User guide

ManualsBrandsCorel ManualsSoftwarePainter X3 Win/Mac, EDU, EN

Summary of content (943 pages)

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User Guide Corel Corporation 2013
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Copyright 2013 Corel Corporation. All rights reserved. Corel® Painter® X3 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. Protected by Patents in the United States and elsewhere.
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Contents Welcome to Corel Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting the Help window text size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Additional resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Creating, importing, exporting, and deleting workspaces . . . . . . . . . . . . . 46 Restoring the default Corel Painter settings . . . . . . . . . . . . . . . . . . . . . . . 48 A short tour of Corel Painter for users of Adobe Photoshop . . . . . . . . . . . . . 49 Creating, navigating, and manipulating documents . . . . . . . . . . . . . . . . . . . Creating documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Understanding resolution. . . . . . . . . . . . . . . . .
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Panel commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Corel Painter menu commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 File menu commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Edit menu commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Canvas menu commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Setting up the drawing cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brush tracking and calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using a stylus vs. a mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applying freehand and straight brushstrokes . . . . . . . . . . . . . . . . . . . . . Constraining, fading, and undoing strokes . . . . . . . . . . . . . . . . . . . . . . . Erasing image areas . . . . . . . . . . . . . . . .
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Using Quick Clone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting cloning preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with multiple clone sources . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing, updating, saving, and exporting clone source images . . . . . . . . Painting in the clone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using brush loading. . . . . . . . . . . . . . .
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Cloning color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating two-color brushstrokes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Exploring the Mixer panel and mixing controls . . . . . . . . . . . . . . . . . . . Displaying and resizing the Mixer panel . . . . . . . . . . . . . . . . . . . . . . . . . Mixing, sampling, and applying colors from the Mixer pad . . . . . . . . . . Opening images in the Mixer panel . . . . . . . . . . . . . . .
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Previewing and soft-proofing color profiles. . . . . . . . . . . . . . . . . . . . . . . Assigning or removing color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . Converting color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with color profile policies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Searching and selecting brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting basic brush attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Displaying advanced brush controls dynamically . . . . . . . . . . . . . . . . . . Organizing and displaying brushes in the Brush library panel . . . . . . . . Copying and moving brush variants . . . . . . . . . . . . . . . . . . . . . . . . . . . . Renaming brush categories and variants. . . . . . . . . . . . . . . . .
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Size controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Angle controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Spacing controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Changing dab profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Real Watercolor controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Choosing a Jitter brush variant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Controlling the behavior of Jitter variants . . . . . . . . . . . . . . . . . . . . . . . 409 Watercolor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with the Watercolor layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . Watercolor brushes and paper texture interaction . . . . . . . . . . . . . . . . .
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Understanding nozzles, ranks, and indexing. . . . . . . . . . . . . . . . . . . . . . Creating a 1-Rank nozzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a 2-Rank nozzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a 3-Rank nozzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Loading and managing nozzle files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a nozzle from a movie . . . . . .
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Transforming layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aligning layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Locking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Showing or hiding layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Changing layer order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Importing and exporting alpha channels . . . . . . . . . . . . . . . . . . . . . . . . Selecting and viewing channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting channel attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deleting and clearing channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Applying recently used effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574 Changing effects with open panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Applying effects using source luminance . . . . . . . . . . . . . . . . . . . . . . . . 575 Using focus and esoterica effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applying Smart Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Using paper to create texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using 3D brushstrokes to create texture . . . . . . . . . . . . . . . . . . . . . . . . Using image luminance to create texture . . . . . . . . . . . . . . . . . . . . . . . . Using clone source or pattern luminance to create texture . . . . . . . . . . . Creating embossed effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using channels and layer masks to create texture . . . . . . . .
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Applying the Liquid Lens dynamic plug-in. . . . . . . . . . . . . . . . . . . . . . . 661 Applying the Liquid Metal dynamic plug-in. . . . . . . . . . . . . . . . . . . . . . 666 Applying the Posterize dynamic plug-in. . . . . . . . . . . . . . . . . . . . . . . . . 675 Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applying pattern fills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Painting with patterns . . .
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Weaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applying weaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing and saving weaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating weave patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Edit Weave dialog box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Adding text to images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Formatting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aligning text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting text kerning and leading . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stretching, rotating, and skewing text . . . . . . . . . . . . . . . . . . . . . . . . . .
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Exporting a movie as an AVI movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806 Importing and exporting numbered files . . . . . . . . . . . . . . . . . . . . . . . . 808 Exporting animated GIFs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809 Using scripts to automate tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Getting started with scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Displaying the Scripts panel . .
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Shapes preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 Cloning preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843 Connection preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844 Web. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choosing web-safe colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Welcome to Corel Painter Corel® Painter® X3 is the ultimate digital art studio. Its inventive drawing tools, realistic brushes, cloning capabilities, and customizable features let you expand your creative output in exciting new ways. When you use the pressure-sensitive brushes of Corel Painter, they become fluid extensions of your hand, so the resulting brushstrokes are unrivaled in texture and precision.
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Documentation conventions The following table describes the conventions used in the Help. Convention Description Example Mac OS and Windows commands Commands for Mac OS and Windows sometimes appear within the same procedural step, with the operating systems specified in parentheses. Hold down Command (Mac OS) or Ctrl (Windows).
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Convention Description Example Panel options menu Clicking the panel options menu button displays a popup menu with additional commands. Flyout Flyouts are containers shared by certain tools in the toolbox. You can open a flyout by clicking and holding down the tool on the flyout that is displayed. By clicking and holding down the Layer Adjuster tool in the toolbox, you can display a flyout that includes the Transform tool. A note contains information that is important to the steps that precede it.
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To Do the following Browse through Help topics Click the Contents tab, and click a topic in the left pane. Use the index Click the Index tab, and scroll through the entries to find a topic. Search the full text of the Help (Mac OS) Type a word or phrase in the Search box in the upper-right corner of the Help window, and press Return. (Windows) Click the Search tab, type a word or phrase in the box, and click Go. Note that the search feature does not support quotation marks.
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To adjust the size of text in Apple Help • In the Apple Help viewer, do one of the following: • To increase the zoom level, press Command and +. • To decrease the zoom level, press Command and -. Additional resources You can access additional Corel Painter resources online to learn more about the product and connect with the Corel Painter community. Resources To access Corel Painter page on the Corel website http://www.corel.com/painter Corel Painter Factory http://www.painterfactory.
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The icons of the controls are conveniently positioned to match the shape of your hand so that each finger can quickly tap a control. Working with Corel Cinco for Painter allows you to extend your workspace and reduce onscreen clutter. It can also replace traditional shortcut keys. To allow Corel Cinco for Painter to connect with Corel Painter, you need to enable the option in the Painter Preferences dialog box.
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You can also specify an Authentication Code to ensure that only a legitimate user can access your copy of Corel Painter from a remote application. About Corel Corporation Corel is one of the world’s top software companies providing some of the industry’s bestknown graphics, productivity and digital media products.
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What’s new in Corel Painter X3 Corel Painter takes you far beyond what’s possible in a traditional art environment. This section contains the following topics: • What’s New in Corel Painter X3 • What’s new in Corel Painter 12 Updates 1 and 2 • Changes to the brush control panels What’s New in Corel Painter X3 In this section, you will find information about the new and enhanced features of Corel Painter X3.
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A platform for inspiration, creativity, and reflection Reference Image panel Lets you display an inspirational image in an easy to use, dockable panel. You can zoom, pan, and sample colors from the reference image while maintaining focus on your digital painting.For more information, see “Displaying reference images” on page 112. Enhanced stroke preview Offers a more detailed preview of the brushstroke that will appear on the canvas in real-time.
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The innovator in digital art Universal Jitter Allows you to control the randomness of various brush features, such as size, angle, and opacity. You can now use Jitter in conjunction with a different expression. For more information, see “Controlling the behavior of Jitter variants” on page 409. Minimum controls Allows you to introduce a range of variation to a selected expression. You can apply minimum values for brush controls such as Size and Opacity.
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Easier to learn and use Enhanced Cloning Reintroduces the traditional side-by-side cloning workflow and lets you view the crosshair cursor on your source image to increase painting accuracy. In addition, you now have the ability to edit the source image. For example, you can apply various effects to the source image. For more information, see “Cloning images” on page 149 and “Editing, updating, saving, and exporting clone source images” on page 157.
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What’s new in Corel Painter 12 Updates 1 and 2 If you are migrating to Corel Painter X3 from Corel Painter 12, you may not be aware of the features and enhancements that were added to Corel Painter 12 Updates 1 and 2. These features and enhancements are also available in Corel Painter X3. Corel Painter 12 Update 1 Features Ability to import and export brush libraries, categories, and variants Allows you to import and export brush libraries, categories, and variants so you can better manage brush resources.
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Corel Painter 12 Update 1 Features Deleting Workspaces Allows you to delete custom Workspaces from within the application. For more information, see “Creating, importing, exporting, and deleting workspaces” on page 46. Color mixing enhancements Allows you to open images as mixer pads and save mixer pads to the PNG file format. For more information, see “Opening images in the Mixer panel” on page 216 and “Saving the Mixer pad” on page 219.
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Corel Painter 12 Update 2 Features Support for Corel Cinco for Painter Allows Corel Painter to connect to Corel Cinco for Painter, which is a companion iPad app that integrates seamlessly into your current workflow to enhance productivity. For more information, see “Corel Cinco for Painter” on page 5. Wacom Multi-Touch support Enables enhanced multi-touch support for Wacom Intuos 5 touch tablets. You can now simultaneously pan, rotate, and zoom the canvas.
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Corel Painter 12 brush control panels Corel Painter X3 brush control panels Dab Profile panel Stroke Preview panel (New) Dab Preview panel (New) Dab Profile panel (Modified) General panel General panel (Modified) Stroke Attributes panel (New) Opacity panel (New) Grain panel (New) 16 Corel Painter X3 Getting Started Guide
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Corel Painter 12 brush control panels Corel Painter X3 brush control panels Size panel Size panel (Modified) Bristles panel (New) Multi panel (New) Spacing panel What’s new in Corel Painter X3 Spacing panel (Modified) Smoothing panel (New) 17
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Workspace tour The Corel Painter workspace has been designed to give you easy access to tools, effects, commands, and features. The workspace is organized by using a series of menus, selectors, panels, and interactive palettes.
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Term Description Canvas The canvas is the rectangular work area inside the document window. In addition, the canvas serves as the background layer of the image. However, unlike other layers, it is always locked. The size of the canvas also determines the size of the image that you create. Pixels-per-inch (ppi) The default unit of measurement for resolution in Corel Painter. Pixels-per-inch (ppi) is equivalent to dots per inch (dpi).
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Term Description Clone source The clone source determines the image, or image area, that you want to reproduce through cloning. A document can include multiple clone sources. Clone document The clone document is created by copying the original clone source image which allows you to reproduce a painterly version of the source image. A copy of the clone source is embedded in the clone document. In addition, you can add multiple clone sources to a clone document.
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Exploring the Document window The document window is the area outside the canvas that is bordered by scroll bars and application controls. Circled numbers correspond to the numbers in the following table, which describes the main components of the application window. (Artwork by Karen Bonaker) Part Description 1.
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Part Description 2. Brush Selector bar Lets you open the Brush library panel to choose a brush category and variant. It also allows you to open and manage brush libraries. 3. Property bar Displays commands that relate to the active tool or object. For example, when the Fill tool is active, the fill property bar displays commands for filling selected areas. 4. Advanced Brush Controls Lets you quickly access the advanced brush controls for any default brush variant.
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Part Description 14. Toolbox Lets you access tools for creating, filling, and modifying an image 15. Canvas The canvas is the rectangular work area inside the document window whose size determines the size of the image you create. The canvas acts as the image background and, unlike a layer, it is always locked. Exploring the toolbox You can use the tools in the toolbox to paint, draw lines and shapes, fill shapes with color, view and navigate documents, and make selections.
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Tool Description Color tools The Eraser tool lets you remove unwanted areas from an image. For more information, see “Erasing image areas” on page 123. Selection tools The Layer Adjuster tool is used to select, move, and manipulate layers. For more information, see “Displaying the layers panel” on page 483. The Transform tool lets you modify selected areas of an image by using different transformation modes. For more information, see “Preparing selections for transformations” on page 565.
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Tool Description Shape tools The Pen tool lets you create straight lines and curves in objects. For more information, see “Drawing lines and curves” on page 753. The Quick Curve tool lets you create shape paths by drawing freehand curves. For more information, see “Adjusting curvature” on page 764. The Rectangular Shape tool lets you create rectangles and squares. For more information, see “Drawing shapes” on page 751. The Oval Shape tool lets you create circles and ovals.
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Tool Description Photo tools The Cloner tool gives you quick access to the last Cloner brush variant you used. For more information, see “Painting in the clone” on page 159. The Rubber Stamp tool gives you quick access to the Straight Cloner brush variant, and lets you to sample areas within an image or between images. For more information, see “Performing offset sampling” on page 163. The Dodge tool lets you lighten the highlights, midtones, and shadows in an image.
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Tool Description Composition tools The Perspective Guides tool lets you display guides using one, two or three-point perspective. For more information, see “Using Perspective Guides” on page 186. Navigation tools The Grabber tool lets you scroll through an image quickly. For more information, see “Repositioning images” on page 72. The Magnifier tool lets you magnify areas of an image when you are performing detailed work, or reduce areas to get an overall view of an image.
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a given time on the toolbox. A flyout menu is indicated by a triangle in the lower-right corner of the button. You can open a flyout to access all of its tools. You can also reposition the toolbox by moving it in the application window. In addition, you can change the toolbox display. For example, you can change the toolbox orientation. To open or close the toolbox • Choose Window  Toolbox. You can also close the toolbox by clicking the close button on the toolbox header bar.
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The Media Selector bar (displayed horizontally). From left to right: Pattern Selector, Gradient Selector, Nozzle Selector, Weave Selector, Look Selector. You can also reposition the Media Selector bar by moving it in the application window. In addition, you can change the Media Selector bar display. For example, you can change the Media Selector bar orientation or increase the size of the buttons. To open or close the Media Selector bar • Choose Window  Media Selector.
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From the property bar you can access and change tool options and settings. Tool settings are retained when you switch from one tool to another. You can also use the property bar to restore the default settings of the selected tool. To open or close the property bar • Choose Window  Property Bar. You can also close the property bar by clicking the close button on the header bar. To move or dock the property bar • Perform a task from the following table.
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zoom level, or with a large image, you can use the Navigator panel’s small canvas preview to display the entire image without having to zoom out. You can also move to a different image area without having to adjust the zoom level. In addition, you can change the zoom level or rotate the canvas from the Navigator panel. The Navigator’s canvas preview allows you to view the entire image even when you’re zoomed in.
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You can access the Brush library panel by clicking the Brush Selector on the Brush Selector bar. In the Brush library panel, brushes are organized into categories, which contain brush variants. Brush categories are groups of similar brushes and media. Brush variants are specific brushes and brush settings within a brush category. For example, in the Pastels category, there are pencil, chalk, soft, and hard pastel brush variants. You can change the display of the categories and variants.
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Exploring panels and palettes The interactive panels in Corel Painter are single tabbed containers that let you access content libraries, commands, controls, and settings. Panels are stored in palettes. You can store one or multiple panels in a palette. For example, you can reconfigure the panels that you most often use in one palette. You can also arrange panels and palettes in the application window to quickly access the tools and controls that you use most often or to maximize screen space.
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Panel Description Brush Control panels The brush control panels are included in the Brush Controls palette.
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Panel Description Paper panels Papers Lets you apply and edit paper textures Paper Libraries Lets you open and manage paper libraries. You can also choose a paper texture. Media library panels Patterns, Gradients, Nozzles, Looks, and Weaves library panels Let you open and manage media libraries. You can also choose media. Image Portfolio and Selection Portfolio Contain all images or selections in the current library.
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Panel Description Navigator, Clone Source, and Reference Image panels Navigator panel Lets you navigate the document window. You can also view document information, such as width and height; X and Y coordinates and the cursor position; contextsensitive information based on a selected tool; and unit information, such as pixels, inches, and resolution. For more information, see “Exploring the Navigator panel” on page 31. Clone Source panel Lets you open and manage clone sources.
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Panel Description Layers and Channels panels Channels Lets you preview thumbnails of all the channels in a Corel Painter document, including RGB composite channels, layer masks, and alpha channels. From the panel, you can also load, save, and invert existing channels, and create new channels. For more information, see “Alpha Channels” on page 529. Auto-Painting panels Underpainting Lets you adjust tone, color, and detail in a photo in preparation for auto-painting.
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Panel Description Composition panels Layout Grid Lets you customize the Layout Grid — a tool that helps you divide your canvas so that you can plan your composition. For more information, see “Using the Layout Grid” on page 179. Text and Scripts panels Text Lets you perform all text-related tasks, such as choosing fonts, adjusting opacity, and applying drop shadows. For more information, refer to “Adding text” on page 779. Scripts Lets you access all commands and settings related to scripts.
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Most panels in Corel Painter contain option menus from which you can access a series of related commands. For example, you can use the options menu in the Paper controls panel to capture, make, and invert paper textures. 1 2 3 A typical palette features a header bar (1), panel tabs (2), and a Panel options button (3). By default, the Color panel is open and is grouped in a palette with the Mixer and Color Set Libraries panels. To group panels into palettes • Perform a task from the following table.
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To hide or show a panel or palette • Perform an action from the following table. To Do the following Hide or show a panel from a menu Choose Window  [Panel name]. Hide an open panel Click the Close button on the panel tab. Hide an open palette Click the Close button on the header bar. When you choose Window  Show Panels, only the panels that were open when you chose Hide Panels are displayed.
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To dock or undock a palette • Perform a task from the following table. To Do the following Dock a palette Drag the palette header bar, or the blank space to the right of the tabs, to the vertical edge of the application window. The palette snaps into place when it lines up with the edge. Undock a palette Drag the blank area to the right of the panel tabs away from the edge of the application window. Dock a panel Drag the panel tab to the vertical edge of the application window.
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and nozzles, looks, and scripts. You can also add commands from the main menus or panel options to custom palettes. Items that appear on a custom palette are references (aliases or shortcuts) to the original. This means that if you change the original — for example, by modifying and saving a brush variant — the custom panel button loads the newest version. However, if you delete the original, Corel Painter won’t be able to find the item again to load in the custom palette.
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To Do the following Open a custom palette Choose Window  Custom Palette  [Custom Panel Name]. Close a custom palette On the custom panel header bar, click the Close button. To add items to a custom panel • Perform a task from the following table. To Do the following Add a button from a panel Hold down Shift and drag a button from one panel to the custom panel. Add a menu item Choose Window  Custom Palette  Add Command.
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3 Click Rename. 4 In the Palette Name dialog box, type a name in the New Palette text box. To save a custom palette 1 Choose Window  Custom Palette  Organizer. 2 Choose a palette from the Custom Palette list. 3 Click Export. 4 In the New Palette File dialog box, type a name in the File Name text box. 5 Choose the drive and folder where you want to save the file. It’s a good idea to store all saved palettes in the same folder. To import a custom palette 1 Choose Window  Custom Palette  Organizer.
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contained in the Paper Textures library, which is loaded by default when you open Corel Painter. As you customize paper textures and other resources, you can save them to your own libraries. Libraries are available for brushes, gradients, layers, lighting, looks, nozzles, paper textures, patterns, selections, scripts, and weaves. For more information, see “Libraries” on page 273 and “Importing and exporting brush libraries, categories, and variants” on page 309.
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The application switches to the new workspace. To switch to a different workspace • Choose Window  Workspace  [Workspace Name]. To import a workspace 1 Choose Window  Workspace  Import Workspace. 2 Choose the workspace file that you want to import. 3 Click Open. To export a workspace 1 Choose Window  Workspace  Export Workspace. 2 Choose the workspace that you want to export. 3 Click Save. To revert to the default workspace • Choose Window  Workspace  Default.
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Restoring the default Corel Painter settings You can restore the Corel Painter workspace to its default factory settings.
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A short tour of Corel Painter for users of Adobe Photoshop by Cher Threinen-Pendarvis Corel Painter is known for its responsive, realistic brushes, multitude of rich textures, and fabulous special effects, which cannot be found in any other program. The biggest difference that you will notice between Adobe Photoshop and Corel Painter is the warmth and texture of the Natural-Media brushes and paper textures of Corel Painter.
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The Brush Selector bar (left) lets you choose a brush category and a brush variant (right). Color panel On the upper right corner of your screen you’ll see the large, beautiful Color panel, which lets you choose colors. You can choose colors by using the Hue Ring and the Saturation/Value Triangle. However, if you prefer to mix color by using numbers, you can adjust the three sliders that are located under the Hue Ring.
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Hue Ring Saturation/Value Triangle Additional Color swatch Main Color swatch Color panel In Corel Painter, you can resize the Color panel by dragging the handle in the lowerright corner of the panel to resize it. Resizing the Color panel lets you select colors more accurately. Textures A basic paper texture is automatically loaded when you start Corel Painter.
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Layers panel Photoshop Layer Styles If you are using native Photoshop layer styles, such as the Drop Shadow layer style, make sure that you preserve the original Photoshop file in your archive before you convert the layer style information. That is, save the file with the live layer styles in the Photoshop (PSD) file format, and then save a new copy of this file. In the new file, convert the layer style information into pixel-based layers before importing the file into Corel Painter.
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Now roll up your sleeves, grab your stylus, and continue to explore Corel Painter. About the author An award-winning artist and author, Cher Threinen-Pendarvis is a pioneer in digital art. She has been widely recognized for her mastery of Corel Painter, Adobe Photoshop, and the Wacom pressure-sensitive tablet and has used these electronic tools since they were first released.
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Creating, navigating, and manipulating documents The Corel Painter application provides a digital workspace in which you can create new images, or alter existing images, by using the Natural-Media tools and effects. Your working image, known as a document, is displayed in a document window. This document window includes navigation and productivity features to help you work efficiently.
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• Wacom Intuos support • Drag-and-drop features Creating documents To start an image from a blank canvas, you must create a new document. This allows you to specify the canvas settings, such as width, height, and resolution. You can also specify the canvas color and texture. The size of the canvas determines the size of the image when it is printed. To quickly get started, you can choose from a list of preset canvas settings.
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To create a new document 1 Choose File  New. 2 Type a filename in the Image Name text box. 3 From the Canvas Preset list box, choose one of the following options to automatically determine the size, resolution, color of the canvas, and the paper texture: • Painter 11 default • Painter default • Portrait You can also Change the unit of measurement for the document Choose a unit of measurement from the list box located to the right of the Width and Height boxes.
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To create a custom canvas preset 1 Choose File  New. 2 Choose the settings that you want to save as a canvas preset. 3 Click the Add button . 4 In the Add Preset dialog box, type a name in the Preset Name text box. A custom canvas preset is not a template. Unlike a template, it does not allow you to store any content. A custom canvas preset allows you to store only canvas dimensions, resolution, color, and texture.
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If you set the dimensions in pixels and then change the number of pixels-per-inch (resolution), this change will affect the size of the printed image. If you set your document size in inches, centimeters, points, or picas and then change the resolution, the dimensions of the printed image will not be affected. Pixels-per-inch (ppi) is equivalent to dots per inch (dpi).
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You can scale a file before placing it in a document. For more information, see “Working with reference layers” on page 526. Supported file formats Corel Painter lets you open the following file formats: • RIFF (RIF) — native Corel Painter format • TIFF (TIF) • PNG • CMYK TIF (TIF) — Because Corel Painter works with RGB colors, the CMYK TIF files that you open or import in the application are converted to an RGB color profile.
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Corel Painter does not support LZW compressed TIFF file format. Only uncompressed TIFF files can be opened in Corel Painter. To open a document 1 Choose File  Open. Corel Painter displays the folder of the last file you opened. 2 In the Open dialog box, locate the file that you want to open. For each image, Corel Painter lists the dimensions (in pixels), file size, and file format. Files saved in Corel Painter include thumbnails for browsing. 3 Click Open.
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Creating and opening templates If you regularly work with documents that contain similar dimensions, formatting, and resolution, you can create document templates so that you don’t have to start each document from scratch. When creating a template, you can add content to the canvas and save it as part of the template. To save a document as a template 1 Create a file with the sizing, formatting, and resolution attributes you want. 2 Choose File  Save As.
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Full-Screen mode lets you hide your computer’s desktop and view the document window without scroll bars. When Full-Screen mode is enabled, the document window is centered over a solid background. All of the Corel Painter features work when you use Full-Screen mode. You can also change the default document view mode for the application. For more information, see “Interface preferences” on page 839. To switch viewing modes • From the toolbox, click the View Mode button Mode and Windowed Mode.
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The Navigator’s canvas preview allows you to view the entire image even when you’re zoomed in. The Navigator also lets you view the X and Y coordinates and cursor position to help you navigate the image. In addition, you can view document information, such as width and height; and unit information, such as pixels, inches, and resolution. You can customize the appearance of the Navigator panel by hiding the image information area or the controls. To display the Navigator panel 1 Choose Window  Navigator.
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To Do the following Zoom to a specific magnification level in the document window Open the Zoom Canvas list box, and adjust the zoom level slider. Rotate the image in the document window Open the Rotate Canvas list box, and adjust the rotation slider. From the Navigator panel, you can also enable various tools by clicking the Open Navigator Settings button , and choosing an option. The available tools include the drawing modes, Impasto, tracing paper, grids, and color management.
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The Magnifier tool lets you zoom in and out by clicking in the document window. To zoom in 1 In the toolbox, click the Magnifier tool . The Magnifier cursor shows a plus sign (+), which indicates that you are increasing the magnification (zooming in). 2 Click or drag in the document window. Each click increases the magnification to the next level, as defined in the Scale box at the bottom of the image window.
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Each click reduces the magnification to the next level, as defined in the Scale box at the bottom of the image window. You can also zoom out using the following keyboard shortcuts: • (Mac OS) Hold down Command, and press – (minus sign). • (Windows) Hold down Ctrl, and press – (minus sign). To zoom to a specific magnification level • Choose Window  Navigator, and type a value in the Zoom canvas box. If you prefer, open the Zoom Canvas slider, and adjust the zoom level.
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You can also specify zooming preferences by clicking Edit  Preferences  Performance, and enabling options in the View Options area. Rotating images and the canvas You can rotate an image on the screen to accommodate the way you draw naturally. You can also rotate the canvas to change the image orientation. Rotate an image to accommodate the way you naturally draw. Rotating an image onscreen is meant for drawing purposes only; whereas rotating the canvas modifies the appearance of the image.
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You can also Constrain rotation to 90° increments Hold down Shift while rotating. Rotate an image by specifying a rotation angle Type a rotation angle in the Rotation Angle box on the property bar or in the Navigator panel. You can also rotate an image from the Navigator panel by typing a value in the Rotate canvas box or by opening the Rotate Canvas slider and adjusting the rotation. To reset the original orientation of an image 1 In the toolbox, click the Rotate Page tool .
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You can also Rotate the Canvas layer by a user-defined amount Choose Canvas  Rotate Canvas Arbitrary, and type a value in the Angle box. If your document has layers of different types, you are prompted to commit all of them to default, pixel-based layers. Flipping images You can flip the canvas and all of its associated layers together, or you can flip a layer, selection, or the canvas individually.
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Image flipped horizontally. Image flipped vertically. To flip the canvas and layers together 1 Choose Canvas  Rotate Canvas. 2 Choose one of the following: • Flip Canvas Horizontal • Flip Canvas Vertical If your document has layers of different types, you are prompted to commit all of them to a default, pixel-based layer. To flip the canvas, a layer, or a selection individually 1 Perform a task from the following table.
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To flip Do the following The canvas Click the Canvas in the Layers panel. A layer Click one or multiple layers in the Layers panel. A selection Click a selection tool from the toolbox, and drag in the document window to select an area. 2 Choose Edit, and choose one of the following: • Flip Horizontal • Flip Vertical Repositioning images You can reposition an image in the Corel Painter workspace in order to view, or work on, a different area of an image.
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If the Navigator frame is displayed, you can drag the frame to a different area of the canvas preview. Cropping images You can remove unwanted edges from the image with the Crop tool . You can adjust the aspect ratio of the cropped image and choose to maintain the aspect ratio. You can also remove unwanted areas of an image by resizing the canvas area. For more information, see “Resizing images and the canvas” on page 73. To crop an image 1 In the toolbox, click the Crop tool .
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When you resize the canvas and image together, the image dimensions and resolution change, but the image appearance doesn’t change. For example, if you resize a 300 ppi image to 150 ppi, the image size is smaller, but it looks the same. The image was resized by modifying the resolution. Alternatively, when you resize only the canvas area, both the image dimensions and appearance change. For example, if you increase the size of the canvas, a border appears around the image.
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The canvas area is resized in order to apply an empty border around the edge of an image. It is also important to note that the size of the onscreen image is affected by the pixel height and width of the image, the zoom level, and the monitor settings. As a result, an image may be displayed as a different size onscreen than when it is printed. For more information, see “Understanding resolution” on page 58 and “Creating documents” on page 56.
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Increasing the image dimensions significantly may cause the image to appear stretched and pixelated. To resize the canvas area 1 Choose Canvas  Canvas Size. 2 In the Canvas Size dialog box, specify the number of pixels you want to add to any side of the canvas. To reduce, or trim, the canvas size, specify negative values. Saving and backing up files You can save a file in its current format or in a different format.
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The location of the last file saved is stored and used for iterative saves unless you specify a new location. You can also perform an iterative save by pressing Command + Option + S (Mac OS) or Ctrl + Alt + S (Windows). To create a backup file when saving 1 Do one of the following: • (Mac OS) Choose Corel Painter X3 menu  Preferences. • (Windows) Choose Edit  Preferences. 2 In the Preferences list of categories, click General. 3 Enable the Create backup on Save check box.
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to the original. However, because the JPEG algorithm takes into account the sensitivity of the eye to different colors, the higher-quality settings should achieve visually satisfying results. You can assign a URL to layers and placed images and then save the file in GIF or JPEG format to produce an image map. For more information, see “Creating image maps” on page 855.
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Saving GIF files Corel Painter lets you save documents as GIF files. GIF, a file format using 8 or fewer bits, is commonly used to display graphics on the Web. When you save a GIF file, you can choose settings from 4 Colors to 256 Colors. You can choose how your colors will be displayed and what part of your image will be transparent. You can enable the Color Set option to force all colors in the color table of the GIF file to match the colors in the current color set.
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Saving Adobe Photoshop (PSD) files Corel Painter can save files in Adobe Photoshop (PSD) format. For optimum compatibility, shapes and text are rasterized, and masks are placed in channels. When you save a file in PSD format, you can embed the RGB color profile, as you do when saving in TIF format. Saving Encapsulated PostScript (EPS) files The encapsulated PostScript (EPS) files in Corel Painter conform to the Desktop Color Separation (DCS) 2.0 format (EPS-DCS 5 file format).
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To email a document 1 Choose File  Email Image. 2 Type the image name in the Image Name text box. 3 In the Select Image Format area, enable one of the following options: • JPEG • PNG • TIFF Closing documents and quitting the application You can close documents or quit Corel Painter by using menu commands, keyboard shortcuts, or the Close button of the current window. To close a document • Choose File  Close. You can also Close the current window Click the Close button.
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time. If a panel or palette straddles two monitors, it automatically snaps to the nearest vertical edge of the monitor displaying the large portion of the panel or palette. If the panel or palette is displayed equally on both monitors, it snaps to the vertical edge of the left monitor. For best performance, make sure that both monitors are set to the same resolution. In Windows, you must stretch the application window to straddle both monitors, then redesign your workspace.
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Using the Intuos airbrush wheel The Intuos Airbrush — the first true computer airbrush — provides fingertip media flow control. Corel Painter airbrushes respond to angle (tilt), bearing (direction), and flow (wheel setting) data from the Intuos stylus, allowing for a truly realistic brushstroke. For example, as you tilt your stylus, specks of media land on the paper in a way that reflects that tilt. Corel Painter airbrushes create conic sections that mirror your stylus movements.
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1 2 3 You can simultaneously perform panning (1), zooming (2), and rotating (3). You also have the ability to change the reference point, which is the point around which rotating and zooming takes place. If you’re not using a multi-touch tablet, by default the reference point is located at the center of the image. However, when using a multitouch tablet, the reference point changes depending on the finger positions.
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To restore the canvas position, rotation, and zoom level • Double-tap two fingers simultaneously on the tablet. To disable multi-touch support 1 Do one of the following: • (Mac OS) Choose Corel Painter X3 menu  Preferences  General. • (Windows) Choose Edit  Preferences  General. 2 Disable the Enable Multi-Touch check box. Drag-and-drop features Corel Painter supports drag-and-drop copying of documents and layers from one window to another.
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Keyboard shortcuts Many features in Corel Painter have keyboard shortcuts which allow you to access a variety of tools quickly and easily using the keyboard, rather than selecting them from a menu or panel. The four modifier keys on a Mac-compatible keyboard are Command, Option, Shift, and the Spacebar.
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The four modifier keys on the Windows keyboard are Ctrl, Alt, Shift, and the Spacebar. The keyboard shortcuts rely on four modifier keys on Mac-compatible and Windows keyboards: Command, Option, Shift, and the Spacebar on the Mac OS; and Ctrl, Alt, Shift, and the Spacebar on Windows. Some of the same key combinations are reused to provide different actions depending on which tool is currently selected.
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• • • • • • • • • • Panel menu commands Brush tools Selection tools Adjuster tools Shape tools Animation Lighting Layer selection tools Mosaics Other commands Customizing keys Corel Painter lets you assign commands to keys on your keyboard. This saves you time by giving you immediate keyboard access to your favorite commands.
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3 Choose a command from the Application Commands list. 4 In the Shortcut column next to the command, type the shortcut keys you want to assign. If you typed a unique shortcut key, you can click Ok to exit the Preferences dialog box. If the shortcut you assigned is already in use, a message appears below the Application Commands list.
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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 .
