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Copyright 1991 - 2004 Corel Corporation. All rights reserved. Corel® Painter™ IX 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.
In no event will Corel's licensor(s), and their directors, officers, employees, or agents (collectively "Corel's licensor") be liable to you for any consequential, incidental, or indirect damages (including damages for loss of business profits, business interruption, loss of business information, and the like) arising out of the use of, or inability to use, the software even if Corel's licensor has been advised of the possibility of such damages.
Featured artists Ryan Church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chet Phillips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Christopher Welch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Jeremy Sutton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Cher Threinen-Pendarvis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Table of contents Art by Ryan Church: Concept painting for a movie scene Welcome to Corel Painter IX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 What’s in This User Guide? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 What’s New in Corel Painter IX? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 How to Use the Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Using Weaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Art by Jeremy Sutton: Digital portrait painting Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Exploring Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Marking the Canvas . . . .
Cloning and Tracing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Cloning Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Using Cloner Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Turning Other Brushes into Cloners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Art by Ryan Church: Concept painting for a movie scene Ryan Church is one of the leading concept artists working today. He has worked with clients such as Walt Disney Imagineering, Universal Studios, Industrial Light and Magic, and Lucasfilm. Ryan is currently a Concept Design Supervisor for Star Wars: Episode III, and a Senior Art Director at Industrial Light and Magic.
Welcome to Corel Painter IX Corel® Painter™ IX 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 watercolor and oils. What’s in This User Guide? The Corel Painter IX User Guide is divided into nine sections. Each section describes a collection of tools you can use to create digital artwork and provides step-by-step instructions.
Performance and Productivity Increasing the overall speed, performance, and stability was a top priority for Corel Painter IX. Working closely with Apple, Intel, and AMD, Corel engineers created improvements and efficiencies wherever possible. Corel Painter has never been a more efficient and powerful application. Improved Speed This is the fastest version of Corel Painter yet, with some brushes up to 10 times faster! Brushes now perform, on average, twice as fast.
Customizable Shortcut Keys Corel Painter now offers creative professionals an unprecedented level of control over their workflow by enabling complete customization of shortcut keys. A handy printable template for keeping a quick reference is included. Multiuser Support Corel Painter now supports multiple users on both the Mac® and Windows® platforms. User files are stored in the user file directory, ensuring that users in a networked environment can retain individual settings and preferences.
with a finite amount of oil. As the oil runs out, the brush stroke becomes fainter. Brush strokes interact with any paint already on the canvas just as they would with natural media. The Artists' Oils Painting System has four components: • Artists' Oils Brush Category and Variants • Artists' Colors are based on the color measurements of real-world oil paints.
Digital Watercolor Digital Watercolor has been significantly enhanced in Corel Painter IX. Paint stays wet between sessions, enabling users to start one session where the last one ended. The wet fringe of digital watercolor brush strokes can now be changed dynamically, enabling experimentation after the brush stroke has been applied. Quick Clone Quick Clone is ideal for photographers, enabling them to transform their photos into paintings.
In addition, Corel Painter now supports Photoshop plug-ins for Mac OS® X. Enhanced Wacom Support Corel Painter IX features support for Wacom's newest pen tablet model — the Wacom® Intuos®3 — and the entire Wacom tablet product line. The Wacom Intuos3 has touch strips that can be configured to control brush size, zooming, and many other functions, eliminating the need for a keyboard while painting.
Free Academic Courseware Corel Painter academic courseware consists of complete lesson plans and exercises for 10 classes on a variety of subjects. How to Use the Documentation You can find answers to many of your questions in the Corel Painter User Guide and the Help available from within the Corel Painter workspace. The Corel Painter User Guide contains commonly used procedures and information.
Convention Description Example Choose X menu > menu item On the menu bar, click the menu name, and choose the menu item from the list. “Choose File menu > Quick Clone” means the following: Title bar A title bar is located at the top or side of some UI elements, such as the toolbox, property bar, and palettes. It may not display title text. Examples of the toolbox title bar on the Mac OS (left) and in Windows (right): Palette title bar The palette title bar appears at the top of a palette.
Convention Description Example Palette menu arrow or selector menu arrow Clicking a palette menu arrow or a selector menu arrow displays a pop-up menu with additional commands. The palette menu arrow for the Mixer palette displays the Mixer palette menu. Flyout Some tools share a space in the toolbox. Hold down the tool button that’s displayed to open the flyout.
Using Corel Painter Help The Help is the documentation that can be accessed from within the Corel Painter workspace. It is fully searchable and includes all the information in the Corel Painter User Guide and more. To use Help 1 Choose Help menu > Help Topics. 2 Click one of the following tabs: • The Contents tab lets you browse through topics in the Help. • The Index tab lets you use the index to find a topic. • The Search tab lets you search the full text of the Help for a particular word.
Art by Chet Phillips: Newspaper illustration Chet Phillips has presented his slightly off-center view of the world under the guise of a freelance illustrator for more than 20 years. He divides his time between working for corporate, publishing, advertising and design companies as well as displaying his work in galleries and shows. As usual, no electrons are harmed in the process.
The Basics The Corel Painter application provides a digital workspace in which you can create new images, or alter existing images, 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.
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. You can also open documents from other graphics applications and use Corel Painter to add brush strokes, tints, or paper textures. Or, you can clone a document to re-create it in a different medium.
• Resolution is the number of pixels per inch (ppi) or pixels per centimeter that make up an image. In the New dialog box, setting the document’s pixels per inch is the same as setting its dots per inch (dpi). Refer to “Understanding Resolution” on page 19 for detailed information about document, screen, and print resolutions. 3 Click the Paper Color chip to set the document’s background to a color other than white. Choose a color from the Color dialog box that appears. 4 Choose a Picture Type.
Acquiring Images You can acquire images for Corel Painter directly from an external device — such as a scanner or digital camera — if the device provides a: • Adobe Photoshop-compatible plug-in module (Mac OS) • TWAIN driver (Windows) Before acquiring images • Install the device plug-in module on your computer. This plug-in module is provided by the manufacturer of your scanner or digital camera. Refer to the device documentation for installation instructions.
Placing Files Placing a file lets you import an image into an existing Corel Painter document. The placed image becomes a new reference layer in the document — you can transform (resize, rotate, slant) it on screen by dragging its handles. A placed file maintains its link to the source file until you commit it to standard layer format. For general information about working with reference layers, refer to “Working with Reference Layers” in the Help. To place a file 1 Choose File menu > Place.
Resolution and Screen Appearance Most monitors have a resolution of 72 dpi (dots per inch). Because of this, the Corel Painter display default is 72 ppi (pixels per inch). This means that each pixel in the Corel Painter image occupies 1 pixel on your monitor. The display resolution does not affect the document’s actual pixels per inch — only how the image is displayed on the monitor. For example, a 300-ppi document displays at approximately four times its actual size.
Zooming By default, Corel Painter opens a document at 100% magnification, but you can change the level of magnification by zooming. You can zoom in and out using the Magnifier tool, reset magnification, or zoom to fit the screen. You can even zoom in and out while working with other tools. To zoom in 1 Do one of the following: • In the toolbox, click the Magnifier tool . • Hold down Command + Spacebar (Mac OS) or Ctrl + Spacebar (Windows).
To zoom using the Magnifier tool 1 In the toolbox, click the Magnifier tool. 2 Choose a zoom level from the Zoom Level pop-up menu on the property bar. To reset magnification to 100% • Double-click the Magnifier tool. To zoom to fit the screen • Do one of the following: • Choose Window menu > Zoom to Fit. • In the toolbox, double-click the Grabber tool . Corel Painter generates a view of the entire document to fit the size of your screen.
Rotating Documents The Rotate Page tool lets you rotate an image on the screen to accommodate the way you draw naturally. To rotate the page 1 Activate the Rotate Page tool by doing one of the following: • In the toolbox, click the Rotate Page tool . • Hold down Option + Spacebar (Mac OS) or Alt + Spacebar (Windows). The cursor changes to a hand with a pointing finger. 2 Drag in the document window to rotate the image. Move the cursor clockwise to rotate the image clockwise.
To crop an image 1 In the toolbox, click the Crop tool . 2 Drag inside the image to define the rectangular area you want to keep. You can adjust the rectangle by dragging a corner or any of its edges. 3 When you’re ready to execute the crop, click inside the rectangle. To constrain the cropping rectangle to a certain aspect ratio, enter values for the width and height aspect, and enable the Ratio option on the property bar.
Image Size Information You can use the Info palette to check image size. For more information, see “Using the Info Palette” in the Help. Resizing the Canvas If you want the same image at a different scale, you can resize the canvas. You can also change the size of the drawing area or crop the canvas. To resize the canvas 1 Choose Canvas menu > Resize. The Resize dialog box appears, showing the current and new sizes by width, height, and resolution. 2 Enter a new value for width, height, or resolution.
Rotating and Flipping the Canvas Corel Painter lets you rotate and flip the Canvas layer. When you rotate or flip the Canvas layer, all other layers move along with it. You can rotate the Canvas layer by a predefined amount, or you can choose the amount of rotation. If your document has layers of different varieties, you are prompted to commit all of them to default, pixelbased layers.
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 that you can return to the file to re-access them. It is a good idea to always save files in RIF format first. Think of RIF files as “work-in-progress” files. When a file is ready for production, then save it to GIF, JPEG, TIF, or another file format. Corel Painter lets you compress files and save disk space with a lossless compression method.
• The Progressive JPEG check box creates a progressive JPEG file. Progressive format is useful for files used on the Web. As the 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 — NCSA Map File, CERN Map File, and Client Side Map File — let you generate an image map.
If you want your image to have transparency, enable the check box for Output Transparency. Most programs that display GIF files support transparency, but for those that don’t, you should specify the color of the “transparent” area. If your image will be displayed on the Web, enable the Background is WWW Gray option. You can also choose to use the background color of your Web page by enabling the Background is BG Color option.
When you save an image as EPS-DCS with Preview Options turned on, Corel Painter uses the loaded International Color Consortium (ICC) profile to prepare the separation files. If you’re using the Hexachrome® ICC profile, Corel Painter prepares six separation files — Cyan, Magenta, Yellow, Green, Orange, and Black. For more information on Preview Options and color management, refer to “Printing” on page 385. Although you can save your images as CMYK EPS separations, Corel Painter can’t open or edit CMYK files.
To save a file in its current format • Choose File menu > Save. To save a file with a different name or format 1 Choose File menu > Save As. 2 In the Save (Mac OS) or Save Image As (Windows) dialog box, use the controls to specify a location, file name, and format. To perform an iterative save • Choose File menu > Iterative Save. You can also perform an iterative save by pressing Command + Option + S (Mac OS) or Ctrl + Alt + S (Windows).
Setting Preferences Corel Painter has several different pages of the Preferences dialog boxes: General, Brush Tracking, Customize Keys, Undo, Shapes, Internet, Save, Operating System, and Palettes. General Preferences To access General preferences • Do one of the following: • (Mac OS) Choose Corel Painter IX menu > Preferences > General. • (Windows) Choose Edit menu > Preferences > General.
If you want to set the cursor to show the brush size and shape, enable the Brush Ghosting check box. Brush Ghosting gives you immediate visual feedback on the cursor, showing you the shape and size of the selected brush. If you want the drawing cursor icon to be a single pixel, enable the Single Pixel option in the Cursor Type area. When you use a brush with “Enable Brush Ghosting” enabled, the cursor shows the shape of the brush.
To set Quick Clone preferences 1 Choose Corel Painter IX menu > Preferences > General (Mac OS), or Edit menu > Preferences > General (Windows). 2 In the Quick Clone area of the Preferences dialog box, enable or disable the following check boxes: • Delete Image From Clone. When enabled, this option automatically deletes the contents of the clone file. • Turn on Tracing Paper. When enabled, this option automatically activates the Tracing Paper feature.
Magnifier Increment The Magnifier Increment preference lets you specify the percentage of magnification at which the magnifier will increase or decrease. Units The Units preference lets you choose the unit of measurement used by the application’s various sliders and other measurement options. Cloning Preference When you clone an image, Corel Painter uses the color information from the original as you fill in your clone.
You might also change brush tracking between phases of a project. You could use a light touch when sketching with a pencil brush variant, then set tracking for more pressure when you switch to an oil paint variant. Corel Painter saves Brush Tracking between sessions, so whatever tracking sensitivity you set will be the default the next time you open the application. To set Brush Tracking 1 Do one of the following: • (Mac OS) Choose Corel Painter IX menu > Preferences > Brush Tracking.
• Palette Menus to create or modify palette menu command shortcuts • Tools to create or modify tools shortcuts • Other to create or modify non-menu, non-palette menu or non-tool command shortcuts 4 Choose a command from the Application Commands list, and type the shortcut keys you want to assign. If the shortcut you assigned is already in use, a message appears below the Application Commands list. 5 Do one of the following: • Click Accept to assign the shortcut to the command.
To Do the following Create a new key set from the existing key set Click the New from Existing button . In the Save New Key Set dialog box, type a name for the key set in the Filename box, and click Save. Save the active key set Click the Save Active Set button . In the Save Key Set dialog box, type a name for the key set in the Filename box, and click Save. Create an HTML summary of the active key set Click the Create HTML Summary button .
Shapes Preferences You can set the default fill and stroke in the Shapes page of the Preferences dialog box. These settings apply to new shapes you create. If you enable the Big Handles check box, the Bézier curve control handles will appear larger. (You may find it easier to work with them in the larger size.) You can also specify colors for the wing color, outline color, and point color.
• (Windows) Choose Edit menu > Preferences > Save. 2 Choose one of the following options from the TIFF and PSD pop-up menus: • RGB automatically saves the file as RGB. • CMYK automatically saves the file as CMYK. • Prompt on Save prompts you to choose a color space every time you save a file. To set file extension preferences (Mac OS) 1 Choose Corel Painter IX menu > Preferences > Save.
To access Operating System preferences • (Windows) Choose Edit menu > Preferences > Operating System. Palettes and UI Preferences Corel Painter lets you control how palettes are docked and grouped. You can also set the window background color. To change palette behavior 1 Do one of the following: • (Mac OS) Choose Corel Painter IX menu > Preferences > Palettes and UI. • (Windows) Choose Edit menu > Preferences > Palettes and UI.
To set memory usage 1 Do one of the following: • (Mac OS) Choose Corel Painter IX menu > Preferences > Memory & Scratch. • (Windows) Choose Edit menu > Preferences > Memory & Scratch. 2 Type a number in the Memory Usage box. To choose a scratch disk 1 Do one of the following: • (Mac OS) Choose Corel Painter IX menu > Preferences > Memory & Scratch. • (Windows) Choose Edit menu > Preferences > Memory & Scratch. 2 Choose the volume name (Mac OS) or letter (Windows) from the Scratch Disk pop-up menu.
Layers When you open a new document and create an image, your work appears on a background layer known as the Canvas layer. 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 either pixel-based or vector-based images. How you work with a layer depends on the type of data it contains.
Vector Shape Layers Shapes are vector-based objects. When you create a shape with one of the shape tools (Pen, Quick Curve, Rectangular Shape, Oval Shape, or Text), Corel Painter automatically adds a new layer to the document. Each new shape becomes a separate layer; you can group multiple shapes together or merge them into a single shape. Shapes cannot contain pixel information.
Watercolor Layers The Watercolor layer is a special layer reserved for Watercolor brushes. It enables the paint applied with these brushes to mix and flow together. You can create multiple Watercolor layers in a document. These layers are part of the layer hierarchy and appear on the Layers palette, where they are characterized by a blue ink droplet icon . In earlier versions of the application, if you applied watercolor brush strokes, they were applied to the Canvas layer and, as such, were uneditable.
Pixel-based layer Floating object Expanded group Watercolor layer Reference layer Visible layer Liquid Ink layer Dynamic layer Hidden layer Shape layer Grouped layer Locked layer On the Layers palette, you can set layer opacity and choose a composite method. For information about layer opacity, refer to “Setting Layer Opacity” on page 71. For information about composite methods, refer to “Blending Layers by Using Composite Methods” on page 71.
Creating Layers You can create new pixel-based, Watercolor, or Liquid Ink layers directly from the Layers palette. You can also duplicate layers and copy layers between documents. How you create a layer determines its place in the layer hierarchy on the Layers palette. If you use a button on the Layers palette, a Layers menu command, or a keyboard shortcut to create a layer, the new layer is placed directly above the selected layer.
To Do the following Duplicate a layer In the document window, hold down Option (Mac OS) or Alt (Windows), and click the layer. Corel Painter duplicates the layer on top of the original layer. Drag the new layer to reveal the original layer in the document window. Copy a layer between documents In the document window, select a layer, and do one of the following: •In the document window, drag the layer to another document.
To Do the following Copy the selection to a layer Hold down Option (Mac OS) or Alt (Windows), and click the selection with the Layer Adjuster tool. Copy and move the selection to a layer Hold down Option (Mac OS) or Alt (Windows), and drag the selection with the Layer Adjuster tool. You can also convert a selection to a layer by rotating, scaling, distorting, or flipping a selection. Refer to “Using Orientation Effects” in the Help for more information.
