Understanding Brushes and Brush Behavior

 

Corel Painter X3

 

Lesson Info

Understanding Brushes and Brush Behavior

Welcome back everybody's both here on dh online on dh for those of you caught a little bit of lindy hop going on there I didn't actually realize you guys were watching it was like but we were dancing but before we dive in back into painter and brushes and all that good fun stuff I just wanted to share a different artwork so this is, uh dance rehearsal on a sze yu my notice got his little similarity to the style of big are on dh of course is not coincidence it is an original painting by myself but it was created specifically for performance I did known as a tableau vivant where I dress up and I create a set a complete set on dh I recreate the studio of a historical artist and I've done several tableaus for the young and the legion of honor museums here in san francisco on this one was part of a tableau as god nigga on gunshot they anyway I got my top hat on dh this was in celebration of the opening of the birth of impressionism masterpieces from the museum door say on dh so um this is a...

ctually was created in painter on dh I worked interestingly enough, having seen edgard a god's photo calm visits which we saw earlier in the day I essentially did my own photo compass it on all the dancers are actually local dances that then performed with me in the museums and I went to their dance studios and took reference photos and actually ifyou've got again really good eyesight you'll notice that some of them are happen to have twins or triplets in other words they're repeated in the composition this order does have post print pain so if you can get a close up shot andi just shows some of the details you'll be able to see that I've worked in there's a gel coding everywhere and so this is an example where absolutely I wanted to have a feeling of more like a feeling of oils even though the pain I play in this case is acrylic but I worked on this in the museum with paint and in fact using that pallet I'll just share another little thing with you because I wanted a sense of uh just a sense of being lost in the illusion it's so funny all comes back to some of the same the theme is being repeated that I even used copper nails and I toured the edge of the canvas at the back just because people were going to be walking around me I just wanted to feel more more authentic so this is the actual painting that was in the museum and so what I'll do is I'm just going to share with you a very, very short little video of me actually working on this painting in the museum one thing that you'll notices I'm fairly minimalistic with the pain and putting on I'm not trying to cover up my painter artwork but I'm tryingto take it to another level in handsome there we go just a little bit of an aside here into how I take my painter heart and do things with it like use it in performance it was also really interesting working on this piece and painter on really studying the what was it that made the compositions of diga so special on dh you know the what were the elements that actually he used consistently the cutting off of the piano on the left the use of ah a lot of perspective as you have the dance is fading away into the distance the use of tall windows that was very important dig are used to go to the three old opera dylan paletta in paris where they had was an old hotel that huge tour windows thankfully one of the dance academies that I the students came from had the same sort of two windows so that's what you see here on the left and in fact when a teacher my painter creativity workshop we go visit that academy and photographed I'm wearing the same clothes I'll just show you the source composition that I put together on dh what's interesting here is its again a scene that never existed it's completely made up so everything you see here e I used about no ended up being about twenty photographs and then, you know, little bits for the little bit of that layer it in all done in painter painter is an amazing program for photo comp positing as well as the collars, et cetera, you know, this workshops focused on really just painting from a photo reference, but I do encourage you it's an amazing program for, you know, just working with imagery generally, but you can see they're, um, sort of composited structure, so I'm gonna go back to a plain white sheet of paper on dh, I'm going to continue a little tour off the painter interface. I thought that while I'm doing this, trying make it a little bit more interesting, and I said before the lunch break, you know, maybe we'll work on that flower theme, so I have in front of me a little still life, uh, flowers and fruit, and so what I thought is, as I'm demonstrating brushes rather than just do random scroll, why don't I actually just at least react? So what I see, andi, this is an exercise which I think we can all, you know, enjoy. So if you're a tte home there and wanting to do a little painting, uh, just even just loosen up and get the feel of brushes why not just put something in front of you whatever it is a bunch of flowers or something that you know you just feel like okay let's just respond to it on don't worry about it looking like it you're not trying to make a resemblance you're just literally responding to it so that's what I'm going to do I don't know what's gonna happen on the canvas because I really just want to share a lot of things with you on a lot