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Using Sample All Layers

From: Digital Painting: Street Scene

Video: Using Sample All Layers

The combination of layers on the Mixer Brush eats up a lot of processor power, so much so that sampling the color found on underlying layers can slow brush performance down. In this video, we'll take a look at the Mixer Brush's Sample All Layers option and I'll show you how to avoid potential interruptions in your creative flow. So the thing is that we've got this Sample All Layers option when we're in the Mixer Brush. You typically want to keep it off.

Using Sample All Layers

The combination of layers on the Mixer Brush eats up a lot of processor power, so much so that sampling the color found on underlying layers can slow brush performance down. In this video, we'll take a look at the Mixer Brush's Sample All Layers option and I'll show you how to avoid potential interruptions in your creative flow. So the thing is that we've got this Sample All Layers option when we're in the Mixer Brush. You typically want to keep it off.

The reason is, as I mentioned at the beginning, when I start to paint on another layer, and let's just take something like the Smeary Brush. Now it's normally smeary, but you can see when it's not interacting with the layer below it. It doesn't smear, whereas another color on this layer will smear with it. If I want a color to smear with the color on a layer underneath of it, I have to enable Sample All Layers. Now, it's going to do the extra push to look at that color underneath of it.

Now, in this particular instance, just dealing with a color layer to sample color found underneath of it is not necessarily a huge performance hit. Where you're really going to find the issue however is when you're on cloning layers. If you're on a cloning layer, and using the cloner, Sample All Layers, if it's enabled is going to just slow your brush way down. So if you happen to be on a cloning layer with a cloning brush, and you start to paint and it's very slow, the first thing you should think of is Sample All Layers, and look up here and I'll guarantee you that you've got it checked.

So you normally want this unchecked, specifically when you're working on cloning layers. Now, I'm going to give you a little tip that is kind of hidden, and that is, you would think, okay, cloners only work with cloning layers. But guess what? They actually can perform two functions. So I'm going to get a round cloner here. Now, we're not on a cloning layer. What do you expect to happen when I use it? Well, watch this. It actually becomes a blending brush.

It's a brush that blends, but doesn't apply color. It could be very useful. In this case, I do want Sample All Layers on and now here I am blending colors very nicely, but it's on a separate layer completely. So this lets me do all kinds of blending and not be destructive about it. For example, normally I tell you keep Sample All Layers not enabled when you're using the cloning brush.

Well, when you're on a cloning layer, yes, but you may later on want to create a blank layer and then use the cloning brush in its alter ego, which is as a blender on a normal layer as I'm doing here, and then you could go over your cloning layer and use that same cloning brush on a normal layer to become a blender. So it's a nice technique for being able to use the cloning brush as a blender.

To kind of wrap this up, the Sample All Layers option can be very useful for blending color on overlapping, multiple-layer, underlying color, but in doing so, it can dramatically affect brush performance. Being processor and memory dependent, it's very difficult to predict whether or not it will affect your specific setup. For the most part, you can work with Sample All Layers disabled and never notice it. But don't forget my little trick. You can use the cloning brushes on regular layers and blend.

Very big trick.

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This video is part of

Image for Digital Painting: Street Scene
Digital Painting: Street Scene

45 video lessons · 15063 viewers

John Derry
Author

 
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  1. 8m 50s
    1. Welcome
      1m 11s
    2. Using the exercise files
      39s
    3. Installing custom brushes
      7m 0s
  2. 22m 3s
    1. Understanding the visual vocabulary
      4m 46s
    2. Using the vocabulary of photography
      6m 41s
    3. Using the vocabulary of painting
      7m 1s
    4. Looking at reality through a mental painting filter
      3m 35s
  3. 10m 22s
    1. Understanding that resolution is in the brush strokes
      3m 6s
    2. Understanding the subject
      7m 16s
  4. 16m 1s
    1. Removing lens distortions
      2m 33s
    2. Using the Free Transform tool
      4m 42s
    3. Using the Lens Correction filter
      4m 36s
    4. Understanding the ACR lens correction profiles
      4m 10s
  5. 12m 23s
    1. Working with Vibrance
      3m 14s
    2. Using the Match Color command
      2m 59s
    3. Understanding the traditional paint color swatch set
      6m 10s
  6. 16m 6s
    1. The eye has a bettor sensor than a camera
      3m 16s
    2. Using the Shadow/Highlight filter
      3m 17s
    3. Using the HDR Toning filter
      5m 23s
    4. Understanding how RAW files provide malleability
      4m 10s
  7. 14m 42s
    1. Working with the Reduce Noise filter
      2m 50s
    2. Working with the Surface Blur filter
      3m 6s
    3. Using Smart Blur for simplification
      2m 51s
    4. Working with the Topaz Simplify plug-in
      5m 55s
  8. 31m 10s
    1. NDLP: A creative safety net
      5m 1s
    2. Using custom actions
      9m 41s
    3. Using the reference layer
      5m 29s
    4. Cloning layers
      6m 5s
    5. Working with the Hue/Saturation adjustment layer
      4m 54s
  9. 17m 28s
    1. Brush categorization
      10m 1s
    2. Working with canvas texture
      3m 41s
    3. Using Sample All Layers
      3m 46s
  10. 12m 48s
    1. Being willing to destroy detail
      7m 21s
    2. Establishing the painting style
      5m 27s
  11. 25m 1s
    1. Simplified indication
      9m 3s
    2. Understanding color
      4m 10s
    3. Introducing texture
      11m 48s
  12. 17m 36s
    1. Providing rest areas for the eye
      6m 55s
    2. Focusing on the subject through detail
      10m 41s
  13. 24m 20s
    1. Being willing to depart from the original
      6m 48s
    2. Creating detail to enhance the artwork
      8m 36s
    3. Creating physical surface texture effects
      8m 56s
  14. 10m 33s
    1. Waiting a day
      4m 14s
    2. Examining your importance hierarchy
      6m 19s
  15. 57s
    1. Goodbye
      57s

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