You can add extra infomation to a layer using notes. For more information, see “Adding Notes to a Layer” on page 72. Saving Files That Contain Layers You can save your Corel Painter document in the RIFF format with “live” layers — the layers continue to function when you reopen the file. RIFF is the only format that preserves layers in their original state. If you save a Corel Painter document in PSD (Photoshop) format, all layers convert to standard Photoshop transparent layers.
Deleting Layers You can delete layers from the Layers palette, but you cannot delete the canvas. To delete a layer 1 On the Layers palette, select the layer. 2 Do one of the following: • Click the palette menu arrow, and choose Delete Layer. • Click the Delete button at the bottom of the Layers palette. You can also delete vector shape layers by pressing Delete (Mac OS) or Backspace (Windows). You cannot delete the Canvas layer.
To select a layer To Do the following Select a single layer Do one of the following: •Click a layer on the Layers palette. •Choose the Layer Adjuster tool from the toolbox. With the Auto Select Layer check box on the property bar enabled, click anywhere in a layer’s content. Select multiple layers Do one of the following: •On the Layers palette, hold down Shift and click each layer you want to select. •Choose the Layer Adjuster tool from the toolbox.
Moving Layers When a layer is selected, you can move its content anywhere in the document to create a new image layout. Repositioning layer content helps you achieve the optimal image composition quickly and easily. Think of a layer’s content as being contained by an invisible bounding box. This bounding box is a rectangle that marks the left, right, top, and bottom edges of the layer’s content.
To Do the following Move a layer Choose the Layer Adjuster tool from the toolbox, and drag the selected layer in the document window. Move a layer one pixel at a time 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. 2 Click the palette menu arrow, and choose Layer Attributes.
For example, if you align layers to the left, Corel Painter moves each layer so that the left edge of its bounding box lines up with the destination point. If you align horizontally to the center, Corel Painter moves each layer so that the horizontal midpoint of its bounding box lines up with the destination point. The left edge of the square is the leftmost point of all the layers (left). The layers are aligned horizontally to the left so that all the layers line up with the leftmost point (right).
To lock or unlock a layer 1 Select the layer on the Layers palette. 2 Do one of the following: • On the Layers palette, click the Lock Layer button . • Click the palette menu arrow, and choose Lock or Unlock. The Locked Layer icon appears next to a locked layer on the Layers palette. Viewing Layers You can control your view of an image in the document window by changing layer visibility settings. This is helpful in both compositing an image and applying effects.
You can show or hide multiple layers at the same time by dragging over eye icons in the Layers palette. The state of the first eye icon you drag over determines what will happen with subsequent layers. For example, if you first drag over a layer that is hidden, and then drag over some layers that are visible and some that are hidden, all layers you drag over become visible. Changing Layer Hierarchy The hierarchy of layers determines how the layers in a document interact.
When you have nonoverlapping layers in a document, the Move Up One Layer and Move Down One Layer commands may move the selected layer past multiple layers. This is because nonoverlapping layers are considered to be at the same level. The Move Up One Layer and Move Down One Layer commands move the selected layer (or layers) above or below the next level. To move a layer to a position between nonoverlapping layers, drag it on the Layers palette.
Showing Layer Indicators You can show the layer indicators to see display handles at the corners of a layer’s content when it is selected. You can also display information about the size of a layer’s content and its position on the canvas. For more information, see “Viewing Layer Position” on page 59. Show the layer indicators to mark the corners of a selected layer. To display the Info palette 1 Choose Window menu > Show Info. If the palette is not expanded, click the palette arrow.
You can move, rename, hide, show, lock, and set options for a group just as you do for a single layer. However, you cannot paint across layers in a group or change the composite method for a group; you must collapse the group into a single layer if you want to paint on it. To work with individual layers in a group, you must open the group. To regain control of the group as a unit, you must close the group. Collapsing a group reduces its contents to a single layer.
To Do the following Add a layer to a group Drag a layer to the group. Remove a layer from a group Drag the layer out of the group. You can create a nested group by dragging a closed group to the open destination group. To ungroup layers 1 On the Layers palette, select the group. If the group is open, click the palette arrow to close it. 2 Do one of the following: • Click the Layer Commands button , and choose Ungroup. • Click the palette menu arrow, and choose Ungroup.
When you drop a layer, you can choose to create a selection based on the layer contents. If the layer has a layer mask, the mask is used to make the selection. For more information about layer masks, refer to “Working with Layer Masks” in the Help. For more information about selections, refer to “Selections” in the Help.
• Watercolor brushes can be used only on Watercolor layers; on a Watercolor layer, you can paint only with Watercolor brushes. • Liquid Ink brushes can be used only on Liquid Ink layers; on a Liquid Ink layer, you can paint only with Liquid Ink brushes. • You can’t paint across grouped layers — you must collapse the group first. For more information, see “To collapse a group” on page 62. • Before painting on a shape, you must commit it to a pixel-based layer.
For more information about layer composite methods, refer to “Blending Layers by Using Composite Methods” on page 71. For more information about brush methods, refer to “Methods and Subcategories” on page 211. Preserving Layer Transparency Areas of a layer that don’t contain images are transparent. You can preserve the transparent areas of a layer with the Preserve Transparency check box on the Layers palette. This option affects which areas of a layer you can create images on.
• When Preserve Transparency is disabled, erasing or deleting images restores transparency to the area and reveals the underlying image. • When Preserve Transparency is enabled, erasing or deleting images reveals the document’s paper color. In effect, erasing or deleting with Preserve Transparency enabled is the same as painting or filling with the document’s paper color.
By default, when you move a selection, only the selection marquee moves, not the images. To move selected images 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. You can drop a floating object to merge it with the layer.
Adding Drop Shadows Adding shadows to a layer’s content can enhance the appearance of an image. You can add a drop shadow to a single layer or to a group. Drop shadows are also helpful for developing Image Hose nozzles. For more information, refer to “Preparing Images” in the Help. When you add a drop shadow, Corel Painter creates a new layer for the shadow and groups it with the original. This enables you to select and modify the drop shadow layer independently from the original layer.
Working with Reference Layers Reference layers get their image content from an external source — either a pixelbased layer in the current document or a separate file. They provide a low-resolution representation of the original image that you can quickly manipulate in ways that would otherwise require more time. Working with a reference layer allows you to transform (resize, rotate, or slant) a layer onscreen by dragging its handles. You can adjust various options.
To Do the following Rotate a reference layer Hold down Command (Mac OS) or Ctrl (Windows), and drag a corner handle. The pointer changes when you position it over a corner handle . Skew a reference layer Hold down Command (Mac OS) or Ctrl (Windows), and drag a side handle. The pointer changes when you position it over a side handle . To set reference layer options 1 Select a reference layer. 2 Choose Effects menu > Orientation > Set Transform.
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. The conversion process might take a few seconds, depending on the size and quality of the layer. Setting Layer Opacity You can adjust a layer’s opacity to create different levels of transparency.
Corel Painter provides two types of composite settings: • 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. 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.
You cannot record notes for a layer if you enable the WWW Map Clickable Region check box for image mapping. You can also record notes for pixel-based layers and reference layers, by double-clicking the item on the Layers palette, or selecting an item and press Return (Mac OS) or Enter (Windows). Storing Images with the Image Portfolio The Image Portfolio is a convenient place to store images you that want to use again. To display the Image Portfolio palette 1 Choose Window menu > Show Image Portfolio.
Corel Painter places the Image Portfolio item in a new layer. Organizing Layers with Image Portfolio Libraries You can create your own Image Portfolio libraries to organize layers by category. When you’re creating a library, keep in mind that the smaller the library, the easier it will be to see its contents at a glance. The Image Mover command on the Image Portfolio palette menu lets you move items between Image Portfolio libraries.
Art by Christopher Welch: Concept vehicle design Christopher Welch has worked as a primary designer in the "Advanced" Studio at the automotive supply company Magna, later renamed Intier Automotive. Recently, he began working at DaimlerChrysler, creating automotive interiors and exteriors. In addition to automotive design, Chris does freelance concept design work for the toy and entertainment industry.
Color Corel Painter offers many ways to apply color to your image. For example, you can change the paper color, choose colors for your brush strokes, or apply gradients to an entire image or selection. Getting Started with Color You can select colors in several ways.
An example of changing the paper color. To display the Colors palette • Choose Window menu > Color Palettes > Show Colors. To change the existing paper color 1 Choose a main 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 a brush from the Erasers category to erase part of your image. Do not use a bleach variant to expose the new paper color unless the paper color is white.
The Color palette configured as standard (left) and small (right). By default, the Colors palette displays in its standard configuration, which includes the Hue Ring and the Saturation/Value Triangle. • Values span the triangle from top to bottom, with the top of the triangle being the highest value (white) and the bottom being the lowest value (black). • Saturation levels go from left to right. Dragging or clicking to the right produces the purest color within the predominant hue.
• If you use the Standard Colors display, drag the circle on the Hue Ring to select the predominant hue. • If you use the Small Colors display, drag the circle on the Hue Ring to select the predominant hue. The Saturation/Value Triangle displays all available colors within that selected hue. 4 Select a color on the Saturation/Value Triangle by dragging the circle or by clicking the color you want.
Click the front square to set the main color. To choose the additional color 1 On the Colors palette, double-click the back square. 2 Choose a color from the Colors dialog box. Click the back square to set the additional color. If you usually work with the main color, you might want to re-click the front square to reselect it. To swap main and additional colors • Click the Color Swap Icon .
You can quickly access the Dropper tool by pressing D on the keyboard. To access the Dropper tool from other tools • Press Option (Mac OS) or Alt (Windows). The Dropper tool works with the Brush, Crop, Pen, Rectangular Shape, Oval Shape, Text, Shape Selection, Scissors, Add Point, Remove Point, Convert Point, and Paint Bucket tools. Cloning Color The Clone Color option offers another way to choose color. This feature lets the brush pick up dabs of color from an original (source) image.
3 Choose Window menu > Color Palettes > Show Colors to display the Colors palette. 4 Do one of the following: • Click the palette menu arrow, and choose Use Clone Color. • Click the Clone Color button on the Colors palette. Enabling the Clone Color option disables the Colors palette. This is a reminder that your color information is coming from the clone source. 5 When you paint in the clone file, Corel Painter uses colors from the clone source image.
To set up a two-color brush stroke 1 Choose a brush from the Brush Selector bar. 2 Choose Window menu > Color Palettes > Show Colors to display the Colors palette. 3 Choose a main and additional color from the Color palette. Refer to “Understanding Main and Additional Colors” on page 80 for more information about setting main and additional colors. 4 Choose Window menu > Brush Controls > Show Color Expression to display the Color Expression palette. 5 From the Controller pop-up menu, choose Direction.
The Mixer palette. Viewing the Mixer Palette You can view the Mixer palette from the Window menu or with a keyboard shortcut. You can also change the background of the Mixer pad, the surface on which you mix color. To display the Mixer palette • Choose Window menu > Color Palettes > Show Mixer. You can also display the Mixer palette by pressing Command + 2 (Mac OS) or Ctrl + 2 (Windows). To change the Mixer Pad background 1 Choose Window menu > Color Palettes > Show Mixer.
The Mixer palette tools. The Dirty Brush Mode Tool When using an Artists’ Oils brush variant, the Dirty Brush Mode tool lets you apply colors mixed in the Mixer palette to the canvas. The Dirty Brush Mode tool is active by default. Apply Color Tool The Apply Color tool acts as a loaded paint source, applying color to the Mixer pad. Color loaded on it also blends with color already on the Mixer pad. The Mix Color Tool The Mix Color tool mixes colors already on the Mixer pad.
The Zoom Tool The Zoom tool lets you zoom in and out of areas on the Mixer pad. The Pan Tool The Pan tool lets you scroll through the Mixer pad. The Clear and Reset Canvas Tool The Clear and Reset Canvas tool erases the contents of the Mixer pad and resets the zoom level to 100%. The Brush Size Slider The Change Brush Size slider lets you increase or decrease the size of the Apply Color tool and the Mix Color tool.
3 On the Colors palette, choose a color. 4 On the Mixer palette, choose the mixer swatch you want to change on the Mixer Color selector. 5 In the color well, press Command + click (Mac OS) or Ctrl + click (Windows). The new color appears in the mixer swatch. To save Mixer palette colors 1 Choose Window menu > Color Palettes > Show Mixer to display the Mixer palette. 2 Click the palette menu arrow, and choose Save Mixer Colors.
Mixing Colors Using the Mixer pad, the mixer swatches, and the Apply Color, Mix Color, Sample Color, Sample Multiple Colors, and Dirty Brush Mode tools, you can create new colors for use in your images. When you have finished mixing and sampling colors, you can clear the Mixer pad, or save it as a Mixer pad (MXS) file that you can open and use later. To mix colors 1 Choose Window menu > Color Palettes > Show Mixer to display the Mixer palette. 2 Click the Apply Color tool in the Mixer palette.
When painting with an Artists’ Oils brush, you can sample multiple colors from the Mixer pad. You can also mix Artists’ Oils paint on the canvas with an Artists’ Oils palette knife variant. Unlike palette knives in other brush categories, Artists’ Oil palette knives do not apply color. For more information, see “To sample multiple colors” on page 91. To clear the Mixer Pad 1 Choose Window menu > Color Palettes > Show Mixer to display the Mixer palette.
Mixing Artists’ Oils Paint On its own, the Mixer palette mimics the traditional experience of mixing color on a palette. When used in tandem with an Artists’ Oils brush variant, the Mixer palette offers digital artists as much color-mixing flexibility as its traditional counterpart. You can create a color on the Mixer palette and apply it to the canvas. You can also sample and paint with multiple colors. To paint with Artists’ Oils color from the Mixer palette 1 Mix the color you want on the Mixer palette.
Mixer swatches that you create on the Mixer palette can be saved. To add a mixer swatch to the color set 1 On the Mixer palette, click the Sample Color tool , and choose the mixer swatch that you want to save to a color set. 2 Click the palette menu arrow, and choose Add Swatch to Color Set. The selected color is added to the current color set. To create a color set from the Mixer Pad 1 Choose Window menu > Color Palettes > Show Mixer to display the Mixer palette.
When you open a new color set, and the current color set is one you’ve created or modified, Corel Painter prompts you to decide whether to append to or overwrite the contents of the Painter Colors file, allowing Corel Painter to load this new color set by default in the future. Corel Painter provides two methods to find a particular color in a color set. You can search for the color by name or have Corel Painter find the color that comes closest to matching the current color. The Color Sets palette.
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. To find a color in a color set 1 On the Color Sets palette, do one of the following: • Click the Search for Color button . • Click the palette menu arrow, and choose Find Swatch.
• SHL sorts colors by saturation, hue, and luminance. To adjust color swatch size 1 On the Color Sets palette, click the palette menu arrow, and choose Swatch Size. 2 Do one of the following: • Choose a pixel value. • Choose Customize. 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.
To create a new color set by using the Colors palette 1 On the Color Sets palette, click the palette menu arrow, and choose New Empty Color Set. 2 On the Colors palette, choose a color. 3 On the Color Sets palette, click the Add Color to Color Set button . For information about adding colors to a color set, see “Editing Color Sets” on page 96. For more information about selecting colors, see “Using the Colors Palette” on page 78.
Naming colors in a color set can be useful. You can then search for a color by name, or annotate the colors you use, right in the document window. For more information on searching for a color, refer to “To find a color in a color set” on page 94. For more information about annotating colors, refer to “Annotating Colors” on page 98. To add a color 1 Choose the color you want to add from the Colors palette, a color set, or an existing image.
To name or rename a color 1 Choose Window menu > Color Palettes > Show Color Sets. 2 Double-click a color swatch on the Color Sets palette. 3 Type a color name in the Set Color Name dialog box. Color names can contain up to 31 characters. To append colors to a color set 1 On the Color Sets palette, click the palette menu arrow, and choose Append Color Set. 2 In the Select Color Set dialog box, select the Color Set you want to use, and click Open.
Annotations are kept in a separate layer on top of the image and can be saved in RIF format with your image. Annotations are included when you record a script and are properly scaled when you play the script back at a different resolution. When you move a layer, its annotations go with it. If you move an annotated layer on top of another, the visible annotation might actually belong to the underlying layer, even though it appears to be labeling the top one.
3 On the Color Sets palette, double-click the color swatch of the color you want to rename. 4 Type a new name in the Set Color Name dialog box. 5 Choose Canvas menu > Annotations > Annotate. 6 Re-create the deleted annotation. 7 Repeat the procedure for each annotation you want to rename. Setting Color Variability Color variability allows you to create brush strokes of more than one color. Variability can be used to enhance the Natural-Media appearance of your work.
4 Adjust the Hue, Saturation, and Value sliders to control hue, saturation, and value ranges for color variability: • Moving the ±Hue slider to the right increases the number of hues in the resulting brush stroke. These colors are the ones adjacent to the selected color on the color wheel. • Moving the ±Saturation slider to the right increases variability in the color intensity of the brush stroke. • Moving the ±Value slider to the right increases variability in the brightness of the brush stroke.
