Corel Painter X3

Lesson 22 of 25

Power of Paper Texture

 

Corel Painter X3

Lesson 22 of 25

Power of Paper Texture

 

Lesson Info

Power of Paper Texture

This is a willing good we're getting some ideas for texture but I want to share with you is paper texture and how you can really use it in your paintings in a way that's more like storytelling like jan well back here hi jan if you're watching isn't watching but anyway hi janet she is so what I want to do is share some exciting stuff on what we're gonna do is we're gonna go file knew on just open up a bit of paper put it in screen mode and we are going to have a little uh little white board lesson here so I'm going teo pick a scratch board tool scratch on second thought scratch board we'll see what comes up two options I think I'll go for the tool robin the rake and um we'll start with black we're gonna clear everything away so let's just go absolute basics first I really want you to understand paper texture in pain so what a physical texture and you know the the physical real world is is a rough surface of some kind you can think of it like terrain like mountains and valleys sorry that...

this is so rough looking you know? So this is some sort of a rough substrate it could be a piece of paper that you're drawing on a piece of canvas, a piece of wood, a piece of candy you know concrete doesn't matter what it is it's simply got terrain mountains and valleys so along comes a piece of chalk or any dry media content cran charcoal you've got him on dh we're going to just take here through this here move along here on deposit pigment on the side of the mountain tops that then shows us the paper's texture so in in painter we get something that seems to do exactly this on dh so let's bring back palettes here and let's just have a look at how that works so in painter you have two important panels whenever you're working with papers now yes there's a little library short cut there if you're really gonna work with paper texture in the way that I'm about to teach you you need to have the panels you need them you need the paper library panel on dh you need the papers panel on dh if you don't have my workspace and have him sitting there you get him from here so thankfully they're both linked together and usually when you pick one you get both. Anyway, I wish they would do that here for patterns because I use patterns a lot as well. Unfortunately right right now when you go to any other of these libraries and painter they've separated out the control panel is in the library panels another no I'm going to be sending to my friends karol I just wish they would link them because you need him in tandem, they worked together, so what we're going to do here is just take a few different textures and if you scroll down in my workspace, you'll see that I've got a huge bunch of custom texas I put in, but this was a good d for one's a cz well and there's some really neat ones that have been added in the watercolor by a cz defaults in pain extras well, I love this window for us, so what we're gonna do? We need tio we're going to apply this concept using a brush that applies paper texture so noel brushes apply paper texture if I take a blue color and I'm using the scratch board tool and I make it make it big enough so you can actually see something I don't see any paper texture tool, so I've picked the paper texture is not there also picked the paper texture and it's not in the paper is not here automatically so it's not really paper texture it's actually a filter which works with some brushes on those brushes. Generally you'll see the word grain on the ones that naturally you think works with paper so the charcoal is in context is the look at that let's make that a bit bigger I'm just using the hard charcoal stick on what's nice about paper textures you can change color as you paint and you'll see what we have is essentially it's a pretend paper texture that's actually a filter on the left this one's a bit more like a graphic design so if you really want to go back to the illusion, you know we go back to something like a canvas or a basic paper difficult to see the texture on that one um rough charcoal paper, etcetera there's a green slider here and normally when you see the grain slider you know that you've got a brush that works with grain the works with paper on dh so you khun let's take this way down here I'm going to just change two at large choked show this more dramatically let me just have a look there were on large chalk that's just make it a bit bigger on let's take the grain down and see what happens I'm starting to see the grain of it better here uh that's nicer so as they take the grain slide it down I'm actually seeing the grain more dramatically let's make sure it's dark kenard flys go up here and then as I take the grain up to a large value it suddenly becomes solid so I just want to explain what the grains lighters so the green slider isas ifit's determining how deep your pigment goes into the valleys on dh what's confusing it's anti intuitive the higher the grain slide of the deeper it goes meaning the less you see the grain is really I'm intuitive so you know if you have a low grain you often see the grain much better until a certain point when it leaves the mountain tops and you don't see it all so it's sort of like this you see the grain really well because I've taken the grain down to nine percent so that just to give you a sense of the grain let's go back to a grain that has a bit more of a graphic look this one's called madness madness I see what that looks like yeah looks pretty mad to me I just want to show you some nice things about the versatility of