Optimization & Organization

 

Corel Painter X3

 

Lesson Info

Optimization & Organization

Welcome back everybody a couple of questions came in during the breaks so I just want to address those someone asked about double monitors you know? Is it worth having a double monitor? Andi I mentioned in the last segment you know, it's a personal choice I personally I've never ever really got into the habit of double monitor and it doesn't in a way doesn't appeal to me what you saw me do in that last segment and before then was I just have this habit you know I have my walk home express keys I'm tabbing away all the pallets very regularly using that temporal color palette which I love so I have a very clean screen in front of me as much as I can for me I sort of uh I'm happy with one monitor I spoke to some of my studio audience and paul do you want to share what you said about the double monitor? I have my monitors set up for many years as a pallet on the right but I got tired of turning my head so I got a bigger mane monitored not quite the thirty that you have and that seems to ha...

ve solved that problem but like you I'm getting too tab more on and off yeah, but I keep a lot of pallets open because I'd like to see the brush attributes thinks like that so more comfortable in a way yeah um and there was a question that was asked was so you know whether I used the tablet down here or the tablet up here one of the things I do love about this is if I'm working from life where there's still life or a person I do love that having this tablet on an easel and being able to look very conveniently back and forth so a lot of his economic sort of I don't you know want to overly do this all the time to look at my pallets someone asked about thie welcome tablet eyes it while it's why aren't you using wireless actually it is wireless and I do have the wireless attachment but just for teaching this class I I want to keep it together you know, for security but these tablets all wireless and so you know if you feel like attaching the wildest dongle in your computer you don't have to be tethered by ah wire tool in you can sit down and move around so they're wonderful in that sense so um in this segment we're goingto sort of honing a little bit on organizational things a little bit of housekeeping to really make painter sort of sing it's already hopefully sort of going along quite nicely we've looked to the interface is is not that frightening right? I mean there's a lot there we know it's deep we know there's a lot of brushes we've gotta stow get to grips with all those brushes, there's a lot of everything so that the challenge but overall, you know, you started to get a sense of where things are, how they work. No, no, no panic just like hitchhiker's guide to the galaxy. You know, whatever happens, just don't panic. I mean, you know it just expect the unexpected with painter it's always going toe crop up sometime, but there is one fundamental thing that I want to share, which we're now going to work with, and that is the difference between a pallet arrangement at a work space, and this is where we get into linguistics, you know, we go all the way back to the whole business of what mark simmons said in nineteen, ninety was that he was looking for an analog metaphor, a parallel to the physical world in the computer. So that's, what we have it's, a parallel and analog, we're using a lot of words that have meanings in the physical world. You know, when we took out paper texture that does have a meaning in the physical world. Andi it's we get things that look like this, but actually different to this very different, so the word palette in the physical world is of a cardboard played is my palate for this painting that I just did when I was performing at the de young, this was my this was my palate so this is what the pallets are in the physical world and we know that in painter the pallets oral those groups of panels floating around eso therein leads the question off these words palate arrangement, palit layout and work space now when I think of the word workspace in a physical sense, you know, I walk into my studio that's my work space, you know, I've got stuff around, I've got places where I keep things hopefully organized that's one center workspace I could also think when I lay a table and I'm about to draw, I've got my pencils crans or pain that table surface I could also think of as my work space, so when we enter into the digital when we walk into this incredible world of painter and we'd look around is like, oh my gosh, you know, the the brush is over there and and all the different ways of picking color it's like and then I've got a big canvas laying in the middle in a sense that's my work space, I walked into this huge space with all these possibilities and that's my workspace, so at first glance when you're new to paint and you heard here this word workspace and you see it in some of the menus there's a tendency to think naturally because it's I think a logical thing to think that what you see in front of you in painter is your workspace but actually that is only a part of your work space in the workspace is much deeper what you actually see in front of you as you look at the screen is your palate layout or palette arrangement and you'll see in the menus they use the word layout an arrangement both words used so the physical layout of things on the screen that is your layout that is your arrangement and if all