of you know different brushes, etcetera. So before the lunch break we had talked a little bit about the color panel and brother in terms of language and you know, metaphors and everything the language is generally used in painter at the moment is that these individual surfaces with tabs a known as panels on dh they sit in pallets so just in terms of like what to call things this is a palette and in this power is a navigator panel mixer, panel color set leiber's panel and down here layers and channels panel so let me just rearrange things a little bit I will later on in uh today be introducing you know how to import work spaces and I'm going to go to another level of complexity with that, but right now I want to keep things really simple on dh I want to keep with what you have when you first download painter you're trying to use it how to deal with it that's what we're going to stick with for the moment andi um I want to say a little bit more about picking color because it's so important we spent some time talking about brushes on dh I think it's time to talk a little bit about color on let me just pick up a brush that's going to be nice to work with um so I'm just gonna experiment with a few brushes here it might be really nice is to get a brush that actually can pick up in the mixer multiple colors on some brushes do do pick up multiple colors and some don't so, um, let me just get looking really nice uh brushes with the nice yet perfect so I'm just for just as I start, um demonstrating things, I'm gonna work with the really long bristle it's, a variant in the acrylics brushes on dh I actually almost forgot there was flowers in front of me, so but I don't mind so one of the things is right away in terms of scratch pad on in terms of roughly checking out brushes and testing them out, one of the questions the sundowners get is like especially when you're working on a painting from a photograph you know you should have a little scratch pad next to my canvas to try out the brushes you know, this's all opinion on dh all I can do is share what works for me what I really find works for me is my canvas is my is my scratch pad that is where I want to try out brushes and it's just trying out of brushes sometimes at the edge you know, to be safe the starts to make the cameras looked really interesting so I would say actually use you know, even if you're painting something use it as a scratch pad to check out brushes um so I'm going to just make this brush a little bigger and you see me uh using that shortcut which I mentioned I really like because it is so convenient and it is one I definitely recommend programming into your tablet now because all of you have different tablets and different models I don't want to spend a lot of valuable sort of temporal real estate in this classroom going through how to set up the other experts keys you can all do that yourself you've got my guidelines but I will just set up the first two and show you the first two so you all know the principal is basically the same in any of these so you'll go on a mac two system preferences and then you find that the, uh welcome uh you're welcome control panel is at the very bottom of the system preferences if you do a show it's we weigh down the bottom there it is on a pc you'll just you ready on windows eight you just do a search for welcome in the search for food and you get it right away so the first are just go through very briefly so you can familiarize yourself with what's going on the first row here is just going to be whatever tablets has been used with this computer on right now I'm using into us five touch does this now renamed into his pro the second row is going to be functionality of uh you know, different parts of the programmable elements that you have and the functions are where you're going to get the express keys so that is what you're gonna want to go to but also just so you're aware a lot of the tablet now a touch tablets where you can program your own gestures etcetera or if you find the touch is really annoying you can just turn it off in fact that touches turned off and that's fine, I do want to say one thing about those of you who used touch in your work with painter and actually that would be the first question for the online audience if I'm just curious so the question is do any of you use touch with your touch sensitive tablets if you have them I'm just curious to see how many people are relative this is relevant to an inner in person in studio audience to do any of you use the touch gestures you find it useful saves you time especially to zoom in and out man out and turn it on turn it that's interesting because I just you know if you're going to use touch um in painter this is important to point out it is confusing so I think it's very important to realize this if you're in pain and you're planning to use touch there is this thing in the painter preferences so if you're on a mac that is coro paying extra preferences general and if you're on a pc that is edit preferences general at the very bottom you'll see this thing because enable multi touch compatible wakame wacom device required this is very confusing so just to clarify painter has built in its own gestures and touch built into the system and the default is when you install painter and opening up this is checked what that means that overrides and if any of the custom stuff you put into the work on touch and uses the painter touch which includes the