Corel Painter X3

Lesson 4 of 25

Interface Tour Part 2

 

Corel Painter X3

Lesson 4 of 25

Interface Tour Part 2

 

Lesson Info

Interface Tour Part 2

Quickly well, quickly going back teo looking through the circle I was starting off I'm going to just pick a different brush here on let's go to the critics just going picks um some different brushes uh acrylics pursue bra's um so we're goingto work our way around and this has a nice trailer uh, one of the questions I had from julia is like is there a brush with the nice trail off and how do you control the trail off? Well, this actually has a really nice trail off look at that on so and just if you want to make a note uh it's in the acrylics and it's the bristle brush you can control the trial I don't want to go there right now because I'm just doing my intro but what we'll do this afternoon is remind me because there's an advanced brush controls I don't want to go there right now, but we will do so we've we've I think I covered the basics here we've looked at the brush select panel here we've looked at the brush search over there on what I've done in my workspace is I tend to drag the...

burst search down I tend to put it over there, you know you can put it where you want and what you see when you see the red, you'll notice that appearing nigh on them when you try moving panels, as they're called around all that means is it's going to be, like, stuck against that no matter what the resolution of your screen? And if you ever want to move panels and not have the red appear, you simply hold down the option key or the whole turkey on a pc. Um, regarding pixels, would it be best to address that now? What do you fire away with the question? Annie asked for you to elaborate on why you chose one hundred fifty cpic souls over something lower or higher? Well, a couple of reasons, good question, um, reese ice. So, first of all, when it comes to print in for a lot of our work that we do hundred fifty's about what I'm printing out and I'm not producing anything here, I'm just playing showing brushes, so I didn't really want a huge big file. I want you to be out to see the brush behavior so it's actually pretty low res it's fifteen hundred, twelve hundred pixels. I wouldn't want to go smaller than this, but that was the reason on the eight why the eight by ten? Because it's already, if I did save it and took it tio printer, it would just print. Nice size on a letter sized paper and that why that's why I did it by ten, one hundred fifty because I know that I'll print nicely. It's not too many pixels is not too few pixels it's great for a demo on the absolute basics a painter thank you. Ok, I definitely would want more pixels if I'm doing you know something where I want to end up like that so let's keep on going so way need to I understand what's going on here this is the brush property brought on. By the way, this bar reflects whatever the tool is that selected s o as you pick different tools, you'll see that property bar change just isn't photoshopped on dh so very, very important this leads say that we change the size of this on you know, we've looked at the slider I'm gonna be honest with you. I don't use these slide as at least not the site slider just because it's too awkward so my favorite way to change size andi always I know some people like the bracket keys for me that's also to to incremental my absolute go to way to change size is what you saw me use earlier, which see if anyone remembers, I'm going to see if you're awake here controlled yes uh control old on a pc on dh option command on a mac so what I'm going to do is hold that down and drag and I'm going to make a big brush stroke like this on we're going to change color here who old look at the way it's blending oh my gosh, george anyway, so I'm gonna do this on dh actually we're going round here we've changed size there's some parameters, which we can also adjust here so things like well, do we want it to blend mohr with the colors that it goes over? It hardly shows up there so let's take it town of it so we can control the blending yeah, we can control different parameters and I would say for someone who's just getting into painter your new painter you're starting to play around and get feet wet, so to speak just have fun with these but don't get too worried about him not all parameters obviously make changes some some make really obvious changes on some don't seem to have an effect depending on the brush, so don't worry about that now what I wanted to show is I've now changed the brush on dh it's no longer like it was in terms of size even the parameters have changed and then it's like uh what happens when you get to the point? I wish I could just go back to how it wass now I've had enough playing with the parameters I think you know I just want the default brush behavior that's all I want does anyone know where the magic button is the magic button too reza far left on the fresh yes and I'm gonna hold the cursor over here because it's so important it's called the reset tool andi this is this is a magic go too but there's a few magic buttons you know when you're doing photo of the clone button is a magic button and then when you're just painting and you're changing parameters this is a magic button so if you ever just want to go back to how a brush wass that's it you click it and it resets it away to the defaults so it's good to know let me just share another thing that happens a lot I've seen this it's so funny there are there are probably about three or four really really specific things that trip people up and that they get so frustrated with on dh when they happened one after the other and again in a game that's really what gets in the way of being able to use the program I just one of the things that trips people up is the accidentally click on this and they don't realize they've clicked on it so they are they select it inadvertently it's called a straight line stroke on if anybody's got stuck with the spider web and I can't get out how do I get out of it said it could be quite need maybe you want to use it in a painting nothing wrong with that but has anybody here ever got stuck with the spider web? It was like I like her and I've known people who say they quit out of pain and to get out of