you want to do is you want to go to you know the default loud or something you're just going to go to the window pal arrangement default arrange pallets default so with him what is this thing called work space well let me explain a little bit so the workspace is much much more than the current palate arrangement much more the workspaces literally everything connected with the program that is customizable that you can add too in terms of content in terms of preferences the workspace encompasses every customizable aspect of this very very deep program s so I'll just go through a few of the things that encompass what a workspace includes so encompasses a ll the preferences right there you've got a lot of things you can set are not set that make a big difference to how the program operates it encompasses in those preferences all the shortcuts if you made up short cuts change shortcuts they're all there it encompasses any custom pallets we haven't even looked a custom pallets except that one time when I answered that question and I drag what was the kia held down to? Someone shift drag on battery that shift key is how you move things around and delete them by dragging them out ofthe custom pallets shift key remember shift so so includes all the custom pallets and it will remember the workspace will remember if you made custom icons so that's all in the workspace now you can create many palit arrangements and we haven't gone there yet we're going to now but those his palate arrangements or palette layouts those are also part of the work space so the workspace edgy can have many palate arrangements on I do in my workspace have you know pal arrangement quicken easy for beginning make it simple I have one for photography and painting for photos one for collage I just have a bunch of different arrangements for doing different things and you can just make up your own we'll have a look at that so that's all in a workspace what else is in a workspace? If you start to create custom libraries of papers we haven't gone there yet but you can make your own papers on textures you make your own patterns etcetera, and you can make your own color sets. We saw that we had a girl and we made a color set. You can those are all part of the workspace, so it will remember all of that. Then what you see, when you open a pallet, do you see the default? Koller said, or do you see another colors it that's part of the workspace? So the workspace is ah, huge amount of organisation and information on extras. In my case, with my custom work space, I've got extra brushes, so that again is part of the work space. You create your own custom brushes. We saw using that slight variation on the acrylic captured brewster, when then saving as custom variant that's, going to be in encompassed in the workspace. Then also we haven't looked yet, but there's things called templates, which are very easy way to access imagery that you use again and again, and again recycle again and again and again. And those templates are accessory file template. Then you see a list. So my workspace includes prisons, backgrounds, that I've put into that template area. Um, so it goes on and on the the work space is a really powerful, an all encompassing things, so to speak, that much more than just a pallet arrangement, so obviously you can just start working in pain I'm customizing everything and you can create your own workspace or you don't have to create any work space you just leave everything you know in the d for workspace and change it the workspace is always whatever the state is at that moment that's what it is so um there you have to reimport it if you want to go back to all the defaults it is a changing all the time on as you change your choices of palit arrangements and things and move things around create mohr custom content that's now change the current workspace so having said all that and I'm sorry it's a little dull and boring I mean it's just one of those things that I just have to get over the you know concept on the reason is that I have seen people who want to go to a default pallor arrangement and they go to the default workspace instead thinking that that's just going to simplify their palates but they lose all their brushes that they had in there works when you say always with the precious come so another one of those little things that trip people up so what I'm going to do is show you the mechanics of it importing a workspace which by the way you can import you know anybody's work space that you can share any workspace I'm going to be showing my work space which I spent many, many weeks developing and tweaking and changing and so and that is on pain books tv which those who order have access to so I'm going to show that but the principal was apply to any work space and everything in my workspace you could get to just buy customizing things anyway so let's go back to the computer on and have a look at that you see what I see what this one place is all about enough chit chatting let's do something here so um so the things that I was just referring to for those of you who ah brand new painter I referred to the difference between what you see here on the screen which is uh work space and then you see you've got a default workspace with a checkmark and you've also actually got my my custom one there we go and arrange pallets so we're in the d for workspace and right now there's only one pallet arrangement called default by the way you're still useful