zooming out on dh the rotate if you do want to set your own custom gestures you just need to uncheck that just click it there I'm not going to be using touch so I'm just wanted wanted to make sure that you're aware of that online well, hey, I use touch but it often freaks me out and I turn it off yeah, another feeling a special thing zoom in now and I'm very tactile in the way that I work I mean I work it's funny I work with my tablet service sort of a little bit like I work with paid a paper I touch touch paper when I do a drawing in pencil I touch the paper a lot it's just how I like to relate to the surface so for me touch I tend to have a lot of things happening but we're going to move on from that grip pen and our pen so actually there we go I talked about the sixty pan also known as our pen oh also known as a marker pen thie grip pen and the art pen it is was deciding what you want to do with those buttons. I've made them both disabled just for simplicity but I know that a lot of people love tto have them set you know, for different things short cuts a lot of people have the option or old which means you can pick color wherever you are just clicked pick a color click color so you know it's totally up to you but I think the important thing is just to be aware so you don't accidentally get frustrated because what's keep happening I'm double clicking on my campus when I don't mean to be that's all just be aware function okay let's dive in, teo, just setting the first two so what you see in him is basically this strip and I'm right handed so it's on the left of us left handed it would be on the right on dawn, the antique they have this and then they have it repeated again, twice as many programmable keys that you can program and for me absolute on, I would say to you, the audience, if you're just going to program one key, you know only one it has to be the temple color it's so valuable and it's like gold us it's so important, so and I've put that at the top so I can easily find it the old interests force used ever led you could look and see, but the whole lady here is you've got the overhead view on dh you khun you know you're the idea is not to look a tablet so that's why I put it on the top. There it is on the top, you'll notice I have painter extra selected here, and since I'm sure almost everybody watching this, you know, is a photoshopped user is using this is using that every program you're using has a different set of things you want a program in, I highly recommend rather than doing the all other, which is the default in the work on you go to the plus and you you open painting, you go to the plus, you select painter and you make a custom set of keys just for painter on dh you never have to worry about trying to remember it all because that's always a challenge. Now I've got a set of shortcuts for painting, but it's different for photo shop it's different for this it's different for that. So you with this overview that's where you need it, remind you on the screen what you've got set on once you use them a lot in painter there like second nature, you saw me go before I did it did it did it so the top one is going to be the temple color on. Do you want to go to key stroke on in key stroke? You're going to type in the short cut, as if you're making the short cut, so that means for the option command or control alternate pc, you literally hold down the option in the command and then holding them down, you press you tap on the one key, so it's, as if you're doing the shortcut on dh. If you make a mistake so I made a mistake one thing is delete just elite letter by letter clear is the one that clears it on actually I need to how do you need to get off my chair don't do this one second ago so you get used to that and then always right in because that whatever you write in here is what you see when you see the overhead view in the program now you're not seeing it says touch on off you're not seeing that because we're not in paint but if we were if we were to go to painter and I do that that wording whatever I chose is what you see that so you're determining the messaging so you can make it a short a message you know I'm overdoing the attempt caliber okay? I get it but on the other hand it makes it really obvious andi that's it simple as pie so when you're going through these that's it that's how you do it the only other thing to point out is that with with my short set of shortcuts that I use, I'm only going to be using either keystroke or modifier radio menu honestly it's this infinite pie of potential shortcuts within short cuts with it's a bit overwhelming for me I have done an actual paint books tv I have a whole video on how to program radio menu if you want I nowadays I just stick to keeping it simple on dso modifier this I would also recommend so on the p c this is a short cut for changing brush size dynamically by dragging on your canvas on the pc is gonna be off on control on the mac it's option in command and with modifier unfortunate you don't get the opportunity to give it a name like brush dragged inside you know uh drag change brush sites but there we go it's done so you can just go through all these others in your own time well just change him and move him around as you want the touch ring eyes useful I tend to leave it order scroll I pretty much only use itjust a scroll in now jim in and out so I pretty much leave it on the default the radio manual don't worry about while