stuff like this um they created out of pain so the answer is that well what's the answer no, no, no, no not the reset, not the very reason it's not a reset it is this is a free and brush stroke click there were, um, incidentally, a lot of these little things that happened that trip people up off, not always, but often their due to the keyboard shortcuts, which you know how I don't know what the keyboard shortcut is for that you know, you wouldn't there's no reason you would and actually I don't even keep what's your cover but there's a lot of little things like those eve, the diseases that cause these things that happen and if you find it happens a lot, then one thing you can do and this is going a little bit deeper into the program, so you know, for those who are absolute absolute beginners, you know, you could just phase out from home and for those who are like well, I want to get down to the nitty gritty of all this stuff then you would end up looking down here and this is a place where they literally have a ll the keyboard shortcuts set and you can customize them for everything in the program and so you know you've got your palate menus on dh go through there and see all or each one of these we'll have a set of menu items on dh or the so it's a bit overwhelming actually I would say that the only one that is really, really important and worth knowing and I'm going to help you with that later in this workshop is the one you saw me use a lot in my demo even though it's a short demo this is the one it's under shortcuts for other it's a total temple color palette it's not intuitive there's no way anyone would know that it's it's one that absolutely has to be programmed into your tablet the reason being it's a two handed shortcut this option come on one so you know you don't want to interrupt your painting it defies all point of it, so on the p c it's control one but anyway, just so you know that's where you look for stuff on when you go back to the cup that's good, so we've gone through the brush control and selection elements of the interface the some basic control and this is only a small subset off the control capability within painter so just to give you again the big picture perspective on what we're doing here um when the mark zimmer and tom images created painter and john derry joined them at the beginning as well, they decided and this is really interesting and we have john derry I think you know a lot to thank for his input at this early early stage a painter, but they decided as developers making this program, you know, artists like to fiddle with things artist like to tweak things are just like to experiment with things let's leave in a ll the developer controls that way using to create fabricate the emulation behaviors of these brushes to make him look like a watercolor oil acrylic you name it so that's what they did, they left everything in the program and it still is there today and I'm not going to go there, but we're going to go there later. It's the advanced brush controls and that's where you control a lot of more advanced behaviors, but right now we're doing the beginner quick around so let's move on down the circle this little thing here uh, is a bunch ofthe art material libraries that you can access and click so there was a question about paper texture that one is actually so important that they've put it in the toolbox and that's a shortcut for selecting paper is on dh so let's just select an artist's canvas and let's pick a color that might be a canvass see type of color so it's really nice to paint on a midtown because then you can work in to your highlights work into your shadows so this is becoming toe and just do a phil command f here we go edit phil andi always watch out that you're not filling with hens and chicks another one of these little things that trip people play you're going to think by the end of this class all jeremy talked about with the little things that trip people up is like huh? You know I let me assure you I'm focusing on making sure you know about them at this stage because I don't want them to be an issue later so it's not all about things that trip you up please take him away but one thing that does happen a lot is people cloning is a gray and green or they see this hens and chicks plan appear everywhere where is it coming from anyway that's where it is but we're not going to fill with that we're going to fill with this and by the way I don't have clearly it is visible on your screen but we actually have an interesting texture already on the screen what that means is that one of the brushes reuse it was actually the bristle brushing the acrylics has a property that emulates impasse tow that is thick paint on dh we see it here and there's actually a little pop up in the navigator panel we call these things with the tabs panels and it says, hide in pastor and you'll see that relief disappear who and then we go back here showing past oh, there it is again. Now one little aside, this is something that I've bean talking a carell about that I have requested that maybe this could be treated a little bit more like a layer. What happens is you can turn it off hide in pasto then you save your followers and riff on dh that's the native file format close it, go away on dh then you open it up again and has anyone found they suddenly see the impasse store again, but that is what happens in again. I just want to let you know these things because you are likely to see it, so we'll just do a safe. I'm just going to call this test I'm not following my system here, but test one save it in there that's fine, I'm going to close the file so come on w and now I'm going to reopen it absolutely I asked did you see that it was him pastor was off when I closed it and it automatically goes on I'll shoe I let me just finish the sentence and then so there is a way around this hiding pastor that's that relief and then if I do a save as and save it as anything other than a riff which does not support in pasto and do the same experiment you can really tell that the business is to me right let's do an experiment and then open it back up the tiff version the pastor has gone and in fact it really has gone because it it's it's it's not that question right question from my ana is there an easy way