
| | 04:02 | dodging and burning type techniques. And then finally I
use Photoshop to do the final conversion of the image to
| | 04:10 | the intended output profile. If you are working either with your
own printer or with a commercial lab that prints out out your work,
| | 04:17 | you need to be able to ship them the image
in whatever their workflow dictates.
| | 04:24 | So a lot of times they want it in sRGB, or they want it in a Adobe
RGB, but whatever it is, Photoshop is definitely the application
| | 04:33 | to do all of that work in. So this Photoshop
sandwich with Painter in the middle workflow,
| | 04:39 | works very well for me. And I have taught it to
a lot of people and many people I know now use it.
| | 04:45 | I really encourage you to especially if you do have Photoshop and
| | 04:49 | you are learning Painter or if you have Painter and you want to
learn Photoshop. Together, they are just the best set of tools
| | 04:56 | you could possibly have to do just about
anything you want with pixels in the world of
| | 05:02 | image making and expressive mark making.
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| The PSD format: What's compatible and what's not| 00:01 | One of the questions I get asked is, what
file format is best to save work in Painter.
| | 00:05 | I will often say you, for the most compatibility,
you want to save in Painter's RIF format
| | 00:10 | because there is some unique features within
Painter that only the RIF format can preserve.
| | 00:16 | On the other hand, if you are working back and forth between
Photoshop by far the best and in fact the only format
| | 00:24 | that you can move back and forth and preserve layers as well
| | 00:27 | as some other items is the PSD format
which is Photoshop's native format.
| | 00:32 | Now I am going to go through and we are going to
talk about, both what works and what doesn't work,
| | 00:37 | so you can see where you can get into some situations that
you definitely are going to want to also save a master file
| | 00:45 | in RIF format, so that you preserve those unique features
but you will then also save a second file as Photoshop
| | 00:52 | as your file to be able to migrate to Photoshop.
| | 00:56 | So, lets look first at what works.
| | 00:59 | What are the compatibilities between Painter and
Photoshop with regard to the PSD file format?
| | 01:06 | OK, what works are layers.
| | 01:09 | You need layers in Painter will go into Photoshop as
a layer, Layer Groups work, Masks work, Blend Modes,
| | 01:17 | some of them work, and we will go over that in one moment.
| | 01:21 | Selections work, Guides work, Embedded ICC profiles which
is very critical work as well, so all of these work,
| | 01:29 | but when we Blend Modes, not every Blend Mode,
that's in Photoshop will translate to Painter.
| | 01:36 | However the most common ones will.
| | 01:38 | So you can see the list here, your normal its called default
in Photoshop, normal in Painter, same thing as Dissolve,
| | 01:46 | Multiply, Screen, Overlay, Soft Light, Hard Light, Lighten,
Darken, Difference, Hue, Saturation, Color Luminosity,
| | 01:56 | all of these modes will translated back
and forth between the two applications.
| | 02:02 | Unless you get into some of Photoshop's
more esoteric Blend Modes.
| | 02:08 | So, these are the things that work back and forth between the
two applications and to be honest for 99% of the work I do,
| | 02:16 | this is really all you need in order to work
back and forth with little difficulty at all.
| | 02:24 | What doesn't go back and forth between Painter and Photoshop?
| | 02:28 | Where do you run into incompatibilities?
| | 02:30 | Well this is where each application does
have unique features that are preserved
| | 02:37 | in its native format, that can't translate across.
| | 02:39 | For example, Painter has a set of dynamic
plug-in layers, this is where the,
| | 02:44 | for example, Liquid Metal exists and some other layers.
| | 02:49 | Photoshop doesn't know what those layers are. It has
no code in it to do anything with the special layers.
| | 02:55 | So, when it gets exchanged the data is basically thrown out.
| | 03:00 | In some cases it will rasterize it,
but just be aware that when you get
| | 03:05 | into using dynamic plug-in layers in
Painter, in fact everything on this list.
