Understanding Brushes Pt 2


Corel Painter X3


Lesson Info

Understanding Brushes Pt 2

Okay let's go in and share a little bit more of the graphic prison explained why I you're probably thinking why is he so excited about this graphic rizzo it just looks pretty normal to me let me just show I'm gonna zoom in a bit on let's tab away the palettes by the way I noticed that you don't you know this is this whole freedom thing coming back again you don't have to be stuck with a eyeful of pallets everywhere and I think this is one of the big things that puts people off painter isn't like you know all I want to do is paint and I've got to look at all this stuff on my screen all I want to do is paint so that's why program the tap kin teo express cute look at that so whenever you feel like it you don't have to look at it with those pallets I don't want to look at all those pallets and I don't find it easy to pain with all the pilots filling up my screen now of course you could have a second screen you know that that's ah that's an option but you know I keep it simple one screen th...

at's ok so um let me just pick color here on dh er would go for some of that magenta I'm just going to make some quick brush strokes here not worried too much about it um we'll get some greens and little iris blue like about their um um there we go so one of the things by the way there was that question about you know painting clauses drawing clauses you know onda again I want to emphasize that you don't need haven't on our background have incredible form of this and always had to do professional level wonderful work from photographic reference but one of the things that you will learn if you just practice withdrawing campaigning is you learn to see color and look and then translated and then be able to go into the color wheel and the value situation triangle on very quickly get to what you are so that's one of the things by the way one of the neat things about this is you can move it around and compare your swatch before you actually paint this's big this is really big thing just to share with you and something you're going to see a bit later let's see, I have ah little palette knife sitting in the little of little thing there but when I worked with a palette knife um I actually put some paint on it and I do exactly what that does is I actually compare it to the painting they do I want that color there now it's too dark to light and I actually do the same thing um I just show you hear there thank you so exhibit one pilot knife this is actually the one I used on here on this is actually my favorite part life we're going to this on day three but I put the pane on and then I hold it there and you know and I sort of do this little scanning thing so we can do the same thing in painting so the scan is it going to work is one of the problems is you pick a color and it's not just the color it's the tone and saturation it's gonna work in the right place if it's got the right combination of the color turned situation and it's not always a question of blending its quest sometimes I want an accent that jumps so but that's why you have to say is really fun about the use of the temple color palette because you can treat it uh like that as well so you know about pressure I thought pressing pressing harder with your pen on the pressure setting while drawing with the neighbour out faster uh oh you know what? I all I can say I mean I I've been using more come tablet since nineteen ninety one on dh twenty years and I don't think I've ever like maybe I'm not pressing hard no I don't think I've ever worn as a warning about now I know some people do so obviously there must be different ways of working so for me maybe uh e, this is a good time. Maybe this is a good point to make them with this question for the audience, that something that you could never see in this video, uh, is how light my pressure is on dh so there's almost no force it's like it's like a wave. So when I'm pressing harder to get a thicker stroke depending on the brush it's so so, you know, this is just for me, it's so subtle, so I never I'm not like pushing is no, I'm not putting a lot of muscle work into this to try and muscle through making a brushstroke ever, even when I want a big, bold brush stroke. Uh, maybe, um suggested what was his name or the question? And maybe a one may try experimenting with the what? I showed the brush tracking but it's totally up to him. He made us have a heavier pressure and indeed may run through the tips so you can always buy a pack of them from welcome. They sell the extra tips as well. If you run out, sir. Let's let's, take a look at this graphic. Bristle on what I want to show you is a couple of things, so I'm gonna bring the layers. Panel up here as you can see it clearly in the middle of my screen and obviously I've been painting in a layer of this is ok, now it looks like a normal air obviously it is a layer of liquid ing there we go, it turns off it turns on so couple of things, so this is a normal it is a layer it's not quite a normally it's a magic layer there's many layers with magical properties and paint up that have very, very specific engines and edit ability, and this is one I'm going to show you. So for instance, when you go to the graphic liquid inc um list of variants and by the way, a little a little tip