To set color variability based on the current color set 1 On the Colors palette, choose a main color. 2 Choose Window menu > Brush Controls > Show Color Variability to display the Color Variability palette. 3 Choose From Color Set from the pop-up menu. Color variability is now based on random colors from the current color set. Viewing Color Information Color information for a selected color is available on the Color Info palette.
• Display as HSV. 2 Move the sliders to adjust the values, or type new values in the boxes. You can preview the new color in the Main Color and Additional Color squares on the Color Info palette. You can display hexadecimal RGB values on the Colors palette by pressing Shift + click in the HSV/RGB square. Hexadecimal RGB values can be useful when you create graphics for the Web. Setting Color Expression Color expression determines where Corel Painter should use the main or additional color in an image.
• Pressure adjusts the color expression based on stylus pressure. • Wheel adjusts the color expression based on the wheel settings on an airbrush stylus, specifically the Wacom Intuos Airbrush stylus. • Tilt adjusts the color expression based on the angle of the stylus from the tablet. • Bearing adjusts the color expression based on the direction in which the stylus points. • Rotation adjusts the color expression based on the rotation of the stylus.
• Express the gradient in an existing image by mapping gradient colors to image luminance. For more information, see “Using Image Luminance to Create Texture” on page 297. • Brush with a gradient with one of the computed brushes (using one of the following dab types: line airbrush, projected, or rendered). For more information, see “Dab Types” on page 205. Although Corel Painter comes with libraries full of gradients, you’ll invariably want to create some of your own.
The Gradient Preview Window shows how current settings affect a selected gradient. To change gradient order 1 Choose Window menu > Library Palettes > Show Gradients to display the Gradients palette.
2 Drag the red ball in the Gradient Angle Ring, or click once anywhere on the ring to change the gradient angle. A corresponding numeric value appears below the Gradient Preview Window. To change spiral tension 1 Choose Window menu > Library Palettes > 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. This changes how tightly wound the spiral gradient becomes.
To create a two-point gradient 1 Choose Window menu > Color Palettes > Show Colors to display the Colors palette. 2 On the Colors palette, click the Main Color square, and choose a main color. 3 Click the Additional Color square, and choose an additional color. 4 Choose Window menu > Library Palettes > Show Gradients. 5 Choose Two-Point from the Gradient Selector. To edit or create a complex gradient 1 Choose Window menu > Library Palettes > Show Gradients to display the Gradients palette.
You can press Option + click (Mac OS) or Alt + click (Windows) in the color ramp bar to create a control point that is set to the current color. You can create interesting gradient effects by selecting two additional colors in between the end colors. To delete a control point 1 Choose Window menu > Library Palettes > 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 a control point to select it.
2 Click the palette menu arrow and choose Edit Gradient. 3 Disable the Linear check box. All ramps within the gradient are now blended nonlinearly, with smooth curves. When using nonlinear 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.
To make perfect blends between a series of colors, it is better to work with a row of single pixels than a large piece of an image. To capture a gradient 1 Select a horizontal or vertical area, making the selection as narrow as possible. If the selection is horizontal, Corel Painter uses the first row of pixels starting at the upper left for the gradient. If the selection is vertical, Corel Painter uses the first column of pixels, starting at the upper left for the gradient.
Mapping a Gradient to Luminance in an Image You can map a gradient to an existing image, replacing an image’s colors with those of the gradient. This effect applies gradient colors to the pixels of the image, based on their luminance values. Corel Painter allows you to apply a gradient based on the luminance value of existing colors. To express a gradient in an image 1 Open the image you want to use. Select part of the image, or use the entire image.
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.
Most of the brushes interact with the current paper texture. You can use paper textures in many ways. Brushes interact with paper “grain,” just as natural tools react with the texture of the surfaces beneath them. Working with paper grains is useful when you use the Apply Surface Texture command or other effects, such as Glass Distortion. You can select different paper textures, modify them, organize them in libraries, and even create your own custom textures.
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 open other paper libraries. For more information on working with libraries, see “Creating a Library” in the Help. The Paper Selector on the Papers palette. To choose a paper texture 1 Choose Window menu > Library Palettes > Show Papers to display the Papers palette.
Creating Paper Textures The Make Paper command lets you make your own paper textures. The Capture Paper command lets you turn a section of an image into a paper texture. Once you save textures, they are available from the Papers palette. To create a paper texture 1 Choose Window menu > Library Palettes > Show Papers. 2 On the Papers palette, click the palette menu arrow, and choose Make Paper.
3 On the Papers palette, click the palette menu arrow, and choose Capture Paper. If you want to blend the distinction between tile borders, move the Crossfade slider in the Save Paper dialog box to the right. 4 Type the name of your new texture, and click OK. Your texture now appears in the Paper Selector and is added to the current library. You can also use the Paper Selector in the toolbox to capture paper texture. Click the Paper Selector, click the selector menu arrow, and choose Capture Paper.
Adjusting the Grain When you choose a brush that interacts with paper grain, you see the results with each stroke. When you find a brush and paper combination that you really like, you can save it as a new look in the Look Selector. If you have a stylus and tablet, you can adjust paper grain by changing the stroke of the stylus on a pressure-sensitive tablet. In most cases, a light stroke colors only the peaks and ridges of the grain. A heavy stroke fills color deep into the pockets and valleys.
To enable directional paper grain 1 Choose Window menu > Library Palettes > Show Papers. 2 Click the Directional Grain button . Factors such as stylus pressure, paper, and brush variant affect the appearance of brush strokes when the Directional Grain option is enabled. Papers with pronounced grain, such as Wood Grain and Gessoed Canvas, yield the best resuts. Inverting and Scaling Paper Textures Think of paper texture as a three-dimensional landscape.
To change paper texture scale 1 Choose Window menu > Library Palettes > Show Papers. 2 On the Papers palette, use the Paper Scale slider to resize the paper grain. As you move the slider, the Paper Preview Window updates to display the new grain size. You can scale texture down to 25% or up to 400%. 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.
The Pattern Selector on the Patterns palette. Patterns are created by repeating a rectangular image tile across an area. Ideally, images intended to be tiled are created so that they tile seamlessly. Corel Painter provides ways to help you generate seamless tiles. You can capture a pattern after you create it and manipulate it to be a half-drop design, traditionally used in wallpaper designs. Your patterns can be added to the Pattern library.
• Rectangular Pattern Type places the tiles in a rectangular grid for fills. The Pattern Offset slider does not apply. • Horizontal Pattern Type offsets the tiles in subsequent rows. The Pattern Offset slider controls the amount of offset. • Vertical Pattern Type offsets the tiles in subsequent columns. The Pattern 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.
When painting with a pattern, keep in mind that direction matters. Corel Painter flips the pattern you’re painting when you change directions, so apply strokes in the same direction for a uniform effect. Creating and Capturing Patterns Corel Painter offers three ways to create patterns: • Define the current image as a pattern, then add it to the Pattern library. • Create a rectangular selection, then capture it as a pattern.
4 On the Patterns palette, click the palette menu arrow, and choose Add Image to Library. 5 In the Save Image dialog box, type a name for the pattern. With the Grabber tool selected, you can hold down the Shift key and drag the seams to the center of the image in the document window. For best results, do this at 100% scale. To capture a pattern 1 Using the Rectangular Selection tool , select the area of the image you want to use as a pattern.
The Capture Pattern dialog box lets you decide how much to offset pattern tiles and in which direction. To edit a pattern tile 1 On the Patterns palette, choose a pattern from the Pattern Selector. 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.
Creating Fractal Patterns The Make Fractal Pattern command is a pattern generator that creates interesting landscapes. These topographic patterns can be filled with color, or even embossed using a paper texture. When you create fractal patterns, the following options allow you to fine-tune your creation: • Size sets the exact size of the tile you are creating. If your computer has a lot of memory, you can make a large file with a high resolution.
• Thinness emphasizes the direction suggested by the lines of the fractal pattern. Thinner lines produce a more linear look. 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 different ways.
Give Corel Painter a little time to create your new pattern file. When your pattern file is ready, it is displayed in its own document window. To colorize a fractal pattern, choose an appropriate gradient and use the Express in Image feature. You can also create interesting patterns by choosing a colorful gradient and using the Express in Image command on the Gradients palette. To convert a fractal pattern to a texture 1 On the Patterns palette, click the palette menu arrow and choose Check Out Pattern.
The wrap-around colors feature lets you paint off one side of an image and onto the other side. To help in making seamless tiles, Corel Painter gives documents defined as pattern tiles two special characteristics: wrap-around colors and wrap-around seams. • With wrap-around colors, a brush stroke dragged off one edge of an image appears on the other side. This makes it easier to paint seamless, self-tiling patterns.
The wrap-around seams feature lets you move the pattern tile edges to the middle so that you can edit them. To remove edge lines • Do one of the following: • To preserve detailed images, set the Straight Cloner brush to clone from somewhere inside the image. For more information about cloning, see “Painting in the Clone” on page 278. • Paint out edge lines using any color brush. • Smear across edge lines with a brush that uses Water or Drip brush methods.
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 give the pattern a different name. Using Weaves The Weaves palette is, in effect, a virtual loom that you can use to create weaves to use as fill patterns. Weave libraries are included with Corel Painter. You can modify a weave by changing the way it displays the scaling and thickness of its threads, or by changing its colors.
A weave’s appearance changes, depending on whether you display it as two-dimensional or three-dimensional. To choose a weave 1 Choose Window menu > Library Palettes > 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 list. You can also choose a weave from the Weave Selector in the toolbox. To adjust scaling and thickness 1 On the Weaves palette, choose a weave from the Weave Selector.
To change how a weave is displayed 1 Choose Window menu > Library Palettes > Show Weaves to display the Weaves palette. 2 Click the Two-Dimensional Weave or the Three-Dimensional Weave button. The Weave Preview Window changes to show either a two-dimensional (Blocks) or three-dimensional (Fibers) weave. Depending on which weave is selected, you may or may not see a change in the Weave Preview Window.
The new color replaces the old one. 6 On the Weaves palette, click the palette menu arrow, and choose Put Color Set. The Preview window shows the weave with the new colors. If you fill an image with the weave pattern, Corel Painter now uses the new color set. Saving Weaves After altering the scaling, thickness, or color of a weave, you can save your changes as a new weave. To save a weave 1 On the Weaves palette, click the palette menu arrow and choose Save Weave.
Art by Jeremy Sutton: Digital portrait painting Jeremy Sutton, a San Francisco-based artist, author and educator, with a degree in Physics from Oxford University, has drawn and painted in traditional media for over 40 years and used Painter since 1991. Jeremy has written a number of books, including Painter IX Creativity: Digital Artist’s Handbook and Fractal Design Painter Creative Techniques and has produced other Painter training materials, such as video and DVD tutorials.
Painting The Corel Painter application lets you draw and paint as you might with real artists’ tools and media. 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.
brush category) smudges and dilutes existing colors in the image with smooth, anti-aliased strokes. Using one of these brushes on a blank area of the canvas has no effect. 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.
Choosing 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. When a brush is selected and positioned over the canvas, the cursor changes, by default, into a “ghost” of the brush — mirroring size and shape — so you can see the area that you’re about to paint. This ghost brush provides a handy way to see if a change in size is required.
A circle representing the brush size is displayed beside the pointer. When the circle is the size you want, release the mouse button. 3 Click the image to reactivate the Brush tool. A handy way to set brush size is to use the keyboard shortcut: Command + Option + Shift (Mac OS) or Ctrl + Alt + Shift (Windows). You can also adjust brush size “on the fly” by using the square bracket keys: To increase brush size incrementally, click the right square bracket ( ] ) key.
89% grain (top), and 12% grain (bottom). To set opacity 1 Choose the Brush tool from the toolbox. 2 Choose a brush from the Brush Selector bar. 3 On the property bar, type a percentage in the Opacity box, or adjust the pop-up slider. When Opacity setting is low, the applied color is thin, allowing you to see through to the underlying colors. When the setting is high, the applied color covers underlying pixels more completely. Some methods and dab types do not allow for adjustments in opacity.
Using a Stylus or Mouse When you reach for a wide, flat brush, you expect the stroke you make to depend on how you hold the brush. A stroke using the face of the brush comes out wide. A mark using the edge is narrow. Paint with the face of a flat brush for a wide stroke; use the edge for a narrow stroke. Corel Painter produces realistic brush strokes that fade in and out; change width, tilt, and angle; and penetrate based on the stylus input.
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” in the Help.
Marking the Canvas You can paint on the canvas or on a layer above the canvas. When you select a layer on the Layers palette, that layer becomes 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 “Working with the Watercolor Layer” on page 170 and “Working with the Liquid Ink Layer” on page 175.
With the Freehand Stroke option, you drag to create strokes. When you use Straight Line Strokes, Corel Painter connects points with a straight line. With the Straight Line Strokes option, you click to create the first point and then click or drag to create a stroke. To draw freehand lines 1 On the Brush property bar, click the Freehand Strokes button 2 Drag on the canvas. . You can use shortcut keys to toggle between the freehand and straight line drawing styles.
Corel Painter connects each point with a straight line. 5 To end a line, do one of the following: • Press Return (Mac OS) or Enter (Windows) to close the polygon. The final point is connected to the origin with a straight line. • Click the Freehand Strokes button to return to the freehand drawing style without closing the polygon. • Press V to end the current polygon without closing it, so that you can begin a new one.
You can also undo a stroke by pressing Command + Z (Mac OS) or Ctrl + Z (Windows). Aligning Brush Strokes to Paths and Shapes You can automatically align a brush stroke to a path or the edge of a shape. You do this by determining the tolerance area, or how close the brush stroke must be to the path or shape for automatic alignment to occur.
Letting Media Pool 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. You can also cause media to pool by simply touching and pausing with the selected brush. You can enable this feature in the Brush Creator. To enable media pooling 1 On the Stroke Designer page of the Brush Creator, click Spacing. 2 Enable the Continuous Time Deposition check box.
Corel Painter features “computed” brushes that create smooth, continuous strokes. You can use these brushes to apply color, brush on gradients, or paint with patterns. For more information about computed brushes, refer to “Using a Stylus or Mouse” on page 142. Corel Painter brushes can be changed in many ways to create the look you desire. For example, you can start with a pencil and then change the settings until the tool works like an airbrush.
2 On the Colors palette, click the palette menu arrow, and choose Standard Colors. Palette menu arrow 3 Drag or click in the Hue Ring to select a hue. 4 Drag or click in the Saturation/Value Triangle to pick the saturation. The color you select becomes the main color and is displayed in the front square below the Hue Ring. The back square shows the additional color. The additional color is not the canvas color; it is used to create two-color brush strokes and two-point gradients.
Not all brushes can create two-color brush strokes. Among those that can are Acrylics, Calligraphy, and Chalk. 2 From the Brush Variant selector, choose a variant with a noncomputed dab type — for example, the Circular dab type. A noncomputed dab type is dab-based, as opposed to rendered. For more information, see “Dab Types” on page 205. 3 On the Colors palette, click the palette menu arrow, and choose Standard Colors.
Loading Multiple Colors Imagine the ability to load color at a bristle level, picking up different colors with each “hair” of a brush — as though filling tiny ink wells. Imagine also the ability to move multiple colors along with a palette knife, dragging them across your canvas or paper. The Brush Loading feature affects how paint comes off a brush and what happens to the pixels underneath.
You can tie brush controls like Bleed to the Controller setting on the Color Expression palette. For example, if you choose Pressure, each stroke bleeds more or less, depending on how hard you press the stylus. For more information, refer to “Expression Settings” on page 262.
brush stroke appear blurry, because the dab is significantly bigger than the pattern. Scaling the pattern up to 100% makes the dab as clear as it can get. Settings higher than 100% have no effect on the appearance of the brush stroke. You can picture this process by imagining that the current pattern is 100 pixels across and the current brush size is 50 pixels across. With the pattern set to 100%, Corel Painter shrinks 100 pixels into a 50-pixel area, which it can easily do without visible loss of accuracy.
• Mirrored Left to Right Gradient • Double Right to Left Gradient The Gradient Preview Window above the Order buttons illustrates how the selected order affects the gradient. Refer to “Working with Gradients” on page 104 for more information about gradient order. 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 the Source pop-up menu (for example, Rendered).
Keep in mind that direction matters when you paint with a gradient. Corel Painter flips the gradient when you change direction, so apply strokes in the same direction for a uniform effect. To paint with a pattern 1 Select a brush that applies media to a document. 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.
Corel Painter applies the current color, using luminance in the pattern to control opacity. Light colors in the pattern are rendered as transparent (or as having very low opacity). Dark colors in the pattern are rendered as very dark (or as having high opacity). Painting with Airbrushes The Corel Painter computed airbrushes are so realistic, you feel as though you’re using the real thing. Taking advantage of computed dab-type technology, most airbrush functionality is now available.