let's not worry so that she would um so now we're back back painting on dh let's let's put some color down there that worry too much one of the things I hope I communicate by the approach I'm taking here is I don't get too worried about what I'm putting down at the same time I am observing if I'm painting something I am observing on dh there is a response to something I'm observing so if I'm painting something it's not all random there's actually things are happening because I'm observing something and then I'm responding to it one of the things I would emphasize in regard to the way that we're working from photos is it for me there's every bit as much observation involved in working from a photo looking at my source and thinking about what I want to do with the light from the docks as there is in looking at a still life sitting here in front of me so that's another thing in terms of a takeaway to remember transformation variation is observation really, really key part of the process whether it's photo reference or not looking at sort of shapes abstract forms that lights on in this case everything they got wonderful colors I want to play with that will happen um too let's have a look uh I want to talk a little bit about the mix a pad wait, I think we've don't love with color wheel on the temporal color let's look at the mixer pan this is ah wonderful thing here so let's go to the basics the basics is its you've got this somewhat traditional looking layout of color much more in a traditional artists approach with a nice mid tone background on you can just go in click on when you click you pick whatever color you play you click on so that's where we go it's fairly straightforward um some brushes are mentioned have the ability to sample multiple colors on this isn't really, really cool and it's wonderful to use now, but he won't work with every brush it and I know there is going to question how do you know which brushes with sample multiple calls? I wish there was an easy way to know because actually I love using it, so what I hope will happen is that they'll get we'll get programmed in, say, multiple color as a search item, and we'll find him that way that's that's where things should go and I hope they will. So but right now I'm pretty sure if I put that in mall people color um it won't show anything, but right now, you know, you just know results, so you just need teo by experience get to know this's one critics re along bristle so what happens is that when I click on region off the, uh, callum mixer, which has more than one color as I do a stroke, I get that mix across the breadth of the stroke let me do this year so we get a bit of yellow and green there we go yellow and green. Now I'm gonna mix in a bit of ah bit a blue and green on duh red and brown now one thing that's happening here is in the artistic terms were getting mostly what's called a now analogous color on what that means is if we just look around the coloring were tending to pick colors close to each other on the humoring and that's just because it's being laid out a little bit like a rainbow. So this is where comes into play, the power of the mix of had on daza, both as a reference form of reference as well as a form of picking color and using that multiple color sampler. So if we go to the pub up menu on the top right on dh head down, first of all, we've got a few mix of pads that someone you know that I recognize that name narrow should recognize him over they're wonderful people get for the way has the most amazing website with great videos on water colors he's amazing with paint watercolors if anybody's seen karen, of course, runs the digital heart academy on dh, she ran a painter's tool wonderful artist john malcolm has the best scottish accent I've ever heard anyway on, so if we pick any of these, you'll just see premade mix a pad that's just a detail from one of my paintings on dh that detail of one, accounts lovely paintings on dh then skips given us a sort of circular carbo, however, what I like to do is and this is where it gets fun is I go open mics a pad so open sesame what's going to happen here we're going to go to desktop and we're going to go to my extras this is the extras that aaron paint books uh tv I plus a few that I've added since then let's go get a nice classic morning I think that I'll be very good with flowers on dh let's have a look here um impression of course I love the impression and the war the river that's a serious this one we go on dh so what we know these are just tiny little images that like two hundred pictures um and what we can do now is we can go in and actually pick color from within whatever image it is so we can get richer set of colors I'm just going to change open mics a pad and I think I might go for something uh let's have a look, huh? Tuffey interior that has got some really nice colors. Um so you can basically use this as you know, as a way to just grab color reference as well as some something that you might enjoy in terms of, um stimulating artwork and you know, I like I mentioned earlier I just find that having um having our work there it does influence the colors I choose also it's the thing is the uh type of brush strokes I make etcetera and let's go teo another let's go to another brush on in fact I feel like putting on a little bit of a wash of you know there's a will that white surface and it's like a two bit bit dull really so let's go to the digital water colors I'm