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Tool name Shortcut key Drawing and painting tools Brush (Freehand line) B Brush (Straight line) V Paint Bucket K Dropper D Dodge ‘ Burn = Selection tools Rectangular selection R Oval selection O Lasso L Polygonal selection Shift + L Magic wand W Adjuster tools Layer adjuster F Selection adjuster S Shape selection H Shape design tools Pen P Quick curve Q Text T Shape object tools Rectangular shape I Oval shape J 92 Corel Painter X3 Getting Started Guide
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Tool name Shortcut key Shape edit tools Scissors Z Add point A Convert point Y Remove point X Transform tool Option + Command + T (Mac OS) Alt + Ctrl + T (Windows) Transform tool Symmetry tools Mirror tool ‘ Kaleidoscope tool Shift + ‘ Panel commands Command Mac OS Windows Brush controls panel (General or All) Command + B Ctrl + B Colors Command + 1 Ctrl + 1 Mixer Command + 2 Ctrl + 2 Color sets Command + 3 Ctrl + 3 Layers Command + 4 Ctrl + 4 Channels Command + 5 Ctrl + 5
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Corel Painter menu commands Command Mac OS Windows Preferences  General Command + , Ctrl + , Hide Corel Painter X3 Command + H Hide others Command + Option + H Quit Command + Q Ctrl + Q File menu commands Command Mac OS Windows New Command + N Ctrl + N Open Command + O Ctrl + O Close Command + W Ctrl + W Save Command + S Ctrl + S Save as Shift + Command + S Shift + Ctrl + S Export Source Image Shift + Command + S Shift + Ctrl + S Iterative save Command + Option + S Ctrl
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Edit menu commands Command Mac OS Windows Undo Command + Z Ctrl + Z Redo Command + Y Ctrl + Y Fade Command + Shift + F Ctrl + Shift + F Cut Command + X Ctrl + X Copy Command + C Ctrl + C Copy merged Shift + Command + C Shift + Ctrl + C Paste Shift + Command + V Shift + Ctrl + V Paste in place Command + V Ctrl + V Fill Command + F Ctrl + F Free transform Option + Command + T Alt + Ctrl + T Preferences  General Command + K Ctrl + K Preferences  Brush tracking Shift + Com
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Layers menu commands Command Mac OS Windows New layer Command + Shift + N Ctrl + Shift + N Select all layers Command + Shift + 1 Ctrl + Shift + 1 Group Command + G Ctrl + G Ungroup Command + U Ctrl + U Collapse Command + E Ctrl + E Dry digital watercolor Command + Shift + L Ctrl + Shift + L Command Mac OS Windows All Command + A Ctrl + A None Command + D Ctrl + D Invert Command + I Ctrl + I Reselect Shift + Command +D Shift + Ctrl +D Hide marquee Shift + Command + H Shi
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Effects menu commands Command Mac OS Windows Last effect Command + / Ctrl + / Auto clone Command + Shift + Z Ctrl + Shift + Z Correct colors Shift + Command + K Shift + Ctrl + K Adjust colors Shift + Command + A Shift + Ctrl + A Brightness/Contrast Shift + Command + B Shift + Ctrl + B Equalize Command + E Ctrl + E Negative Command + I Ctrl + I Tonal control Window menu commands Command Mac OS Windows Panels Tab Tab Zoom in Command + Plus sign Ctrl + Plus sign Zoom out Comm
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Screen navigation Command Mac OS Windows Scroll image with grabber Spacebar Spacebar Center image Spacebar + click Spacebar + click Zoom in Spacebar + Command + click Spacebar + Ctrl + click Zoom out Spacebar + Command + Option + click Spacebar + Ctrl + Alt + click Rotate image Spacebar + Option + drag Spacebar + Alt + drag Constrain rotate to 90 degrees Shift + Option + Spacebar + drag Spacebar + Alt + Shift + drag Orient screen to default view Shift + Option + click Shift + Alt + cl
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Panel menu commands Command Mac OS Windows Select all layers Command + Shift + 1 Ctrl + Shift + 1 Delete layer Command + Delete Ctrl + Backspace Toggle between main and additional colors Shift + S Shift + S Standard colors Shift + O Shift + O Use clone color U U Pan tool Spacebar Spacebar Zoom tool (zoom-in) Command+ Spacebar Ctrl + Spacebar Zoom tool (zoom-out) Command+ Spacebar + Option Ctrl + Spacebar + Alt New from Command + Shift + M Ctrl + Shift + M Clear Command + Shift
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Brush tools Command Mac OS Windows Dropper Option Alt Layer adjuster Command Ctrl Resize brush Option + Command Alt + Ctrl Increase current brush size incrementally ] ] Decrease current brush size incrementally [ [ Constrain to 45 degrees Shift Shift Adjust opacity in 10% increments 1 to 0 keys 1 to 0 keys Unconstrained draw Shift + 1 Shift + 1 Draw outside Shift + 2 Shift + 2 Draw inside Shift + 3 Shift + 3 Load nozzle Command + L Ctrl + L Set clone source Option Alt
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Command Mac OS Windows Correct colors Command + Shift + K Ctrl + Shift + K Toggle between main and additional colors Shift + X Shift + X Command + Angle Adjuster Ctrl + Angle Adjuster Limit fill extent Drag Drag Dropper Option Alt Mac OS Windows Constrain to square or circle Hold down Shift after you start to drag. Hold down Shift after you start to drag.
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Adjuster tools Command Mac OS Windows Layer adjuster Command (except when either the screen navigation or Shape tools are selected) Ctrl (except when either the screen navigation or Shape tools are selected) Selection adjuster Command (when Selection tools are selected) Ctrl (when Selection tools are selected) Shape selection tool Command (when Shape tools are selected) Ctrl (when Shape tools are selected) Duplicate Option + drag Alt + drag Delete layer Command + Shift + D Ctrl + Shift + D
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Command Mac OS Windows Shift Shift Distort Option + corner handles Alt + corner handles Perspective distort Command + Option + corner handles Ctrl + Alt + corner handles Resize Corner handles Corner handles Resize/Preserve aspect Shift + corner handles Shift + corner handles Resize/One dimension Side handles Side handles Rotate Command + corner handles Ctrl + corner handles Skew Command + side handles Ctrl + side handles Command Mac OS Windows Shape selection tool toggle Comman
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Shape objects tools Command Mac OS Windows Shift + click Shift + click Shift + click Shift + click Mac OS Windows Select start point of shape Home Home Select endpoint of shape End End Select previous point in shape Page up Page up Select next point in shape Page down Page down Move path by one screen pixel Arrow keys Arrow keys Delete selected (closed) shape Delete Backspace Command Mac OS Windows First frame of stack Home Home Last frame of stack End End Next frame Pag
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Lighting Command Mac OS Windows Lighting mover Shift + Command + L Shift + Ctrl + L Command Mac OS Windows Group Command + G Ctrl + G Ungroup Command + U Ctrl + U Command Mac OS Windows Get tile color Option + click tile Alt + click tile Get tile shape Command + click tile Ctrl + click tile Delete tile Shift + click tile Shift + click tile Select all tiles A A Deselect all tiles D D Change selected tiles to current color C C Tint selected tiles with current color T T V
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Other commands Command Mac OS Windows Add current color to color set Command + Shift + T Ctrl + Shift + T Swap colors Shift + S Shift + S Nudge 1 pixel Arrow key Arrow key Nudge 4 pixels Shift + Arrow key Shift + Arrow key Memory info Shift + I Shift + I Zoom to actual pixels Command + Option + 0 Ctrl + Alt + 0 Insert script delay - - Close all windows Command + Shift + W Ctrl + Shift + W Perspective Guides — Reposition one vanishing point and the associated primary lines together
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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.
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Choosing a painting workflow Corel Painter includes a wide array of tools and features that allow you to create original artwork. The purpose of this topic is to introduce you to the two most-common Corel Painter workflows and refer you to Help topics that provide more information about each of these workflows. Workflow 1: Start with a photo Using Corel Painter’s powerful cloning tools, you can quickly transform a digital photo into a painting.
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Workflow 2: Start with a sketch In Corel Painter, you can quickly create a sketch of a photo so you can use it as a guide for applying color. To maintain the integrity of the sketch, you should apply color to layers, and not directly to the sketch. In addition, depending on the desired effect, using layers gives you the option of incorporating the sketch markings in the final image. If you don’t want the sketch to be visible in the final image, you can delete the sketch by clearing the canvas.
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Workflow 3: Start with a blank canvas You can also start a project from scratch by choosing a paper texture and a brush, and applying color to the canvas. You can start with a blank canvas (left) and use your imagination, and the Corel Painter tools, to create a work of art. Workflow Help topic 1. Choose a paper texture “Applying paper texture” on page 134 2. Choose a brush “Selecting, managing, and creating brushes” on page 279 3.
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Media For information Color “Choosing colors from the Color panel” on page 202 Mixer pad “Exploring the Mixer panel and mixing controls” on page 210 Two-color “Creating two-color brushstrokes” on page 209 Gradients “Applying gradients” on page 693 Patterns “Painting with patterns” on page 679 Cloners “Painting in the clone” on page 159 Working with the canvas and layers In Corel Painter, you have the option of painting directly on the canvas by applying brushstrokes or by creating a layer and
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You can also select a channel or a layer mask as the target for your brushstrokes. For more information, see “Creating and copying channels” on page 529 or “Creating and deleting layer masks” on page 518. When you have an active selection, painting is confined to the selection by default. For more information, see “Selections and Transformations” on page 543. When you use complex brush variants, you see a dotted line on the canvas before the mark appears.
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We recommend using reference images that are a maximum of 1600 X 1600 pixels. You can open reference images that are saved as the following file formats: JPG, PNG, RIFF, and PSD. To display a reference image 1 Choose Window  Reference Image. 2 In the Reference Image panel, click the Open a Reference Image button . 3 In the Open Reference Image dialog box, locate the file that you want to open. 4 Click Open.
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Clearing the canvas You can erase the canvas by clearing its contents. Clearing the canvas does not delete the canvas, it only removes its content. In Corel Painter, you cannot delete the canvas. To clear the canvas 1 Choose Window  Layers. 2 In the Layers panel, click the Canvas to select it. 3 Choose Select  All. 4 Choose Edit  Clear. Setting up the drawing cursor You can choose the icon and orientation of the drawing cursor.
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• Triangle • Hollow Triangle • Gray Triangle You can also Change the cursor color Click the Main Color button, and click a color in the Color dialog box. Change the cursor orientation Drag the Angle slider. If you want the drawing cursor icon to be a single pixel, enable the Single pixel option in the Cursor Type area. To set brush ghost options 1 Do one of the following: • (Mac OS) Choose Corel Painter X3  Preferences  Interface. • (Windows) Choose Edit  Preferences  Interface.
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Brush tracking and calibration When you draw with traditional media, the amount of pressure that you use with a tool determines the density and width of your strokes. Using a pressure-sensitive stylus with Corel Painter gives you the same kind of control.
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Manually adjusting pressure and velocity When you use the scratch pad to set brush tracking and calibration, Corel Painter calculates the pressure and velocity settings for you. However, you can manually adjust these settings. For example, you can adjust the stroke pressure to achieve a full pressure range (Pressure Scale slider) using a softer or harder touch (Pressure Power slider).
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6 Click the Set brush calibration settings button . 7 Drag in the scratch pad by using a “normal” stroke. Use the pressure and speed you prefer when drawing or painting. This allows the Brush Tracker to calculate the appropriate speed and pressure settings for the brush. To adjust the settings manually, perform a task from the following table: To Do the following Achieve a full pressure range with a softer or harder touch Adjust the Pressure Scale and Pressure Power sliders.
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Tilt Some brush variants, such as the Smeary Flat variant in the Oils category, react to stylus tilt (how close to vertical the stylus is held) and bearing (the compass direction in which the stylus is pointing). Tilt can significantly affect brushstrokes. If you get unexpected results, especially with bristle-type brushes or airbrushes, you can try reducing the tilt of your stylus. Extreme tilt angles are usually undesirable. For information about adjusting tilt, see “Expression settings” on page 317.
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A setting of zero indicates that if a stylus were in use, it would be pointing left. 5 Move the Rotation slider. A 360° setting simulates a stylus that complete a 360°-barrel rotation. To see the effect of the tilt setting, apply a stroke to the drawing window using the Fine Spray variant of the Airbrush category. To adjust fingerwheel settings when using a mouse 1 Choose Window  Brush Control Panels  General. 2 Choose Wheel from the Expression list box. 3 Choose Window  Brush Control Panels  Mouse.
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To create a straight line stroke, you click to add the first point and then click or drag to create the 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. Press B to choose the freehand style, or V to choose the straight-line style. To draw straight lines 1 On the Brush property bar, click the Straight line strokes button .
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Constraining, fading, and undoing strokes Using the freehand stroke drawing style, you can constrain your strokes to a straight line. The angle you draw depends on the orientation of the stroke. You can also make a stroke less opaque, or more translucent, by fading the stroke. In this example, a brushstroke was applied to the canvas (left) and then fade was applied to the brushstroke (right) by using the Fade dialog box (center). In addition, you can undo a stroke.
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Erasing image areas You can erase any part of your image and control the opacity of erased areas. You can also link the opacity to stylus pressure or specify a fixed opacity value. You can set the Eraser opacity to Hard (left) or Soft (right). To erase an image area 1 In the Layers panel, choose the layer on which you want to erase. 2 Choose the Eraser tool in the toolbox. 3 On the property bar, adjust the Size pop-up slider slider .
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You can also erase image areas by choosing the Brush tool in the toolbox and choosing Erasers from the Brush Category selector on the Brush Selector bar. Aligning brushstrokes to paths and shapes You can automatically align a brushstroke to a path or the edge of a shape. You do this by determining the tolerance area, that is, how close the brushstroke must be to the path or shape for automatic alignment to occur.
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To set the tolerance area for brushstroke alignment 1 Choose one of the following: • (Mac OS) Corel Painter X3  Preferences • (Windows) Edit  Preferences 2 In the Preferences list of categories, click General. 3 Type a number in the Align Brush to Path tolerance box. The tolerance area is measured in pixels and must be between 1 and 999. Letting media pool Corel Painter computed brushes allow media to build up or “pool” when you move a brush slowly.
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interruption. Computed brushes use bearing, with the exception of those that use the Rendered dab type, so you cannot use them to create 360° strokes. Painting with airbrushes The Corel Painter computed airbrushes are so realistic, you feel as though you’re using a real airbrush. For more about computed brushes, refer to “General controls: Dab types” on page 322. The best way to get used to the Corel Painter airbrushes is to play with them.
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Now, airbrushes respond to angle (tilt), bearing (direction), and flow (fingerwheel setting) data from a stylus, allowing for a truly realistic brushstroke. 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. The moment the flashlight is no longer perpendicular to the paper, the shape of the cone of light changes, creating a conic section.
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Airbrush edges created with the Watercolor profile (left) and the Medium profile (right). Adjusting flow Although you can still adjust Opacity to apply fainter or darker dots of media, some Corel Painter airbrushes, for example, the Fine Wheel Airbrush variant, take advantage of stylus fingerwheel controls. Like the needle control on real airbrushes, the fingerwheel control adjusts airbrush flow — that is, how much media is applied.
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Very large droplets may produce unexpected results. The Feature setting is not available for variants that use the Pixel Airbrush or Line Airbrush dab types. To increase or decrease media flow from an airbrush • Move the stylus fingerwheel toward the tip (or forward), to decrease flow. Move it away from the tip (or backward), to increase flow. You can also control media flow from an airbrush by adjusting the Flow and Min Flow sliders in the Airbrush panel in the Brush Controls palette.
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Another way to use a recorded stroke is with Auto Playback, which lets you repeat the recorded stroke at random positions on the page. You can also save recorded strokes for later use. You can play back saved strokes, and you can paint with the data from a saved stroke.
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To select a saved stroke • Choose Brushes  Strokes, and choose a saved stroke. The selected stroke is used when you play back strokes or use stroke data.
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Working with paper texture and grain With traditional art media, the results from using a marking tool depend on the texture of the surface to which it is applied. Corel Painter allows you to control the texture of the canvas to achieve the results you would expect from using traditional media on a given surface — pencil on watercolor paper, felt pens on cotton paper, chalk on the sidewalk, and so on. You can also create your own paper textures and adjust the grain of paper textures.
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Applying paper texture Corel Painter allows you to apply paper texture to the canvas. In general, you can define texture as the roughness or coarseness of a surface, which you can both see and feel. In Corel Painter, however, texture modifies only the appearance of the image, to give you the illusion of surface roughness. It also interacts by subtly or dramatically altering the appearance of brushstrokes.
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The currently selected paper is saved with the document. This includes custom paper textures that may not be saved in a paper texture library. You can also choose a paper texture from the Papers panel by choosing Window  Paper Panels  Papers, clicking the Papers options button , and clicking a paper texture swatch in the Paper Textures library panel. Creating and deleting paper textures You can create your own paper texture by choosing a pattern and then modifying the spacing of the pattern elements.
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3 In the Make Paper dialog box, choose a pattern from the Pattern list box. 4 Adjust the Spacing slider. Moving the Spacing slider to the right opens up the space between rows and columns in the selected pattern. It also increases the size of the pattern. 5 Adjust the Angle slider. Moving the Angle slider changes the direction of the texture rows. 6 Type a name in the Save As box. The paper texture appears as the last selection in the Papers panel.
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Opening and managing the Paper Textures library You can organize and manage paper textures from the Paper Textures library panel. The Paper Textures library panel displays the default Papers library, the custom libraries that you create, and any custom libraries that you import. To open the Paper Textures library panel • Choose Window  Paper Panels  Paper Libraries. You can also open the Paper Libraries panel by clicking the Paper selector button in the toolbox.
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To invert paper grain 1 Choose Window  Paper Panels  Papers. 2 Click the Paper Textures library button . 3 Click a paper texture swatch from the Paper Textures library panel. 4 In the Papers panel, click the Invert Toggle button . You can also invert paper texture by clicking the Paper options button the Papers panel, and choosing Invert Paper. in The green brushstroke was painted with the paper grain inverted. To scale paper grain 1 Choose Window  Paper Panels  Papers.
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Controlling brightness and contrast of paper grain Brightness can be thought of as controlling the depth of the paper grain. The effect of lowering the paper’s brightness is similar to that of using a more shallow grain. Contrast can be thought of as controlling the steepness of the paper grain. The grain in higher-contrast paper changes from high to low more quickly and with fewer intermediate levels than the grain in lower-contrast paper.
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By default, paper grain is fixed, which means that the texture is in the same position each time you apply a brushstroke. You can change this setting if you want grain to be applied randomly. You can also change the look of brushstrokes by having the paper grain interact with stroke direction. This option works best when you paint with a stylus and use certain papers and brushes. When you find a brush and paper combination that you really like, you can save it as a new look in the Look Selector.
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Auto-painting photos Corel Painter’s auto-painting tools streamline the process of creating a painting that is based on a digital image or scanned photo. Previous experience with digital art is not required to use these tools. The auto-painting process involves three basic steps: Step Description 1.Underpainting Prepare and clone a photo for painting 2. Auto-painting Apply brushstrokes to the canvas 3.
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Choosing an underpainting method Depending on the effect you want to achieve, you can choose one of the following methods for creating an underpainting: • Quickly simulate the color and tone used in some popular art styles, such as watercolor paintings or chalk drawings, by using a Color Scheme preset. • Match the color and tone of your underpainting to an existing image, such as a photo, scanned image, or digital artwork.
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• Saturation — lets you adjust the vividness of colors • Value — lets you brighten or darken the photo by using the HSV color space values • Smart Blur — lets you adjust the level of detail in the photo. More detail is maintained in high-contrast areas than in low-contrast areas. A preview of the change is shown in the photo, but the change is not applied until you click the Apply button . 6 Click the Apply button .
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If you want to fine-tune the underpainting, you can adjust the Photo Enhance settings. 4 Click the Apply button . To clone an underpainting • In the Underpainting panel, click the Auto Clone button . Auto-painting photos Once the underpainting is created and cloned, you can start the auto-painting process. You can choose a Smart Stroke brush variant and let the Smart Stroke painting and Smart settings do the work.
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• Stroke — lets you choose a brushstroke. You can also add custom brushstrokes to the list. • Randomness — introduces an “accidental” quality in color and stroke. Randomness contributes to the appealing, unique look of artwork created with Corel Painter. You can control the randomness of the following settings: • Pressure — lets you set a value from 0 to 100 to specify the amount of pressure with which brushstrokes are applied.
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You can also Turn off tracing paper to view the autopainting progression more easily Press Command + T (Mac OS) or Ctrl + T (Windows). To auto-paint a photo by using stroke settings 1 In the document window, select the image that you want to auto-paint. 2 In the Auto-Painting panel, choose a stroke from the Stroke list box. 3 Click the Play button . Brushstrokes are applied automatically. 4 Click the Stop button when you are satisfied with the results.
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You can use a custom stroke by clicking the Recording Options button and choosing Record Stroke. Paint a stroke on the canvas, and choose Save Stroke from the same menu. Your stroke is added to the Stroke list box. For more information, see “Recording and playing back brushstrokes” on page 129. Restoring detail to paintings After using the Auto-Painting panel to create the painting, you can use the Restoration panel to recover detail in the portrait from the original photo, if necessary.
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3 Adjust the Brush Size slider . 4 Paint over the area in which you want to restore detail.
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Image cloning and sampling Corel Painter includes powerful image cloning tools to help you transform an existing image, such as a photograph, into a work of art. You can also use image sampling tools and techniques to sample a portion of an image so you can use it elsewhere.
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Setting up the clone To begin the cloning process, you need to select the source image that you want to clone. Corel Painter then duplicates this source image and embeds the image as a clone source in the clone document. The clone document appears in a new document window, and the clone source is displayed in the Clone Source panel. You can also open the source image in a separate window, which allows you to paint on the canvas with the source image displayed by its side.
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Cloning with tracing paper Before you begin painting in the clone, you can also enable tracing paper. Tracing paper displays a faded-out version of the source image beneath the clone document, which lets you precisely apply clone colors to the canvas. Unlike traditional tracing paper, the Corel Painter tracing paper is a viewing mode that you can use as a reference for painting or tracing images. It’s not a real object, such as a layer or a document.
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Use the tracing paper feature to view the source image for outlining (left). When you turn tracing paper off, you can see the outline (right). To clone an image 1 Open the image that you want to clone. 2 Choose File  Clone. The clone is displayed in its own document window. If you want to paint in the clone colors on a blank canvas, you can clear the clone document by choosing Select  All, and then choosing Edit  Clear.
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When you create a clone, a copy of the source image is automatically embedded in the clone document. Consequently, if you make changes to the original image, the changes are not reflected in the clone. If you want to use the most up-to-date version of the image, you need to add it as a new clone source and then delete the older version. For more information, see “To update changes to a clone source image” on page 158.
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You can also To disable the tracing paper In the Clone Source panel, click the Toggle Tracing Paper button. You can also enable tracing paper from the Navigator panel by clicking the Open Navigator Settings button and choosing Tracing Paper. Using Quick Clone You can use Quick Clone to automatically set up everything you need to clone an image.
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To customize cloning behavior 1 Do one of the following: • (Mac OS) Choose Corel Painter X3  Preferences  Cloning. • (Windows) Choose Edit  Preferences  Cloning. 2 Perform a task from the following table. To Do the following Close the image that was used as the clone source Enable the Close Source Image check box. Open the Clone Source panel automatically Enable the Open Clone Source panel check box. Start painting in the clone colors on a clear canvas Enable the Clear Canvas check box.
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2 3 1 4 The girl (1) and background (2) images were set as clone sources. They were then merged into the clone image (3). Both clone sources display in the Clone Source panel (4). To add a clone source to a clone document 1 Open the clone image to which you want to add a clone source. 2 Choose Window  Clone Source. 3 In the Clone Source panel, click the Open Source Image button Open Source. , and choose 4 Locate the image that you want to add as a clone source. 5 Click Open.
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Editing, updating, saving, and exporting clone source images You can edit an embedded clone source image to change its appearance. For example, you can add layers or apply effects to the source image. When the source image modifications are complete, you have various options for working with the edited source image. A black and white effect was applied to the Source Image (right). However, the edit is not yet reflected in the embedded clone source image (left).
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5 In Source Image window, edit the source image. To update changes to a clone source image 1 With the edited clone source image open in the Source Image window, switch to the clone document window. The Clone Source Image dialog box appears. 2 In the Clone Source Image dialog box, enable the Update option. 3 Click Ok. To create a new source image from an edited source 1 With the edited clone source image open in the Source Image window, switch to the clone document window.
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2 In the Clone Source Image dialog box, enable the Discard option. 3 Click Ok. Painting in the clone After creating a clone, you can choose which brush you want to use to apply cloned colors to the canvas. Cloners Painting with a cloner brush is a great way to obtain an artistic rendering from photographic source material. You can choose the Cloner tool, which automatically enables the brush variants in the Cloners brush category.
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Cloning allows you to “filter” source images to create an artistic rendering of the image. You can create new cloner brushes or refine existing cloner brush variants by using the brush controls. For more information, see “Adjusting brushes with brush controls” on page 315. 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.
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To For information, see Create a mosaic or tessellation by using a source image “Creating a mosaic” on page 706 Add three-dimensional effects by applying surface texture “Using 3D brushstrokes to create texture” on page 616 Create a selection or channel “Selections and Transformations” on page 543 and “Alpha Channels” on page 529 To choose a cloner brush 1 With a clone source selected, click the Cloner tool in the toolbox.
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• Hard Cover Cloning — results in partially anti-aliased brushstrokes that hide underlying strokes • Soft Cover Cloning — produces anti-aliased brushstrokes that cover layered ones • Grainy Hard Cover Cloning — works like Hard Cover Cloning, but brushstrokes also interact with paper grain • Grainy Soft Cover Cloning — works like Soft Cover Cloning, but brushstrokes also interact with paper grain • Drip Cloning — pushes color around as if it were wet, cloning the original with distortions based on your strok
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Performing offset sampling Offset sampling, also known as “point-to-point cloning,” lets you sample an area of an image and then reuse it elsewhere within the document, or in separate document. Sampling is a useful technique for retouching photographs. To perform offset sampling, you must set a sampling reference point and then set destination reference points. Sampling reference points specify the area of the document that you want to reuse, or clone.
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You can disable offset sampling by clicking the Clone Color button in the Color panel or by clicking the Brush Selector on the Brush Selector bar, and choosing a non-Cloner brush variant. You can also Adjust the clone color opacity On the property bar, type a percentage in the Opacity box, or adjust the slider. Adjust the randomized jitter of the brushstroke On the property bar, type a value in the Jitter box, or adjust the slider. You can also enable offset sampling by clicking the Cloner tool toolbox.
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You can also Adjust the size of the brushstroke Type a value in the Size box, or adjust the slider on the property bar. Adjust the clone color opacity On the property bar, type a percentage in the Opacity box, or adjust the slider. Control the amount of color that is replenished in a stroke On the property bar, type a percentage in the Resat box, or adjust the slider.
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Multi-point Cloners brush variant Example Rotate, Scale 2P lets you turn the sampled area around its center of rotation and size it to a percentage of its original size. Rotate, Scale 2P uses two reference points. Scale 2P lets you size the sampled area to a percentage of its original size. Scale 2P uses two reference points. Rotate 2P lets you turn the sampled area around its center of rotation. Rotate 2P uses two reference points.
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Multi-point Cloners brush variant Example Rotate, Mirror 2P lets you turn the sampled area around its center of rotation while creating a horizontal or vertical mirror image of the clone source. Rotate, Mirror 2P uses two reference points. Rotate, Scale, Shear 3P lets you turn the sampled area around its center of rotation, while sizing it to a percentage of its original size, and skewing its appearance. Rotate, Scale, Shear 3P uses three reference points.
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Multi-point Cloners brush variant Example Perspective 4P lets you give the sampled area the appearance of depth. Perspective Tiling 4P also lets you tile the sampled area. Perspective 4P uses four reference points. Reference points After selecting a brush variant, you need to set the sample and destination reference points in the image. The number of reference points depends on the type of transformation that you choose.
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the relative positions of the source and destination reference points and repeated as necessary to cover the area. If you want to save the sampled area for future use, you can capture it as a pattern. For more information, see “Creating and editing patterns” on page 682. With 4-Point Tiling, the source image is repeated. Tiling is particularly useful when you want to fill an area with the sample source. For more information, see “Filling an area with a sampled image” on page 177.
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You can disable offset sampling by clicking the Clone Color button in the Color panel or by clicking the Brush Selector on the Brush Selector bar, and choosing a non-Cloner brush variant. To achieve the best scaling results, set the sample reference points at the outer edges of the object that you want to sample to better delineate its size. This ensures that the object will be scaled proportionally. To rotate the sample source 1 Click the Cloner tool in the toolbox.
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To rotate and mirror the sample source 1 Click the Cloner tool in the toolbox. 2 Click the Brush Selector on the Brush Selector bar. 3 In the Brush library panel, click the XRotate, Mirror 2P brush variant. When you choose the XRotate, Mirror 2P, the XRotate & Mirror (2) clone type is automatically selected in the Cloning brush control panel. 4 Hold down Option (Mac OS) or Alt (Windows), and click in the image to set the two sample reference points.
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5 Hold down Option + Shift (Mac OS) or Alt + Shift (Windows), and set the two destination reference points. The relative distance between the two destination points and the two sample points determines the amount of scaling that is applied to the sample. In addition, the relative difference between of the angle of the line of the two destination points and the two sample reference points determines the angle of rotation of the mirrored sample image.
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Sample source–destination reference points are set for Rotate, Scale, & Shear. 6 Apply brushstrokes to the destination area. You can disable offset sampling by clicking the Clone Color button in the Color panel or by clicking the Brush Selector on the Brush Selector bar, and choosing a non-Cloner brush variant. To warp the sample source 1 Click the Cloner tool in the toolbox. 2 Click the Brush Selector on the Brush Selector bar. 3 In the Brush library panel, click the XBilinear 4P brush variant.
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2 Click the Brush Selector on the Brush Selector bar. 3 In the Brush library panel, click the XPerspective 4P brush variant. If you want the clone to produce a tiling effect, click the XPerspective Tiling 4P brush variant. When you choose the XPerspective 4P brush variant, the XPerspective 4P clone type is automatically selected in the Cloning brush control panel. 4 Hold down Option (Mac OS) or Alt (Windows), and click in the image to set the four sample reference points.
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Use Obey Source Selection to paint in the area that corresponds to the source selection. Use Copy Source Selection to sample both the selection and the color. To sample an area of an image by using a source selection 1 Choose a selection tool from the toolbox, and select the area of the image that you want to sample. If you want to closely outline the sample source area, choose the Lasso tool . For information about setting up a selection, see “Creating path-based selections” on page 546.
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5 Choose Window  Brush Control Panels  Cloning. 6 In the Cloning panel, enable the Clone Color check box. 7 Enable any of the following options: • Obey Source Selection — respects the content of the active sample source selection. When you paint in the destination, the brushstrokes are constrained to a region that corresponds to the sample source selection. For sampling types that apply a transformation, the selection is transformed.
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Filling an area with a sampled image You can apply a transformed sample by filling, instead of using a brush. Filling allows you to cover a large area evenly, without much effort. Filling is supported only when you use perspective or bilinear sampling, with or without tiling. To apply a transformed sample as a fill, you need to set both sample source and destination reference points, as you would when applying a sample with a brush. For information, see “Applying transformations when sampling” on page 165.
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The destination points determine where the transformation occurs. By using transformed clone information, the brick pattern becomes a steep wall.
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Working with composition tools, symmetry tools, rulers, and guides The placement of objects in a painting can dramatically affect the overall appearance of the finished work. Corel Painter includes many tools and features to help you compose, size, and position images and image elements. For example, you can display the rulers or the grid to help you position image elements with precision. You can also use symmetry tools, such as the Mirror Painting tool, to achieve visual balance.
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The Layout Grid also lets you divide the canvas into compositional sections based on the proportions of the canvas. This nonprinting grid is used primarily for composing artwork before you begin drawing or painting. The Layout Grid helps you compose images. To show or hide the Layout Grid • Choose Canvas  Compositions, and choose either Show Layout Grid or Hide Layout Grid.
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To Do the following Set the number of vertical and horizontal divisions In the Divisions area, type values in the Vertical box and the Horizontal box. If you want to link the Vertical and Horizontal values, click the Synchronize Divisions button . Resize the grid In the Size area, move the Vertical slider to set the height, and move the Horizontal slider to set the width. If you want to resize the grid proportionally, enable the Synchronize Sizes button .
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To delete a Layout Grid preset 1 In the Layout Grid panel, choose the preset you want to delete from the Type list box. 2 Click the Delete Preset button . You can also delete a preset by clicking the Layout Grid tool in the toolbox, selecting a preset from the Presets list box on the property bar, and clicking the Delete Preset button . To choose a Layout Grid preset • In the Layout Grid panel, choose a preset from the Type list box.
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The green line that displays in the middle of the document window represents the mirror plane. You can display the mirror plane vertically, horizontally, or display both at the same time. You can also control the placement of the mirror plane in the drawing window by moving or by rotating the plane. To create a mirror painting 1 In the toolbox, click the Mirror Painting tool .
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The Brush tool is the only tool that you can use to create mirror and kaleidoscope paintings. Other tools, such as the Shape tool, are not supported. To control the display of the mirror plane 1 In the toolbox, click the Mirror Painting tool . 2 Perform a task from the following table. To Do the following Specify an angle of rotation On the property bar, type a value in the Rotation Angle box.
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The green lines that display in the document window delineate the symmetrical planes. To create a kaleidoscope painting 1 In the toolbox, click the Kaleidoscope Painting tool . 2 In the Segment Number box on the property bar, type the number of planes that you want to display. 3 Click the Brush Selector on the Brush Selector bar. 4 In the Brush library panel, click a brush category, and click a brush variant. 5 Apply brushstrokes in any of the kaleidoscope segments.
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To control the display of the kaleidoscope planes 1 In the toolbox, click the Kaleidoscope Painting tool . 2 Perform a task from the following table: To Do the following Specify an angle of rotation On the property bar, type a value in the Rotation Angle box. Rotate the plane in the drawing window Point to a plane until the cursor changes to a rotation angle cursor rotate the plane.
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An example of painting a box by using Perspective Guides. You can choose from a selection of Perspective Guide presets, which include different configurations of the Perspective Guides. You can also modify a preset to best suit your needs. However, you can restore presets to their default state. You can also save a modified preset and delete presets that were previously saved. The Perspective Guide presets include one, two, or three vanishing points that help set the direction of the perspective.
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The Perspective-Guided Strokes are constrained to direct them towards the closest vanishing point. You can also modify the appearance of Perspective Guides by repositioning the vanishing point, the horizon line, and the primary lines. You can also rotate the primary lines to best suit your needs. In addition, you can change the color and opacity of all lines. You can also increase or decrease the density of the intermediate lines.
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To show or hide Perspective Guides 1 In the toolbox, click the Perspective Guides tool 2 Click the Enable Perspective Guides button . on the property bar. To enable perspective-guided strokes 1 In the toolbox, click the Perspective Guides tool 2 Click the Perspective-Guided Strokes button . on the property bar. To reposition lines and the vanishing point 1 In the toolbox, click the Perspective Guides tool . 2 Perform a task from the following table.
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To Do the following Show or hide the primary lines On the toolbar, click the Show/Hide Primary Lines button . Change the color of the primary lines On the toolbar, click the color picker that is to the right of the Show/Hide Primary Lines button, and choose a color. Change the opacity of the primary lines On the toolbar, move the Primary Lines Opacity slider to adjust the line opacity. To control the display of the horizon line 1 In the toolbox, click the Perspective Guides tool .
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To Do the following Change the color of the intermediate lines On the toolbar, click the color picker that is to the right of the Show/Hide Intermediate Lines button, and choose a color. Change the opacity of the intermediate lines On the toolbar, move the Intermediate Lines Opacity slider to adjust the line opacity. Change the line density On the toolbar, move the Intermediate Lines Density slider to adjust the line density.
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2 With perspective guides enabled, click the Perspective Guide Presets button on the property bar, and then choose Delete from the list. 3 Choose a preset from the Preset Name list box. 4 Click Yes. Using the Divine Proportion tool The Divine Proportion tool lets you use guides based on a classical composition method of the same name.
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You can also show or hide the Divine Proportion guide by clicking the Divine Proportion tool in the toolbox and clicking the Enable Divine Proportion button on the property bar. To set Divine Proportion options 1 Choose Window  Composition Panels  Divine Proportion. The Divine Proportion panel appears. 2 In the Divine Proportion panel, enable the Enable Divine Proportion check box, and perform a task from the following table.
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You can also set some Divine Proportion options by clicking the Divine Proportion tool in the toolbox and modifying the settings that you want on the property bar. To save Divine Proportion settings as a preset 1 In the Divine Proportion panel, modify the settings you want, and click the Add Preset button . 2 In the Add Preset dialog box, type a name for your preset in the Preset Name box. 3 Click Save. The preset appears in the Type list box.
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Using rulers Corel Painter lets you show or hide rulers along the top and left sides of the document window. Each mark on a ruler is known as a tick and represents the selected unit of measurement. You can set the unit of measurement to pixels, inches, centimeters, points, or picas. As you rotate an image in the document window, the rulers scroll to show the position of the canvas in the document window. The origin of the document is the intersection of the zero (0) ticks on each ruler.
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Using guides Guides are nonprinting lines that appear over the image in the document window. They are very helpful in aligning image elements. You can place guides at any position in the document window and easily reposition and remove them. If you enable the Snap to Ruler Ticks option, the guides you create will land precisely on the tick marks. Each guide also has options that let you change its color and lock it so that it can’t be dragged.