slight you know supposing you get in a room mayors and this is covering that and you know you you I lost something here and that's disappeared andi you don't know what that is anyway and so things they're just a mess and you've covered things up and now I don't know where to go then if you just goto window arrange pallets default hey, presto! In an instant, you go back to the arrangement when you first opened painter there's, good to know that that's like home base, you know, is, like, good. Oh, shoot. If I get in a total mess, I can always go back there. So what we're gonna do is import a work space on dh. I actually already have it open and, you know, imported, but I'll show you how to do it. She goto work space import workspace on dh. I'm gonna click on that. We're going to go to the painter extras. This is just happens to be the way that I've saved them and there's on a mac. You see, my work space ends with doc pows on on a pc. You don't see the pows, so you just have teo look for and then I'll say underscore pc but that's that's my work space file on this file contains all those things I just told you about all the customizable stuff, so I would select that and say, open and then it would be imported instead of which it's already imported. So I'm going to go work space and I'm going to go here now you're going to see a little time out saying, switching workspaces because you just after all that chit chat about what's in a work space there's a lot in the workspace so it takes a moment for the pain a program to say ok take a deep breath huh let's rearrange everything let's bring in all the germans extra brushes and all of this stuff and blah blah blah on you'll see now this is what you saw earlier my damn I was like oh my gosh things are a bit overwhelming but that's just because you know there's a lot of things I wanted teo c uh my palate arrangements now this is my workspace on dh I still have you always have the default palate arrangement in every work space that's a given that's always going to be there and it always going to look like that so you still have that pallet arrangement you don't have to go back to the default workspace to get that just to be clear that's arrange parrots default and then you know, with any work space you have whatever the person who made the workspace decided to do and in my case I've got you know, uh I just got, uh a bunch of different pal arrangements in this one I feel texture intensify anyway, I've got an undue which I don't normally do but uh there we go on dh then I've got one which is mainly paint not really talking about photos and then the one will be using tomorrow is painting from photos so this one I bring in that clone source panel he saw and other things that I know I'll be using from, uh, you know, for the purpose of working from photo reference so this carries on I'm not going to go through all of these for anyone interested just you know, you'll be there to see him for what we're doing with investigation of brushes, and I still haven't finished really what I want to share with you for talking about brushes, I'm going to go back to my arrangement called mainly paint uh, there it is, mainly paint and actually I will get rid of that will will bring back the, um there we go still alive, teo, keep working on that. So some of the things you notice are these buttons so, uh, there's uh, custom palate with shortcuts and some of them words and some of them are icons? Well, we saw the icons earlier, right? We saw how a wench shift and dragged the icon al and was able to make, um, shortcut shortcuts for the brushes in that way. Um, so what I've done here is I've not only made short cuts for the brushes, but I've also added commands and that's where I have my drop all dry digital some of the things we just did so rather than going up to these menus where's that layers where is that you try just water I've made them as buttons on also I've called up different parts of this is a sort of thing that I have here and you know, for your convenience the other thing I've done is just in that way that we dragged off some of the brushes and group them I've done that with differ types of brushes and sort of you could ever must think I'm like families some of them are bristly some of the inky some of glaze e and some of them a blend e so again just for convenience I mean I've done that so with each one see this is uh there we go I'm one of the things by the way when I first opened a brush I'm using a curse a choice which shows me the diameter of the brush you see that little circle at the end of the arrow one of things I tend to do is I tend to first of all do a brush size adjustment right off the bat so I have a sense of how big the brushes I'm sure we've all sometimes touched the surface of painter although it's like so big the so I always do a little check there on dh so I'm just starting to resume the still life in some respects um so let's have a look in terms ofthe um the use of the brushes and the shortcuts and customization this might be a really interesting time to share with you the technology that I mentioned at the beginning, which is the ipad app called cinco because it's sort of relates to what I've done with these different custom pallets here on dh this won't be everybody's cup of tea so what I'm going to share here again because we've got such a variety of people out there in the online audience a zoo you know as well as here in the studio I just want