grain in pain because it's not real grain it's simply repeating tile that act of gray scale that's acting like a filter it is therefore very flexible where you see black in the grain is equivalent to the mountain tops where you see white is equivalent to the valleys so if you look at the shape coming up here because I hope I'm saying that the way we're around um that that is what you should see on dh what's really pavel is you can invert by clicking on a little icon here andi I'll assume in because it's easy to get confused there's two icons on one of them I'd say ignore direction toggle I just ignore that invert toggle simply takes the grain and inverted so what was mountains becomes values etcetera so it's and that what that allows you to do is to paint is the paint in the inverse on negative space like this you can build up some really interesting complex patterns really easily doing nothing but playing with grain um so um the other thing is of course you can adjust the size make it small or you can make it really big you've got immense versatility immense versatility um I'm gonna just do one more little demo of this uh concept here in a very graphic way so we'll use the scratch board tool and we will use black because the good grain has very strong black and white on dh so um I'm going to make a little symbol oh let's have a look time in the large chalk so let's go back to the scratch board on end let me just make this a bit sinner here we go and I'm going to make a little design around creative life because that's their cool maybe add an exclamation mark the little spiral in it and then I put a smiley face underneath here because everybody smiles here on so we have a little like logo or it could be a piece of writing or it could be anything on we say why don't we make a paper grain out of this so what we're gonna do is go to the rectangular selection tool we're going to go around here and select this on we're going to go to the paper panel, not the paper library panel pop up menu on we're going to capture paper, not make paper. There are lots and lots of this is why this stuff is good to have on video because you can what on earth did it state law which which traces it it's just replay replay all right, so it was the paper's panel, not the people I breeze panel it was a capture paper, not the make people get on well, go capture paper we're going to call this see hell on dh cross fade because we're dealing with repeating tiles we cross fade is overlap between the tiles if you have a graphic logo, you probably don't want any overlap if you have something that you want seamlessly going into each other you have overlapped I should add another class I could do it creative live is like I could do a whole three days on pattern making and there's an incredible seamless pattern capability and pain in which bin not going to go to now but I love and anybody who's interested in fabric design repeating patterns, seamless painting this program has has it all but we just don't have time to go there, so I now have a paper which is the logo how do I know I have the paper there's logo is a white square how do I know it may I might be I might not be telling the truth I might just be bluffing I don't know I mean I can't see so let's um let's grab the choke and I'm going to do a little test here I'm gonna grab a nice color here on dh I'm going to do a mark I'm going to test why aren't I seeing anything first of all, why on my cnn thing what? I don't know you selected by the way any time you do a selection it's really easy to accidentally leave the selection on so we now have a nice a logo that we campaigned with any colors within the logan who in that night it's repeating ah yeah he was right it's a repeating tile you know he didn't just make it up it really is repeating tile on dh oh and look at this we go to the invert button on we're now painting in the negative space because look there it is in negative wow but I really wish I could see the logo in the icon daan it oh let's put the logo in the icon so all you do is you grab part of your image and you go to the icon on dh you press what not shift right click on the pc control click on the mac on you go to which do you think we do? Which do you think we do capture or so so many choices that sound the same that the next to each other that is a story of painters menus so many choices that sound the same and they're often next to each other but you just have to know so its capture icon on dh hopefully it works cross my fingers yes okay there it is so you see it there and in case you can't see it I'm goingto buzzing like this on dh were now going teo eh quick application of this super powerful technique to this nice lady dancer soul who we were working on before on dh so what I'm going to do in just a instant here so we wanted these really quick quick things I'm going to bring up a photo I took off the part of the incredible elaborate alarm brah morrish style decoration on the walls of this incredible building on if you ever go to santa fe if it's still open I mean I hope it open but it's an amazing building and this is just a detail so we're going to use this as a texture in that painting and data that's it so what do we do? We want it to be black and white we could grab it make it a texture and it wouldn't be very good because it's all grays it's all grays really? Yeah, I mean, if I go to the under painting on de saturated is really no there's no bite there's nothing there it's not gonna work good as a texture really isn't, I can promise you so we could equalize that would make it a little bit monty, but still a texture will always end up was a grey scale just so that you