here is that I'll see if anybody in the audience now is it before I tell you so does anyone know what do I hold down to do? A conf uh to a click to show the variant list on screen, so imagine a tab away everything so what's the key that I hold down and go click and it shows you the variant list, you don't have to go up to the brush selector. Is there any online people wanted? Just type it in, I'll give you like ten seconds creek type any answers that's not enough time going there and so on the mac it's the control key so and this is one by the way, if you're goingto program one into the to function button, maybe this is a cool one to do on what I would probably do is put in the back part of the button so you don't accidentally do it. I'll show you why look at this so on the mac it's a control click on on the pc thie right click on dh so what you'll see here is you have the entire variant list plus if you customize vary in, you can save a very in here were you know, we're going to that separate I just wanted keep going with this little brush toe on what I want you to see is these words resist and so we're going to pick the graphic bristle resist on let's see what happens who let's go into this yellow I'm gonna zoom right in so you can really see and watch what happens here who can you will see that so it's literally it's eating away at the pain as if as if it's an acid etch so this is why I was thinking of the edging it's also, if anybody's well everybody's done the thing that kids do right, you do a wax crayon drawing and then you put water color over it bubbles away and you get what's called viscosity resist we order that of kids and this is basically always reminds me of that because it has that bubble to the resistance edge to it. But what's nice about this is you can get a really organic eating away. Look, now I don't know if that's relevant, you know, some people may be relevant people not but it's fun to play with and, you know, I think you could do a lot of things with that. Um, so having said that let's, just bring back, uh, bring back this on dh um I'm going to share a little bit because I've got such a wide variety of levels of people in my audience, I'm just going to go a little bit into what I would consider not really beginning stuff, but I just want to share with the people who have a bit more experienced and for those who are total beginners to sit back and don't worry about it so much. Okay, so what I want to show you is that this layer that we've just created right now is a special layer on dh it's, a liquid ing layer, and I want you to see, um, the, uh I want you to see that little symbol I'm just gonna, uh, try human in here when you see that little symbol next to the layer which indicates it's a special layer on I'm going to just make it a default layer so um that's just one second converted the fort there there it is and you what you'll notice is that tea for layer has a symbol which is just like two white rectangles one above the other and when we have the default layer if I try painting with that resist nothing happens except that it creates a new liquid ing layer which I just deleted by clicking the trash can but what I wanted to show you was that you could do some interesting things with a layout like this which relate to sam's question about how do you protect parts of the image from pain? So if we take a let me think of something it's gonna look really cool here on this let's go to the oddest impressionist and I'm gonna paint on that layer um on let's look at the flowers and let's get something that's a little bit orange here we go. Believe it or not, there is on the layer and it's stretching out beyond the yellow until I turn on preserved transparency and this is this is a little bit more of an advancing but if you are working with paint and layers you're gonna want to know about this if you work in a text it's really useful preserved transparency because you can paint in the text without going outside the text in this case what I've just done I can now protect thie invisible part of the layer from accidentally having pain go on it so what we'll do is let's go back and pick a color that you can see clearly on dh there we go so you can see I'm painting beyond the edge but I'm only painting where there was liquid ing the reason is because I did preserve transparency so this also goes to answer sam's question this's another way to create interesting shapes in a layer and then paint only protected in those shapes so and all of this is a is a layer there it is and of course as with layers in photo shop you also have the equivalent of blending modes painter it's called compass it methods on dh so as you go through them you know it just the same sort of thing in controls the interaction off the color in the layer with what's underneath it and someone has always looked really ugly in some kind of really interesting also away that you can super pose textures, put a you can paste in imagery and put it into an overlay eccentricity, lots of possibilities there and then when you're ready to just blend mix things together you could always flat in the image and in painter the method of flattening is known as drop and if you got lots of layers and they're not locked you could do drop all and if you just have one layer you selected on go drop on when I mentioned