going to take you through a few of the different types of brushes and this is going to be a little bit of an exploration on the journey and I'll start with broadwater brush which actually khun form very nice wash here on let's just pick uh what color there we can also go into here there we go on what's nice about this uh when you do a wash over other colors it just it shows him coming through so um I can't just pick up uh here we go it is also nice is for the broad strokes so to speak and as they go over and over with digital water color it's getting dark room darker is that wonderful yellow stripe with stick you hear so I'm sort of blocking out main elements of my composition glory with big broad brushstrokes okay and at this stage I'm going to do a save as and I've got that programmed him has a button on my tablet so because I do a lot of saving as you've probably already gathered hearing the reaction of people here who studied with me in prison I'm obsessive documentary process I love process um so let's talk a little bit at this stage since it's right up here about my sort of saving system that just work for me, so I call it pv n it's in your notes so you can follow along really easy, but basically I divide my name's into three sections on the first section is a short, preferably seven characters or less project name, which stays the same threat the entire project on dh the reason that that the that that needs to be less seven or less characters is that there's some parts of painter, especially when you come onto cloning where you don't see the whole name is dot dot dot dot in the middle and see if you have long project names you never know what version number it is, so that's why then next step is a two digit version number on dh, which now going to come to and always do two digits? I'm sure you're going to get beyond nine and otherwise I'd be out of order I have only occasionally gone above one hundred versions on dh, so I still stick with two and then my first one I often write down the wind times the height at the resolution I made this a little bit bigger because I just felt maybe a few more pictures would be good on dh that's it ah now if I want to that's already they're so what I can do here is go broadwater brush. Now certain brushes are familiar with enough. I just have my little short abbreviation. My suggestion would be when you're starting off there's. So many brushes. In fact, this is one of the questions that I've had. How do you cope with all these brushes? So one thing is, when you start off, I would make sure that you write down, you know, the category, and then the brush name here. Gradually, you'll just become so familiar. You won't need to. And honestly, with individual variants, you can now search for them by names, so you don't have to remember the category that's not as critical. Um, so what's, uh, let's, bring back the pallets. Here we go. Bring back the pallets on dh. Take a look. A different brush. Quick quest. Absolutely. Sam cox from colorado is asking if there's a way to limit new paint to flow on lee on the white background or on a particular color or within a section. Excellent questions. So, um, I mean, this him just trying to think of the best on that there's many ways you could do it, sir francis, if you wanted, I mean, they know how I would know how I want to teach is a method so I can in other ways I can answer the question technically but it's not what I do so what I do is I really treat my surface like a liquid surface where I allow it to be very malleable and I'll allow things to mix and blend and everything so I treated much more like a traditional painting surface but sure if you want to for instance, I'm just going to add to the question technically, but this is not what I do so technically you could go into the select you khun go color select and you could select white or you could use just like in photo shop you have a magic one tour tools or it magic wand tool and you can click on an area and it was select like area's what you've seen here actually is happening it's ignoring the digital watercolor because it's in a layer and we haven't gotten to that yet but I'm going to start explaining especially for those new to paint a little bit about the behavior of brushes in painter but that would be probably you know I would just do that the quickest way magic one hold down the shift key click on all the areas you want that a contiguous and that's it and then paint and then when you're finished come on dee and you d select and you can paint anywhere but that's how you do it but that's not really that's that's one way to do it now you can also create layers and you can protect parts of the layer with something called preserve transparency I don't want to get into that now but you can do it very easily with layers on dh that's a little bit more conflict and is not really relevant to you the workshop so I mean I'm happy to talk about layers off sam is his name sam yeah he'd spoken to send me an email you know, I I'm having to help you but I just want to distract from the I think so but actually it was a good question because it brings us to this point so we've just used something cord digital water color looks good it looks like a glaze there's nothing in the layers list that suggests that it's a lay up let's goto troll key brush so I'm gonna go to the chalks uh chalks wonderful chokes on we'll get a square choke on we'll put in what that look was nice