| | 03:09 | This is where you want to save a RIF master backup file, so
that any of this kind of data is preserved in the RIF format,
| | 03:18 | but again I don't hardly ever run into
issues where this becomes problematic.
| | 03:24 | Painter has its own form of text, how it saves it, so that is
unique to the RIF format will not translate over to Photoshop.
| | 03:32 | Photoshop has something called Shapes too, but they are both
vector information and neither one knows about each other.
| | 03:39 | Transformed layers in Painter, you
can put a layer under transform
| | 03:43 | and leave it that way similar to Photoshop Smart Layers.
| | 03:47 | This information is only preserved in Painter.
| | 03:51 | The Watercolor layer for example, a Liquid Ink,
Impasto all of the things on this list are things
| | 03:56 | that will generally get rasterized
when they go over to Photoshop.
| | 04:02 | Then on the Photoshop side of the fence,
Photoshop has adjustment layers, Painter does not.
| | 04:07 | So adjustment layers coming over to
Painter, Painter will discard them
| | 04:10 | because it does not know what they
are and can't do anything with them.
| | 04:14 | Photoshop's text like Painter's is, in its
own format, so it cannot transfer across
| | 04:19 | and then once again here we have a parallel,
yes Photoshop has something called Shapes,
| | 04:24 | but it is not the same data as Painter's Shapes.
| | 04:27 | So that is incompatible.
| | 04:29 | Smart objects in Photoshop are unique as our
Layer Styles, Vector Masks and Layer Fill Opacity.
| | 04:38 | All of these are unique and can only
be preserved in the Photoshop format.
| | 04:44 | So, this little chart here pretty much shows you, what works
and what doesn't and while there is a lot of caveats on here,
| | 04:51 | as I said most of the time, I work like this
with the Photoshop format back and forth
| | 04:56 | and I very rarely, "Oh darn, I can't bring this into there."
| | 05:00 | Maybe something esoteric like Liquid Ink, or whatever, what you
have to do in that case is create a rasterized version of it
| | 05:09 | and then take it in and save it as a Photoshop file.
| | 05:12 | So, you won't have the editability of that particular data
anymore, you will still have it in a RIF file, master file saved.
| | 05:20 | So you can edit it and you will have a flattened
rasterized non-editable version of it that can pass
| | 05:27 | over to Photoshop should you want to continue to work with that
imagery just it will no longer be in editable form and likewise
| | 05:35 | when you go back from Photoshop some of these things, like
adjustment layers, just can't travel along with the file,
| | 05:41 | but in the main the fact that layers and the ICC profiles,
those are two of the major things here and as we'd see
| | 05:48 | in the next video, being able to have consistent
color between Photoshop and Painter is critical
| | 05:55 | and the only way it can happen is due to the fact that the
Photoshop format saves that ICC profile, as does Painter.
| | 06:02 | We will talk about it more in the next video, but it's important
to understand that that's a crucial step in being able to work
| | 06:09 | in these two environments and have minimal problem
particularly, when you are looking at color.
| | 06:14 | So we will look at color specifically in the next video.
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| Color management compatibility| 00:01 | One of the situations that I see, I read this both online
in different forums as well as encounter this in workshops,
| | 00:07 | and that is we will be doing the workshop and then I will
step outside and there will be two or three people there
| | 00:13 | tearing their hair out and I will ask
them, "Why are you tearing your hair out?"
| | 00:18 | It always seems to come down to, "I can't make
the colors in Photoshop and Painter be the same.
| | 00:23 | I work in one and then I take the image into
the other application, and it doesn't match.
| | 00:28 | What is wrong?"
| | 00:29 | I have actually got that situation on
screen right now so you can see it.
| | 00:33 | What I have got down here is this little color_chart
file opened in Painter and then I will click on this,
| | 00:39 | and you will see this one is in Photoshop and you can see that
there is quite a bit of difference in the contrast in these.