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To enable the Snap to Ruler Ticks option • Choose Canvas  Rulers  Snap to Ruler Ticks. To set a guide’s color 1 Double-click the guide’s marker. 2 In the Guide Options dialog box, click the Guide Color chip, and choose a color. To change the color of all guides, enable the Same Color for All Guides check box. To lock or unlock a guide 1 Double-click the guide’s marker to display the Guide Options dialog box. 2 Enable or disable the Lock Guide check box.
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• Dragging shapes and selections. The edges of the content and the selection rectangle for the shapes and selections snap to the guides. The cursor — wherever it might be in the object — also snaps to the guide. • Dragging the handles of reference layers, shapes, and selections to transform them • Dragging with the Selection Adjuster tool or Layer Adjuster tool To enable Snap to Guides • Choose Canvas  Guides  Snap to Guides. The option is enabled when the menu item has a check mark beside it.
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To print gridlines • Choose Effects  Esoterica  Grid Paper. Using Snap to Grid The Snap to Grid option enables certain tool operations to “snap” to a grid within 6 pixels of the cursor. The following tools respect Snap to Grid: • Pen tool • Shape Selection tool • Convert Point tool • Text tool To enable Snap to Grid • Choose Canvas  Grid  Snap to Grid. The option is enabled when the menu item has a check mark beside it.
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Color Corel Painter offers many ways to select color and apply it to your image. For example, you can change the paper color, choose colors for your brushstrokes, or apply a color fill to an entire image or selection. You can select colors in several ways.
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• • • • • • • • • • • • • • Clearing and resetting Mixer panel colors Saving the Mixer pad Loading color swatches and Mixer pad files Working with color sets Customizing the layouts of color sets Creating and exporting color sets Editing color sets Annotating colors Setting color variability Setting Color Expression Loading multiple colors Working with color fills Applying a color as a fill Limiting and preventing leakage Choosing colors from the Color panel You can use the Color panel to select a color a
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• Color values span the Saturation/Value Triangle from top to bottom. The top of the triangle represents the highest value (white), and the bottom of the triangle represents the lowest value (black). • Saturation levels increase from left to right. Dragging to the right, or clicking on the right, produces purer colors within the predominant hue. Dragging to the left, or clicking on the left, reduces the color saturation and produces “muddier” or grayer colors.
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Drag in the Hue Ring to select a hue. Drag in the Saturation/Value Triangle to pick the saturation. You can also select a hue by clicking anywhere on the Hue Ring (in the Standard Colors view) or on the hue indicator (in the Small Colors view). To choose the Main Color 1 Choose Window  Color Panels  Color. 2 Double-click the front swatch in the Color Selector. 3 Choose a color from the Color dialog box. Main Color Click the front swatch to set the Main Color.
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To work with the Main Color, click the front swatch to reselect it. To swap the Main and Additional Colors • Click the Color Swap icon in the lower-left corner of the Color Selector. You can also swap the Main Color with the Additional Color by pressing Shift + S or Shift + X.
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To show or hide the color wheel • In the Color panel, click the Color options button following: • Show Color Wheel • Hide Color Wheel , and choose one of the To show or hide the color information • In the Color panel, click the Color options button following: • Show Color Info • Hide Color Info , and choose one of the To show or hide the color tooltips • In the Color panel, click the Color options button following: • Show Color Tooltip • Hide Color Tooltip , and choose one of the Using the temporal co
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clicking to the left reduces the level of color saturation, producing “muddier” or grayer colors. Values can be set from top to bottom. The top of the triangle is the highest value (white), and the bottom is the lowest value (black). The current color is displayed in a round swatch to the left of the Saturation/Value Triangle. To display the temporal colors palette • Press Command + Option + 1 (Mac OS) or Ctrl + Alt +1 (Windows).
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Example of changing the paper color. To change the existing paper color 1 Choose a Main Color from the Color panel. 2 Choose Canvas  Set Paper Color. Do not use a bleach variant to expose the new paper color unless the paper color is white. Bleach variants erase to white, regardless of the paper color. Sampling colors from images You can select, or sample, a color from an existing image so that you can apply it to other areas in an image.
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Cloning color Cloning a color lets you pick up dabs of color from an original (source) image and apply the same color to a clone (destination). Brushes that use dab-based dab types produce a color based on samples of color from the clone source, which results in an approximation of the original color. Brushes that use rendered dab types sample several colors and load each color onto individual bristles, which allows startlingly realistic results.
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5 Choose Window  Brush Control Panels  Color Expression. Displaying the Color Expression panel helps you determine which brush variants support two-color brushstrokes. 6 Click the Brush Selector on the Brush Selector bar. 7 In the Brush library panel, click a brush category and a brush variant. If the Expression list box is grayed out in the Color Expression panel, the brush variant does not support two-color brushstrokes. 8 In the Color Expression panel, choose Direction from the Expression list box.
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Mixer color swatches Mixer pad Tool You can save, load, and reset colors in the Mixer panel. In addition, you can save colors as Mixer swatches and save colors to color sets. Understanding the Mixer panel controls The controls in the Mixer panel are used to apply, mix, sample, and clear color on the Mixer pad. Mixer panel tools The following table describes all of the Mixer panel tools.
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Mixer panel tool Description Sample Color tool Samples color in the Mixer pad for use on the canvas. The sampled color becomes the Main Color in the Color panel. Sample Multiple Colors tool Samples multiple colors in the Mixer pad. The size of the sample area is determined by the Change Brush Size slider. You can use the sampled color on the canvas. Zoom tool Lets you zoom in and out of areas in the Mixer pad. Pan tool Lets you scroll through the Mixer pad.
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swatches. For more information, see “Changing and saving the Mixer color swatches” on page 217. You can also change the background of the Mixer pad, the surface on which you mix color. Mixer panel before (left) and after (right) resizing. To display the Mixer panel • Choose Window  Color Panels  Mixer. You can also display the Mixer panel by pressing Command + 2 (Mac OS) or Ctrl + 2 (Windows). To choose a Mixer Pad 1 Choose Window  Color Panels  Mixer.
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To change the Mixer pad background 1 Choose Window  Color Panels  Mixer. 2 Click the Mixer options button , and choose Change Mixer Background. 3 In the Color dialog box, choose a background color. Mixing, sampling, and applying colors from the Mixer pad You can create a color in the Mixer panel and then sample it to apply it to the canvas.
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2 Click the Apply Color tool in the Mixer panel. 3 Choose a color from a Mixer swatch, and paint on the Mixer pad. 4 Choose a second color from the Mixer swatch, and paint on the Mixer pad. 5 Do one of the following: • Use the Apply Color tool to add to and blend the colors. • Use the Mix Color tool to blend the colors. To sample a color from the Mixer pad 1 Choose Window  Color Panels  Mixer. 2 Click the Sample Color tool . 3 On the Mixer pad, click the color you want to sample.
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2 Mix the color you want in the Mixer panel. 3 Move the Change Brush Size slider to set the size of the sample area. The size of the sample area is displayed to the right of the slider and is measured in pixels. 4 Click the Sample Multiple Color tool you want to sample.
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4 Choose the image, and click Open. Changing and saving the Mixer color swatches You can store commonly used colors in Mixer color swatches at the top of the Mixer panel and then use these colors on the Mixer pad. A series of colors appears by default; however, this color series can be changed to suit the individual preferences of the artist. You can save the Mixer color swatches that you create. To change a Mixer swatch color 1 Choose Window  Color Panels  Mixer.
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To add a Mixer color swatch to a color set 1 In the Mixer panel, click the Sample Color tool that you want to save to a color set. , and choose the Mixer swatch 2 Click the Mixer options button , 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 In the Mixer panel, click the Mixer options button from Mixer Pad. , and choose New Color Set 2 In the New Colorset dialog box, type a name in the Name text box.
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To reset Mixer color swatches • Click the Mixer options button , and choose Reset Mixer Colors. Saving the Mixer pad When you have finished mixing and sampling colors, you can save the Mixer pad contents as a Mixer pad (MXS) file that you can open and use later. In addition, you can also save a Mixer pad as a PNG file. To save a new version of the Mixer pad 1 Choose Window  Color Panels  Mixer. 2 Click the Mixer options button , and choose Save Mixer Pad.
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3 In the Load Mixer Colors dialog box, choose the Mixer swatch (MSW) file that you want to load. 4 Click Open. You can also load a color set in the Mixer panel by clicking the Mixer options button , choosing Load Mixer Colors. In the Load Mixer Colors dialog box, go to Corel\Painter13\Support Files\Color Sets\[Color Set Name], type *.* in the File name box, and press Enter. A list of hidden user files appears. Double-click a color set.
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Color Sets panel To display the Color Sets panel • Choose Window  Color Panels  Color Sets. To open a color set • In the Color Set Libraries panel, click the Color Set Libraries options button and choose Color Set Libraries, and choose a color set from the list. , To choose a color from a color set • In the Color Set Libraries panel, click a color. To import a color set 1 In the Color Set Libraries panel, click the Import Color Set button .
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2 In the Find Color dialog box, do one of the following: • Enable the By name option, and type a name in the box. • Enable Closest to current color. 3 Click Begin. 4 Click OK when the desired color is found. If the color set is visible, Corel Painter surrounds the found color with a selection frame. If you search for a color by name, but a color with that name is not found, the OK button is not available (it is grayed out).
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To display the color swatches as a list • In the Color Set Libraries panel, click the Color Set options button Color Set Library View, and choose List. , choose Creating and exporting color sets You can create color sets to control the colors in particular projects or to create groups of favorite painting colors. Creating clearly named color sets can be very useful.
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For information about adding colors to a color set, see “Editing color sets” on page 224. For more information about selecting colors, see “Choosing colors from the Color panel” on page 202. To export a color set 1 In the Color Set Libraries panel, click the Export Color Set button . 2 Choose the name of the color set that you want to export from the Library list box. 3 Click OK. 4 Choose the drive and folder where you want to save the file.
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You can also Add a sampled color to a color set Click the Dropper tool in the toolbox, click a color in the image, then click the Add Color to Color Set button . Add a color from another color set Drag a color swatch from one color set to another. To delete a color 1 In the Color Set Libraries panel, choose a color and click the Delete Color from Color Set button . 2 In the warning dialog box, click Yes. Corel Painter deletes the chosen color from the color set.
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To name or rename a color 1 Right-click a color swatch in the Color Set Libraries panel, and choose Rename Color. 2 Type a color name in the New name box. Color names can contain up to 31 characters. To restore the default color set • In the Color Set Libraries panel, click the Color Set options button Restore a Default Color Set. , choose Annotating colors The Annotations feature uses color names as labels for the colors in your images.
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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.
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4 Type a new name in the Set Color Name dialog box. 5 Choose Canvas  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 brushstrokes of more than one color. Variability can be used to enhance the Natural-Media appearance of your work. For more information, see “Color Variability controls” on page 403.
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5 Choose Multi from the Stroke Type list box. 6 Choose Window  Brush Control Panels  Well. 7 In the Well panel, enable the Brush Loading check box. This step activates the brush’s ability to pick up underlying colors. 8 Adjust the Resaturation and Bleed sliders. The Bleed setting determines how much underlying paint is affected by the brushstroke. A higher Bleed setting, combined with a low Resaturation setting, can enhance the Brush Loading feature.
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Fill type For more information see Pattern “Applying pattern fills” on page 677 Weaves “Applying weaves” on page 727 Applying a color as a fill Corel Painter gives you different options for applying a color as a fill. You can quickly apply a fill to a selected area of an image or you can apply a fill to the entire image based on a selected pixel color. When filling an image with a selected pixel color, you can apply the fill directly to the canvas or to a channel.
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• A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. • A channel — Click a channel in the Channels panel. 4 Choose Edit  Fill. If you prefer, press Command + F (Mac OS) or Ctrl + F (Windows). 5 In the Fill dialog box, enable the Current Color option in the Fill With area. 6 Adjust the Opacity slider. To apply a pixel-based color fill 1 Choose Window  Color Panels  Color Sets.
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You can constrain the fill to a rectangular area by dragging with the Paint Bucket tool. Limiting and preventing leakage In complex drawings, lines don’t always meet, which can cause the fill to leak into areas that you don’t want filled — sometimes through the whole image. You can’t always tell if there’s a leak just by looking at your image.
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4 Click OK. A new channel is displayed in the Channels panel. 5 In the Channels panel, display and select the channel. 6 Click the Brush Selector on the Brush Selector bar. 7 In the Brush library panel, choose the same brush you used to create the lines. 8 In the Color panel, set black as the current Main Color. 9 Paint in the channel to close the gaps. 10 Choose Select  Load Selection. 11 In the Load Selection dialog box, choose the modified channel from the Load From list box.
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Color management Corel Painter lets you manage colors when you create or open images, or place images in a document. The color management controls help ensure that colors are consistent when you work with images from various sources, such as Adobe Photoshop or a digital camera. In addition, you can store color information in a document by embedding a color profile in the file when you save it.
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management to ensure a more accurate color representation when an image is viewed, modified, or printed. During the digital imaging process, different tools are used to capture, modify, and print images. In a typical workflow, you capture an image by using a digital camera, upload the image to a computer, modify the image in a photo-editing application, and print the image. Each of these tools has a different way of interpreting color.
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images in another application, such as Adobe Photoshop, or if you are creating images for print or multiple types of output, the use of color management is essential.
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However, calibration and profiling are complex and usually require a special calibration device and specialized software. Furthermore, improper calibration may do more harm than good. You can find additional information about monitor calibration and custom color profiles by researching color-management techniques and products. You can also refer to the documentation that was provided with your operating system or monitor.
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Saturated Perceptual Relative Colorimetric This is an example of three types of images and their corresponding rendering intents. • Perceptual — Choose this rendering intent for photographs and bitmaps that contain many out-of-gamut colors. The overall color appearance is preserved by changing all colors, including in-gamut colors, to fit within the destinations range of colors at the destination. This rendering intent maintains the relationships between colors to produce the best results.
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Soft-proofing also lets you verify whether the document’s color profile is suitable for a specific printer or monitor and can help you prevent unwanted results. For more information, see “Previewing and soft-proofing color profiles” on page 242. Specifying the default RGB color profile To use color management in Corel Painter, you can start by specifying the default RGB color profile that you want to assign to all new documents.
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• Portable Network Graphics (PNG) To embed a color profile when saving a file 1 Choose File  Save As. 2 In the Save As dialog box, use the controls to specify a location and filename. 3 From the Format list box (Mac) or the Save As Type list box (Windows), choose one of the following file formats: • RIFF Files (*.RIF; *.RIFF) • TIF Files (*.TIF; *.TIFF) • Photoshop Files (*.PSD) • JPEG Files (*.JPG; *.JPEG) • PNG Files (*.PNG) 4 Enable the Embed Profile check box.
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You can also access the Color Management Settings dialog box from the Navigator panel by clicking the Open Navigator Settings button , clicking Color Management, and choosing Color Management Settings. Previewing and soft-proofing color profiles After an RGB profile is selected for the document, you can preview the image with the default color profile applied.
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When you assign a new profile, the color values, or numbers, in the document do not change. When you enable color management and display a document, the colors in the document represent an interpretation of the assigned color profile. For more information, see “Should I assign or convert color profiles?” on page 238. You can also remove an assigned color profile from a document. In other words, color management is no longer applied to the document. The color values are retained, however.
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color values. The resulting translation of the color values may differ, depending on the color management engine. In addition, you can flatten images when converting color profiles. Flattening images drops all the layers onto the background canvas. To convert a color profile 1 Choose Canvas  Convert To Profile. 2 Choose a new color profile from the New Color Profile list box. You can also Choose a color engine Choose a color engine from the Color Engine list box.
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The color profile policy lets you display warning messages when a document has a mismatched or missing color profile. In the case of a mismatched color profile, you can choose a new color profile. If the document does not have a color profile associated with it, you can apply a new color profile or choose not to use color management with the document. To create a color profile policy 1 Choose Canvas  Color Management Settings.
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Working with presets Corel Painter provides color management presets, which are default settings that you can apply to a document. They are useful if you do not feel comfortable changing the settings in the Color Management Settings dialog box. You can also create your own presets, which allows you to retain all of your selections in the Color Management Settings dialog box and reuse them in other documents. If you no longer need a preset, you can delete it.
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4 Click Yes. You can also access the Color Management Settings dialog box from the Navigator panel by clicking the Open Navigator Settings button , clicking Color Management, and choosing Color Management Settings.
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Correcting and adjusting colors Corel Painter includes a variety of effects and tools that let you correct and adjust image colors. For example, you can use the effects to fix a color-casted or washed-out photo. You can also use the effects to creatively alter image colors using techniques such as posterizing or inverting.
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Light Corrected Values Dark Original Color Values A visual representation of the curve. The horizontal axis represents the input (original color) values. The vertical axis represents the output (corrected) values. Before you adjust a curve, it appears perfectly diagonally (45°), which indicates that all input and output values are equal. Corel Painter maps light values at the top of the graph and darker values at the bottom.
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You can use a single curve method, or a combination of curve methods, to adjust the image. You can apply color correction to a selection, a layer, or the entire image. • If there is no selection, the correction is applied to the entire image. • To correct the color of only a section of the canvas, select the area by using a selection tool before applying the color correction. For more information about these tools, refer to “Getting started with selections” on page 544.
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Contrast adjusts the difference between light and dark values. As you increase the contrast, the curve takes on an “S” shape, indicating that light colors are becoming lighter and dark colors darker. If you decrease the contrast, the curve takes on an inverted “S” shape and tones down the contrast of all midtone colors. An image before adjusting brightness and contrast by using the curve. An example of increasing the contrast by using the curve.
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An example of increasing brightness by using the curve. To quickly adjust brightness and contrast 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Tonal Control  Brightness/Contrast. 3 Move the upper slider to adjust image contrast. Move the lower slider to adjust image brightness. 4 Click Apply.
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• Contrast — increases or decreases the difference in tone between the dark and light areas of an image • Brightness — lets you brighten or darken the selected color(s). This control can correct exposure problems caused by too much light (overexposure) or too little light (underexposure). Color icons in the Color Correction dialog box. You can clear all corrections so that you can start again by clicking Reset.
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To correct colors using the curve 1 Choose Effects  Tonal Control  Correct Colors. 2 In the Color Correction dialog box, choose Curve from the list box.
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Freehand method of color correction. To adjust colors by using the Freehand method 1 Choose Effects  Tonal Control  Correct Colors. 2 In the Color Correction dialog box, choose Freehand from the list box.
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Shadow 3/4 tone Mid tone 1/4 tone Highlights Each section of the curve controls the balance between the shadows, midtones, and highlights of an image. Setting values in the upper portion of the grid lightens the image; whereas setting values in the lower portion of the grid darkens the image. Various tone curves were modified to achieve this look. To adjust 1/4 tone, midtone, and 3/4 tone by dragging color curves 1 Choose Effects  Tonal Control  Correct Colors.
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To adjust colors by specifying curve values 1 Choose Effects  Tonal Control  Correct Colors. 2 In the Color Correction dialog box, choose Advanced from the list box.
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Use the Adjust Color dialog box to change the hue, saturation, and value of an image. To adjust colors equally 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Tonal Control  Adjust Colors. 3 Choose Uniform Color from the Using list box. 4 Adjust any of the Adjust Colors controls.
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• A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 4 Choose Effects  Tonal Control  Adjust Colors. 5 Choose Paper from the Using list box. 6 Adjust any of the Adjust Colors controls. For information, see “Adjust Colors controls” on page 261. To adjust colors by using image luminance 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
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5 Adjust any of the Adjust Colors controls. For information, see “Adjust Colors controls” on page 261. Adjust Colors controls • • • • Hue Shift — adjusts the hue of pixels Saturation — adjusts the amount of pure hue in the color. Value — adjusts color brightness. Moving the slider to the left darkens colors.
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The Feather sliders affect the softness at the edge of the selected colors. These sliders can help you create smoother transitions between the replaced color and the original. A replaced color with and without feathering. You can choose from any of the following adjustment methods: • Uniform Color — adjusts all pixels equally • Paper — uses the selected paper grain to control the color adjustment • Image Luminance — uses the luminance of the image as the model for color adjustment.
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2 Choose a paper swatch from the Papers library panel. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 4 Choose Effects  Tonal Control  Adjust Selected Colors. 5 Choose Paper from the Using list box. 6 Adjust any of the Adjust Selected Colors controls. For information, see “Adjust Selected Colors controls” on page 264.
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4 Choose Paper from the Using list box. 5 Adjust any of the Adjust Selected Colors controls. For information, see “Adjust Selected Colors controls” on page 264. Adjust Selected Colors controls • H Extents — controls the number of hues adjusted. Only hues within the specified percentage of hues on the color wheel are adjusted. • H Feather — controls the softness at the edge of the selected hues • S Extents — controls the range of saturation adjusted. Only saturations within this range are adjusted.
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and then adjusting those values. The Equalize effect also allows gamma adjustment, which lightens or darkens an image without changing highlights or shadows. Before (left) and after (right) applying the Equalize effect. To automatically set black and white points 1 Choose Effects  Tonal Control  Correct Colors. 2 In the Color Correction dialog box, choose Curve from the list box. 3 Click Auto Set. To manually set black or white points 1 Choose the Dropper tool from the toolbox.
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• A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 From the menu bar, choose Effects  Tonal Control  Equalize. Corel Painter automatically adjusts the image or selection so that the lightest color is white and the darkest color is black. 3 In the Equalize dialog box, adjust contrast by dragging the black and white markers under the histogram.
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You can apply the color and brightness from a source image (center) to your working image (left) to create a new effect (right). To match colors across images 1 Open both the source image and the destination image. 2 Select the destination image. 3 Choose Effects  Tonal Control  Match Palette. 4 From the Source list box, select the source image. The filenames for all open images appear in the list box.
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Positive (left) and negative (right) versions of an image. To invert colors 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Tonal Control  Negative. Posterizing an image Corel Painter offers two different options for posterizing images.
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3 In the Posterize dialog box, specify a number of levels. The fewer levels you specify, the more dramatic the effect. To posterize an image combined with a paper grain, refer to “Applying the Apply Screen effect” on page 628. To posterize to two levels and also adjust the brightness, refer to “Equalizing images” on page 264. To posterize an image by using a color set 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
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2 Choose Effects  Tonal Control  Video Legal Colors. 3 In the Video Legal Colors dialog box, choose NTSC or PAL from the System list box. Dodging and burning The Dodge and Burn tools let you adjust the highlights, midtones, and shadows in an image. The Dodge tool lightens the tone; the Burn tool darkens it. You can dodge and burn anywhere in a photo, affecting an area as large or as small as you like. To lighten the tone 1 Choose the Dodge tool from the toolbox.
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The Burn tool was used to reduce the strong highlights on the faces.
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Libraries A library is a storage place for a collection of tools or media. In Corel Painter, default libraries are available for the following resources: brushes, paper, color sets, gradients, looks, nozzles, textures, patterns, selections, scripts, images, weaves, and flow maps. The default libraries contain a vast array of resources that are ready for you to use. In addition, you can create your own libraries to better organize resources, or to store customized resources.
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For example, if you want to open a paper textures library from the Paper Libraries panel, click the Import Paper Library button . 2 Choose the drive and folder where the library is stored. 3 Click Open. The imported library displays at the bottom of the panel window. To import a library created in a previous version of Corel Painter 1 Click the Library panel’s options button type] Library. , choose Import Legacy [Resource 2 Choose the drive and folder where the library is stored. 3 Click Open.
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To create a library 1 In a library panel, click the New [Resource type] Library button . For example, if you want to open a pattern library from the Pattern Libraries panel, click the New Pattern Library button . 2 In the New Library dialog box, type a name in the Save As box. A header bar for the new library appears at the bottom of the library panel and its title appears in the list of available libraries. The new library also contains one swatch by default.
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Modifying the display of library panels You can modify the appearance of the library panels by changing the way they are organized and displayed. You can resize a library panel to control the space that it takes in the application window. You can also change the display size of the resource icons. If you do not need to use some of the resource swatches, you can hide them. In addition, if you create a new resource, you can create a custom icon for the resource.
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Moving, renaming, and deleting library resources You can move a library resource to a new position within a library, or drag it to a different library. You can also rename resources, such as renaming a paper or gradient, to give them more descriptive names. You can also delete an item from a library, including a default library. You can also restore the default library to the factory settings. For information, see “Restoring default libraries” on page 277.
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To restore a default library • In a library panel, click the library options button [Resource] Library.
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Selecting, managing, and creating brushes Corel Painter offers an impressive array of realistic and responsive brushes that you can use to apply media to the canvas. For example, you can choose a brush with realistic bristles that apply oil, watercolor, or acrylic paint. You can also choose a dry media brush, such as chalk or charcoal.
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In an art store, if the brushes in one aisle don’t produce the results you want, you can try a different aisle. Similarly, with Corel Painter, individual brushes, known as brush variants, are stored in the Brush library panel in different brush categories. You can use the brush variants as they are, or you can adjust them to suit your purposes. Many artists use brush variants with only minor adjustments — to size, opacity, or grain (how brushstrokes interact with paper texture).
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Captured Bristle Thick Acrylic Flat Wet Acrylic Airbrushes Airbrushes apply fine sprays of color, which carefully mirror the feel of a real airbrush in action. However, some variants have a different way of building up color. Most airbrushes support color buildup on a single brushstroke. However, some of the digital airbrushes do not. To achieve color buildup with the digital airbrushes, you need to overlay multiple brushstrokes.
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When you use any of the Artist brush variants, dragging quickly produces wider brushstrokes. You can use the Color Variability settings to adjust how the Artist brushstrokes are colored. Impressionist Sargent Brush Seurat Blenders Blenders affect underlying pixels by moving and mixing them. The variants can reproduce the effects of blending paint by applying water or oil. You can also smooth drawing lines and create shading just as you would on a pencil sketch or charcoal drawing.
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Crayons offer a range of styles. From soft and dull, to waxy and grainy, they produce textured strokes that interact with the paper grain. As with other dry media brush variants, the opacity is linked to stylus pressure. Basic Crayon Grainy Hard Crayon Waxy Crayon Charcoal & Conte Charcoal brush variants range from pencils to hard or soft charcoal sticks. As with other dry media brush variants, the opacity is linked to stylus pressure.
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Cloners The Cloner brush variants behave like other brush variants, except that they take color from a cloned or sampled source. These variants recreate the source imagery while effectively filtering it, reproducing the image in an artistic style, such as pastel chalk or watercolor. For more information, see “Cloning controls” on page 396 and “Image cloning and sampling” on page 149.
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Erasers There are three types of Eraser brush variants: Eraser, Bleach, and Darkener. Eraser brush variants erase down to the paper color. Bleach brush variants erase to white, gradually lightening by removing color. Darkener brush variants are the inverse of Bleach variants. Darkener brush variants gradually increase color density, building colors toward black. With all Eraser brush variants, pressure determines how much you erase.
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Bulge Confusion Hurricane Gel Gel brushes allow you to tint an image’s underlying colors with the brushstroke color. For example, a yellow brushstroke gives the underlying color a yellow cast. The Gel brushes use the Merge Modes brush control to produce the effect. For more information, see “Stroke Attribute controls” on page 337. The Gel effect is similar to blending layers by using the Gel composite method, however, you do not require any layers to achieve the same results.
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Image Hose The Image Hose is a special brush that applies images instead of color. The images it “paints” with come from special image files called nozzles. Each nozzle file contains multiple images that are organized by characteristics such as size, color, and angle. Each characteristic (parameter) can be linked to a stylus attribute (animator), such as Velocity, Pressure, and Direction. For more information, see “Image Hose controls” on page 391 and “Image hose” on page 435.
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Liquid Ink Liquid Ink brush variants combine ink and paint to create a thick, liquid paint effect. There are three main types of Liquid Ink brush variants: ones that apply ink, ones that remove ink to create a resist effect, and ones that soften edges. A new layer is created automatically when you first apply a brushstroke. You can also create 3D effects with Liquid Ink. For information, see “Liquid Ink controls” on page 378 and “Liquid Ink” on page 463.
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Round Tip Marker Leaky Marker Flat Rendering Marker Art Marker Dirty Marker Felt Marker Oils Oils brush variants let you create effects you’d expect from oil paints. Some variants are semitransparent and can be used to produce a glazed effect. Other variants are opaque and cover underlying brushstrokes. Fine Camel Opaque Flat Smeary Round Some Oil brush variants let you mix media as though you were working with traditional oil paints.
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information, see “Artists’ Oils controls” on page 369 and “Artists’ Oils brush tip profiles” on page 349. Palette Knives You can use Palette Knives brush variants to scrape, push, or pick up and drag colors in your image. Only one Palette Knives brush variant, the Loaded Palette Knife, applies the current paint color. Their dabs are always parallel to the shaft of the stylus.
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Pattern Pens Pattern Pens brush variants let you use a brush to apply a pattern to an image. You can vary features such as the size of the pattern and the transparency. For example, Pattern Pen Micro decreases the size of the pattern, and Pattern Pen Transparent applies a semitransparent version of the pattern. For more information, see “Painting with patterns” on page 679.
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Pens Pens brush variants, like the Scratchboard Rake and Bamboo Pen, create realistic effects without the drawbacks of traditional pens, which can clog, spatter, or run dry. Croquil Pen Scratchboard Tool Thick and Thin Pen Whether you want to reproduce the look of calligraphy pen strokes on a grainy texture, or the smooth strokes of a calligraphy brush, the Calligraphy brush variants offer you a range of creative options.
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brushstrokes interact with the paper texture and grain to produce results you would expect from real world watercolors. You can modify the Real Watercolor brush controls to achieve different effects. For more information, see “Real Watercolor controls” on page 350. Light fringe Wet on wet paper Dry on dry paper Real Wet Oil The Real Wet Oil brush variants help you achieve realistic oil brushstrokes.
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Dense Sponge Grainy Wet Sponge Smeary Wet Sponge Sumi-e Sumi-e brush variants let you create flowing sumi-e-style brushstrokes. In addition, various brush sizes and shapes are available to help you recreate traditional sumi-e brushstrokes. Sumi-e Brush Detail Sumi-e Coarse Bristle Sumi-e Tinting Tinting brush variants let you apply effects to photos or existing artwork. For example, you can apply translucent color to areas of a black-and-white photo by using the Basic Round brush variant.
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Watercolor Watercolor brush variants paint onto a watercolor layer, which enables the colors to flow, mix, and absorb into the paper. The watercolor layer is created automatically when you first apply a brushstroke with a Watercolor brush variant. The layer lets you control the wetness and evaporation rate of the paper to effectively simulate conventional watercolor media. Most Watercolor brush variants interact with the canvas texture.
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The Brush library panel lets you choose a brush category (left) and a brush variant (right). The default Corel Painter brush variants display in the Brush library panel until you open or import a different brush library. In addition, the Brush library panel displays only one brush library at a time. For more information, see “Importing and exporting brush libraries, categories, and variants” on page 309.
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If you previously hid the Search bar, you can show it by clicking Window  Search. Setting basic brush attributes To quickly get started in Corel Painter, you specify basic brush attributes, such as brush size, opacity, and grain, on the property bar. Size determines the dimension of a single brush dab. The ghost brush, the circle displayed to the right of the brushstroke, appears when a brush is selected and positioned over the canvas. It mirrors the size and shape of the brush dab.
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The circle provides a visual representation of the brush size onscreen. You can also access additional brush controls to further customize brushes. For example, you can set a minimum brushstroke size to control the tapering and widening of brushstrokes as stylus pressure or direction is varied. For more information, see “Adjusting brushes with brush controls” on page 315. To set brush size 1 In the toolbox, click the Brush tool . 2 Click the Brush Selector on the Brush Selector bar.
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You can also disable the scaling option in all areas by choosing Corel Painter X3  Preferences  General (Mac OS) or Edit  Preferences  General (Windows), and enabling the Disable feature scaling when resizing brush. To set opacity 1 In the toolbox, click the Brush tool . 2 Click the Brush Selector on the Brush Selector bar. 3 In the Brush library panel, click a brush category, and click a brush variant. 4 On the property bar, adjust the Opacity slider , or type a percentage in the Opacity box.
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To set brush attributes onscreen • Perform a task from the following table. To Do the following Change the brush size Hold down Command + Option (Mac OS) or Ctrl + Alt (Windows), and drag the crosshair cursor to display the Radius circle in the document window. Keep dragging until the circle is set to the size that you want, and then release the stylus or mouse button.
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To Do the following Change the brush angle Hold down Command + Option (Mac OS) or Ctrl + Alt (Windows), and click the crosshair cursor to display the Radius circle in the document window. While pressing the stylus, or holding down the left mouse button, press Command (Mac OS) or Ctrl (Windows) three times, drag the Angle circle in the document window until the circle is set to the angle that you want, and then release the stylus or mouse button.
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suit your needs. For example, you can hide the recently used brushes to give you more space or hide brush categories and variants to expose the brushes that you use most. To modify the Brush library panel 1 Click the Brush Selector on the Brush Selector bar. 2 In the Brush library panel, perform a task from the following table. To Do the following Resize the Brush library panel Point to the edge of the panel. When the cursor changes to a double-sided arrow, drag the edge of the panel to resize it.
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Hide a brush category Right-click a brush category, and choose Hide Category. Hide a brush variant Right-click a brush variant, and choose Hide Variant. Unhide all brush categories In the Brush library panel, click the Brush library options button , choose Category Display, and choose Show All Categories. Unhide all brush variants In the Brush library panel, click the Brush library options button , choose Variant Display, and choose Show All Variants.
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Renaming brush categories and variants You can rename brush categories and variants. To rename brush categories and variants 1 Click the Brush Selector on the Brush Selector bar. 2 In the Brush library panel, perform a task from the following table. To Do the following Rename a brush category Right-click a brush category, choose Rename Category, and type a name for the category. Rename a brush variant Right-click a brush variant, and choose Rename Variant, and type a name for the variant.
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5 Click Save. The new variant appears on the variant menu, in the currently selected brush category. You can also Copy the variant to another category With a variant selected, click the Brush library options button , and choose Copy Variant. Choose the destination brush category from the Copy Variant To list box. (Remember to delete the variant in the category from which it was copied.) When you create a new variant, the variant files are saved in the operating system Users folder.
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You cannot delete any of the default brush variants. You can also delete a brush variant from the Brush library panel by clicking the Brush library options button and choosing Remove Variant. Restoring default brush variants You can restore any modified brush variant to its default settings. For information about restoring all factory default settings, see “Restoring the default Corel Painter settings” on page 48. To restore a default brush variant 1 Click the Brush Selector on the Brush Selector bar.
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The new brush category appears in the Brush Category list of the Brush library panel and contains the currently selected brush variant, because a brush category must contain at least one brush variant. You can also change the brush category icon by right-clicking a category in the Brush library panel, choosing Set Custom Icon, and choosing the image that you want to display as the category icon.
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To create a brush library 1 In the Brush library panel, display the brush library that you want to copy. To exclude brush categories and variants from the exported brush library, you can hide them by doing the following: • Right-click a brush category, and choose Hide Category. • Right-click a brush variant, and choose Hide Variant. 2 Click Brushes  Export  Brush Library. 3 In the Choose Brush Library dialog box, choose the brush library that you want to export from the Library list box. 4 Click Ok.
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Importing and exporting brush libraries, categories, and variants You can import and export brush libraries, categories, and variants. This allows you to work with brush resources that were created by others, or share them with others. You can only import brush libraries, categories, and variants that were previously exported you, or someone else exported from Corel Painter 12 Update 1 or later.
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You can also import a brush library from the Brush library panel by clicking the Brush library options button , choosing Import, and choosing Brush Library. You can also import a brush library from the file browser of your operating system by double-clicking a brush library file. To import a legacy Corel Painter brush library 1 In the file browser of your operating system, browse to the location where the legacy brush library folder is stored. 2 Copy the files.
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You can also export a brush library from the Brush library panel by clicking the Brush library options button , choosing Export, and choosing Brush Library. To import a brush category 1 Click Brushes  Import  Category. 2 In the Import Brush Category dialog box, browse to the folder where the brush category is stored. 3 Choose the Brush Category, and click Open.