to make sure you're aware of the this possibility because it can be actually pretty useful quite neat so what it is is very simple painter in its preferences has a preference called connections and if you go to this preference and you check the allow companion application to connect the pain of um then what will happen is if you have the same wifi connection as your ipad or mobile device, you can then use the mobile device as a short cut pad and I'm going to show you what I mean by that. What I would recommend is that you rename the service name just put your name on dh then put some simple code the reason being if for instance, if you're in a class of people doing painter and you don't have a code everybody, when they search, is going to see your pay now, and they can all control your brushes. I mean, it's sort of quite interesting yet you you wanna have even ifit's one letter, you just want to have some sort of a code there. So for instance, I'll just call this jeremy on dh I'm gonna put the code j so so I'm allowing companion apse of certain jeremy authentication oj and I'd say, okay, that's good. Now I go to my ipad and so here we go. Actually, I was opening the app, so let me just close the gap and reopen it so that I have to make sure that my ipad is working on the same wifi network. So, um, hopefully you could see this. So here is the app I'm going to open it up, and so what's happening is when you first do this is going to ask, you're going to see any connections with pain? A with the name and if there's an authentication code will ask you for the code and you say okay, and then you're in there. So what you can see here is that it actually recognizes all the custom pallets, and you can put check marks by the mall just by tapping with your finger. So you know, you wouldn't ever want to select a mall but just for demonstrating this, I'm going to select the mall and then what you have here is a spinning wheel with every custom palette, so because I purposely made them multiples of five in the custom pallets they fit the fingers, so what we'll do is we'll first of all make sure it fits my hand so we get this very ghostly hand it works is right or left on dh I'm not right handed, so I put my left hand there and it puts a ll the buttons in the right place for my side of the hand and then I put this if, you know, if I was working with his ergonomically I would place this because I'm right handed I would probably pleased it like around there actually that would probably be about the right height and that's to see so I'm painting away on dh let's just actually move these out of the way a little bit I'm just going to recruit them together. There we go, andi uh, paint paint paint and now I'm going to go with my left hand on dh I'm gonna click on one of the buttons and I've now got gel capture brush I'm going to switch here two completely different brush, so this one is, uh the greasy, thick, thin and etcetera so you can actually control if you want brushes from the pad and invite that another way if you want to control brushes so I'm gonna put this down for the moment brushes and pound color pot or just brushes oh, and commands as well commands so in other words, anything in in your custom palette. So if I go to one of my command pilot so collage and layers we can see here that we have all copy paste these all commands so you can actually have the means incredibly versatile for those people who, you know, they like to have that sort of instant let's change brush it's pretty maid that sink so let's, get back here, teo, just exploring some of the behaviours here of the different brushes and how they work. S o well, so far we've we've had a look at the blenders we've had a look at the digital water color, the liquid inks, there was some other ones I really, really want to destroy your attention to andre also have the name well water color in this three categories of brushes with watercolor in the name and real water color has absolutely wonderful brushes on dh these have really interesting behaviors a swell so what I'm going to do is share a couple with you the light fringe and the melted flow map both of them a wonderful brushes which can give a really really interesting effect so let me just who would stand a bit on dh there we go and so this is the light fringe brush on what I want you to see is a way that as a pain with it it fades away and leaves a sort of impression as if it's watercolor that's now faded into the paper it's gonna work a little bit with um some of the greens here and then up here a little bit more of a saturated blue with the opera bit maybe uh tab away um pallets and I do realize that you know there's a compromise here if you want to have a lot of things showing is it really can get in the way of your painting because it's uh it's just so much on the desktop es there uh that's a great question as well not rain now know so when you select color it disappears you know and hence the name temporal it is really nice because it's so simplistic on you have you don't have any distractions besides the actual thing you really need um and it made me think when you know I enjoy that temporal color pie I think can you imagine if a lot of the other pallets became more like that so that you could see through them or but right now when you pick it the temple color you pick color and then it disappears which is also not a bad thing because it that allow you to leave a clear vision of the campus without