| | 00:46 | This one is kind of washed out and this one is much richer,
and this is typical for what happened is we are seeing it
| | 00:52 | in a situation where we get to look at them side by side.
| | 00:55 | A lot of time if you are working on a image
and going back in forth between applications,
| | 01:00 | you can either not realize what's can confuse you or
you will do like I am doing here, load the image up
| | 01:05 | and go nuts trying to figure out why this is happening.
| | 01:09 | What basically is happening here is both Photoshop and
Painter have a Color Management engines built into them.
| | 01:16 | What you need to do is to synchronize them the
best they can, so that they will be matched up
| | 01:23 | and because Photoshop really is the
king of color and Color Management.
| | 01:28 | You want a base what we are about to do in
Painter on what Photoshop is setup to do.
| | 01:33 | So what we are going to here is go in and
look at the Color Settings for Photoshop.
| | 01:38 | Color Management is a subject that sends people
running naked down the streets sometimes.
| | 01:43 | I realize it's a deep subject and it can scare you off.
| | 01:48 | But if you have no knowledge of Photoshop,
I will show you just a basic set up here
| | 01:52 | that you can set Photoshop up in and
then we will mirror it in Painter.
| | 01:56 | On the other hand, if you are familiar and comfortable with
Color Management, you don't have to use my settings at all.
| | 02:02 | Use whatever you want to use.
| | 02:04 | Some people are really get into using, for example,
the ProPhoto color space because it's a wider gamut.
| | 02:11 | I typically work in Adobe RGB and
I just have this set up this way,
| | 02:15 | but you get into religious wars
when you get into Color Management.
| | 02:18 | I don't want to do that. But I do want to just show
you how to make the two be as consistent as possible.
| | 02:26 | So I am going to assume that you either are working in
Adobe RGB and if you don't have any clue what to work in,
| | 02:33 | I would recommend put your RGB working
space and set it up to be Adobe RGB.
| | 02:39 | So you want to do that and the only other
really important thing we need to is don't worry
| | 02:43 | about all these, this has nothing to with Painter.
| | 02:46 | We are really concerned at this point about
color accuracy between a Photoshop and Painter
| | 02:52 | and we are only going to be dealing in the RGB world here.
| | 02:55 | So the other thing you want to probably make sure
you have is and a lot of people work this way,
| | 02:59 | Preserve your Embedded Profiles for
your Color Management Policies for RGB.
| | 03:03 | Let's also just look at More Options here.
| | 03:06 | This is the one thing I will tell you right here,
| | 03:08 | you see Photoshop has its own the Adobe Color
Engine and that's what is driving all of this.
| | 03:15 | Painter on the other hand uses a Kodak's color
management engine, and when we get this tweaked up,
| | 03:21 | you will see there is a still some
slight difference between the two.
| | 03:25 | I attribute this to the fact that these are two different
color engines and there is just something different internally
| | 03:30 | in the two that lead to slightly different results.
| | 03:32 | But you will see we can get much closer,
but I just wanted to open this up,
| | 03:36 | and typically and you will hear most people will recommend you.
| | 03:38 | Stick with the Adobe Color Engine
so we are not going to change that.
| | 03:42 | One other thing, and this again people who know
what they are doing will tell you different stories
| | 03:47 | about what to set this up is.
| | 03:48 | I am just going to tell you for general purpose.
| | 03:50 | Set it to color, Relative Colorimetric.
| | 03:53 | So that's a good broad Intent that will work for most images.
| | 03:57 | So if you have no setting and you don't know
what to do, set this to Relative Colorimetric.
| | 04:01 | The only way to get to this is to open up More Options.
| | 04:04 | OK, don't worry about anything else on here.
| | 04:06 | So I can leave this set up here, but
we are going to go to Painter now.
| | 04:10 | Actually what we will do let's move this over, so
you can kind of see any changes that may happen.
| | 04:16 | So we are in Painter now, and to get to Painter's color
management settings you got a Canvas, Color Management.