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2 In the Import Brush Variant dialog box, browse to the folder where the brush variant is stored. 3 Choose the brush variant file, and click Open. 4 In the Save Variant dialog box, choose the brush category where you want to store the variant from the Brush Category list box. To rename the brush variant, type a name in the Save Variant As text box. 5 Click Save.
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about a particular variant. Regardless of a document’s current libraries, when you select a look, you use the elements that are part of that look. To save a look 1 Choose Window  Media Library Panels  Looks. 2 Create a look by choosing a brush variant, and any additional settings that you want to save with the look. 3 Apply a brushstroke to the canvas.
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To create a brush dab shape 1 On a white background, draw a shape in black. Use shades of gray to define the transparent areas of the dab. To follow stroke direction, a captured brush set must face toward the right side. 2 Choose the Rectangular Selection tool from the toolbox. 3 Drag across your brush shape to create a square selection. Corel Painter uses the selected area to set the brush size. When the brush is created, the selected area is sampled to compute each brush dab.
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Adjusting brushes with brush controls Like a fully stocked art store, Corel Painter supplies you with many different brushes and drawing tools, each with modifiable characteristics. This chapter provides descriptions and procedures for customizing and saving the many parameters of any brush type.
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• • • • • • • • • • • • • • • • • • • • Hard Media controls Bristle controls RealBristle controls Static Bristle controls Airbrush controls Artists’ Oils controls Impasto controls Digital Watercolor controls Water controls Liquid Ink controls Stroke Jitter controls Well controls Mouse controls Smoothing controls Image Hose controls Rake controls Multi controls Cloning controls Color Variability controls Color Expression controls Exploring Brush Controls You can apply media to the canvas by using a ready-t
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“Saving and deleting brush variants” on page 304 and “Saving a brush look” on page 312.
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to changes in stylus pressure. These responses reflect their default settings. You can use the Expression settings to vary these effects in response to other factors, such as stroke direction or velocity. Expression settings are linked to the following controls: Opacity, Grain, Size, Angle, Airbrush (Feature and Flow), Impasto, Liquid Ink, Stroke Jitter, Well (Saturation and Bleed), and Color Expression.
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To Do the following Adjust the brushstroke based on the wheel setting on an airbrush stylus, specifically the Intuos Airbrush stylus Choose Wheel from the Expression list box. The maximum value is set when the wheel is pushed all the way forward. The minimum is set when the wheel is pushed all the way back. Adjust the brushstroke based on the angle of the stylus from the tablet Choose Tilt from the Expression list box. For example, when the stylus is perpendicular to the tablet, Tilt is set at zero.
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The Dab Preview window lets you toggle between Size and Shape, Hard Media, and Brush Dab views. In the Size and Shape view, concentric circles show the minimum and maximum sizes of a brush. The inner (black) circle shows the minimum dab width. The outer (gray) circle shows the maximum dab width. Remember that some brushes vary the line width based on pressure or stroke speed. The difference between the diameter of the two circles shows the range in which the stroke width can vary.
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You can switch between the different preview modes by clicking in the preview window. Calibrating brush variants When you draw with traditional media, the amount of pressure that you use with a tool determines the density and width of your strokes. Using a pressure-sensitive stylus with Corel Painter gives you this same kind of control. Because each artist uses a different strength or pressure level in a stroke, you can calibrate individual brush variants to match your stroke strength.
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3 Click the Set brush calibration settings button The Brush Tracker appears. . 4 Drag in the Scratch Pad using a “normal” stroke. Use the pressure and speed you prefer when drawing or painting. This allows the Brush Tracker to calculate the appropriate speed and pressure settings for the brush. If you want to adjust the settings manually, perform a task from the following table.
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brushstroke is made up of tiny dabs of color. If you make a rapid brushstroke or set large spacing between dabs, strokes can become trails of dots. Rendered dab types create continuous, smooth-edged strokes. They’re fast and less prone to artifacts than dab-based media application. In fact, you can’t draw fast enough to leave dabs or dots of color showing in a stroke, because they’re just not there. Rendered dab types allow rich new features that were not possible with dab-based media application.
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Dab-based dab type Description Computed Circular Controlled by the sliders in the Computed Circular brush control panel. This dab type allows you to customize the brush dab profile. For more information, see “Computed Circular controls” on page 362. A captured dab lets you paint with specific shapes and designs that you create. Rendered dab type Description Camel Hair Creates bristle brushes with circular arrays of bristles.
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Rendered dab type Description Flat Creates flat brushes such as those used to apply paint to houses or walls. Brushes that use Flat dabs respond to bearing and allow 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 Bristles panel separates bristles. Palette Knife Creates brushes that are the opposite of Flat dab brushes.
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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. You can reverse the spray direction when you paint by enabling the Continuous Time Deposition check box in the Spacing panel, and by holding down Option + Shift (Mac OS) or Alt + Shift (Windows). Line Airbrush Creates brushes that work like airbrushes.
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The effects of Feature on the stroke. Corel Painter also includes additional dab types that do not fall under the dab-based or rendered dab types. Additional dab types Liquid Ink Liquid Ink dabs create liquid paint effects that simulate traditional ink-based media. You can give a Liquid Ink brushstroke the appearance of height by applying lighting effects.
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General controls: Stroke types The Stroke Type determines how a brushstroke applies media. Corel Painter brushes use one of the following stroke types. • The Single stroke type draws one dab path that corresponds exactly to your brushstroke. • You can use Static Bristle, Captured, or one of the bristly rendered dab types (such as Camel Hair) with the Single stroke type to create the effect of multiple bristles. The Single stroke type has one dab path.
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• Each bristle in a Rake brush can have a different color. Increasing Color Variability in Corel Painter causes bristles to be colored differently. A Rake stroke is composed of evenly distributed dab paths. • The Hose stroke type applies only to the Image Hose. It’s a single stroke composed of the current Image Hose Nozzle file. For more information about the Image Hose and Nozzle files, see “Image hose” on page 435. The Hose stroke type uses the current Nozzle file as media.
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its method from Cover to Drip. Some brush effects are less easily affected by other methods, and results may differ. Each method can have several variations, called method subcategories. These subcategories further refine the brush behavior. The following terms are used in describing most method subcategories: • Soft methods produce strokes with feathered edges. • Flat methods produce hard, aliased strokes with pixelated edges. • Hard methods produce smooth strokes.
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• Marker • Plug-in The Buildup methods allow you to produce brushstrokes that build towards black as they are overlaid. A real-world example of buildup is the felt pen: scribble on the page with blue, then scribble on top of that with green, and then red. The scribbled area keeps getting darker, approaching black. Even if you were to apply a bright color like yellow, you couldn’t lighten the scribble — it would stay dark. Crayons and Felt Pens are buildup brushes. An example of the Buildup method.
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An example of the Drip method. The Mask method is provided only for compatibility with earlier versions of the application. You do not need to use the Mask method because the masking capabilities of Corel Painter are provided by the Cover method. The Cloning methods take images from a clone source and re-create them in another location, often rendering them in a Natural-Media style. For more information about painting a clone, see “Painting in the clone” on page 159.
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You can give any built-in brush the power of a plug-in by changing its method and subcategory. To choose a method and subcategory 1 Choose Window  Brush Control Panels  General. 2 Choose a method from the Method list box. 3 Choose a subcategory from the Subcategory list box. The Method and Subcategory options are available only with circular, single-pixel, static bristle, captured, and eraser dab types.
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To choose a media source 1 Choose Window  Brush Control Panels  General. 2 Choose a source from the Source list box. General controls: Multicore Corel Painter helps you maximize brush performance when working on a multicore computer. To enable brush multicore support 1 Choose Window  Brush Control Panels  General. 2 Enable the Multicore check box. Not all brush variants support the Multicore option.
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Digital Airbrush brushstrokes without Opacity Jitter (left) and with Opacity Jitter (right) To set brush opacity 1 Choose Window  Brush Control Panels  Opacity. 2 Move the Opacity slider to the left to reduce opacity, or to the right to increase opacity. You can also Link the opacity settings to a specific stylus or mouse movement Choose an option from the Expression list box. Set the percentage of variability that you want the expression to apply Move the Min Opacity slider.
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Grain controls Grain lets you control the amount of paper texture that brushstrokes reveal. You can set the level of grain that you want to reveal (Grain slider). You can also use the Expression settings to link grain to various stylus or mouse movements. For more information, see “Expression settings” on page 317. For example, you can link grain to pressure. Increasing pressure causes the pencil to “dig into” the paper and produce a grainier brushstroke.
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To set grain 1 Choose Window  Brush Control Panels  Grain. 2 Move the Grain slider to adjust the penetration into the grain. You can also Link the grain settings to a specific stylus or mouse movement Choose an option from the Expression list box. Set the percentage of variability that you want the expression to apply Move the Min Grain slider. Adjust the angle of the Direction expression Move the Direction slider.
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Merge Mode Description Color Creates a new color by combining the luminance of the underlying color with the hue and saturation of the brushstroke color. This method is the opposite of Luminosity. Colorize Replaces the hue and saturation of the underlying color with the hue and saturation of the brushstroke color. You can use this mode to apply color to a grayscale image.
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Merge Mode Description Luminosity Creates a new color from the hue and saturation of the underlying color and the luminance of the brushstroke color. This method is the opposite of Color. Magic Combine Combines the brushstroke color with the underlying color based on luminance. The parts of the brushstroke that are lighter than the underlying color are visible. The parts that are darker are replaced by the lighter area of the underlying color.
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Size controls The Size brush controls determine how Corel Painter varies the width of the brushstroke. Size lets you control the width of the brush and the brushstroke. As size changes, you may need to adjust the spacing controls for brushes that use nonrendered or dab-based dab types to prevent gaps from appearing in the stroke. Size controls the width of the brush. You can choose an Expression setting to create a brush that responds to subtle hand movements.
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The Size Jitter control lets you introduce more variation to the size of the brushstroke, which enhances the responsiveness and natural appearance of the brushstrokes. Oils Real Round brushstrokes without Size Jitter (left) and with Size Jitter (right) Size Step controls the transition between narrow and wide sections of a stroke. Brushstrokes with Size Step set to 1% (top) and 100% (bottom) To set brush size 1 Choose Window  Brush Control Panels  Size.
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You can also Set the percentage of variability that you want the expression to apply Move the Min Size slider. Adjust the angle of the Direction expression Move the Direction slider. You can also set the brush size dynamically onscreen. For more information, see “To set brush attributes onscreen” on page 300. When adjusting Size Jitter, make sure the Min Size slider is not set to 100%. Setting the Min Size to 100% stops Size Jitter from occurring.
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Brushstrokes with Squeeze set to 100% (left) and 25% (right) This brushstroke created with Pen brush uses the Squeeze control to produce a calligraphy effect. The Angle slider controls the angle of an elliptical brush dab and the length of the ellipse. It is significant only for dabs with Squeeze settings under 100%. You can use Angle controls with Circular and Captured dab types.
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Felt Marker brushstrokes without Angle Jitter (left) and with Angle Jitter (right) For dab-based brushes, the Ang Range setting lets you specify a range of dab angles that may appear in a brushstroke. To take advantage of this feature, you must use the Expression settings to base the angle on some factor, such as stroke direction or bearing. For more information, see “Expression settings” on page 317.
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To set brush shape 1 Choose Window  Brush Control Panels  Angle. 2 Move the Squeeze slider to the left to make the brush dab more elliptical. Move it to the right to make it rounder. You can also change the brush shape dynamically onscreen. For more information, see “To set brush attributes onscreen” on page 300. To apply an expression to the brush angle 1 Choose Window  Brush Control Panels  Angle. 2 Choose an option from the Expression list box.
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To set brush angle increment 1 Choose Window  Brush Control Panels  Angle. 2 Move the Ang Step slider to the right to produce fewer angles between dabs. Move it to the left to create more angles between dabs. Spacing controls When a brushstroke uses a dab-based dab type, Corel Painter creates the stroke with a series of dabs. By adjusting the spacing between those dabs, you can control the continuity of the brushstroke. The Spacing control allow you to set the distance between brush dabs in a stroke.
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Boost allows you to optimize the performance of brushstrokes. However, a high-boost level may produce a less accurate brushstroke that appears a bit jagged. This setting applies only to specific brush dab types, such as Flat and Camel hair. To set spacing between brush dabs 1 Choose Window  Brush Control Panels  Spacing. 2 Perform a task from the following table. To Do the following Increase the distance between dabs Move the Spacing slider to the right.
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Changing dab profiles The Dab Profile panel displays a selection of dab profiles that you can apply to your brushes. Each brush tip 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 brushstroke.
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Artists’ Oils brush tip profiles There are six brush tips designed specifically for Artists’ Oils brushes. You can also use any brush tip, listed in the table above, with Artists’ Oils brushes. Artists’ Oils profile Description 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.
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Hard Media profile Description Linear Profile Provides maximum density at the center, with even falloff toward the edge. Pointed Profile Provides maximum density at the center, with rapid falloff toward the edge. Dull Profile Provides maximum density at the center, with high-density weighting toward the edge. 1-Pixel Edge Provides maximum density throughout, with rapid falloff toward the edge, producing a 1-pixel, anti-aliased edge.
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Brushstrokes set at a lower Wetness setting (left) and higher Wetness setting (right) Water controls The Real Watercolor water-related controls let you adjust the water viscosity, or thickness, in order to control the way it flows and spreads on the surface of the paper. For example, if the water viscosity is high, it will produce a runny effect and the water will flow and spread easily. If the water viscosity is low and thick, it will have a tendency to pool, instead of flow.
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Brushstrokes set at a lower Flow Resistance setting (left) and higher Flow Resistance setting (right) Pigment controls The Pigment controls let you adjust how much pigment is deposited on the paper after the water evaporates and how quickly the pigment settles on the paper. You can also specify the degree to which water is able to lift dry pigment from the paper.
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In addition, you can set the rate at which the paper grain can absorb water and control the amount of pigment that settles into the valleys of the paper grain when it dries. Wind controls The Wind controls let you control the angle at which water flows on the paper. You can also specify the amount of wind force exerted on the water.
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To Do the following Set the amount of pigment the brush deposits on the paper In the Brush area, move the Concentration slider to adjust the amount of pigment. Adjust the water thickness to control the way it flows and spreads on the surface of the paper In the Water area, move the Viscosity slider to adjust the thickness. Adjust the speed at which the water dries In the Water area, move the Evaporation Rate slider to adjust the effect.
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To Do the following Control the amount of pigment that settles into the valleys of the paper grain when it dries In the Paper area, move the Granulation slider to adjust the effect. Control the angle at which water flows on the paper In the Wind area, move the Angle slider to adjust the angle. Specify the amount of wind force exerted on water, which affects the way it flows on the paper In the Wind area, move the Force slider to adjust the force.
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Suspend diffusion temporarily Enable the Pause Diffusion check box or click the Pause Diffusion button on the property bar to suspend the diffusion. You need to disable the check box to perform the diffusion. Specify the speed at which the pigment is revealed onscreen Move the Animation Step slider to the left to lower the speed of the animation or to the right to increase the speed. Specifying a lower Animation Step, such as 0, produces a smoother effect.
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Brushstrokes set at a lower Viscosity setting (left) and higher Viscosity setting (right) You can also adjust the speed at which the liquid evaporates, which influences how the paint dries on the canvas. Brushstrokes set at a lower Evaporation Rate (left) and higher Evaporation Rate (right) Flow controls The Flow controls let you enable and choose flow maps, so you can introduce an additional surface texture to promote greater liquid displacement.
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can also specify how easily the paint blends and the degree to which oil is able to lift dry paint from the canvas. Brushstrokes set at a lower Settling Rate (left) and higher Settling Rate (right) Canvas controls With the canvas controls, you can adjust how the Real Wet Oil brushes interact with canvas texture and grain. For example, you can adjust the canvas roughness, which affects all other canvas settings.
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Brushstrokes set at a lower Angle and Force settings (left) and higher Angle and Force settings (right) Diffusion controls The Diffusion controls allow you to manage how and when the paint is diffused on the canvas. You can specify that diffusion be precisely applied to ensure accurate paint dispersion. You can also delay diffusion so the effect is applied only after you complete a brushstroke. In addition, you can choose to suspend diffusion temporarily.
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To Do the following Adjust the degree to which the flow map surface, or the paper texture, affects the direction of the water flow In the Flow area, move the Flow Resistance slider to adjust the effect. Adjust the opacity of the paint deposited on the canvas after the oil dries In the Paint area, move the Settling Rate slider to the left to decrease the amount of paint (more opacity) or to the right to increase the amount of paint (less opacity).
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You can improve the appearance of the visual flow of paint onscreen by clicking the Magnifier tool in the toolbox, and disabling the High Quality Display button on the property bar. To apply a flow map when using a Real Wet Oil brush 1 In the Brush library panel, choose a Real Wet Oil brush variant. 2 Choose Window  Brush Control Panels  Real Wet Oil. 3 In the Flow area, enable the Flow Map option to set the Source.
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Computed Circular controls The Computed Circular controls allow you to specify the tip profile of brushes using the Computed Circular dab type. For example, you can customize the dab opacity and hardness, which controls the color density at the outer edge of the dab. To customize a Computed Circular dab profile 1 Choose Window  Brush Control Panels  Computed Circular. 2 Perform a task from the following table.
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You can also specify that bristles scale relative to the size of the brush. This ensures that the feature is distributed proportionally to match the size of the brush. To adjust bristle controls 1 Choose Window  Brush Control Panels  Bristles. 2 Perform an action from the following table: To Do the following Specify the number of bristles Move the Feature slider. The higher the setting, the denser the brush bristles. Adjust the fanning of the bristles Move the Spread slider.
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Static Bristle controls The Static Bristle controls help you create the look of a real brushstroke, complete with the striations that hairs on a real brush make. Use the Static Bristle controls to design the individual bristles in a single brush dab. You can also preview a “soft” view of the dab to display how the bristle dabs change. For more information, see “To switch the brush size preview mode” on page 342. If you choose Rake as the stroke type, you can adjust brush scale and contact angle.
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Brushstrokes with Hair Scale set to 410% (top) and 990% (bottom) Scale/Size lets you control 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. Brushstrokes with Scale/Size set to 0% (top) and 100% (bottom) At a Scale/Size setting of 100%, when the brush size changes, the bristles scale in proportion to the size.
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When the slider is moved fully to the left, the brush leaves a faint stroke — even if Opacity is set to 100%. To set clumping of bristles 1 Choose Window  Brush Control Panels  Static 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 Choose Window  Brush Control Panels  Static Bristle. 2 Move the Hair Scale slider to the left to reduce the amount of bristle density and create a fine-hair brush.
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effect. For example, if you link the Pressure expression to the Flow control, set the Flow slider to 40% and set the Min Flow slider to 50%, the amount of flow will vary from 20% to 40% every time you apply pressure with the stylus. Spread controls 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.
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You can also Adjust the amount of variation that is applied to Feature Move the Feature Jitter slider. Link the features settings to a specific stylus or mouse movement Choose an option from the Expression list box. Set the percentage of variability that you want the expression to apply Move the Min Feature slider. Adjust the angle of the Direction expression Move the Direction slider. When adjusting Feature Jitter, make sure the Min Feature slider is not set to 100%.
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When adjusting Flow Jitter, make sure the Min Flow slider is not set to 100%. Setting the Min Flow to 100% stops Flow Jitter from occurring. Artists’ Oils controls The Artists’ Oils controls are divided into three critical components: Paint, Brush, and Canvas. You can control Artists’ Oils brush size and opacity with a tablet expression. For more information, see “Expression settings” on page 317.
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Paint Amount determines how much paint is loaded before each new brushstroke. The more paint you load, the longer the brushstroke lasts. Viscosity controls the rate of paint transfer to the canvas. The higher the viscosity, the faster the brush runs out of paint, creating shorter brushstrokes. Blend 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.
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2 Move the Amount slider to the right to increase the amount of paint loaded for each brushstroke. To set the viscosity of Artists’ Oils paint 1 With an Artists’ Oils brush selected, choose Window  Brush Control Panels  Artists’ Oils. If the controls on the Artists’ Oils panel are not available (appear gray), the selected Oils brush variant is not supported by the Artists’ Oils controls. For example, any Oils brush variant name that begins with Real are supported brush variants.
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2 Move the Bristling slider to the right to increase the length of the bristling and the tip and tail of the brushstroke. To set Artists’ Oils brushstroke trail-off 1 With an Artists’ Oils brush selected, choose Window  Brush Control Panels  Artists’ Oils. If the controls on the Artists’ Oils panel are not available (appear gray), the selected Oils brush variant is not supported by the Artists’ Oils controls. For example, any Oils brush variant name that begins with Real are supported brush variants.
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Impasto controls The Impasto brush controls let you modify and create brush variants that give the illusion of depth. The controls allow you to choose different methods for applying and controlling the appearance of depth. For more information, see “Impasto” on page 467 and “Adjusting and creating Impasto brushes” on page 469. Some Impasto controls work in conjunction with Expression settings. For more information, see “Expression settings” on page 317.
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Pickup controls how much dry paint gets picked up during diffusion. Lower values mean that there is no mixing or leaching of paints. Higher values produce more leaching. Brushstrokes with Pickup set to 0% (top) and 100% (bottom) Dry Rate controls the rate at which water dries during diffusion. Lower values cause greater spread; higher values reduce the amount of spread.
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Brushstrokes with Evap Thresh set to 1% (top) and 50% (bottom) The diffusion setting (Diffuse Amt slider) controls the amount of paint diffused. Using high diffusion creates soft edges that feather into the grain, as though you were painting on wet absorbent paper. Using low diffusion is similar to painting on dry paper. Brushstrokes with Diffuse Amt set to 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.
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Brushstrokes with Grn Soak-In set to 0% (top) and 100% (bottom) Enable the Accurate Diffusion check box to use a smaller diffusion window. Disabling Accurate Diffusion results in a larger, less accurate window being used. Brushstrokes with Accurate Diffusion enabled (top) and disabled (bottom) You can specify the amount of wind force exerted on the diffusing particles. Set the Wind Force to zero to turn off directional diffusion.
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Brushstrokes with Wind Angle set to 270° (top) and 180° (bottom) To adjust watercolor controls 1 Choose Window  Brush Control Panels  Water. 2 Perform an action from the following table. To Do the following Adjust wetness Move the Wetness slider to the left to create a more uniform brushstroke, or to the right to have the water flow more in the direction of the wind. Set paint pickup Move the Pickup slider to the right to increase the amount of leaching, or to the left to reduce it.
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To Do the following Set grain soak-in Move the Grn Soak-In slider to the right to create rougher surfaces, or to the left to create smoother, more continuous results. Set accurate diffusion Enable the Accurate Diffusion check box. Set wind force Move the Wind Force slider to the right to increase wind force, or to the left to decrease it. Set wind direction Move the Wind Angle slider to the right to increase angle. Delay diffusion Enable the Delay Diffusion check box.
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Example Description 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.
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Example Description 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. Smoothness controls the “tack” of the brushstrokes. Lower values result in coarser brushstrokes. Higher values cause brushstrokes to appear smoother.
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Brushstrokes with Smoothness set to 0% (top) and 100% (bottom) Volume controls the height of the brushstroke, or the amount of medium applied to the image. Higher values result in thicker strokes. Brushstrokes with Volume set to 100% (top) and 500% (bottom) You can also use the Expression settings to link Volume to various stylus or mouse movements.
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Brushstrokes with Rand Vol set to 0% (top) and 100% (bottom) Rand Size controls the randomness in size within a brushstroke. A value of zero results in a perfectly smooth brushstroke. Brushstrokes with Rand Size set to 0% (top) and 100% (bottom) 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 brushstroke. Lower values cause the individual brushstrokes to become visible.
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Brushstrokes with Rand Br Vol set to 0% (top) and 75% (bottom) Rand Br Size controls the variation in bristle width. A value of zero signifies that all the bristles are of equal width. Brushstrokes with Rand Br Size set to 0% (top) and 100% (bottom) To choose an ink type 1 Choose Window  Brush Control Panels  Liquid Ink. 2 Choose a liquid ink type from the Ink Type list box. To set smoothness 1 Choose Window  Brush Control Panels  Liquid Ink. 2 Adjust the Smoothness slider.
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To apply an expression to ink volume 1 Choose Window  Brush Control Panels  Liquid Ink. 2 Choose an option from the Expression list box. You can also Set the percentage of variability that you want the expression to apply Move the Min Volume slider. Adjust the angle of the Direction expression Move the Direction slider until the desired angle is achieved. Reverse the effect of an Expression setting Click the Invert button . To set random volume 1 Choose Window  Brush Control Panels  Liquid Ink.
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To set random bristle size 1 Choose Window  Brush Control Panels  Liquid Ink. 2 Adjust the Rand Br Size slider. Higher values result in a greater variation in the length of brush bristles. Stroke Jitter controls The Stroke Jitter controls introduces a randomized jitter to the brushstroke. Instead of appearing directly along the stroke, dabs appear randomly outside the brushstroke path. You can also set an Expression setting to further control the Stroke Jitter effect.
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Well controls The Well controls determine how a brush conveys its medium (color) to the paper. The Resaturation, Bleed, and Dryout controls work together to determine how much color a brush has at the start and finish of a stroke. Resaturation lets you control 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 brushstroke fades in gently.
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For example, you can link Resat to the Pressure expression and link Bleed to the Velocity expression. You can also adjust the Min setting to specify the range of variability that you want each expression to apply. The Min Resat and Min Bleed settings represent a percentage of the Resat and Bleed settings and they must be linked to an expression to have an effect.
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To set resaturation 1 Choose Window  Brush Control Panels  Well. 2 Move the Resaturation slider to the left to reduce the amount of color replenished in a stroke. Move it to the right to increase the amount of color. You can also Link the size settings to a specific stylus or mouse movement Choose an option from the Expression list box. Set the percentage of variability that you want the expression to apply Move the Min Resat slider.
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Mouse controls In theory, a mouse has no pressure information. A mouse button is either on (button down), or off (button up). However, the Corel Painter Mouse controls let you simulate the following stylus settings: • Pressure (how hard you would be pressing with a stylus) • Tilt (how close to vertical the stylus is held) • Bearing (the compass direction in which the stylus is pointing) • Rotation (to simulate using a flat-tip stylus that supports 360-degree rotation) • Wheel (how much ink is sprayed).
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To set rotation for the mouse 1 Choose Window  Brush Control Panels  Mouse. 2 Move the Rotation slider. A 360° setting simulates a stylus that completes a 360° barrel rotation. Rotation is supported only when you are using a brush with the Expression setting set to Rotation. For more information, see “Expression settings” on page 317. To set ink flow for the mouse 1 Choose Window  Brush Control Panels  Mouse. 2 Move the Wheel slider. A setting of 100% indicates that maximum flow is in effect.
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To set smooth strokes by adding path points 1 Choose Window  Brush Control Panels  Smoothing. 2 In the Cubic Interpolation area, move the Points slider to the right to add points and even out jagged strokes. Move it to the left to decrease the number of additional points. Image Hose controls The Image Hose controls let you design nozzles designated Rank 1, 2, and 3. For more information, see “Image hose” on page 435.
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Rake controls The Rake controls let you control the sophisticated features of a Rake stroke, which maintains the angle of the brush head as the stroke changes direction. As the brush turns, bristles come in and out of contact with the painting surface. 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 any one time.
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or outside). Turn Amount simulates this bristle displacement by controlling the displacement of inside and outside bristles. Brushstrokes with Turn Amount set to 0% (left) and 150% (right) The Bristle controls set the number of bristles or dabs used for Rake stroke types. The Spread Bristles control dynamically adjusts brush scale on the basis of stylus pressure. The harder you press, the more the brush fans out. If you want to maintain the spread, regardless of pressure, disable the option.
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Brushstrokes with Soften Bristle Edge disabled (left) and enabled (right) To set brush contact angle 1 Choose Window  Brush Control Panels  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 the dabs are in contact with the paper). To set brush scale 1 Choose Window  Brush Control Panels  Rake. 2 Perform a task from the following table.
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To Do the following Increase the degree to which the displacement changes are based on the direction of the brush Move the Turn Amount slider to the right. Decrease the degree to which the displacement changes are based on the direction of the brush Move the Turn Amount slider to the left. To adjust the number of Rake brush bristles 1 Choose Window  Brush Control Panels  Rake. 2 Move the Bristle slider to adjust the number of bristles.
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Cloning controls The Cloning controls are specific to brushes that use the cloning method and affect other brushes only when the Clone Color option is enabled. The Clone Color control directs a brush to pick up color from a source image. Clone Color takes averaged samples of color from the clone source, resulting in an approximation of the original. The Clone Color option is also available on the Color panel. For information about using different clone types, see “Cloning color” on page 209.
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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 using two reference points. The distance between the two destination points, in relation to the distance between the two source points, determines the scaling transformation. Scale cloning. • Rotate (2) cloning rotates the source image using two reference points.
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Rotate cloning. • Rotate & Mirror (2) cloning rotates and mirrors (flips) the source image using two reference points. Rotate & Mirror cloning. • Rotate, Scale, & Shear (3) cloning rotates, scales, and shears (slants) the source image using three reference points. The relative positions of the three source and destination reference points determine the transformation effect.
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Rotate, Scale, Shear cloning. • Bilinear (4) cloning applies a bilinear warp to the source image using four reference points. 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 using four reference points. The relative positions of the four source and destination points describe the perspective transformation.
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Perspective cloning. When you work with brushes using the Cloning method, you can modify the Variability to control the offset of the clone based on the location of the source image. 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.
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Brushstrokes with How Often set to 0 (top) and 15 (bottom) 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. You might use Random Clone Source with a faint stipple brush to add “noise” to an image.
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2 Enable the Clone Color check box. To set clone type 1 Choose Window  Brush Control Panels  Cloning. 2 Choose a type from the Clone Type list box. To constrain painting in the destination 1 Choose Window  Brush Control Panels  Cloning. 2 Enable the Obey Source Selection check box. To reproduce the source selection information in the destination selection 1 Choose Window  Brush Control Panels  Cloning. 2 Click the Copy Source Selection check box to enable or disable the option.
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To set the period between random offsets 1 Choose Window  Brush Control Panels  Cloning. 2 Perform a task from the following table. To Do the following Offset a greater number of samples and give the clone image a rough, distorted look In the Clone Location area, move the How Often slider to the left. Offset samples less frequently and keep the clone image more coherent In the Clone Location area, move the How Often slider to the right.
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• Moving the ±S slider to the right increases variability in the color intensity of the brushstroke. • Moving the ±V slider to the right increases variability in the brightness of the brushstroke. You can try different hue, saturation, and variability settings with any of the brushes to produce interesting results. When you save a brush variant, the current color variability setting is also saved.
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To ignore color set variability 1 Choose Window  Brush Control Panels  Color Variability. 2 Enable the Ignore color variability from color sets check box. Color Expression controls Color Expression determines whether Corel Painter should use the main or additional color in an image. Using Color Expression, you can introduce input (such as direction) which controls output when you apply two-color brushstrokes.
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• Rotation — adjusts the color expression based on the rotation of the stylus • Source — adjusts the color expression based on the luminance of the clone source • Random — adjusts the color expression at random If you want to switch the main and additional colors, click the Invert button . If you chose Direction from the Expression list box, move the Direction slider until the desired angle is achieved. To set color variation using jitter 1 Choose Window  Brush Control Panels  Color Expression.
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Jitter brushes Corel Painter includes a collection of Jitter brushes that let you introduce a range of random behaviors to brushstrokes to produce more realistic results. You can use the preset Jitter brush variants and adjust them as needed. You can also save these customized brushes as new Jitter brush variants.
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Brush category Jitter brush variant Airbrushes Coarse Spray Jitter Artists Coarse Sargent Brush Jitter Impressionist Blender Jitter Sargent Super Jitter Blenders Coarse Smear Blender Jitter Grainy Blender Impasto Jitter Chalk and Crayons Real Chalk Jitter Cloners Impasto Cloner Jitter Etch F-X Fog Jitter Furry Airbrush Jitter Gel Gel Fractal Jitter Gouache Gouache Rake Jitter Image Hose Color Hose Jitter Impasto Captured Impasto Blender Jitter Coarse Impasto Jitter Heavy Impasto Stamp J
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To choose a Jitter variant 1 Click the Brush Selector on the Brush Selector bar. 2 In the Brush library panel, click one of the categories that are listed in the above table. 3 Click a Jitter brush variant. You can also quickly find all Jitter brush variants by typing jitter in the Search bar, and pressing Enter. Controlling the behavior of Jitter variants You can control the amount of Jitter a brush produces.
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Brush control panel with For more information, see Jitter controls Color Expression “Color Expression controls” on page 405 Stroke Jitter “Stroke Jitter controls” on page 385 410 Corel Painter X3 Getting Started Guide
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Watercolor Corel Painter features different tools and controls that allow you to produce naturallooking watercolor effects. The tools include watercolor brushes that are stored in the following brush categories. Brush category Description Real Watercolor The Real Watercolor brushes allow you to apply pigment to the paper in a very realistic way. They include brush control options that allow you to precisely control water and paper interactions.
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Working with the Watercolor layer Both the Real Watercolor and 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 without changing anything in the image layer. For example, you can draw pencil outlines in the image layer and then overlay watercolor shading without smudging the pencil lines.
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If the image contains multiple layers, you can drop all of the layers onto the canvas by clicking the Layer options button in the Layers panel, and choosing Drop All. 3 In the Layers panel, click the Layer options button , and choose Lift Canvas to Watercolor Layer. Once the layer content is lifted from the canvas, the canvas is blank. To wet the Watercolor layer 1 Choose Window  Layers. 2 In the Layers panel, click the Layer options button Watercolor Layer.
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In addition, the Real Watercolor brushes include controls that allow you to further control the paper interaction. For more information, see “Working with Real Watercolor brushes” on page 414. Working with Real Watercolor brushes The Real Watercolor brush variants let you produce very realistic watercolor brushstrokes because they replicate real world watercolor media. Corel Painter simulates the look and feel of blending pigments with water so they interact with paper in a very natural way.
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Stylus pressure affects the width of the brushstroke for all Watercolor brush variants except Wet Eraser. Increased pressure widens a brushstroke; less pressure narrows a stroke. If too many strokes are made within a short period, particularly with slow-drying brushes, the application can become slower. In this situation, it is best to wait for the drying process to finish before continuing. Watercolor Dab Types For more information about Watercolor Dab Types, see “General controls: Dab types” on page 322.
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Working with Digital Watercolor brushes 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. You can use Digital Watercolor brushes to create effects similar to those produced with Watercolor brushes, without having to create a separate layer. Settings such as Diffusion, Opacity, and Wet Fringe control the appearance of the stroke.
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To adjust diffusion 1 With a Digital Watercolor brush variant selected, adjust the Diffusion slider on the property bar. Drag the slider to the right to increase diffusion, or to the left to decrease diffusion. 2 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. The Diffusion slider is also accessible from the Digital Watercolor panel.
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Applying and adjusting flow maps Flow maps are designed to maximize the creative potential of the Real Watercolor brushes by adding a textured surface that helps direct the flow of paint.
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3 1 2 4 A flow map (1) works with paper texture (2) to add relief to the image and encourage water displacement. The elevated areas (3) in the flow map help direct the flow of water (4). 1 2 The Wet Flowmap Fringe brush variant is used with paper texture (1). The same brushstroke is used in combination with paper texture and the Gravel flow map (2). Although flow maps are intended for Real Watercolor brushes, you can also use them with Real Wet Oil brushes.
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Choosing flow maps and compatible brush variants To quickly get started with flow maps, you can choose one of the flow map brush variants. They are available under the Real Watercolor brush category. These brush variants enable flow maps by default. You can experiment and choose a different flow map to produce the effect you like. 1 2 3 Brushstrokes using the Melted Flowmap (1), Noisy Flowmap Fringe (2), and Wet Flowmap Fringe (3) brush variants with the Fine Dots flow map selected.