textured nice textured brush let's make it a bit biggest you can see it better. Andi look at that lovely chalky thing um and let's pick a light color something ad you go into the color set library ah ha we're starting to use the color set library you just click a pic easy now there's a tiny little squares I can hardly see them so well I'm going to do is right away go to the color set library view on go medium ah much better, much better so now I can see what I'm clicking on a bit easier so there we go click on what I want to show you is that if you look carefully what's going on, I'm painting with a yellow orange and as it goes well as it overlaps the usual watercolor can you see what's going on it's actually blending and in fact what's happening is it's going underneath it? Um so this yellow is becoming green because it's there's a color mixing with the blue digital water color on dh um so what? We actually have a digital watercolor and all the digital watercolors is a brush that works in a layer, but it doesn't show you in the layers list, so I need to just take a little moment here to say a little bit about expectations because this this is something which is emblematic of everything that we find in payment, so expectations. So um with painter, what I want us to do is think of painter like it's like a very complex organic being that has grown up over twenty years and in painter on many, many, many brush engines as they're called brush technologies all working away different brushes depending which ones you pick on their very, very different technologies and they've grown up of a ll these years so what we have in painter is a lot of inconsistency and a lot of things which when you first use the program, don't behave as you might expect and if you're looking for a logical sequence of rules like okay every time I create something that's in a layer I know it's always going to be in the layers list who sorry no we thought out within pastor that wasn't in the layers list but acted like a layer a strange land now we're seeing it again digital watercolor acts like a layer is not in the layers list not in the layers panel so don't worry don't panic you know, uh I'm sort of what I want to do is just reassure you so if your expectations is such as your painting and painter, you know you don't expect everything to be consistent, logical and you realize there's a lot of idiosyncrasy onda lot of personality comes out in different ways, then you'll be fine. So so in case any of it leaves you scratching your head, you know that's a very common thing to happen and it will happen again in the game but don't worry about it, so I'm gonna teach you ah bunch of little things which to do with behaviors of these engines on each one is going to slightly different so with um with additional water color it's very simple it acts like it's in a layer doesn't show in the layers list forget the layers list but if you want to drop it, flatten it, dry it and paint over it then you simply go to the pop up menu called layers and you go all the way down but you will there you go and you go down to the dry digital watercolor it has a little shortcut which you could program in if you want, so for instance, if you're doing a lot of digital watercolor and it's part of your workflow habit, then you probably want to end up putting that express key I don't do a huge man I don't worry about it I could you know, make a custom button if I want, but so that's it now how you don't see anything change but now watch what happens when I use that same chalk I haven't changed anything and is now covering up the blue is not mixing is coming up so we know is no longer a layer and by the way, if I go back to sam's great question klik magic wand click oh now okay express the shift key click okay um do you see that? Because now that digital watercolor is part of the pixels in the image and it's now being detected by the magic one and if I change color here on at thea leads to a dark blue ha ha ha on its going here oh, silly me selling me ok what did I do I got carried away let's do it again I forgot I was in the magic wand okay, now we go back to the square true which means we need to go back to the brush click or b and now you see that on I think this is sort of what sam was in a sort of wanting to be had to do it is that right selling thank you but it was helpful okay, yeah this is an easy way to do it I say if you know if you don't have to go into layers why bother and you know do it in a way like this and then when you're done just go uh come on d d select or control d on the pc one question for online audience actually while I'm painting away here would be I'm really curious to know roughly the split of mac versus pc because it's been changing so rapidly over the last few years so if you just want a type in macro pc and let's just give it a few minutes do a little informal nonscientific survey and let us do the survey here who's mac and cheese, mac or pc? You have any pieces that you're a peace, a good. And of course, a lot of people are both now. I mean, they've got both in their systems. Okay, let's, continue. We've addressed. Um oh, I see you doing that because you're on my question on the selection is their way to feather their soft in this election. Oh, yes, and that's really good. So grab the magic wand. Make your selection hold down the shift key. If you want to add to it on dh, hold down the halt or the option key. If you make a mess