know, but if in situations like this there is an effect at your disposal on that effect is in the surface control expressed texture I'm just going to spin through this andi, I should say for the audience online hi there that this is, you know, I realize this's an introductory course being created with paint up that some of you who are a lot of you actually have said you're brand new to paint you've never used paint on well, well, well, honestly, this is sort of weird getting technical this's the glaze over just watch me don't try and remember anything uh just enjoy this is this is highly technical stuff, but it's highly powerful as well, so experts texture ongoing use paper and I'm going to know we're going to use the luminous and the image is much better to do that and I'm going to adjust the grain again by the way we get a little measure tint look so lots of different places in the program khun give a sort of measure tinti look on we're doing this so that we get a really sharp black my image and we'll do a selector all on we'll go and add this as a paper texture and oh no I can't see capture paper where is it? What have I done wrong? Yes excellent you are watching you were listening eyes it make paper capture paper who would just call it um morrish because there is more ish and that's what I feel like when I had a tea and biscuit always want another biscuit morris anyway that's very very british do you want more, miss please okay so we are going to capture paper on we're going to see where it is so let's do that again on dh what might have happened is this might be too big an image so let's just re size see how big it is see how many picks what is due to many pixels let's just do five hundred and that will be enough on now let's do a select or andi let's go to the papers uh do ever there look at that uh there it is uh it actually it actually is there and let's well year do a quick control capture I calm then we can really see what it is a bit better and I believe it there so as you can see it's really easy to get things all over the place in this system so one thing I would suggest is when you're working on a project that show you real quick organization organization organization one thing I suggest is you just you're working on a flamenco project make yourself do yourself a favor make yourself a new papal library call it flamenco bah bah blah blah blah blah blah flamenco there we go on dh it will just take the last used uh paper and it will put it at the but um we all know that the new anything goes to the bottom bottom yes andi anyway we won't go there so so yes, I think we have a question right here in the audience okay? And I'm going to keep working while the questions coming in because I want to put this into the painting is the finale and so we can move on from here. So I'm going to keep work him with a new layer in the last list because it gives great versatility and I'm going to use a large chalk with this new flamenco texture which I'm not sure how it's gonna work so ah layer gives you a lot of flexibility make sure that you know if you're in a brush on up make sure that you don't have um uh was very make sure that you don't um make sure that you have a grainy brush there's so many things to check make sure that you have the of selection made of the paper texture you want to work with ooh wow look at that gorgeous so I just get carried away I'm sorry I can't help it uh yeah with the question oh, so if you were making more more paper textures yeah how would you make sure that your paper textures from that day go with the right shoulder if you I assure you once you've created textures you can grab them and move them around and I'm trying to remember I think actually yeah you don't even have to hold a shift key down you just have to grab on drop drop drop and then now what happens is you sometimes get duplicates like I've now got this huge texture sitting in my default paper library don't really wanted there so what are we going to do to get rid of it? Um right control click on a mac on dh right click on a pc delete paper done on dh then finally we want to back up that custom paper like I told you right custom stuff especially isn't related to a project we should put it in the project folder as a back up as a safety thing so let's now export the paper library, which one flamenco where we're going to export it to let's export it to the project folder for that painting, which is the soul, one where I saw spin on dh it's called flamenco paper library and save so on that note way have completed what I would call a whistle stop tour ofthe expanding your color range and understanding that basics off the power ofthe paper texture in karol painter x three there's a lot more don't wait it's like it's like this deep hole, and we've just scratched the surface there, but I wanted I wanted to give you a taste, I hope I haven't frightened anyone away. This is my big fear is like, I'm always like, well, how much joy show? Because I know there's people who are so hungry for information, but then I'm always like, I can just pick to someone out there looking like who I was really interested in painter, because it looked so fun and easy and now it's like it looks so complicated, so I just want to reassure those people that don't why this stuff you know, many levels? This is a bit more complicated, and I would never say do this as a first thing you do is a beginner, but there's a lot of people out there who are not beginners on some of whom have used painted for years and years and years. Of course, they would would be experts on this, anyway. But this is this is people.

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.