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To choose a flow map brush variant 1 From the Brush library panel, choose the Real Watercolor brush category. 2 Choose one of the following brush variants: • Noisy Flowmap Fringe • Wet Flowmap Fringe • Melted Flowmap Fun To choose a flow map 1 Choose Window  Flow Map Panels  Flow Map Libraries. 2 Click a flow map swatch. Enabling flow maps and controlling flow resistance You can choose an existing Real Watercolor brush variant and then manually enable flow maps.
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1 2 3 4 Brushstrokes using the Noisy Flowmap Fringe brush variant set at a flow resistance of 0 (1), 33 (2), 66 (3), and 100% (4) with the Clouds flow map selected. To enable flow maps and control flow resistance 1 In the Brush library panel, choose a Real Watercolor brush variant. 2 Choose Window  Brush Control Panels  Real Watercolor. 3 In the Flow area, enable the Flow Map option to set the Source. 4 Move the Flow Resistance slider to adjust the resistance.
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Grain” on page 209. It is important to note that flow maps benefit from increased scale and contrast; therefore, if you create a flow map from a paper texture or image, you should increase the scale and contrast. 1 2 An area of an image was selected (1) to create a flow map (2). To create a flow map from a paper texture 1 Choose Window  Paper Panels  Paper Libraries. 2 Click a paper texture swatch. 3 Choose Window  Flow Map Panels  Flow Maps.
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The flow map is added to the currently selected library. You can also capture a flow map from the Flow Map Libraries panel by clicking the Capture Flow Map button . To customize a flow map 1 Choose Window  Flow Map Panels  Flow Maps. 2 In the Flow Maps panel, perform one or more actions from the following table.
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Hard Media Corel Painter lets you simulate many different types of traditional hard media, such as pencils, pens, and markers. The hard media brush controls and variants give you a wide range of options for creating drawings, sketches, and renderings. You can use the preset variants or create your own collection of customized Hard Media brush variants.
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The Hard Media brush variants are found in many different brush categories. The following table lists the Hard Media brush variants found in each of these brush categories.
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• Pencils • Erasers • Pens • Chalk and Crayons • Charcoal and Conté • Pastels • Blenders • Sumi-e • Markers 3 Click a Hard Media brush variant. Modifying Hard Media profiles You can modify Hard Media profiles to change the shape and size of the dabs that you apply to the canvas. By changing the profile, you can simulate the real-world hard media that have different shapes, sharpness, or thickness. Using the Hard Media controls, you can change the size, and choose one of six profiles to modify the shape.
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Hard Media profile Description 1-Pixel Edge Provides maximum density throughout, with rapid falloff toward the edge, producing a 1-pixel, anti-aliased edge. When changing the shape, you can use the Squeeze controls to specify the vertical and horizontal ranges of the dab. For example, tilting the tool while drawing can change the dab shape from round to elliptical. You can also change the size of the tip. The Hard Media controls are usable only with the Circular, Captured, and Eraser dab types.
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• H Min — sets the amount of squeeze applied to the dab on the horizontal axis. This setting represents the dab at its smallest. • H Max — sets the amount of squeeze applied to the dab on the horizontal axis. This setting represents the dab at its maximum size. Controlling the behavior of Hard Media variants Corel Painter lets you control how a Hard Media variant behaves when you apply strokes to the canvas. The Stepping slider controls the transition between narrow and wide sections of a stroke.
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2 Move the Size Step slider to the right to produce fewer angles between dabs, or move it to the left to create more angles between dabs. To set the Hard Media transition range 1 With a Hard Media variant active, choose Window  Brush Control Panels  Hard Media. 2 Move the Start slider to set the angle at which the transition will start. Moving the slider to the right increases the angle; moving the slider to the left decreases the angle.
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Markers Corel Painter includes a Markers brush category to simulate the professional markers that are used by illustrators, graphic designers, industrial designers, and architects for drawing and creating renderings. This section contains the following topics: • Getting started with markers • Customizing markers Getting started with markers The brush variants in the Markers category replicate traditional markers used for drawing and creating renderings.
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canvas. For example, the Flat Rendering Marker in Corel Painter allow color buildup and pooling. One continuous brushstroke at a constant speed lays down one consistent color. However, if you lift the stylus, or release the mouse button, the color builds up, as it would with conventional markers. The Marker variants also let you overlay strokes, and because the applied color is somewhat transparent, the underlying colors show through.
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Image hose The Image hose lets you paint with images instead of painting with color. The images flowing from the hose change as you make a brushstroke. You can modify the appearance of the default Image hose elements or create your own set of images so you can paint with a unique image series. The Image hose feature allows you to paint with images.
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Using the Image hose To start painting with the Image hose, you need to choose the Image Hose category from the Brush library, select an Image hose variant, and then choose the imagery that you want to apply. The imagery is stored in a nozzle file. For example, you can load images of any description — leaves, bark, grass, stones, people, or whatever you want. When you paint with these image elements, you can build them into coherent shapes, such as a tree, hill, cobblestone street, or crowd of people.
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You can also control the image output by increasing stylus pressure, so you can paint larger or more colorful images, or by changing the direction of the stroke, so you can change the angle of the images. To use the Image hose 1 Choose the Brush tool from the toolbox. 2 Click the Brush Selector on the Brush Selector bar. 3 In the Brush library panel, click the Image Hose brush category, and click a brush variant. 4 Choose Window  Media Library Panels  Nozzles.
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move the slider to the left, more of the additional color appears in the elements. This is a handy way to adjust the shading of image elements. You can turn down the Grain to mix in the additional color. Settings shown are 100% grain (left) and 39% grain (right). To adjust the opacity of image hose elements • On the property bar, move the Opacity slider. You can also randomize the effect by choosing Window  Brush Control Panels  General.
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Adjusting the size and spacing of image hose elements You can scale the size of image elements that are applied by the Image hose. At 100%, the images are the same size as they are in the nozzle file. You can also control the space between images. The Spacing slider controls the spacing of the images. Settings shown are 85% (left) and 20% (right). Because spacing is based on the diameter of the brush, the Size settings also affect image spacing.
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3 Move the Min Spacing slider. To randomize the spacing between Image hose elements • On the property bar, move the Jitter slider to the right. Indexing nozzle files A nozzle file can contain any number of images. Usually, the images are similar and form a logical series — that is, the images progress along some order. For example, the images might increase in size or advance in angle. It is not necessary for images to progress in a logical series, but the Image hose is more effective when they do.
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This Arrow nozzle is an example of indexing based on Direction. • Pressure indexes images based on stylus pressure. Greater pressure selects images from later in the rank. Pressure works only with pressure-sensitive tablets. Pressure is a great control for requesting images from a nozzle. For example, if you set up your nozzle file to progress from small to larger images, heavier strokes deliver larger images. • Wheel indexes images based on the wheel setting on an airbrush stylus.
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Indexing based on Source. • Random selects images from the rank at random. Randomness can add irregularity of color and texture to the areas you paint with the Image hose. This contributes to the aesthetics of the painting, because minor irregularities occur in natural structures. • Sequential indexes images in the order they appear in the rank — moving left to right, and top to bottom. Left: sequential indexing. Right: random indexing.
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The indexing rules for Rank 2 and Rank 3 have no effect on a 1-Rank nozzle. Understanding nozzles, ranks, and indexing You can create custom nozzles for the Image hose by choosing a series of images and then applying ranks and indexing rules. After saving a custom nozzle, you can load it so you can use it in an image. For more information, see “Loading and managing nozzle files” on page 452.
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it increases the sophistication of the Image hose. For example, a nozzle file with images progressing in size can be set up so that greater stylus pressure paints incrementally larger images. A 1-Rank nozzle progresses in one dimension. In this example, changing angle is the first rank. If you want a two-dimensional progression, such as having image elements increasing in size and changing angle, you need to set up your images as a 2-Rank nozzle file.
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Color is the third rank in this 3-Rank nozzle. It is recommended that you consider how you will control each rank before you build a nozzle. The way you lay out the images can limit the ways you can control the indexing. Before you begin building a nozzle, you must decide which rank level you need as well as how many elements you want in each progression. For more information, see “To change the indexing rule” on page 442.
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will look good as a nozzle element. Building a nozzle from layers offers advantages in convenience as well. Another technique is to float the image on a black background and add a drop shadow. This will enhance the appearance of three dimensions, as image elements build up in layers. When all elements have the shadow in the same position, the light source appears the same across the painted area. For more information, see “Layers” on page 479.
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To create a 1-Rank nozzle from layers 1 Choose Window  Layers. 2 Click the New Layer button . 3 Create an image element to be used as a nozzle. The alignment of layers in the document doesn’t affect the nozzle-building process. 4 Repeat steps 2 and 3 to create additional image elements. Rearrange the layer hierarchy to create the progression you want in the nozzle. The top layer on the list will be the first element in the nozzle sequence. Moving down the list advances through the element progression.
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Creating a 2-Rank nozzle If you want to create a 2-Rank nozzle, such as a nozzle with a two-dimensional progression, you need to set up the nozzle images accordingly. Unlike 1-Rank nozzles, nozzles of two and three ranks cannot be created from a layer group. You must build these nozzles manually. The indexing system requires the nozzle images to fit in a grid. You can create a nozzle file by setting up a grid and placing an image element at the center of each cell.
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You need to enter the cell width and height from step 1 of “To determine the grid cell size and nozzle dimensions” on page 448. 4 Show the grid by choosing Canvas  Grid  Show Grid. The grid should describe the number of elements you want in each rank — Rank 1 horizontally and Rank 2 vertically. To build a 2-Rank nozzle 1 Place one image element in the center of each grid cell. Follow an appropriate progression based on your intentions for controlling this nozzle.
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Creating a 3-Rank nozzle You can create a 3-Rank nozzle using the grid method. Rank 3 (Shape) Rank 2 (Size) Rank 1 (Variety) This nozzle file has three items in Rank 1, three items in Rank 2, and three items in Rank 3. Painting with the 3-Rank nozzle “Broken Shells.” To create a 3-Rank nozzle 1 Build or open a 2-Rank file.
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2 Determine the number of elements you want in the third rank. 3 Choose Window  Navigator to display the Navigator panel, and check the height of the current nozzle file. 4 Multiply the number of items in the third rank by the height of the file. The result will be the height of your 3-Rank nozzle file. 5 Choose Select  Reselect. 6 Choose Select  Float. 7 Choose Edit  Copy. Now you must extend this file vertically to accommodate the items in the third rank. 8 In the Layers panel, select the canvas.
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To paint with your new nozzle file, you first need to load it. For more information, see “To load a 1-Rank nozzle file” on page 452. Loading and managing nozzle files To paint with a custom nozzle file, one that isn’t available in a nozzle library, you need to load it in the application. You can also store custom nozzle files by adding them to a nozzle library. To load a 1-Rank nozzle file 1 Choose Window  Media Library Panels  Nozzles.
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If the values you enter do not describe the file, Corel Painter won’t accept them. In other words, the “number of items” in Rank 1 (horizontal progression) multiplied by the “item width” must equal the width of the nozzle file; the “number of items” in Rank 2 (vertical progression) multiplied by the “item height” must equal the height of the nozzle file. Remember, you still need to describe the indexing rule for each rank.
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8 In the Nozzle Libraries panel, click the Nozzles options button Load Nozzle, and select the nozzle you just saved. , and choose 9 To put the nozzle back in the library, click the Nozzles options button choose Add Nozzle to Library. , and Creating a nozzle from a movie Corel Painter lets you create an Image hose nozzle from a movie. This allows you to transform each frame of a Corel Painter movie into Image hose imagery. The frame size describes the item size.
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with three items in Rank 1 and three items in Rank 2, the movie needs to contain nine frames. 2 Add an image element to the first frame. You can add image elements by using selections or layers. 3 In the Layers panel, click the Layer options button Select. , and choose Drop and 4 Move to the second frame, and add an image element. Edit the image element if necessary, and repeat step 3 before moving to the next frame. 5 Continue adding image elements to the remaining frames.
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The resulting nozzle file from the movie in the previous example. 9 From the menu bar, choose File  Get Info. The File Information dialog box holds the information Corel Painter uses to index in this file. 10 Edit the statement to describe the nozzle index you created. For example, the statement “Image hose 9 items” describes a 1-Rank nozzle with nine image elements.
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RealBristle brushes RealBristle brushes bring a new level of realism to the digital painting experience by simulating the natural movement of an artist’s brush. The resulting brushstrokes and their interaction with the canvas more closely reflect the look and feel of working with a traditional art brush. RealBristle Painting System. Artwork by Cher Threinen-Pendarvis. RealBristle brush variants are based on brush variants from different brush categories, such as Acrylics, Oils, and Watercolor.
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Getting started with RealBristle brushes RealBristle brush variants are stored in various brush categories. They consist of a broad range of bristle-based brushes that let you apply brushstrokes to the canvas or a layer. To choose a RealBristle brush variant 1 Click the Brush Selector on the Brush Selector bar. 2 In the Brush library panel, click a brush category that contains a RealBristle variant, and click a RealBristle brush variant.
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The brush on the left approximates the rounded edges created by a flat brush with a Roundness setting of 100%; the brush on the right approximates a round brush with a Roundness setting of 100%. Bristle length — lets you control the length of the bristles, from the end of the ferrule to the tip of the brush. The bristle length is calculated by multiplying the brush size value by the bristle length value you choose.
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The brush on the left approximates a Bristle rigidity setting of approximately 90%; the brush on the right approximates a setting of approximately 30%. Fanning — lets you control how the bristles spread out from the ferrule. Lower values keep the bristles closer together, creating a more pointed tip; higher values spread the bristles out. The brush on the left represents a Fanning setting of 100%; the brush on the right represents a setting of 0%.
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To open the RealBristle panel • Choose Window  Brush Control Panels  RealBristle. To customize a RealBristle brush variant 1 Click the Brush Selector on the Brush Selector bar. 2 In the Brush library panel, click a brush category that contains a RealBristle variant, such as Acrylics, Oils, and Watercolor, then click a RealBristle brush variant. 3 Choose Window  Brush Control Panels  RealBristle.
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Liquid Ink Liquid Ink brushes in Corel Painter create liquid paint effects that simulate traditional ink-based media. This section contains the following topics: • Working with Liquid Ink brushes • Adjusting attributes of the Liquid Ink layer • Using Liquid Ink controls Working with Liquid Ink brushes To work with Liquid Ink brushes, you need to create a Liquid Ink layer. Liquid Ink layers are displayed in the Layers panel.
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3 In the Brush library panel, click the Liquid Ink brush category and click a brush variant. Adjusting attributes of the Liquid Ink layer You can experiment with the Liquid Ink layer settings to control the appearance of depth and adjust the threshold of the edges of the ink. To adjust Liquid Ink layer attributes 1 In the Layers panel, double-click the Liquid Ink layer you want to modify. 2 Click the Layers options button , and choose Layer Options.
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With Liquid Ink brushes, the adhesion of the bristles minimizes the appearance of individual bristles. The Feature slider and its effect on Liquid Ink brushstrokes. Expression You can use the Expression settings 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. For more information, see “Expression settings” on page 317.
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By adjusting lighting angles and adding multiple light sources, you can add height to Liquid Ink brushstrokes. To customize a Liquid Ink brush variant • Choose Window  Brush Control Panels  Liquid Ink. For more information about each of the Liquid Ink controls, see “Liquid Ink controls” on page 378.
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Impasto Impasto is a painting technique that involves using a brush or palette knife to apply thick paint on a canvas and retain visible brush or knife marks. This painting method is used to add texture, dimension, and movement to a painting. In Corel Painter, the Impasto brushes allow you to simulate the appearance and texture of traditional impasto. You can also control the impasto effect by manipulating the surface lighting to increase or decrease the perceived depth of the brushstrokes.
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You can choose one of the available Impasto brush variants from the Impasto brush category. You can also transform other brush variants into Impasto brushes. For more information, see “Adjusting and creating Impasto brushes” on page 469. You can clear the impasto information from the canvas at any time. You can also hide the impasto information before clearing it in order to preview the end result. To display or hide impasto information 1 Choose Window  Navigator.
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Adjusting and creating Impasto brushes The Impasto brush controls let you modify Impasto brush variants, or transform other brush variants into Impasto brushes. The controls let you set drawing and depth methods, set the amount of depth applied, and the modify brush interaction. The impasto settings act identically to other brush settings, in that they’re saved as part of a brush variant or applied to any active brush. For more information, see “Adjusting brushes with brush controls” on page 315.
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You can also apply negative depth, which allows you to use a brushstroke to excavate, or dig into the paint. The Negative depth option forces impasto to excavate (left). Normally, impasto raises ridges and bumps (right). In addition, you can specify how Impasto interacts with previously applied brushstrokes. For example, you can adjust the Plow setting so when a brushstroke with a high Plow value encounters another Impasto brushstroke, it displaces the depth of the existing brushstroke.
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You can also increase the variation of depth that is applied by adjusting the Opacity Jitter. To choose an impasto drawing method 1 Choose Window  Brush Control Panels  Impasto.
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For a realistic effect, try varying Depth inversely with Pressure. Set the Expression list box to Pressure, and enable the Invert option. This lets you apply paint more thickly when you press lightly, but more thinly when you press firmly, just as if you were using real paint. To control the depth interaction 1 Choose Window  Brush Control Panels  Impasto. 2 Perform an action from the following table: You can also Invert the appearance of impasto depth Enable the Invert check box.
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For a realistic effect, try varying Depth inversely with Pressure. Set the Expression list box to Pressure, and enable the Invert option. This lets you apply paint more thickly when you press lightly, but more thinly when you press firmly, just as if you were using real paint. When adjusting Depth Jitter, make sure the Min Depth slider is not set to 100%. Setting the Min Depth to 100% stops Depth Jitter from occurring.
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In addition, you can change the color of a light source. For example, you can have multiple colored lights interact with the depth to produce different textural effects. You should keep in mind that each light interacts with all the Impasto brushstrokes, so be careful not to set up colored lights that clash with the colors in your composition or light sources that create unwanted shadows. The image above uses two different colored light sources.
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To Do the following Change the light position Drag a light indicator to a new position on the sphere. Change the light color Click a lighting indicator, click the Light color button, and then choose a color from the Color dialog box. To modify surface lighting to adjust depth 1 Choose Canvas  Surface Lighting. 2 In the Appearance of Depth area, adjust any of the following sliders: • Amount — increases or decreases the visibility of brush striations in brushstrokes.
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The Composite Depth menu provides the following methods for combining Impasto brushstrokes: • The Add method, which is the default Composite Depth method, combines depth information between layers. Brushstrokes on different layers build up where they overlap. 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.
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• The Ignore method prevents Impasto brushstrokes from interacting with image data on different layers. With the Ignore method active, the display of depth for the layer is turned off. 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. You can set a different composite depth method for every layer in a document.
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Layers 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. The Corel Painter file format preserves layers when you save a document, so you can easily make changes at a later time.
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Working with layer content • Painting on layers • Preserving layer transparency • Adjusting layer opacity • Adding drop shadows to layers • Blending layers by using composite methods Working with layers masks • Creating and deleting layer masks • Applying layer masks • Loading layer masks to selections • Selecting and viewing layer masks • Enabling and disabling layers masks • Copying layer masks • Inverting layer masks • Editing layer masks Saving, storing, and sharing layers • Importing and exporting laye
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Think of layers as sheets of clear material, such as acetate. Painting on a layer obscures the image below it. Areas of a layer that don’t contain images remain transparent. Understanding layers and the canvas To better understand the role of layers in Corel Painter, it’s important to understand the role of the canvas. When creating a new image in Corel Painter, a blank canvas displays in the document window, which serves as the foundation, or background layer, of the image.
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Some features in Corel Painter can be applied only to default, pixel-based layers. If you want to use these features on shapes, Watercolor layers, Liquid Ink layers, dynamic layers, and so on, you must convert them to default layers. The following table describes each of the layer types. Layer type Description Default Stores the paint applied by most brush variants. You can also apply effects to pixel-based default layers. Floating object Stores layer selections so you can edit layer content.
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Displaying the layers panel All layers in a document are listed in the Layers panel. The Layers panel allows you to display manage the order of layers. It also includes commands and controls for selecting, hiding, locking, deleting, naming, and grouping layers. You can access the various layer commends and controls by using the buttons at the bottom of the panel. 1 11 3 2 4 12 5 13 6 14 7 8 9 10 Layer panel components 1. Composite Method list box 8. New Layer button 2.
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Icon Description Canvas Pixel-based layer Shape layer Floating object Reference layer Dynamic layer Watercolor layer Liquid Ink layer Text layer Layer group Expanded group Visible layer Hidden layer Locked layer In the Layers panel, you can also set layer opacity and choose a composite method. For information, see “Adjusting layer opacity” on page 508 and “Blending layers by using composite methods” on page 510.
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The Navigator panel displays information about the dimensions and position of layer content. For more information, see “Navigating images and viewing image information” on page 63. To display the Layers panel • Choose Window  Layers. If the panel is not expanded, double-click the Layers panel tab. To convert to a default layer 1 In the Layers panel, select the layer that you want to convert. You can convert Shape, Watercolor, Liquid Ink, and dynamic layers into default layers.
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To Do the following Create a watercolor layer In the Layers panel, click the Layer options button , and choose New Watercolor Layer. Create a Liquid Ink layer In the Layers panel, click the Layer options button , and choose New Liquid Ink Layer. If you choose a Watercolor, Real Watercolor, or Liquid Ink brush, a new layer for that brush type is automatically created when you apply a brushstroke to the document window. To delete a layer 1 In the Layers panel, select one layer or multiple layers.
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Layer-based selections function in the same way as selections on the canvas — you can use them to constrain brushstrokes, to isolate an area of the layer for applying an effect, or to choose an area of the layer to cut or copy. For more information, see “Selections and Transformations” on page 543. When you convert a canvas-based selection to a layer, a new layer appears in the Layers panel.
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To convert the canvas to a layer 1 In the Layers panel, select the canvas. 2 Choose Select  All. 3 Choose Select  Float. To reposition or drop a floating object 1 In the Layers panel, select the floating object. 2 Perform an action from the following table. To Do the following Reposition a floating object In the document window, drag the floating object to the new location with the Layer Adjuster tool . Then, press the arrow keys to move the floating object one pixel at a time.
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You can also rename a layer by clicking the Layer options button choosing Layer Attributes, and typing a name in the Name box. You cannot rename the Canvas layer. , To add a layer description 1 Select a layer or group. 2 Do one of the following: • Choose Layers  Layer Attributes. • Click the Layer options button in the Layers panel, and choose Layer Attributes. 3 Type in the Note box. You cannot add notes to a layer if you enable the WWW Map Clickable Region check box for image mapping.
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By default, the Auto Select Layer option is disabled. This means that the layer selection is “locked in” — the Layer Adjuster tool affects only the selected layer or layers. In other words, without enabling the Auto-Select Layer option, you cannot select a layer by clicking it in the document window; you must select a layer by clicking it in the Layers panel. Layers panel You can select a layer, multiple layers, or a layer group from the Layers panel.
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To Do the following Select multiple layers Do one of the following: •In the Layers panel, hold down Command + Shift (Mac OS) or Ctrl + Shift (Windows), and click each layer you want to select. •Choose the Layer Adjuster tool from the toolbox, enable the Auto Select Layer button on the property bar, and then drag over the layers you want to select in the document window.
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Copying and duplicating layers You can copy individual layers in the same image or between images. You can also duplicate layers in order to quickly replicate image elements. In addition, you can simultaneously copy the contents of multiple layers by using a selection. To copy and paste a layer 1 Choose the Layer Adjuster tool from the toolbox. 2 Click the Auto Select Layer button on the property bar. 3 In the document window, click the layer that you want to copy. 4 Choose Edit  Copy.
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You can also copy a layer by opening the document where you want to copy the layer, clicking the Auto Select Layer button on the property bar, and dragging the layer to the other document. To copy a selection from multiple layers 1 Make a selection. The selection must include elements from multiple layers. 2 Choose Edit  Copy Merged. You can also copy from multiple layers by pressing Command + Option+C (Mac OS) or Ctrl + Alt + C (Windows).
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This layer contains a brushstroke. The content area is defined by an invisible bounding box (indicated by a dashed outline in the image). The layer indicators provide a visual representation of the bounding box. For more information, see “Selecting layers” on page 489. To move or nudge a layer 1 In the Layers panel, select the layer or group you want to move. 2 Perform an action from the following table.
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• Top — defines the distance in pixels from the top edge of the canvas to the top edge of the layer’s content. Increase to move the layer down, or decrease to move the layer up. • Left — defines the distance in pixels from the left edge of the canvas to the left edge of the layer’s content. Increase to move the layer to the right, or decrease to move the layer to the left. If you use negative values, or values larger than the canvas dimensions, the layer is placed partially or wholly outside the canvas.
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An example of applying a transformation across multiple selected layers. To speed up the process of applying transformations to multiple layers or a layer group, you can enable the Fast Preview Mode. During the transformation, only a grayscale rendering of the layers displays in the document window, instead of full-color details. You can turn off the Fast Preview Mode to reveal the full-color results. For example, you may want see the transformed layers in full-color before committing the transformation.
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To transform one or multiple layers 1 Choose Window  Layers. 2 In the Layers panel, do one of the following: • Click a layer. • Click a layer group. • Hold down Command + Shift (Mac OS) or Ctrl + Shift (Windows), and click each layer you want to select. 3 In the toolbox, click the Transform tool . If the Transform tool is not displayed in the toolbox, click and hold the Layer Adjuster tool to open the flyout, and then choose the Transform tool .
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left, the destination is the leftmost point of all selected layers. If you align horizontally to the center, the destination is the midpoint between the leftmost edge and the rightmost edge of the selected layers. Next, Corel Painter aligns the corresponding edge of each selected layer’s bounding box with the destination point. For example, if you align layers to the left, each layer is moved so that the left edge of its bounding box lines up with the destination point.
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To lock or unlock a layer 1 Select the layer in the Layers panel. 2 Do one of the following: • In the Layers panel, click the Lock Layer button . • Click the Layer options button , and choose Lock or Unlock. The Locked Layer icon appears next to a locked layer in the Layers panel. The canvas is always in a locked state, therefore, it cannot be unlocked. Showing or hiding layers You can control the view of an image in the document window by changing the layer visibility settings.
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Changing layer order The layer order determines how the layers in a document interact. When you create a new pixel-based layer, it appears on top of the existing layers (when the canvas is selected) or on top of the selected layer. New Watercolor, Liquid Ink, and dynamic layers are always created on top of existing layers. Depending on its transparency, masking, and compositing characteristics, the layer will obscure or otherwise affect the underlying layers.
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To Do one of the following •From the menu bar, choose Layers  Move Down One Layer. •On the property bar, click the Move Move a layer down one Down One Layer button . •From the menu bar, choose Layers  Move Up One Layer. •On the property bar, click the Move Up Move a layer up one One Layer button . 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.
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Position indicator (measured in pixels) Description H Height of the layer’s content T Top edge of the layer’s bounding box, which is measured from the top edge of the canvas. L Left edge of the layer’s bounding box, which is measured from the left edge of the canvas. B Bottom edge of the layer’s bounding box, which is measured from the top edge of the canvas. R Right edge of the layer’s bounding box, which is measured from the left edge of the canvas.
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If you select a layer within a group in the Layers panel and then proceed to create a new layer, the new layer is added to the group. If the group is selected, the layer is placed above the group. To create a group 1 In the Layers panel, select the layers you want to group. For more information, see “Selecting layers” on page 489. 2 Do one of the following: • Click the Layer Commands button , and choose Group Layers. • Click the Layer options button , and choose Group Layers.
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To ungroup layers 1 In the Layers panel, select the group. If the group is open, close the group. 2 Do one of the following: • Click the Layer Commands button , and choose Ungroup Layers. • Click the Layer options button , and choose Ungroup Layers. To collapse a group 1 In the Layers panel, select the group. 2 Click the Layer Commands button , and choose Collapse Layers. If the group contains shapes, Liquid Ink layers, or dynamic layers, the Commit dialog box is displayed.
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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, see “Creating and deleting layer masks” on page 518 and “Selections and Transformations” on page 543. To drop a layer To Do the following Drop specific layers In the Layers panel, select the layers (or groups) that you want to drop, and do one of the following: •Click the Layer Commands button , and choose Drop.
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Brush methods and painting on layers The Natural-Media environment allows brushstrokes on different layers to interact with each other. However, mixing brushstrokes that use the Cover and Buildup methods on the same layer can produce unexpected results. This is caused by a conflict between the brush method and the layer’s composite method. • Brushes that use the Buildup method — such as those in the Felt Pens or Pencils category — work best on layers that use the Gel composite method.
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The Preserve Transparency button in the Layers panel affects what areas of a layer you can paint on. For more information, see “Preserving layer transparency” on page 507. To pick up color from underlying layers • In the Layers panel, click the Pick Up Underlying Color button . Preserving layer transparency Areas of a layer that don’t contain images are transparent. In Corel Painter, you can preserve these transparent areas of a layer.
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• 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. Erasing part of a layer (the woman’s hair) with the Preserve Transparency check box disabled restores transparency (left).
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• Move the Opacity slider . • Type a percentage in the Opacity box, and press Return (Mac OS) or Enter (Windows). The example on the left shows the background layers at 100% opacity. The example on the right shows them at 50% opacity. Adding drop shadows to layers You can add a drop shadow to a single layer or to a group to enhance the appearance of an image. Drop shadows are also helpful for developing Image Hose nozzles.
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If you want to merge the drop shadow layer with the image layer, enable the Collapse to one layer check box. Blending layers by using composite methods Composite methods control how layers interact with the underlying image. You can change composite methods to create special effects without changing the actual images that make up a document. Corel Painter provides two types of composite settings: • Composite Method sets the standard composite method.
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Composite method Example Default Allows the layer to cover and hide the underlying image Gel Tints the underlying image with the layer’s color. For example, a yellow layer gives the underlying image a yellow cast. Corel Painter automatically sets a layer’s composite method to Gel if you paint on it with a brush that uses the Buildup method. GelCover Uses a combination of the Default method and the Gel method. The edges of the layer’s content tint the underlying image with their color (the Gel method).
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Composite method Example Colorize Replaces the hue and saturation of the canvas pixels with the hue and saturation of the layer pixels. You can use this feature to convert a color image to grayscale, or a grayscale image to color. A black layer turns the underlying color image into a grayscale image. A colored layer adds color to an underlying grayscale image. Reverse-Out Allows the layer to invert the colors beneath it. This method is a great way to remove text.
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Composite method Example Magic Combine Combines the layer with the underlying image based on luminance. The parts of the layer that are lighter than the underlying image are visible. The parts that are darker are replaced by the lighter area of the underlying image. One way to use this method is to fill text. With a photograph as the top layer and black text as the underlying image, choosing Magic Combine fills the text with the image. Pseudocolor Translates the layer’s luminance into hue.
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Composite method Example Dissolve Combines the image color with the layer color based on opacity Multiply Combines colors to create a darker color Screen Combines colors to create a lighter color 514 Corel Painter X3 Getting Started Guide
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Composite method Example Overlay Combines colors while preserving the highlights and shadows of the image color Soft Light Darkens or lightens colors depending on the luminance of the layer color Hard Light Multiplies or screens colors, depending on the luminance of the layer color Layers 515
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Composite method Example Darken Colors with the image color or the layer color — whichever is darker Lighten Colors with the image color or the layer color — whichever is lighter Difference Subtracts one color from the other, depending on which color has a greater brightness value 516 Corel Painter X3 Getting Started Guide
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Composite method Example Hue Creates a color by combining the luminance and saturation of the image color with the hue of the layer color Saturation Creates a color by combining the luminance and hue of the image color with the saturation of the layer color Color Creates a new color by combining the luminance of the image color with the hue and saturation of the layer color. This method is the opposite of Luminosity.
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Composite method Example Luminosity Creates a new color from the hue and saturation of the image color and the luminance of the layer color. This method is the opposite of Color. To change a layer’s composite method 1 Select a layer. 2 In the Layers panel, choose a composite method from the Composite Method list box. You can also choose a composite depth method from the Composite Depth list box. For more information, see “Blending impasto with other layers” on page 475.
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Corel Painter digital workspace, the layer mask is a powerful tool for controlling image composition and effects. Layer masks vs. channels A layer mask is similar to an alpha channel. Both are grayscale images that you can create and edit. Although the Channels panel provides access to both channels and layer masks, their characteristics and functions are different: • A layer mask is attached to a layer, but an alpha channel is independent.
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The layer mask icon varies in appearance depending on how you’re viewing the layers. If you are displaying layers as No Thumbnails, the icon is the same as the Create Layer Mask button . If you’re viewing layers as any size of thumbnail, a small-scale representation of the mask displays as the icon. You can also create a layer mask by choosing Layers  Create Layer Mask. To create a layer mask based on transparency 1 Select a layer. 2 Choose Layers  Create Layer Mask From Transparency.
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To Do the following Delete a layer mask Do one of the following: •Choose Layers  Delete Layer Mask. •In the Layers panel, select the layer mask and click the Delete button . •In the Layers panel, select the layer mask, click the Channel options button , and choose Delete Layer Mask. •In the Channels panel, click the Channel options button , and choose Delete. •Click the Delete button of the Channels panel.
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2 Control + click the layer mask icon (Mac OS), or right-click the layer mask icon (Windows), and choose Load Layer Mask To Selection. Selecting and viewing layer masks Before you work with a layer mask, you must select it. You can also view a layer mask as a grayscale image. Selecting a layer mask and viewing it are distinct operations — you can select a layer mask without viewing it. You can also hide a layer mask. To select a layer mask 1 In the Layers panel, choose a layer that has a layer mask.
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To hide a layer mask • In the Channels panel, click the eye icon the icon changes to a closed eye next to the layer mask item, so that . Enabling and disabling layers masks You can disable a layer mask to you view the entire layer, but you can re-enable it at any time. To enable or disable a layer mask • Select a layer mask. To Do the following Enable a layer mask Choose Layers  Enable Layer Mask. Disable a layer mask Choose Layers  Disable Layer Mask.
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To copy a channel to a layer mask 1 Select a layer in the Layers panel. 2 Click the Create Layer Mask button A blank layer mask is created. . 3 In the Channels panel, select the channel you want to copy. 4 Click the Channel options button , and choose Duplicate. 5 In the Duplicate Channel dialog box, choose the layer mask from the Destination list box. Corel Painter copies to the layer mask the portion of the channel that coincides with the layer content.
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When you edit a layer mask, you are making modifications to the mask, not to the layer’s image. You can use shades of gray only; no colors are available. This is because the layer mask is a grayscale image that is separate from the RGB image. The paint and effects you apply to a layer mask are reflected as follows: • Applying white removes areas from the mask and reveals more of the layer. • Applying black adds to the mask, which conceals more of the layer.
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For more information, see “Blending layers by using composite methods” on page 510. If you save a file to a file format other than RIFF or PSD, the layers drop (or merge) into a single background image. Working with reference layers Reference layers get their image content from an external source — either a pixel-based layer in the current document or a separate file.
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To Do the following Resize a reference layer in more than one direction at once Drag a corner handle. If you want to maintain the layer proportions, hold down Shift as you drag. The pointer changes when you position it over a corner handle 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.
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If the Image Portfolio panel is not expanded, double-click the Image Portfolio panel tab. To add a layer to the Image Portfolio 1 Select a layer. 2 In the toolbox, click the Layer Adjuster tool . 3 In the Image Portfolio panel, click the Image Portfolio options button choose Add Image To Portfolio. The layer is cut from the current document. , and 4 In the Save Image dialog box, type a name in the Save As box. The Image Portfolio holds only pixel-based layers.
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Alpha Channels Alpha channels, also referred to simply as channels, let you store and edit path-based and pixel-based selections in an active document. Corel Painter stores only the current selection by default, therefore, when you make a new selection, your previous selection is automatically lost. However, by saving the selection as an alpha channel, you can retain the selection information and load it in the image whenever you need it.
