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Copyright 1991–2003 Corel Corporation. All rights reserved. Corel® Painter™ 8 User Guide The contents of this user guide and the associated Corel Painter software are the property of Corel Corporation and its respective licensors, and are protected by copyright. For more complete copyright information about Corel Painter, please refer to the About Corel Painter section in the Help menu of the software.
Contents Welcome to Corel Painter 8 What’s New in Corel Painter 8? . . . . . . . 1 Redesigned User Interface . . . . . . . . . . . 1 About Your User Guide . . . . . . . . . . . . . 4 Corel Support Services . . . . . . . . . . . . . 5 The Workspace Using the Menus and Document Window . . . . . . . . . . . . . . . . . . . . . . . . 7 Workspace Tour . . . . . . . . . . . . . . . . . . 8 Using the Toolbox . . . . . . . . . . . . . . . . 9 Using Selectors . . . . . . . . . . . . . . . . . .
Using a Stylus or Mouse . . . . . . . . . Selecting a Brush . . . . . . . . . . . . . . . Brush Settings . . . . . . . . . . . . . . . . . Where You Can Paint . . . . . . . . . . . . Marking the Canvas . . . . . . . . . . . . . Painting with Color . . . . . . . . . . . . . Painting with Gradients and Patterns Painting with Airbrushes . . . . . . . . . Recording and Playing Back Strokes . Filling Techniques . . . . . . . . . . . . . .
Changing Layer Characteristics . . . . . 248 Using the Image Portfolio . . . . . . . . . 254 Working with Layer Masks . . . . . . . . 255 Using Image Effects Basics of Applying Effects . . . . . . . . . Third-party Plug-ins . . . . . . . . . . . . . Orientation Effects . . . . . . . . . . . . . . Correct Colors . . . . . . . . . . . . . . . . . Other Tonal Control Effects . . . . . . . Apply Lighting . . . . . . . . . . . . . . . . . Apply Surface Texture . . . . . . . . . . . .
PostScript (EPS) . . . . . . . . . . . . . . . . 454 Keyboard Shortcuts Toolbox Commands . . . . . . . . . . . . . Palette Commands . . . . . . . . . . . . . File Menu Commands . . . . . . . . . . . Edit Menu Commands . . . . . . . . . . . Canvas Menu Commands . . . . . . . . Effects Menu Commands . . . . . . . . . Select Menu Commands . . . . . . . . . Shapes Menu Commands . . . . . . . . Window Menu Commands . . . . . . . Screen Navigation . . . . . . . . . . . . . . Palette Navigation . . . . . . . . .
1 Welcome to Corel Painter 8 Corel® Painter™ 8 is the leading Natural-Media® painting application. Corel Painter lets you simulate a wide range of art tools, from felt pens, charcoal, and colored pencils to water color and oils. What’s New in Corel Painter 8? Corel Painter lets you experiment with the widest range of Natural-Media tools. You can expand your digital drawing and painting techniques with a portfolio of new features.
the primary and secondary colors, and provides easy access to the Paper, Pattern, Gradient, Nozzle, Weave, and Brush Look libraries. and variant is displayed on the right side of the Brush Selector. You have the option to view the categories and variants by a thumbnail or list view. Info Palette The toolbox can be undocked and moved anywhere inside the application window, or it can be turned off.
The Mixer palette also includes an Eyedropper tool for sampling specially mixed colors from imagery, as well as Zoom and Pan tools for easy navigation in the palette. You can choose to save your Mixer palette settings for future use, and you can create a custom color set from the colors in the Mixer palette. Digital Water Color Digital Water Color is a simple, transparent medium that is ideal for hand painting line drawings, touching up photographs, or creating simple water color washes.
properties remain—a low amount will result in variants that are very similar to the original, while a high amount will result in variants that are radically different. To help you visualize how the new brush variants will look, the Randomizer provides a brush stroke preview of each new variant. • Transposer — The Transposer lets you change the properties of one brush variant using the properties of another.
When a modifier key differs between the Mac OS and Windows, the Mac OS modifier is listed first, followed by the Windows modifier. For example, Command + I (Mac OS) or Ctrl + I (Windows) means that Mac OS users would press Command + I and Windows users would press Ctrl + I. Choosing a menu item from a menu follows the convention “Choose menu name > menu item.” For simplicity, the term “folder” refers to directories as well as folders.
2 The Workspace The Corel Painter workspace has been designed to give you easy access to tools, effects, commands, and features. The document window lets you access the following features with the click of a button: The workspace is organized across a series of menus, selectors, and interactive palettes. Some features are also available in the frame of the document window.
Workspace Tour Menu bar Brush selector Property bar Colors palette Toolbox Color Selection box Content selectors Layers palette Canvas Document window Drawing mode icon Navigation icon 8 The Workspace Zoom slider
Using the Toolbox In the toolbox, there are tools to make marks, draw shapes, fill shapes with color, view and navigate, and make selections. There are also six selectors that let you choose papers, gradients, patterns, weaves, looks, and nozzles. Some tools of similar function share a space in the toolbox. The button for only one of these tools is displayed at a time. Any tool that has a triangle in the bottom-right corner has one or more tools underneath it in a flyout menu.
2 Drag the toolbox to a new location in the document window. To dock the toolbox 1 Place the cursor over the title bar of the toolbox. 2 Drag the toolbox to the edge of the document window or a palette. 3 When the toolbox lines up with the edge of the document window or palette, release the mouse button. The toolbox will snap into place. Navigation and Utility Tools The Grabber Tool The Crop Tool The Grabber tool gives you a quick way to scroll an image.
You can set opacity, grain, and drawing style (freehand strokes or straight line strokes) on the property bar. color. When you select a color with the Dropper tool, that color becomes the current color on the Colors palette. For more information, see “Sampling Colors from Imagery” on page 80. The Paint Bucket Tool The Lasso tool lets you draw a freehand selection. Refer to “Using Selection Tools” on page 206 for more information.
The Selection Adjuster tool lets you select, move, and manipulate selections created with the Rectangular, Oval, and Lasso selection tools and those converted from Shapes. The Shape Tools Corel Painter creates all shapes by using Bézier curves. Every shape you create automatically becomes a separate layer in the document. Shapes are listed on the Layers palette. The Shape Selection Tool The Shape Selection tool is for editing Bézier curves (shape paths).
The Scissors Tool You use the Scissors tool to cut an open or closed segment. If the segment is closed, once you click on a line or point to cut the shape path, the shape path becomes open. The Add Point Tool You use the Add Point tool to create a new anchor point on a shape path. The Convert Point tool is used to convert between smooth and corner anchor points. The Color Selection Box The Color Selection box lets you choose primary and secondary colors.
To access selector menu commands: 1 Click the flyout menu arrow on the bottom-right corner of the selector you want to open. 2 Click the selector menu arrow, and choose a command. To display a selector’s palette 1 Click the flyout menu arrow on the bottom-right corner of the selector you want to open. 2 Click the selector menu arrow, and choose Launch Palette. Note • This command is not available from the Look and Nozzle selectors.
To close the property bar: • Do one of the following: • Choose Window menu > Hide Property Bar. • If the property bar is undocked, click the close button on the title bar. Tip • To show the property bar, choose Window menu > Show Property Bar. Using the Brush Selector Bar The Brush selector bar lets you choose from a variety of brush categories and variants. Brush categories are groups of similar brushes and media. Brush variants are specific brushes and brush settings within a brush category.
To move the Brush selector bar • Point to the title bar of the Brush selector bar, and drag it to its new location. To dock the Brush selector bar The Stroke view is available for brush variants. Brush Selector Bar Menu Commands The Brush selector bar menu commands are used for creating and loading brushes, working with brush variants, and manipulating brush strokes. For more information, see “Managing Brushes” on page 183.
Showing and Hiding Palettes You can show or hide a palette by choosing its name from the Window menu, from a selector, or by using the key combination shown on the Window menu. To show or hide a palette: • Do one of the following: • Choose Window menu, and choose the palette you want to show or hide. • Choose a selector from the toolbox, click the selector menu arrow, and choose Launch Palette.
The Papers, Gradients, Patterns, and Weaves Palettes • The Papers palette lets you choose and edit paper textures for your document. You can preview paper textures as thumbnails or in a list, and see a thumbnail preview of the selected paper. For more information, see “Using Paper Texture” on page 61 and “Choosing Paper Textures” on page 63. • The Gradients palette lets you choose and edit gradients that can be applied to Corel Painter documents.
The Image Portfolio and Selection Portfolio Palettes • The Image Portfolio contains all of the images in the current image library. You can view the images as thumbnails or in a list, as well as a thumbnail preview of the current image. For more information, see “Using the Image Portfolio” on page 254. • The Selection Portfolio contains all of the selections in the current selection library. You can view the images as thumbnails or in a list, as well as a thumbnail preview of the current selection.
palette. Brush variants are stored even after the document you were working on has been closed. To resize the Tracker palette: • Point to the resize handle in the bottom-right corner of the palette, and drag to make the palette larger or smaller. The number of variants displayed varies according to the size of the palette. To clear a selected brush variant from the Tracker palette: The Tracker palette. To choose a brush variant from the Tracker palette: • Click the brush variant you want to use.
• Use the scrollbar on the right side of the palette to scroll through the palette. • Press Option + click (Mac OS) or Alt + click (Windows), and drag vertically inside the palette. The cursor changes to a hand and the palette scrolls as you drag. Using Palette Menus Most palettes in Corel Painter contain menus from which you can access a series of palette-specific commands.
To delete a saved layout: 1 Choose Window menu > Arrange Palettes > Delete Layout. Corel Painter opens a dialog box listing all saved layouts. 2 From the list, select the layout you want to delete. 3 Click Delete. few palettes as you want in a group. You can also reposition items to a new location within a group. To ungroup palettes 1 Place the cursor over the palette bar. The cursor displays as a hand. 2 Drag the palette bar away from the group. 3 Release the mouse button.
Docking Palettes If you need some room on your screen, but don’t want to collapse or group palettes, you can save valuable screen real estate by docking palettes. This handy feature of Corel Painter lets them be docked into place when they get close to the top or bottom edge of another palette. In addition to tidying up your workspace, this feature can help keep a palette from being covered up by another palette. To dock palettes: 1 Place the cursor over the title bar of the palette you want to dock.
What are Movers? The tools for creating libraries and managing their contents are contained in the Movers. A Mover is provided on the selector menu and/or the palette menu for each resource supported by libraries. Selectors and/or palettes with Movers are: Papers, Gradients, Patterns, Weaves, Nozzles, Looks, Scripts, Image Portfolio, and Selection Portfolio. Use the Paper Mover command to customize your paper libraries. Each resource type has a mover. Most movers are located on a palette menu or selector.
2 3 4 5 resource you want to use to create the new library. Choose [Resource Name] Mover. In the Mover dialog box, click New. In the New Library dialog box, browse to the location where you want to save the new library. Type a descriptive name in the File Name box, and click Save. The new library’s name appears on the right side of the Mover window. The area above the name is blank because this new library is empty. To put items in it, you can move them from other libraries.
Modifying a Library You can modify a library by renaming items, deleting items, and deleting entire libraries. To delete an item from a library: Renaming Items You can rename items in libraries to suit your preference. To change the name of an item: 1 Open the Mover for the item you want to modify. 2 Do one of the following: • Double-click the icon of the item. • Choose the item and click Change Name. 3 In the Change Name dialog box, type the new name in the Change To box.
Creating and Importing Brush Libraries You may want to create a library of your favorite brush variants to have them all in one category. You can also import brush libraries and access them through the Brush selector bar. To create a brush library 1 In the Brushes folder, create and name a new folder for your library. 2 In the new folder you just created, create and name a new folder for your brush category. 3 In the brush category folder you created in step 2, copy XML files from other existing folders.
the features on a custom palette are immediately available, you can choose them with a single click. Custom palettes help you organize material for specific needs. You can put items from any of the six content palettes—papers, patterns, looks, weaves, nozzles, or gradients— on a custom palette. You can also add any Menu command, such as File > New, to a custom palette. You might want to create special palettes for a particular project or method of working that you use frequently.
Tip • To keep the palette across the edge of your screen, you can arrange icons vertically or horizontally. To do this, drag the bottom right corner of the palette to make more room. Tool Tips identify an item by name. Adding to a Custom Palette You'll want to add items to the palettes you create. To add items to a custom palette: 1 Locate the next item you want to add. 2 Drag the item’s icon to the location you want in the custom palette.
Using Custom Palettes Custom palettes behave very much like the standard palettes. You can move them around by dragging the title bar. You can resize them, but not smaller than the contents require. You can create as many custom palettes as you like. However, since you probably won't want to use them all at once, you can close a palette to keep your workspace uncluttered. Corel Painter keeps your custom palettes from one session to the next.
To use the Custom Palette Organizer: 1 Choose Window menu> Custom Palette> Organizer. 2 Use the Organizer to rename, save (export), load (import), and delete custom palettes. Each operation is described below. 3 When you are finished with the organizer, click Done. To load a custom palette: 1 From the Custom Palette Organizer, click Import. 2 Corel Painter displays an Open dialog so you can choose the file where the custom palette is saved.
Corel Painter opens a dialog listing all saved layouts. 2 From the list, select the layout you want to delete. Click Delete.
3 Basics The Corel Painter application provides a digital workspace in which you can create new imagery or alter existing imagery using the Corel Painter Natural-Media tools and effects. Your working image is known as a document and is displayed in a document window—this document window includes navigation and productivity features to help you work efficiently.
height, and resolution. This number does not reflect the file size for the saved document. A saved Corel Painter file is usually 25% to 50% of the size of the working document, depending on the number of colors it contains. • Width and Height determine the dimensions of the Canvas. You can change the unit of measurement using the menu. Choose from pixels (the default), inches, centimeters, points, picas, and columns (2" wide).
• Frame stacks (FRM)—Corel Painter animation files. • QuickTime™ (MOV), Video for Windows (AVI), and numbered files. For more information, refer to “Opening a Movie” on page 426 or “Working with Numbered Files” on page 441. Note • Corel Painter does not support LZW compressed TIFF file format. Only uncompressed TIFF files open into Corel Painter. The Browse dialog box shows thumbnails for all the RIFF files in a folder. 4 Double-click the file name, or select a file and click Open.
becomes the layer mask. Disable this option to discard the mask. 4 Do one of the following: • To place the image in a particular location, click on that location in the document. • To place the image in the center of the document, click OK. Corel Painter can access plug-ins from any single folder on your computer. This location can be inside the Corel Painter folder, in a generic plug-ins folder on your hard drive, or in the Photoshop Plug-Ins folder. • Make sure your TWAIN driver is properly installed.
size in inches, centimeters, points, or picas and change resolution, the dimensions will not be affected by the change. Resolution and Print Quality The resolution of output devices (printers) is measured in dpi and, in the case of halftones, lines per inch (lpi). Output device resolutions vary depending on the type of press and paper you’re printing on.
• Choose the Magnifier tool in the toolbox. • Hold down Command + Spacebar (Mac OS) or Ctrl + Spacebar (Windows). The Magnifier cursor shows a plus sign (+) — indicating you are increasing magnification (zooming in). 2 Click or drag in the document window. • Clicking magnifies the image to the next level, as defined in the Zoom Level menu on the property bar.
Repositioning Documents The Grabber tool allows you to reposition a document in the Corel Painter workspace and view different areas of an image. To use the Grabber tool: 1 Activate the Grabber tool by: • Choosing the Grabber tool . • Holding down the Spacebar. The cursor changes to the Grabber tool and the property bar shows the zoom level. You can change the zoom level from the property bar. 2 Do one of the following: • Drag in the document window to scroll through your image.
2 Do one of the following: • Click once in the document window. • Double-click the Rotate Page tool. • Click the Reset Tool button on the property bar. To constrain rotation to 90° increments: • Hold down the Shift key while rotating. Cropping Images You can remove unwanted edges from the image with the Crop tool. You can adjust the ratio of the cropped image, and choose to maintain the aspect ratio. Rotate a document to accommodate the way you naturally draw.
features—except the buttons on the document window—work when using full screen mode. To toggle the full screen mode on and off: • Press Command + M (Mac OS) or Ctrl + M (Windows), or choose Window menu > Screen Mode Toggle. Tip • You can position the image window anywhere on the screen by holding down the Spacebar and dragging with your mouse or stylus. Image Size Information You can use the Info palette to check image size. For more information, see “The Info Palette” on page 19.
5 Click inside the rectangle to perform the cropping operation. Using Rulers Corel Painter lets you show or hide rulers along the top and left sides of the document window. Each mark on a ruler is known as a tick and represents the unit of measurement. You can set the unit of measurement to pixels, inches, centimeters, points, or picas. As you drag an image around the document window, the rulers scroll to show the position of the Canvas in the document window.
To set a guide’s color: 1 Double -click the guide’s marker. 2 In the Guide Options dialog box, click the Guide Color color chip and choose a color. To change the color of all guides, enable the Same Color for All Guides option. To lock or unlock a guide: A black triangle marks the guide’s position in the ruler. To reposition a guide: Do one of the following: • Drag the guide’s marker to any point of the ruler.
in the object—also snaps to the guide. • Dragging the handles of reference layers, shapes, and selections to transform them. • Dragging with the Selection Adjuster tool or Layer Adjuster tool . To enable Snap to Guides: • Choose Canvas menu > Guides > Snap to Guides. The option is enabled when the menu item has a check beside it. Using the Grid Corel Painter provides a grid to help you in laying down brush strokes or creating shapes.
The following tools respect Snap to Grid: • Pen tool grid options that you create or modify can also be opened for use in another drawing. • Shape Selection tool • Convert Point tool • Text tool To enable Snap to Grid: • Choose Canvas menu > Grid > Snap to Grid. The option is enabled when the menu item has a check beside it. Using the Perspective Grid Corel Painter provides perspective grids as a guide to help you create three-dimensional images.
2 On the property bar, choose an option from the Grid Type pop-up menu. 3 Click the Delete Preset button. The grid type disappears. To adjust the perspective grid lines: 1 Choose Canvas > Perspective Grids > Show Grid. 2 Click the Perspective Grid Adjuster tool in the toolbox. 3 To move the horizontal plane grid, hold the cursor over the nearest edge of the horizontal plane grid. The cursor becomes a doublepointed arrow. 4 Drag to move the horizontal plane grid up or down.
To save a file with a different name or format: 1 Choose File menu > Save As. 2 In the Save Image As dialog box, use the controls to specify a file name, location, and format. Saving RIF Files RIF is the Corel Painter native format, which retains special information about your document. For example, a RIF file maintains layers so you can return to the file to re-access them. It’s a good idea to always save files in RIF format first. Think of RIF files as “work in progress” files.
name implies, progressive format displays an image in stages—as a series of scans—while the file downloads. The first scan is a low quality image; the following scans improve in quality. This allows the user to see the whole image very quickly. • The HTML Map Options— National Center for Supercomputing Applications (NCSA) Map File, Conseil Europeén pour la Recherche Nucléaire (CERN) Map File, and Client Side Map File—let you generate an image map.
click the Background is WWW Gray option. You can also choose to use the background color of your Web page by clicking the option button for Background is BG Color. For programs that support transparency, your selection will determine which areas are transparent and which are not. The Threshold slider determines what selection (loaded mask) value becomes transparent. You can see how the Threshold slider is affecting the transparency of your image in the preview window in the dialog box.
PostScript information. Some page design programs require that this option be checked. The file sizes will be approximately twice as large when saved with this option. • Preview Options—No preview, Black and white preview, and Color preview—specify whether to save preview data and in what format. The resulting preview file is a low-resolution (72 ppi) file. If you have an older laser printer, you have to use the black and white preview to print these files.
Tip • To make changes to other preferences before closing the Preferences dialog box, choose another preference type from the pop-up menu. Cursor Setup Corel Painter gives you several choices for the appearance of your cursor. Use the General Preferences dialog box to customize your application. General Preferences To access General preferences: • Do one of the following: • (Mac OS) Choose Corel Painter 8 menu > Preferences > General. • (Windows) Choose Edit menu > Preferences > General.
Note • The default libraries must reside in the Corel Painter folder. Auto-Save Scripts When you create an image, Corel Painter records all the operations you perform. This recording is known as a background script and is saved on the Scripts palette. The Auto-Save Scripts preference governs how long Corel Painter saves background scripts before deleting them. In the text field, enter the number of days for which you want Corel Painter to save background scripts.
Brush Tracking Preferences When you draw with traditional media, the amount of pressure you use with a tool determines how dense and how wide your strokes are. Using a pressure-sensitive stylus with Corel Painter gives you this same kind of control. Each artist has a different strength or pressure level in a stroke. The Brush Tracking preference lets you adjust Corel Painter to match your stroke strength. This is particularly useful for artists with a light touch.
4 Choose the command you want, either from a main menu or a palette menu. New Function shows the command you’ve chosen. 5 Click Set to assign this command to the selected key. 6 Repeat steps two through six for each key you want to set. 7 When you’re finished, click OK. Tip • Click Summary for a list of the function keys that have been assigned. Multiple Undo can use a significant amount of disk space. If you perform multiple operations on the entire image, the whole image must be saved for each undo step.
• Outline Color — Controls the color for the shape outline paths. Double-click the color chip to change the color. • Selected Point Color — Controls the color for selected anchor points (unselected anchor points appear “hollow”). Double-click the color chip to change the color. • Wing Color — Controls the color for the control wings and handles. Double-click the color chip to change the color.
To set file extension preferences (Mac OS) Configuring Your Browser to Recognize Software Resources 1 Choose Corel Painter 8 menu > Preferences > Save.
Palettes Using Two Monitors Using Plug-ins Palettes have been redesigned for Corel Painter, allowing you to have more control over snapping and grouping them. The Corel Painter user interface can be displayed across two or more monitors. You can drag any of the Corel Painter palettes, the property bar, and the toolbox to any monitor; however, each palette must be displayed entirely on one monitor at a time. Plug-ins are software modules that extend Corel Painter capabilities.