| | 04:24 | OK, now here is where we have this very interesting looking
dialog, but it's not exactly clear what's happening.
| | 04:31 | The first thing is we want to set up to
match Photoshop and if you will remember
| | 04:35 | in Photoshop over here, we've set this to be Adobe RGB.
| | 04:39 | So the way to do that is you are going to set your Working
Color Space here and I am going to set it to Adobe RGB.
| | 04:46 | The other thing, we are relating to this was remember we set
this to Relative Colorimetric, this is where this is not obvious
| | 04:54 | at all but if you click on this little triad of
colors, this is where we can set our Rendering Intent.
| | 04:59 | I am going to set this to Relative Colorimetric.
| | 05:02 | OK, now remember we want to preserve profiles.
| | 05:06 | If you click on this little documents stack,
this brings up the Import/Export Settings.
| | 05:13 | Don't worry about CMYK, make sure you click on the RGB radio
button here and we want to Always convert using Adobe RGB.
| | 05:23 | We want to Always embed using, guess what?
| | 05:27 | Adobe RGB.
| | 05:28 | What we are doing here is we are ensuring that when
the applications move the files back and forth,
| | 05:35 | they embed the same profile and the Photoshop
format is the only format in Painter that does this.
| | 05:42 | I think somewhere in the documentation Corel claims
that it works with TIFF but I can tell you it doesn't.
| | 05:47 | The only way to ensure that you are preserving a profile
or a document is to store it and save it as a PSD file.
| | 05:55 | So what we are doing here is we are
ensuring that both Photoshop and Painter,
| | 05:59 | they are going to save the Adobe RGB ICC profile going both ways.
| | 06:04 | So I can say OK to this.
| | 06:05 | You want to make sure, these are turned on.
| | 06:07 | This tells that both ways coming and
going from Painter follow those rules.
| | 06:11 | Finally, we need to tell Painter, what the monitor profile is?
| | 06:16 | Photoshop gets it at the system level in Apple
and Windows that information is provided.
| | 06:21 | So Photoshop is smart enough to go see where at
the system level the current monitor profile is.
| | 06:27 | Painter is not, so we have to tell it, we want to also convert
to match the monitor and I am going to click on Generic
| | 06:35 | and it happens to be the monitor working
with here is this one right here.
| | 06:39 | So I will select it and we will say OK and now let's say OK here.
| | 06:45 | Now you can see- in fact I can turn
Color Management On and Off right here.
| | 06:50 | See that's how it was, here is how what it
is now with those color management settings.
| | 06:55 | If I put this right next to it, you can see there are some slight
differences, it seem like the Kodak engine wants to push whites
| | 07:04 | out a little bit of more of the finesse going on with
the grey scale there with the Adobe Color Engine.
| | 07:09 | But this will set you up so that as close as
you possibly be between the two applications
| | 07:16 | and another thing that's I believe this is new to Painter
X. It used be you had a manually toggle Color Management on,
| | 07:24 | but once you have turned it on in any
document in Painter, it stays on all the time.
| | 07:29 | So you don't have to worry about, Oh was
I working with my soft proofing on or off.
| | 07:34 | It's on and it's working and it will continue
to open up every document with that on.
| | 07:40 | So by mirroring these two settings you will be
able to set up your two systems so that they match.
| | 07:49 | I am also going to have, it's not in there right now I
don't believe, but in the Chapter 14 there will be a PDF
| | 07:57 | that I supply you that is an explanation of this as well.
| | 08:01 | So if you missed it in the video there is also going to be a PSD
file for you going over the same information we just went over.
| | 08:09 | So that's how you get your two images
to match in Painter and Photoshop.
| | 08:16 | Hopefully this will eliminate all these
people that I see tearing their hair out.