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as selections in the image. For more information, see “To load a selection from an alpha channel” on page 558. Corel Painter lets you create up to 32 alpha channels. The channels are listed in the Channels panel and are available for selecting, displaying, and modifying. The Channels panel displays all of the alpha channels that are stored in the current document. To create a channel from a selection 1 Click a selection tool in the toolbox and make a selection. 2 Choose Window  Channels.
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• Click the New Channel button . To copy a channel 1 In the Channels panel, choose a channel from the list. 2 Click the Channel options button , and choose Duplicate. 3 In the Duplicate Channel dialog box, choose New from the Destination list box. You can also copy a channel to an existing channel, so that the existing channel is replaced. To do this, choose the existing channel from the Destination list box.
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• To replace a channel, choose it from the list. 2 Click the Channel options button , and choose New From. 3 In the New From dialog box, choose one of the following options from the list box: • Paper — uses the current paper texture to create the channel • 3D Brush Strokes — creates a channel based on the difference between the current image and the clone source. If no clone source is selected, Corel Painter uses the current pattern.
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2 Click the Channel options button , and choose New From Color Range. 3 With the Color dialog box open, click in the document window to pick a color. 4 The color you select is the middle of the range of colors used to create the channel. 5 In the Color dialog box, adjust the H Extents (hue), S Extents (saturation), and V Extents (value) sliders. These sliders control the selected range. You can drag the limits of the range in either direction.
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1 2 You can view or hide a channel by clicking the eye icon next to the channel’s thumbnail in the Channels panel. When the eye is open (1), the channel displays in the document window. When the eye is closed (2), the channel is hidden. The Channels panel also lists the RGB color image. In addition, if a layer is selected, and the layer has a layer mask, the Channels panel also lists the layer mask. For more information, see “Creating and deleting layer masks” on page 518.
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Left: The “wings” channel and the RGB image are displayed. Right: The “wings” and “body” channels are displayed as red overlays on the RGB image. The eye icons for both channels and for RGB are open. Corel Painter offers two ways to view a channel — as a colored overlay on the image or in grayscale. Colored overlays are red by default, but you can change the color. For more information, see “To set channel attributes” on page 536. To display the channels panel • Choose Window  Channels.
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To Do the following View a channel as a grayscale image In the Channels panel, make sure the channel is hidden (eye closed ) and not selected, and click the channel name. In this mode, the RGB image is hidden. Hide a channel Click the eye icon item to close the eye next to the channel . A channel protecting the wings and body is displayed in grayscale. The RGB image is hidden.
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If you want to see the color overlay in grayscale, choose black. A channel is easiest to use as an overlay when its color contrasts strongly with the predominant hue of the RGB image. You might want to use a different color for each channel. 5 Click OK. 6 Enable one of the following options to specify where the color overlay displays: • Masked Areas • Selected Areas If you want to rename the channel, type a name in the Name box.
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Editing channels You can edit a channel by modifying the size, shape, or opacity of its protected area, which ultimately becomes the protected area of the selection. The changes that you make to the channel do not directly affect the image until you load it as a selection. For more information, see “To load a selection from an alpha channel” on page 558.
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A channel — before and after inversion. In addition, you can introduce interesting effects by filling a channel with a pattern, gradient, or weave. For more information, see “Working with color fills” on page 229. To paint in a channel 1 In the Channels panel, display and select the channel you want to work with. If you want to paint only on a specific area of the channel, make a selection. 2 Choose the Brush tool from the toolbox. 3 Click the Brush Selector on the Brush Selector bar.
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You can also Type a value in the Size box, or adjust the slider. Change the brush size To apply an effect to a channel 1 In the Channels panel, display and select the channel you want to work with. If you want to apply the effect to a specific area of the channel, make a selection. 2 Choose an effect from the Effects menu. To feather a channel 1 In the Channels panel, display and select the channel you want to work with. 2 Click the Channel options button , and choose Feather.
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3 On the property bar, click the Fill Image button . 4 From the Fill list box on the property bar, choose one of the following: • Current Color — fills with the current color (a shade of gray). For information, see “Working with color fills” on page 229. • Gradient — fills with the selected gradient. For information, see “Applying gradients” on page 693. • Source Image — fills using the current clone source image. If you haven’t defined a clone source, Corel Painter fills with the current pattern.
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Selections and Transformations Corel Painter includes various tools for selecting an area of the canvas to mark it for special treatment. You can make selections to change an area, to protect an area from change, or to apply a transformation.
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• Scaling and rotating path-based selections • Skewing and distorting path-based selections • Canceling transformations Getting started with selections You can use selections to isolate an area of the canvas to apply effects or transformations, while protecting the unselected areas from the changes. Selection types Corel Painter supports two types of selections: path-based and pixel-based. The method that you use to create a selection determines its type.
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To Description Copy to a new layer Copies or moves an area to a new layer Stroke the selection Applies a brushstroke along a selection’s border Create a channel Saves a selection to a channel Selection tools The following table describes all of the available selections tools.
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Option Description Alpha channels Stores both path-based and pixel-based selections for the current document. You can modify alpha channels by combining them with the current selection. Selection Portfolio Stores path-based selections in a library to make them accessible from any document Creating path-based selections You can create path-based selections that are rectangular or oval. If you need more flexibility, you can create freehand selections by using the Lasso or the Polygonal Selection tools.
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• Hold down Command + Shift (Mac OS) or Ctrl + Shift (Windows), and click each layer you want to select. 3 Perform a task from the following table. To select Do the following An oval area Choose the Oval Selection tool from the toolbox. Drag in the document window to select an area. A circular area Choose the Oval Selection tool from the toolbox. While dragging the selection in the document window, hold down the Shift key.
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To make a freehand selection 1 Choose Window  Layers. 2 In the Layers panel, do one of the following: • Click a layer. • Click a layer group. • Hold down Command + Shift (Mac OS) or Ctrl + Shift (Windows), and click each layer you want to select. 3 Perform a task from the following table. To Do the following Make a freehand selection Choose the Lasso tool from the toolbox. Draw a freehand border around the area that you want to select in the document window.
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You can also convert the current selection to a shape. For more information, see “To convert a selection to a shape” on page 769. To convert a pixel-based selection to a path-based selection 1 Create a pixel-based selection. For more information, see “Creating pixel-based selections” on page 549. 2 Choose Select  Transform Selection. Corel Painter generates paths from the outlines of the pixel-based selection. You can now use the Transform tool for transformations.
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2 On the property bar, adjust the Tolerance slider to control the amount of variance allowed from the selected color with higher values creating a larger range of colors. 3 In the document window, do one of the following: • Click to select the color in the middle of the range of colors that you want to use for the selection. • Click and drag over an area to define the range of colors that you want to use for the selection. It may take a moment for the selection to be calculated and loaded.
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Adding to a selection by using the Magic Wand tool. To auto-generate a selection based on image characteristics 1 Choose Select  Auto Select. 2 From the Using list box, choose one of the following options: • Paper — creates a selection by using the current paper texture • Image Luminance — creates a selection based on the light and dark areas of the current image • Current Color — creates a selection of pixels based on the current main color.
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If you want to invert the selection, enable the Invert check box. To auto-generate a color-based selection 1 Choose Select  Color Select. 2 Click in the document window to pick a color. 3 In the Color Select dialog box, adjust the H Extents (hue), S Extents (saturation), and V Extents (value) sliders to control the range of colors. These sliders control the selected range. You can drag the limits of the range in either direction.
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To Do the following Select the content of a group of layers Choose Select  Select Group Content. You can also select the content of a layer group from the Layers panel, by clicking the group, and then holding down Command (Mac) or Ctrl (Windows), and clicking the title of the layer group that you want to select.
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Choosing the protected area of a selection The drawing mode determines whether the inside or the outside of a selection is protected when you paint. To specify the protected area of a selection 1 Choose Window  Navigator. 2 Click the Open Navigator Settings button , choose Drawing Mode, and then choose one of the following options: • Draw Anywhere — disables protection by the selection. Brushstrokes are allowed anywhere on the canvas.
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In the following set of owl images, the artist created and saved selections for each area that she wanted to work with separately — the eyes, the beak, and the outline. To show the selections clearly in these images, the selections were saved to channels, reloaded, and displayed as red overlays. For more information, see “To view or hide a channel” on page 535. The following images show the step-by-step creation of a precise "face" selection that excludes the beak and eyes.
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The “outline” channel is loaded. The “eyebeak” channel is loaded and subtracted from the “outline” channel. The resulting selection is saved to the “head” channel. A “face” selection is drawn roughly by using the Lasso tool. The eyes, the beak, and a portion of the background are included.
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The “head” channel (the outline with eyes and beak subtracted) is loaded and intersected with the rough “face” selection. This step removes the eyes, beak, and background portion. The resulting selection is saved to the “face” channel. To save a selection to a new alpha channel 1 Create a selection. 2 Choose Select  Save Selection. 3 Choose New from the Save To list box. If you want to specify a name, type a name in the Name box.
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• Intersect With Mask — determines the intersection of the selection and the chosen channel, and saves the intersection to the channel You can also save a selection to a channel by clicking the Save Selection As Channel button in the Channels panel. To load a selection from an alpha channel 1 Choose Select  Load Selection. 2 Choose a channel from the Load From list box.
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5 In the Save Selection dialog box, type a name for the selection. To use a selection from the portfolio • Double-click a selection in the Selection Portfolio panel. The selection replaces the previous selection and appears in its original position on the canvas, provided that the document dimensions are the same. Viewing selections You can turn a selection off and reactivate it later.
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Inverting selections You can invert a selection, which deselects the previously selected area and selects the previously unselected area. The marquee indicates that the flower is selected (left). After inverting the selection, the marquees, that surround both the canvas and the flower, indicate that everything but the flower is selected (right). A pixel-based selection can include 256 values, like a grayscale image. An inverted pixel-based selection is equivalent to the negative of a grayscale image.
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To apply anti-aliasing to a selection 1 Create a selection by using one of the selection tools. 2 On the property bar, click the Anti-alias button . To feather the edge of a selection 1 In the toolbox, click the Selection Adjuster tool , and then click a selection. 2 From the menu bar, choose Select  Feather. 3 In the Feather Selection dialog box, specify the number of pixels that you want to feather. When the selection marquee is shown, feathering may be difficult to see.
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7 Click the drawing mode icon in the lower-left corner of the document window, and choose a drawing mode. 8 From the menu bar, choose Select  Stroke Selection, and repeat the command to build strokes. You can use different brushes while building strokes. To produce a unique effect, you can nudge the selection by a few pixels by using the Selection Adjuster tool, clicking the selection, and then pressing an arrow key on your keyboard a few times.
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Border selection with airbrush strokes applied. To smooth a selection 1 In the toolbox, click the Selection Adjuster tool , and then click a selection. 2 From the menu bar, choose Select  Modify  Smooth. 3 Repeat the command from the previous step until the path is sufficiently smooth. Selection before (left) and after (right) smoothing. Expanding or contracting selections You can expand or contract a selection by a set number of pixels.
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Adding to or subtracting from selections You can adjust the size and shape of a selection by adding or subtracting selection areas. To add to a selection 1 Create a selection by using one of the selection tools. 2 On the property bar, click the Add To Selection button . 3 Select the area that you want to add. If you are using the Oval Selection tool or the Rectangular Selection tool you can select a circular or square area by holding down Shift while dragging.
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3 Select the area that you want to subtract. If you are using the Oval Selection tool or the Rectangular Selection tool , you can select a circular or square selection by holding down Shift while dragging. You can also subtract from a selection by holding down Option (Mac OS) or Alt (Windows) and selecting the area you want to subtract.
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You can also apply transformation simultaneously across multiple layers. For more information, see “Transforming layers” on page 495. To determine the selection type • In the toolbox, click the Selection Adjuster tool , and then click a selection. • If the selection displays handles, the selection is path-based. • If the selection does not have handles, it is pixel-based.
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3 While staying within the bounding box, click the selection, and then drag it to a new position on the canvas. To display the layers in full-color before committing the transformation, click the Fast Preview button on the property bar. 4 On the property bar, click the Commit Transformation button . If you prefer, you can apply the transformation by pressing Enter.
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2 On the property bar, click a transformation mode. The transformation is applied to copied content. You can also transform a duplicate by clicking Command + Shift + Option + T (Mac) or CTRL + Shift + Alt + T (Windows). Scaling and rotating path-based selections You can scale or rotate path-based selections. Scaling lets you change the dimensions of a selection. You can also scale an object proportionally by preserving its aspect ratio. To scale a selection 1 In the toolbox, click the Transform tool .
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To Do the following Scale around the reference point Hold down Alt (Windows) or Option (Mac), and drag a corner handle. On the property bar, click the Commit Transformation button . Drag a side handle to scale horizontally. You can also scale a selection by choosing Edit  Transform  Scale, and specifying the horizontal and vertical scale percentages in the dialog box. To rotate a selection 1 In the toolbox, click the Transform tool .
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Rotating a selection. Skewing and distorting path-based selections You can skew and distort path-based selections. Skewing slants the vertical and horizontal dimensions of a selection non-proportionally. Distorting a selection lets you move the sides or corners of a selection in different directions. For example, you can crush or stretch the selection. In addition, you can use perspective distortion to give an object the appearance of depth. Skewing distortion allows you to achieve a 3D look.
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Skewing a selection. To distort a selection 1 In the toolbox, click the Transform tool . If the Transform tool is not displayed in the toolbox, click and hold the Layer Adjuster tool to open the flyout, and then choose the Transform tool . 2 On the property bar, click the Distort button . 3 Drag a corner handle. If you want to constrain the distortion to the horizontal or vertical axis, hold down Shift while dragging a corner handle.
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If the Transform tool is not displayed in the toolbox, click and hold the Layer Adjuster tool to open the flyout, and then choose the Transform tool . 2 On the property bar, click the Perspective Distortion button . 3 Drag a corner handle. If you want to constrain the distortion to the horizontal or vertical axis, hold down Shift while dragging a corner handle. 4 On the property bar, click the Commit Transformation button . A selection before (left) and after (right) perspective distorting.
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Common options for effects Corel Painter includes a wide array of effects that you can use to alter images. The effects are organized in four main categories: • Tonal control • Surface control • Focus • Esoterica To control each of the effects, you need to modify their individual settings. However, the effects do have some options in common.
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Fade was applied to the image (right) to undo a percentage of the last effect (left). To fade an effect 1 Choose Edit  Fade. To apply Fade, you must have previously applied an effect to the image. 2 In the Fade dialog box, move the slider. If you change your mind, choose Edit  Undo. Applying recently used effects At the top of the Effects menu, Corel Painter displays the last two effects you applied. This lets you quickly reapply frequently used effects.
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Changing effects with open panels To experiment with an effect, you must display all required panels before choosing an effect. For example, the Color Overlay effect combines the selected paper texture and main color to define the overlay. If the Papers and Color panels are open when you choose the effect, you can change paper grains and colors to create different overlays before applying the effect to your image.
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Using focus and esoterica effects Corel Painter includes Focus effects for sharpening, softening, motion blurring, and distorting image. It also includes a collection of Esoterica effects, which let you transform images in various ways.
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• Applying the Pop Art Fill effect Applying Smart Blur The Smart Blur effect softens the appearance of an image by smoothing out the colors and sharp details. The effect produces a result that is similar to applying soft brushstrokes. You can use Smart Blur to quickly apply a painterly effect to an image. Before (left) and after (right) using Smart Blur. To apply Smart Blur 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
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Before (left) and after (right) using Camera Motion Blur. To apply Camera Motion Blur 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Focus  Camera Motion Blur. 3 In the document window, drag to create the blur motion. The direction and intensity of the blur is determined by your cursor movement.
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The “M” is a floating shape. The blur on the shadow was created by using Depth of Field. There are five different methods for applying Depth of Field: • Uniform Color — applies the effect uniformly to the image • Paper — applies the effect by using the paper texture luminance (brightness) as a mapping model. More of the effect is applied to the dark areas in the paper grain; less of the effect is applied to the light areas.
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4 Adjust any of the Depth of Field controls. For information, see “Depth of Field controls” on page 582. To apply Depth of Field by using paper luminance 1 Choose Window  Paper Panels  Papers. 2 Choose a paper swatch from the Papers library panel. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel.
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• To use a pattern, choose Window  Media Library Panels  Patterns, and click a pattern swatch from the Pattern library panel. 2 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 3 Choose Effects  Focus  Depth of Field. 4 Adjust any of the Depth of Field controls. For information, see “Depth of Field controls” on page 582.
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Applying Glass Distortion The Glass Distortion effect creates the kind of distortions you would see if you were looking at your image through a sheet of glass. You can make your image appear as if it is behind the pebble glass of a shower door, or you can distort your image beyond recognition. Glass Distortion works by relocating the pixels of the image based on a displacement map. The map is created by combining displacement information from a source with a preset map type.
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To create a controlled distortion map, choose an alpha channel or a layer mask as a source. For example, gradations in the channel lead to a progressive distortion effect. Shapes in the channel produce distortions with distinct outlines. To apply glass distortion by using paper luminance 1 Choose Window  Paper Panels  Papers. 2 Choose a paper swatch from the Papers library panel. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
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• The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Focus  Glass Distortion. 3 Choose Image Luminance from the Using list box. 4 Adjust any of the Glass Distortion controls. For information, see “Glass Distortion controls” on page 586.
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• A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 3 Choose Effects  Focus  Glass Distortion. 4 Choose Original Luminance from the Using list box. 5 Adjust any of the Glass Distortion controls. For information, see “Glass Distortion controls” on page 586.
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The Motion Blur effect. To apply a Motion Blur effect 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Focus  Motion Blur. In the Motion Blur dialog box, adjust the following sliders: • Radius — sets the amount of blur. Moving the slider to the right makes the image look as though it’s moving faster.
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Gaussian aperture sharpens the red, green, and blue components of color; Circular aperture sharpens an image based on luminance. Before (left) and after (right) applying Sharpen. To sharpen focus 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Focus  Sharpen.
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The Super Soften effect lets you soften images by specifying the radius of pixels that you want to soften. To soften focus 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Focus  Soften. 3 In the Aperture area, enable one of the following options: • Gaussian • Circular 4 Adjust the Amount slider.
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Applying Zoom Blur This effect creates a blur by zooming in on, or out from, an area. The greater the distance from the zoom point, the more the image is blurred. This effect lets you call attention to a particular area of the image. Before (left) and after (right) applying the Zoom Blur. To apply Zoom Blur 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area.
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Before (left) and after (right) applying the Marbling effect. Each time you drag a rake across an image, you create a step. You can create marbling “recipes” that include several steps — each one using a different rake, direction, and waviness. You can save marbling recipes and reuse them. Marbling works best with patterns or textures. Using the Blobs effect is an excellent way of creating the raw materials for marbling; filling with a pattern is another.
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• Phase — moves the wave in the rake direction. This lets you set where in the curve (peak, downslope, valley, or upslope) the rake begins in the image. • Pull — controls how much the rake distorts the image. Lower values produce thin, short distortions. Higher values create stronger distortions. • Quality — lets you control the smoothness in the marbled image. Low settings produce an aliased effect. The marbling looks rough with scattered pixels.
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To Do the following Save a recipe In the Apply Marbling dialog box, click Save. In the Save Marbling dialog box, specify a name. Load a recipe In the Apply Marbling dialog box, click Load. In the Marbling Recipes dialog box, choose a recipe. Automatically cloning an image You can use the Auto Clone effect to automatically apply brush dabs to your image. The types of dabs depend on which brush you select. The color is picked up from the clone source.
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When you use Auto Clone with the Felt Pen Cloner variant, or other tools that turn black as you repeat strokes, areas darken rapidly. You can slow down the color buildup when using Auto Clone by dimming the original image. Another way to automate cloning is by recording and playing back individual brushstrokes, which is especially useful for filling in backgrounds. For more information, see “Recording and playing back brushstrokes” on page 129 and “Image cloning and sampling” on page 149.
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Applying the Auto Van Gogh effect You can use the Auto Van Gogh effect to create a Van Gogh–like rendition of an image. To apply Auto Van Gogh, you must first clone the image and then choose the Auto Van Gogh variant from the Artists brush category. The Auto Van Gogh effect. The effect requires two passes. The first pass determines the angles of the brush dabs. The second pass applies the dabs. The image is then rendered in a set of directional brushstrokes.
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Applying Blobs The Blobs effect creates a pattern similar to oil floating on water. The effect distorts underlying image as if it were liquid and places blobs, that are based on color, clipboard content, or a pattern, on the image. You can use one of three sources to fill in the blobs. You can produce blobs that look like bubbles by creating a circular selection that’s shaded like a sphere, and then copying it to the Clipboard.
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To Do the following Fill blobs with Clipboard contents Copy an image to the Clipboard. You can copy images outside of Corel Painter. Fill blobs with the current color Choose a color in the Color panel. Fill blobs with a pattern Choose a pattern in the Patterns panel. 2 Open the image. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area.
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Before (left) and after (right) applying tiles generated from a preset pattern. When you generate tiles from either a paper pattern, clone source, or channel, tiles are based on light and dark concentrations in the selected source. In this case, the shape of the tiles is varied and may not cover an image evenly. Tiles generated from a paper pattern. The Custom Tile effect functions differently from the Make Mosaic and Make Tessellation effects. For more information, see “Creating a mosaic” on page 706.
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• Hex • Square • Triangle • Cross • 12-6-4 • 12-6-4 V2 4 Adjust any of the Custom Tile controls. For information, see “Custom tile controls” on page 600. The original grout appearance (left) is changed by blurring (right). To apply custom tiles by using clone or pattern luminance 1 Do one of the following: • To use a clone source, choose Window  Clone Source. In the Clone Source panel, click the Open Image button , and Open Source to choose a clone source.
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5 Adjust any of the Custom Tile controls. For information, see “Custom tile controls” on page 600. To apply custom tiles by using paper luminance 1 Choose Window  Paper Panels  Papers. 2 Choose a paper swatch from the Papers library panel. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel.
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• Angle and Scale — adjusts the tile orientation and size of built-in tile shapes • Blur Radius — sets the sampling radius for blurring the crack or grout color. Increasing the Blur Radius adds more neighboring colors to the crack pixels in each pass. • Blur Passes — sets the number of times the crack pixels are blurred. More passes mix more tile color into the cracks. Blurring occurs only when Blur Passes is greater than zero. • Threshold — draws the line between light and dark.
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Applying Growth effects The Growth Effect generates branchlike designs from a central point and adds them to your image. The designs resemble architectural renderings of trees. Examples of Growth patterns. Growth patterns are created from the current main color. You have access to the Color panel while the Growth dialog box is open, so you can change the main color at any time. To create growth patterns 1 In the Color panel, choose a color. 2 Choose Effects  Esoterica  Growth.
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• Random — affects how symmetrical the growth patterns appear. Lower values generate straight-line, geometrical designs. Higher values generate distorted, crooked designs. • Thickness — uniformly adjusts the weight of the lines within the design. Move the slider to the left for thinner lines, and to the right for thicker lines. The growth pattern cannot be made thinner than one pixel. • Branch — determines how many branches come from the center to the outside edge. The range is 1 through 20.
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The Highpass effect introduces stark shifts between brightness levels. To apply a Highpass effect 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Esoterica  Highpass. 3 In the Highpass dialog box, choose an aperture option.
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The Maze effect produces interesting designs. You can capture a portion of the maze as a pattern or paper texture, or use the maze as a source for other effects. Mazes must be rectangular and cannot be applied to nonrectangular selections. To apply a Maze effect 1 Choose Effects  Esoterica  Maze.
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An example of the Place Elements effect used with the Image hose. The Place Elements effect creates a virtual sphere within the confines of a selection rectangle. When the selection is square, the sphere is perfectly round; when the selection is rectangular, the sphere is elongated or flattened. A number of points are created at random locations on the sphere. The points are then distanced from each other, and a brush dab is placed at each point.
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2 Choose Window  Color Panels  Color. 3 In the Color panel, do one of the following: • If using an Image hose brush variant, set the additional color to black. • If using another brush variant, set the main color. If using the Image hose, the effect automatically controls mixing of the additional color with nozzle elements to produce depth shading. Shadows tend toward black, so black is a good color to use. 4 Choose the Rectangular Selection tool from the toolbox. 5 Drag to create a selection.
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• 2 — specifies that each point receives an element and then is used as the center for another virtual sphere on which point iteration and element placement repeats • 3 — extends sphere creation and element placement once more The number of elements increases rapidly with more than one level. For example, if you choose 12 points and three levels, you’ll create 12 + (12 × 12) + (12 × 12 × 12) = 1,884 elements. Of course, many of these elements will probably be covered by later placements.
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If you want to work with an inverted version of the source, enable the Inverted check box. 4 Adjust the Scale slider to set the dot size. 5 Adjust the Contrast slider to mix in the luminance of the control medium. 6 Click the Dab Color chip and choose a dot color from the Color dialog box.
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Using lighting and surface texture effects Corel Painter includes a collection of effects that let you control image lighting and surface texture. For general information about using effects, see “Common options for effects” on page 573.
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• • • • • • Applying the Express Texture effect Applying a warp effect Applying the Woodcut effect Applying the Distress effect Applying the Serigraphy effect Applying the Sketch effect Applying preset lighting effects Corel Painter includes a series of preset lighting effects that you can apply to your images. The lighting effects allow you to quickly change the intensity or direction of the image lighting.
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If you apply an effect to a shape, dynamic layer, text layer, or reference layer, you must first commit the layer to an image layer. Adding, deleting, and repositioning light sources You can add one or more light sources to an image to create unique lighting effects. Adding a light source is similar to hanging your artwork in a gallery and adjusting spotlights to illuminate it. You can also delete and reposition light sources.
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2 Choose Effects  Surface Control  Apply Lighting. 3 Perform a task from the following table. To Do the following Add a light source Click anywhere in the preview window. Delete a light source Click an indicator, and press Backspace. Move a light source Drag the large end of the indicator to the point where you want the light to originate. Change the direction of a light Drag the small end of the light indicator until the light is pointing in the desired direction.
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• Exposure — controls the image’s brightness, as in photography. Moving the slider to the left decreases exposure and darkens the image; moving it to the right increases exposure and lightens the image. • Ambient — controls the surrounding light in an image. If you have no light indicators in the preview window, the ambient lighting controls the overall lightness of the image. Moving the slider to the left darkens the overall lighting; moving it to the right increases the light.
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To create surface texture by using paper 1 Choose Window  Paper Panels  Papers. 2 Choose a paper swatch from the Papers library panel. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 4 Choose Effects  Surface Control  Apply Surface Texture. 5 Choose Paper from the Using list box.
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uses the difference in luminance between the clone source and the image to produce the texture. An example of an image before (left) the 3D Brushstrokes method is applied to the image (right). If you use this method, the look of the brushstrokes on the clone determines how realistic the final 3D brushstrokes appear. So, you may want to set up a more complex brush before painting. For example, you can apply a paper texture to the stroke.
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An example of 3D Brushstrokes with Brush Loading (left) and bleed (right) settings applied. To apply 3D brushstrokes to an image 1 Open an image. 2 Choose File  Quick Clone. 3 Apply brushstrokes to the clone. 4 Choose Effects  Surface Control  Apply Surface Texture. 5 Choose 3D Brushstrokes from the Using list box. If you want to apply an inverted texture, enable the Inverted check box. 6 Adjust the Softness slider to control the amount of distortion created by the texture.
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Using image luminance to create texture You can use the currently selected image’s luminance, or lightness, to produce surface texture. Light parts of the image create dents; whereas darker parts create raised areas. The overall effect gives an embossed look to the image. Before (left) and after (right) adding texture based on image luminance. To create surface texture by using image luminance 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
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6 In the Light Controls area, adjust any of the following sliders: • Brightness — controls the light intensity • Conc (concentration) — adjusts the spread of the light’s shine over the surface • Exposure — adjusts the overall lighting amount from darkest to brightest Using clone source or pattern luminance to create texture You can add texture to an image by using the luminance of a clone source or a pattern.
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• A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 4 Choose Effects  Surface Control  Apply Surface Texture. 5 Choose Original Luminance from the Using list box. If you want to apply an inverted texture, enable the Inverted check box. 6 Adjust the Softness slider to control the amount of distortion created by the texture.
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Before (left) and after (right) applying the embossed effect. To create an embossed effect 1 Open an image. 2 Choose File  Clone. 3 Choose a color other than black from the Colors or Color Sets panel. If you want the embossed image to be white, select all, and then press Delete (Mac OS) or Backspace (Windows). 4 Choose Edit  Fill. 5 In the Fill dialog box, enable the Current Color option. 6 Adjust the Opacity slider to set the opacity of the fill. 7 Click OK to fill the clone file with color.
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Using channels and layer masks to create texture Corel Painter lets you produce surface texture based on an alpha channel or a layer mask. You can use this method only if you added an alpha channel, or a layer that contains a layer mask, to the image. When you apply the texture to a channel, the area that surrounds the edges of the channel appears raised. When you apply texture to a layer mask, the layer mask acts as a boundary for the texture and the texture appears around the edges.
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Increasing softness creates more intermediate steps, which produces a smoother distortion. 5 In the Appearance of Depth area, adjust any of the following sliders: • Amount — controls how much surface texture is applied to the image. Moving the slider all the way to the right applies the maximum amount. • Picture — controls how much of the color from the original image is applied to the texture. At 100%, the full color of the picture shines through.
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You can control how much of the image appears in the texture. If you add a reflection map to a clone, the clone source 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. For more information, see “Applying a warp effect” on page 637. To create a reflection map from a clone source 1 Open an image or create a new image to use as the reflection.
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9 Choose the layer mask from the Using list box. 10 Adjust the Reflection slider to control the amount of reflection you want. 11 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. Adjusting texture lighting Lighting determines a large part of the final look of a texture. Bad lighting can obscure details in a pattern or surface.
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You can control the brightness of the sphere so that it’s easier to see light positions. It does not affect the lights themselves. You can also change the following light properties: brightness, concentration, and exposure. In addition, you can change a light’s color. To adjust texture lighting 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area.
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Applying the Apply Screen effect You can simulate the appearance of a silk-screened print by using the Apply Screen effect. This effect lets you combine image luminance, the selected paper texture, and the three selected colors, to produce a multi-color rendition of the image. When you use this effect, anti-aliasing is automatically applied to the image. Before (left) and after (right) using Apply Screen using the image luminance. To apply a screen 1 Open an image.
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and intensity of the color. To use the Color Overlay effect, you need to choose a color that you want to apply and then choose the method for applying the effect. There are five different methods for applying color: • Uniform Color — adds a flat tint to the image • Paper — overlays a color using the paper texture as a mapping model. More color is applied to light areas in the paper grain; less color is applied to dark areas.
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• A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 4 Choose Effects  Surface Control  Color Overlay. 5 Choose Uniform Color from the Using list box. 6 Adjust any of the Color Overlay controls. For information, see “Color Overlay controls” on page 631. To use image luminance to apply a color overlay 1 Choose Window  Color Panels  Color. 2 Choose a color from the Color panel.
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8 Adjust any of the Color Overlay controls. For information, see “Color Overlay controls” on page 631. To use clone source or pattern luminance to apply a color overlay 1 Open an image. 2 Do one of the following: • To use a clone source, choose Window  Clone Source. In the Clone Source panel, click the Open Image button , and Open Source to choose a clone source. • To use a pattern, choose Window  Media Library Panels  Patterns, and click a pattern swatch from the Pattern library panel.
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• Hiding Power — allows the color to cover what lies beneath it Applying the Dye Concentration effect You can adjust the dye concentration in an image to control color intensity and play with surface texture. For example, use this effect to lighten an underexposed photo or to darken an overexposed one. You need to choose a method for applying the effect. Some methods, such as Paper, generate more texture than other methods, such as Uniform Color.
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• The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Surface Control  Dye Concentration. 3 Choose Image Luminance from the Using list box. 4 Adjust any of the Dye Concentration controls. For information, see “Dye Concentration controls” on page 634.
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To adjust dye concentration using a layer mask or alpha channel 1 Do one of the following: • To use a layer mask, choose Window  Layers, and click the layer that contains a layer mask in the Layers panel. • To use an alpha channel, choose Window  Channels, and click the alpha channel in the Channels panel. 2 Choose Effects  Surface Control  Dye Concentration. 3 Choose the layer mask or alpha channel from the Using list box. 4 Adjust any of the Dye Concentration controls.
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• Alpha Channel or Layer Mask — sets the values in the alpha channel or layer mask as the model for the adjustments. You can use this method only if you have a saved channel or a layer mask in your image. An image with the Express Texture effect applied. To apply Express Texture using image luminance 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area.
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4 Choose Effects  Surface Control  Express Texture. 5 Choose Paper from the Using list box. 6 Adjust any of the Express Texture controls. For information, see “Express Texture controls” on page 636. To apply Express Texture using clone source or pattern luminance 1 Open an image. 2 Do one of the following: • To use a clone source, choose Window  Clone Source. In the Clone Source panel, click the Open Image button , and Open Source to choose a clone source.
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• Contrast — determines the number of levels of black and white. For example, low contrast generates pure gray, medium contrast produces levels of grayscale, and high contrast produces a black and white screen. Applying a warp effect Corel Painter offers different options for warping images. The Image Warp effect lets you distort the surface of an image as if it were a sheet of pliable film. You can make images look as though they’re reflected in a fun house mirror.
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• Bump — warps the center of the image toward you, making it appear convex An example of the Quick Warp effect using Bump distortion. • Valley — warps the center of the image away from you, making it appear concave • Swirl — distorts the image in a spiral • Ripple — distorts the image in concentric rings, like the rings created when you drop a stone into a pool of water You can apply Image Warp and Quick Warp to the canvas, selections, and layers.
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5 In the preview window, drag to distort the image. A circle displays as you drag, which indicates the area affected. To warp an image using Quick Warp 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Surface Control  Quick Warp.
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Before (left) and after (right) applying the Woodcut effect. To apply a black and white Woodcut effect 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Surface Control  Woodcut. 3 Enable the Output Black check box to use the black part of the effect in the final image.
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• A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 2 Choose Effects  Surface Control  Woodcut. 3 Enable the Output Color check box to use the color part of the effect in the final image. 4 Disable the Output Black check box if you want to use color only in the final image.
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Before (left) and after (right) applying the Distress effect. To apply the Distress effect using paper luminance 1 Choose Window  Paper Panels  Papers. 2 Choose a paper swatch from the Papers library panel. If you want open to experiment with the effect, keep the Papers panel open while you apply the effect. This way you can switch to different papers and modify the paper controls. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
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• To use a pattern, choose Window  Media Library Panels  Patterns, and click a pattern swatch from the Pattern library panel. 3 To apply the effect to: • The canvas — Click the Canvas in the Layers panel. • A selection — Click a selection tool from the toolbox, and drag in the document window to select an area. • A layer — Click a layer in the Layers panel. 4 Choose Effects  Surface Control  Distress. 5 Choose Original Luminance from the Using list box. 6 Adjust any of the Distress controls.
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Applying the Serigraphy effect With the Serigraphy effect, you can use photographs to generate images that appear silk-screened or like woodblock cuts. When applying the effect, Corel Painter saves each color reduction as a separate layer, so you can edit each layer individually. Before (left) and after (right) applying the Serigraphy effect. To apply Serigraphy effects 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
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This color is used on the new layer. 6 Click Create Serigraphy Layer. 7 Click Done. You can also specify Match and Fill Colors by clicking a color in the image. Applying the Sketch effect You can use the Sketch effect to generate a black and white pencil outline of a photograph. You can then use the outline as a guide for applying color, which is a useful technique for starting a painting. For more information, see “Choosing a painting workflow” on page 108.
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• Smoothing — determines how much noise is filtered out. Higher values result in wider, lighter, and blurrier lines. • Grain — determines how much of the paper grain is revealed in the sketch marks. Move this slider to the right to show more of the paper grain. • Threshold — removes noise after edge detection. Threshold high is used to flag light pixels which may be just noise in the image. Threshold low is used to test surrounding pixels.