• Dynamic plug-ins are different from other effects plug-ins because you can re-access their controls and change the characteristics of the effect at any time. • Acquire plug-ins support acquisition of images through external devices (such as scanners and digital cameras) and file formats not built into the application. • Export plug-ins export image data and support special output devices.
Explorer. Choose Create Shortcut (or New > Shortcut) from the File menu. 4 Move the alias/shortcut into the Corel Painter > Plug-ins folder. 5 If Corel Painter is running, restart it to activate the new plug-in. Note • The mouse mode option in the Wacom controls panel—which causes a stylus to behave like a mouse—is not compatible with Corel Painter. Always use pen mode when painting with an Intuos tablet and pen.
stylus, allowing for a truly realistic brush stroke. For example, as you tilt your stylus, specks of media land on the paper in a way that reflects that tilt. Corel Painter airbrushes create conic-sections that mirror your stylus movements. Corel Painter airbrushes take advantage of the Intuos airbrush stylus wheel control. Like the needle control on a real airbrush, the Intuos wheel control adjusts airbrush flow, or how much medium is applied.
4 Using Textures, Patterns, and Weaves In Corel Painter, paper textures, gradients, patterns, and weaves can all be applied to your image. You can brush some of them on, get them to interact with each other, spray them, smear them, and even create your own. Best of all, you never have to run to the store in the middle of creating to get a new tube of paint or the right kind of paper.
Of course, some brushes, like the Airbrush, don’t reveal paper texture in their strokes. This follows the behavior of the natural tool. select different paper textures, modify them, organize them in libraries, and even create your own custom textures. can also affect paper grain by using the Grain settings on the Stroke Designer tab of the Brush Creator. In Corel Painter, brushes that react with paper texture have a “grainy method.
5 In the New Look dialog box, type a name in the Save As box. Choosing Paper Textures The Papers palette is where all paper textures are stored. In addition to using it to select papers, you can use this palette to invert, resize, or randomize paper grain; control brightness and contrast; or to open other paper libraries. For more information on working with libraries, refer to “Loading Alternate Libraries” on page 24.
Tip • You can also use the Paper selector in the toolbox to invert paper grain. Click the Paper selector, click the selector menu arrow, and choose Invert Paper. Note • Scaling large textures can use a great deal of RAM. Most textures in Corel Painter are from 50 to 400 pixels square at 100% scaling. Brush strokes on paper grains with different scale values. Two brush strokes overlapping. The green one was painted with the grain inverted.
Creating Paper Textures The Make Paper command lets you make your own paper textures. To create a paper texture: 1 Choose Window menu > Show Papers. 2 On the Papers palette, click the palette menu arrow and choose Make Paper. 3 In the Make Paper dialog box, choose a pattern from the Pattern pop-up menu to use as the basis of your paper texture. 4 Adjust the Spacing slider. Moving the Spacing slider to the right opens up space between rows and columns in the selected pattern. 5 Adjust the Angle slider.
Using Patterns To choose a pattern: 1 Choose Window menu > Show Patterns. If the Patterns palette is not expanded, click the palette arrow. 2 On the Patterns palette, click the Pattern selector. 3 Choose a pattern from the Pattern selector. A pattern is a repeating design. The smallest unit of a pattern is known as a “tile.” When you fill an area with a pattern, the tile is repeated across the selected area.
• Vertical offsets the tiles in subsequent columns. The Offset slider controls the amount of offset. 4 Adjust the Pattern Scale slider to control the dimensions of the pattern. After setting these options, the pattern is ready to use. To fill an image with pattern tiles: 1 On the Patterns palette, choose a pattern. 2 Choose Effects menu > Fill. 3 In the Fill dialog box, choose Pattern. Note • To see tiling in an image, the image must be larger than the tile.
To minimize seams: 2 Click the palette menu arrow, and choose Check Out Pattern. Corel Painter opens the selected pattern tile in its own document window. You can now edit the pattern tile as you would any image. To put the modified pattern back in the palette, you must save it to the Pattern library. For more information about saving patterns to a library, refer to “Adding Patterns to the Pattern Library” on page 70.
To remove edge lines • Do one of the following: • Set the Straight Cloner brush to clone from somewhere inside the image to preserve detailed imagery. Refer to “Painting in the Clone” on page 190 for more information about cloning. • Paint out edge lines using any color brush. • Smear across edge lines with a Water or Drip brush. • Copy a selection to a layer and move it over the line. Feather the layer and reduce opacity to help produce clean transitions. Drop the layer when you’re satisfied.
more information about movers, refer to “Moving Items Between Libraries” on page 25. To create a pattern: 1 Open the image file you want to create a pattern from. 2 Choose Window menu > Show Patterns to display the Patterns palette. 3 Click the palette menu arrow, and choose Define Pattern. Tip • With the Grabber tool selected, you can hold down the Shift key and drag the seams to the center of the image. For best results, do this at 100% scale, not zoomed in.
If a pattern with that name already exists in this library, you are prompted to replace it. If you don’t want to replace the existing pattern, click No to try again with a different name. textured surface with a microscope. Move the Power slider to the right to zoom out and see many small patterns. Move the Power slider to the left to zoom in and see fewer large patterns. Creating Fractal Patterns The Make Fractal Pattern command is a pattern generator that creates interesting landscapes.
Low Thinness settings show the fractal as streaks. Use the Angle slider to change the direction of streaking. Corel Painter uses four channels to store graphic information: Red, Green, Blue, and Alpha. You can place information other than color values in these channels. Channel options allow you to visualize this information in new and different ways. • Height as Luminance displays pseudo-height information as luminance.
Changing Weave Display Corel Painter can display a weave as two-dimensional or show the interwoven threads threedimensionally, complete with shadows. The Weave selector on the Weaves palette. To choose a weave: 1 Choose Window menu > Show Weaves. If the Weaves palette is not expanded, click the palette arrow. 2 On the Weaves palette, click the Weave selector. 3 Choose a weave from the Weave selector. Tip • You can also choose a weave from the Weave selector in the toolbox.
The weave displays in the Preview window. 2 Click the Three-Dimensional Weave icon to show a threedimensional weave. For most weaves, you won’t see a change in the preview until you adjust the scale and thickness values. 3 Adjust the horizontal and vertical scale sliders to increase the scale, thus enlarging the weave. 4 Adjust the horizontal and vertical thickness sliders to reduce the thickness. You should begin to see a change in the weave preview.
Advanced Weaving Corel Painter lets you create woven fabrics of virtually any description. You can create fabrics for wallpapers, carpets, clothes, and furniture. To create your own weaves: 1 On the Weaves palette, click the palette menu arrow and choose Edit Weave. 2 In the Edit Weave dialog box, adjust the controls for drafting a weave on the 8-harness, 8-treadle loom.
5 Color Corel Painter offers many ways to apply color to your image, from changing the paper color, to choosing colors for your brush strokes, to applying gradients to an entire image or selection. Working with Color You can select colors in several ways.
To change the existing paper color: 1 Choose a primary color from the Colors palette. 2 Choose Canvas menu > Set Paper Color. 3 To expose the new paper color, do one of the following: • Make a selection, and cut or delete it. • Use the eraser brush to erase part of your image. Note • Do not use a bleach variant to expose the new paper color, unless the paper color is white. Bleach variants will erase to white, regardless of the paper color.
The small Color picker displays a color triangle, with the hue ring as a single bar. To choose a hue and color from the standard Color picker: 1 Choose Window menu > Show Colors to display the Colors palette. If the Colors palette is not expanded, click the palette arrow. 2 Click the palette menu arrow, and choose Standard Colors. 3 Drag the circle on the color ring to select the predominant hue. You can also select a hue by clicking once anywhere on the ring.
Sampling Colors from Imagery Click the front rectangle to set the primary color. To choose the secondary color: 1 On the Colors palette, click the back rectangle. 2 Choose a color using the Color picker. If you usually work with the Primary color, you might want to re-click the front rectangle so that it will be selected the next time you go to the color picker. Click the back rectangle to set the secondary color. To swap primary and secondary colors: • Click the swap icon 80 Color .
To set up a clone source 1 Choose File menu > Open, and choose the file you want to use as a clone source. 2 Choose File menu > Clone. 3 Choose Select menu > All, and press Delete (Mac OS) or Backspace (Windows). Now you can work in the new file, taking data from the original source file. Tip • You can also use this feature when creating a mosaic. For more information, see “Mosaics” on page 349. To use clone colors: 1 Set up a clone source.
2 Choose Window menu > Show Colors to display the Colors palette. 3 Choose a primary and secondary color from the standard or small Color Picker. Refer to “Understanding Primary and Secondary Colors” on page 79 for more information about setting primary and secondary colors. 4 Choose Window menu > Show Color Expression to display the Color Expression palette. 5 Choose Direction from the Controller pop-up menu. 6 Paint in the document.
The Palette Knife Tool The Clear and Reset Canvas Tool 2 The Palette Knife mixes colors already on the Mixer Pad. It does not add new colors to the Mixer Pad. The Clear and Reset Canvas tool erases the contents of the Mixer Pad and resets the zoom level to 100%. The Eyedropper Tool The Brush Size Slider The Eyedropper tool samples color on the Mixer Pad for use on the canvas. The sampled color becomes the primary color on the Colors palette.
To load Mixer palette colors To mix colors To clear the Mixer Pad 1 Choose Window menu > Show Mixer to display the Mixer palette. 2 Click the palette menu arrow, and choose Load Mixer Colors. 3 In the Load Mixer dialog box, choose the Mixer swatches (MSW) file you want to load. 4 Click Open. 1 Choose Window menu > Show Mixer to display the Mixer palette. 2 Click the Brush tool . 3 Choose a color from the color well, and paint on the Mixer Pad.
3 In the Open Mixer Pad dialog box, choose the Mixer Pads (MXS) file you want to open. 4 Click Open. Creating Color Swatches If you have mixed colors that you are particularly happy with, you can save them as color swatches and add them to color sets. For more information about color sets, see “Using Color Sets” on page 85. Color swatches that you create on the Mixer palette can be saved.
You can set a default color set in the Preferences dialog box. For more information, refer to “Setting Preferences” on page 50. To save a color set 1 On the Color Sets palette, click the palette menu arrow or the Library Access button, and choose Save Color Set. 2 In the Enter Color Set Name dialog box, choose where you want to save the file. 3 Type a name for the color set in the File Name box. 4 Click Save. Finding Colors in a Color Set There are two ways to find a particular color in a color set.
3 If you choose Customize, move the Width and Height sliders in the Customize dialog box, or type values in the Width and Height boxes. you could call a color set Shades of Purple, Hero Image, My Crayons, or Rollover Buttons—all offering you easy access to recognizable color sets.
your image. A color set appears, containing all the colors in the selected area of the image. • New Color Set from Mixer — A color set appears, containing all of the colors used in the Mixer palette. Tip • When working on Web pages, you can keep the number of colors used in an image (and subsequent image size) low by creating a color set and using only colors in that set. Editing Color Sets You can customize color sets by adding, deleting, or replacing colors.
3 Type a color name in the Set Color Name dialog box. Color names can be up to 31 characters long. Color Information Color information for a selected color is available on the Color Info palette. The Color Info Palette The Color Info palette shows the HSV and RGB values for the selected color. Corel Painter gives RGB values in decimal format. These values can be adjusted by moving the sliders, or by typing new values in the corresponding boxes.
To display the Color Variability palette • Choose Window menu > Show Color Variability. Setting Color Variability Color variability can be set according to HSV or RGB mode, and it can be based on the current gradient or color set. To set color variability: 1 On the Colors palette, choose a primary color from the standard or small Color picker. 2 Choose Window menu > Show Color Variability to display the Color Variability palette. 3 Choose In HSV from the pop-up menu.
To set color variability based on the current color set: 1 On the Colors palette, choose a primary color from the standard or small Color picker. 2 Choose Window menu > Show Color Variability to display the Color Variability palette. 3 Choose From Color Set from the pop-up menu. From Color Set causes random colors from the current color set to be chosen for color variability. Color Expression Color expression determines where Corel Painter should use the primary or secondary color in an image.
connected to lines that point to an individual color in your on-screen or printed image. Annotating colors in an image can help you track, and limit, which colors are used, which can help you control image size. After you create annotations, you can hide or show them, or delete them. You must name color swatches in the active color set to generate useful annotations. You can change color names after you have added them as annotations.
To show or hide annotations: Using Gradients 1 Choose Canvas menu > Annotations > Show Annotations. The annotations appear. 2 Choose Canvas menu > Annotations > Hide Annotations to hide the annotations. A gradient is a gradual transformation from one color into another. Sometimes they are called blends or fountains. Corel Painter provides several different types of gradients: linear, radial, circular, and spiral.
own. To do that, you just need to define two colors and create a gradient between them. You can also capture gradients from existing images or create your own libraries of gradients. Use the options on the Gradients palette to select and adjust Corel Painter gradients. Gradients are stored in libraries. You can load alternate libraries of gradients to increase your choices. For more information about working with libraries, refer to “Loading Alternate Libraries” on page 24.
on the ring to change the gradient angle. A corresponding numeric value appears below the gradient preview. To change spiral tension: 1 Choose Window menu > Show Gradients to display the Gradients palette. 2 Do one of the following: • Hold down Command (Mac OS) or Ctrl (Windows) while you drag the red ball in the gradient angle ring to change how tightly wound the spiral gradient becomes. • Click inside the gradient preview to cause Corel Painter to rotate the gradient for you.
4 On the Colors palette, click the primary color rectangle and choose a primary color. 5 Repeat steps three and four for each color control point you want to edit. Use the Edit Gradient dialog box to create or edit gradients. To add color control points 1 Choose Window menu > Show Gradients to display the Gradients palette. 2 Click the palette menu arrow and choose Edit Gradient. 3 In the Edit Gradient dialog box, click anywhere in the color ramp bar.
3 Disable the Linear check box. All ramps within the gradient are now non-linearly blended using smooth curves. Tip • When using non-linear ramps, use the Color Spread slider to control the color smoothness at each color control point. Changing Gradient Color Hue Color hue is represented in the Edit Gradient dialog box by boxes located at the midpoints between the adjacent color control points. They allow you to change the hue of the blend within that segment.
pixels, starting at the upper left for the gradient. 2 Choose Window menu > Show Gradients to display the Gradients palette. 3 Click the palette menu arrow, and choose Capture Gradient. 4 In the Save Gradient dialog box, type a name for the gradient. The new gradient is saved in the current library. In the future, you can choose it by name from the Gradients palette.
6 Painting The Corel Painter application lets you draw and paint, as you might in the real world. In your studio, you use brushes, pens, pencils, chalk, airbrushes, and palette knives to make marks on a canvas or piece of paper. With Corel Painter, an infinite variety of marks are possible. Like a fully stocked art store, Corel Painter supplies you with many different brushes and drawing tools, each with modifiable characteristics.
• • • • • Categories” on page 100 for more information. which brush variant is selected within the brush category. Refer to “Selecting a Brush” on page 103 for more information about selecting a specific brush variant. controls such as brush size, opacity, and how much color penetrates paper texture. Refer to “Brush Settings” on page 104 for more information. the current paper texture. Refer to “Choosing Paper Textures” on page 63 for more information about selecting paper.
Users of previous versions of Corel Painter may notice changes in brush categories and variants. This was done to take advantage of new brush stroke capabilities. If you’re looking for a brush from a previous version, you can reload the old brush library. For more information, refer to “Loading Alternate Libraries” on page 24. Here are a few Corel Painter brush categories that apply media: • Liquid Ink brushes combine ink with paint to create a thick, liquid paint effect.
Using Computed Brushes Corel Painter includes a batch of Natural-Media brushes that use a media application method called “rendered dab types” to produce “computed” brush strokes. These brushes create wonderfully realistic, continuous, smooth-edged strokes. They are fast and more consistent because the strokes are computed as you draw, not created by applying dabs of color. In fact, you can’t draw fast enough to leave dabs or dots of color in a stroke because they’re just not there.
If you are using a mouse with Corel Painter, you can compensate for the lack of pressure information by adjusting size, opacity and grain on the property bar. For example, reducing opacity or grain can produce the same results as pressing more lightly with a stylus. The content CD contains brushes designed specifically for use with a mouse. For information about loading alternate brush libraries, refer to “Loading Alternate Libraries” on page 24.
you’re about to paint. This is a handy way to see if a change in size is required. The Brush selector lists the brush categories. Brush Settings Basic brush controls for size, opacity, and grain are located on the property bar. The property bar may also contain additional controls for the selected brush category, such as resaturation, bleed, and jitter.
To set opacity: A handy way to set brush size is to use the keyboard shortcut. Adjusting Opacity The Opacity slider controls the degree to which a stroke “covers” or “builds up” on the underlying pixels. 1 Choose the Brush tool from the toolbox. 2 Choose a brush. 3 On the property bar, type a percentage in the Opacity box, or adjust the pop-up slider. When Opacity is set low, the applied color is thin, allowing you to see through to the underlying colors.
Where You Can Paint You can paint on the Canvas or on a layer above the Canvas. When a layer is selected (highlighted on the Layers palette), it is the target for your brush strokes. If you are using a Water Color brush, you can paint only on a Water Color layer. If you are using a Liquid Ink brush, you can paint only on a Liquid Ink layer. For more information, refer to “The Water Color Layer” on page 125 and “The Liquid Ink Layer” on page 131.
Click to create the first point. Click or drag to create a stroke using the Straight Lines drawing style. To draw freehand lines: 1 On the Brush property bar, click the Freehand Strokes button . 2 Drag on the canvas. Tip • You can use shortcut keys to toggle between freehand and straight line drawing styles. Press B to choose freehand style, or press V to choose straight line style. To draw straight lines: 1 On the Brush property bar, click the Straight Line Strokes button .
how many individual strokes can be undone. For more information, refer to “Undo Preferences” on page 54. Letting Media Pool • Choose Edit menu > Undo. Corel Painter computed brushes allow media to build up or “pool” when you move a brush slowly. Pooling creates very realistic strokes, especially with airbrushes. Tip • You can also undo a stroke by pressing Command+Z (Mac OS) or Ctrl+Z (Windows). You can also cause media to pool by simply touching and pausing with the selected brush.
and color sets. For more detailed information about using color, refer to “Working with Color” on page 77. To paint with color: 1 Select a brush that applies media to a document. If the Colors palette is not displayed, choose Window menu > Show Colors. 2 On the Colors palette, click the palette menu arrow and choose Standard Colors. 4 Drag or click in the triangle to pick the saturation. The color you select is displayed in the front rectangle below the color ring. This is the primary color.
To set up a two-color brush stroke: 1 On the Brush selector bar, choose a brush category from the Brush selector. Not all brushes can create twocolor brush strokes. Acrylics, Calligraphy, and Chalk make good choices. 2 From the Variant selector, choose a variant with a non-computed dab type; for example, Circular. If the Colors palette is not displayed, choose Window menu > Show Colors. 3 On the Colors palette, click the palette menu arrow and choose Standard Colors.
4 Choose Multi from the Stroke Type pop-up menu. 5 On the Stroke Designer page, click Well, and enable the Brush Loading check box. This enables the brush’s ability to pick up underlying colors. 6 Adjust the Resaturation and Bleed sliders. The Bleed setting determines how much underlying paint is affected by the brush stroke. A low Resaturation setting, combined with a higher Bleed setting, can enhance the Brush Loading feature.
Painting with Gradients and Patterns With the Corel Painter computed brushes, you can brush on gradients, which are gradual transformations of one color into another. Refer to “Using Gradients” on page 93 for more information. The Corel Painter computed brushes can also brush on patterns (repeating designs). Refer to “Using Patterns” on page 66 for more information. When you paint with a pattern, you can adjust the pattern’s scale.
The Gradients palette 2 On the Gradients palette, choose a gradient from the Gradient selector. In the center of the palette, the Preview window shows the selected gradient. 3 Click one of the following Gradient Order buttons: • Left to Right • Mirrored Left to Right • Double Left to Right • Right to Left • Mirrored Right to Left • Double Right to Left The preview above the Order buttons illustrates how the selected order affects the gradient.
2 On the Patterns palette, choose a pattern from the Pattern selector. 3 Adjust the Pattern Scale slider. 4 On the Stroke Designer page of the Brush Creator, click General. 5 From the Dab Type pop-up menu, choose a dab type that activates Source, for example, Rendered. 6 Choose one of the following from the Source pop-up menu: • Pattern—paint with a pattern containing no mask information. • Pattern with Mask—paint using mask data contained in the pattern.
that just blows existing paint around on the Canvas, like using the hose without an airbrush attached. Try out the Fine Spray variant in the Airbrushes category for an example of how Bearing and Flow settings combine to give realistic airbrush results. For information about the Airbrush controls in the Brush Creator, refer to “Setting Airbrush Controls” on page 175. Conic Sections Previously, digital airbrushes projected a thin mist of dots (or paint dabs) onto the Canvas.
A good range for the Spread setting is 30-40%. Narrow Spread and Angle settings can cause problems. Narrow Spread combined with a very tilted stylus can cause paint to be deposited away from the cursor. Varying Edges You can vary the edges of the paint sprayed from an airbrush to achieve desired softness. You do this by selecting a brush tip or “profile” in the Brush Creator. Each profile gives you a different edge to the paint you spray. For more information, refer to “Brush Tips” on page 156.
Controlling Droplet Size You can control the size of the airbrush droplets. This is not the same as adjusting the size of the brush. The larger the brush, the more droplets are sprayed. Recording and Playing Back Strokes Corel Painter will play back any stroke you record, wherever you click. This is a great way to create a series of identical strokes, for example, when creating hatching.
To play back strokes randomly: • On the Brush selector bar, click the menu arrow and choose Auto Playback. Corel Painter repeats the stroke at random positions until you click. To save a stroke: 1 On the Brush selector bar, click the menu arrow and choose Save Stroke. 2 In the Save Stroke dialog box, type a name. Corel Painter adds the stroke to the list of saved strokes. To select a saved stroke: • On the Brush selector bar, click the menu arrow, choose Strokes, and choose a saved stroke.