look if you actually like your layer and you want to keep it as a layer you just click a little lock appears and then when you try to drop it you can't and when you try to paint on it you come when you try to move it you can't until you go back and click on it again so that's it you just click on dh then you can drop it again so drop now flat canvas terrence with large amount of layers you could just lock some that you want to protect and if you hit drop all with those that we're locked stay protected uh excellent question um so let me just let me just make sure I understand it so what we got the the impressionist let me just do this so you're saying if we generate new layers which could do by clicking on that symbol so I've got I'm just going to do to land we've got layer one by the way I can't paint on it anybody got really sharp eyesight white kind of paint on it because I I left this preserved transparency checked and it just automatically did it for the next layer that is one thing that catches people out so I'm going toe actually try and produced something that does have the flowers somewhere and there we go so here we go so this is on one layer and by the way you can always double click and name the layer if you want if you project with its layers that just create a second layer on gonna do yellow there we go and that's a separate layer on dh terrence's question was just very good if you lot one les and you have multiple layers you were saying can you do drop all? Is that correct? No because they're all looks at all the layers and if even one is locked you can't do drop all so all you can do in their cases go to the layer that's not locked and then you can drop that if you want um so let's just drop all now we can on let's go to some blenders and look at things the good things that are really nice for blending you have a whole category of brushes who's just designed for blending some of them you'll find give a really nice oily effect um because I dropped everything aiken blend it so one of the important things for me, you know we've talked about the surface about working the surface like is malleable clay you know if you have layers you protect things but I actually like to mix cement and blend them a bit so you can go back and forth. I'll just show you one of my favorite by if you have a hard edge and you want to soften it in a painting, one of my favorite things is this it's got a strange name and it's in a strange category on it in the tempting category and it's called diffuse a too and I'm gonna zoom in here on dh. We'll just pick that edge on dh itjust excite, you've put water color well over it's really cool. Look at that. Beautiful um, so actually one other nice way to blend and this eyes a gee, I think it's going to bring us close to our break, it's also going to start to address bob's question she was looking for a really nice brush for hair, for pets so there's a very simple customization here you you couldn't do on its way, but it gives you a really nice brush. So the the were going to look in the acrylics category. I'm going to go to captured bristle on dh. First of all, we'll just look at it, I'm gonna zoom out a bit, I just want to see where we're going, okay, and, um I thought I might ask you the brush categories can be a little daunting and do you think if somebody's just starting out is it best to stick to just a few brushes or do you suggest them trying to grasp all of them that's such a brilliant question because I think it's a question everybody had andi I have it as well so there's a number of things that were going to do get these brushes under control on dh I'm going to give a short answer and then I'm going to say the long answer is in the next section because it is but the short answer is um what I would say there's a couple of things obviously you've got your recent brushes that's one possibility on dh but if you keep changing brushes that's not always good the other thing is you can very easily one second you can very easily hold down the shift key and drag a brush icon from the brush selector into the middle of your painted desktop on dh say I like that brush and then you can go and say but I also like the glazing acrylic on you can go drag that as well hold the shift key down and you can make a little custom palette of your favorite brushes that you click to choose him that's a great way to do it now it's confusing because they look the same so what you're going to do is you're just gonna, um see if I can get this right hold down control chiana mac right click on a pc on capture custom ikon on when you go over it with your cursor, it lights up in bright colors and it captures whatever your rector of whatever you're rectangular selection was over, so what I did there was they took a rectangular selection and then I held down the control key clicked on the default icon and said, capture custom icon and that's it that simple and of course you could put lettering in here I mean, we can go the full nine yards if you want you can actually write down the lettering for that benry, that's, that's an easy answer. I'm going idea with all this in my workspace, so I'm going to show more of that. Uh, what I wanted to do very quickly to finish off here is actually I'll use that we go back to the critic captured bristle I want to show this is the default behavior