state and you want to delete one of those sections, you know you can eat it just like the photo shop tools as well. On then the question was, can you do a nice feather? Absolutely. So what you do is you go to select, got a feather, and then you put in a number that default is always tiny, so I usually you know, if I'm going to go to the bother of feathering, I might do twenty or thirty pixels back on the mac versus way. Tio eddy, teddy says, I'm a closet mac fan coming out soon does mac all the way from nineteen, eighty two wow way must be the winner of the longest mac fan you have just about equal though there's plenty of people saying pc as well so I think it's fifty fifty yeah and I have to say I mean I've been using primarily max you know since I started doing digital painting but but I happy news in windows eight on dh I like it it's uh it's I think that the windows also took a long time but thing is mature uh always a very nice dresses well so um feather let's just see what happens how with a brush when I go over that and let me just see if I can fit this into actually what I'm painting ah you're right well now what I've done is actually I've selected that uh let's go back here well the feather doesn't show that much but it is there believe it or not and you sure it go rounded corner so you may want to even exaggerate furthermore so um actually huh could be quite useful for a little highlight there maybe we go bright yellow and just a dash of bright yellow that perfect and uh maybe it's time for save as I'm just called this um number three and this was square choke seems sort of get the habit here okay um so we've looked at the color set library with all these libraries there's lots of other ways you can uh customizing had add colors etcetera very versatile on dh what? But one of the neatest things about color sets is that you can actually create these tell us that library from any image so I'll just create one from this image because it happens to be that I just want to be efficient but you know if you have a certain you know color you see something with a certain ranger kais you say those are the colors I want to paint with and you can even photograph a traditional artist's palette there's nothing to stop you're doing that then you can open it in painter just open it as an image on dh then it's a simple as pie you just go new collars that from image it's that simple I think and you give it a name so I'm going to call this don't call it still life has sort of what it's meant to be on dh you can set on this is new in painting extreme it used to be that whenever you did this one of the problems one of the reasons a lot of people didn't do more of this is that you would I don't have anyone tried in other versions a painter you would get a huge number of colors too many like fifty sixty colors so what you could do now is you can actually set your maximum number so I'm gonna have twelve colors fourteen cars sixteen colors on you can set it say okay and as with almost anything in pain when you generally this is this is a general I know they're with me saying, oh don't expect anything to be consistent now I'm saying ok, general rule it is actually a fairly general in painted that when you generate something new by whatever means it usually ends up at the bottom of the list or the library or whatever it is the same with brushes if you generate a new brush but look at that then you end up at the bottom of the list and so what you'll do to find the library is there it's in the bottom you see him that's it very, very easy to generate a color set you know I mean it's interesting because for instance if you're a pinterest type person and you you know you just collect things and I love that the range of colors long as you can open it in painter you can collect the colors on adam and keep him in your library as clickable college you had a question, terrence uh is it the same for the mixer? Well, you can open anything as a mixer way more sent terrorists, so how would you? Because you have images that you've added in you have set up already to go into your mixer palate so you and you take the colors from these and put him in here or no how you how do you add stuff to the mixer palate oh sorry like you know you just uh pick one of the brushes depending on the brush you go and supposing there's a color a cz long as you know your brushes not a cloning brush you can hold down the option or old key on pick a color from within the image and then you can paint it onto your mixed by natural look at this it's mixing oh, look at that it's creating a grady int and let's pick another color so let's pick up that yellow there and put that there and then get a little dirty blend going there so I've got a log radiant and in other words you can treat your mixer pad it isa cameras and you can paint on it on dh move colors around at colors too is that what you meant but you've loaded into the mixer palate can you just upload any image you cannot blow it any image so it doesn't matter to the size or well that affected or huge there is a magnifying glass and you can zoom in on you consume out I mean you know there's there's different ways to do things but it's uh you khun base I would say five hundred or less pixels just make a really small version okay yep. Uh like if you had if you took a photo wanted to import it in to be able to get the color mixer how do you how'd you do that? Oh it's as simple as pipe so what you do