to know which brushes create textures when painting like a short cut to that wonderful questions I love these questions they're well sure boy some of them yet because they have the word thick in the name I'm just going to purposely clear what I'm doing here let me just open this um there's nothing in the name bristol brush richard suggested except bristle is so the answer is no but if you the only thing you could say is if you go hold your curse of the variant in the brush select panel you'll notice you actually do see the thickness so look at the preview at the bottom and noticed that you actually see the impostor but it's you have to really good eyesight now one of the things that they're putting into the search by the way, this search I cannot emphasize how powerful and going forward how powerful this war it is and I just you know, the potential heir is so great I'm so excited about but potentially and you know, that may not be there right now but potentially you could program in um the word that reflects a characteristic of the brush and then c all the brushes with that characteristic that is another way thickened I think I put thank you know shows that you could also try impasse though you're probably going to get all the impasse toe category of brushes it would help if I did that in pasto return on dh actually there it is so that is the answer to is it iona yana yana from you know what she hasn't told us but maybe she'll timing and let him so um if you type in and pastor into the search field, then you will get a ll the brushes that haven't in pastor of fate because it has actually that one of things that being programmed in on dh you know, as you look for different brushes you'll see those sort of things so again the same question might be asked about rotation um let's just see uh here we go uh hopes quotation return andi so you'll see here some of the ones that were rotational e sensitive soft flat oils is so it's not complete that I just see a lot of potential here for that getting better and better he didn't reply iona's from charlotte, north carolina and it is an african name meaning flowers beautiful way have something coming up later in the day so that we've heard for, so let me just finish the circle the circle of the interface on I want to get out of impassive brush I keep seeing the impassive things so now you're very, very rarely going to see me do this I know a way I know in my closet anybody ever sees me do it, commander german you said no undo all kid card again, so we've got two captured bristle on dh what I want to do is that you just show you that with the paper texture coming back to julie's question we've got a nice canvas texture we've got a plane flat color on the campus how about making it so that you can see the effect of that texture? One easy way to do that let's go to the effects menu in painter go to surface control is the logic may suggest on then go down to surface control, apply surface texture on dso apply surface texture on dh it always comes out of it to brighton so I'm using paper and you'll see there's different options of you know you could use a luminous in an image to create effects, but I'm using paper and it's looking a bit peaky too much amount and I put the shine zero adam one shine it's personal taste I just don't like it andi I say okay on dh then if I zoom in we can see that we've got this canvas texture so that is, you know, partially an answer to the question and this is a sort of paper texture that time I was talking about like he wanted to work out a way to tile paper texting so it looks like it's not real paper texture it is not a property of that piece of paper is simply a filter for an effect or a brush and so let me just have a look so we've, uh covered the, uh the art materials I don't really want to go into these right now on dh, but suffice to say that you know if you are using these other armatures is useful if you apply a gradation it's actually quite useful tohave the ability you know, to pick a radiant and do a fill with a grade in at an instant bom bom bom you know, so these things are at your fingertips there's weaves and all sorts of wonderful things knossos, who knows ha ha let's have a look at another what can that be well the nozzles they're a fascinating part of painter and they only work with these interesting this interesting category of brush called image hose and they have two strangers named variants spray size relating to pressure and angle relating to baring says a prison later the smaller they press heavier that bigger some of them have that affect more dramatically on dh you know you can always plant a few sideways palm trees um and fact let's just change these uh the reason that this palm trees beside ray's was because of the choice of variant all all this is to say a couple of birds in the sky okay that's enough that's enough um or to say there's been some pretty crazy things in pain I'm going to get rid of that simplified a bit the navigator um uh there they are a game the navigator is interesting because if you zoom in sir let's just zoom in here command plus plus plus you can actually move this around and see different parts here image using the navigator if you're wanting to zoom in on and I what's lovely about this is when you're working on portraiture and you're doing iris and the pupil stuff and you're so detailed but you need to see the portrait you see them both and that's what's wonderful about the navigator if you want to get the birds high view of course I didn't mean to make a bad one but that is a way to get it so it's pretty neat in that sense and you could just, uh, adjust your zoom also by that slider in many ways to adjust assume you can also goes even fit um let's see were coming down here uh color on dh layers and channels I'm not gonna go into great detail here but let me just oh, let me just see what's going on uh this is another thing that happens I picked a slider and I never clicked out of it let's go back here um I'm going to go and look for a new ink pen see what we get with the ink and uh let's go for who are lots and lots of great in pens let's just have a look here at something that would be really nice and dramatic there we go that's perfect. So what I want to do before we break for lunch