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Dynamic Plug-ins Dynamic plug-ins are a category of floating layers that give you the ability to manipulate, transform, and adjust underlying images non-destructively. In other words, you can apply and modify the dynamic plug-effects any number of times without altering the source image. The Liquid Metal dynamic plug-in lets you introduce metallic droplets to an image by using a dynamic layer.
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• Applying the Liquid Lens dynamic plug-in • Applying the Liquid Metal dynamic plug-in • Applying the Posterize dynamic plug-in Getting started with dynamic plug-ins Dynamic plug-ins allow you to apply effects to images without altering the original image. For example, you can add a burnt effect to the edge of an image or increase the image brightness. The Dynamic plug-ins are accessible from the Layers panel.
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Modifying and deleting dynamic layers After creating a dynamic layer, you can change its settings. You can also delete a dynamic layer at any time. To change a dynamic layer’s settings 1 Select the dynamic layer in the document window or in the Layers panel. 2 Double-click the dynamic layer in the Layers panel. 3 In the dialog box, change any settings. To delete a dynamic layer • In the Layers panel, select the dynamic layer, and click the Delete button .
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Applying the Brightness and Contrast dynamic plug-in The Brightness and Contrast dynamic plug-in creates a layer that lets you adjust the brightness and contrast of the image beneath it. The Brightness and Contrast dynamic layer affects all images beneath it. To create a Brightness and Contrast dynamic layer 1 Do one of the following: • In the Layers panel, choose the Canvas. • Choose the Rectangular Selection tool the document window to select an area.
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Different Burn settings produce different results. To burn a layer or selection 1 Do one of the following: • In the Layers panel, choose the Canvas, and choose Select  All. • In the Layers panel, choose a layer. • Choose the Rectangular Selection tool from the toolbox, and then drag in the document window to select an area. 2 In the Layers panel, click the Dynamic Plug-ins button , and choose Burn.
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You can also Burn the interior edges as well as the exterior edges of the selection Enable the Burn interior edges check box. Disable this check box to protect the interior edges. Display changes before applying them to the image Enable the Preview check box. Prevent Corel Painter from applying the settings to the image Enable the Off check box. Change the scorch color Click the Burn Color chip, and choose a color in the Color dialog box.
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You can tear a little (left) or a lot (right). To apply the Tear dynamic plug-in 1 Do one of the following: • In the Layers panel, choose the Canvas, and choose Select  All. • In the Layers panel, choose a layer. • Choose the Rectangular Selection tool from the toolbox, and then drag in the document window to select an area. 2 In the Layers panel, click the Dynamic Plug-ins button , and choose Tear.
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You can also Prevent Corel Painter from applying the settings to the image Enable the Off check box. Change the tear color Click the Tear Color chip, and choose a color in the Color dialog box. Set the current settings as default Click the Save As Default button. Restore the default settings Click the Reset button. You can view only the dynamic layer by hiding the canvas in the Layers panel.
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For example, you can even use Bevel World to create a 3D button with text on it. First, create the background button, and then add text to float over the button. You can then group the text and button together and collapse the layer group. You can also change the 3D appearance of the bevel by adjusting the lighting. To apply a bevel effect 1 Do one of the following: • In the Layers panel, choose a layer. • Choose a selection tool from the toolbox, and then drag in the document window to select an area.
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You can also Prevent Corel Painter from applying the settings to the image Enable the Off check box. Add beveling on the interior edges of the bevel area Enable the Bevel Interior Edges check box. Change the color of the outside portion Click the Outside Color chip, and choose a color in the Color dialog box. This control applies only when Outside Portion is greater than zero. Change the light color Click the Light Color chip, and choose a color in the Color dialog box.
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The Equalize dynamic plug-in creates a histogram showing the number of pixels for each brightness level value. Equalize allows gamma adjustment, which lightens or darkens an image without changing highlights or shadows. To create an Equalize dynamic layer 1 Do one of the following: • In the Layers panel, choose the Canvas. • Choose the Rectangular Selection tool the document window to select an area.
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A section of an image with Glass Distortion applied. To create a Glass Distortion dynamic layer 1 Do one of the following: • In the Layers panel, choose the Canvas. • Choose a selection tool from the toolbox, and then drag in the document window to select an area. 2 In the Layers panel, click the Dynamic Plug-ins button Distortion.
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Corel Painter automatically creates a new layer when you apply the dynamic plugin. You can also Inverts the selected source Enable the Inverted check box. Display changes before applying them to the image Enable the Preview check box. Set the current settings as default Click the Save As Default button. Restore the default settings Click the Reset button. You can also use the Opacity slider in the Layers panel to adjust the effect.
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To create a Kaleidoscope dynamic layer 1 In the Layers panel, click the Dynamic Plug-ins button Kaleidoscope. , and choose 2 In the Kaleidoscope dialog box, specify the size of the dynamic layer. Kaleidoscopes must be square, and no smaller than 8 pixels by 8 pixels, and no larger than 500 pixels by 500 pixels. 3 Drag the Kaleidoscope layer to different areas of the image to alter the effect. Move the Kaleidoscope layer to produce different effects.
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When you create a pattern from a Kaleidoscope layer, the selection is dropped to the canvas and cut out. If you want to preserve the original image and the Kaleidoscope layer so that you can continue working with the effect, save the image in RIFF format before you choose Drop and Select. As an alternative, you can set the number of Undo levels high enough so that you can back out of the steps to restore the original image.
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Liquid Lens tool Example The Left Twirl tool distorts in counterclockwise spirals. The Right Twirl tool distorts in clockwise spirals. The Bulge tool distorts outward, pushing images out.
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Liquid Lens tool Example The Pinch tool distorts inward, drawing images closer. The Brush tool distorts in the direction you drag. To create a Liquid Lens dynamic layer 1 In the Layers panel, choose the Canvas. 2 Click the Dynamic Plug-ins button , and choose Liquid Lens. 3 In the Liquid Lens dialog box, choose a Liquid lens tool. 4 Adjust any of the following sliders: • Amount — controls the degree of distortion applied. With the slider close to zero, you create minimal distortion.
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Higher values create a smooth, continuous distortion (right). Lower values create individual dabs of distortion (left). • Size — changes the diameter of the distortion tool and the size of rain, which scatters distortion droplets in the layer Examples of how the Size slider affects distortion. • Spacing — changes the distance between distortion dabs Low spacing makes a smooth, continuous stroke (left); high spacing lets the dabs appear individually (right).
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You can also Simulate a melting image by scattering distortion droplets downwards in the layer In the Liquid Lens dialog box, click Rain, then click anywhere in the image to stop the rain. If Smooth and Size settings are very high, the rain might continue for a moment after you click. Click the Reset button. Restore the default settings You cannot use Undo to restore the image to its previous state, however, you can use the Eraser tool in the Liquid Lens dialog box.
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Remove distortion by using the Eraser tool. Applying the Liquid Metal dynamic plug-in The Liquid Metal dynamic plug-in lets you paint on a layer with liquid and metal. This text uses the term “metal” to refer to the media applied — even if the settings create an effect more like water. You can apply droplets of liquid that distort the underlying image through refraction. You can also create globs of shiny metal that flow together and move like mercury.
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The “handles” show the droplet’s circle and center point. Showing the handles on the droplets isn’t necessary for selecting them, but it can make your work easier. The droplets applied in the last stroke are automatically selected. Each new stroke deselects the droplets of the previous one. The Undo feature is not available when working with metal; however, you can remove selected metal, the last metal applied, or all metal on the layer. Metal is highly reflective.
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Liquid Metal tool Example You can create circles of metal by using the Circle tool. You can create randomly falling metal raindrops by applying the Rain feature. To create a Liquid Metal dynamic layer 1 In the Layers panel, choose the Canvas. 2 Click the Dynamic Plug-ins button , and choose Liquid Metal.
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5 Adjust any of the following sliders: • Amount — controls the emphasis of the metal effect from the Refraction slider and applies to all droplets in the layer. To create water effects, you can set the Amount to –0.5 so the droplets magnify the underlying images. Reflection and Refraction invert when you move the Amount slider to either extreme.
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Decreasing volume below 100% shrinks the visible portion of the droplet, “drying it up” (left). Increasing volume beyond 100% extends visibility beyond the droplet circle into the perimeter range (right). • Spacing — adjusts the spacing between droplets in strokes created with the Brush tool A stroke with low spacing (left): the droplets flow together. A stroke with high spacing (right): each droplet is distinct. • Refraction — controls droplet appearance.
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Low refraction means high reflection (left). High refraction creates translucent, refractive liquid. As Refraction nears 100%, the metal becomes transparent. The droplets look like a simple liquid — oil or water (right). 6 Drag in the document window to apply the metal. If you want to clear the effect and start again, click Clear. You can also Makes the droplets appear more round and three-dimensional Enable the Surface Tension check box.
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To remove metal To Do the following Remove the last metal applied Press Delete (Mac OS) or Backspace (Windows). Remove the selected metal droplets In the Liquid Metal dialog box, click the Metal Selector tool , select the metal, and press Delete (Mac OS) or Backspace (Windows). Remove all metal on the layer In the Liquid Metal dialog box, click Clear. To show metal droplet handles • In the Liquid Metal dialog box, enable the Display Handles check box.
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To Do the following Subtract droplets from a selection Hold down Shift, and click droplets to subtract from the selection. When a droplet is selected, the center point handle is displayed as a solid. Drag over the droplets you want to select. To move metal droplets 1 In the Liquid Metal dialog box, choose the Metal Selector tool droplets that you want to move. , and select the 2 Drag the center of one of the droplets to move the selected group.
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To adjust the size of the Liquid Metal brush 1 In the Liquid Metal dialog box, choose the Metal Selector tool outside the droplets to deselect all. , and click 2 Move the Size slider to the desired value. 3 Click the Brush tool and paint, or click Rain. You can also adjust the size of existing metal by selecting the droplets and moving the Size slider.
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The same piece of metal changes appearance when a pattern is used as the reflection map. Applying the Posterize dynamic plug-in The Posterize dynamic plug-in creates a layer that reduces the number of color levels in the images it floats over. A Posterize dynamic layer modifies the right half of this image. To create a Posterize dynamic layer 1 Do one of the following: • In the Layers panel, choose the Canvas. • Choose the Rectangular Selection tool the document window to select an area.
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The maximum number of color levels is 128. The value applies to each color channel — red, green, and blue. Corel Painter automatically creates a new layer when you apply the dynamic plugin.
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Patterns With Corel Painter, you can apply patterns to an image by filling or painting. In addition, you can customize patterns by modifying sample patterns or by creating them from scratch. All patterns, including both the sample and custom patterns, reside in libraries. You’ll find more libraries, with additional materials, on the Corel Painter DVD and on the Corel website. For more information, see “Working with libraries” on page 45.
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Left: A pattern scaled at 20%. Right: The same pattern scaled at 100%. Left: The pattern offset set to 50% produces a seamless pattern. Right: The pattern offset set to 100% increases the pattern tile visibility. The tiles also appear misaligned. To apply a pattern as a fill 1 Choose Window  Media Control Panels  Patterns. 2 Click the Pattern selector, and click a pattern in the Pattern library panel. 3 To apply a pattern to: • The canvas — Click the Canvas in the Layers panel.
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You can also Soften the edges of the pattern On the property bar, click the Anti-Alias button . Anti-aliasing is desirable when the Feather setting is set to zero or extremely low. The image must be larger than the tile in order for the tiling to be visible in an image. You can also choose a pattern from the Pattern Selector in the toolbox or by choosing Edit  Fill. To adjust the appearance of a pattern 1 Choose Window  Media Control Panels  Patterns.
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Painted pattern type Example Pattern Pattern with mask Pattern with opacity To paint with a pattern 1 Choose Window  Media Control Panels  Patterns. 2 Click the Pattern selector, and click a pattern in the Pattern library panel. 3 Choose Window  Brush Control Panels  General. 4 Click the Brush Selector on the Brush Selector bar. 5 In the Brush library panel, click a brush category and a brush variant.
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You can also paint with a pattern by choosing a brush variant from the Pattern Pens category. If you have not set a clone source, Corel Painter uses the current pattern in any operation related to clone source colors or luminance. This means you can paint with a pattern by using a Cloner brush. 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 to achieve a uniform effect.
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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). Creating and editing patterns You can create a pattern from scratch or from an existing image. When creating a pattern from an existing image, you can base the pattern on the entire image or a selected area.
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Creating patterns on layers You can use the same techniques to create patterns on layers as you do to create them on the canvas. However, a pattern’s wrap-around features do not apply to layers. This is because the canvas has edges, but layers do not — they are unlimited in size. If you shift a pattern on a layer, the pattern does not wrap around. To create a pattern from scratch 1 Choose File  New. 2 Type values in the Width and Height boxes.
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You can also create a pattern by choosing Edit  Fill, modifying the pattern, then choosing Add Image to Library. To create a pattern from a selection 1 Open the image file you want to use in creating a pattern. 2 Choose Window  Media Control Panels  Patterns. 3 Choose the Rectangular Selection tool from the toolbox. 4 Drag in the document window to select the area that you want to save as a pattern tile. 5 In the Pattern panel, click the Pattern options button Pattern.
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6 In the Capture Pattern dialog box, enable one of the Rectangular Tile option. 7 Type a name in the Name text box. 8 Click OK to save the masked pattern to the current library. To quickly apply a pattern mask, click the Brush Selector. In the Brush library panel, choose the Pattern Pens category, and then choose the Pattern Masked Pen variant. You can apply pattern masks by using any brush variant that supports them. For more information, see “Painting with patterns” on page 679.
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edges of a pattern tile before applying the pattern. However, you can also fix a pattern’s seams by directly modifying the pattern fill. Left: The pattern tile includes a visible white edge, which delimits each tile. Right: The white edge was filled with the background color to produce a seamless pattern. To achieve seamless tiling, Corel Painter gives documents defined as pattern tiles two special characteristics: wrap-around colors and wrap-around seams.
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To create a seamless pattern from a pattern tile 1 Choose Window  Media Control Panels  Patterns. 2 Click the Pattern selector, and click the pattern whose tile you want to fix from the Pattern library panel. 3 Click the Pattern options button , and choose Check Out Pattern. The pattern tile appears in a document window. 4 Use any color brush to paint out the edge lines, or use a brush with a Water or Drip method to smear across the lines. 5 Click the Pattern options button , and choose Capture Pattern.
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• Use any color brush to paint out the edge lines, or use a brush with a Water or Drip method to smear across the lines. • Use the Straight Cloner brush to paint out the edge lines to preserve image details. For more information, see “Painting in the clone” on page 159. You can also copy a selection to a layer and move it over the edge. To produce clean transitions, feather the layer, and reduce opacity. Drop the layer when you’re satisfied with the result. For more information, see “Layers” on page 479.
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The Feature Size slider determines the number of repetitions per tile. The image on the left is set to 90% and the image on the right is set to 20%. • Softness adjusts the edge softness of the pattern. • Angle changes the direction from which you view the fractal. • Thinness emphasizes the direction suggested by the lines of the fractal pattern. Thinner lines produce a more linear look. • Size determines the size of the tile you are creating.
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4 Perform a task from the following table. To Do the following Control the intricacy of the pattern Move the Power slider to the right to zoom out and see many small patterns, or move it to the left to zoom in and see fewer large patterns. Modify the number of prominent features within the tile Move the Feature Size slider to the right to decrease the repetitions per tile, or move it to the left to increase the number of repetitions per tile.
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8 In the Capture Pattern dialog box, type a name in the Name box. The Gradient Bearing and Surface Normal options for viewing a fractal texture are offered for purely aesthetic reasons. One way to take advantage of them is to create color variations of the texture with the Adjust Colors feature. To colorize a fractal pattern, you can replace the grayscale tones with colors from a gradient fill by using the Express in Image feature.
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Gradients A gradient is a type of fill that displays a smooth progression of two or more colors and adds the illusion of depth to an image. Gradient fills are also known as blends or fountain fills. Corel Painter offers a wide selection of preset gradients, but you can also create gradients.
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You can also apply a gradient in a fluid way by painting it onto an image with a brush and dab type that support gradient painting. For more information, see “General controls: Dab types” on page 322. To apply a gradient as a fill 1 Choose Window  Media Control Panels  Gradients. 2 Click the Gradient selector, and click a gradient from the Painter Gradients library panel.
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You can also Soften the edges of the gradient fill On the property bar, click the Anti-Alias button . Anti-aliasing is desirable when the Feather setting is set to zero or extremely low. You can also apply a Gradient by choosing the Paint Bucket tool from the toolbox, choosing Gradient from the Fill list box on the property bar, then clicking the selected area, layer, or channel.
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Painting with a gradient by using Gradient (left) and Gradient Repeat (right). When painting with a gradient, only the Linear gradient type is supported. Direction matters when you paint with a gradient. Corel Painter flips the gradient when you change direction. To achieve a uniform effect, apply strokes in the same direction. Replacing image colors with gradient colors You can replace an image’s colors with those of a gradient.
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4 Click the Gradient options button , and choose Express In Image. 5 In the Express in Image dialog box, adjust the Bias slider to define how the gradient is mapped. Corel Painter replaces the colors in the image with the colors in the gradient, based on matching luminance. Adjusting gradients You can adjust gradients to control the display of the gradient colors. For example, you can change the order of the colors and the angle of the gradient.
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The gradient with low spiral tension (left) and high spiral tension (right). To gradient direction 1 Choose Window  Media Control Panels  Gradients. 2 In the Gradients panel, click one of the gradient order buttons: • Left to Right Gradient • Mirrored Right to Left Gradient • Double Left to Right Gradient • Right to Left Gradient • Mirrored Left to Right Gradient • Double Right to Left Gradient To change a gradient angle • In the Gradients panel, drag the Set the Angle of the Ramp slider the gradient.
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To Do the following Decrease the spiral tension Drag the Scale the Spiral Rate of the Ramp slider Change the direction of the spiraling effect to the left. Click the Spirality Direction button . Creating and editing gradients Although Corel Painter comes with libraries full of gradients, you can create custom gradients or edit existing gradients. You can create very simple to very complex gradients.
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In addition, you can modify the gradient hue to change the appearance of a particular gradation of color. You can use any existing image as a source for creating new gradients. For example, you can capture the colors in a photo of a sunset, or paint your own range of colors as the content of a gradient. To create a perfect blend between a series of colors, it is better to work with a row of single pixels than a large piece of an image.
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To edit a gradient 1 Choose Window  Media Control Panels  Gradients. 2 Click the Gradient selector, and click a gradient from the Painter Gradients library panel. You can modify only default gradients. You cannot edit the customized gradients that you saved to the Painter Gradients library. 3 Click the Gradient options button , and choose Edit Gradient. 4 In the Edit Gradient dialog box, drag a color control point to modify the color transition.
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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 delete a control point by clicking a control point and pressing Delete (Mac OS) or Backspace (Windows). To change the gradient hue 1 Choose Window  Media Control Panels  Gradients. 2 Click the Gradient selector, and click a gradient from the Painter Gradients library panel. 3 Click the Gradient options button , and choose Edit Gradient.
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If the selection is vertical, Corel Painter creates the gradient from the first column of pixels, starting at the upper left. 3 Choose Window  Media Control Panels  Gradients. 4 In the Gradients panel, click the Gradient options button Gradient. , and choose Capture 5 In the Save Gradient dialog box, type a name for the gradient in the Save as box. The new gradient is saved in the current library. In the future, you can choose it by name from the Painter Gradients library panel.
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Once you save a gradient, it can no longer be edited. To change a captured gradient, change the artwork from which it was captured, and then recapture the gradient.
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Mosaics and tessellations Mosaic is a decorative art technique that involves creating images by assembling colored tiles and setting them on a surface by using grout. A tessellation is also a form of mosaic that involves repeating a geometric shape, without overlaps, to create an image. In Corel Painter, you create images by using mosaic or tessellation effects.
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You can use the tessellation technique to create a stained-glass like effect. You can alter the appearance of mosaics and tessellations in many ways. For example, you can give it a three-dimensional (3D) appearance to mosaics or add points to tessellations to increase the number of shapes.
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After you apply tiles to a mosaic, you can select, deselect, or remove tiles to change their color or apply effects to them. For information, see “Selecting and removing tiles” on page 709 and “Specifying tile and grout color” on page 711. When creating mosaics, you can follow these helpful guidelines: • Use your first few courses of mosaic tiles to delineate the most important contours of your subject — just as if you were drawing with a pencil. Describe the most important lines of your scene first.
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You can create a mosaic from a clone with tracing paper turned off to hide the clone source image. • If you want to continue working on the mosaic at a later date, you need to save mosaic in the RIFF format. RIFF is the only file format that saves resolutionindependent mosaic tile objects. Saving in any other format prohibits you from resuming working on the mosaic. All file formats will save the rendered image of the mosaic tiles on the canvas.
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To create a mosaic from a clone source 1 Choose File  Open, and locate the file that you want to clone. 2 Choose File  Quick Clone. 3 Choose Effects  Esoterica  Make Mosaic. 4 Click the Clone Color button in the Colors panel. 5 In the Make Mosaic dialog box, click the Apply Tiles button . If you don’t want to work with Tracing Paper, disable the Use Tracing Paper check box. 6 Drag in the document window to apply tiles.
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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 every tile With the Make Mosaic dialog box displayed, press the A key. Select Tiles button .
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Specifying tile and grout color When creating a mosaic from scratch, you can adjust the tile color by adjusting the value, hue, or randomize color variability to build visual interest. You can adjust the color for individual tiles or for larger areas across the mosaic. The tile color is determined by the main color selected in the Colors panel. If you’re creating a mosaic from a clone source, the tiles are based on the clone source colors.
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• Darken — applies a small amount of black • Lighten — applies a small amount of white • Tint — applies a small amount (10%) of the current main color • Vary — adds color variability based on the settings in Brush Controls Panels  Color Variability. 3 Click individual tiles you want to change or drag across a group of tiles. To apply color variability to tiles 1 Choose Window  Brush Control Panels  Color Variability. If the Color Variability panel is not expanded, double-click the panel tab.
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2 Choose the Dimensions option from Settings list box. 3 Adjust any of the following dimension sliders: Dimension control Description Width 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). Length Sets the length of the tiles in pixels. In this example, the length is set to 4.1 pixels (top) and 24.2 pixels (bottom).
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Dimension control Description Pressure Determines how tile dimensions are affected by stylus pressure, which allows you to control the width variance under differently weighted strokes. With the Pressure slider set to zero, a light stroke produces narrow tiles, and a heavier stroke creates wider tiles. Increasing the Pressure slider also increases the effect of pressure on the width of the tiles and prevents the creation of narrow tiles in response to a light stroke.
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To adjust tile dimensions 1 Choose Effects  Esoterica  Make Mosaic. 2 Choose the Randomness option from Settings list box. 3 Adjust any of the following dimension controls: Randomness control Description Width Allows the tile width to vary by a set percentage. The lowest setting, 0%, produces no variability and the highest setting, 100%, produces the most variability. In this example, Width randomness is set to 92%. Length Allows the length of a tile to vary by a set percentage.
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Randomness control Description Cut Controls the variability of the angle of the tile ends. The lowest setting, 0%, produces no variability and the highest setting, 100%, produces the most variability. In this example, the Cut slider is set to 90°. Grout Controls the variability of the length of space found between tiles. The lowest setting, 0%, produces no variability and the highest setting, 100%, produces the most variability. In this example, the Grout randomness is set to 100%.
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The Start with Triangle mode creates a perfect wedge in the “V.” You can use the Respect Edge of Image mode to automatically insert a space at the perimeter of the image so that the tiles you insert at the edge of the image do not pass the edge. The white tiles that surround the image respect the edge, while the black tiles do not. To choose a method for filling an area with tiles 1 Choose Effects  Esoterica  Make Mosaic.
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panel), which allows you to add depth to the tiles by using surface texture to create a 3D appearance. You can render tiles to a mask to create a look of 3D tiles. With the tiles in a channel, you can also load the mosaic pattern as a selection or you can invert the channel to use the grout as a selection. The result can be particularly interesting when you work with a tessellated mosaic. To give mosaic tiles a 3D look 1 Choose Effects  Esoterica  Make Mosaic.
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Re-rendering mosaic tiles If you change the resolution of a document that contains a mosaic, you need to re-render the mosaic to ensure the mosaic resolution matches that of the document. This command re-creates the mosaic from the grout color and the tile object information. Rerendering fills the image with the grout color and then re-renders the mosaic tiles at the resolution of the document. It is important to note that the re-rendering process erases any image that is not a tile or grout.
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Stroking and filling a selection are appropriate only when you change a parameter between operations — for example, if you change the tile color or dimensions. The Stroke Selection command applies a single row of tiles as an outline along the selection path. To fill an entire selection with tiles, you can make the selection using the Lasso tool.
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In some cases, Corel Painter might not put a tile in every space. You can fill openings by choosing the Apply Tiles tool and applying the tiles. If you want to change the tiling of an area, you can use the Remove Tiles tool to clear it. Then you can reapply tiles manually. Adding mosaic effects to an image You can add mosaic effects to an image that already contains brushstrokes, layers, or objects.
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You can create a tessellation from a clone source. A finished tessellation resembles stained glass. When creating a tessellation, Corel Painter divides the canvas into shapes, such as triangles, cracks, or pieces, which become the mosaic tiles. The shapes themselves are sets of points, connected by line segments. You can control the type of shape, the number of points, and their distribution.
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You can base your Tessellation on Triangles, Cracks or Pieces. You can also add points to a specified area to create a different effect. Adding points in the shape of a letter. The letters appear as a swath of smaller polygons. After creating a tessellation, the shapes appear as mosaic tiles that are given the main color and are surrounded by grout lines. You can change the color of the tiles.
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You can set the tile color to white, the grout color to black, and then fill in the tessellation with color. To create a tessellation 1 Choose Effects  Esoterica  Make Mosaic. 2 Choose Dimensions from the Settings list box. 3 Adjust the Grout slider to set the grout line thickness. 4 Click the grout color button and select a color. 5 Click Done. 6 Choose Effects  Esoterica  Make Tessellation. 7 Choose one of the following tile shapes from the Display list box.
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You can also Add points by stroking the tessellation With the Make Tessellation dialog box open, click or drag in the tessellation where you want to add more intensity. Clear all tessellation points Choose Reset from the Options list box. You can add additional points by repeating the command 500 Random Points or 500 Evenly-Spaced Points from the Options list box. You can also add points by alternating between dragging and using an addpoints commands.
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You can continue stroking to add higher concentrations of polygons in very specific areas. This way, you can create specific patterns or shapes. It is possible to create a huge number of points. More points mean more polygons, which increase the time it takes to convert to a mosaic. Keep this in mind to avoid overwhelming your system. To color tessellations 1 In the Make Mosaic dialog box, select the Change Tile Color tool . 2 From the list box below the Change Tile Color tool, choose Color.
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Weaves Corel Painter includes an assortment of weave samples that you can apply as fills. You can also edit a weave sample to make it your own. In addition, Corel Painter includes a powerful programing language that allows you draft custom weave patterns from scratch. Weaves reside in default libraries. You’ll find more libraries, with additional materials, on the Corel Painter DVD and on the Corel Web site. For more information, see “Working with libraries” on page 45.
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The Weave Library is accessible from the Media Selector bar. You can also display a weave as two-dimensional or show the interwoven threads threedimensionally, complete with shadows. Left: A weave displayed as two-dimensional. Right: The same weave displayed as three-dimensional produces a more jagged effect. To apply a weave as a fill 1 Choose Window  Media Control Panels  Weaves. 2 Click the Weave selector, and click a weave in the Painter Weaves library panel.
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6 In the document window, click the canvas, selection, or layer. Editing and saving weaves You can edit a sample weave from the Weaves panel to make it your own. For example, you can scale the weave or modify the thickness of the threads. After altering the scale, thickness, or color of a weave, you can save the changes as a new weave to the Weaves library for future use. For more information, see “Working with libraries” on page 45.
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Click a color on the Color panel. Hold down Command (Mac OS) or Ctrl (Windows), and then click the color swatch that you want to replace on the Color Set Libraries panel. 5 On the Weaves panel, click the Weave Options button , and choose Put Color Set. If you fill an image with the modified weave colors, Corel Painter applies the new color set. To save a weave 1 Choose Window  Media Control Panels  Weaves. 2 Click the Weave options button , and choose Save Weave.
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For the next weft thread, a different treadle is pressed, raising a different set of harnesses and, hence, a different set of warp threads. 1 2 An example of a simple weave using 1) grey horizontal weft threads and 2) black vertical warp threads. In traditional weaving, you need to follow a draft to create a weave. A draft is a set of instructions for setting up a loom to produce a weave.
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2 1 6 5 3 4 Edit Weave dialog box: the numbers above correspond to the numbers in the following table, which describes the main components of the dialog box. Component Description 1. Warp The values in the Warp area specify the threading sequence of the vertical threads in the weave. 2. Warp Colors The values that appear in the Warp Colors area control the color and number of vertical threads in the weave. 3.
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Defining warp and weft expressions The warp and weft expressions use the information in the tie-up to extend and evolve the weave into larger, more complex patterns. For more information, see “Designing the tie-up” on page 736. Warp and weft expressions in traditional weaving In traditional weaving, the warp expression represents the threading sequence, in other words, it describes which warp threads are connected to which harnesses.
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Press treadle For weft thread #5 #2 #4 #3 The sequence repeats for subsequent threads. #6 #4 #5 #5 #4 #6 Warp and weft expressions in Corel Painter In Corel Painter, you need to use the weave pattern expression language to generate a weave. You may find working with the pattern expression language more logical than working with very complex expanded sequences. For more information see, “Reference: Expression operators” on page 737.
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Defining warp and weft color expressions You can use one color for all the warp threads and another for all the weft threads, or you can set up a sequence of colors for each. When defining thread color sequences using the pattern expression language, you must identify the colors alphabetically. Therefore, you are limited to 26 colors of thread in the weaving. Using the warp and weft color panels, you can create expressions that describe the color sequences that you want.
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Designing the tie-up The purpose of the tie-up is to describe which of the warp rows to use when weaving a given weft thread. It works in conjunction with the warp and weft expressions to generate the weave pattern. The tie-up describes which threads are in front at which point in the weaving process. In the Edit Weave dialog box, the tie-up is a grid that measures 8 threads wide by 8 threads high. A black cell indicates that the warp thread should be placed in front of the weft.
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Tie-up In this tie-up, alternate black cells that are positioned in the fourth row and column instruct the warp thread (white) to be placed in front of the weft thread (black). Notice that the addition of the black cells in the fourth row and column produces a checkerboard effect. To modify the tie-up • In the Edit Weave dialog box, click a cell in the grid. If you click a white cell, the cell changes to black, which places the warp thread in front of the weft.
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Patterns wrap around on their domain so the number one higher than 8 is actually 1, and the number one lower than 1 is actually 8. This is called modular arithmetic. For example, some are found in the sequences 5678123 or 3218765. The following table defines a few commonly used terms. Term Definition Operands In all examples, the operands used for the operators are numeric sequences. However, the operands may be other patterns created from other operators.
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Example Expansion 1234 [] 2 11223344 34512 [] 23 334445511122 12345678 [] 87654321 111111112222222333333444445555666778 12 [] 123494321 12211122221111111112222111221 123 [] 1{12}3 1222222222222333 Block Expressions Block expressions may be used in an interleaved format. This is particularly useful for color sequences like those used in the Scottish tartan plaids. For example, one of the Drummond color sequences is expressed as follows: [G 8 R 2 G 2 R 56 G 16 B 2 G 2 B 2 G 36 R 2 G 2 R 8|].
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Example Expansion 123 -> 8 12312312 123456787654321 -> 10 1234567876 CONCAT Operator usage Short form concat , The left and right operands are both patterns of any length. The result is the left operand concatenated with the right operand. Note that when a pattern is spelled out (e.g. 1234), the concat operation is implicit between each of its members (i.e. 1234 is equivalent to 1,2,3,4).
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Example Expansion 123456787654321 ~ 121221222 112231425261728272615241322211 UPTO Operator usage Short form upto <, - The“-” may be used as an upto operator only when the last element of the left operand is strictly less than the first element of the right operand. The left and right operands are both patterns of any length.
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The “-” may be used as an downto operator only when the last element of the left operand is strictly greater than the first element of the right operand. The left and right operands are both patterns of any length. The expansion is the left operand concatenated with the descending sequence between the last element of the left operand and the first element of the right operand, concatenated with the rest of the right operand. Downto wraps around on the domain. For example, 2 downto 7 expands to 2187.
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This template is then applied to each element in the left operand, with the element’s value replacing the root. Remember that the values wrap around on the domain. Example Expansion 1-8 temp 121 121232343454565676787818 1-8 : 12121 1212123232343434545456565676767878781818 12321 temp 878 878181212181878 12321 : 3 34543 PALINDROME Operator usage Short form palindrome pal, | This operator takes only one operand, the left operand. That operand can be a pattern of any length.
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The left operand is extended to a length that is an integer multiple of the right operand's length. Then the left operand is permuted in chunks of the right operand's length. The organization of the permutation pattern is used to reorganize the elements in each chunk of the pattern. For example, a permutation of 312 puts “the third element first, the first element second and the second element third.
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Then, UPDOWN generates alternating ascending and descending runs. An odd number of runs is always generated. The expansion contains the ascending run from the first element of the left operand to the first element of the right operand, followed by the descending run from there to the second element of the first operand, etc. The operation is complete with the ascending run from the last element of the left operand to the last element of the right operand.
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ROTATE Operator usage Short form rotate rot, # The left operand is a pattern of any length. The right operand is an integer (which may be negative) that is interpreted as a length. Rotate takes the set of elements specified by from the start of the pattern and moves them to the end. A negative number takes a set of elements from the end of the pattern and moves them to the beginning.
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When two operators have the same precedence, left to right ordering is followed. Example Interpreted as 1-4-2 ((1 upto 4) downto 2) 1234[]4321| ((1234 block 4321) palindrome) 1-4 block 4-1 ((1 upto 4) block (4 upto1)) (1-4|),(4-1|)| ((((1 upto 4) palindrome) concat ((4 upto 1) palindrome)) palindrome) • If precedence does the wrong thing, or if it is unclear, use parentheses to bring out the intended order of evaluation.
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Shapes Shapes are vector-based objects that you can draw, modify, and fill. They can be open shapes, such as lines and curves, or closed shapes, such as circles and squares. You can create and edit shapes with the precision of a drawing program and integrate them with the Natural-Media environment in Corel Painter. An image created with shapes.
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Converting shapes • Converting shapes to image layers • Converting selections to shapes Transforming shapes • Resizing, rotating, skewing, and flipping shapes • Duplicating shapes • Combining shapes • Blending shapes • Saving a shape outline as a selection Sharing shapes • Acquiring and exporting Adobe Illustrator shapes Getting started with shapes In Corel Painter, you work mainly with bitmaps, also known as raster images. Shapes, however, are vector objects.
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You can also convert shapes to selections and vice versa. The tools for adjusting shapes allow precise control over the outline path, so you may want to use shapes to create some of your selection paths. For more information, see “Converting selections to shapes” on page 769. When you save a file that contains a shape in the RIFF format, Corel Painter maintains shapes as vector objects on separate layers. In other formats, shapes merge with the canvas.
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To draw Do the following A rectangle Drag in the document window to draw the shape. A square While dragging in the document window, hold down the Shift key. The property bar and the Navigator panel display information about the shape. To display the Navigator panel, choose Window  Navigator. You can toggle between the Shape Selection tool and any of the shape design and editing tools by holding down Command (Mac OS) or Ctrl (Windows).
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You can toggle between the Shape Selection tool and any of the shape design and editing tools by holding down Command (Mac OS) or Ctrl (Windows). Toggling makes it convenient to quickly select a wing handle or anchor point before editing it. Drawing lines and curves You can draw straight lines or smooth, flowing curves by drawing freehand. You can combine the lines and curves to create shapes. The lines and curves that you draw are known as Bézier lines. Shapes created with straight line segments.
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Wing handle Anchor point Paths can be modified by using anchor points and wing handles. Shapes can be open (with endpoints) or closed (without endpoints). 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.