Filling Images Based on Color You can use the Paint Bucket tool to fill image areas based on pixel color. This method can be used on the canvas or in a channel. Corel Painter fills areas based on color boundaries and the current Tolerance and Feather settings. Tolerance sets the amount of variance allowed from the color of the pixel you click on. With Tolerance set low, the Paint Bucket fills only contiguous pixels that are very close to the color of the pixel you click on.
4. Click an area of the image. 5. Choose Edit menu > Undo, and click an area of the image containing a different color. 6. Change the Tolerance and Feather settings and repeat steps 4-5. • You can constrain the fill to a rectangular area by dragging with the Paint Bucket tool. To choose a lock-out color: 1 On the Colors palette, choose the color you want protected. 2 Double-click the Paint Bucket tool in the toolbox. 3 In the Lock Out Color dialog box, click Set.
14% is a good setting for lines created with the Scratchboard tool variant. To fill cells: 1 Choose the Paint Bucket tool from the toolbox. 2 Click the Fill Cell button on the property bar. 3 Choose one of the following from the Fill pop-up menu: • Current Color—fills with the selected color • Grad—fills with the selected gradient • Clone Source—fills using the current clone source image. If you haven’t defined a clone source, Corel Painter fills with the current pattern.
there’s probably a leak and Corel Painter is preparing to fill a bigger area than you had in mind. In this case, you can abort the fill. You can limit leakage to a specific rectangular area. In typical cartoon line work, unbounded areas—for example, hair, tail feathers, and brush bristles—sometimes must be filled. By limiting leakage to a specific area, you can close off these items.
Note • The channel does not have to be selected to contain the fill. If you deselect the channel on the Channels palette, the loaded selection is still in effect. Edit the channel to close leaks. Remember to load the channel back into the selection after editing.
7 Using Water Color Corel Painter features two ways to work with water colors: the Water Color layer and Digital Water Color. The Water Color Layer Water Color brushes paint into a water color layer, which enables the colors to flow and mix and absorb into the paper. In Corel Painter, you can edit the Water Color layer as you would any other layer, including erasing and blurring, without changing anything in the image layer.
To create a new Water Color layer: To wet the Water Color layer: 1 Choose Window menu > Show Layers to display the Layers palette. If the Layers palette is not expanded, click the palette arrow. 2 Do one of the following: • On the Layers palette, click the palette menu arrow, and choose New Water Color Layer. • Click the New Water Color Layer button at the bottom of the Layers palette. 1 Apply one or more strokes to the canvas with a Water Color brush variant.
the brush stroke eliminates the appearance of individual bristles. You can experiment with the Feature slider and its effect on different Water Color brushes. The Feature slider and its effect on Water Color brushes. Diffusion With natural water colors, wet paper produces more diffused strokes. Diffusion mimics this effect in Corel Painter by creating soft, feathery edges on the strokes of some water color variants. Diffusion spreads color into the grain.
The Digital Water Color brushes create effects similar to those of Water Color brushes, but without creating a separate layer. Digital Water Color Diffusion Digital Water Color brushes also use diffusion to create soft, feathery edges on the brush strokes. You can adjust the amount of diffusion using the controls on the Stroke Designer page of the Brush Creator. To adjust diffusion: 1 Apply one or more strokes with a Digital Water Color variant.
Note • You can also adjust the amount of wet fringe in the Digital Water Color area of the Stroke Designer before applying brush strokes. Tips • You can also adjust the Wet Fringe slider on the property bar. • For more information, see “Setting Digital Water Color Controls” on page 182.
8 Using Liquid Ink Liquid Ink brushes in Corel Painter create liquid paint effects that simulate traditional ink-based media. The Liquid Ink Layer Liquid Ink layers are displayed on the Layers palette. They are identified by an ink droplet icon. Unless you have a Liquid Ink layer already selected, a new Liquid Ink layer is automatically created when a Liquid Ink brush is applied to an image.
• Adjust the Threshold slider to increase or decrease the width of the brush stroke. • Adjust the Amount slider to increase or decrease the height, or three-dimensional appearance, of the brush stroke. Ink brushes; the higher the setting, the farther apart hairs appear. Use a low setting to make more solid strokes. create layered Liquid Ink strokes. Refer to “Expression Settings” on page 164 for more information.
Adjusting the lighting angles and adding multiple light sources add height to Liquid Ink brush strokes.
9 Impasto Impasto is the classic technique of applying thick paint on a canvas to create depth. In Corel Painter, impasto refers to the brush feature that allows brushes to paint with the illusion of depth. You can use different brushes to simulate different types of Natural-Media, such as thick oil paint or chalk with texture. To create an impasto effect, you must first activate the Impasto layer. Next, you choose the Impasto brush category and a variant.
To activate or deactivate the Impasto layer: • To activate the Impasto layer, click the Impasto icon on the document window. • To deactivate the Impasto layer, click the icon again. The Impasto icon on the document window. To clear the Impasto layer: • Choose Canvas menu > Clear Impasto. Creating an Impasto Effect You can apply a variety of Impasto brush strokes using an Impasto variant. These brushes simulate different types of Natural-Media effects with depth, such as thick oil paint.
• Reflection maps a clone source image or pattern onto the texture at a variable percentage. Refer to “Working with Reflection Maps” on page 284 for more information. indicators on the sphere show the current positions of all the light sources. Adjusting Surface Lighting Lighting can be a big part of the overall depth effect Impasto creates. Just as the right lighting can bring out the deep textured look of a stroke, the wrong lighting can wash out the effect altogether.
A new light indicator (small circle) appears where you click. To delete a light: • Click on a light indicator and press Delete. Viewing Lights The Display slider beneath the sphere controls the brightness of the sphere, so that it’s easier to see light positions. It does not affect the lights themselves. The Show Light Icons check box lets you hide or show the light indicators on the sphere. To change a light’s angle: • Drag a light indicator on the sphere.
Setting Drawing Method All of the drawing methods affect the next strokes you make in the document. For example, when you use Paper as the Depth Method, the bright and dark areas of the paper grain determine where grooves and bumps appear in the stroke. Impasto has three drawing methods: • Draw to Color applies color. You can set the color on the Colors palette. • Draw to Depth applies depth to the image. • Draw to Depth and Color applies both color and depth to the image.
Inverting a Depth Method You can invert the Depth Method using the Invert option. When a method is inverted, the negative of the source is used in the stroke. For example, using Invert with Weave luminance switches the luminance values of the current weave so that light areas of the weave become dark and vice versa. This results in an inverted texture within the Impasto brush strokes.
To use the Depth brush feature: 1 On the Stroke Designer page of the Brush Creator, click Impasto. 2 Choose Depth from the Draw To pop-up menu. 3 Choose a depth method from the Depth Method pop-up menu. 4 Adjust the Depth slider, and choose an expression from the Expression pop-up menu. Normally, the Impasto media raises ridges and bumps. The Negative Depth option forces Impasto to excavate instead.
• Subtract — When this method is active, depth information between layers is removed. Impasto brush strokes on top layers create grooves in the image data beneath them. Painting with an Impasto variant on a layer with Subtract set does not change the composite depth setting. only the top stokes are visible; the lower strokes are completely covered. Painting with an Impasto variant on a layer with Replace set does not change the composite depth setting.
10 The Brush Creator The Brush Creator helps to make it fun and easy to create brush variants in Corel Painter. style of working. You can change Size, Shape, Angle, Flow, and much, much more. This chapter provides descriptions and procedures for building, customizing, and saving the many parameters of any brush type using the Brush Creator. Changes you make to brush variants, including basic controls, like Size and Opacity, are saved until the Restore Default Variant command is selected.
There are three elements to the Brush Creator: the Randomizer, the Transposer, and the Stroke Designer. To access the Randomizer, Transposer, or Stroke Designer pages: The Randomizer creates random brush settings for the selected brush category and variant. 1 Choose Window menu > Show Brush Creator. 2 Click one of the following tabs: • Randomizer • Transposer • Stroke Designer The Transposer creates new brush settings based on the transition from one brush category and variant to another.
The Magnifier tool lets you zoom in on areas of the Scratch Pad. The Grabber tool lets you scroll around the Scratch Pad. be randomized or transposed. The preview window displays the variant you select. Color Picker By increasing the size of the main window, you also make more brush strokes available in the preview grid. The toolbox contains a primary and a secondary color rectangle. Click either rectangle to open the Color Picker dialog box and choose a new color. The preview grid.
Tip • You can also adjust the Zoom slider in the bottom-left corner of the main window to zoom in and out. To adjust brush size in the Scratch Pad • Adjust the Size slider above the Scratch Pad. To make a selection in the Scratch Pad 1 In the toolbox, choose the Rectangular Selection, Oval Selection, or Lasso tool . The three selection tools share the same space in the toolbox. Holding down the tool button provides access to the hidden tool. 2 Drag in the document to make your selection.
2 To fine-tune the settings of the randomized variants displayed in the preview grid, adjust the Amount of Randomization slider. Move the slider to the right to increase the amount of randomization; move it to the left to decrease the amount. 3 To create a new set of randomized settings, click the Randomize Current Selection button . used to choose the From variant; the bottom one is used to choose the To variant. The Transposer uses these two variants to create a series of new brush strokes.
between dabs set small, strokes appear smooth. Zoom in close enough, and you can probably tell that the brush stroke is made up of tiny dabs of color. Make a rapid brush stroke or set spacing between dabs large, and strokes can become trails of dots. The Stroke Designer. Setting General Controls Rendered dab types create continuous, smooth-edged strokes. They’re fast and less artifact prone than dab-based media application.
The Feature slider in the Size area separates bristles. The higher the setting, the farther apart hairs appear. Use a low setting to make more solid strokes. For more information about the Size controls, see “Setting Size Controls” on page 155. A captured dab is for a captured brush. It lets you paint with specific shapes and designs. • Camel Hair (rendered)—You use Camel Hair dabs to create a bristle brush with a circular array of bristles.
(direction) and angle (tilt) affect the eccentricity of the resulting conic section. The Feature slider in the Size area controls the size of the individual droplets of media. Set Feature too high and you might get undesirable artifacts. Holding down Option + Shift (Mac OS) or Alt + Shift (Windows) when painting reverses the spray direction. • Pixel Airbrush (rendered)—You use these dabs to create brushes that work like airbrushes.
Stroke Types Stroke type determines how media is applied during a brush stroke. Corel Painter brushes use one of the following stroke types. • Single—A Single stroke type draws one dab path that corresponds exactly to the brush stroke you make. You can use Bristle, Captured, or one of the bristly rendered dab types (such as Camel Hair) with the Single stroke type to create the effect of multiple bristles. The Single stroke type has one dab path.
2 Choose a stroke type from the Stroke Type pop-up menu. further refine the brush behavior. The following terms are used in describing most method subcategories: Methods and Subcategories • Soft methods produce strokes with hard, “pixellated” edges. • Flat methods produce smooth, anti-aliased strokes. • Hard methods produce brush strokes with semi anti-aliased edges. • Grainy methods produce brush strokes that react to paper texture.
Buildup Method The Buildup methods produce brush strokes that build toward black as you overlay them. A real-world example of buildup is the felt pen: Scribble on the page with blue, then scribble on top of that with green, then red. The scribbled area keeps getting darker— approaching black. Even if you were to apply a bright color like yellow, you couldn’t lighten the scribble—it would stay dark. This is buildup. Crayons and Felt Pens are buildup brushes. underneath.
2 Choose a method from the Method pop-up menu. 3 Choose a subcategory from the Subcategory pop-up menu. Source You can give any built-in brush the power of a plug-in by changing its method and subcategory. Wet Method An example of the Cloning method. Plug-in Method Plug-in is a special category of method subcategories. It defines no specific brush behavior, but is an open door to a wide range of subcategories. It’s well worth your time to browse through the Plug-in method subcategories.
• Pattern with Mask—paints with a pattern limited by the pattern’s mask. • Pattern as Opacity—the Luminance of the pattern becomes the opacity of the stroke. To set brush opacity: 1 On the Stroke Designer page of the Brush Creator, click General. 2 Move the Opacity slider left to reduce opacity. Move it right to increase opacity. 2 Move the Grain slider left to reduce the penetration into the grain. Move it right to increase the penetration. More grain is visible with lower settings.
Soft view cannot be used for Image Hose or rendered dab types. Hard view Soft view Click in the Preview window to toggle between Hard view and Soft view. In the hard view, concentric circles show the minimum and maximum Size of a brush. The inner (black) circle shows the minimum dab width. The outer (gray) circle shows the maximum dab width. Remember that some brushes vary the line width based on pressure or stroke speed.
Water Color Profile Size The Size slider controls the width of the brush and the brush stroke. Water Color Profile provides maximum density at the outer edge in a ringlike fashion, with medium internal density. This tip may be used with the rendered dab types to yield a hollow dab or a spray concentration. 1-Pixel Edge 1-Pixel Edge provides maximum density throughout, with a rapid falloff at the edge, producing a one-pixel, anti-aliased edge.
Min Size represents a percentage of the Size setting and is the smallest stroke size for the selected brush. Now that Size is always the largest stroke size and Min Size sets the smallest stroke size (in relationship to the Size setting), it’s easy to control overall stroke size variation. The brush sizing shortcut lets you use keyboard commands to adjust the brush size right in the document window.
adjusting the spacing between those dabs, you can control the continuity of the brush stroke. Spacing The Spacing slider controls the distance between brush dabs in a stroke. Min Spacing Damping The Min Spacing slider specifies the minimum number of pixels between dabs. If you don’t want a continuous stroke, you can adjust the Min Spacing to create a dotted or dashed line. Each dot or dash is one brush dab. Damping is used to smooth otherwise jagged brush strokes for brushes using rendered dab types.
Continuous Time Deposition Cubic Interpolation Continuous Time Deposition controls whether you must move a brush before media is applied. With Continuous Time Deposition enabled, media begins flowing at the first touch. Cubic Interpolation smooths jagged brush strokes by adding points to dab paths, primarily for brushes that use dab-based dab types.
To set brush shape: To set elliptical brush dab angle: 1 On the Stroke Designer page of the Brush Creator, click Angle. 2 Move the Squeeze slider to the left to make a dab more elliptical. Move it to the right to make a dab rounder. 1 On the Stroke Designer page of the Brush Creator, click Spacing. 2 Move the Angle slider right to rotate the dab clockwise. Move the slider to the left to rotate the brush counterclockwise.
Angle Step Setting Bristle Controls For dab-based brushes, the Ang Step slider controls the increment of change for brushes with an Ang Range greater than 0°. For example, setting the Ang Step to 5° means you get a brush dab every 5° within the current angle range setting. Bristles create the look of a real brush stroke, complete with the striations that hairs on a real brush make.
Clumpiness The Clumpiness slider applies a random variance to the thickness of each bristle. Clumpiness is proportional to Thickness. This produces an effect that looks like some of the bristles have clumped together. Move it right to increase clumpiness. Hair Scale The Hair Scale slider controls the density of bristles in the brush dab and, therefore, the number of bristles in the dab. Scale/Size The Scale/Size slider controls the degree of Size variation applied to the bristles of a brush.
Opacity or Size in response to changes in stylus pressure. This is merely their default setting. You can use the Expression settings on the Stroke Designer page to vary these effects in response to other factors, like stroke direction or velocity. The Scale/Size slider controls the degree of Size variation applied to a bristle set.Top=0%, bottom=100%. To scale bristles according to brush size: 1 On the Stroke Designer page of the Brush Creator, click Bristle.
increases the setting for that component—for example, a wider stroke. • Random — adjusts the brush feature at random • Sequential — applies only to Rank 2 or 3 Image Hose brushes. When enabled, this feature picks out nozzles from the index, in order. 3 If you like, enable the Invert check box beside the Expression pop-up menu to reverse the effect of the Expression setting. setting controls at what angle a brush stroke narrows or widens, particularly useful for calligraphic effects.
When Bleed is higher than resaturation, more color bleeds than covers, so the stroke will never reach full Opacity. Dryout works in conjunction with Bleed, so Bleed must be above zero to take advantage of Dryout. You can modulate the Dryout effect by changing the Bleed setting. To set resaturation: The Bleed slider controls the amount of underlying color mixed in with the selected color. Top=55%, bottom=1%.
Setting Rake Controls The Rake controls lets you control the sophisticated features of a Rake stroke, which maintains the angle of the brush head as the stroke changes direction. As the brush turns, bristles come in and out of contact. Contact Angle The Contact Angle slider adjusts how much of the brush touches the painting surface. In other words, the number of rake “tines” that touch the Canvas at once. The Dryout slider controls how fast the brush runs out of medium. Top=724, bottom=22026. surface.
When the scale is less than 100%, the dabs overlap. Overlapping dabs create a natural, subtle stroke when used with Turn Amount and Soften Bristle Edge. Turn Amount Brush Scale controls the spacing between individual dabs in the rake. Higher Brush Scale settings spread the dabs. Top=2500%, bottom=0%. When you turn a real brush to paint a curve, bristles at the edges move in and out of contact with the painting surface, depending on the brush’s location on the curve (inside or outside).
Spread Bristles Soften Bristle Edge Setting Random Controls The Spread Bristles control dynamically adjusts brush scale based on pressure. The harder you press, the more the brush fans out. Soften Bristle Edges makes a brush’s outer dabs semi-transparent. This option is particularly nice when used with Turn Amount. Corel Painter uses randomness to introduce an “accidental” quality in color and stroke. Randomness contributes to the appealing, unique look of artwork created in Corel Painter.
To set Jitter: destination images to correspond more precisely. 1 On the Stroke Designer page of the Brush Creator, click Random. 2 Move the Jitter slider to the left to decrease deviation from the stroke path. Move it right to increase deviation from the stroke path. Note • Clone location sliders do not have an effect when Clone Color is checked in the Colors palette. They have an effect only when a Clone method is in use.
destination. There’s no correspondence between the samples taken from the source and where they are placed on the clone. The result is a random pattern of the predominant colors and edges of the source. The brush and stroke determine the nature of the pattern. You might use Random Clone Source with a faint, stipple brush to add noise to an image. In this case, the clone source image merely contains the “noise” colors you wish to add. The How Often slider controls the period between random offsets.
To choose the Random Clone Source option: To set pressure for the mouse: 1 On the Stroke Designer page of the Brush Creator, click Random. 2 Enable the Random Clone Source check box. 1 On the Stroke Designer page of the Brush Creator, click Mouse. 2 Drag the Pressure slider. A 100% setting uses maximum pressure. Setting Mouse Controls To set tilt for the mouse: In theory, a mouse has no pressure information. A mouse button is either “on” (button down), or “off ” (button up).
Clone Type The Clone Type control lets you choose between several cloning variations. These variations are arranged according to the number of reference points used. With two or more reference points, you can apply a transformation (rotate, skew, scale mirror, perspective) during cloning. For complete information on using the different clone types, refer to “Cloning Imagery” on page 187. To set Clone Type: 1 On the Stroke Designer page of the Brush Creator, click Cloning.
To choose a drawing method 2 Enable the Invert check box. 1 On the Stroke Designer page of the Brush Creator, click Impasto. 2 Choose a Drawing Method from the Draw To pop-up menu. To choose the Negative Depth option: Depth Method The Depth Methods in Corel Painter use the luminance information in the control medium to determine how much depth is applied within a stroke. You can use the Invert and Negative Depth options to affect the way the stroke appears.
Setting Image Hose Controls The Image Hose controls let you design 1, 2, and 3 Rank nozzles. Refer to “Creating Nozzles for the Image Hose” on page 340 for more information. The settings for each Rank are the same as the Expression settings, with one addition: Sequential. For more information, see “Expression Settings” on page 164. Rank 1 This control lets you assign an input to locate Rank 1 imagery within an Image Hose nozzle. Rank 2 This control lets you assign an input to locate Rank 2 imagery.
on an airbrush stylus. Because the airbrush dab types deposit many small dabs to create their spray paint look, you might need to cut down on the flow to speed up the airbrush. To set ink flow: 1 On the Stroke Designer page of the Brush Creator, click Airbrush. 2 Move the Flow slider left to reduce the smallest amount of media applied with a stroke. Move it right to increase the amount of media applied.
To set dye pickup: To set the dry rate: To set the evaporation threshold: 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Move the Pickup slider right to increase the amount of leaching. Move it left to reduce the amount of leaching. 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Move the Dry Rate slider right to reduce the amount of spread. Move it left to increase the amount of spread. 1 On the Stroke Designer page of the Brush Creator, click Water.
To set the diffusion amount: 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Move the Diffuse Amt slider right to create soft edges that feather into the grain. Move it left to emulate painting on dry paper. Capillary Factor Capillary Factor controls the grain’s effect on diffusion. Lower values result in a smoother edge. To set effect of grain on diffusion: 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Move the Cap Factor slider right to create rougher edges.
Ink Type Wind Force controls the amount of force exerted on diffusing particles.Top=0%, bottom=25%. Wind Direction controls the direction in which the particles diffuse. Top=270°, bottom=180°. To set wind force: 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Drag the Wind Direction control to the desired degree. 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Move the Wind Force slider to the right to increase wind force.
Used to control the amount of spray from Liquid Ink airbrushes when this brush feature is tied to Wheel, adjustments to the wheel on an airbrush stylus (especially the Intuos Airbrush Stylus) act like a needle control on a real airbrush. • Resist—repels Ink • Erase—deletes Ink and Color • Presoftened Ink Plus Color— applied in conjunction with surface depth effects To choose an ink type: 1 On the Stroke Designer page of the Brush Creator, click Liquid Ink.
To set ink volume: 1 On the Stroke Designer page of the Brush Creator, click Liquid Ink. 2 Adjust the Volume slider. Higher values result in thicker strokes. Minimum Volume The Min Volume slider controls the maximum variation in volume. A value of 100%, for example, means no variation in volume during the brush stroke. To set maximum variation in volume: 1 On the Stroke Designer page of the Brush Creator, click Liquid Ink. 2 Adjust the Min Volume slider.
2 Adjust the Rand Size slider. Lower values result in smoother brush strokes. Higher values result in smoother brush strokes. Random Bristle Volume Bristle Fraction The Bristle Frac slider controls the thickness of the bristles. Higher values cause the bristles to stick together and result in a smoother brush stroke. Lower values cause the individual brush strokes to become visible. The Rand Br Vol slider controls the variation in bristle heights.