we're almost at the lunch break his talk we're going to go into a little bit more about the mixer and the color sets and talk about those but we've looked I just want to show you something about the color wheel on devalue situation triangle so basically what we have in picking color here is if we've put blobs of pure paint on a palette that's a hue and whatever hugh, we select so in a way we do our mixing by moving around here as the digital equivalent on then we can move around our value saturation triangle to the right, more saturated to the left, its grey scale and then up and down, adding white to the paint down, adding um blue to the adding black to the pain so this you know, the basics of the color wheel system which I really enjoy it's a very intuitive system on if we press the tab came on, then use the temporal color, which was that shortcut you'll see it's the same system a cz well, one thing to note here is that if you drag the color out and if you have a big monitor I have to get rid of this thing. If you do have a big monitor, you can grab the corner and make this really, really big. And the artists we love to have fine control of the value of the saturation when we picked a color. So this is actually really, really useful as an artist to be able to drag this really big and, um, let me just take it back a bit down a bit on what I do in my own workspace is I take away color in folks, I never need that so it's a bit more efficient there we go. I'm gonna finish off here with one last thing before our lunch break what we've got just a few minutes left in a question so the question again how you get that just the color wheel okay, so I think what you're referring to is this so that is called the temple color palette and you have to use a shortcut to call it up so there's no button anywhere you could create a button of course um uh I just using the custom palate but it's the command option one on a mac or control option one on a pc on dh that's how you get it so what I want to just finish off here is something that's that's quite important and that is we're talking about pressure sensitivity I've gone on and on and on about this you know why I'm tablet and the pan and you know, blah, blah, blah with the control you have etcetera, etcetera, but what we haven't really talk about is, well, how do we make sure it's sensitive to the pressure I put down? So one thing I do recommend when you first open painter and you're getting used to it is pick up brush that like, you know, the drying that I have here or something similar that has some element of pressure sensitivity and go down to what's called brush tracking this is a global setting and just to be clear preferences, brush tracking is a global setting for everything in painter you can individually calibrated the pressure sensitivity of individual brushes you have to turn that on just your light breaststroke and to see how that feels so much better I mean, I was I was like holding a brick before uh so what you see here is control as I increased pressure so on that note so if those were new to paint, hopefully that's been good little intro just I mean, we haven't really gone deep anywhere just a quick overview, but do you know, take note off that brush tracking it doesn't make it does make a big difference on if you're wondering what was the brush you used, I'll just review that here the one that I use right there and you saw the difference right? This was the precious suddenly makes it big with the slightest amount of pressure and now I just did a soft stroke much, but I feel better about that it's the pens category drying and to get that quickly I think if you just put in dry ink in your search field do return, you're there's only a few things that come up in actually I think the semi dry ink is it's a slightly different one, but it's also got pressure sensitivity jeremy, we've run through the mechanics of creating out on painter we've navigated the tools and the little things that trip people up I know may seeing you as a official master karol painter doodling instead of creating crazy outweighs all the times that you quite refreshing and relieving waken all try the viets, so we're breaking for forty five minutes when we come back, we continue on the tools. What will you be teaching? Oh, well, I think we're going toe finish off sort of going through some of the basic interface elements on dh, then we are going to take a much deeper look in the brushes on we're going to do it. Uh, maybe we'll do it with something flowers around because I like that will prompt earlier. So yes way will we will finish it off on then sort of dive in and really start to understand some of the breadth of marks that we can make it this program fantastic. We have such a warm online community, tio this sharing stories is showing tips. They're sharing a mutual admiration of you. Jeremy sosuke in london says to say hi three spring I find four versions of painter and I don't think I've ever really used it, but this show makes me excited to try. Which is and that's the greatest compliment because that's what I want is you know I don't I don't want anyone to be put off my hose so complicated I wanted to realize this is such a fun program I mean it's like there are like things you got to get over and that's what I'm trying to help you with here but it's like once you get over that stuff all these little things I keep talking about don't worry about it once you just get over that I mean don't you agree it's an amazing program so I'm glad to hear that sharon and it just keeps coming germany, sharon and nc I've taken one of jeremy's classes before he is so genuine and happy to teach I've been waiting for this class for a long time well say hi on mary trevor her mangle started is a traditional artist in print maker began doing photo which is in the eighties naturally fell into photo shop have not used painter but it's obviously a big hole in my skills yes and actually she'll love it because there's so many things you could do that with the whole etching process you get some really interesting effects going on. In fact, after the break after lunch I'll show the liquid inks which actually look a lot like us acid etch in or viscosity rejection techniques you get a really cool stuff going on