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15. TroubleshootingUsing the Shift key restart| 00:01 | Unfortunately one of the things that
you can sometimes encounter in Painter,
| | 00:04 | and as well as in other applications is that you can crash.
| | 00:09 | Painter sometimes will just go bump in the night
and something will happen which forces it to crash.
| | 00:14 | So what I am going to show you here is how to reset
Painter so that you can get it back to normal,
| | 00:21 | but I am also going to show you where you need to go if you have
any custom brushes or other custom content that you have created
| | 00:28 | in Painter, because if you don't get that out of the way first
Painter will basically toss it and you won't have it anymore
| | 00:36 | and then that will even lead you to be
using more words that aren't allowed here.
| | 00:40 | So the first thing I am going to do is show you where this
is located and then I will show you how to restart Painter.
| | 00:47 | So depending on whether you are in Windows or Mac, where you
are going to find your user folder and that's what we need
| | 00:53 | to find is your user folder is where is
your custom content is going to reside.
| | 00:58 | Painter actually has two parallel libraries.
| | 01:01 | One is a read-only library that is that
never gets written to, never changes.
| | 01:07 | However, every time you make a change to a brush, add a
new brush, add new content, it goes into a user folder,
| | 01:14 | which is separate from where the application itself is located.
| | 01:19 | So in Windows, you will see here on the screen, you go
to the Documents and Settings folder, then you go to,
| | 01:27 | whatever your user name is, for me it would be like John.
| | 01:30 | Then you would go next to Application Support down into
Corel and finally to Corel Painter X and after we get
| | 01:37 | through this I will show you exactly how to do this.
| | 01:40 | But you need to know this particular path in order to get to it.
| | 01:44 | For the Mac, you go to the users folder and
then whatever your name is or your user.
| | 01:50 | Then you go to Library, Application Support, the Corel folder and
then finally Painter X. So in either case these paths are going
| | 01:58 | to get you to the point where you can locate your
specific files that you are going to want to save.
| | 02:04 | I can show you this on the Macintosh since
that's what we are working with here.
| | 02:08 | The first thing I am going to do is, I am going to go
to my User folder and next I am going to go to Library.
| | 02:15 | I will try to open this up, so we can see this.
| | 02:17 | Then I am going to go to Application Support, next I go
to Corel, finally I go to Painter X and what you are going
| | 02:25 | to see in here will be different for each person.
| | 02:27 | There will always be a Default folder and if you have been making
any Workspaces, the additional Workspaces will show up here.
| | 02:34 | So depending on what's crashing if you
know it's in the Default Workspace,
| | 02:39 | which was open before you started having your crashing problem,
you are going to want to go here and get that Default folder
| | 02:46 | and make a copy of it and put it somewhere else.
| | 02:49 | If it's another Workspace that is
problematic, take that Workspace and take it
| | 02:55 | out because inside this Workspace is all of
the things that you have done in Painter.
| | 03:00 | So Brushes for example.
| | 03:02 | I don't know for sure what I have been doing
in any of these Brushes to show you this,
| | 03:06 | but any of these Brushes where I would have
made new brushes, they would show up in here.
| | 03:10 | Right now, it is empty because I haven't
been doing a lot of brush making.
| | 03:14 | But if you have, you will start to find brushes
in the various categories where you have made it.
| | 03:18 | Likewise, that's where Nozzles, Patterns
all of these things are going to show up.
| | 03:23 | So the best thing you can do is to before you reset is to
get this folder out of harms way and let Painter reset things
| | 03:31 | in which case it will return this to a
Default Setting that has no content in it.
| | 03:36 | So that's what you need to do.
| | 03:38 | Now, next we are going to go into Painter and
I will show how to actually get out of trouble
| | 03:44 | when you see that you are crashing pretty regularly.
| | 03:47 | So I have got Painter located in my Doc.
| | 03:51 | You can also go to perhaps Application and find Painter in there.
| | 03:56 | That's another way we are going to be able to do this, but
you need to get to where you can double-click on Painter.
| | 04:01 | So whether it's the actual Application or it's an alias that's
in something like the dock either of these techniques will work.