Diffusion The Diffusion slider is used to create soft, feathery edges on the brush strokes. For more information about Diffusion, see “Digital Water Color Diffusion” on page 128. Wet Fringe The Wet Fringe slider controls the amount of pooling of water and paint at the edges of Digital Water Color brush strokes. For more information about Wet Fringe, see “Wet Fringe” on page 128.
for every brush variant you may have adjusted. To delete a variant: 1 Choose the variant from the Brush selector bar. 2 Click the selector menu arrow and choose Delete Variant. 3 Click Yes to delete the variant. The variant’s related XML file is deleted from the Brush category folder. Copying Variants between Brush Categories If you create a variant, then decide you want it in a different brush category, you can copy it there. After copying, you can then delete the original.
5 6 7 8 to save the variant for the captured dab shape. Click the selector menu arrow and choose Capture Dab. On the Stroke Designer page of the Brush Creator, click Size to see the captured brush dab. If necessary, change the Size, Squeeze, and Angle settings. Draw with the brush on the canvas. If you like the results you’ve captured, you can save the brush as a new variant. Refer to “Saving Brush Variants” on page 183 for how to save brush customizations for later use.
To save a Brush Look: To use a saved Look: 1 In the toolbox, click the Look selector menu arrow, and choose New Look. 2 In the New Look dialog box, type a name for the look. The icon for the Look you’ve created is saved into the Look selector in the toolbox. This is a handy visual reminder of what the Look does. • In the toolbox, choose a look from the Look selector. Corel Painter loads the correct variant and materials for the saved Look. Saved Looks appear in the Look selector in the toolbox.
11 Cloning and Tracing Cloning is a feature that can help you create art, quickly and easily. Cloning is the process of taking imagery from one area or document (the source) and re-creating it in another area or document (the destination). Cloning is a two-step process: First, you set a clone source, then you work in a destination area. The source and destination can be in separate documents or in different areas of the same document.
Cloning a Document One way to use the Corel Painter cloning feature is to clone an entire file, creating a clone source/ destination relationship between two documents. The clone of the file is more than a copy. It maintains a pixel-for-pixel correspondence with its source document. For this reason, the source must remain open while you work in the clone.
To trace an image: 1 Choose File menu > Clone to create a clone of the original document you wish to trace. 2 With the clone selected, choose Select menu > Select All. 3 Press Delete (Mac OS) or Backspace (Windows) to clear the entire canvas. 4 Do one of the following: • Click the Tracing Paper icon in the vertical scroll bar. • Choose Canvas menu > Tracing Paper. • Press Command + T (Mac OS) or Ctrl + T (Windows). A 50% ghost of the source image shows through the tracing paper.
The faint source image returns and you can continue tracing. Changing Clone Source For more flexibility in setting up cloning relationships, Corel Painter lets you set any open document as a clone source. You can do this to reestablish a source/destination relationship between two files. You might also do this to choose special source imagery for controlling an image effect.
To paint with Cloner brushes: 1 Create a clone of the document you wish to paint. 2 With the clone selected, choose Select menu > Select All. 3 Press Delete (Mac OS) or Backspace (Windows) to clear the entire canvas. 4 Choose a Cloner brush from the Brush selector bar. On the property bar, adjust size, opacity, and grain penetration. 5 Paint in the image. Note • If you don’t set a clone source, Cloner brushes paint with imagery from the current Pattern.
• For more information about making selections, refer to “Using Selections” on page 203. To indicate the area of the source document you’re cloning, you can turn the crosshair cursor on. Tip • If you use a variant with Auto Clone that isn’t a Cloner variant, click Clone Color on the Colors palette to make it pick up color from the source document. For more color variety in the dabs Corel Painter applies, set the ±H, ±S, and ±V sliders on the Color Variability palette to 15% each.
5 Begin painting in the destination area. Note • You can set the destination area before painting by clicking while holding down Option + Shift (Mac OS) or Alt + Shift (Windows). A red marker indicates the destination area. 2 3 4 5 Cloning within a document with the destination marker showing. To clone point-to-point between documents: 1 Do one of the following: • Choose a Cloner brush from the Brush selector bar. • Enable the Clone Color option on the Colors palette.
Selecting a Clone Type Corel Painter lets you establish different kinds of relationships between the clone source and destination. These are characterized by how many reference points you use. For each number of reference points used, different transformations are possible. All of these cloning types are valid for cloning method brushes and brushes that use the Clone Color option or a clone source, such as Fill. You must set source and destination reference points before using a multipoint cloning brush.
relation to the line between the two source points, determines the rotation transformation. points determine the transformation effect. Cloning with rotate. • Rotate & Mirror (2) — The brush rotates and mirrors (flips) the source imagery. Cloning with bilinear. Cloning with rotate, scale, and shear. Cloning with rotate and mirror. • Rotate, Scale, & Shear (3) — The brush rotates, scales, and shears (slants) the source imagery.
2 On the Stroke Designer page of the Brush Creator, choose Cloning. 3 Choose a clone type from the Clone Type list. Setting Reference Points Before you can paint with a multipoint Cloner brush, you must set the correct number of source and destination reference points. Source points can be in one document and destination points in another, or both sets of points can be in the same document. Cloning with perspective.
To move source points to a pattern: Tip • You can reposition reference points by holding down Option (Mac OS) or Alt (Windows) and dragging the points to their new position. • On the Patterns palette, click the palette menu arrow, and choose Check Out Pattern. This moves source points into a new “checked out pattern” window. For more information about checking out patterns, refer to “Editing a Pattern Tile” on page 67. To set destination reference points 1 Select the destination document.
Using Clone Color You can turn almost any brush into a Cloner with the Clone Color option. Clone Color causes a brush to pick up color from the source image, while staying true to its own stroke nature. The Clone Color option is useful for creating mosaics and tessellations based on source imagery. To use Clone Color 1 Choose Window menu > Show Colors to display the Colors palette. If the Colors palette is not expanded, click the palette arrow. 2 Click the Clone Color button .
Fine-tuning the Cloning Methods You can customize and fine-tune cloning methods in the Brush Creator. To adjust a cloning method: 1 On the Stroke Designer page of the Brush Creator, choose Random. 2 Modify the sliders and options to change the character of the variant: • Move the Jitter slider to the right to determine the amount of randomness in the brush stroke. • Choose an expression from the Expression pop-up menu to vary the brush stroke.
Use Obey Source Selection to paint in the area that corresponds to the source selection. Use Copy Source Selection to clone the selection and the color. To clone using the source selection: 1 Set up a selection for the portion of the source image you want to clone. The selection should closely outline the region you want to use. For information about setting up a selection, refer to “Using Selections” on page 203. 200 Cloning and Tracing 2 In the toolbox, choose the Brush tool .
The quadrilateral set by the four clone source points defines an image tile. In the clone destination, the tile is warped according to the relative positions of the source and destination reference points and repeated as necessary to cover the area. This feature is particularly useful when filling with the clone source. For more information, see “To fill with transformed clone imagery:” on page 202.
To fill with transformed clone imagery: 1 In the toolbox, choose the Brush tool . 2 Choose a Cloner brush and variant from the Brush selector bar. 3 On the Stroke Designer page of the Brush Creator, choose Cloning. 4 Choose the transformation you want from the Clone Type pop-up menu. 5 Set up clone source and destination reference points. If you want, create a selection to constrain the fill. 6 Do one of the following: • In the toolbox, choose the Paint Bucket tool , and click in the destination area.
12 Using Selections A selection marks off areas of the canvas for “special treatment.” It can either protect an area from change or designate the area that you want to change. You can save selections as alpha channels. This lets you store selections and edit them with brushes and image effects. For more information about alpha channels, refer to “Understanding Alpha Channels” on page 219. Having one selection, but multiple channels, is convenient and powerful.
• To apply a brush stroke along a selection border. You can save and reload selections. Saving a selection creates a channel. Loading a selection reactivates it on the canvas, where it controls your painting and image effects. Corel Painter lets you combine selections in powerful ways. Refer to “Combining Selections Using Boolean Operations” on page 212 for more information. About Selection Types There are two types of selections: • Path-based selections are defined by a closed path.
allowed anywhere on the canvas. The selection is still active for applying effects and using the Cut or Copy command. Draw Outside protects the area inside the selection. Draw Inside protects the area outside the selection, similar to using a stencil. Only the selected region accepts brush strokes. Turning Selections On and Off To turn off a selection: • Choose Select menu > None. Note • This command is available only if you have turned off a selection.
To invert a selection: Creating Selections Tip • To constrain your selection to a square or a circle, hold down Control+Shift (Mac OS) or Ctrl+Shift (Windows) while making your selection. Using Selection Tools To select a freehand area: The Rectangular Selection, Oval Selection, and Lasso tools create pathbased selections. With these tools, you can create a new selection, add to the current selection, or subtract from the current selection. 1 Choose the Lasso tool from the toolbox .
To subtract from a selection: You can use the Magic Wand to create a new selection, add to the current selection, or subtract from the current selection. You can add and subtract selections using any combination of selection tools. For example, you can create a selection with the Magic Wand and add a rectangular area with the Rectangular Selection tool, or you can create a selection with the Lasso tool and add to it with the Magic Wand. 1 Choose a selection tool from the toolbox.
• Contiguous, when enabled, selects contiguous pixels. 3 On the property bar, click one of the following buttons: • New Selection • Add to Selection • Subtract from Selection 4 In the document window, do one of the following: • Click to select the color in the middle of the range of colors used to make the selection. • Drag over an area to define the range of colors used to make the selection. It can take a moment for Corel Painter to calculate and load the selection.
information about clones, refer to “Cloning and Tracing” on page 187. • Image Luminance creates a selection based on the current image’s light and dark areas. • Original Luminance produces a selection in the current document based on the clone source’s light and dark areas. This option lets you import an image to the selection. If no clone source is selected, Corel Painter uses the current pattern. • Current Color creates a selection of pixels of the current primary color.
Converting Selections to and from Shapes You can convert selections to shapes, and shapes to selections. When you convert a selection to a shape, you can use the Shape Edit tools to adjust the path and define exactly the selection area you want. Then you can convert the shape back to a selection. You can convert both path-based and pixel-based selections to shapes. When the selection is pixel-based, Corel Painter may create multiple shapes.
• On the Channels palette, click the Save Selection as Channel button . 3 In the Save Selection dialog box, choose New from the Save To popup menu. If you want to specify a name, type a name in the Name box. Note • If you do not specify a name, new channels are named incrementally: Alpha 1, Alpha 2, and so on. • Replace Mask replaces the channel with the saved selection. • Add To Mask combines the current selection with the chosen channel.
Combining Selections Using Boolean Operations When you save selections, you can use Boolean operations (add, subtract, and intersect) to combine the saved selection with an existing channel. Adding a selection combines it with the existing channel. Subtracting a selection cuts it out of the existing channel. When you intersect a selection, you include only those parts that are common to the selection and the existing channel.
• The resulting selection is saved to the “head” channel. The eye and beak selections are added and saved to the “eyebeak” channel. • The “outline” channel is loaded. The original “face” selection. The “head” channel is created by loading the “outline” channel and subtracting the “eyebeak” channel. • A rough “face” selection is drawn with the Lasso tool. The eyes, beak, and a portion of the background are included.
Transforming Selections Path-based selections support many transformations that pixel-based selections do not. You can convert a pixel-based selection to a path-based selection to apply transformations to it. However, when you convert a pixelbased selection, the modified selection is reduced to having two levels of protection. The modified “face” selection after loading and intersecting the “head” channel. • The resulting selection is saved to the “face” channel.
To move a selection: To scale a selection: 1 Choose the Selection Adjuster tool from the toolbox. 2 Drag the selection. 1 Choose the Selection Adjuster tool from the toolbox. 2 Click the selection. 3 Do one of the following: • Drag a corner handle to scale in two dimensions. If you want to constrain the aspect ratio, hold down Shift while you drag. • Drag a side, top, or bottom handle to scale in one dimension.
Tip • When the selection marquee is shown, feathering may be difficult to see. It is easier to see the effect of feathering if you save the selection to a channel and view the channel. For more information, refer to “To view a channel as a colored overlay:” on page 222. Widening and Contracting Selections Skewing a selection. Feathering Selections You can feather both path-based and pixel-based selections to soften the transitions between selected and un-selected areas.
To create a border selection: 1 Choose Select menu > Modify > Border. 2 In the Border Selection dialog box, enter the number of pixels for the width of the border. A border selection with airbrush strokes applied Stroking Selections You can apply a stroke to a path-based selection. Corel Painter uses the current brush variant, brush size, color, and paper texture to apply a stroke along the border of a selection. This is an excellent way to get brush strokes to follow specific contours.
information about creating and using your own libraries, refer to “Libraries and Movers” on page 23. To store a selection in the portfolio: 1 Create the path-based selection you want to store. 2 Choose Window menu > Show Selection Portfolio. 3 Choose the Selection Adjuster tool from the toolbox. 4 Drag the selection to the Selection Portfolio palette. 5 In the Save Selection dialog box, type a name for the selection.
13 Using Alpha Channels The primary function of an alpha channel is to store a selection you might want later. You can save multiple selections in a channel. Understanding Alpha Channels An alpha channel is a mask through which you can paint on, and apply effects to, an image. The alpha channel stores 8 bits of information per pixel, which means that each pixel can be assigned one of 256 (28) levels of gray—from 0 (black) to 255 (white).
Creating Channels You can create a channel from a selection or create a new, blank channel. You can also create a new channel by copying an existing channel. For more information, refer to “To copy a channel:” on page 224. Generating Channels Automatically Corel Painter lets you generate a channel based on the light and dark areas of a number of sources, including paper, pattern, and clone source. You can also create a channel based on a range of colors.
solid channel, without clear delineation between the selected and protected areas. • Original Luminance produces a channel based on the clone source’s light and dark areas. This option lets you import an image to the channel. If no clone source is selected, Corel Painter uses the current pattern. • Current Color creates a channel based on pixels of the current primary color. Areas of the current color are protected; the rest of the image is selected.
This helps soften the edges of the channel. If you want to invert the channel, enable the Inverted check box. Tip • The preview window in the Color dialog box shows the channel as a red overlay on the image. You can drag in the preview to see other parts of the image. Importing Channels from Other Programs If a layer is selected, and the layer has a layer mask, the Channels palette also lists the layer mask. For information about layer masks, refer to “Working with Layer Masks” on page 255.
In this mode, the RGB image is always displayed. To view a channel as a grayscale image: 1 On the Channels palette, make sure the channel is hidden (eye closed) and not selected. 2 Click the channel name. In this mode, the RGB image is hidden. The “wings” channel and the RGB image are displayed. A channel protecting the wings and body is displayed in grayscale. The RGB image is hidden. To hide a channel: The “wings” and “body” channels are displayed as red overlays on the RGB image.
3 In the Channel Attributes dialog box, drag the Opacity slider to set the channel display strength. 4 Click the color chip, and choose a display color in the Color Picker dialog box. If you want to see the color overlay in grayscale, choose black. A channel is easiest to use as an overlay when its color is a strong contrast with the predominant hue of the RGB image. You might want to use a different color for each channel.
based on existing color. For more information, refer to “Filling Images Based on Color” on page 119. When you edit a channel, you are making modifications to the channel, and not the image. You can use shades of gray only; no colors are available. This is because the alpha channel is a grayscale image, separate from the RGB image. The resulting channel can be used afterwards to make changes to your image. A channel — before and after inversion.
To apply an effect to a channel: To fill a channel: To fill a channel based on color: 1 On the Channels palette, display and select the channel you want to work with. If you want to apply the effect to a specific area of the channel, make a selection. 2 Choose an effect from the Effects menu. To learn more about image effects, explore “Using Image Effects” on page 259. 1 On the Channels palette, display and select the channel you want to work with.
value in the Feather box, or adjust the pop-up slider. If you want to create intermediate fill values on the boundaries, enable the Anti-Alias check box. This gives soft edges to the fill. Anti-aliasing is desirable when Feather is zero or extremely low. 8 Click the area of the channel you want to fill. If the result is not what you want, undo the fill, change the settings, and try again. Notes: • The Paint Bucket applies a fill only to a visible channel.
14 Using Layers and Layer Masks When you open a new document and create an image, your work appears on a background layer known as the canvas. You can add additional layers to a document, which allows you to manipulate the visual elements in the image independently of the canvas. Layers provide one of the great advantages of creating images in a digital workspace—the freedom to experiment with different compositions and effects without risking an unwanted, permanent edit.
Layer Basics In Corel Painter, layers are objects that contain image data. Because each layer is a distinct object, you can move it around and edit it without interfering with the image data on the canvas or other layers. Likewise, you can work on the canvas without interfering with any of the other layers. Layers can contain two types of images: pixel-based images and vector-based images.
manipulate standard layers. For more information, refer to “Working with Reference Layers” on page 246. Dynamic Layers Dynamic layers are a class of layers that provide dynamic effects to the underlying image. Some dynamic layers interact with the underlying imagery in a specific area to produce effects—such as the Glass Distortion and Equalize dynamic layers. Other dynamic layers interact with the underlying imagery as you apply brush strokes—such as the Liquid Metal dynamic layer.
The Layers Palette Visible layer The Layer Adjuster Tool The Layers palette lists all the layers in a document and provides options for managing them. Hidden layer With the Layer Adjuster tool, you can select and work with layers. When you choose the Layer Adjuster tool from the toolbox, the property bar contains options for selecting layers automatically and for changing a layer’s position in the hierarchy.
For information about creating dynamic layers, refer to “Creating Dynamic Layers” on page 314. For information about creating vector shape layers, refer to “Creating Shapes” on page 368. To create a new layer: • Click one of the following buttons at the bottom of the Layers palette: • New Layer • • New Water Color Layer New Liquid Ink Layer Tip • You can also create a new layer by clicking the palette menu arrow and choosing New Layer, New Water Color Layer, or New Liquid Ink Layer.
Tips • You can also convert a selection to a layer by rotating, scaling, distorting, or flipping a selection. Refer to “Orientation Effects” on page 262 for more information. • You can also create a new layer by copying or cutting, and pasting, a selection. Naming Layers Corel Painter assigns each layer (or group) a default name when you create it. This name references the object’s type and creation order. To name a layer or group: 1 On the Layers palette, select a layer or group.
Corel Painter Composite Method Hard Light Darken Lighten Difference Hue Saturation Color Luminosity Photoshop Blend Mode Hard Light Darken Lighten Difference Hue Saturation Color Luminosity For more information about composite methods, refer to “Blending Layers Using Composite Methods” on page 248. If you save a file to a file format other than RIFF or PSD, the layers drop (or merge) into a single background image. Deleting Layers To delete a layer: 1 On the Layers palette, select the layer.
• On the Layers palette, Shift+click each layer you want to select. • Choose the Layer Adjuster tool from the toolbox. With the Auto Select Layer check box on the property bar enabled, in the document window drag over the layers you want to select. Showing Layer Indicators Locking Layers You can show the layer indicators to see display handles at the corners of a layer’s content when it is selected. You can lock layers to avoid accidentally changing them.
both in compositing an image and applying effects. You can hide one layer to gain better visibility of the layer below it. Or, you can set up different states of an image to create rollover effects for use on the Web. For more information about creating rollovers, refer to “Creating Rollovers” on page 403. Layer visibility settings stay active when printing or saving to some file formats. In other words, the content of hidden layers does not print and is not saved.
measured in pixels from the top edge of the canvas. • R is the position of the right edge of the layer’s bounding box, measured in pixels from the left edge of the canvas. A document’s layer hierarchy is reflected on the Layers palette. The bottom layer is always the Canvas. To display the Info palette: • Choose Window menu > Show Info. If the palette is not expanded, click the palette arrow. Tips • You can also reposition a layer by dragging it to a new position on the Layers palette.
you cannot paint across layers in a group or change the composite method for a group. To work with individual layers in a group, you must open the group. Close the group to regain control of the group as a unit. Collapsing a group reduces its contents to a single layer. To create a group: 1 On the Layers palette, select the layers you want to group. Refer to “Selecting Layers” on page 235 for more information about selecting multiple layers.
layers before collapsing the entire group. Note • If you want to collapse a group containing a Water Color layer, you must first convert the Water Color layer to a default layer and change its composite method to Default. For more information about composite methods, refer to “Blending Layers Using Composite Methods” on page 248. Merging Layers with the Canvas more information about selections, refer to “Working with Selections” on page 203.
• Brushes that use the Cover method work best on layers using the Default composite method. For more information about layer composite methods, refer to “Blending Layers Using Composite Methods” on page 248. you are confined to painting on areas of the layer that already contain imagery. Disabled For more information about brush methods, refer to “Methods and Subcategories” on page 152. Preserving Layer Transparency Areas of a layer that don’t contain imagery are transparent.
Painting on Layers When a layer is selected, you can use the brushes to paint, draw, erase, or clone in a layer. When painting on layers, keep the following points in mind: Erasing part of a layer with the Preserve Transparency option disabled restores transparency (top). When the option is enabled, erasing reveals the paper color (bottom). To preserve layer transparency: • On the Layers palette, enable the Preserve Transparency check box. Tip • You can also load a layer’s transparency to a selection.
constrain brush strokes, to isolate an area of the layer for applying an effect, or to choose an area of the layer to cut or copy. By default, when you move a selection, only the selection marquee moves, not the imagery. To move selected imagery on a layer, you must “float” the selection. In effect, this turns the selected area of the layer into a floating object. You can move floating objects around a layer to create new compositions. Each layer in a document can have only one floating object at a time.
• Opacity—the degree to which the shadow covers underlying imagery. Setting opacity to 100% obscures underlying imagery; lower values create a more transparent shadow. • Radius—the amount of blur at the edge of the shadow. The radius is half the distance across the blurred region. If you set Radius to zero, you create a sharp-edged shadow. • Angle—the direction of the blur. • Thinness—the amount of blur applied perpendicular to the Angle. If a blur shows streaks, increase Thinness to soften it.