Class Description

Ready to explore the software program that’s changing the way photo art is created? Join creativeLIVE instructor Jeremy Sutton for an exploration of Corel Painter X3, a sophisticated tool for transforming photographs into fine art paintings. Drawing on his experience as a professional Painter artist, Jeremy will guide you step-by-step through the CorelPainter X3 interface and share his approach to painting from photo reference. Along the way, you’ll learn practical tips and shortcuts for using this powerful creative tool to its full potential in an efficient and empowering way. You’ll learn tips for choosing which of your images are best suited for photo painting and why. Jeremy will cover prepping images for painting, organizational systems that free you up to be creative, abstracting from the source, and resolving and refining your paintings. You’ll work with Painter’s brushes, paper textures, the new clone source and reference image panels, and more. By the end of this course, you’ll be able to enjoy painting with Corel Painter X3 and transforming your photographs into painterly artworks. All artwork samples shown are copyright 2013 Jeremy Sutton.

Reviews

a Creativelive Student
 

Fantastic! First- what this course is NOT. It is not learning about a filter or filters to push and make your photos look like "paintings". This is so much more. It is a very good base for those who have never used Corel Painter before, and a good introduction to the new version, Painter X3, for those who are using an earlier version. But, on a much deeper level, this is Jeremy showing you how you can reach into your own creative well, and try a more painterly approach -- and NOT BE SCARED BY IT! He starts with the tools and the workflow, and progresses into a full-fledged painting, live, with all of us watching! His openness, encouragement, and humor are evident throughout. It was a great learning experience to see him resolving and refining the painting, and talking us through the process. Jeremy said, referring to all of the other painters who have gone before, whose work we can admire and learn from, "We are all standing on each others shoulders". Well, Jeremy is sharing his broad shoulders for all of us to stand upon! Thank you Jeremy & CL!!

Michaela
 

Excellent class, really loved watching and learning from Jeremy, only down side is the bonus material of a membership to Jeremy's Paint Box site and Creative Live ignoring my emails about my disappointment, so when you order this class, do not get your hope to high for the bonus material, other than that, Jeremy is a great teacher and his style of teaching is brilliant, lovely and pleasant to watch, highly recommended!

a Creativelive Student
 

Just finished watching the course and I have to say it's the best investment I have made on the creative live website. If you don't know if you should buy it ,I can tell you right now I was in your shoes and I am so glad I did. Jeremy is an excellent instructor and a very talented painter . Corel painter software is overwhelming but after this course I have the tools to take what I have learned and not only not be intimidated but ready to create some beautiful art. Creative live bring Jeremy back so he can go in depth in the advanced settings , i would surely purchase that course also.