Previous versions of airbrushes sprayed a thin layer of dots within an area that was always circular, like a circle of light from a flashlight that is perpendicular to a piece of paper. Now, airbrushes respond to angle (tilt), bearing (direction), and flow (fingerwheel setting) data from a 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. Imagine, again, the circle of light thrown by a flashlight.
Adjusting Spread You can adjust airbrush spread in the Brush Creator. Airbrush spread affects how paint spreads out as it is applied. In other words, it sets the size of the cone of spread from the tip of the airbrush or spray can. A good range for the Spread setting is 30° to 40°. Narrow settings for Spread and Angle can cause problems. Combined with a very tilted stylus, a narrow setting for Spread can cause paint to be deposited away from the cursor.
Adjust airbrush flow with the fingerwheel control on many airbrush styluses. 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). To change the size of airbrush droplets 1 On the Stroke Designer page of the Brush Creator, click General. 2 Choose Airbrush from the Dab Type pop-up menu. 3 Choose Size from the left column.
Depending on the Airbrush variant, you can reverse the effect of moving the airbrush fingerwheel by enabling the Invert check box on the Color Expression palette, or by enabling the Invert Flow Expression check box on the Stroke Designer page of the Brush Creator. In the Brush Creator, you can also determine flow based on stylus information, such as velocity or pressure, by choosing an expression from the Flow Expression pop-up menu.
To record a stroke • On the Brush Selector bar, click the menu arrow, and choose Record Stroke. The next brush stroke you make is saved in memory. To play back a stroke 1 On the Brush Selector bar, click the menu arrow, and choose Playback Stroke. 2 Click where you want to repeat the stroke. Corel Painter centers the stroke on the point on which you click. You can repeat the stroke as many times as you want. 3 On the Brush Selector bar, click the menu arrow, and choose Playback Stroke to turn off playback.
• Size/Tilt Modulate varies the size of the brush tip and tilt of the stylus in a brush stroke. • Fade In/Out fades the start point and endpoint of a brush stroke. • Short Stroke decreases the length of a brush stroke. • Bearing Rotate rotates stylus bearing in a brush stroke. You can also base stroke data on brush strokes that you’ve already saved. 2 On the Brush Selector bar, click the menu arrow, and choose Use Stroke Data. 3 Draw brush strokes.
3 In the Fill dialog box, enable one of the following filling options: • Current Color • Pattern • Gradient • Weave 4 Adjust the Opacity slider. Corel Painter uses the current color, pattern, gradient, or weave. Before filling, choose the media you want from the corresponding selector in the toolbox. 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.
To fill an image based on color 1 Choose the Paint Bucket tool from the toolbox. 2 Click the Fill Image button on the property bar. 3 Choose one of the following options from the Fill pop-up menu: • Current Color, which fills with the selected color. • Gradient, which fills with the selected gradient. • Clone Source, which fills with the current clone source image. If you haven’t defined a clone source, Corel Painter fills with the current pattern. • Weaves, which fills with the selected weave.
2 In the Auto Select dialog box, choose Image Luminance from the Using pop-up menu. 3 Click OK. Corel Painter creates a selection that will protect the dark lines. When you protect anti-aliased or non-black lines in this way, the lines in the selection have varying levels of transparency, depending on the pixel luminance. The mask threshold lets you compensate for the semitransparency of the selection, allowing you produce just the fill you want.
If there is no leak, only the area within the lines is filled. If there is a leak, the fill goes outside the area, but not beyond the constraints of your rectangle. To close a leak 1 Copy the lines to a selection. See “To copy lines to a selection” on page 165. 2 Choose Select menu > Save Selection. 3 In the Save Selection dialog box, choose New from the Save To pop-up menu. 4 Click OK. A new channel is displayed on the Channels palette. 5 On the Channels palette, display and select the channel.
Watercolor Corel Painter features two ways to work with watercolors: the Watercolor layer and Digital Watercolor. Getting Started with Watercolor Watercolor brushes paint into a watercolor layer, which enables the colors to flow and mix and absorb into the paper. In Corel Painter, you can edit the Watercolor layer as you would any other layer — even erase and blur — without changing anything in the image layer.
Working with the Watercolor Layer You can transfer, or lift, information from the canvas to the Watercolor layer. This is useful if you want to apply Watercolor effects to a photograph, for example. You can also wet the entire Watercolor layer, which activates a diffusion process that you can control. Unless a Watercolor layer is already selected, a new Watercolor layer is automatically created when a Watercolor brush is applied to an image.
Working with Watercolor Brush Variants The Watercolor brush variants produce natural-looking watercolor effects. All Watercolor brush variants, except Wet Eraser, interact with the canvas texture. Stylus pressure affects the width of the brush stroke for all Watercolor brush variants except Wet Eraser. Increased pressure widens a brush stroke; less pressure narrows a stroke. Watercolor Dab Types Refer to “Dab Types” on page 205 for more information about Watercolor Dab Types.
surface. Adjusting the Contrast slider to the right increases the height of the grain and adds more texture as a result. Refer to “Using Paper Texture” on page 113 for more information. The Scale slider controls the size of the paper grain. Left=50%, right=200%. Working with Digital Watercolor The Digital Watercolor brushes paint directly on both the Canvas layer or a default layer so you can create effects similar to those of Watercolor brushes without using a separate layer.
To adjust diffusion 1 Apply one or more strokes with a Digital Watercolor variant. If you would like to restrict the diffusion to a region, make a selection with any selection tool. The diffusion effect will apply only within the selection. 2 On the property bar, adjust the Diffusion pop-up slider. Drag the slider to the right to increase diffusion, to the left to decrease diffusion. You can also adjust diffusion before applying brush strokes by adjusting the Diffusion slider.
To dry Digital Watercolor brush strokes • Choose Layer menu > Dry Digital Watercolor. Once you dry a Digital Watercolor brush stroke, you can no longer adjust its wet fringe.
Liquid Ink Liquid Ink brushes in Corel Painter create liquid paint effects that simulate traditional ink-based media. Working with the Liquid Ink Layer Liquid Ink layers are displayed on the Layers palette. They are identified by an ink droplet icon. Creating a New Liquid Ink Layer 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.
To adjust Liquid Ink layer attributes 1 On the Layers palette, double-click the Liquid Ink layer you want to modify. 2 In the Liquid Ink Layer Attributes dialog box, do one or more of the following: • Type a name for the layer in the Name box. • Adjust the position of the layer in the Top and Left boxes. • Type layer information in the Notes box. • Adjust the Threshold slider to increase or decrease the width of the brush stroke.
Expression You can use the Expression settings in the Liquid Ink area of the Stroke Designer page to vary Liquid Ink effects. For example, you can vary the stroke volume by adjusting controllers such as Direction or Velocity. You can also use the Pressure controller to create layered Liquid Ink strokes. Refer to “Expression Settings” on page 262 for more information. Light pressure is used to apply overlapping strokes (left). Increased pressure produces a heavier layering effect (right).
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. Getting Started with Impasto To create an impasto effect, you must first activate the Impasto layer. Next, you choose the Impasto brush category and a brush variant.
The Canvas layer holds the depth information for the entire image, including any additional layers. When the Impasto layer is active, it also shows how the Impasto Lighting affects your strokes. 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.
You can control the appearance of depth in the entire Impasto layer by adjusting the Amount slider. • The Picture setting controls how much color appears in the image. At its lowest value, all color is washed out, leaving only the highlights. • The Shine setting controls how much highlight appears on the surface of strokes. Higher Shine values make the stroke look metallic. • The Reflection setting maps a clone source image or pattern onto the texture at a variable percentage.
5 In the Surface Lighting dialog box, use the sliders to set attributes for Appearance of Depth and Light Controls. 6 Paint on the canvas or layer. Creating Custom Impasto Brushes Using the Impasto brush settings in the Brush Creator, most brush variants can become Impasto brushes. The controls let you set drawing and depth methods, the amount of depth applied, and the brush interaction.
You can choose from five depth methods: • The Uniform method applies depth evenly. Strokes have little texture. • The Erase method levels the depth layer. If you’ve created texture strokes that you don’t like, you can use this setting to remove them. Erase applies only to depth, not to color. With the Depth and Color drawing method, the Erase method removes depth while applying color. The amount of depth removed depends on the value of the Depth slider.
When a stroke with a high Plow value encounters another Impasto stroke, it displaces the depth of the existing stroke. In essence, your brush stroke “plows” through existing strokes. By adjusting the Plow slider, you can produce incredibly realistic effects. The effects of high (left) and low (right) Plow settings. • The Negative Depth option changes the direction of depth. When Negative Depth is enabled, the brush digs valleys instead of raising ridges. Normally, Impasto raises ridges and bumps.
4 Choose an application method from the Depth Method pop-up menu. 5 Adjust the Depth slider to set how much depth the brush applies. 6 Adjust the Smoothing slider to set the transitions in the texture. Higher Smoothing values produce less textured strokes. 7 Adjust the Plow slider to control how much a depth stroke displaces other strokes that it intersects.
If the composite depth method is set to Add and you paint with an Impasto brush variant on a layer, the composite depth setting does not change. An example of the Add composite depth method. • The Subtract method removes depth information between layers. Impasto brush strokes on top layers create grooves in the image data beneath them. If the composite depth method is set to Subtract and you paint with an Impasto brush variant on a layer, the composite depth method does not change.
An example of the Replace composite depth method. • The Ignore method prevents impasto brush strokes from interacting with image data on different layers. With the Ignore method active, the display of depth for the layer is turned off, even when the View Depth icon on the document window is active. This makes it possible to disable display of depth for individual layers. If the composite depth method is set to Ignore and you paint with an Impasto brush variant on a layer, the method changes back to Add.
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. The Show Light Icons check box lets you show or hide the light indicators on the sphere. To change a light’s angle 1 Choose Canvas menu > Surface Lighting. 2 In the Surface Lighting dialog box, drag a light indicator on the sphere.
Setting Light Properties The three Light Controls sliders let you set the intensity and brightness of a light source. • The Brightness slider indicates how much light the light source contributes to the overall lighting color. • The Conc (concentration) slider adjusts the spread of the light over the surface. • The Exposure slider globally adjusts the overall lighting amount from darkest to brightest. You can also change a light’s color using the Light Color control.
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 — not just one or two 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 lets you control the image output. For example, by increasing stylus pressure, you can paint larger or more colorful images. By changing the direction of the stroke, you can change the angle of the images.
How the Image Hose 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.
A 2-Rank nozzle progresses in two dimensions. In this example, the first rank changes angle, and the second rank changes size. Getting Started with the Image Hose Corel Painter lets you select nozzles containing various images to use with the Image Hose. You can adjust the opacity, size, color, position, and spacing of the images you paint. Image Hose Basics The Image Hose is easy to use and offers a number of options for the behavior of “nozzle spray.
Variants are divided into two types — Spray and Linear — according to the placement of images in relation to the stroke. Spray variants scatter images. Linear variants place images directly on the stroke path. Variants also differ in the way they link the size and angle of images to factors such as stylus tilt, pressure, and position. A variant’s name contains important information.
Art by Cher Threinen-Pendarvis: Digital landscape painting Award-winning artist, author and educator Cher Threinen-Pendarvis began her pioneering work in digital art in 1987. Her artwork has been exhibited worldwide and her articles and art have been published in many books and periodicals.
Customizing Brushes The Brush Creator makes it fun and easy to create brush variants in Corel Painter. This chapter provides descriptions and procedures for building, customizing, and saving the many parameters of any brush type using the Brush Creator. Some of the brush settings in the Brush Creator can also be found in the Brush Control palettes (available from the Window menu). The palettes match the categories on the Stroke Designer page of the Brush Creator.
Getting Started with the Brush Creator The Brush Creator provides controls for customizing and creating brush variants. The Brush Creator is integrated tightly with Corel Painter but contains its own tools, palettes, menus, and workflow. The user interface of the application changes, depending on whether you are using the main application or the Brush Creator. There are three elements to the Brush Creator: the Randomizer, the Transposer, and the Stroke Designer.
There are seven palettes used with the Brush Creator: Colors, Tracker, Color Variability, Color Expression, Papers, Patterns, and Gradients. Color Variability and Color Expression controls appear in the Brush Creator window (on the Stroke Designer page); the others are available through the Window menu. The Colors and Tracker palettes are open by default. You can choose the main and additional colors on the Colors palette, or you can choose to clone color.
Throughout the documentation, the steps for accessing these pages are replaced with a direction to go directly to the particular page; for example, “On the Stroke Designer page, click General.” To resize the preview grid • Drag the resize handle at the bottom-right corner of the main window of the Brush Creator. The Brush Creator Toolbox The Brush Creator toolbox contains tools, color selection squares and access to four content libraries to use in designing brush variants. The Brush Creator toolbox.
When creating new brushes, you can test the brush strokes on the Scratch Pad. You can zoom in on and zoom out of specific areas of the Scratch Pad, adjust the brush size, make selections, and clear the Scratch Pad. To zoom in on the Scratch Pad 1 Do one of the following: • Choose the Magnifier tool in the toolbox. • Hold down Command + Spacebar (Mac OS) or Ctrl + Spacebar (Windows). The Magnifier cursor shows a plus sign (+), which indicates that you are increasing magnification (zooming in).
For more information about making selections, see “Creating Selections” in the Help. To clear the Scratch Pad • Click Clear. The Randomizer The Randomizer takes the current brush category and variant, creates random settings for them, and displays variants created from these random settings. You can then choose a new randomized variant from the preview grid to use in the application, or you can use one of these new variants to create even more randomized variants. Randomized brush variants.
You can also choose a brush category and variant in the main application before you open the Brush Creator. The Transposer The Transposer creates new brush variants based on a transition from one variant to another. For example, you can choose to combine variants from two categories, such as Pencils and Felt Pens. The Transposer uses the settings from each variant to create new variants. The Transposer uses two Brush Selector bars, at the top and bottom of the page.
The Stroke Designer The Stroke Designer lets you tweak the various settings for each brush variant to create new brushes. A series of controls, each containing its own settings, can be adjusted on the Stroke Designer page. The Stroke Designer page contains the same controls available in the Brush Control palettes. The Stroke Designer controls. Managing Settings and Controls You can access settings and controls on the Stroke Designer page of the Brush Creator to modify and customize brush variants.
Dab Types Dab types are methods of media application. To produce “computed” brush strokes, Corel Painter uses rendered dab types that are computed during the stroke. Earlier versions of Corel Painter used “dab-based” media application, in which brushes applied small dots of media to create brush strokes. With Spacing between dabs set small, strokes appear smooth. If you zoom in close enough, you can probably tell that the brush stroke is made up of tiny dabs of color.
Dab-based Dab Type Description Captured Shapes that you create and capture. Refer to “Capturing Brush Dabs” on page 265. A captured dab is for a captured brush. It lets you paint with specific shapes and designs. Rendered Dab Type Description Camel Hair Creates bristle brushes with circular arrays of bristles. Individual brush hairs can have their own color and can pick up underlying colors independently of the Brush loading option.
Rendered Dab Type Description Flat Creates flat brushes, like those used to apply paint to houses or walls. Brushes that use Flat dabs respond to bearing, allowing for flat or narrow strokes, depending on how the stylus is held. Flat dabs are always perpendicular to the shaft of the stylus. The Feature setting in the Size area separates bristles. Palette Knife Create brushes that are the opposite of Flat dab brushes.
Rendered Dab Type Description Pixel Airbrush Creates brushes that work like airbrushes. Brushes that use Pixel Airbrush dabs cannot use the Feature slider to control the size of individual droplets of media. Holding down Option + Shift (Mac OS) or Alt + Shift (Windows) when painting reverses the spray direction. Line Airbrush Creates brushes that work like airbrushes. Brushes that use Line Airbrush dabs spray lines instead of droplets of media.
applying lighting effects. There are five types of Liquid Ink dab types: Liquid Ink Camel Hair, Liquid Ink Flat, Liquid Ink Palette Knife, Liquid Ink Bristle Spray, and Liquid Ink Airbrush. • Watercolor dabs create brushes that work like watercolor brushes. The colors flow and mix and absorb into the paper. You can control the wetness and evaporation rate of the paper.
Multi-stroke brushes must be precomputed, which can generate a delay in their appearance on the screen. Because of this delay, multi-stroke brushes work best when you apply them in short, controlled strokes. The Multi stroke type draws a set of randomly distributed dab paths. • The Rake stroke type draws a set of evenly distributed dab paths. The several dab paths in a rake brush stroke are parallel. You can control all other aspects of the stroke by using settings in the Rake area of the Stroke Designer.
The Hose stroke type uses the current Nozzle file as media. To choose a stroke type 1 On the Stroke Designer page of the Brush Creator, click General. 2 Choose a stroke type from the Stroke Type pop-up menu. Methods and Subcategories The brush method defines the most basic level of brush behavior and is the foundation on which all other brush variables build. You can think of the method and method subcategory as attributes of the stroke’s appearance.