on what you can do with this is take down what's called re saturation and it becomes a lovely blender, which just put a little bit of color in so take down re saturation and make it a little bit bigger on dh it's great for like hair and you'll see because the end of this has a nice wispy brushy and on the lower the re saturation the mohr it's purely a blender and if you took the re saturation which is like adding color onto the end of the brush away it would be nothing but a blender eh so if you want to have a little bit of color you could do that onda final thing for this segment is uh you know having customised even a little bit like made a brush a certain size you've adjusted the opacity we haven't talked about that but that's that's lighter there you can adjust the capacity you've moved some of these sliders around and you like the look of it you say oh yeah I want that brush I don't want to lose it then you can simply go to the wonderful brushes menu save variant on dh you can also get that by the control click or right click on a pc and say variant it's there as well and you just go save aryan and you give it a name my suggestion is that you always start with your name or your initials one or the other on dh make sure you do that for all your custom brushes reason being with all these crazy names of brushes and paints and I'm probably as guilty as anyone for that you will find that you will get mixed up like was it a default always it my brush so give it it custom name on I'm going to call this blend hebrew so I mean that's sort of what it is it's a blend d bristle and that's it and you can even choose where it's being saved saved on dh I'm going to see if anybody can get here where are we going to find the custom? The custom variant we just saved at the bottom of the lots of people so I think find they do something there where is the god? Who is it going? Because you haven't actually change the current selected brush it still is captured bristle this is what's confusing just because you you saved a qassam variant it's not being selected and if I did, if I did the what the magic reset button where is it always the top left? So if I did that right now it goes back to being the standard captured bristle, but hey, let's lower that scrolled way down there it is look right down there and I can select that and I could drag that which key emma holding down? Oh that's, right, shifty. And who is the person who asked that question? Oh, I just want to make sure that that isn't good enough for you know what? I'm not exactly sure we'll have to go that's e I think that probably takes us to the break and you know what? Yeah, we were just about getting ready for that. So if you're ready unless you wanted me to do a final little I could do like a one minute wet demo of what we saw at the beginning of the segment which was how I used the are pen to do a ribbon like stroke with multiple colors and I just want to show you it's a final thing one minute literally we could have a close up camera on here. Um this would be a nice ending to the segment is that what you saw me do with that brush? The hesitation of sensitivity with the rial fan soft variant is imitating this so this is a real fan brush on, so I've just got a little bit of acrylic here I'm just going to load up the end of my brush with a couple of different colors and then I'm going to make a brushstroke here. Will that be better here if I do this? So I just want to show you that what we have here is I twist is roughly speaking what you saw happening on the digital surface so we've got the parallel here between what we had happened here anyway let's have a word uh put my put this back in the center and is not yet finished the life we might keep this going for one more go click it's getting starting like oh that's my excuse for everything isn't it like well, I'm just starting way we'll get there put that to one side now maybe by the end of these three days I'll get all these things like works on more and more we're all having fun just learning these tricks and tips and figure out the little things that we need to do teo to get in there and get this artwork completed and know we have a war to come even more later on today so you want to touch on a little bit of what that will be yeah, well actually we just have one more segment today that right that's a good point we got a lot to cover but this has been fun so will the next segment is going to really be stepping it up a level, stepping it up a level so we're going to look at organizing and organizing we're going to look at a reporting workspace it's funny because you saw me at one point I was searching for the cry relevant to this our surgeon for the converted default rate layer the reason I was searching for that is that I don't ever use the default workspace of the default power rangers campaign that I never uses I have my own setting so I have my little sort of control module with my convert teo default layer as a button I never look for you in here. But we're going to go through that. We're going to go through. Ah, sort of working with mohr. Customization off the workspace and explain a little bit about water workspaces on dh. How to organize yourself on many levels.

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.



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!