To move a layer: 1 On the Layers palette, select the layer (or group) you want to move. 2 Choose the Layer Adjuster tool from the toolbox. 3 In the document window, drag the selected layer. To nudge a layer: 1 On the Layers palette, select the layer (or group) you want to move. 2 Press the arrow keys to move the selected layer one pixel at a time. To move a layer to a specific location: 1 On the Layers palette, select a layer or group.
The left edge of the square is the left-most point of all the layers (top). The layers are aligned horizontally to the left so that all the layers line up with the left-most point (bottom). • Center aligns the midpoints of the layers’ content horizontally. • Right aligns the right edges of the layers’ content. • None preserves the existing horizontal alignment. 4 Enable any of the following Vertical options: • Top aligns the top edges of the layers’ content.
handled box marks the boundary of the layer’s contents in the document window. To resize a reference layer: 1 Select a reference layer. 2 Do one of the following: • Drag a corner handle to resize the layer in two directions at once. If you want to maintain the layer proportions, hold down Shift as you drag. The pointer changes as you position it over a handle . • Drag a side handle to resize the layer in one direction only. To rotate a reference layer: 1 Select a reference layer.
• The Quality setting (Fast or Clean) applies only to the quality of the reference layer. When you convert a reference layer to a pixel-based layer, Corel Painter resamples the original image to produce the best possible resolution. • Reference Image shows the pixel dimensions of the original image. This is static information—you can’t change the Reference Image values. To commit a reference layer: 1 Select a reference layer. 2 Choose Effects menu > Orientation > Commit Transform.
• Composite Method sets the standard composite method. • Composite Depth controls how a layer’s image data interacts with depth information on the canvas and other layers. through a layer’s composite methods to create new and interesting versions of your image. The available composite methods are: Default For example, if the canvas contains Impasto brush strokes, the Composite Depth setting determines what happens when these brush strokes intersect with brush strokes on the layer.
grayscale image. A colored layer adds color to an underlying grayscale image. Shadow Map parts that are darker are replaced by the lighter area of the underlying image. One way to use this method is to fill text. With a photograph as the top layer and black text as the underlying image, choosing Magic Combine fills the text with the image. Reverse-Out Pseudocolor Shadow Map blocks light, letting you create shadows without changing the image.
Normal Multiply Overlay The Normal method works like the Default method; the layer covers the underlying image. The Normal method is the default mode in Photoshop. Multiply combines colors to create a darker color. Overlay combines colors while preserving the highlights and shadows of the image color. Screen Soft Light Dissolve Screen combines colors to create a lighter color. Dissolve combines the image color with the layer color based on opacity.
Hard Light Lighten Hue Hard Light multiplies or screens colors, depending on the luminance of the layer color. Lighten takes the lighter of the image or layer color and uses that color. Hue creates a color by combining the luminance and saturation of the image color with the hue of the layer color. Difference Darken Saturation Darken takes the darker of the image and the layer color and uses that color.
Color GelCover The GelCover method uses a combination of the Default method and the Gel method. The edges of the layer’s content tint the underlying image with their color (the Gel method). The rest of the layer covers the underlying image (Default method). Color creates a new color by combining the luminance of the image color with the hue and saturation of the layer color. Luminosity To change a layer’s composite method: 1 Select a layer.
Note • You cannot record notes for a layer if you enable the WWW Map Clickable Region check box for image mapping. Using the Image Portfolio The Image Portfolio is a convenient place to store images you want to use again. To display the Image Portfolio palette: • Choose Window menu > Show Image Portfolio. If the Image Portfolio palette is not expanded, click the palette arrow.
Working with Layer Masks You can create a layer mask to define what areas of a layer are visible in the document window. Masking originated as a technique for creating color separations, where sheets of masking material were handcut to define the color regions in an image. In the Corel Painter digital workspace, the layer mask is a powerful tool for controlling image composition and effects. Layer Masks vs. Channels A layer mask is similar to an alpha channel.
• On the Layers palette, click the Create Layer Mask button . • Choose Layers menu > Create Layer Mask. The layer mask icon displays next to the layer name on the Layers palette. To create a layer mask based on transparency: 1 Select a layer. 2 Choose Layers menu > Create Layer Mask from Transparency. The layer mask icon displays next to the layer name on the Layers palette. Notes • You can create layer masks based on transparency for pixel-based layers only.
If you’ve finished working with a layer mask, you can delete it. You can also clear a layer mask without deleting it, leaving you with a blank mask. The layer mask is a grayscale image. By inverting it, you can make dark pixels light, and light pixels dark. You can disable a layer mask, which lets you view the entire layer. The layer mask can be re-enabled at any time. If you like the result of a layer mask, you can apply it. This permanently removes the hidden parts of the layer and deletes the layer mask.
2 Choose Layers menu > Enable Layer Mask. For information about editing layer masks, refer to “Editing Channels” on page 225. To apply a layer mask: 1 Select a layer mask. 2 Choose Layers menu > Apply Layer Mask. To load a layer mask to a selection: 1 On the Layers palette, select a layer that has a layer mask. 2 Control+click the layer mask icon (Mac OS) or right-click the layer mask icon (Windows), and choose Load Layer Mask to Selection.
15 Using Image Effects The Corel Painter image effects let you do everything from correcting colors to retouching images to creating a completely new image from a source. The effects range from practical tools, like the orientation, tonal control and focus effects, to artistic expressions, like embossing, color overlay, Van Gogh, and posterize. Traditional artistic methods inspire many of the Corel Painter effects.
Selecting Where to Apply Effects You can apply special effects to a selection, a layer, or the entire image. • If there is no selection, the effect is applied to the entire image. • If you want to apply an effect to a region of the Canvas, select that area before choosing an effect command. You can use any of the selection tools, including the Rectangular Selection tool, the Oval Selection tool, the Lasso, and the Magic Wand.
5 In the Fade dialog box, drag the slider. The image in the preview window changes. 6 When you are satisfied with the settings, click OK to apply the effect. If you change your mind, choose Edit menu > Undo. Recently Used Effects Commands At the top of the Effects menu, Corel Painter displays the last two effects you applied. This lets you quickly reapply frequently used effects. Tip • You can also use keyboard shortcuts to apply the last two effects.
2 Choose Effects menu > Other > Plug-in Filter and choose the effect you want. All third-party plug-ins are located in submenus. Note • Plug-ins that pertain to grayscale or CMYK images are not supported. Acquire/Export Plug-ins You can use the Acquire or Export commands in the File menu to transfer images to and from supported devices, such as scanners, film recorders, and color printers. selection remains a layer until you merge it with the canvas.
2 3 4 5 If you want to scale the entire image, select nothing. Choose Effects menu > Orientation > Scale. Do one of the following: • In the document window, drag a handle of the selection. The Scale Selection dialog box displays the horizontal and vertical scale percentages. • In the Scale Selection dialog box, specify the horizontal and vertical scale percentages. Enable any of the following options: • Constrain Aspect Ratio— maintains the selection’s proportions.
To distort an image: Image flipped vertically Distorting Images You can distort all or part of an image. 1 Select a layer or area of the canvas. If you want to distort the entire image, select nothing. 2 Choose Effects menu > Orientation > Distort. 3 In the document window, drag any of the selection handles to reshape the selection. 4 If you want to see a more accurate, but slower, rendering of your changes, enable Better (Slower) in the Distort Selection dialog box.
Correcting Colors Using Contrast and Brightness Light This method lets you adjust the contrast or brightness of colors, while maintaining the tonal transitions in the original image. Corrected Values Dark Original Color Values A gamma curve. Use the Color Correction dialog to correct colors. The horizontal axis describes the input values (original color values). The vertical axis describes the output values (corrected values).
Correcting Colors Using Curve The Curve method lets you drag the color curves to reshape them. This lets you to create very specific changes in color values. Original image Color correction using Brightness. To correct colors using contrast and brightness: Color correction using Contrast. 1 Choose Effects menu > Tonal Control > Correct Colors. 2 In the Color Correction dialog box, choose Contrast and Brightness from the pop-up menu.
To correct colors by reshaping curves: 1 Choose Effects menu > Tonal Control > Correct Colors. 2 In the Color Correction dialog box, choose Curve from the pop-up menu. 3 For each color you want to adjust, do the following: • Click the color icon for the curve you want to reshape. • Adjust the position of the Effect slider to set the intensity of your changes. • Move the pointer over the curve and, when the pointer changes to a pointing hand, drag the curve.
Other Tonal Control Effects To correct colors using the Freehand method: 1 Choose Effects menu > Tonal Control > Correct Colors. 2 In the Color Correction dialog box, choose Freehand from the pop-up menu. 3 For each color you want to adjust, do the following: • Click the color icon. • Move the pointer over the graph and, when the pointer changes to a pencil, drag to draw a new curve. Tip • If you want to redraw all color curves at once, click the gray Master icon.
Use the Adjust Color dialog to change the hue, saturation, and value of an image. To adjust colors: 1 Select a layer or area of the canvas. If you want to adjust colors in the entire image, select nothing. 2 Choose Effects menu > Tonal Control > Adjust Colors. 3 In the Adjust Color dialog box, choose one of the following methods from the Using pop-up menu: • Uniform Color adjusts all pixels equally. • Paper uses the selected paper grain to control the color adjustment.
Note • With all methods other than Uniform Color, pixels assigned higher luminance receive a greater color adjustment. By combining these three settings, you can set up a very specific range of colors to adjust. For example, you can limit changes to a very specific shade of red. Adjust Selected Colors Feather affects the softness at the edge of the selected colors. These sliders can help you create smoother transitions between the replaced color and the original.
To adjust a selected color: 1 Choose Effects menu > Tonal Control > Adjust Selected Colors. The Adjust Selected Colors dialog appears. 2 Move your cursor over the original image in the image window (your cursor becomes a dropper), and click the color you want to adjust. The Colors palette displays the selected color as the primary color. 3 Choose a method from the Using pop-up menu to determine what Corel Painter will use as the source for the color adjustment.
Equalize The Equalize effect improves contrast, adjusting black and white points and distributing the brightness levels throughout the entire range of available levels. The histogram is represented by the silhouette. Each peak shows the number of pixels for a brightness level. You can adjust white and black points by dragging the triangles. To equalize colors: Before and after Equalize.
Negative The Negative effect inverts all the colors in your image or in the selected layer. Positive and negative versions of an image. To invert colors: 1 Select a layer or area of the canvas. If you want to invert the entire image, select nothing. 2 Choose Effects menu > Tonal Control > Negative. To posterize an image: 1 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 2 Select Effects menu > Tonal Control > Posterize.
only a specified set of colors in it. This is useful for multimedia work, as well as applications like silkscreening. This effect can also be used to reduce colors in an image so that it appears correctly on the Web. For more information, refer to “Working with Posterize Using Color Set” on page 411. Apply Lighting The Apply Lighting effect lets you shine one or more light sources on an image. Apply Lighting is like hanging your artwork in a gallery and adjusting colored spotlights to illuminate it.
Creating Custom Lighting You can use the controls in the Apply Lighting dialog to add, delete, and position light sources. You can also set light properties to create unique lighting effects. indicator is the origin (the point from which the light is shining). The large part of the indicator is the point the light shines toward. The Preview window shows the current position of each light source and the angle of its projection.
To change a light’s properties: 1 Click an indicator to select it. 2 Adjust any of the following sliders: • Brightness is like a dimmer knob. Moving it to the left turns down the light source; moving it to the right increases brightness. • Distance controls how far the light is from the image. If you move the light source closer, you might have to change the image’s exposure (see below). • Elevation sets the light’s angle in relation to the Canvas.
Apply Surface Texture The Apply Surface Texture effect lets you add a three-dimensional surface texture to your image. You can use this feature to apply a paper texture across the image, to give depth to the brush strokes of an oil painting, or to make mosaic tiles three-dimensional. Your computer must have a math coprocessor to use the Apply Surface Texture effect. Surface texture is created either by applying a paper texture or by using information from a clone source to determine depth and height.
Setting Appearance of Depth Properties The surface texture you apply is made up of a material. That material can be subtle and blend with the original image, or it can be highly reflective or shiny, distorting the original image. The Appearance of Depth sliders on the Apply Surface Texture dialog let you control material properties. • The Amount slider controls how much surface texture is applied to the image. Moving the slider all the way to the right applies the maximum amount.
For more information, refer to “Applying Lighting to a Texture” on page 285. 7 Click OK to apply the effect. 3 Creating Texture Using 3D Brush Strokes When you create a texture using 3D Brush Strokes, the difference in luminance between the clone source and the current document is used to determine the look of the texture. 4 An example of the texture created when Posterize is applied to the clone source.
can also apply other settings like Bleed and Max/Min Brush size to create complex strokes. Refer to “Customizing Brushes” on page 143 for more on these features. For more information, refer to “Applying Lighting to a Texture” on page 285. 9 Click OK to apply the texture. Creating Three-Dimensional Oils Because the 3D Brush Strokes method uses the difference between the clone source and its clone to define a 3D texture, you can create the illusion of dimensional oils by painting on the clone.
The overall effect gives an embossed look to the edges of the imagery. 4 5 Texture based on Image Luminance. To create surface texture using image luminance: 1 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 2 Choose Effects menu > Surface Control > Apply Surface Texture. 3 In the Apply Surface Texture dialog box, choose Image Luminance from the Using popup menu.
4 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 5 Choose Effects menu > Surface Control > Apply Surface Texture. 6 In the Apply Surface Texture dialog box, choose Original Luminance from the Using popup menu. If you want to apply an inverted texture, enable the Inverted check box. 7 Adjust the Softness slider to control the amount of distortion created by the texture.
11 When you are satisfied with the settings, click OK to apply the effect. Creating Texture Using Channels and Layer Masks Corel Painter lets you produce surface texture based on an alpha channel or a layer mask. Texture based on a layer mask. You can use this method only if your image has a saved alpha channel or a layer with a layer mask.
4 Adjust the Softness slider to control the amount of distortion created by the texture. Increasing softness creates more intermediate steps, which produces a smoother distortion. 5 Adjust the Appearance of Depth sliders. Refer to “Setting Appearance of Depth Properties” on page 278 for more information. 6 Adjust the Light Controls sliders. For more information, refer to “Applying Lighting to a Texture” on page 285. 7 Click OK to apply the texture.
11 When you are satisfied with the settings, click OK to apply the effect. To add a light: • In the Apply Surface Texture dialog box, click the light sphere. A new light indicator (a small circle) is added to the light sphere. Tip • The Show Light Icons check box lets you hide or show the light indicators. A layer, ready to become reflective. To delete a light: 6 Select the layer. When a layer is selected, effects apply only to the layer. 7 Choose Effects menu > Surface Control > Apply Surface Texture.
The lighting sphere with a light indicator. The Display slider beneath the sphere controls the brightness of the sphere so that it’s easier to see light positions. It does not affect the lights themselves. • Conc (concentration) adjusts the spread of the light’s shine over the surface. • Exposure globally adjusts the overall lighting amount from darkest to brightest. To change light color: 1 Click the Light Color icon. 2 In the color picker, choose a color.
color. Moving it to the right increases the amount of the second color. 5 Move the Threshold 2 slider to determine how much of the first color will be in the image. Moving the slider to the left decreases the amount of the first color. Moving it to the right increases the amount of the first color. 6 Choose one of the following methods from the Using pop-up menu: • Paper produces a screen using the paper grain.
To create a color overlay: 1 Show the Colors and Papers palettes. 2 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 3 Choose a color from the Colors palette. If you want to base the color on a paper grain, choose a paper texture on the Papers palette. 4 Choose Effects menu > Surface Control > Color Overlay. 5 In the Color Overlay dialog box, choose a method from the Using pop-up menu.
and valleys. The higher the Minimum slider, the flatter the paper appears. 5 When you are satisfied with the settings, click OK to apply the effect. Express Texture The Express Texture effect generates a high contrast version of an image in grayscale. With this feature, you can create a visual effect similar to a custom halftone screen, like a mezzotint or line screen. Express Texture is similar to Apply Screen with anti-aliasing built in. To apply express texture: 1 Select a layer or area of the canvas.
Use the Image Warp effect to warp your image. Your computer must have a math coprocessor to use the Image Warp effect. To warp an image: 1 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 2 Choose Effects menu > Surface Control > Image Warp. 3 In the Image Warp dialog box, choose one of the following warp methods: • Linear pulls the selected area as if you were pulling from the top of a cone.
2 In the Quick Warp dialog box, enable a warp method. 3 Adjust the Power and Angle Factor sliders to control the warp effects. 4 When you are satisfied with the settings, click OK to apply the effect. An example of a Bump distortion. • Valley warps the center of the image away from you, making it appear concave. Use the Angle Factor slider to twist the effect. • Swirl distorts the image in a spiral. The Angle Factor slider controls how many times the image spirals.
• Output Color—output the color part of the effect. Disable this option if you want to output in black and white only. 3 Use the following guidelines to adjust the sliders: • Black Edge determines the detail of the black edge. Larger values produce thick, black edges around objects. Smaller values produce more intricate edges. • Erosion Time determines the number of erosion iterations performed on the black edge. The higher the erosion, the simpler the edge.
• Edge Size determines the size of the edge enhancement. • Edge Amount determines the amount of edge enhancement. • Smoothing determines the roundness of the edge between black and white. • Variance determines the amount of grain added to the edge. • Threshold determines how much black is in the image. 3 Choose a method from the Using pop-up menu. You can base the effect on the current paper grain or the original luminance (clone source).
Tip • You can also specify Match and Fill Colors by clicking a color in the image. Sketch You can use the Sketch effect to convert an image to a black and white pencil sketch. The Sketch effect To apply the sketch effect: 1 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 2 Choose Effects menu > Surface Control > Sketch.
2 3 4 5 If you want to apply the effect to the entire image, make sure there are no selections. Choose Effects menu > Focus > Camera Motion Blur. In the image window, drag to create the blur motion. The direction and intensity of the blur is determined by your pointer movement. For example, fast movement produces a different blur than slow. A longer drag path increases the amount of blur. Straight, curved, and zigzag movements also produce different effects.
The Glass Distortion effect. There are five sources of displacement information: • Paper uses the information in a paper texture to displace pixels. More displacement is applied to light areas of the texture and less to dark areas. Paper texture is good for creating the pebbled glass effect. Unless you want frosted glass, you’ll probably want to increase the scale of the paper. • 3D Brush Strokes uses the difference in luminance between the clone source and the current document.
5 6 7 8 you experience aliasing in a glass distortion, try increasing Softness. Choose a map type from the Map pop-up menu. Choose Fast or Good from the Quality pop-up menu. Adjust the following sliders: • Amount controls the degree of displacement. Increasing the Amount distorts your image more. • Variance creates multiple variations in the neighborhood of the displacement. The result of increasing variance depends on the type of image and other settings.
Using the Sharpen dialog to sharpen the focus. To sharpen focus: 1 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 2 Choose Effects menu > Focus > Sharpen. 3 In the Sharpen dialog box, enable one of the following aperture options: • Gaussian • Circular 4 Use the following guidelines to adjust the sliders: • Amount determines how much of the edge of an element is affected.
5 When you are satisfied with the settings, click OK to apply the effect. Esoterica Effects Using the Zoom Blur dialog to blur the focus. To apply zoom blur: 1 Select a layer or area of the canvas. If you want to apply the effect to the entire image, make sure there are no selections. 2 Choose Effects menu > Focus > Zoom Blur. 3 In the document window, click the image to specify the zoom point. 4 In the Zoom Blur dialog box, adjust the Amount slider to determine the amount of blur.
If you want to apply the effect to the entire image, make sure there are no selections. Selections can help you control the marbling when you have a particular effect in mind. For example, the rake path normally begins from the edge of the image. If you want the rake path to begin in the center of a blob, select an area that begins at the blob’s center. 2 Choose Effects menu > Esoterica > Apply Marbling.
To replace a step: • In the Apply Marbling dialog box, click Replace. The current step is replaced using the current settings. To clear a recipe: • In the Apply Marbling dialog box, click Reset. The current recipe is deleted. To save a recipe: 1 In the Apply Marbling dialog box, click Save. 2 In the Save Marbling dialog box, specify a name. Auto Clone The Auto Clone effect automatically applies brush dabs to your image. The types of dabs depend on the currently selected brush.
To fill an area with cloned brush strokes: 1 Open an image file to use as a clone source. 2 Do one of the following: • To use Auto Clone in a new, blank document, choose File menu > Clone. In the clone, choose Select menu > All, and press Delete. • To enhance an existing image with Auto Clone, open the image and choose File menu > Clone Source > [clone source]. Any open image can be selected as the clone source. Differences in file size might affect results.
6 Choose Effects menu > Esoterica > Auto Van Gogh. want to apply this effect to your original image before applying Marbling. For more information about marbling, refer to “Marbling” on page 299. Blobs Blobs creates a pattern similar to oil floating on water. The effect takes a source and puts it in a swirling pattern by placing blobs on the image. The underlying image is distorted as if it were liquid.
4 In the Create Marbling Stone Pattern dialog box, specify the number of blobs. 5 Specify the minimum and maximum size of the blobs. 6 Enter a Subsample value. This option creates the antialiasing steps. 7 Choose a source from the Fill Blobs With pop-up menu. 8 The Seed is a number used in randomizing the blobs. Each time you apply the effect, a different seed number is generated. You may enter a specific number if you like. 9 Click OK to apply the effect.
4 Adjust any of the following pattern properties: • For Brick, use the Brick Width and Brick Height sliders to adjust the size of the bricks. • For the other built-in tile shapes, use the Angle and Scale sliders to adjust the tile orientation and size. • For Original Luminance, Paper, and channel or layer mask, use the Threshold slider to draw the line between “light” and “dark.” Everything above the Threshold value becomes tiles, and everything below becomes grout.
3 In the Grid Options dialog box, choose a grid type from the pop-up menu. You can choose Rectangular Grid, Vertical Lines, Horizontal Lines, or Dot Grid. 4 Set the dimensions of the grid using the following options: • Horizontal Spacing determines the amount of space between horizontal lines. • Vertical Spacing determines the amount of space between vertical lines. • Line Thickness sets the width of grid lines. 5 Select Grid and Background colors. • Grid Color changes the color of grid lines.