Combining a method with a method subcategory results in a specific brush style that you can assign to a given brush. For example, Grainy Hard Coverbrush strokes interact with paper grain and are semi–anti-aliased so that they hide underlying pixels. Grainy Hard Cover is the default method for Chalk and Charcoal. Grainy Hard Buildup was used to create the brush stroke on top. Soft Variable Buildup was used to create the stroke on the bottom.
The Cover methods produce brush strokes that cover underlying strokes, as oil paint does in a traditional art studio. No matter what colors you use, you can always apply a layer of paint that completely hides what’s underneath. Even with a black background, a thick layer of yellow remains pure yellow. Some Chalk and Pen variants are examples of brushes that use the Cover method. An example of the Cover method. The Eraser methods erase, lighten, darken, or smear the underlying colors.
The image on the left was created with a brush that used the image on the right as the clone source. 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. There, you’ll find methods such as Left Twirl, which gives you a brush with the dab and stroke of an Impressionist performing left-handed twirls.
Source, Opacity, and Grain Settings The Source setting specifies the media that is applied by the brush variant. Source applies only to some dab types, such as Line Airbrush, Projected, and Rendered. Refer to “Painting with Color” on page 149 for more information about setting a media source. Corel Painter brushes use one of the following source types: • Color applies primary or secondary color. • Gradient applies the current gradient across the length of the stroke.
To set grain 1 On the Stroke Designer page of the Brush Creator, click General. 2 Move the Grain slider to the left to reduce the penetration into the grain. Move it to the right to increase the penetration. Size Controls The Size brush feature determines how Corel Painter varies the width of the brush stroke. The range from minimum to maximum is determined by Size and Min Size sliders in the Size area of the Stroke Designer page. Some Size controls work in conjunction with Expression settings.
Brush Tip Profiles The brush tip, or “profile,” shows a cross-section of density distribution across the diameter of the dab. You can think of a brush tip profile as a bell-curve graph representing the density spread across the brush dab. Different media have different density distributions. Changes in the density distribution produce different marking qualities in a brush stroke. For rendered airbrush dab types, the tip profile controls the concentration of the spray.
Soft Round Provides maximum density throughout, with rapid falloff at the edge. Pointed Rake Provides a range of bristle lengths, with bristles longer in the center and tapering in length toward the edge. Flat Rake Provides a range of bristle lengths and maximum density throughout, producing pronounced, even bristling. Flat Designed for Artists’ Oil palette knives, it provides maximum density throughout, with rapid falloff at the edge.
The Size slider controls the width of the brush. In your studio, you expect the pressure you exert on a brush or drawing tool to make a difference in the width of the resulting brush stroke. The Min Size control allows you to create a brush stroke that is amazingly realistic. You can set up a brush that responds to the elegance of subtle hand movements. As stylus pressure eases, brush strokes taper. As pressure increases, brush strokes widen, just as they would with a real brush.
The Size Step slider controls the transition between narrow and wide sections of a stroke. Moving the slider to the right makes the transition appear more abrupt. Moving it to the left makes the transition smoother. Size step is applicable only to dab-based brushes. The Size Step slider controls the transition between the narrow and wide sections of a stroke. Settings shown are 1% (top) and 100% (bottom).
The brush sizing shortcut lets you use keyboard commands to adjust the brush size in the document window. To set minimum stroke size 1 On the Stroke Designer page of the Brush Creator, click Size. 2 Move the Min Size slider to the right to increase the minimum brush size. Move it to the left to decrease the minimum brush size. To set stroke transition 1 On the Stroke Designer page of the Brush Creator, click Size. 2 Move the Size Step slider to the right to increase the transition between brush sizes.
The Min Spacing slider controls the minimum number of pixels between dabs. Settings shown are 2.0 (top) and 10.5 (bottom). Damping is used to smooth otherwise jagged brush strokes for brushes using rendered dab types. Higher values make the stroke smoother. (Damping suspends a stroke in a mathematical spring area by using calculations to even out edges and reduce jaggedness.) High values of Damping round out corners of a stroke. A value of 50% works best.
2 Do one of the following: • To increase the spacing between dabs, move the Spacing slider to the right bringing it closer to the size of the dab itself. When the Spacing slider is at 100%, the size of the dab equals the spacing. For example, a dab that is 10 pixels across is repeated every 10 pixels. • To decrease the distance between dabs, move the Spacing slider to the left until the dabs begin to overlap. Overlapping increases the density of the stroke and makes it look more continuous.
The Squeeze slider controls the shape of the brush dab. Squeezing a brush changes it from round to elliptical. You use Squeeze controls with Circular and Captured dab types. The Squeeze slider controls the shape of the brush dab. Settings shown are 100% (left) and 25% (right). Examples of Squeeze used to create a Calligraphy effect with a Pen brush. The Angle slider controls the angle of an elliptical brush dab and the length of the ellipse. You use Angle controls with Circular and Captured dab types.
The Ang Range slider controls the range of dab angles that can appear in a brush stroke. Settings shown are 0° (left) and 180° (right). For dab-based brushes, the Ang Step slider controls the increment of change for brushes with an Ang Range setting greater than 0°. For example, setting the Ang Step to 5° produces a brush dab every 5° within the current Ang Range setting. The Ang Step slider controls the increment of change for brushes with an Ang Range setting greater than 0°.
To set brush dab angle range 1 On the Stroke Designer page of the Brush Creator, click Angle. 2 Move the Ang Range slider to the right to increase the range of angles that can appear in a dab. Move the slider to the left to reduce the range of angles that can appear in a stroke. Setting this slider to 360° allows for any angle in your stroke. To set brush angle increment 1 On the Stroke Designer page of the Brush Creator, click Angle.
The Thickness slider controls the diameter of the individual bristles. Settings shown are 17% (left) and 87% (right). The Clumpiness slider applies a random variance to the thickness of each bristle, which makes some of the bristles look like they are clumping together. Clumpiness is proportional to Thickness. . The Clumpiness slider controls how bristles “clump together.” Settings shown are 0% (left) and 100% (right).
The Hair Scale slider controls the density of bristles in the brush dab. Settings shown are 410% (top) and 990% (bottom). The Scale/Size slider controls the degree of Size variation applied to the bristles of a brush. At 0%, there is no size change applied to the bristles. Setting this slider to a value greater than 0% creates a set of scaled iterations of the dab. At a Scale/Size setting of 100%, when the brush size changes, the bristles scale in proportion to the size.
When the slider is moved fully to the left, the brush will leave a faint stroke — even if Opacity is set to 100%. To set clumping of bristles 1 On the Stroke Designer page of the Brush Creator, click Bristle. 2 Move the Clumpiness slider to the left to reduce bristle clumping. Move it to the right to increase bristle clumping. To set bristle density 1 On the Stroke Designer page of the Brush Creator, click Bristle.
The Resaturation slider controls the amount of color that is replenished in a stroke. If it is set at zero, the brush does not produce any color. When Resaturation is less than 10% (and Bleed is less), a brush stroke fades in gently. When the Resaturation slider is set at zero and Bleed is set high, an airbrush can move underlying colors, as when just the airbrush hose is used to blow paint around on the canvas.
Dryout works in conjunction with Bleed, so Bleed must be set above zero if you want to take advantage of Dryout. You can modulate the Dryout effect by changing the Bleed setting. The Dryout slider controls how fast the brush runs out of medium. Settings shown are 724 (left) and 22026 (right). To set resaturation 1 On the Stroke Designer page of the Brush Creator, click Well. 2 Move the Resaturation slider to the left to reduce the amount of color replenished in a stroke.
The Contact Ang 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 Contact Ang controls determine how much of the brush contacts the painting surface. Settings shown are 180° (left), 125° (middle), and right=0° (right), with a Brush Scale setting of 450%. Brush Scale controls the spacing between individual bristles that compose the Rake.
The Turn Amount slider controls the displacement of inside and outside bristles. Settings shown are 0% (left) and 150% (right). The Bristle controls set the number of bristles or dabs used for Multi and Rake stroke types. The Spread Bristles control dynamically adjusts brush scale on the basis of pressure. The harder you press, the more the brush fans out. Spread Bristles controls the spacing of bristles, based on stylus pressure. The harder you press, the more the bristles spread.
Soften Bristle Edge turns the outer dabs semitransparent. Disabled (left) and enabled (right) settings are shown. To set brush contact angle 1 On the Stroke Designer page of the Brush Creator, click Rake. 2 Move the Contact Ang slider to the left to create a low contact angle (few of the dabs are in contact with the paper). Move the slider all the way to the right to create a high contact angle (all of the dabs are in contact with the paper).
To set bristle number 1 On the Stroke Designer page of the Brush Creator, click Rake. 2 Move the Bristle slider to the right to increase, or to the left to decrease, the number of bristles in the brush. To set bristle spacing 1 On the Stroke Designer page of the Brush Creator, click Rake. 2 Enable the Spread Bristles check box. To soften bristle edge 1 On the Stroke Designer page of the Brush Creator, click Rake. 2 Enable the Soften Bristle Edge check box.
Both Clone Location sliders work with brushes of the Cloning method. The Variability control lets you randomly offset the location where the clone brush samples the source. When Variability is set at zero, the pixels of the source and destination images correspond precisely — using a cover brush at full Opacity (and no Grain) simply recreates the source image. The Variability slider controls the offset of the clone based on the location of the source image. Settings shown are 0 (top) and 12 (bottom).
The Random Brush Stroke Grain option randomly moves the paper grain for each stroke. Disabled (top) and enabled (bottom) settings are shown. Random Clone Source randomly samples the source document and then places strokes on the clone destination. There is 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.
To set Jitter 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, or to the right to increase the deviation. To set clone location variability 1 On the Stroke Designer page of the Brush Creator, click Random. 2 Do one of the following: • To increase the range (distance) that the sample can be offset, move the Clone Location Variability slider to the right.
To choose the Random Brush Stroke Grain option 1 On the Stroke Designer page of the Brush Creator, click Random. 2 Enable the Random Brush Stroke Grain check box. To choose the Random Clone Source option 1 On the Stroke Designer page of the Brush Creator, click Random. 2 Enable the Random Clone Source check box. Mouse Controls In theory, a mouse has no pressure information. A mouse button is either “on” (button down), or “off ” (button up).
A setting of zero indicates that if a stylus were in use, it would be pointing left. To set ink flow for the mouse 1 On the Stroke Designer page of the Brush Creator, click Mouse. 2 Drag the Wheel slider. A setting of 100% indicates that maximum flow is in effect. Cloning Controls The Cloning controls are specific to cloning method brushes and affect other brushes only when the Clone Color option is enabled. The Clone Colorcontrol directs a brush to pick up color from a source image.
To set Clone Type 1 On the Stroke Designer page of the Brush Creator, click Cloning. 2 Choose a type from the Clone Type pop-up menu. To constrain painting in the destination 1 On the Stroke Designer page of the Brush Creator, click Cloning. 2 Enable the Obey Source Selection check box. To reproduce the source selection information in the destination selection 1 On the Stroke Designer page of the Brush Creator, click Cloning. 2 Click the Copy Source Selection check box to enable or disable the option.
Smoothing controls the transition of the texture applied to a stroke. Plow controls the degree to which a stroke interacts with other Impasto brush strokes. In essence, your brush stroke “plows” through existing strokes. To choose a drawing method 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 a depth method 1 On the Stroke Designer page of the Brush Creator, click Impasto.
Image Hose Controls The Image Hose controls let you design nozzles designated Rank 1, 2, and 3. Refer to “Creating, Loading, and Saving Nozzles for the Image Hose” in the Help for more information. The settings for each rank consist of the Expression settings plus one additional setting — Sequential. For more information, see “Expression Settings” on page 262. Rank 1 The Rank 1control lets you assign an input to locate Rank 1 imagery within an Image Hose nozzle.
The Min Spread control determines the smallest amount of paint that can spread out as it is applied. The Min Spread setting represents a percentage of the Spread setting. Flow controls how much media is applied by an airbrush stroke. The Flow control acts like the needle control on a real airbrush. Use the Expression settings on the Stroke Designer page to tie Flow to the wheel on an airbrush stylus.
Water Controls Water controls work with Watercolor layers. A Watercolor layer is automatically created when you apply a stroke with a Watercolor brush. The layer can be edited from the Layers palette. Wetness controls the dilution and the spread of paint. As Wetness is increased, the resulting stroke expands over a larger area, eliminating the appearance of brush hairs. The Wetness slider controls the dilution and spread of the paint. Settings shown are 0 (top) and 40 (bottom).
The Dry Rate slider controls the rate at which water dries during diffusion. Settings shown are 1% (top) and 50% (bottom). The evaporation threshold (Evap Thresh slider) controls the minimum amount of water that can still diffuse. Lower values cause greater spread; higher values reduce the amount of spread. The Evap Thresh slider controls the minimum amount of water which can still diffuse. Settings shown are 1% (top) and 50% (bottom).
The Diffuse Amt slider controls the spread of the stroke. Settings shown are 0% (top) and 8% (bottom). The capillary factor (Cap Factor slider) controls the grain’s effect on diffusion. Lower values result in a smoother edge. The grain soak-in (Grn Soak-In slider) controls the graininess of soak-in when paint is drying. You can lower both capillary factor and grain soak-in values to reduce grain effects. The Grn Soak-In slider controls the graininess of soak-in when paint is drying.
With Accurate Diffusion enabled, a smaller diffusion window is used. Enabled (top) and disabled (bottom) settings are shown. You can specify the amount of wind force exerted on the diffusing particles. Set the Wind Force slider to zero to turn off directional diffusion. Wind Force controls the amount of force exerted on diffusing particles. Settings shown are 0% (top) and 25% (bottom). You can specify wind direction, which controls the direction in which the particles diffuse.
2 Move the Wetness slider to the left to create a more uniform brush stroke, or to the right to have the water flow more in the direction of the wind. To set paint pickup 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Move the Pickup slider to the right to increase the amount of leaching, or to the left to reduce it. To set the dry rate 1 On the Stroke Designer page of the Brush Creator, click Water.
To set accurate diffusion 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Click the Accurate Diffusion check box. To set wind force 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, or to the left to decrease it. To set wind direction 1 On the Stroke Designer page of the Brush Creator, click Water. 2 Drag the Wind Direction control to the desired setting.
You can select from the following Ink types: • Ink Plus Color applies the currently selected color to the Ink form. • Ink Only applies only the Ink component. • Color Only applies only the Color component.
• Soften Ink Plus Color applies Color to an Ink form, causing inks and colors to blend into one another. • Soften Ink Only applies only the Ink component. • Soften Color Only applies only the Color component. • Resist repels Ink.
• Erase deletes Ink and Color. • Presoftened Ink Plus Color is applied in conjunction with surface depth effects. The Smoothness slider controls the “tack” of the brush strokes. Lower values result in coarser brush strokes. Higher values cause brush strokes to appear smoother.
The Smoothness slider controls the “tack” of brush strokes. Settings shown are 0% (top) and 100%( bottom). The Volume slider controls the height of the brush stroke, or the amount of medium applied to the image. Higher values result in thicker strokes. The Wheel option in the Expression pop-up menu under the Volume slider allows you to control the amount of spray from the Liquid Ink airbrush by adjusting the wheel on the airbrush stylus (especially the Intuos Airbrush Stylus).
The Min Volume slider controls the maximum variation in volume. Settings shown are 100% (top) and 0% (bottom). The Rand Vol slider controls the randomness in volume within the brush stroke. A value of zero results in a perfectly smooth brush stroke. The Rand Vol slider controls the randomness in volume within the brush stroke. Settings shown are 0% (top) and 100% (bottom). The Rand Size slider controls the randomness in size within a brush stroke.
The bristle fraction (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 Bristle Frac slider controls the thickness of the bristles. Settings shown are 3% (top) and 20% (bottom). The Rand Br Vol slider controls the variation in bristle height. A value of zero signifies that all of the bristles are of equal height.
2 Choose a Liquid Ink type from the Ink Type pop-up menu. To set smoothness 1 On the Stroke Designer page of the Brush Creator, click Liquid Ink. 2 Adjust the Smoothness slider. Lower values result in coarse brush strokes. Higher values cause brush strokes to blend into one another and appear smoother. 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.
To set random bristle volume 1 On the Stroke Designer page of the Brush Creator, click Liquid Ink. 2 Adjust the Rand Br Vol slider. Higher values result in a greater variation in the length of brush bristles. To set random bristle size 1 On the Stroke Designer page of the Brush Creator, click Liquid Ink. 2 Adjust the Rand Br Size slider. Higher values result in a greater variation in the length of brush bristles.
Paint The Amount slider determines how much paint is loaded before each new brush stroke. The more paint you load, the longer the brush stroke lasts. The Viscosity slider controls the rate of paint transfer to the canvas. The higher the viscosity, the faster the brush runs out of paint, creating shorter brush strokes. The Blend slider controls how the paint color mixes with paint already on the canvas. High blend levels allow paint on the brush to blend easily with existing paint.