is you simply go to open mics pad so the thing in the middle would you saw with the pictures that the mix a pad and the colors along the top of the colors but you all you do is you go open mix a pad on dh click and then you look for the image and actually one of my images that I have is a little color wheel so if that's helpful period is um but that's so weird we have to do is be organized in your computer what I would suggest mary is that you create fordham somewhere on your computer that you're going to keep in a resource material for painting on then make a ford and call it images for mix a pad and that's it so whenever you come across something make a small version save it is ajay pig and that way I always believe in like if you could make it easy for yourself like have one go to photo I do the same with backgrounds a cz well so which I'll be shining a bit you know, one photo and I just saved textures or backgrounds I'm pull put question about the mixer pad the brush is the default brush earthy only breasts idea yes in that up pad the mixture pad what is it? Because it seems to work really well there and when I put it on a canvas it doesn't seem to work I don't know what brush let me first of all, let me just open makes a pattern bring in something that's gonna be a bit more interesting um and two let's see, we're on this brush here and there's a dirty brush mode and one that click here should apply it with less mixing but these two brushes just so you understand you don't there no painting on your main campus and one of the things is a little tricky about this is that these tools here in the mix a pad are independent of the tools you've selected here that which is good, we want that because most of the time we want have colored drop and then we go drop on, then paint most of the time so that's what we want and the same applies to the reference panel and I'm goingto I'm slowly introducing more and more things here. I know that we're seeing the desktop already get a little bit crowded, we're going to move things back into the little nested palate areas you'll notice how easy it is to do that you could drag him and drag him out and I just want to show you one thing that I think will be used for again as a way to add color into your process and into your life and that is something new in paint extra called the reference image panel and you saw well actually I did use it at the very end of the demo I don't know if it got caught on a live feed on up, but this's really powerful is, well it's a little bit like the mix a pad down here in the sense that you can go and open a reference image on dh you can pick um any image so let's just go teo the master's calorie and let's pick up money's garden and there we have a wonderful image monet's garden and you automatically by default is set to color picker on so you let's change brush here go to something interesting on very different so actually I'm going to purposely shake things up a bit here we're going to go to the liquid inc I'm going to go to the graphic graphic bristle okay, here we go so let's shake things up with that on dh what you'll see is that I'm picking color from within that painting let's go for that blue and then go for the orange andi so basically what you have here sort of like the mix of pad thing, but it's also designed just as a reference image that you know tio help yours you get inspiration as you paint on dh that's it to you this is not one more you're gonna add your own brush strokes into the into the reference image but you still pick color front um so let's uh let's have a look and see what we've got here because I purposely picked the brush that it does work in a layer on layer that shows up, so I'm going to first of all, uh, brighten up the color here a bit on dh this nate, this name graphic bristle sort of fairly apt in the sense that it really gives a rather sharp, graphic type of mark on dh I'm going to show you something that's very interesting about it on that relates to the what we heard before from the lady who did photo actions and printmaking, which this always reminds me a little bit off you'll see that in a moment yeah, any p shasta's paint I have a library of paintings, a sources or is it stiles? Uh, excellent question so it doesn't have a building reference of the images that you're seeing me bring up? No, but it does have, for instance, we saw in the photo demo before that I went to the underpinning palette and it had impressionist, classical, modern scheme's color schemes now that's not the same thing. So the answer is no on. So what I would suggest what who's questioning any honey so where's she from you don't know. So maybe I online orders first rule. Any of what I would do is just the same as I was talking to mary about what I would do is start a folder in a place that you're going to keep. Resource is for painting, and I would call it something like inspirational art images on dh. You know, for reference and then just start collecting their city. You khun, bring them into your program and just enjoy them on, look at them and pick color from them when you feel like it. That's what I would suggest you make your own collection on dh. So when people write, well, be fun, I think for all of us is if you say we're from because I'm really curious, like, where is it from, sister in arizona. She got to you straightaway when boy, this is like a media stuff, so

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!