• • • • • outside edges become thicker. At under 100%, the edges become finer and more delicate. Random affects how symmetrical the growth patterns appear. Lower values generate straightline, geometrical designs. Higher values generate distorted, crooked designs. Thickness uniformly adjusts the weight of the lines within the design. Move the slider to the left for thinner lines and to the right for thicker lines. The growth pattern never gets thinner than one pixel.
• Circular 4 Move the Amount slider to determine how much to suppress the low frequency areas. This value defines a radius, in pixels, around each pixel in the selected image area. Moving the slider to the left suppresses larger amounts of low frequency information. Moving the slider to the right suppresses smaller amounts. 5 Click OK to apply the effect. Highpass introduces stark shifts between brightness levels. To apply a highpass effect: 1 Select a layer or area of the canvas.
• Patterned—constrains barriers to the horizontal. • Display Solution—displays the path from the entrance to the exit. • Seed—used to generate a random maze pattern. • Thickness—sets the width of barriers and paths. 4 Click the Maze Color icon and choose a maze color from the Color Picker. 5 Click the Background icon and choose a background color from the Color Picker 6 Click OK to apply the effect. An example of Place Elements used with the Image Hose.
5 6 7 8 The effect automatically controls mixing of the secondary color with Nozzle elements to produce depth shading. Shadows tend toward black, so this is a good color to use. Choose Effects menu > Esoterica > Place Elements. In the Place Elements dialog box, specify a number of iterations. In each iteration, the points seek to distance themselves from each other on the surface of the virtual sphere.
13 Adjust the Delay Time slider to set a pause between each iteration display. With a slight pause, you can see the track of the moving points more clearly. 4 5 Tip • If you have chosen two or three levels, you can prevent overlapping elements by enabling the Cull Interiors check box. This removes points that occur inside of other spheres, before elements are placed. This option increases processing time for the effect. 6 7 The Pop Art Fill effect.
4 Choose Effects menu > Esoterica > Pop Art Fill. 5 In the Pop Art Fill dialog box, set the dab color to black and the background color to white. 6 Adjust the Scale slider, and click OK. The Pop Art Fill effect is applied to the clone. 7 Choose Select menu > All. 8 Choose Select menu > Float. 9 Choose Edit menu > Copy. 10 Close the clone file. 11 In the original image file, choose Edit menu > Paste. The copied layer is pasted into the original image file.
16 Using Dynamic Plug-ins Dynamic plug-ins are a category of floating layers that let you apply effects to an image. They are called “dynamic” because you can modify the effect any number of times without damaging the source image. Each dynamic plug-in provides new capabilities for manipulating images. The function and behavior of dynamic plug-ins falls into three major categories.
To access the dynamic plug-ins: 1 Choose Window menu > Show Layers to display the Layers palette. 2 On the Layers palette, click the Dynamic Plug-ins button . A list of dynamic plug-ins is displayed. Creating Dynamic Layers The steps for creating dynamic layers vary slightly for the different types of dynamic plug-ins. Details about creating and working with a specific dynamic layer appear later in this chapter.
Committing Dynamic Layers Reverting Dynamic Layers At some point, you may want to finalize the effect and make the result a standard layer. This will enable you to work with the image in ways not possible when the effect is held in a dynamic layer. The Revert command allows you to restore source images to their original condition. This feature is available only for dynamic plug-ins that modify a layer—Burn, Tear, and Bevel World.
Note • You can also use the plug-in’s Opacity slider on the Layers palette to adjust the Brightness/Contrast effect. Burn The Burn dynamic plug-in applies a burn effect to the edges of the selected layer or area. You can adjust the amount and character of the burn with sliders. Different burn settings produce diverse results. 316 Using Dynamic Plug-ins To burn a layer or selection: 1 Select the layer or area of the Canvas you want to burn.
Tip • You can use the Revert command to restore a source image to its original condition. Refer to “Reverting Dynamic Layers” on page 315 for more information. Tear The Tear dynamic plug-in applies a torn paper effect to the edge of a selected layer or area. You can tear a little or a lot. To tear a layer or selection: 1 Select the layer or area of the Canvas you want to tear. If you select an area, Corel Painter automatically creates a new layer when you apply the tear.
To create a 3D button with text on it, use Bevel World to create the background button first. Then create your text floating over the button. Group the text and button together, then Collapse the layer group. • • • The Bevel World dialog has controls for 3D bevel shape and lighting. • An infinite variety of bevel profiles is possible. Both bevel shape and lighting can be controlled to create unique effects.
to the image. You can return later and turn the bevel back on. Light Controls Lighting changes can make a huge difference in the 3D appearance of the bevel. You can change the light’s angle by dragging in the preview sphere. You can also change the light’s position and angle by dragging the Light Direction and Light Height sliders. With Light Height at maximum, the light shines straight down on the layer and the Light Direction setting has no effect.
The Equalize dynamic plug-in creates a histogram showing the number of pixels for each brightness level value. Equalize allows gamma adjustment, which lightens or darkens an image without changing highlights or shadows. To create an Equalize dynamic layer: 1 Make a selection in the document window if you want the new dynamic layer to be a specific size. 2 On the Layers palette, click the Dynamic Plug-ins button and choose Equalize.
• Inverted, when enabled, lets you work with an inversion of the selected source. • Softness controls the transitions between displaced colors. Increasing softness creates more intermediate steps, which produces a smoother distortion. If you experience aliasing in a glass distortion, try increasing Softness. • Amount controls the degree of displacement. A higher amount leads to more distortion. • Variance creates multiple variations in the neighborhood of the displacement.
Tip • You can move the Kaleidoscope layer to different regions of the document to distort other imagery. Try using the arrow keys to see the Kaleidoscope animate. 5 Choose Edit menu > Paste into New Image. 6 Select the kaleidoscope portion of the image, and capture the pattern. For more information on capturing patterns, refer to “Creating and Capturing Patterns” on page 69. Liquid Lens Tools You can apply distortion with the Circle, Brush, Right Twirl, Left Twirl, Bulge, or Pinch tools.
The Brush Left Twirl Pinch The Brush distorts in the direction you drag. Left Twirl distorts in counter-clockwise spirals. Pinch distorts inward, drawing imagery closer. Right Twirl Bulge Liquid Lens Controls You can adjust the following settings to customize the distortion effect. Right Twirl distorts in clockwise spirals. Bulge distorts outward, pushing imagery out. • Amount—controls the degree of distortion applied. With the slider close to zero, you create minimal distortion.
distortion. Lower values create individual dabs of distortion. Samples of how the Size slider affects distortion. Low Smooth settings make abrupt distortions. Higher Smooth settings let distortions transition smoothly into other areas. • Size—changes the diameter of the distortion tool and the size of rain, which scatters distortion droplets in the layer. • Spacing—changes the distance between distortion dabs. Low spacing makes a smooth, continuous stroke. High spacing lets the dabs appear individually.
2 On the Layers palette, click the Dynamic Plug-ins button and choose Liquid Lens. 3 In the Liquid Lens dialog box, choose a Liquid Lens tool. 4 Use the sliders and controls to adjust the distortion effect. Refer to “Liquid Lens Controls” on page 323 for more information. 5 Drag in the document window to create distortion. If you don’t like the distortions and you want to start again, click the Clear button. 6 Click OK to end the Liquid Lens session.
Liquid Metal Brush The Liquid Metal dynamic plug-in lets you paint on a layer with liquid and metal. You can apply droplets of water that distort the underlying image through refraction. You can also create globs of shiny metal that flow together and move like mercury. A slider (Refraction) sets the difference between water and metal, so you can achieve intermediate effects. Negative metal can be used to create holes in metal.
Metal raindrops fall randomly with the Rain feature. Liquid Metal Controls You can adjust the following settings to customize the appearance of the liquid metal. • Amount—controls the emphasis of the metal effect (from the Refraction slider) for all droplets in the layer. The extreme left and extreme right are the inverse of each other. To create water effects, set the Amount to –0.5. This will make the droplets magnify the imagery underneath them. Low Smooth settings keep droplets distinct (left).
refraction. The Refraction setting applies to all droplets in the layer. If you want to paint with translucent liquid, increase the Refraction slider. As Refraction nears 100%, the metal becomes transparent. The droplets look like a simple liquid—oil or water. Increasing Volume beyond 100% extends visibility beyond the droplet circle into the perimeter range. Decreasing Volume below 100% shrinks the visible portion of the droplet, “drying it up.
• Reset—restores the default settings. To create a Liquid Metal dynamic layer: 1 Deselect all layers. 2 On the Layers palette, click the Dynamic Plug-ins button and choose Liquid Metal. 3 In the Liquid Metal dialog box, choose the Circle or Brush tool. Refer to “Liquid Metal Tools” on page 326 for more information.
To use a reflection map: 1 Specify a clone source or choose a pattern. 2 Deselect all layers. 3 On the Layers palette, click the Dynamic Plug-ins button and choose Liquid Metal. 4 In the Liquid Metal dialog box, choose Clone Source from the Map pop-up menu. 5 Adjust any settings. 6 With the Circle or Brush tool, drag in the document window to apply the metal. If you want to clear the effect and start again, click Clear. 7 Click OK to end the Liquid Metal session.
2 Do one of the following: • Drag across the droplets you want to select. • If Display Handles is enabled, click the center point handle of a droplet. • If handles are not displayed, click a droplet anywhere. Hold down Shift, and click additional droplets to add to (or subtract from) the selection. When a droplet is selected, the center point handle is displayed as a solid. Drag over the droplets you want to select. To move metal: • Drag the center of one of the droplets to move the selected group.
To create a Posterize dynamic layer: 1 Make a selection in the document window if you want the new dynamic layer to be a specific size. 2 On the Layers palette, click the Dynamic Plug-ins button and choose Posterize. 3 In the Posterize dialog box, specify the number of color levels you want. The value applies to each color channel—red, green, and blue. 4 Click OK to apply the effect.
17 The Image Hose The Image Hose is a milestone in the evolution of art tools. Instead of painting with color, the Image Hose paints with images—and not just one or two images at a stroke, but a variety of changing images. The images flowing from the hose change as you make a brush stroke. The Image Hose gives you complete control of the image output. For example, by increasing stylus pressure, you can paint larger or more colorful images.
How it Works The Image Hose is a brush. To use it, you must first load it with images. The images are kept in special nozzle files. On a garden hose, you attach a nozzle to control the flow of water; in Corel Painter, you attach a nozzle to the Image Hose to control its medium— images. A nozzle file can contain any number of images. Usually, the images are similar and form a logical series—that is, the images progress along some order. For example, the images might increase in size, or advance in angle.
on the stroke path. For more information, refer to “Controlling the Image Hose Brush” on page 336. You can use these variants as a starting point and then adjust the brush and nozzle controls to hose the images just as you want them. The Opacity slider allows you to make nozzle images semi-transparent. If you move the slider all the way to the left, the images become invisible. To select a nozzle and use the Image Hose: The Nozzle selector in the toolbox.
If the slider is set to 90%, Corel Painter mixes 10% of the secondary color to 90% of the image. This is a handy way to adjust the shading of image elements. For information on selecting a secondary color, refer to “Understanding Primary and Secondary Colors” on page 79. Controlling the Image Hose The Image Hose has three components of control: The Image Hose brush, the nozzle controls, and the nozzle file. • You’ll adjust the brush to determine the placement of images in the stroke.
Because spacing is based on the diameter of the brush, the Size settings also affect image spacing. Increasing the brush size adds space between hosed images. Size settings affect the size of the image elements themselves. The Min Size slider also affects the size of images applied by the Image Hose. When set to stylus pressure or direction, the Min Size setting determines how much size variability is present when you apply images.
Image nozzle files can be created with one, two, or three image progressions known as “ranks.” Corel Painter offers these three rankings, so each nozzle file can be identified as a 1-Rank, 2Rank, or 3-Rank nozzle. The following indexing factors are available in Corel Painter: • • • • • • • • • None Velocity Direction Pressure Tilt Bearing Source Random Sequential 2 For each rank in the nozzle, choose a rank type from the popup menu. 3 If necessary, adjust the Direction settings.
Image Hose delivers images from the start of the rank at the left of the document, in the dark area. As the brush moves to the right into the lighter area, the Image Hose delivers images from later in the rank. To take advantage of this feature, you may want to create a special source image for the single purpose of controlling the Image Hose. The clone source image or pattern for controlling the Image Hose may be grayscale. Remember, Corel Painter uses only the luminance values. Indexing based on Source.
Nozzle Options The Nozzle Selector has one option for the Image Hose—Use Brush Grid. When Use Brush Grid is enabled, the Image Hose places images in a regular grid pattern. The grid size follows the grid in the nozzle file. Enable Use Brush Grid to place images on a perfect grid. Creating Nozzles for the Image Hose The Nozzle Ranking System A 1-Rank indexing system is simply a numbered sequence. You can locate any element in the sequence by giving its number. For example, “Item 3.
changing angle? To do this, you’ll need to set up your images as a 2Rank nozzle file. Painting with a 2Rank nozzle, you can control where your image comes from in terms of both progressions. In this case, you use a different input factor to control the location of the image elements in each rank. In the following image, Rank 1 is a progression in angle, and Rank 2 is a progression in size. It would make sense to use direction to control Rank 1 and pressure to control Rank 2.
You might want to work by creating a silhouette of the image shape as a selection, then fill in the color information later. With soft edges to the selection, you can create images that are anti-aliased automatically. This improves the continuity across an area of hosed images. You can create Image Hose nozzles from layers. As you create image elements, turn them into layers. If the layer looks good when dropped on different backgrounds, the image will look good as a nozzle element.
Loading Nozzle Files If you’ve created a separate nozzle file that isn’t part of a library, you can load it into the Image Hose library for future use. To load a nozzle file: You can now choose an indexing rule and paint with your 1-Rank nozzle. Tip • If you want to create your own nozzle libraries, refer to “Nozzle Libraries” on page 347. 1 In the toolbox, click the Nozzle selector. 2 Click the selector menu arrow, and choose Load Nozzle.
The indexing system requires the nozzle images to fit in a regular grid. You can create a nozzle file by setting up a grid and placing an image element at the center of each cell. Determining the Grid Cell Size The cell size is based on the smallest rectangle that will hold the largest image element (including its selection). To make sure your images fit in the grid, copy your largest image element to a layer. Refer to “Creating Layers” on page 232 for more information.
3 On the Layers palette, select all the layers. 4 Click the Layer Commands button , and choose Drop. 5 Choose File menu > Save As, and save the file in RIFF format. The finished 2-Rank Nozzle—Shell Scales. Loading a Nozzle After you build a nozzle, you can load it into the Image Hose. The first time you load the nozzle file, the Nozzle Definition dialog box appears, where you must enter information about the math use to create the file—the size of each cell and how many image elements there are.
346 The Image Hose Rank 1 (Variety) 11 Choose the Layer Adjuster tool from the toolbox, and select the layer. 12 Click the Layer Commands button , and choose Drop. 13 Choose File menu > Save, and save the file in RIFF format. Rank 2 (Size) 1 Build or open a 2-Rank file. 2 Determine the number of elements you want in the third rank. 3 Choose Window menu > Show Info to show the Info palette, and check the height of the current nozzle file.
Nozzle Libraries Nozzle libraries let you save and retrieve sets of nozzle files. For information on loading alternate libraries, creating new libraries, and moving items between libraries, refer to “Libraries and Movers” on page 23. To add a nozzle to the library: 2 Click the selector menu arrow, and choose Check Out Nozzle. Corel Painter opens the nozzle file in an image window. 3 If necessary, edit the file.
2 3 4 5 For example, if the second rank is a progression in color, the movie should be arranged “red set, purple set, blue set” and so on. Each “set” is the first rank progression. In the toolbox, click the Nozzle selector. Click the selector menu arrow, and choose Make Nozzle from Movie. Choose File menu > Get Info. The File Information dialog box holds the information Corel Painter uses to index in this file. Edit the statement to describe the nozzle index you created.
18 Mosaics Making mosaics is a classical art technique that creates pictures from colored tiles and grout. In Corel Painter, the Make Mosaic feature and its companion, Make Tessellation, let you create tile mosaics and stainedglass window formations. The Make Mosaics feature lets you paint with a mosaic medium. In essence, you’re painting with tiles. The medium you paint with can be simple colored tiles or colors cloned from an original image.
instructions on adding dimension to the tiles, refer to “Render Tiles into Mask” on page 358. Suggestions for Creating Mosaics A mosaic based on Tessellation. A mosaic with a surface texture. After creating a mosaic, using either of the two methods, you can give it a three-dimensional appearance. You can also apply brush strokes to the mosaic. A brush such as Distortion will smear the tile colors.
Getting Started with Mosaics The Mosaic feature differs from the other Natural-Media tools in Corel Painter. When you’re working with the mosaics medium, you’re actually working in a different mode. This means that you must have the Make Mosaic dialog box open and you can’t access any other tools or features— except for the Colors palette. Clone without source imagery showing. To create a mosaic: 1 Open a new document or clone an existing document. 2 Choose Canvas menu > Make Mosaic.
Creating the Mosaic Effect When in Mosaics mode, you can add, remove, and reshape mosaic tiles. You can choose a color to paint with or use the Clone Color. You can also set grout thickness. The following key commands help in working with the entire mosaic: Key Command Description a select all Selects every tile. d deselect all Deselect all tiles. Applying and Removing Tiles To apply tiles: 1 Choose Canvas menu > Make Mosaic. 2 In the Make Mosaic dialog box, click the Apply Tiles button .
To change tile color individually: 1 Choose Canvas menu > Make Mosaic. 2 In the Make Mosaic dialog box, click the Change Tile Color button . The adjustment mode menu beneath the tool icon becomes active. 3 Choose a color adjustment mode from the menu. • Color changes the tile to the current primary color. • Darken applies a small amount of black. • Lighten applies a small amount of white. • Tint applies a small amount (10%) of the current primary color.
Length Dimensions To change the grout color: 1 Choose Canvas menu > Make Mosaic. 2 In the Make Mosaic dialog box, click the Grout color chip. Use the Color Picker to select a grout color. You can change the grout color at any time. However, changing the grout color automatically re-renders the mosaic. Length sets the length of the tiles in pixels. Use the Dimensions sliders to control size and spacing of the tiles. Top=3.9, bottom=27.9.
Width Randomness Increasing the Pressure slider increases the effect of pressure on the width of the tiles. By increasing the Pressure setting, you can prevent the creation of narrow tiles in response to a light stroke. Setting Pressure to 100% creates uniformly wide tiles, regardless of the pressure. Increasing Width randomness allows the width to vary by the set percentage. The Dimensions: Grout slider controls the spacing between tiles. Top=0%, bottom=15%.
Cut Randomness Working with Mosaics With Cut randomness set to 0, the edges of the tile are created perpendicularly to the stroke. Increasing Cut randomness allows the angle of the tile ends to vary. Each mosaic tile you create is stored as a resolution-independent object within the Corel Painter image database. This means that if you resize an image composed of mosaic tiles, your image can be displayed at the same quality as if it was originally created at higher resolution.
Using Layers Fitting Tiles Together You can float the non-mosaic portion of the image. Create the mosaic on the canvas. When you’re satisfied with the mosaic, you can drop the layers. When working with real ceramic tiles, it is physically impossible to merge tiles. You can put them close to each other, but you can’t make them occupy the same space. Likewise, the mosaic tiles in Corel Painter respect each other’s space. Tiles don’t overlap or merge.
blurred. You can correct this problem by re-rendering the mosaic. 4 Choose Canvas menu > Make Mosaic. 5 In the Make Mosaic dialog box, choose Re-Render Mosaic from the Settings pop-up menu. Corel Painter replaces the resized, blurry tiles with tiles rendered at the higher resolution. Render Tiles into Mask This command places the tile shapes in a new channel named Mosaic Mask (on the Channels palette). This feature has several uses. The most common is adding depth to the tiles.
grout line. In this example, the white tiles respect the edge, while the black tiles do not. Stroke Selections and Fill Selection Start with Triangle makes a perfect wedge in the “v.” Respecting the Edge of an Image When the Respect Edge of Image command is enabled, Corel Painter maintains a grout line at the perimeter of the image. Tiles you create at the edge of the image do not violate the grout line.
Working with Tessellation Mosaics A tessellation is a type of mosaic that uses non-rectangular tiles. Tessellation tiles are subject to the same rules as the rectangular mosaic tiles. The Make Tessellation feature works by dividing the canvas into polygonal shapes, which become the mosaic tiles. The polygons themselves are sets of points, connected by line segments. You can control the number of points and their distribution. You can also specify how the points are connected.
• Adding points based on a clone source is a powerful option. The 500 points are distributed according to the luminance of the clone source. Lighter regions receive a greater density of points and, so, smaller polygons. • The number of points appears in the corner of the Make Tessellation dialog box. You can base your Tessellation on Triangles, Cracks or Pieces. Corel Painter converts the polygons to mosaic tiles, then renders the mosaic image to the canvas.
7 In the Make Tessellation dialog box, choose Add 500 Evenly Spaced Points from the Options pop-up menu. 8 Create a shape by making strokes in the document. The points along the stroke will have increased density. • You can continue stroking to add higher concentrations of polygons in very specific areas. This way, you can create specific patterns or shapes. • It is possible to create a huge number of points. More points mean more polygons, which increase the time it takes to convert to a mosaic.
• Re-Render Mosaic — re-creates the mosaic from the grout color and the tile object information • Render Tiles into Mask — places the tile shapes in a new channel The other mosaic commands relate to creating tiles, so they don’t apply to tessellations.
19 Using Shapes Shapes are vector-based objects that you can draw, modify, and fill. Shapes can be open or closed. They can be simple lines, curves, or text outlines. You can create and edit shapes with the precision of a drawing program and integrate them with the NaturalMedia environment in Corel Painter. In this chapter you’ll learn how to create shapes and set their stroke and fill attributes. You’ll learn how to modify shapes, edit their outlines, and convert them to pixel-based layers.
photographic elements when imported in Corel Painter and displayed with anti-aliasing. Anti-aliased shapes are typically slower to draw to the screen in Corel Painter than aliased objects are in drawing programs. So, you may want to do most of your object creation in your drawing program. You can then import the vector artwork into Corel Painter, tweak it with the drawing tools, and add some Natural-Media effects.