• Move the Blend slider to the right to increase the blending of brush stroke paint and existing paint. • Move the Blend slider to the left to decrease the blending of brush stroke paint and existing paint. You can also set how Artists’ Oils paint blend on the Blend slider on the Artists’ Oils property bar. Brush The Bristling slider controls the amount of bristling at the tail and tip of a brush stroke. The farther to the right you move the slider, the more irregular the bristling.
Canvas The Wetness slider determines the wetness of the paint on the canvas. This affects how paint from a brush stroke interacts with paint already on the canvas. To set canvas wetness for Artists’ Oils 1 With an Artists’ Oils brush active, click Artists’ Oils on the Stroke Designer page of the Brush Creator. 2 Do one of the following: • Move the Wetness slider to the right to increase the mixing of brush stroke color and existing color.
Color Expression Controls The color expression controls in the Brush Creator are identical to those on the Color Expression palette. For more information, see “Setting Color Expression” on page 103. Expression Settings Corel Painter lets you control brush effects along the stroke based on a number of real-time input factors. For example, many brushes vary their Opacity or Size in response to changes in stylus pressure. These responses reflect their default settings.
• Bearing adjusts the brush feature according to the direction in which the stylus points. • Source adjusts the brush feature according to the luminance of the clone source. Higher luminance (closer to white) increases the setting for that component, producing, for example, a wider stroke. • Random adjusts the brush feature on a random basis. • Sequential applies only to Rank settings for Image Hose brushes. When enabled, this feature picks out nozzles from the index, in order.
To save current settings as a custom variant 1 Do one of the following: • On the Tracker palette, choose the variant you want to save, click the Tracker palette menu arrow, and choose Save Variant. • From outside of the Brush Creator, click the selector menu arrow on the Brush Selector bar and choose Save Variant. • From within the Brush Creator, choose Variant menu > Save Variant. 2 In the Save Variant dialog box, type a name for the new variant. The name can have up to 23 characters.
To copy a variant to a different brush category 1 Choose the brush variant you want to copy from the Brush Selector bar. 2 Click the selector menu arrow, and choose Copy Variant. 3 In the Copy Variant dialog box, choose the destination brush category from the pop-up menu. The brush variant is copied to the selected category. (Remember to delete the variant in the category from which it was copied.
too much aliasing from appearing, create a shape with soft (grayscale) edges that is close to the size you’ll be using. 4 On the Brush Selector bar, choose the brush category in which you want to save the variant for the captured dab shape. 5 Click the selector menu arrow, and choose Capture Dab. 6 On the Stroke Designer page of the Brush Creator, click Size to see the captured brush dab. 7 If necessary, change the Size, Squeeze, and Angle settings. 8 Draw with the brush on the canvas.
3 Drag across the image to create a square selection. 4 Do one of the following: • On the Brush Selector bar, click the selector menu arrow, and choose Capture Brush Category. • In the Brush Creator, choose Brush menu > Capture Brush Category. 5 Type a name in the Capture Brush dialog box. Your new brush and its icon now appear on the Brush Selector bar. Saving a Brush Look A Look is a brush variant that has a paper texture, pattern, gradient, or nozzle assigned to it.
Saved Looks appear in the Look Selector in the toolbox. In the case of the Image Hose brush, the Look may have a particular nozzle file attached. For more information about working with the Image Hose and Nozzle files, refer to “Getting Started with the Image Hose” on page 193. To use a saved Look 1 In the toolbox, choose a look from the Look Selector. Corel Painter loads the correct variant and materials for the saved Look. 2 Paint in the document window.
When Corel Painter starts, it references a folder (called “Brushes”) in the user folder. Any customizations made to brushes are saved to this folder and are referenced by Corel Painter in place of the original default brushes and settings that are stored in the application folder. The user’s brush library is built by recalling the information stored in the user folder and supplementing it with the noncustomized brushes and settings stored in the application folder.
Art by Don Seegmiller: Concept character painting Don Seegmiller teaches senior-level illustration, traditional head painting, figure drawing, and digital painting for the Department of Visual Design at Brigham Young University. His traditional oil painting work has been represented by many major art galleries across the nation, and he has written a book on digital painting, Digital Character Design and Painting (2003).
Cloning and Tracing Cloning can help you create art quickly and easily. Cloning is the process of taking an image 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. Here are some ways to take advantage of a clone source–destination relationship: • Trace the source image by using Tracing Paper (the “light box” method).
Using Tracing Paper You can use cloning to help you trace the source image by using Tracing Paper, the on-screen “light box” in Corel Painter. To use Tracing Paper, the source and clone documents must be the same size. When Tracing Paper is in use, you see a faded-out version of the clone source, as if it were displayed under real tracing paper on top of a light box. As you trace, brush strokes appear at 50% opacity.
Use the Tracing Paper feature to view the clone source for tracing. To turn Tracing Paper off • Click the Tracing Paper icon again. The faint source image disappears, and brush strokes appear at 100% opacity. When you turn Tracing Paper off, you can see what you’ve traced. You can also turn Tracing Paper on or off by choosing Canvas menu > Tracing Paper or pressing Command + T (Mac OS) or Ctrl + T (Windows).
To resume tracing • To resume tracing, turn Tracing Paper back on. 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 a special source image for controlling an image effect.
If you have enabled the Switch to Cloner Brushes check box in the Preferences dialog box, the last Cloner brush you used is automatically selected. You can customize the Quick Clone effect. You can choose whether to delete the image from the clone or to turn on Tracing Paper. You can also select the last-used Cloner brush or choose to clone color with any brush variant. For more information, see “Setting Quick Clone Preferences” on page 33.
The Corel Painter brushes that use buildup methods, like pencils and felt pens, build toward black. If you clone with one of these brushes in a dark area of your image, you may not achieve the desired results. You can use the Opacity pop-up slider on the property bar to control how rapidly these brushes build up to black. You can also choose chalk or one of the other tools that cover underlying colors. To paint with cloner brushes 1 Create a clone of the document you wish to paint.
Destination reference points indicate the area where you want the cloned image to appear. To indicate the area of the source document you’re cloning, you can turn the crosshair cursor on. To clone point to point within a document 1 Do one of the following: • Choose a cloner brush variant from the Brush Selector bar. • Click the Clone Color button on the Colors palette. • Click the palette menu arrow on the Colors palette, and choose Use Clone Color.
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 variant from the Brush Selector bar. • Click the Clone Color button on the Colors palette. • Click the palette menu arrow on the Colors palette, and choose Use Clone Color. 2 Choose File menu > Clone Source, and choose the image you want to reference. If no image is set as a clone source, the brush will reference the currently selected pattern.
To change to a crosshair cursor 1 Do one of the following: • (Mac OS) Choose Corel Painter IX menu > Preferences> General. • (Windows) Choose Edit menu > Preferences > General. 2 In the Preferences dialog box, enable the Indicate Clone Source with Crosshairs While Cloning option. The crosshairs indicate which area of the original image you’re cloning as you paint.
“Using Point-to-Point Cloning” on page 279 for more information about point-to-point cloning. • Rotate & Scale (2) cloning rotates and scales the source image. Rotate & Scale cloning. Note that the source and destination reference points are numbered and connected by a line. • Scale (2) cloning scales the source image. The distance between the two destination points, in relation to the distance between the two source points, determines the scaling transformation. Scale cloning.
Rotate & Mirror cloning. • Rotate, Scale, & Shear (3) cloning rotates, scales, and shears (slants) the source image. The relative positions of the three source and destination reference points determine the transformation effect. Rotate, Scale, & Shear cloning. • Bilinear (4) cloning applies a bilinear warp to the source image. The relative positions of the four source and destination points describe the bilinear transformation. Bilinear cloning.
• Perspective (4) cloning applies perspective to the source image. The relative positions of the four source and destination points describe the perspective transformation. Perspective cloning. To set a Clone Type 1 Do one of the following: • Choose a brush variant from the Cloners brush category of the Brush Selector bar. • Click the Clone Color button on the Colors palette. • Click the palette menu arrow on the Colors palette, and choose Use Clone Color. 2 Choose Window menu > Brush Creator.
In some cases, you don’t have to place source points. When you clone source files and patterns, Corel Painter places source points for you in each corner of the document. These corner source points are ideal for perspective cloning with 4-point tiling. If you don’t want to use these default source points, just move them or set source points of your own. For more information, see “Filling with Transformed Cloning” in the Help. To set the number of reference points 1 Choose Window menu > Brush Creator.
Two destination reference points are set in preparation for Rotate & Scale cloning. Sample source–destination reference points are set for Rotate, Scale, & Shear cloning. Sample source–destination reference points are set for Perspective cloning. To move source points to a pattern • On the Patterns palette, click the palette menu arrow, and choose Check Out Pattern. Source points are moved into a new “checked out pattern” window.
Turning Other Brushes into Cloners Corel Painter offers two ways to use other brushes as Cloners: • the Clone Color button • the Cloning method Using Clone Color You can turn almost any brush into a cloner with the Clone Color button. The Clone Color button causes a brush to pick up color from the source image while staying true to its own stroke nature. The Clone Color button is useful for creating mosaics and tessellations based on a source image.
3 Enable the Brush Loading check box. Choosing a Cloning Method You can turn almost any brush into a cloner variant by setting its method to Cloning in the Brush Creator and choosing the Cloning method subcategory appropriate to the intended media style. Because the cloning methods use a full set of pixels from the original document for each brush dab, you get a truer copy of the original than you might by using the Clone Color button.
• Move the Variability slider to the right to soften brush strokes. This works best with bristle brushes, creating an impressionistic effect. • Move the Variability slider a bit to the right and the How Often slider to the left to give drawing tools a “sketchy” feel. • Enable the Random Clone Source check box to make the cloning method randomly pick up pieces from the source document. Your brush then gives you random snippets of the source image. This option is not available for all Brush categories.
Image Effects Inspired by traditional artistic methods, 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, and posterize. For more information about image effects, refer to “Image Effects” in the Help.
©1999, Jack Davis Examples of effects created with Apply Surface Texture. 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 box let you control material properties. • The Amount slider controls how much surface texture is applied to the image.
Using Paper to Create Texture When you create a texture using the Paper method, the current paper texture is applied to your image. If the Papers palette is open, you can choose different papers and change their scale to try different textures. The Preview window is updated automatically to reflect paper changes. Before (left) and after (right) creating texture by using paper grain. To create surface texture by using paper 1 Select a layer or area of the canvas.
Using 3D Brush Strokes to Create Texture When you create a texture using the 3D Brush Strokes method, the difference in luminance between the clone source and the current document is used to determine the look of the texture. If you change the colors in the clone or posterize the clone, the texture is based on color differences. If you paint on the clone, however, you can make the brush strokes appear three-dimensional, giving them the illusion of oil paints.
If you want to alter the clone before using the 3D Brush Strokes method, apply an effect or paint on it. 3 Select a layer or area of the canvas. If you want to apply the effect to the entire image, do not make a selection. 4 Choose Effects menu > Surface Control > Apply Surface Texture. 5 In the Apply Surface Texture dialog box, choose 3D Brush Strokes from the Using pop-up menu. If you want to apply an inverted texture, enable the Inverted check box.
An example of 3D brush strokes with paper texture. You can apply a paper texture when you first create an image, and then paint or draw over it to make a textured canvas for your strokes. However, the texture is erasable, so you might not end up with the same texture across the document surface. As a rule, you add the paper texture as the last step in producing artwork. You can also use advanced brush settings to make realistic strokes.
Using Image Luminance to Create Texture When you create a texture using the Image Luminance method, the current image’s luminance, or lightness, determines where surface texture is added. Light parts of the image create dents; darker parts create raised areas. The overall effect gives an embossed look to the edges of the image. Before (left) and after (right) adding texture based on Image Luminance. To create surface texture by using Image Luminance 1 Select a layer or area of the canvas.
Using Clone Source Luminance to Create Texture When you create a texture using clone source luminance, the dents and bumps in the texture are determined by the light and dark areas in the clone source and are applied to its clone. What is unique about this method is that you can create interesting embossed looks by changing the clone source. Any image effects or brush strokes that you apply to the source result in different textures.
Refer to “Setting Appearance of Depth Properties” on page 292 for more information. 9 Adjust the Light Controls sliders. For more information, refer to “Applying Lighting to a Texture” on page 303. Creating Embossing Effects One of the most effective ways of using the Original Luminance method is to create an embossed image. Unlike standard emboss effects, Apply Surface Texture lets you control not only the height of the texture, but also the lighting and material properties of the embossing.
9 In the Apply Surface Texture dialog box, choose Original Luminance from the Using pop-up menu. The Preview window shows how the embossed image will look. 10 Adjust any of the Appearance of Depth or Light Controls sliders. 11 Enable a Light Direction option to change the location of highlights and shadows. If you want to change the light color, click the Light Color chip, and choose a color from the Color dialog box.
Before (left) and after (right) adding texture based on a layer mask. To create surface texture based on a channel or layer mask 1 Select a layer or area of the canvas. If you want to apply the effect to the entire image, do not make a selection. If you want to use a layer mask, you must select the layer. 2 Choose Effects menu > Surface Control > Apply Surface Texture. 3 In the Apply Surface Texture dialog box, choose the channel or layer mask from the Using pop-up menu.
Before (left) and after (right) applying a typical reflection map. You can use either a pattern or a clone source image as a reflection map. By adjusting the Reflection slider, you control how much of the image appears in the texture. If your image has a clone source, the source image is mapped onto the texture. Otherwise, Corel Painter uses the current pattern as the reflection map. You can use the Image Warp effect to approximate the reflection from a curved surface.
A selected layer, ready to become reflective. 7 Choose Effects menu > Surface Control > Apply Surface Texture. 8 In the Apply Surface Texture dialog box, choose the layer mask from the Using pop-up menu. 9 Adjust the Reflection slider to control the amount of reflection you want. 10 Adjust the Softness slider to control the mapping from the edges of the layer’s image. Increasing Softness gives a rounder, more 3D look to the surface. The resulting chrome-plated butterfly.
You can add, delete, and position light sources, and you can set light properties. You can also position lights by enabling one of the Light Direction options, which represent eight different preset lighting angles. You can also create a custom lighting setup by working in the sphere. The lighting sphere shows all possible surface angles and how they are illuminated. The light indicators on the sphere show the current positions of each light source. The lighting sphere with a light indicator.
To change a light’s position or color To Do the following Change light position In the Apply Surface Texture dialog box, drag a light indicator on the lighting sphere. Change light color In the Apply Surface Texture dialog box, click the Light Color chip. In the Color dialog box, choose a new color. You can also change a light’s position by selecting a light indicator on the sphere and enabling one of the Light Direction options.
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 stained-glass 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.
Getting Started with Mosaics The Mosaic feature differs from the other Natural-Media tools in Corel Painter. 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 cannot access any other tools or features — except for the Colors palette. 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 option on the Colors palette.
for a more realistic effect. Tiles used in traditional mosaics rarely have uniform color. • If you’re working in a clone, turn on the Tracing Paper feature by enabling the Use Tracing Paper check box in the Make Mosaics dialog box. This helps you follow the source images. Clone without source images showing (the Use Tracing Paper check box in the Make Mosaic dialog box is disabled).
4 Drag in the document window. New tiles flow from your stroke. 5 Keep the Make Mosaic dialog box open so that you can continue to work on the mosaic. You can also have Corel Painter do the tile work automatically with the Stroke Selections and Fill Selection commands located in the Make Mosaic dialog box in the Options pop-up menu. For information on how to use the Stroke Selections and Fill Selection options, see “Using Stroke Selections and Fill Selection Commands” on page 321.
To select tiles To Do the following Select tiles In the Make Mosaic dialog box, click the Select Tiles button . Drag across the tiles you want to select. Red borders appear on selected tiles. Select contiguous tiles of the same color (no variability allowed) In the Make Mosaic dialog box, click the Select Tiles button. Press Command + Control (Mac OS), or Ctrl (Windows), and drag across part of a line of tiles, so that the whole line of tiles is selected. A magic wand appears as you select the tiles.
Normally, each tile is given a single color. If you want more options for coloring tiles, render the tiles to a channel. You can then convert the channel to a selection to paint directly on the tiles, apply effects, or fill them with a pattern, weave, gradient, or image. Refer to “Giving Tiles a 3D Look” on page 319 for more information. To change the color of selected tiles 1 In the Make Mosaic dialog box, click the Select Tiles button . 2 Click or drag across the tiles you want to select.
To use multicolored tiles 1 Choose Window menu > Brush Controls > Show Color Variability to display the Color Variability palette. If the Color Variability palette is not expanded, click the palette arrow. 2 Choose a color variability method from the pop-up menu. 3 Move the sliders or type values in the boxes to adjust the color variability settings. If the Color Variability palette is not open, you must first close the Make Mosaic dialog box.
To remove tiles To Do the following Remove specific tiles In the Make Mosaic dialog box, click the Remove Tiles button . Click or drag across the tiles you want to remove. Remove all tiles In the Make Mosaic dialog box, from the Options pop-up menu, choose Reset Mosaic. Saving to a RIFF File If you save a mosaic in the RIFF format, you can open the file later, choose the Make Mosaic command, and continue working.