| | 04:10 | So to restart Painter, so that you can get
it out of a condition where it is crashing.
| | 04:16 | You are going to need to launch Painter by
double-clicking on it or launch it say from the dock.
| | 04:22 | So I could do what I am about to do either from here
or I could go in and find in my Applications, Painter.
| | 04:29 | But either way you need to get to where the
Application is so that you can double-click on it
| | 04:34 | or launch it from something like the dock to start it.
| | 04:37 | Now, I am going to hold on the Shift key.
| | 04:39 | This is your panic button.
| | 04:41 | Hold down the Shift key, I will double-click
and now you will see this dialog come up.
| | 04:47 | It wants to know if you want to restore
Painter to its factory default setting.
| | 04:51 | Now this is going to get rid of all those customizations,
which is why I showed you how to get those customizations
| | 04:58 | out of harms ways prior to doing this operation.
| | 05:01 | But once you have first moved all of your customized brushes
by going through the path I showed you, then you can go ahead
| | 05:07 | and I would say do it to the Current Workspace, not All
Workspaces, because you may have other workspaces that are fine.
| | 05:14 | Just go to the Current Workspace, and click on it and it
will launch Painter and in such a way that it gets back
| | 05:20 | to all the Default Settings and this will 99% of
the time get rid of any crashing problem you have.
| | 05:27 | Now, what you would need to do is take that folder of Customize
Brushes and start to put them back in to the same location,
| | 05:35 | where Painter has just eradicated all
of that and I would do it sparingly,
| | 05:40 | to try putting the brushes in first and see if that's OK.
| | 05:43 | If you are still having crashes, you have likely go a bad
brush file and then it gets into a little more detective work.
| | 05:51 | Most of the time just been able to get restarted is
the biggest sigh of relief you will breathing that day.
| | 05:57 | So the panic button is the Shift key, when you start Painter.
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| My brush won't paint| 00:01 | There are several cases in Painter,
| | 00:03 | where all of a sudden it seems your brush doesn't work
anymore and you can go a little nuts trying to figure out what
| | 00:11 | caused the brush to stop painting. Well, I have got a handy
checklist for you that will help you work through just about any
| | 00:19 | situation in which a brush stops painting. I am going to go over
to the exercise files and here in Chapter 15, you're going to
| | 00:27 | find a PDF file, Brush Checklist. I'll just open it up here so that
you can see this. I'm not going to read through all of them here,
| | 00:36 | but one of the things I kind of live by that's
I call an SOP or a Standard Operating Procedure.
| | 00:42 | If you go through this list, it is going to have
basically all of the scenarios that I know of
| | 00:48 | that can force a brush to stop working one way or another.
You will see it's kind of broken down into different types of
| | 00:54 | categories. Several things are going to happen when you're painting on
layers that may stop the brush from working. If you're just painting on
| | 01:01 | layers or at the Canvas layer that can stop it from working.
But all of these different scenarios are outlined here.
| | 01:07 | It gives you a set of things to go
through for each one of these conditions
| | 01:11 | to see if this is the case. It's done on a 8.5x11 sheet, so
you can just print it out and just have this at the ready
| | 01:18 | whenever you discover that you have a brush that's not working.
| | 01:22 | Chances are you are going to find the answer
on this sheet of paper. So take advantage of it.
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ConclusionGoodbye| 00:00 | Well I hope you had a great time learning about Painter in
this title. I know I sure enjoy showing it off and I hope
| | 00:06 | it shows it to my enthusiasm throughout the title.
Now what I want you to do from here on out is continue to
| | 00:13 | practice, practice, practice. That's how you're going to get better
and don't worry about making mistakes. Like I like to say a mistake made
| | 00:21 | is a lesson learned and the more mistakes you make, the more you're
going to learn, the better you're going get. So just stay at it,
| | 00:28 | do what you can and
| | 00:30 | my last bit of information is this:
| | 00:33 | go forth and express yourself.
| | 00:36 | See you next time.
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