3 Do one of the following: • Choose Shapes menu > Convert to Layer. • Click the Convert to Layer button on the property bar. wing handle restricts the manipulation of the segments to the one side of the anchor point that has a handle. anchor point Working with Bézier Lines The paths used to create shapes are known as Bézier lines. Bézier lines can be straight or curved, and they consist of anchor points connected by line segments. Paths can be modified using anchor points and wing handles.
Printing Images Containing Shapes For information on printing files containing shapes, refer to “Printing” on page 445. Creating Shapes The Shape manipulation tools are in the toolbox. You can toggle between the Shape Selection tool, and any of the shape design and editing tools, by holding down Command (Mac OS) or Ctrl (Windows). This makes it convenient to quickly make a selection before you add to or edit it.
Pen Tool The Pen tool lets you create shapes using Bézier lines. Use the Pen tool when you want to draw straight lines or smooth, flowing curves. You can create shapes containing any combination of straight and curved lines. You can easily adjust shapes after you create them. For more information, refer to “Editing Shapes” on page 373. You can also convert between smooth and corner points. For more information, refer to “Converting between Smooth and Corner Points” on page 376.
• Hold down Command (Mac OS) or Ctrl (Windows) to temporarily access the Shape Selection tool, and click outside the shape to deselect it. Tips • You can constrain the placement of the points by snapping to the grid. For information about displaying and snapping to the grid, refer to “Using the Grid” on page 44. • Each click or drag adds to the path. If you unintentionally add to the path, press Delete (Mac OS) or Backspace (Windows) to remove the last anchor point.
If you are simply scaling, rotating, or skewing a selection path, use the Selection Adjuster tool. If you must edit the profile of the curve, convert the selection to a shape. Corel Painter converts the selection to a shape, giving it the default shape attributes. The new shape appears on the Layers palette. Working from a selection path also lets you create shapes based on regions of the image.
To acquire shapes from Adobe Illustrator: 1 In Corel Painter, choose File menu > Acquire > Adobe Illustrator File. 2 In the Adobe Illustrator File dialog box, select the Adobe Illustrator file and click Open. To convert text in Adobe Illustrator: 1 In Adobe Illustrator, select the text using a selection tool. 2 Choose Type menu > Create Outlines. Setting Shape Attributes You can specify several characteristics for a shape.
angle, a sharp corner is created. You can set the miter limit to smooth out the sharpness. 4 Specify any of the following Fill attributes: • Fill—to fill a shape, enable the Fill check box. To empty the shape (clear the fill), disable the Fill check box. • Color—double-click the color chip and choose a color from the Color Picker. • Opacity—controls the opacity of the fill. Adjust to the right to make the fill more solid. Adjust to the left to make the fill more transparent.
Convert Point changes anchor points from corner points into smooth points and vice versa. Selecting a Shape If you don’t see the shape’s outline path, you’ll want to select the shape— to display the path and anchor points—before proceeding. It is easier to work when you can see the path and points. For information about selecting shapes as layers, refer to “Selecting Layers” on page 235. To select a shape: • With the Shape Selection tool click a shape.
smooth and corner points, refer to “Converting between Smooth and Corner Points” on page 376. To adjust a curve: 1 Choose the Shape Selection tool from the toolbox . 2 Click a shape to select it. If an anchor point’s wings are not displayed, drag over the anchor point to display them. 3 Drag a wing handle to set the curve you want. Use the Add Point tool to add anchor points to the path.
When you drag the handle on one wing of a smooth point, the curves on both sides of the point change. With a smooth point, you adjust the angle of the wings concurrently. A corner point is converted to a smooth point. Use the Shape Selection tool to drag a wing handle. Converting between Smooth and Corner Points Two connecting curves (or straight lines) share one anchor point, which can be a smooth or corner point. The wings on smooth and corner points behave differently.
2 Click where you want to split the shape (you cannot click an endpoint). The Hot Spot of the Scissors tool is where the blades cross. Position the cross on the line. The scissors snap closed momentarily, and two new anchor points are created. If you want to remove a section of the path, click another place on the path. Then use the Shape Selection tool to drag the segment away.
Averaging Anchor Points Averaging moves two or more anchor points with respect to each other in horizontal, vertical, or both dimensions. One of the basic uses for averaging is when you are going to join the endpoint of one curve to the endpoint of another. Averaging the endpoints in both directions brings them precisely on top of each other. Now, when you join the endpoints, Corel Painter merges them to a single point, through which the path continues.
more information on the Rotate command, refer to “Rotating Images” on page 262. To rotate a shape: 1 Choose the Layer Adjuster tool from the toolbox. 2 Select the shape or group you want to rotate. You can hold down Shift to select additional items. A selection rectangle appears around the shapes. The rectangle has a handle on each corner and side. 3 Choose Effects menu > Orientation > Rotate. 4 In the Rotate Selection dialog box, specify a number of degrees.
Tip • You can also flip a shape by selecting it and choosing Effects menu > Orientation > Flip Horizontal or Effects menu > Orientation > Flip Vertical. Duplicating Shapes Flipping Shapes Duplicating creates an identical copy of the selected shape. Corel Painter also lets you duplicate shapes using compound transformations. Transformed duplicates are created according to the options you set. You can flip a shape horizontally or vertically.
Creating Compound Shapes • Slant controls the degree of slant applied to duplicates. Positive values slant duplicates to the right. Negative values slant them to the left. Slant accepts values between –90° and 90°. However, as values approach the extremes, the duplicate shape becomes nothing but a streak. To create a transformed duplicate: 1 Select the shape you want to transform. 2 Choose Shapes menu > Duplicate. Corel Painter creates a duplicate shape according to the specifications you’ve set.
Hold down Shift and select both shapes, or drag over the shapes to marquee select them. 2 Choose Shapes menu > Make Compound. Tip • You can create nested compound shapes by creating a compound shape from a shape and a compound shape. Blending Shapes Blending creates intermediate shapes between two or more selected shapes. This is useful for morphing one shape into another. It is also used to simulate shading on irregular shapes.
• RGB—the color progresses directly over the course of the blend. • Hue CW—the color progresses clockwise in the color wheel to reach the destination color. • Hue CCW—the color progresses counterclockwise in the color wheel to reach the destination color. 9 Specify a Perspective Factor. Perspective Factor controls the spacing of intermediate shapes. Acceptable values are between 0.01 and 100. With a Perspective Factor of 1.0, the shapes are spaced evenly.
20 Working with Text Corel Painter lets you position and manipulate editable text on your image. The Text Layer A text layer holds a single text block. When you create a new text layer with the text tool, that layer becomes visible on the Layers palette, and is represented by a T icon. With the text on a separate layer, you can work with your image without changing any text attributes. You can select the text layer and edit it at any time.
Dropping Text While you are working with text, it resides on a layer and is not yet a part of the image. When a text layer is dropped, it integrates with the canvas and can no longer be edited. To drop a text layer onto the canvas: 1 On the Layers palette, select a text layer. If you want to select more than one text layer, highlight several layers and group them. 2 Click the Layer Commands button at the bottom of the Layers palette, and choose Drop.
Alignment A text block can be left, right, or center justified. The text baseline origin is used as the reference point for the text alignment. You can specify justification on the Text palette. To align text: 1 Choose Window menu > Show Text to display the Text palette. 2 On the Text palette, enable one of the following buttons: • Align Left • Align Center • Align Right Kerning Text Kerning refers to adjusting the amount of space between letters. Corel Painter does this automatically with most fonts.
Adding Shadows To move the shadow: You can apply a shadow to text and adjust the shadow position. You can select an external shadow, which places the shadow behind the text, or an internal shadow, which places the shadow inside the text. • Select the Layer Adjuster tool and drag the shadow to where you want it. To add a shadow: Rotated text. To skew text: 1 Select text using the Layer Adjuster tool.
of text characters. Directional blurs lets you specify the direction in which the blur occurs. To add a blur: 1 Choose Window menu > Show Text. 2 Choose Window menu > Show Layers. 3 On the Layers palette, select the Text layer or the Shadow layer. 4 On the Text palette, adjust the Blur slider. If you want to apply directional blur, enable the Directional Blur option, and adjust the Direction slider.
• The Curve Stretch style actually changes the shape of the letters to fill in the space that would be left when the curve bends. For example, if text is set on a circular path, Corel Painter makes the tops of the letters heavier and thicker to fill in space. • Curve Perpendicular • Curve Stretch 3 Select the Layer Adjuster tool and drag the handles of the bounding box to adjust the text. To change the path: 1 Choose Window menu > Show Text. 2 Choose the Shape Selection tool from the toolbox.
After you convert a text layer to a standard layer, you can still adjust the compositing method and opacity of the new layers. To convert a text layer to a standard layer: 1 On the Layers palette, choose a text layer. 2 Click the palette menu arrow, and choose Convert to Default Layer. To convert a text layer to shapes: 1 On the Layers palette, choose a text layer. 2 Click the palette menu arrow, and choose Convert Text to Shapes. The text layer is replaced by a group of shape layers.
21 The Web The World Wide Web has quickly become the most prevalent environment for communications today. The Web features of Corel Painter let you take natural media to the next level—the Internet. Features for the Web Felt pens, charcoal, colored pencils, water colors, oils, paint brushes, plugin effects, and text merge with imageslicing, client-side image maps, and rollovers to create breathtaking Natural-Media effects for any Web site.
To display the RGB values of the current color on the Colors palette, click the palette menu arrow and choose Display As RGB. To display these values in hexadecimal format, click the palette menu arrow and choose Display As Hex. Concatenate the three values (R, G, and B) to determine the hexadecimal number required for your HTML code. For example, ‘FF0000’ is the hexadecimal value for red. Choose Edit menu > Fade to lighten the pattern.
An image designed for use as part of a pattern is normally created so that it tiles seamlessly. That is, the eye should not be able to distinguish the edges between tile repetitions. Tile dimensions should be as small as practical, but should probably never go below 20 x 20 pixels. If a tile is too small, it actually takes the browser longer to render it over a large area. Corel Painter has features that can help you create seamless tiles, which you can then use as interesting Web backgrounds.
that creates organic patterns, which can make interesting background tiles. The patterns it generates can be filled with color and even enhanced with a paper texture. For more information about the Make Fractal Pattern command, refer to “Creating Fractal Patterns” on page 71. Color Overlay, the Water Color brushes, and Cloning are other options you can apply to a pattern. Beautiful, complex effects can also be achieved by applying Glass Distortion to a pattern created with Make Fractal Pattern.
appearance to all or discrete areas of your image. For more information, refer to “Impasto” on page 135. For more information about Bevel World, refer to “Bevel World” on page 317. Indicating Button States You can create a rollover effect by displaying a second image when a Web button is clicked. This creates two states for the button (“normal” and “clicked”). For more information about creating rollover effects, refer to “Creating Rollovers” on page 403.
Segmenting a large graphic into smaller, optimized image files can reduce load time while letting you control the resulting image quality. The Image Slicer supports these export options: • GIF • JPEG • TIFF (for lossless export to other graphics applications) • No Export For example, one part of your image might contain a photo; a second, a graphic image; and a third, some text.
However, it’s helpful to have some understanding of how tables operate within HTML, as the slices will become part of a table. A table displays information in rows and columns, with borders that can be shown or hidden. Tables allow you to format or lay out elements on a page to create alignment and space. If one or more of the slices is designed to be a rollover, the Image Slicer plugin generates the JavaScript needed for the rollover effect. Refer to “Understanding Rollovers” on page 403.
slice to jump to a specified location. For specific information about GIF options, see “Saving GIF Files” on page 48. For specific information about JPEG options, see “Saving JPEG Files” on page 47. You can also set options for using slices as rollovers. For more information, refer to “Creating Rollovers” on page 403. After setting options for all the slices in your image, you can export them. To slice an image: 1 Open the image you want to slice. Starting with a resolution of 72 dpi is recommended.
2 In the File Name box, type the new name. The new name displays in the Slice pop-up menu the next time you select a slice. Note • By default, slices are automatically named according to their position order (Image1, Image2, and so on, moving from left to right, top to bottom). These names correspond to cells in the HTML table that reconstructs your image. When you rename a slice, Corel Painter disables the Auto option for that slice.
Note • RIFF format contains data about your image that is lost when you convert it to GIF or JPEG. If you may need to edit the file later, save a RIFF copy before you generate a GIF or JPEG version. Automatically assigned slice names change based on the top-left slice in the group. To group slices: Grouping Slices You can fine-tune your sliced image by combining slices that go together or that do not contain slice objects. A sliced image, before slices are grouped.
To ungroup slices: • Mouse over — This image displays when the pointer moves over the rollover. • Mouse click — This image displays when the user clicks the rollover. When the user releases the mouse button, the Mouse out image is displayed again. • Click the Select tool and Shift+click a grouped slice. All slices are ungrouped. If you ungroup a nested group, all levels are ungrouped and the original slices are displayed.
Creating Rollovers from Image Slices Using the Image Slicer, you can divide your image into rectangular areas called slices. Each slice can have one of the following rollover state combinations: • No rollover — The slice has no rollover states. • Mouse over-out — The slice has two states: Mouse over and Mouse out. • Mouse over-out-click — The slice has three states: Mouse over, Mouse out, and Mouse click. A single image can contain different slices with different rollover combinations.
3 For each rollover slice, specify the supported rollover states (Mouse over - out or Mouse over - out click). You do this by choosing an option from the Rollover State pop-up menu in the Image Slicer dialog box. For more information, refer to the procedure, “To set slice options:” on page 401. Exporting Rollover Slices Once you have defined slices, you are ready to export the slices and the associated HTML file. You must do a separate export operation for each rollover state.
Notes • You must exit the Image Slicer dialog to manipulate the image. • It’s important not to modify the image slice settings in any way between each of these export operations (for example, do not change any slice name or resize/add slices). Any changes you make may result in a nonfunctional HTML file. If you decide to modify one or more slice settings, you must repeat the export process from the beginning.
circular area as a circle and a rectangle as a rectangle. Oval areas are exported as rectangles. Image maps are created using layers. The size of the layer determines the clickable area. For information about working with layers, refer to “Using Layers and Layer Masks” on page 229. The size of the layer determines the size of the clickable area, or hotspot. Server-side image mapping handles circles and ovals differently. With server-side mapping, you can export ovals.
The File Information dialog is displayed. 2 Select WWW Map default URL. 3 Enter a URL address. 4 Click OK. 2 If you don’t provide a default URL, clicking outside the defined hotspot areas has no effect. 3 Server-Side Image Mapping 5 In Corel Painter, you can define a layer as a clickable region. Corel Painter saves this image map information within a separate text file, which you can upload to your Web server. It can then be accessed by a CGI script.
Creating GIF Files Creating Transparent GIFs The ability to define transparent areas in a GIF file is used everywhere on the Web today. If designed correctly, GIFs with transparent areas are very effective when displayed over background colors or tiles. In Corel Painter, the method of defining transparency during GIF export is to define the transparent areas based on the current selection.
masked and that the transparent area is correctly positioned. Transparent areas are designated with a grid. If necessary, drag in the Preview window to view all parts of the image. 8 Choose one of the following imaging methods: • Quantize to Nearest Color causes Corel Painter to look at each pixel and pick the nearest color. This is useful when the image you are saving has broad areas of a single color.
In the preview window, the image appears in 256 colors. 5 Change the number of colors to 128. In the preview window, the image appears in 128 colors. 6 Continue reducing the number of colors in the graphic until you find the minimum number of colors necessary for adequate display on your Web page. 7 Choose Quantize to Nearest Color if you want Corel Painter to look at each pixel and pick the nearest color.
a highly sophisticated method of reducing color (it offers you no control over exactly how color reduction is performed), Posterize Using Color Set can be a real time-saver. In addition, you can constrain the colors you use to the default or another Corel Painter Web-safe palette, utilize new Web-safe single color brushes (refer to “One-Color Brushes” on page 412) and keep the number of colors in your image to a minimum.
color is black, there are no intermediate gray pixels at the brush’s edge. There is either black or the background color. In addition to a flat color, this brush type responds to paper texture. Different paper textures cause the same type of brush stroke to look different. Magnified detail of the stroke is shown to the left of each W-stroke. In this image, the identical brush and stroke is applied using a different paper texture.
Calligraphic velocity (left) and calligraphic velocity posterized (right). Examples of brush strokes produced by Webfriendly brushes. A few of the new brush variants included in Corel Painter are not onecolor brushes. If you are concerned about having Web-safe colors, make sure the Corel Painter Color set or the Corel Painter Colors-WEB Color Set is loaded, then change the image into Web-safe colors by choosing Effects menu > Tonal Control > Posterize Using Color Set.
22 Scripting Scripts allow you to record every action you make in the Corel Painter application. Scripts can replay the artist’s process of creating an image, or they can hold procedures and operations. For example, if you must apply color adjustments to a collection of images, you can script these operations. Playing back the script lets you perform color correction on other images with the click of a button.
• You can record a script that plays back using the current art materials. For example, you can record a script of a pencil drawing, then open a new document, choose a different paper texture, color, and brush, and play back the script. Watch Corel Painter repeat your drawing with the selected art materials. • Scripts are a great educational tool. Playing the script of an art project lets you see the step-by-step process used to make the image. It’s like looking over the artist’s shoulder.
Script buttons, from left to right: Stop, Play, Record, Pause, and Step Forward. Script List The Script list on the Scripts palette offers tighter control in developing and playing scripts. The Script list contains the instructions that make up a script. You can edit, copy, and move instructions. You can also copy and move instructions between scripts. For more information, refer to “Editing Scripts” on page 419. Recording Scripts When you record a script, first you set up your Script Options.
Corel Painter automatically adds an icon for the script in the Script selector. Note • If brushes, papers, patterns, or other materials required by the script are stored in alternate libraries, these libraries must be available during playback. Playing Scripts When you play your recorded script, you can sit back and watch the operations unfold. In Corel Painter, replaying a script of a painting is like watching the artist at work.
To play back at a different resolution: 1 Create a new document with the resolution at which you want to play the script. If you want the resulting image to be a higher resolution than the original, create a document with proportionally larger dimensions. For example, if the original document is 500 X 500 pixels, make the new document 1000 X 1000 pixels to double the size.
in the Open Script dialog. You cannot edit the “always script.” However, if you open this script, you can copy instructions from it and paste them into another script. In this way, you can easily record recently taken steps into a script. To select one or several instructions: • You can select a single instruction by clicking it. • You can select multiple instructions by holding down Shift and clicking each instruction.
the movie. This is a great way of creating special effects for your movies. For more information about creating movies, see “Creating a Movie” on page 425. If the script was recorded to be resolution-independent, you can replay your session into a movie with different dimensions. For additional information, refer to “Replaying a Script at a New Resolution” on page 418. If the script is not resolutionindependent and the new image window is larger, the script plays back in the upper-left corner of the movie.
23 Animation and Video An animation is a series of drawings with progressive change. When viewed in rapid succession, they create a moving image. Because Corel Painter has its full suite of Natural-Media tools and effects available for each image in a frame stack, it’s an extraordinary program for creating original animation. The animation features in the Corel Painter application give you the power to work with video and create animations, including onion skinning and rotoscoping.
use the Natural-Media tools in Corel Painter to create your own animations with a traditional look. Onion skinning allows you to see multiple frames at the same time. In Corel Painter, you can view up to five frames at a time: the current frame and four other frames adjacent to it. This will help you determine where the next frame of motion should be drawn. You can play back your animation over and over as you create it, to be sure you have the correct flow of movement.
Icon Keyboard shortcut Comment Step Forward Page Up Advances to the next frame. When a frame is the last in the stack, Corel Painter adds a new frame to the end and advances Fast For- End ward Advances to the last frame in the stack The frame stack format in Corel Painter is a series of images, each equal in size and resolution. The Frame Stacks palette appears whenever you open or create a movie file. The Frame Stacks palette must stay open while you work with a movie.
3 4 5 6 7 sizes consistent with this aspect ratio. Click the Movie radio button under Picture Type and enter the number of frames you want to create. Remember, you will be able to add and delete frames at any time. Click OK. A dialog prompts you to name your new movie. Type a name for the movie and click Save. In the New Frame Stack dialog box, choose a number of onion skin layers. The number of onion skin layers determines the number of frames displayed in the Frame Stacks palette.
2 In the Open dialog box, locate the movie or frame stack. When a file is selected, the dialog shows the frame size, file size, and the number of frames. If a preview is available, it will show a thumbnail of the first frame. 3 Click Open. 4 In the Open Frame Stack dialog box, choose the number of onion skin layers you want to appear in the Frame Stacks palette. The number you choose also determines the number of thumbnails visible in the Frame Stacks palette. In most cases, you’ll want four or five layers.
You can change the current frame by clicking any thumbnail in the Frame Stacks palette. This lets you view a frame in any position of the onion skin sequence. For example, if you want to display the reference frames before the current frame, set the current frame to the far-right position in the palette. If you want to display the frames before and after the current frame, set the current frame to the middle thumbnail in the palette.
Modifying a Movie Frames can be added to, or deleted from, a movie. You can also erase the contents of a frame while leaving the frame in the movie. These changes cannot be undone, so it’s best that you create your animation in segments and combine them when you are finished. This example shows a blinking eye as an animated cycle. You draw the frames once, and then repeat them. To create a clean cycle, the beginning and ending images must be the same.
Deleting Frames from a Movie When you delete frames, the frames are removed from the movie and subsequent frames are renumbered as necessary. To delete frames from a movie: 1 Choose Movie menu > Delete Frames. 2 In the Delete Frames dialog box, enter the range of frames you wish to delete. Erasing Frame Contents Erasing clears the image to the paper color. The frames themselves remain in the movie. To erase frame contents: 1 Choose Movie menu > Erase Frames.
video). This is the video standard used in the United States. • The frame rate of PAL video is 25 fps. These frame rates are sufficient to produce smooth, continuous motion with filmed or video-recorded subjects. Animation drawings contain far less detail than live-action images. The difference in the level of detail allows animations to be produced at frame rates significantly below those designed for live action.