To adjust tile dimensions or randomness 1 In the Make Mosaic dialog box, from the Settings pop-up menu, choose one of the following: • Dimensions • Randomness 2 Adjust the sliders. 3 Drag in the document window to apply tiles with the new dimensions or randomness settings. Dimension control Example The Width control sets the width of the tiles in pixels. In this example, the width is set to 3.5 pixels (top) and 30.4 pixels (bottom). The Length control sets the length of the tiles in pixels.
Dimension control Example Pressure determines how tile dimensions are affected by stylus pressure. The Pressure slider allows you to control the width variance under differently weighted strokes. In this example, the pressure slider is set to 0% (top) and 100% (bottom) With the Pressure slider set to zero, a light stroke produces narrow tiles, and a heavier stroke creates wider tiles. Increasing the Pressure slider increases the effect of pressure on the width of the tiles.
Randomness control Example Increasing Width randomness allows the width to vary by the set percentage. In this example, Width randomness is set to 92%. Increasing Length randomness allows the length to vary by the set percentage. In this example, the Length slider is set to 98%. With Cut randomness set to zero, the edges of the tile are created perpendicularly to the stroke. Increasing Cut randomness allows the angle of the tile ends to vary. In this example, the Cut slider is set to 90°.
Fitting Tiles Together When you work with real ceramic tiles, it is physically impossible to merge them. 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 and do not overlap or merge. Corel Painter adjusts the shape of the tiles to fit them together while maintaining the grout lines. So, when you want to re-lay the tiles in an area, you must remove the existing tiles.
The Respect Edge Of Image command ensures that the tiles you create at the edge will not violate the grout line. In this example, the white tiles respect the edge, while the black tiles do not. Giving Tiles a 3D Look The Render Tiles Into Mask 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. Use the Apply Surface Texture command to create a look of 3D tiles.
2 Click Done to exit the Make Mosaic dialog box. 3 Choose Effects menu > Surface Control > Apply Surface Texture. 4 In the Apply Surface Texture dialog box, choose Mosaic Mask from the Using pop-up menu. 5 Change the Amount and Softness sliders to achieve the level of relief you want. In most cases, the best results are obtained with the Picture slider set at 100%. For more information on surface texture options, refer to “Working with Surface Texture” on page 291.
Once you choose Re-render Mosaic, Corel Painter erases any part of the image that is not a tile or grout. Using Stroke Selections and Fill Selection Commands The Stroke Selections and Fill Selection commands let you apply mosaic tiles to selections. These features work only with path-based selections created with the Rectangular Selection, Oval Selection, and Lasso tools.
3 In the Make Mosaic dialog box, choose Dimensions or Randomness from the Settings pop-up menu. 4 Choose the color for the tile and the grout. 5 Use the Options pop-up menu to select the command you want: • Stroke Selections creates one row of tiles along each selection path. • Fill Selection applies multiple rows of tiles, working in from the path until the selected area is filled with tiles. The Fill Selection command works with selections made using the Lasso tool.
Compositing Mosaics with Other Images If you want to composite a mosaic with another image, you have several options: • Using multiple documents — You can create the mosaic in its own document. When you’re satisfied with the result, float and copy the mosaic to the document where you want to composite it. For information on creating floating objects, see “Working with Floating Objects” on page 66. • Using layers — You can float the non-mosaic portion of the image. Create the mosaic on the canvas.
Art by John Taylor Dismukes: 3D Halloween concept design John Taylor Dismukes’s highly detailed, imaginative style, mixing the old and the new, has been named "Gothic Tech." His trendsetting designs and illustrations are sought by companies and agencies on a global level, from Microsoft, Time Warner, Toshiba, and Pepsi, to newsmakers and entertainment companies such as Universal, WB Network, and Columbia TriStar.
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 Natural-Media 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.
Corel Painter draws shapes in an anti-aliased fashion. This anti-aliasing gives objects a smooth edge, as opposed to the jagged edges apparent in some drawing programs. Some clipart objects actually look like photographic elements when they are imported into Corel Painter and displayed with anti-aliasing. Anti-aliased shapes are typically slower to appear on the screen in Corel Painter than are aliased objects in drawing programs, so you may want to use your drawing program for most of your object creation.
To convert a shape to a pixel-based layer 1 Choose the Shape Selection tool in the toolbox. 2 Click the shape to select it. 3 Do one of the following: • Choose Shapes menu > Convert To Layer. • Click the Convert To Layer button on the property bar. • On the Layers palette, click the shape’s layer, click the palette menu arrow, and choose Convert To Default Layer. You can paint a shape, but you must first convert the shape to a pixel-based layer. For more information, see “Painting Shapes” on page 350.
endpoint Open paths contain endpoints; closed paths do not. Anchor points can be either smooth or corner points. A smooth point allows you to manipulate the segments on both sides of an anchor point by dragging a handle. A corner point restricts the manipulation of the segments to the one side of the anchor point that has a handle. For information about converting smooth or corner anchor points, see “To convert a smooth or corner point” on page 343.
As you create shapes, Corel Painter gives them default attributes for stroke and fill. For instructions on setting the default shape attributes, refer to “Shapes Preferences” on page 39 and “Setting Shape Attributes” on page 336. The shape manipulation tools are in the toolbox. By holding down Command (Mac OS) or Ctrl (Windows), you can toggle between the Shape Selection tool and any of the shape design and editing tools.
If you want to create a perfect square or circle, hold down Shift while you drag. The property bar and the Info palette display information about the shape. To display the Info palette, choose Window menu > Show Info. Using the Pen Tool The Pen tool lets you use Bézier lines to create shapes. You can use the Pen tool to draw straight lines or smooth, flowing curves, and you can create shapes containing any combination of straight and curved lines. You can easily adjust shapes after you create them.
Shapes created with straight line segments. • To make a curved line segment, drag to create a new anchor point and wing. The angle and length of the wing determine the curvature of the path. The farther you drag, the longer the wing and the deeper the curve. Shapes created with curved line segments. 4 Repeat step 3 as often as necessary, combining straight and curved segments until you have the shape you want.
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” in the Help. 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. To add to an open shape path 1 Click an endpoint with the Pen tool. 2 Click or drag where you want to add an anchor point. You can add to a path from an endpoint only.
Draw freehand shapes with the Quick Curve tool. Converting Selections to Shapes Converting a selection to a shape enables you to edit the contour by using the Shape Edit tools. When you are satisfied with the contour, you can convert the shape outline back to a selection. For more information, refer to “To convert a shape to a selection” in the Help. If you are simply scaling, rotating, or skewing a selection path, use the Selection Adjuster tool.
For best results, the selection should be path-based. If the selection is pixel-based, from the menu bar choose Select > Transform Selection to convert it to a path-based selection. Acquiring Shapes from Adobe Illustrator You may want to work with shapes you’ve created in Adobe Illustrator. Corel Painter lets you import the shape contents of files in Illustrator EPS format. Some Adobe Illustrator file options are not supported by Corel Painter.
Stroke and fill attributes apply to both open and closed shapes. Before filling an open shape, Corel Painter closes the shape by connecting the endpoints with a straight line. The Flatness attribute controls how many straight lines the program uses to approximate a curve when printing. PostScript output devices create curved lines by linking a series of short, straight lines that progress in angle. The smaller the flatness setting, the greater the number of straight lines, and the more accurate the curve.
To set shape fill attributes 1 With the Shape Selection tool , click a shape whose fill attributes you want to change, and press Return (Mac OS) or Enter (Windows). You can select multiple shapes by holding down Shift while clicking the shapes. 2 In the Set Shape Attributes dialog box, enable the Fill check box to apply a stroke to the selected shape. To remove the fill, disable the check box. 3 Double-click the chip, choose a color from the Color dialog box, and click OK.
A change in flatness appears only in your output, not on your screen. Editing Shapes Corel Painter provides five tools for editing shapes. As you work, you’ll switch tools based on the type of changes you’re going to make. From any other editing tool, you can toggle to the Shape Selection tool by pressing Command (Mac OS) or Ctrl (Windows). Shape Selection drags anchor points and control handles. Scissors cuts the segment at the point you click. Add Point adds an anchor point where you click on the curve.
Adding, Deleting, and Moving Anchor Points You can add anchor points to create new vertices or curves. You can delete anchor points to change the shape of the path or to smooth a contour that has unnecessary points. This might occur when you draw with the Quick Curve tool or create a shape from a selection. You can move one or several anchor points by dragging. You can also move one or several points by averaging, which moves two or more anchor points with respect to each other.
Use the Remove Point tool to delete anchor points. To move anchor points 1 Choose the Shape Selection tool from the toolbox . 2 Click an anchor point to select it, or marquee select a point by dragging over it. If you want to select several points, marquee select them by dragging over them. All anchor points within the marquee are selected, including those from other shapes. If you want to add to the selection, hold down Shift and select more points. 3 Drag the point to a new location.
Adjusting Curvature The angle and length of the wing determine the curvature of the segments on either side of the anchor point. The longer the wing, the deeper the curve. The result of moving a wing depends on whether the anchor point is defined as a smooth point or a corner point. 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.
Use the Shape Selection tool to drag a wing handle. To convert a smooth or corner point 1 With the Shape Selection tool , select an anchor point. If the anchor point’s wings are not displayed, drag over the anchor point to display them. 2 Choose the Convert Point tool from the toolbox . 3 Click one of the anchor point’s wing handles. After converting a point, you must use the Shape Selection tool for further adjustments.
The Scissors tool opens and closes to cut the path. 3 Choose the Shape Selection tool from the toolbox, and drag the new anchor points or segments. The new anchor points are on top of each other, and both are selected. If you try to drag one of the new anchor points with the Shape Selection tool and both move, deselect them, then drag one point away. Once a path is cut, it can be moved. To join endpoints 1 Choose the Shape Selection tool from the toolbox . 2 Select the two anchor points you want to join.
Use the Shape Selection tool to select two endpoints. Use the Join Endpoints command to connect two endpoints. Transforming Shapes Corel Painter lets you manipulate and modify shapes in a number of ways. You can resize, rotate, or skew shapes. You can also create shape duplicates and groups. Before you can work with a shape, you must select it. For more information, see “To select shapes” on page 339.
To resize in one dimension, drag one of the side handles. To resize in both dimensions, drag one of the corner handles. You can maintain the proportions by holding down Shift as you drag. You can also choose Effects menu > Orientation > Scale to increase or decrease size by a fixed percentage. For more information, refer to “Scaling Images” in the Help. Resizing a shape.
Rotating a group of shapes. Skewing and Distorting Shapes You can skew a single shape or a group of shapes. When you skew a shape, you drag a middle selection handle to give the shape a unique slant. You can also distort a layer, regardless of whether it consists of a pixel-based bitmap or a vector shape. When you distort a shape or group of shapes, a box with eight selection handles appears, and you can drag any handle to create an interesting effect.
To distort a shape 1 Select a shape. 2 Choose Effects menu > Orientation > Distort. 3 With the Distort Selection dialog box open, drag the selection handles in the document window. Distorting a shape Flipping Shapes You can flip a shape horizontally or vertically. To flip a shape 1 Select a shape.
To duplicate a shape 1 Choose the Layer Adjuster tool from the toolbox. 2 Hold down Option (Mac OS) or Alt (Windows), and or drag across the shape. To change duplication settings 1 Choose Shapes menu > Set Duplicate Transform. 2 In the Set Duplicate Transform dialog box, specify any of the following settings: • Translation controls where Corel Painter creates duplicate shapes in relation to the original. The offset values are in pixels. When H. Offset and V.
The oval shape was duplicated by using rotation only (left). The number 5 shape was duplicated by using translation, scaling, and rotation (right). Painting Shapes You can paint on a shape, but you must commit it to a pixel-based layer. Once committed, you cannot re-access the shape’s vector controls. To paint a shape 1 Choose a brush category and variant from the Brush Selector bar. You cannot use Watercolor or Liquid Ink brushes to paint a shape. 2 Click the shape on the Layers palette.
Combining Shapes You can combine shapes in various ways to achieve particular results. You can group shapes so that you can manipulate several at the same time. You can also compound two or more shapes to create a single shape. You can also blend single shapes or groups of shapes, so that they appear to be one shape morphing into another. Grouping Shapes Shapes can be grouped, allowing you to manipulate multiple shapes as a single unit.
You can combine a shape with a compound shape to create a nested compound shape. The resulting compound shape can itself be used again to create another compound shape. To release a compound shape 1 Select a compound shape. 2 Choose Shapes menu > Release Compound. Blending Shapes Blending creates intermediate shapes between two or more selected shapes, which is useful for morphing one shape into another. It is also used to simulate shading on irregular shapes.
2 On the Layers palette, arrange the shape layers. Blends will progress from lower to higher layers. 3 Choose the Shape Selection tool from the toolbox . 4 Hold down Shift, and select the shapes you want to blend. 5 Choose Shapes menu > Blend. 6 In the Blend dialog box, type a value in the Number of Steps box to control how many intermediate shapes are created. 7 Enable one of the following ramp type options: • Blend shapes are evenly spaced.
From left to right: Two shapes with no blending; blending with a perspective factor of 1.0; blending with a perspective factor of 4.0; and blending with a perspective factor of 0.1.
Art by John Ryan: Animation storyboard for a radio commercial John Ryan, with his wife, Joyce, and partner Robert Pope, launched animation and visual effects company Dagnabit! in 2001. John began his career as an art director for public television, before he and his wife set up their own company. In 1989, he went to work at DESIGNfx, the animation and special effects division of Crawford Post Production, Atlanta.
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.
Corel Painter has powerful features that simplify animation and help you get the best quality possible. You can 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.
Considering Frame Rate Frame rate describes the number of image frames displayed per second (fps). The frame rate can determine not only how big a file your animation is, but also how smooth the motion appears. When you save a movie as an AVI file, you can specify the rate of display. This doesn’t necessarily mean that what you specify is what you’ll experience. Factors like frame size, compression method, and computer speed can prevent some movies from achieving their set rate.
Considering Movie File Sizes Keep in mind that video and animation can produce huge files. When planning a project, be careful not to overestimate your available disk space. For an idea of disk requirements, consider this example: Each 640 by 480-pixel, 24-bit color frame is 1.2 MB. At this size, a 12-fps, 30-second animation would consume more than 400 MB of disk space.
Icon Keyboard shortcut Comment Rewind Home Returns to the first frame in a stack Step Reverse Page Down Moves back one frame Stop Command +. (Mac OS) or Ctrl+. (Windows) Halts a frame stack that’s playing Play Command +Shift+P (Mac OS) or Ctrl+Shift+P (Windows) Plays the frame stack 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.
Getting Started with Movies You can create movies Corel Painter, or you can open movies created in common animation formats, such as QuickTime or Video for Windows (AVI). Creating a Movie The first step in creating a new animation is to create a movie file. Corel Painter automatically saves movie files as you proceed from frame to frame. To create a movie 1 Choose File menu > New. 2 In the New dialog box, select the frame size and paper color you want.
The storage type lets you specify the color depth for saving each frame. This applies to the saved frame stack, not to your work in the current frame. For example, choosing 256 colors as the storage type still allows you to work with a selection and 24-bit tools in the document window for the current frame. As soon as you change frames, however, the image is saved in the 256-color format, and the selection is lost.
The Frame Stacks palette appears and the document window displays the first frame of the movie. To open a QuickTime or AVI movie 1 Choose File menu > Open. 2 In the Open (Mac OS) or Select Image (Windows) dialog box, locate the movie, and click Open. When a file is selected, the dialog box shows the frame size, file size, and the number of frames. If a preview is available, it shows a thumbnail of the first frame.
Understanding Onion Skinning Traditional cartoon animators work on an onion skin paper that allows them to see a sequence of frames through transparent layers. They then draw successive frames, using the previous frames for reference. Seeing the several images superimposed helps increment the action evenly. Corel Painter lets you work in two to five layers of onion skin. You specify the number of layers when you open a frame stack.
You can also turn Tracing Paper on and off by pressing Command+T (Mac OS) or Ctrl+T (Windows) or clicking the Tracing Paper icon on the vertical scroll bar. Animating with Layers One of the simplest ways to create animation in Corel Painter is to move an item from the Image Portfolio palette across a series of frames. This is the most basic example of animating with layers. Adding multiple layers allows you to make more complex animations.
9 On the keyboard, press the arrow keys to move the portfolio image. 10 Repeat steps 6 and 7 for as many frames as you want to add. 11 In the last frame, deselect the layer. 12 Click the Play button on the Frame Stacks palette. The portfolio image moves across the screen. Repeating Actions You can repeat actions to create an animated cycle. Take, for example, a blinking eye. For this type of action, draw the cycle once, and repeat it as many times as needed.
The movie you insert must have the same frame size (width and height) as the current movie. 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. To add frames to a movie 1 Choose Movie menu > Add Frames. 2 In the Add Frames dialog box, type the number of frames in the Add box. 3 Enable an option for frame placement.