any distraction. So one of the things for me is that I you know don't want to have too much visual distraction as I'm painting they're being able to paint in a way where you go back and forth is really nice um now having said that, um in my pilot arrangements and you could do this you know, you don't need my workspace to do any of this you can just do this by arranging your palates anyway, but in my pal arrangements I have one called color panels and when we select that what I did with this was for that very reason I just put all the main color panels I might want to use sitting there on the left on that's it so they're just there and because I'm on a low res screen I have color sets but they're sort of hidden down below but anyway that and I could just bring them up come right in there um so I don't know if that um you know, that helps in that sense, but I actually I think I think I would say I still prefer for me in my own way of painting I think I prefer to have access to everything on in tab it away but you definitely you could just, you know, choose to just have the color panel only and nothing else maybe that's the answer for you so and having a look at the layers I just want to make it clear what's going on here too we understand we do have a special air again it's another magical layer this one connected with water color on bits of the same type of layer as the watercolor category that is at the very bottom it's the same type of layer and so there's two categories sharing that common engine, so to speak on let's just uh because soft here and what you'll notice is I've now changed category I'm not in the real watercolor I'm in the water color on dh yet in the layers panel there were still working with the, um same layers so you can see it is indeed the same type of watercolor engine and these watercolors allow you to get some really nice subtle effects. I did mention that I was going to show you another one of my favorites, which is the melted flow map and so let's just go and take a look at that on dh if I just type in flow map way should ciel the very I have the word flow mapping on actually a ll the real water colors have this quality it's a characteristic of their behaviour called flo map and what it is it's simply that as you paint and let's look where what sort of a stroke will fit here as you make a brush stroke? It actually sort of takes time and it starts to drip in a very old can it way I love working with the melted flow man, I'm going to just, uh, make that a little bit bigger on dh thiss on pick orange so what you'll see here is that it's actually gradually defusing at the edge and it almost looks like it's a bang gravity is it drips down on dh what the flow maps are doing is controlling the way it drips. These brushes are also sensitive to the texture inside the brushes. Well, so you've got a number of things going on, but you just get these incredible organic effects. One of the things I love is when you could work digitally I'm still get on amazing organic field um one of the interesting things about the textures and things as you start working into it is chatting in the break a little bit about uh, how when I was working with the pain over there on the sketch pad sometimes you know that's referred to is really paint, but for me I actually feel this is justus realize that so it is no less real being digital infact I get affects here that I can't even get there, so I plus I can move around so much quicker color wise, media wise, it's really a very freeing medium. One of the things I was going to share artistically in terms of on approach is that I don't mind just sometimes working with textures in the surfaces on let and let in if I feel like it just lettin myself play with what sort of just field looks good as really just working with interesting effects on the service on then going back to sort of maybe looking and shaping and sort of going back and forth so I would definitely encourage you, teo, you know, to take time to really enjoy your surfaces on dh different types of marks that you can make being in a layer on if I don't drop this, I will be painting under it, and so it will be staying there. One of the things that will happen in painter here's let's pick let's pick a different brush and you'll notice that I've got some custom brush categories here and you can create your own custom brush category is very easily so what I've tried to do is organize brushes into categories that, uh, you know, that doesn't feel like they be relevant to the way that I might want to use something for painting and you'll notice some of them have strange names like jeremy like what on earth is that so one thing to know and this will happen with many categories where there's long names is that the the default with of the brush selector is such that sometimes you just need to click on dragon here we go on dh ahs you drag it you get to see the full name so in case you ever I mean you increase you ever have that happen to you just drag the uh drag it across the oid snapped back again but then you'll actually get to see the names uh sure and she asks how do you important new brushes and can you can you upload mohr how do important minute can you upload more into that absolutely it's actually very very easy so I just I wanted just to show this before I do that I will answer that question so I then picked a brush which I wanted to show you and shake with you it's bye a friend of mine who's a long