You’ll get better results if the movie you insert is designed for the same frame rate as the current movie. You can insert a movie before or after a specific frame, at the start of a movie, or at the end of a movie. movie of an owl on a roost. After capturing the video digitally, we imported it into Corel Painter and removed the roost frame by frame, using the masking tools.
3 When you’re ready to work on the next frame, click the Step Forward button. Changing frames automatically saves the frame. You cannot undo changes after the frame is saved. There is no Undo for applying a script to a movie. You might want to work with a copy of the movie, or you might apply the script to a short sample movie to test it. Applying Scripts to Movies 1 Become familiar with recording a script in “Scripting” on page 415.
To set grain position: 1 Record a script that applies surface texture or dye concentration to an entire image. 2 Choose Movie menu > Set Grain Position. The Frame-to-Frame Grain Position dialog appears. 3 Choose one of the following options: Grain Stays Still—this option allows the grain to remain in the same position throughout the movie. Grain Moves Randomly—this option moves the grain as the movie plays. Grain Moves Linearly—this option increments the grain movement.
When creating selections in the foreground movie, if the background is uniform—all white, for example— you can take advantage of the automatic selection and script features. For more information, refer to “Automatic Selecting and Scripting for Efficiency in Compositing” on page 436.
course, this assumes that the entire movie can use the cloned background. For more information, refer to “Applying Scripts to Movies” on page 433. The frame stack of the background movie The frame stack of the foreground movie where selections of the dog are generated easier and faster. For information about recording scripts, refer to “Scripting” on page 415. You can create a selection based on image characteristics or color. You do this once and record the process as a script.
you can create a different correspondence by choosing other frames before setting the movie clone source. For example, if the current frame of the clone movie is frame 1 and the current frame of the source movie is frame 5, the correspondence would be 1-5, 2-6, 3-7. This means that the source for frame 1 in the clone movie is frame 5 in the source movie, and so on. For information on cloning brushes, refer to “Cloning Imagery” on page 187.
For best results, the source should have the same frame rate you intend for the animation. For more information on frame rates, refer to “Frame Rate—A Matter of Time” on page 430. To trace a movie: 1 Choose File menu > Open and open the source movie you want to trace. 2 Create a new movie with the same dimensions and number of frames as the source. With these two frame stacks open, you’re ready to trace the source into the new movie.
• • • • frame, this compressor is lossless. For most Corel Painter animations, this compressor is a good choice. Cinepak®—this method produces acceptable motion and image quality at remarkably small file sizes. It is the preferred format for CD-ROM delivery and transfer across the Internet. Cinepak can take a long time to compress, and it can be difficult to find the best compression settings for certain image types and frame rates. Graphics—this method is limited to 256 colors.
Exporting a Movie as an AVI Movie (Windows) If you are using a Windows system, you can export your movie as an AVI movie. AVI supports several compression schemes. The following descriptions should help you choose one; however, you’ll probably want to experiment with different compressors and settings to identify the best settings for your work. You may also have additional compression methods available. • Cinepak produces acceptable motion and image quality at remarkably small file sizes.
Working with Numbered Files Corel Painter supports importing and exporting numbered files. Numbered files are any series of files that are the same size and resolution, and named following a specific style, which includes a number at the beginning or end of each file name. For example, the first frame might be called Movie01, the second frame Movie02, and so on. When you export a movie as numbered files, you can import the numbered files into an application that may not support other movie formats.
Animations for the World Wide Web Corel Painter lets you export a frame stack as an animated GIF file. The animated GIF format is ideal for displaying simple animations on the World Wide Web (WWW). Animated GIFs are easy to create and add to your Web pages. You give them the same HTML tag you would any GIF image. The only difference is that the browser displays the file as an animation. Animated GIFs can be used as a link anchor or as an image map. However, they cannot be used as a background.
If you want to gradually display images in the Web browser as they load, you can enable the Interlaced option. If you have created selections in each frame, you can make your image transparent and choose your background option. You might need to adjust the Threshold slider to determine at what selection mask value the image becomes transparent. For more information on these GIF options, refer to “Saving GIF Files” on page 48.
In the client browser, the animation will appear one frame at a time during the download. In most cases, this will be significantly slower than the intended display rate. After all frames have been downloaded, the browser will loop the animation (if the loop option is used), with the specified delay between frames. The animation plays from the browser’s cache so it’s much faster. If the animation in the browser window stops playing, it’s probably finished the set number of loops.
24 Printing You can print Corel Painter images on a wide variety of printers, including PostScript, Windows Graphics Device Interface (GDI), and Quick Draw® printers, and high-resolution imagesetters. Understanding Printing Even if your final goal is to print highquality color prints, it’s a good idea to first print proofs on any printer you have available. You can use a black and white printer to check page size and placement of images on the page.
turned into PostScript paths and printed at the full printer resolution, although there are some exceptions. Some effects that you can apply to Corel Painter shapes, such as transparency and compositing, are not actually printable with PostScript Level I or II. You must rasterize them on the canvas before printing. Any object in a lower position on the Layers list “touched” by a rasterized shape must also be rasterized to preserve the effect.
To size an image to fit your page: 1 Do one of the following: • (Mac OS) Choose File menu > Page Setup. • (Windows) Choose File menu > Print. 2 Enable the Size to Fit Page check box. Note • If an image is larger than the page size and you haven’t enabled Size to Fit Page, your image will not print. Printing an Image Once you have chosen options in the Page/Print Setup dialog box, you are ready to print. To print an image: 1 Choose File menu > Print to open the Print dialog box.
Understanding Color Management Each device has a range of colors, or color space, that it uses. For example, a monitor displays a different set of colors than a printer reproduces. So some colors may print differently than they appear on the screen. You can use a color management system to translate colors from one device to another. Color profiles define the color space for your monitor and for the input and output devices you use. Color management helps ensure color consistency and accuracy.
Scanner/ digital camera icon Import/ export icon Internal RGB icon Separations printer icon Composite printer icon Inactive arrow Monitor icon Active arrow Corel Painter 449
In the Color Management dialog box, you can activate the following icons: • Scanner/digital camera icon The following table contains descriptions of what happens when an arrow is enabled or disabled. Arrow Enabled Disabled From internal RGB to the separations printer The separations printer profile is used for color correction. The profile is not used. You can override this setting in the Print dialog box.
Working with Color Profiles A color management system helps you consistently achieve accurate colors across a variety of devices. The first stage in setting up your color management system is to choose color profiles for your monitor and each of the devices you use, such as scanners, digital cameras, and printers. Different brands and models of monitors, scanners, digital cameras, and printers have different color spaces, and thus require different color profiles.
If you want to store the new color profile with the existing profiles, download it to the application's Color folder. Choosing Advanced Color Management Settings To choose a color engine and rendering intent 1 Click Canvas menu > Color Management. 2 Click the Internal RGB icon .
• Default settings • Optimized for desktop printing • Optimized for professional output • Optimized for the Web Correcting Colors for Display To correct colors for display 1 Click Canvas menu > Color Management. 2 Do one of the following: • To correct display colors, click the arrow from the Internal RGB icon to the Monitor icon . • To display simulation of a composite printer output, click the arrow from the Composite printer icon to the Monitor icon .
The Corel Painter Installer places the KCMS files in the correct locations. If you choose not to install the KCMS files, the color management features described in this section will be unavailable. If you want to use KCMS files, run the Corel Painter Installer again and do a custom install to obtain just the KCMS files. If you need a profile for your output device, you can contact the manufacturer and ask for the ICC profile for your specific device. You can also contact Kodak directly.
25 Keyboard Shortcuts Many features in Corel Painter have keyboard shortcuts. These allow the user to access a variety of tools quickly and easily using the keyboard, rather than selecting them from a menu or palette. The four modifier keys on the Windows keyboard are Ctrl, Alt, Shift, and the Spacebar. The four modifier keys on a Mac-compatible keyboard are Command, Option, Shift, and the Spacebar.
the Shift key while using the Rectangle shape tool constrains the shape to a square; whereas holding down the Shift key while using a Cloning brush sets the clone destination. Toolbox Commands Tool Name Tool Name Shortcut Key Adjuster Tools Layer Adjuster F Selection Adjuster S Shape Selection H Shortcut Key Navigation and Utility Tools Shape Design Tools Magnifier M Pen Grabber G Quick Curve Q Rotate Page E Text T Perspective .
Palette Commands File Menu Commands Command Mac OS Windows Command Mac OS Windows Show/Hide Colors Command + 1 Ctrl + 1 New Command + N Ctrl + N Show/Hide Mixer Command + 2 Ctrl + 2 Open Command + O Ctrl + O Show/Hide Color Sets Command + 3 Ctrl + 3 Close Command + W Ctrl + W Show/Hide Layers Command + 4 Ctrl + 4 Save Command + S Ctrl + S Save As Shift + Command + S Shift + Ctrl + S Page Setup Shift + Command + P Shift + Ctrl + P Show/Hide Channels Command + 5 Ctrl +
Canvas Menu Commands Select Menu Commands Mac OS Windows Command Tracing Paper Command + T Ctrl + T Select All Command + A Ctrl + A Resize Image Shift + Command + R Shift + Ctrl + R Deselect Command + D Ctrl + D Invert Shift + Command + I Shift + Ctrl + I Reselect Shift + Command + D Shift + Ctrl + D Hide Marquee Shift + Command + H Shift + Ctrl + H Load Selection Shift + Command + G Shift + Ctrl + G Command Effects Menu Commands Command Mac OS Windows Last Effect Command +
Window Menu Commands Command Mac OS Palette Navigation Windows Command Mac OS Scroll Contents of Palette Option + click + Alt + click + drag drag Expand/Collapse All Palettes Shift + click on Open/Close triangle Shift + click on Open/Close triangle Mac OS Windows Show/Hide Palettes Tab Tab Zoom In Command + Plus sign Ctrl + Plus sign Zoom Out Command + Minus sign Ctrl + Minus sign Zoom to Fit Command + 0 Ctrl + 0 Full Screen Window Command + M Ctrl + M Command Mac OS Scroll Imag
Command Mac OS Windows Load Nozzle Command + L Ctrl + L Selection Tools Command Mac OS Windows Shift + click Shift + click Add to Selection Shift Shift Subtract from Selection Option Alt Rectangle, Oval, and Lasso Selection Tools Cloning Set Clone Source Option Alt Set Clone Destination Option + Shift Alt + Shift Re-link Clone Source Command + Option + Clone Ctrl + Alt + Clone Command + Shift + K Ctrl + Shift + K Add Color to Selection Shift + click Shift + click Shift + X S
Adjuster Tools Command Mac OS Windows Layer Adjuster Command (except when either the Screen Navigation or Shape Tools are selected) Ctrl (except when either the Screen Navigation or Shape Tools are selected) Selection Adjuster Command (when Ctrl (when Selection Tools are Selection Tools selected) are selected) Shape Selection Tool Command (when Ctrl (when Shape Tools are Shape Tools are selected) selected) Command Mac OS Windows Select All Layers none Command + Shift + Option + A Deselect Lay
Command Mac OS Windows Shape Design Tools Move Selection by One Screen Pixel Arrow keys, on canvas Arrow keys, on canvas Command Delete Current Selection Delete Backspace Select/Deselect Mode Shift Shift Windows Add to Current Point Click last point Click last point Click and draw from endpoint Click and draw from endpoint Quick Curve Free Transform Resize Corner handles Corner handles Resize/Preserve Aspect Shift + corner handles Shift + corner handles Resize/One Dimension Side
Lighting Shape Selection Tool Command Mac OS Windows Direct Selection Command Mac OS Windows Lighting Mover Shift + Command + L Shift + Ctrl + L Select Start Point of Shape Home Home Select Endpoint of Shape End End Select Previous Point in Shape Page Up Page Up Layer Section Tools Select Next Point in Shape Page Down Page Down Command Mac OS Windows Move Path by One Screen Pixel Arrow keys Arrow keys Group Command + G Ctrl + G Ungroup Command + U Ctrl + U Delete Selected (
Mosaics Command Mac OS Windows Get Tile Color Option + click tile Alt + click tile Get Tile Shape Command + click tile Ctrl + click tile Delete Tile Shift + click tile Shift + click tile Select All Tiles A A Deselect All Tiles D D Change Selected Tiles to Current Color C C Tint Selected Tiles with Current Color T T Vary Color of Selected Tiles V V 464 Keyboard Shortcuts
Index A saving selections to . . . . . . . . . . . . . . . . 210 Add Point Tool . . . . . . . . . . . . . . . . . . . . . . . 13 Adjust Colors effect . . . . . . . . . . . . . 268, 269 Adjust Selected Colors effect . . . . . 270, 271 Adobe Illustrator file format acquiring shapes from . . . . . . . . . . . . . 371 exporting shapes to . . . . . . . . . . . . . . . . 383 Adobe Photoshop file format saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Airbrushes . . . . . . . . . . . . . .
Apply Lighting effect . . . . . . . . . . . . . . . . 274 Apply Screen effect . . . . . . . . . . . . . . . . . 286 controls . . . . . . . . . . . . . . . . . . . . . . . . . . 318 light controls . . . . . . . . . . . . . . . . . . . . . 319 Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Apply Surface Texture effect . . . . . . . . . 277 Bézier lines . . . . . . . . . . . . . . . . . . . . . . . . . 367 applying lighting . . . . . . . . . . . . . . . . . . 285 embossing . . . . . . .
saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 selecting saved . . . . . . . . . . . . . . . . . . . . 118 undoing . . . . . . . . . . . . . . . . . . . . . . . . . . 107 using two colors . . . . . . . . . . . . . . . . . . . 109 managing . . . . . . . . . . . . . . . . . . . . . . . . 183 methods . . . . . . . . . . . . . . . . . . . . . . . . . . 152 opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 painting with a stylus . . . . . . . . . . . . . . 102 pooling media .
Clone Color . . . . . . . . . . . . . . . . . . . . . . . . 172 using . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Clone types selecting . . . . . . . . . . . . . . . . . . . . . . . . . . 194 setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 282 200 188 302 Cloning method . . . . . . . . . . . . . . . . . . . . 198 adjusting . . . . . . . . . . . . . . . . . . . . . . . . . 199 Cloning automatically . . . . . . . . . . . . .191, 301, 302 brush loading . . . . . . . .
adding colors . . . . . . . . . . . . . . . . . . . . . . 88 choosing colors . . . . . . . . . . . . . . . . . . . . . 85 creating . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 creating from the Mixer Pad . . . . . . . . . 85 customizing layout . . . . . . . . . . . . . . . . . 86 deleting colors . . . . . . . . . . . . . . . . . . . . . 88 displaying for weaves . . . . . . . . . . . . . . . 74 editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 finding colors . . . . . . . . . . .
Distortion applying to images . . . . . . . . . . . . . . . . Glass Distortion effect . . . . . . . . . . . . . Image Warp effect . . . . . . . . . . . . . . . . . Liquid Lens plug-in . . . . . . . . . . . . . . . Quick Warp effect . . . . . . . . . . . . . . . . . styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 264 296 Drawing area resizing . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 289 322 Drawing method . . . . . . . . . . . . . . . . . . .
Equalize plug-in . . . . . . . . . . . . . . . . . . . . 319 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Esoterica effects . . . . . . . . . . . . . . . . . . . . 299 Auto Clone . . . . . . . . . . . . . . . . . . . 191, 301 Auto Van Gogh . . . . . . . . . . . . . . . 192, 302 Blobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Custom Tile . . . . . . . . . . . . . . . . . . . . . . 304 Grid Paper . . . . . . . . . . . . . . . . . . . . . . . 305 Growth . . . . . . . .
repeating . . . . . . . . . . . . . . . . . . . . . . . . . 429 G Gamma adjusting . . . . . . . . . . . . . . . . . . . . . . . . . 272 GIF file format animated . . . . . . . . . . . . . . . . . . . . . . . . . 410 creating animations . . . . . . . . . . . . . . . . 442 exporting animations . . . . . . . . . . . . . . 442 saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 transparent . . . . . . . . . . . . . . . . . . . . . . . 409 Glass Distortion effect . . . . . . . . . . .
Image maps . . . . . . . . . . . . . . . . . . . . . . . . 406 using libraries . . . . . . . . . . . . . . . . . . . . . 254 blending with layers . . . . . . . . . . . . . . . 141 creating custom brushes . . . . . . . . . . . . 138 depth method . . . . . . . . . . . . . . . . . 139, 174 drawing method . . . . . . . . . . . . . . 139, 173 inverting depth method . . . . . . . . 140, 174 negative depth . . . . . . . . . . . . . . . . . . . . 174 setting light properties . . . . . . . . . . . . .
applying . . . . . . . . . . . . . . . . . . . . . . . . . . 258 clearing . . . . . . . . . . . . . . . . . . . . . . . . . . 257 compared to channels . . . . . . . . . . . . . . 255 copying to channels . . . . . . . . . . . . . . . . 257 creating . . . . . . . . . . . . . . . . . . . . . . 255, 256 creating texture with . . . . . . . . . . . . . . . 283 deleting . . . . . . . . . . . . . . . . . . . . . . . . . . 257 editing . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 enabling and disabling .
Looks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 modifying . . . . . . . . . . . . . . . . . . . . . . . . . 26 moving items between . . . . . . . . . . . . . . 25 nozzle . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 renaming items . . . . . . . . . . . . . . . . . . . . 26 setting default . . . . . . . . . . . . . . . . . . . . . . 51 Lighting adding and deleting sources . . . . . . . . 275 adjusting for textures . . . . . . . . . . . 285, 286 applying . . . . . . . . . . . .
clearing . . . . . . . . . . . . . . . . . . . . . . . . . . . creating color sets . . . . . . . . . . . . . . . . . . loading . . . . . . . . . . . . . . . . . . . . . . . . . . . . saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 85 84 84 Mixer palette . . . . . . . . . . . . . . . . . . . . . . . . 82 tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Mixer palette colors . . . . . . . . . . . . . . . . . . 83 changing . . . . . . . . . . . . . . . . . . . . . . .
importing . . . . . . . . . . . . . . . . . . . . . . . . 441 O Paint Bucket Tool . . . . . . . . . . . . . . . . 11, 119 mask threshold . . . . . . . . . . . . . . . . . . . . 120 Painting . . . . . . . . . . . . . . . . . . . . . . . . . 99, 106 Offset cloning . . . . . . . . . . . . . . . . . . . . . . 192 Onion skinning . . . . . . . . . . . . . . . . . . . . . 427 Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 brushes . . . . . . . . . . . . . . . . . . . . . . . . . . .
scrolling . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Selection Portfolio . . . . . . . . . . . . . . . . . . 19 shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . 457 showing . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 showing custom . . . . . . . . . . . . . . . . . . . . 30 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Tool Tips for custom . . . . . . . . . . . . . . . 28 Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Weaves . . .
Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Operating System (Windows) . . . . . . . . 56 setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Pressure adjusting for mouse . . . . . . . . . . . . . . . . 103 Previewing brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 images . . . . . . . . . . . . . . . . . . . . . . . . .
layers and . . . . . . . . . . . . . . . . . . . . . . . . 234 saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Rollovers creating . . . . . . . . . . . . . . . . . . . . . . . . . . defining . . . . . . . . . . . . . . . . . . . . . . . . . . exporting slices . . . . . . . . . . . . . . . . . . . . indicating button states . . . . . . . . . . . . 403 404 405 397 Rotate Page Tool . . . . . . . . . . . . . . . . . . . . . 10 rotating documents . . . . . . . . . . . . . . . . .
brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 clone type . . . . . . . . . . . . . . . . . . . . . . . . 194 gradients . . . . . . . . . . . . . . . . . . . . . . . . . . 94 layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 nozzles . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 saved brush strokes . . . . . . . . . . . . . . . . 118 script instructions . . . . . . . . . . . . . . . . . 420 shapes . . . . . . . . . . . . . . . . . . . . . . . . . . .
exporting to Adobe Illustrator . . . . . . . 383 flipping . . . . . . . . . . . . . . . . . . . . . . . . . . 380 grouping . . . . . . . . . . . . . . . . . . . . . . . . . 381 joining endpoints . . . . . . . . . . . . . . . . . 377 moving anchor points . . . . . . . . . . . . . . 374 printing . . . . . . . . . . . . . . . . . . . . . . 368, 445 releasing compound shapes . . . . . . . . . 382 resizing . . . . . . . . . . . . . . . . . . . . . . . . . . 378 rotating . . . . . . . . . . . . . . . . . . . . .
Apply Lighting . . . . . . . . . . . . . . . . . . . . 274 Apply Screen . . . . . . . . . . . . . . . . . . . . . 286 Apply Surface Texture . . . . . . . . . . . . . 277 Color Overlay . . . . . . . . . . . . . . . . . . . . . 287 Distress . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Dye Concentration . . . . . . . . . . . . . . . . 288 Express Texture . . . . . . . . . . . . . . . . . . . 289 Image Warp . . . . . . . . . . . . . . . . . . . . . . 289 Quick Warp . . . . . . . . . . . . . . . . . .
Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Brush Creator . . . . . . . . . . . . . . . . . . . . . 144 closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 docking . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 moving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . 456 Tools accessing . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Brush Creator . . . . . . . . . . . . . . .
transparent backgrounds . . . . . . . . . . . 409 Web buttons . . . . . . . . . . . . . . . . . . . . . . . 396 3D techniques . . . . . . . . . . . . . . . . . . . . 396 adding shadows . . . . . . . . . . . . . . . . . . . 396 indicating rollover states . . . . . . . . . . . . 397 shapes and selections . . . . . . . . . . . . . . 396 Woodcut effect . . . . . . . . . . . . . . . . . . . . . 291 Z Zoom Blur effect . . . . . . . . . . . . . . . . . . . . 298 Zooming in and out . . . . . . . . . . . . . . .