Deleting Frames and Erasing Frame Contents When you delete frames, the frames are removed from the movie, and subsequent frames are renumbered as necessary. Erasing clears the image to the paper color. The frames themselves remain in the movie. To delete or erase frames To Do the following Delete frames from a movie Choose Movie menu > Delete Frames. In the Delete Frames dialog box, enter the range of frames you wish to delete. Erase frame contents Choose Movie menu > Erase Frames.
3 1 2 (1)The frame shows an owl perched on a roost. (2)The frame shows the owl without the roost. (3)The frame shows the mask used to hide the roost. Rotoscoping is also useful for adding a background to an animation. The process is the same whether you work with digitized video or painted animation cells. Applying Effects to a Single Frame You can paint on, or apply effects to, any frame in a movie.
Applying Scripts to Movies The Script feature in Corel Painter lets you repeat the same actions for each frame in a movie. For example, you might want to apply an effect like Glass Distortion to a video clip. You can record a script that applies the Glass Distortion effect to a single image and then, with a single command, apply that script to the entire movie. A script can contain almost any action — a single command, a series of commands, or the many steps in creating an original drawing.
3 Perform the actions you want included in the script, and click the Stop button on the Scripts palette. 4 In the Script Name dialog box, type a name for the script in the Save As box. To apply a script to a movie 1 Open the movie to which you want to apply the script. 2 Choose Movie menu > Apply Script to Movie. 3 In the Apply Script to Movie dialog box, double-click a script. Corel Painter applies that script to each frame in the stack.
2 Create a brush stroke in the document window. 3 Open a movie file. 4 Choose Movie menu > Apply Brush Stroke to Movie. Compositing Movies You can composite two movies together into one — for example, you can composite a foreground action against a new background. To do this, you must create a selection in each frame of the foreground movie. For information about selections, refer to “Creating Selections” in the Help.
3 On the Frame Stacks palette, click the Rewind button frame in the stack. to go back to the first 4 Open the background movie or image. If the background is a movie, click the Rewind button. 5 Do one of the following: • Select the background movie and choose Movie menu > Set Movie Clone Source. • Select the background image and choose File menu > Clone Source > [Image Title]. 6 Select the foreground movie.
The frame stack of the background movie. The frame stack of the foreground movie where selections of the dog are generated. The composited movie. To composite movies using scripting 1 Working in a sample image, determine whether Auto Select or Color Select works best with your image. Those selection methods are accessible by choosing Select menu > Auto Select or Color Select. 2 When you’ve determined the settings for the best method, start over.
Cloning a Movie Cloning from one movie to another is almost like cloning from one image to another. The only difference is that you are cloning from one sequence of frames to another sequence of frames. In this case, by advancing one frame in the clone frame stack, Corel Painter automatically advances one frame in the source frame stack. When you set a movie clone source, the current frame in the clone is matched to the current frame in the source.
You will be painting the source movie into the clone. 9 When you finish cloning in a frame, advance to the next one by clicking the Step Forward button on the Frame Stacks palette. Corel Painter automatically advances the clone source to maintain the frame-to-frame correspondence. If you have a Corel Painter movie open and you choose File menu > Clone, Corel Painter will create a clone only of the frame in the image window.
4 Select the source movie, and click the Rewind button palette to select frame 1. on the Frame Stacks 5 Choose Movie menu > Set Movie Clone Source. 6 Select the new movie and choose Canvas menu > Tracing Paper. The first frame of the original movie appears ghosted in the first frame of the new movie. 7 Trace the first frame using any of the Corel Painter tools, textures, and effects. 8 When finished, click the Step Forward button trace the second frame.
Exporting Movies as QuickTime Movies You can export a movie as a QuickTime movie on either the Macintosh or Windows platform. QuickTime 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. • The Animation method works well with areas of continuous tone.
With some compression methods, you can also limit the speed of data transmission with the Limit Data Rate option. The data rate limit overrides the Quality setting, if necessary, to keep the compressed movie within the set limit. To export a Corel Painter movie as a QuickTime movie 1 Choose File menu > Save As. 2 In the Save Movie dialog box, enable the Save Movie as QuickTime option. 3 In the Enter Movie Name dialog box, choose a location, enter a name for the file, and click Save.
Key frames are used in temporal compression methods. Each key frame is stored in its entirety. The next set of frames, up to the next key, are saved only as changes. With some compression methods, you can specify the frequency of key frames with the Key Frame Every [Number] Frames option. With some compression methods, you can also limit the speed of data transmission with the Data Rate option.
in each filename must be the same. When you import numbered files, you create a new frame stack, and you are prompted to choose a number of onion skin layers and a storage type. For more information, refer to “Creating a Movie” on page 362. To export a movie as numbered files 1 Choose File menu > Save As. 2 In the Save Movie dialog box, enable the Save Movie as Numbered Files option, and click OK.
Art by Andrew Jones: Character design for a video game Andrew Jones has been involved in creating concepts for films and video for Industrial Light and Magic, and for Black Isle Studios, and is currently working as Retro Studio’s senior concept artist. He was the conceptual force behind Nintendo’s Metroid Prime and Metroid Prime 2: Echoes.
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 high-quality 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.
Any object in a lower position on the Layers list “touched” by a rasterized shape must also be rasterized to preserve the effect. For example, if you have a shape with transparency on top of a number of other shapes, all the shapes below it must be rasterized to preserve the transparency all the way down to the canvas. This is true even if the overlap area is small. Similarly, if you place an image from a layer partially over a shape, the shape must be rasterized to print correctly.
2 Choose one of the following: • To view the image as it appears on your canvas with no relation to the printing paper, choose Canvas Preview. • To view the image as it will appear on the currently selected printing paper, choose Page Layout Preview. Sizing an Image If you want to print an image that is larger than a selected page size, you can size the image to fit the page. For example, when this option is enabled, a 12-by-12-inch image would be resized to fit on an 8.5-by-11-inch page.
• Enable the Color Quick Draw (Mac OS) or GDI Printing (Windows) option if your printer is not a PostScript printer. Some common examples are the Hewlett-Packard Deskjet, the Canon® Bubble Jet, and the EPSON Stylus®. You cannot print separations to non-PostScript printers. • Enable the Color PostScript option to print to a color PostScript device. The Minolta QMS™ ColorScript and Tektronix® color thermal printers are examples of color PostScript printers.
Index A Animations . . . . . . . . . . . . . . . . . . . . . 357 calculating required disk space . . . . color sets . . . . . . . . . . . . . . . . . . . . creating . . . . . . . . . . . . . . . . . . . . . frame rate . . . . . . . . . . . . . . . . . . . . Academic courseware . . . . . . . . . . . . . . 9 Acquiring images . . . . . . . . . . . . . . . . . . . . . . . 18 Additional color . . . . . . . . . . . . . . . . . 80 choosing . . . . . . . . . . . . . . . . . . . . . 81 Annotations . . . . . . .
Bleed . . . . . . . . . . . . . . . . . . . . . . . . . . 230 controlling with stylus . . . . . . . . . . . 153 setting . . . . . . . . . . . . . . . . . . . . . . . 231 Blend modes . . . . . . . . . . . . . . . . . . . . . 51 Blending Impasto brush strokes with layers . . . 185 layers . . . . . . . . . . . . . . . . . . . . . . . . 71 shapes . . . . . . . . . . . . . . . . . . . . . . . 352 Blending ramps creating . . . . . . . . . . . . . . . . . . . . . . 109 linear . . . . . . . . . . . . . . . . . .
creating transposed variants . . . . . . deleting . . . . . . . . . . . . . . . . . . . . . designing . . . . . . . . . . . . . . . . . . . . restoring default settings . . . . . . . . . saving . . . . . . . . . . . . . . . . . . . . . . 203 264 204 264 263 Brushes . . . . . . . . . . . . . . . . . . . . . . . . 137 adjusting size in Scratch Pad . . . . . 201 choosing settings . . . . . . . . . . . . . . 139 Cloner . . . . . . . . . . . . . . . . . . . 278, 279 creating new category . . . . . . . . . . .
movies . . . . . . . . . . . . . . . . . . . . . . 376 moving source points . . . . . . . . . . . . 287 multipoint . . . . . . . . . . . . . . . . . . . . 282 offset . . . . . . . . . . . . . . . . . . . . . . . . 279 painting in a clone . . . . . . . . . . . . . . 278 point-to-point . . . . . . . . . . . . . 280, 281 reproducing source selection . . . . . . 240 setting clone source . . . . . . . . . . . . . 277 setting reference points . . . . . . . . . . 285 setting up clone source . . . . . . . . . . .
Combining layers with canvas . . . . . . . . . . . . . . 62 shapes . . . . . . . . . . . . . . . . . . . . . . 351 Commit dialog box Crosshair cursor . . . . . . . . . . . . . . . . . 282 Cubic Interpolation . . . . . . . . . . . . . . 222 Cursor choosing icon for . . . . . . . . . . . . . . . 32 crosshair . . . . . . . . . . . . . . . . . . . . . 282 reinstating . . . . . . . . . . . . . . . . . . . . 35 Committing reference layers . . . . . . . . . . . . . . . . 71 Compatibility . . . . . . . . . . .
Diffusion . . . . . . . . . . . . . . . . . . . . . . . 172 Digital Watercolor . . . . . . . . . . . . 7, 172 adjusting diffusion . . . . . . . . . . . . . 172 controls for . . . . . . . . . . . . . . . . . . . 258 pooling . . . . . . . . . . . . . . . . . . . . . . 173 Directional grain Drop shadows adding . . . . . . . . . . . . . . . . . . . . . . . .68 Dropper tool accessing . . . . . . . . . . . . . . . . . . . . . .82 sampling color with . . . . . . . . . . . . . .81 Dropping enabling . . . . . .
Exporting an image from a movie . . . . . . . . . . AVI files . . . . . . . . . . . . . . . . . . . . movies as numbered files . . . . . . . . QuickTime movies . . . . . . . . . . . . Flow 378 380 382 379 adjusting for airbrushes . . . . . . . . . . 159 4-Point Tiling . . . . . . . . . . . . . . . . . . 240 Fractal patterns converting to paper texture . . . . . . . 128 creating . . . . . . . . . . . . . . . . . . . . . 126 Expression color . . . . . . . . . . . . . . . . . . . . . . .
mapping to luminance . . . . . . . . . . . 112 nonlinear . . . . . . . . . . . . . . . . . . . . 109 order . . . . . . . . . . . . . . . . . . . . . . . . 106 painting with . . . . . . . . . . . . . 153, 154 saving . . . . . . . . . . . . . . . . . . . . . . . 109 selecting . . . . . . . . . . . . . . . . . . . . . 105 spiral tension . . . . . . . . . . . . . . . . . . 107 two-point . . . . . . . . . . . . . . . . . . . . 108 types . . . . . . . . . . . . . . . . . . . . . . . . 104 Grain adjusting . . . .
Info palette displaying . . . . . . . . . . . . . . . . . . . . 60 Iterative Save . . . . . . . . . . . . . . . . . . .5, 31 J Jitter control . . . . . . . . . . . . . . . . 235, 238 Joining shape segments . . . . . . . . . . . . . . . 343 JPEG files saving . . . . . . . . . . . . . . . . . . . . . . . 27 K Keyboard shortcuts customizing . . . . . . . . . . . . . . . . . . . 36 KPT filters . . . . . . . . . . . . . . . . . . . . . . . 7 L Layer Adjuster tool . . . . . . . . . . . . . . .
shapes as . . . . . . . . . . . . . . . . . . 45, 328 showing . . . . . . . . . . . . . . . . . . . . . . 57 showing indicators . . . . . . . . . . . . . . 60 transforming . . . . . . . . . . . . . . . . . . . 69 types . . . . . . . . . . . . . . . . . . . . . . . . . 44 ungrouping . . . . . . . . . . . . . . . . . . . . 62 unlocking . . . . . . . . . . . . . . . . . . . . . 57 viewing . . . . . . . . . . . . . . . . . . . . . . . 57 viewing position . . . . . . . . . . . . . . . . 59 Watercolor . . . . . .
composite . . . . . . . . . . . . . . . . . . . . 71 for painting on layers . . . . . . . . . . . . 64 subcategories . . . . . . . . . . . . . . 211, 214 Mix Color tool . . . . . . . . . . . . . . . . . . . 86 Mixer Pad changing background . . . . . . . . . . . . clearing . . . . . . . . . . . . . . . . . . . . . . creating color sets . . . . . . . . . . . . . . . loading . . . . . . . . . . . . . . . . . . . . . . mixing Artists’ Oils paint . . . . . . . . . sampling color from . . . . . . . . . . . . .
saving . . . . . . . . . . . . . . . . . . . . . . . 378 scripting for compositing . . . . . . . . . 373 setting preview frame rate . . . . . . . . 359 tracing . . . . . . . . . . . . . . . . . . . . . . 377 using layers . . . . . . . . . . . . . . . . . . . 366 using scripts . . . . . . . . . . . . . . . . . . 371 Moving layers . . . . . . . . . . . . . . . . . . . . . . . . 54 Multipoint cloning . . . . . . . . . . . . . . . 282 setting reference points . . . . . . . . . . 285 Multiuser support . . . .
Brush Control . . . . . . . . . . . . . . .4, 197 Color Expression . . . . . . . . . . . . . . 103 Color Info . . . . . . . . . . . . . . . . . . . 102 Color Variability . . . . . . . . . . . . . . 100 Colors . . . . . . . . . . . . . . . . . . . . . . . 78 displaying Info . . . . . . . . . . . . . . . . . 60 Frame Stacks . . . . . . . . . . . . . . . . . 360 Image Portfolio . . . . . . . . . . . . . . . . 73 Layers . . . . . . . . . . . . . . . . . . . . . . . 46 Mixer.
system memory . . . . . . . . . . . . . . . . . 41 Undo . . . . . . . . . . . . . . . . . . . . . . . . 38 user interface . . . . . . . . . . . . . . . . . . . 41 Pressure adjusting for mouse . . . . . . . . . . . . . 143 Preview grid resizing in Brush Creator . . . . . . . . . 200 Previewing Randomizing brush strokes . . . . . . . . . . . . . . . . . .235 brush variants . . . . . . . . . . . . . . . . .202 paper grain . . . . . . . . . . . . . . . . . . .118 playback of brush strokes . . . . . . . . .
brush size in Scratch Pad . . . . . . . . 201 brush strokes . . . . . . . . . . . . . . 216, 218 canvas . . . . . . . . . . . . . . . . . . . . . . . 25 drawing area . . . . . . . . . . . . . . . . . . 25 preview grid in Brush Creator . . . . . 200 shapes . . . . . . . . . . . . . . . . . . . . . . 345 Resolution . . . . . . . . . . . . . . . . . . . . . . 19 print quality . . . . . . . . . . . . . . . . . . . 20 screen appearance . . . . . . . . . . . . . . 20 Restoring brush variant default settings . .
Selecting distorting . . . . . . . . . . . . . . . . . . . . .347 drawing with Pen tool . . . . . . . . . . .332 duplicating . . . . . . . . . . . . . . . . . . .348 editing . . . . . . . . . . . . . . . . . . . . . . .339 flipping . . . . . . . . . . . . . . . . . . . . . .348 grouping . . . . . . . . . . . . . . . . . . . . .351 joining endpoints . . . . . . . . . . . . . . .343 moving anchor points . . . . . . . . . . . .340 painting . . . . . . . . . . . . . . . . . . . . . .350 preferences for . . . .
Special effects . . . . . . . . . . . . . . . . . . 291 using with airbrushes . . . . . . . . . . . 158 vs. mouse . . . . . . . . . . . . . . . . . . . . 142 wheel controls . . . . . . . . . . . . . . . . 159 Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Spiral tension changing in gradients . . . . . . . . . . . 107 Spread adjusting for airbrushes . . . . . . . . . 159 Storing images . . . . . . . . . . . . . . . . . . . . . . . 73 Subcategories of brush methods . . .
3D Brush Strokes Transforming creating texture using . . . . . . . . . . . 294 duplicated shapes . . . . . . . . . . . . . . .349 reference layers . . . . . . . . . . . . . . . . .69 shapes . . . . . . . . . . . . . . . . . . . . . . .345 Three-dimensional oils . . . . . . . . . . . 295 Threshold Liquid Ink settings . . . . . . . . . . . . . 175 TIF files saving . . . . . . . . . . . . . . . . . . . . . . . . 29 Transparency preserving on layers . . . . . . . . . . . 65, 66 Transposer . . . . . . . .
Water controls . . . . . . . . . . . . . . 171, 245 Watercolor . . . . . . . . . . . . . . . . . . . . . 169 brushes . . . . . . . . . . . . . . . . . . . . . Digital Watercolor . . . . . . . . . . . . . layer. See Watercolor layer paper textures . . . . . . . . . . . . . . . . Water Controls . . . . . . . . . . . . . . . 171 172 171 171 Watercolor layer . . . . . . . . . . 46, 169, 170 creating . . . . . . . . . . . . . . . . . . . . . 170 lifting the canvas to . . . . . . . . . . . . 170 wetting . . . .