long time painter yousa and does wonderful work then denzel funky chunky one of the all time favorites and her name is denise laura so she's in london and she's wonderful website eddie she paints cats and dogs so you should go look at our website there's a link on my web page the link page on dh but what's gonna happen is we can't look at it right now could I tried to pain on a layer that was a special layer won't allow me to use a brush other than the type of brush with which the technology of that layer is appropriate so everybody sees this era when they first used painter and again, this is another one of those just the little things is like if you don't really understand what's going on, it could be a little frustrating when it first happens, so all it's saying is that you're trying to paint with a non watercolor brush on a watercolor layer or the same would have applied with liquid ng what I what they used before if I try painting with a non like quitting brush, I would've got the same era so let's just create is there a way and just look at what's going on? What happens is there's nothing that's magically changes your layout when you pick a brush that can't work in the layer so that's, why you get that air a message painted doesn't say, oh, you know he or she has picked this brush, we better get out of the water color layer it just gives you the air a message so the thing to do you couldn't do it one of a number of things you could just click on the campus if you want to keep the water color as a separate protected layer and not have it blend and mix I tend to just drop that layer because then I can start to work into the surface again on dh that's why I have my drop all button sitting here just go click and it's flattened so and now I can work in with the incredible denzel funky chunky which is one of the really dislike boy oh boy thank you so much the knees he's amazing and she did such a good job she has met many other brushes she's created and if you go to her website then which is on my links page then you'll see so let me just have a look here I'm gonna zoom out a little bit of this stage because I just need to get a better sense of what's going on here pop pop in with a question sam cox from colorado is asking if you can enlarge the canvas without disturbing the painting if if you need a few more inches to workin for example yes actually you can I can show how that stump but before I do that I want to get back to the excellent question about importing exporting brushes so who is the questioner for that one more like? Okay, so laurel I hi good to see you s oh, yeah it's really easy one of things I love about the way the painter has evolved used to be sort of complicated now it's like a piece of cake so he is thie easiest way if you go to the brushes menu and you go down to import, you'll see you have a choice off brush category and library. Now, the only thing that's really critical here, lorelai, is that you have to know what it is you're importing, and I know that sounds out of, like, self evident, but it's not andi, and I think this is where one of the biggest confusion comes with pain in terms of sharing and importing and exporting is that people get very confused between what the brush what's a category and what's the library on dh the confusion, I mean honestly even extends to some extent to, for many, many years, painters shipped with with a folder of brush libraries, each of which contains one category I could never work out, why? But you know, so and that always really confused everyone. So this is what I suggest because I don't know exactly, you know, whether you're talking about going out of pain of twelve and coming back in the painting, you know, x three whatever it says, if if you can have influence over who is providing the file that you're you want to use, export it from pain using this system and then imported using the same system that is without a shadow of the doubt the simplest way and it's absolutely a piece of cake if you do that so in other words I could export I mean you know anything here s o I could export just the variant and here we get into a little bit of semantics again you just have to get used to the fact that in pain now different woods used sometimes for the same thing and they used gain and again in different places the program so frances paper grain texture or used to mean the same thing in painting brush variant same thing so but it's a big confusing because you have categories that accord acrylics you know so that sounds like it the brush well it's a grouping of brushes so if I wanted just to export dens or funky chunky variant the one brush only then I could go select brush and then I would it's going to be a brush varian file on guy would go decide where save it on dh save it would be cool you know denzel funky chunky dot brush variant and similarly if I wanted to export just a category so export just category it's goingto ask me which category and then the same thing it will create a file is that category so that is the easiest way to import and export um and let me just have a look here um so yeah I think it is if it's other questions you can email me separately it is. It is a really good question. And I encourage you to take advantage of the flexibility that's built in with these import and export options there. Really, really powerful?

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

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!