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You can easily adjust shapes after you create them. For more information, see “Editing Shapes” on page 31. Clicking creates anchor points connected by straight line segments. Dragging curves the segments between points. To draw a line segment 1 Choose the Pen tool in the toolbox. 2 On the property bar, click the Select Stroke Color button, and choose a color.
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5 Finish the shape by doing one of the following: • Close the shape by clicking or dragging the first anchor point. • Close the shape by clicking the Close Shape button on the property bar. • Hold down Command (Mac OS) or Ctrl (Windows) to temporarily access the Shape Selection tool , and click outside the shape to deselect it. You can constrain the placement of the points by snapping to the grid. For more information, see “Using the grid” on page 198. Each click or drag adds to the path.
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You can add to either endpoint of a Quick Curve shape by selecting the endpoint and dragging out from it. To select an endpoint, hold down Command (Mac OS) or Ctrl (Windows), and click the endpoint or drag over it. Draw freehand shapes with the Quick Curve tool. Setting preferences for drawing shapes You can set the default appearance for all new shapes that you draw by modifying the shape preferences. For example, you can set the color for the shape outline and fill.
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To Do the following Modify the appearance of endpoints of open shapes In the Stroke area, click one of the following Line Cap buttons: Projecting , Round , or Butt . Modify the appearance of corners where two line segments connect In the Stroke area, click one of the following Line Join buttons: Miter , Round , or Bevel . Set the miter limit to smooth out the sharpness of lines that join at a sharp angle Move the Miter Limit slider.
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To set preferences for shape tools 1 Do one of the following: • (Mac OS) Choose Corel Painter 12  Preferences  Shapes. • (Windows) Choose Edit  Preferences  Shapes. 2 Perform a task from the following table. To Do the following Control the size of the anchor points and the direction of the wing handles In the Drawing Options area, enable the Big Handles check box. This can make them easier to grab and drag. If you want big points, enable this option.
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Modifying shape outlines and fills You can choose the color, opacity, and width of the path outlining the shape, which is also known as a stroke. You can also control the way line ends are drawn and joined. In addition, you can apply a fill to a shape by choosing the color and opacity of the fill. 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.
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To Do the following Modify the appearance of endpoints of open shapes In the Stroke area, click one of the following Line Cap buttons: Projecting , Round , or Butt . Modify the appearance of corners where two line segments connect In the Stroke area, click one of the following Line Join buttons: Miter , Round , or Bevel . Set the miter limit to smooth out the sharpness of lines that join at a sharp angle Move the Miter Limit slider. 4 Click the Set New Shape Attributes button.
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You can also fill a shape by choosing Edit  Fill command or the Paint Bucket tool . Because these methods apply pixel data to the region, Corel Painter first converts the shape to a pixel-based layer. For more information, see “Applying a color as a fill” on page 230. After you commit the shape, you cannot re-access the shape-specific controls. To set shape flatness 1 Choose the Shape Selection tool from the toolbox, and click a shape.
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Use the Remove Point tool to delete anchor points. You can also move one or several points by averaging, which moves two or more anchor points with respect to each other. Averaging is useful when you need to join the endpoint of one curve to the endpoint of another. Averaging the endpoints in both directions brings them precisely on top of each other. Now, when you join the endpoints, Corel Painter merges them to a single point, through which the path continues.
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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. If you have selected several points, dragging one moves them all. Drag an anchor point to move it. To average anchor points 1 With the Shape Selection tool , select the anchor points you want to average.
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A corner point is converted to a smooth point. When you drag the handle on one wing of a corner point, only the curve on that side of the point changes. With a corner point, you can adjust the angle of the wings independently. To adjust a curve 1 Choose the Shape Selection tool from the toolbox. 2 Click a shape to select it. If an anchor point’s wings are not displayed, drag over the anchor point to display them. 3 Drag a wing handle to set the curve you want.
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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. If you try to adjust an anchor point with the Convert Point tool , the anchor point will be converted again.
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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. After 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.
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Use the Join Endpoints command to connect two endpoints. Converting shapes to image layers In Corel Painter, the shapes that you create are added to shape layers. If you want to alter a shape by painting, applying effects, or transforming, you must convert the shape to a pixel-based image layer. You can convert an individual shape or a group of shapes to an image layer. Shape layers vs. image layers Some of the options and controls for working with pixel-based image layers also apply to shapes.
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You cannot paint on a shape using Watercolor brushes or Liquid Ink brushes, because they automatically create their own special layers. In some cases, Corel Painter will prompt you to convert a shape. For example, if you attempt to apply an effect to a shape, Corel Painter asks if you want to commit the shape to an image layer. You can also convert a shape to an image layers by choosing Shapes  Convert To Layer. Converting selections to shapes You can convert a selection to a shape to edit its contour.
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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. Resizing, rotating, skewing, and flipping shapes Corel Painter lets you resize, rotate, flip, or skew an individual shape, or a group of shapes. Before you can work with a shape, you must select it. Resizing a shape Rotating a group of shapes.
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A rectangle (upper left) is skewed by dragging a side middle handle (upper right) and by dragging the top middle handle (bottom). To resize a shape 1 Choose the Layer Adjuster tool from the toolbox. 2 Select the shape or group you want to resize. A selection rectangle appears around the shapes. The rectangle has a handle on each corner and side. 3 Drag one of the handles to resize the selected shape. To resize in one dimension, drag one of the side handles.
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To flip a shape 1 Choose the Shape Selection tool from the toolbox, and click a shape. 2 From the Edit menu, choose one of the following options: • Flip Horizontal • Flip Vertical You can also flip a shape by first selecting it with the Layer Adjuster tool Then, to flip horizontally, drag a top or bottom handle past the opposite handle. To flip vertically, drag a side handle past the opposite handle. . Duplicating shapes Duplicating creates an identical copy of the selected shape.
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• Slant — controls the degree of slant applied to duplicates. Positive values slant duplicates to the right. Negative values slant them to the left. Slant accepts values between –90° and 90°. However, as values approach the extremes, the duplicate shape becomes a streak. To create a transformed duplicate 1 Select the shape you want to transform. 2 Choose Shapes  Duplicate. Corel Painter creates a duplicate shape according to the specifications you’ve set. This duplicate is now the selected shape.
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The rectangle and the oval are combined to create a compound shape. You can also compound shapes to create a shape group, which allows you to manipulate multiple shapes as a single unit. To create a compound shape 1 Choose the Shape Selection tool , hold down Shift and select both shapes, or drag over the shapes to marquee select them. 2 Choose Shapes  Make Compound. You can combine a shape with a compound shape to create a nested compound shape.
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Blending shapes You can blend single shapes, or groups of shapes, so that they appear to be one shape morphing into another. Blending creates intermediate shapes between two or more selected shapes. It is also used to simulate shading on irregular shapes. Blending applies to stroke and fill attributes as well as to the shape size. You can blend a shape group with another group, but you can’t blend a single shape with a group.
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• RGB — progresses color directly over the course of the blend • Hue CW — progresses color clockwise in the color wheel to reach the destination color • Hue CCW — progresses color counterclockwise in the color wheel to reach the destination color 8 Type a value between 0.01 and 100 in the Perspective Factor box to control the spacing of intermediate shapes. With a Perspective Factor of 1.0, the shapes are spaced evenly. With a Perspective Factor of less than 1.
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Clockwise from the top left picture: 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. Saving a shape outline as a selection You can save the outline of a shape as a selection. Corel Painter doesn’t have a shapes library. However, because of the close relationship between shape outlines and selection paths, you can save shape outlines as selections in the Selection Portfolio.
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5 In the Save Selection dialog box, type a name in the Save As box. Acquiring and exporting Adobe Illustrator shapes Corel Painter lets you work with shapes that were created in Adobe Illustrator and saved to the AI format (version 3 or earlier). You can also export shape data to the Adobe Illustrator (AI) format. Exporting to the AI format saves only the shapes, not the canvas or any other layers in the document. Transparency and compositing methods are lost when shape data is exported to the AI format.
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Adding text Corel Painter lets you position and manipulate editable text on your image. This section contains the following topics: • Adding text to images • Aligning text • Adjusting text kerning and leading • Stretching, rotating, and skewing text • Adding drop shadows to text • Applying effects to text • Applying curves to text • Converting text layers • Dropping text Adding text to images You can add text to an image by using the Text tool .
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2 Click anywhere in the document window, and type. You can also format text by choosing options from the property bar. You can also format text by choosing Window  Text, and choosing options from the Text panel. Formatting text You can format text by changing the font, point size, and color. You can also perform these tasks from the property bar or from the Text panel, where you’ll find additional text controls. The changes that you make are applied to all of the text in the text layer.
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To align text 1 Choose the Text tool from the toolbox. 2 In the Layers panel, select a text layer. 3 On the property bar, enable one of the following buttons: • Align Left • Align Center • Align Right You can also align text by choosing the Layer Adjuster tool from the toolbox, clicking the text on the canvas, and clicking one of the alignment buttons in the Text panel. Adjusting text kerning and leading You can fine-tune the spacing between letters by adjusting the kerning.
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Stretching, rotating, and skewing text You can change the appearance of text by stretching, rotating, or skewing the text. Stretching text affects both the horizontal and vertical size. As you stretch vertically, the text appears thinner and taller. As you stretch horizontally, the text appears flatter and shorter. Rotating pivots the text from the end point of the text block. Depending on the alignment of the text, it pivots from the lower-left corner, lower-right corner, or center.
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Adding drop shadows to text You can apply a drop shadow to text. You can choose between two drop shadow styles: external, which places the shadow behind the text, or internal, which places the shadow inside the text. You can also change the composite method for text or the drop shadow of text. For more information, see “Blending layers by using composite methods” on page 510. To add a drop shadow to text 1 Choose the Text tool from the toolbox. 2 In the Layers panel, select a text layer.
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To apply a composite method to text 1 Choose Window  Text. 2 Choose the Text tool from the toolbox. 3 In the Layers panel, select a text layer. 4 In the Text panel, click on the following buttons: • Text Attributes • Shadow Attributes 5 Choose an option from the Composite Method list box. To adjust text opacity 1 In the Text panel, click on the following buttons: • Text Attributes • Shadow Attributes 2 In the Text panel, move the Opacity slider or to the right to increase opacity.
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be controlled by using control handles and anchor points. For more information, see “Drawing lines and curves” on page 753. There are four curve styles to choose from: Curve Style Example The Curve Flat style flows along a straight line. The Curve Ribbon style flows the text along a curve and keeps the letters in an upright position. When you apply the Curve Ribbon style, you can use the Shift key and the Rotate tool to control how the text moves around the baseline.
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You can control how the text is centered on the baseline. You can also move the center point by dragging on the slider or by changing the alignment. Dragging the Centering slider also changes where the text starts and stops on a line. The Centering slider has no effect on the Curve Flat style. After you apply a curve style, you can change the curve of the path. To set a curve style and change centering 1 Choose the Text tool from the toolbox. 2 In the Layers panel, select a text layer.
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textures to give the text a three-dimensional appearance. For more information, see “Adjusting light properties” on page 614. You can also convert a text layer to shapes, which allows you to move and edit individual characters. For more information, see “Shapes” on page 749. To convert a text layer to a standard layer 1 In the Layers panel, choose a text layer. 2 Click the Layer options button , and choose Convert To Default Layer.
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Working with animation and digital videos Corel Painter lets you create animations frame-by-frame from scratch, as well as open exiting digital videos (QuickTime or AVI) for editing frames. Whichever workflow you choose, you can use Corel Painter’s Natural-Media brushes and effects to create or modify animation frames. You can also use features, such as onion skinning or cloning, in the creation of animations.
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Choosing an animation workflow Corel Painter offers different animation workflows. They are as follows: • Create animation frames from scratch • Edit digital video frames • Create animations by cloning • Create animations by tracing • Create animations from layers Customizing an animation-specific color set You can customize a color set for the animation to better control the use of color. For example, you wouldn’t want the colors of your characters shifting between frames.
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Each frame in a frame stack can have one layer. For example, if you add an item from the image portfolio onto a frame, Corel Painter places the image on a layer. You can move the image around the layer. However, when you move between frames or close the file, Corel Painter drops all layers — the layer is deleted, and the layer’s content is flattened onto the background canvas. For more information, see “Layers” on page 479 for more information about working with layers.
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Creating frame-by-frame animation In Corel Painter, you can build animations one frame at a time. Then, when you complete a series of frames, also known as a frame stack, you can preview them as a movie. The first step in creating a new animation is to create a movie. You can specify options such as the number of frames and the frame size. You can also choose how many onion skin layers you want to display. Onion skinning allows you to see multiple frames at the same time.
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7 In the Storage Type area, enable one of the following options: • 8-bit Gray — displays 256 levels of gray • 8-bit Color — displays system palette for 256 colors • 15-bit Color With 1-bit Alpha — displays 32,768 colors and a layer for a channel • 24-bit color With 8-bit Alpha — displays 16.7 million colors and a layer for an anti-aliased channel 8 In the Enter Movie Name dialog box, use the controls to specify a location to save the file. 9 Click Save. The movie file is saved to the Painter Framestack .
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If you prefer, you can choose a different brush. 5 Paint the animation frame in the document window. 6 In the Frame Stacks panel, click the Step Forward button . Changing frames automatically saves the frame. You cannot undo changes after the frame is saved. Repeat steps 5 and 6 until you complete all frames. You can view previous and future frames while working in the current frame with the onion skin view. You can enable the onion skin view by clicking Movie  Show Onion Skin Layers.
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Corel Painter automatically converts it into a frame stack. A frame stack is a series of images, each equal in size and resolution. Corel Painter does not provide features for working with audio. When you’re finished editing the digital video in Corel Painter, you can save it as a QuickTime, AVI, or animated GIF file. You can then open the QuickTime or AVI file in a video-editing application to add sound effects and other finishing touches.
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Selecting movie frames You can select a frame by clicking its thumbnail in the Frame Stacks panel. You can also easily jump to any frame in a movie. To select a frame • Do one of the following • In the Frame Stacks panel, click the frame’s thumbnail. • Choose Movie  Go To Frame, and type the frame number in the Go To Frame dialog box. Editing frame content Frames can be added to, or deleted from, a movie. You can also erase the contents of a frame while leaving the frame in the movie.
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Previewing animations The Frame Stack panel provides the tools you need to preview and navigate animations. For example, you navigate to various frames in the stack for editing purposes or play the animation to preview how the frames link together. You can also set the preview frame rate to control how many frames display per second. To preview an animation • In the Frame Stacks panel, perform an action from the following table.
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successive frames, using the previous frames for reference. Seeing the several images superimposed helps increment the action evenly. Onion skin view (with Show Onion Skin Layers on). Each frame in the frame stack represents one onion skin layer. Corel Painter lets you work with two to five onion skin layers. You can specify the number of onion skin layers when you first open a frame stack, or create a movie. To change the number of onion skin layers, you must close the file and reopen it.
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animating with layers. Adding multiple layers allows you to make more complex animations. You can also group layers and move them simultaneously, but be careful. When you leave a frame, Corel Painter drops the layers in that frame. When a layer is dropped, its contents are merged with the canvas and can no longer be accessed separately. For this reason, you may want to work from the background forward; start by animating what’s farthest from your point of view.
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Adding, deleting, and erasing frames You can add frames at the end or beginning of a movie, or in between any frames in the stack. You can also delete frames from a movie and all subsequent frames are renumbered as necessary. In addition, you can clear the frame contents, but retain the paper color. You cannot undo the actions of deleting and erasing frames, so it’s best that to create animations in small segments and then combine them when you are finished.
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This example shows a blinking eye as an animated cycle. You draw the frames once, and then repeat them. To create a clean cycle, the beginning and ending images must be the same. For example, in an animation of a blinking eye, the eye would be open at the beginning and the end. This way, when the end of one cycle is “hooked up” to the beginning of the next, the action continues smoothly. To repeat the last frame 1 In the Frame Stacks panel, click the Fast Forward button .
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Corel Painter, you can save it to the .FMR format in order to insert it into another Corel Painter movie. To insert a movie 1 Choose Movie  Insert Movie. 2 Enable an option in the Insert Movie area. 3 In the Select Movie dialog box, locate the movie you want to insert. 4 Click Open. The movie you insert must have the same frame size (width and height) as the current movie. You will also get better results if both movies use the same frame rate.
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Applying scripts to movies The Script feature 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.
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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 Window  Scripts. 3 In the Scripts panel, click the Script options button To Movie. , and choose Apply Script 4 In the Apply Script To Movie dialog box, double-click a script. Corel Painter applies that script to each frame in the stack.
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To apply a brushstroke script 1 Choose Brushes  Record Stroke. 2 Create a brushstroke in the document window. 3 Open a movie file. 4 Choose Movie  Apply Brush Stroke To Movie. Exporting movies as QuickTime You can export a movie as a QuickTime movie on either the Macintosh or Windows platform. QuickTime supports several compression schemes.
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The compression ratio is inversely proportional to image quality. The Quality slider allows you to set an optimum level between the amount of compression and image quality. For most work in Corel Painter, it is best to set the Quality slider to High. You can specify the number of frames you want displayed per second and, with some compression methods, the frequency of key frames. Key frames are used in temporal compression methods. Each key frame is stored in its entirety.
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• The Full Frames (Uncompressed) method uses no compression, so the images retain all of their quality. With a large frame size, some computers might not be fast enough to play at a high frame rate. This is the preferred format for transferring Corel Painter movies to AVI-editing applications. The compression ratio is inversely proportional to image quality.
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You must consider frame rates to know how many drawings are needed to make actions smooth, natural, and consistent throughout the project. The computer can display frames at any reasonable rate. The Frame Stacks panel provides control over frame display rates. You can preview an animation at a rate of 1 to 40 fps. To export a Corel Painter movie as an AVI movie 1 Choose File  Save As. 2 In the Save Movie dialog box, enable the Save Movie As AVI option, and specify the number of frames per second.
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To export a movie as numbered files 1 Choose File  Save As. 2 In the Save Movie dialog box, enable the Save Movie As Numbered Files option, and click OK. 3 In the Save (Mac OS) or Save Numbered File As (Windows) dialog box, choose a location and file format, enter a name for the first file, and click Save. You must begin or end the filename with a number — for example, “01Movie” or “Animation14.” To import numbered files 1 Choose File  Open.
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You can apply transparency to the animation and choose a background option. However, you must set up a selection for each frame. For more information, see “Getting started with selections” on page 544. The Disposal Method options let you specify what happens to an image after it has been displayed (and its frame delay has passed), and before the next image is displayed. The disposal method is significant only when you use transparency that differs between frames.
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6 In the Animation options area, type a value in the Frame Delay box to specify a pause (in 100ths of a second) between each frame.
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(100 hundredths of a second) by 8. The result is 100/8 = 12.5. Discard the decimal portion and enter 12 as the frame delay. Discarding the decimal is the only allowance for the time required to display each image. For a large frame size, you might want to allow more time for display. If the animation in the browser window stops playing, it’s probably finished the set number of loops. In some browsers, you can get it started again by resizing the window.
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Using scripts to automate tasks You can use scripts to speed up repetitive tasks, combine multiple or complex actions, or make an option more easily accessible.
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There are a number of ways to take advantage of scripting: • You can record a script to replace repetitive tasks. • You can use background scripts to backup up your work, which gives you the ability to revert to any stage in the project by playing the script and stopping it at the stage you want. This technique is similar to using multiple levels of undo. For more information, see “Enabling and playing background scripts” on page 817. • You can play back a script at a different resolution.
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Preview window Record and playback buttons Scripts library viewer Importing and exporting buttons Delete script button Create new script button The Scripts panel The Script options button commands to choose from. in the Scripts panel gives you several To show or hide the Scripts panel • Choose Window  Scripts. Recording and playing scripts Scripts allow you to record every action you make so you can repeat them with only one click of a button.
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different brush, color, and paper texture each time you play the script to produce different results. To prepare for a script recording session, you may find it useful to write down the individual steps that you want to perform so you don’t forget any steps while recording. However, you can edit or delete a script if you’re not satisfied with the result. For more information, see “Editing, renaming, and deleting scripts” on page 819. To record a script 1 Choose Window  Scripts.
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You can also Stop the script Click the Stop Temporarily interrupt the script Click the Pause button button. . You can also use Command + . (Mac OS) or Ctrl + . (Windows) to stop a script from playing. If the script requires brushes, papers, patterns, or other materials that are stored in alternate libraries, these libraries must be open during playback. Enabling and playing background scripts You can enable Corel Painter to automatically record background scripts.
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To play a background script 1 Choose Window  Scripts. 2 In the Scripts panel, choose a background script from the Scripts library viewer. Background scripts are listed by the date and time they were created. 3 Click the Play button . Creating resolution-independent scripts You can create a resolution-independent script that allows you to record a script that automatically adjusts to the resolution of the image in which you’re playing the script.
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If you want the resulting image to be a higher resolution than the original, create a document with proportionally larger dimensions. For example, if the original document is 500 X 500 pixels, make the new document 1000 X 1000 pixels to double the size. If the destination document has a different aspect ratio from the original, the image created by the script will be proportionally distorted. 2 In the Scripts panel, click the resolution-independent script you recorded in the Scripts library viewer.
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7 Close the dialog box. 8 In the Edit script dialog box, click Done to save the changes to the script. The open script becomes the current script and is displayed in the Scripts library viewer. If you choose another script from the Scripts library viewer, the open script does not change. You can also edit a script by exporting the script and then opening the script file in a text editor. You can export a script by clicking the Scripts options button in the Scripts panel, and then choosing Export Script.
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image is smaller than the script dimensions, only the upper-left portion of the scripted session appears in the movie. You can also apply a script to a movie. For example, you can record a script that applies the Motion Blur effect to a single image. Then, with a single command, you can apply the script to each frame of a movie. You can also use a script to set grain position in a movie.
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Importing and exporting scripts You can import and export scripts. For example, you can import a script that was created by someone else, or export a script to share it with others. Corel Painter scripts are exported as .txt files. In addition, you can import or export script libraries. For more information, see “Importing and exporting script libraries” on page 822. To import a script 1 Choose Window  Scripts. 2 In the Scripts panel, click the Import a script button .
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4 Choose the library. 5 Click Open. The imported library displays at the bottom of the panel window. To import a script created in a previous version of Corel Painter 1 Choose Window  Scripts. 2 In the Scripts panel, click the Script options button Legacy Script Library. , and choose Import 3 Choose the drive and folder where the library is stored. 4 Choose the library. 5 Click Open. The imported library displays at the bottom of the panel window. To export a script library 1 Choose Window  Scripts.
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2 In the Scripts panel, click the Script options button Library. , and choose New Script 3 In the New Library dialog box, type a name in the Save As box. 4 A header bar for the new library appears at the bottom of the library panel and its title appears in the list of available libraries. The new library also contains one swatch by default. To delete a script library 1 Choose Window  Scripts. 2 In the Scripts panel, click the Script options button Script Library.
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Printing images You can print Corel Painter images on a wide variety of printers, including PostScript, Windows Graphics Device Interface (GDI), and QuickDraw, and high-resolution imagesetters.
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To automatically resize an image to fit the page 1 Choose File  Print. 2 Click the Painter 13 tab. 3 Enable the Size to Fit Page check box. To print images larger than the page size, you must enable the Size to Fit Page check box. Printing your work In Corel Painter, you can choose various preferences for printing images.
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You can also Print to a non-PostScript printer Choose the Painter 13 tab, and enable the Color QuickDraw (Mac OS) or GDI Printing (Windows) option. Print an image to a color PostScript device Choose the Painter 13 tab, and enable the Color PostScript option. Print separations Choose the Painter 13 tab, and enable the Separations option. The output consists of four pages, one each for cyan, magenta, yellow, and black.
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The images that you save as encapsulated PostScript (EPS) files conform to the Desktop Color Separation (EPS-DCS) format. To save a file in EPS format for printing 1 Choose File  Save As. 2 In the Save Image As dialog box, choose PostScript EPSF from the Format (Mac OS) or Save as type (Windows) list box, and click Save. 3 In the EPS Save Options dialog box, enable the Hex (ASCII) picture data check box to change the data format.
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of what your final image will look like. Keep in mind that the proof is not an accurate representation of a final print produced by an offset printing process. The final output is affected by a combination of the print process, inks, and paper types used. Color management is not enabled by default. If you want to use color management while working on or printing a document, you must first set up color management for your system. For more information, see “Color management” on page 235.
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Notes for users of Adobe Photoshop If you have previously worked with Adobe Photoshop, you may notice the differences in the tools and terminology of Corel Painter. This section describes these differences and provides additional tips to help you move smoothly between these applications.
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Comparing tools in Corel Painter and Adobe Photoshop The following table lists Adobe Photoshop tools and the corresponding Corel Painter tools. Many of these tools create similar results but operate slightly differently. For that reason, we also provided a link to a corresponding help topic that describes the Corel Painter tool. Adobe Photoshop tool Corel Painter tool For more information Actions palette Scripts panel See “Displaying the Scripts panel” on page 814.
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Adobe Photoshop tool Corel Painter tool For more information Gradient tool Gradients panel See “Applying gradients” on page 693. Gradient fill, available with the Paint Bucket tool Hand tool Grabber tool See “Repositioning images” on page 72. Lasso tool Lasso tool See “Creating path-based selections” on page 546. Magic Wand tool Magic Wand tool See “Creating pixel-based selections” on page 549. Move tool Move mode of Transform See “Moving selections” on page 566.
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Adobe Photoshop element When the PSD file is opened in Corel Painter Alpha channels Alpha channels are preserved. Blending modes Most blending modes are preserved as composite methods. If no equivalent composite method exists for a particular blending mode, the blending mode is converted to the Default composite method. Color If the file does not use the RGB color model, you are prompted to convert the file to the default RGB color profile in Corel Painter.
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Corel Painter element When saved to PSD file format Impasto Most Impasto brushstrokes are preserved if you save the individual layers in the PSD file. If you drop the layers before saving, you may lose some of the Impasto information. Layers All layers are converted to standard Photoshop transparent layers. All Corel Painter layer composite methods are converted to Photoshop blend modes.
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Setting preferences Corel Painter preferences allow you to customize the program to complement your work style and to achieve optimal performance. The purpose of this section is to describe all Corel Painter preferences and, when applicable, provide references to more detailed information.
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Disable feature scaling when resizing brush Disables the Scale feature with brush size option in all areas of the application. Use legacy brush resizing control Reverts to the Corel Painter legacy dynamic onscreen brush sizing control. Brush size increment Lets you set the brush size increment value in pixels. For more information, see “Setting basic brush attributes” on page 297.
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Product update preference Description Notify me of available product updates Notifies you automatically when a product update is available for Corel Painter X3. Wacom Description Enable Multi-Touch (compatible Wacom device required) Enables support for Wacom Intuos 5 touch tablets. To access the general preferences • Do one of the following: • (Mac OS) Choose Corel Painter X3 menu  Preferences  General. • (Windows) Choose Edit  Preferences  General.
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Workspace preference Description Units Lets you choose the unit of measurement used by the application’s various sliders and other measurement options. Background Color Sets the window background color. Default View Mode - Windowed Sets the default workspace view to display all standard tools in the workspace. Default View Mode - Full Screen Sets the default workspace view to hide your computer’s desktop and view the document window without scroll bars.
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Performance preference Description Memory Usage Changes the percentage of RAM memory used by Corel Painter, which is set to 80% by default. You can dedicate as much as 100% of the memory to Corel Painter. The lowest percentage you can choose is 5%. Painter Memory Extender (Mac only) Allows Corel Painter to detect and use your Mac system’s additional memory to improve speed and performance.
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Performance preference Description Smooth objects when zooming Applies smoothing to the current view to minimize pixelation when zooming. Increase screen drawing speed when zoomed out Increases the speed at which the screen is drawn when you are viewing an image at less than 100% magnification. Enabling this option may decrease accuracy. To specify performance preferences • Do one of the following: • (Mac OS) Choose Corel Painter X3 menu  Preferences  Performance.
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Shape preference Description Colors - Wing/Bézier/Handle Sets the color of the wings, Bézier, and handles. Colors - Outline/Path Sets the color of the shape outline paths. Colors - Selected Point/Anchor Sets the color of the selected anchor points. The unselected anchor points appear “hollow.” To change shape preferences • Do one of the following: • (Mac OS) Choose Corel Painter X3  Preferences  Shapes. • (Windows) Choose Edit  Preferences  Shapes.
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Switch to cloner brushes Activates the last Cloner brush variant. Clone color Uses the current brush variant to clone the underlying color. To enable the Clone Color check box, you must disable the Switch to cloner brushes check box. Cloning preferences Description Show Edit Source Image dialog box Displays a dialog box every time you switch to the Source Image window from the clone document window.
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Authentication Code Ensures that only a legitimate user can access your copy of Corel Painter from a remote application. To change Connection preferences • Do one of the following: • (Mac OS) Choose Corel Painter X3 menu  Preferences  Connections. • (Windows) Choose Edit  Preferences  Connections.
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Web Corel Painter includes various options for creating images for the web.
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3 Choose a hex file from the list, and click Open. The selected color palette displays in the Color Sets panel. Working with posterize using color set You can use the Posterize Using Color Set option to force your image to use the default color set. Posterize Using Color Set can help make colors in your resulting image ready for delivery to the web — without a lot of dithering or shifting of colors. Posterizing means adjusting the number of color levels an image contains.
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Choosing web-friendly brushes Corel Painter includes brushes that are designed for creating images for the web, you can choose want to consider Web artists are pulled between the desire for beautiful images and the need for small image file sizes, with faster download times. Bitmapped images can be roughly divided into two general types — images with areas of flat color and continuous-tone images.
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To change the brush method and subcategory 1 Choose Window  Brush Controls  General. 2 From the Method list box, choose Cover. 3 From the Subcategory list box, choose Grainy Edge Flat Cover. The result is the current brush with a web-friendly hard edge. 4 Save your creation as a variant. For more information, see “Saving and deleting brush variants” on page 304 and “Creating and deleting brush categories” on page 306.
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A GIF with a transparent background (the airplane) is displayed over a blue background image. In Corel Painter, the method of defining transparency during GIF export is to define the transparent areas based on the content of the selected layers. The edges of the floating elements on the layers help define the transparent areas. For more information, see “Layers” on page 479. When saving to the GIF file format, you can reduce the number of colors, which translates into smaller files.
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8 In the Preview window, verify that the selected area is correctly masked and that the transparent area is correctly positioned. Transparent areas are designated with a grid. If necessary, drag in the Preview window to view all parts of the image. 9 Choose one of the following imaging methods: • Quantize To Nearest Color — causes Corel Painter to look at each pixel and pick the nearest color. This is useful when the image you are saving has broad areas of a single color.
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In Corel Painter, you can make this decision during the process of saving the image to GIF format, by using the Preview window on the Save As GIF Options dialog box. To visually reduce the number of colors 1 Choose File  Save As and name your image file. 2 Choose the GIF file format, and click Save. 3 Click OK to dismiss the layer warning, if displayed. 4 In the Save As GIF Options dialog box, in the Number Of Colors area, enable the 256 Colors option. 5 Enable the 128 Colors option.
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A rollover in the Mouse Out state (left) and the Mouse Over state (right). In effect, this creates a simple animation, and each of the separate images can be thought of as frames in that animation. For our purposes, we refer to each frame as a “state.” Corel Painter supports three possible states for each rollover: • The Mouse Out state displays the default image. Corel Painter displays it when the page first loads, and also when the pointer moves off the rollover.
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Hold down Option and click (Mac OS), or hold down Alt and click (Windows) to control alignment when duplicating layers for use in rollovers. If in doubt, check layer alignment by double-clicking each layer and verifying the Position  Top and Position  Left Fields. Make any necessary adjustments in alignment by typing numbers into these fields. Creating image maps An image map is a web feature that lets you jump to different locations by clicking on specific areas within an image.
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Client-side image mapping A client-side image map is an image that has “hotspots” directly associated with URL information. When a hotspot is clicked, the browser jumps to the page referenced by that link information. A client-side image map recognizes circular and rectangular “hotspots.” Therefore, Corel Painter treats a circular area as a circle and a rectangle as a rectangle. Oval areas are exported as rectangles. Image maps are created using layers. The size of the layer determines the clickable area.
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5 In the URL box, specify a URL to associate with this portion of your image, for example, http://www.corel.com. 6 Click OK to return to the image. 7 Deselect the layer, then define the next area of your image map. If there are two or more overlapping areas in an image map, the topmost one takes priority. 8 Export your image to the GIF or JPEG file format.
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Because server-side image mapping is becoming obsolete, be sure to read the previous section on client-side image mapping support. To create a server-side image map 1 Select or create a layer or shape in the exact place in your image where you want a link created. 2 In the Layers panel, select a layer in the Layer list. 3 Click the Layer options button , and choose Layer Attributes. 4 In the Layer Attributes dialog box, specify a name for the layer. 5 Enable the WWW Map Clickable Region check box.
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An effective web page background should be subtle and unobtrusive. This is particularly important if the background is used behind text. You can lighten patterns by using the Edit  Fade command, to make them more suitable for displaying behind text. Choose Edit  Fade to lighten the pattern. Controlling background color Using a background color closely matched to your background image takes no additional download time and creates a pleasing transition.
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image, effectively creating a tiled pattern. Corel Painter makes it easy to create tiling background images for use in web pages. The CSS features in modern browsers let you apply background tiles to more elements than ever before. In the past, you could apply them only to a page itself, or possibly to a table. Now, with CSS, layers or block-level elements — anything you can display on its own line in traditional HTML layout — can have a background image.
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When you’ve finished creating your tile, save the image in RIFF format, in case you must work with it later in Corel Painter. Then, save it in either JPEG or GIF format for later use on the web. Web backgrounds should, ideally, be saved as GIFs, with as few colors as possible, to reduce file size. You can also use JPEGs, but JPEGs often have larger file sizes. As a rule of thumb, any background tile over 20 KB is probably too large.
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Adding shadows Shadows lend a definite 3D flare to a web page. You can quickly add drop shadows to text, buttons, shapes, and layers. When you apply a drop shadow to a shape, the shape loses its vector quality and becomes a pixel-based layer. For more information about creating drop shadows, see “Adding drop shadows to layers” on page 509. Applying surface texture Leading the array of Corel Painter web-friendly tools, the Apply Surface Texture feature could easily become a web designer’s best friend.
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Bevel World has controls that affect the 3D bevel shape being applied, as well as controls to adjust lighting. Try experimenting with lighting controls. By changing the lighting on a bevelled surface, you can easily create different states for your web buttons. Altering lighting in the Bevel World dialog box is an easy way to create images that indicate button states. For more information about Bevel World, see “Applying the Bevel World dynamic plugin” on page 654.
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PAGE 888
Index Numerics 1-Pixel Edge brush tip profile ................348 for Hard Media ................................350 1-Rank nozzles creating ...........................................446 2-Rank nozzles building ...........................................449 creating ...........................................448 making from movies .........................454 360° brushstrokes .................................125 3D brushstrokes simulating .......................................
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Airbrush brush controls ........................366 Angle brush controls ............................ 342 Airbrush dab type .................................325 animated GIFs creating ...................................809, 852 exporting movies as ......................... 809 airbrushes ............................................281 adjusting flow ..................................128 adjusting spread ...............................127 conic sections ...................................
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Auto Van Gogh effect ...........................595 auto-cloning .........................................160 automating actions ...............................813 background scripts, auto-saving ........817 auto-painting brush size ........................................145 photos .............................................144 randomness .....................................145 restoring details ...............................147 Smart settings ..................................
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Blobs effect ..........................................596 browsing for documents (Mac OS) .......... 61 BLOCK expression operator ..................738 brush calibration .................................. 116 setting ............................................ 117 Blur tool ..............................................832 blurring Camera Motion Blur effect ...............578 Motion Blur effect ............................586 Smart Blur effect ..............................578 text ...................
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for Jitter brush variants ....................409 General ...........................................322 Hard Media .....................................362 Image Hose .....................................391 Impasto ...........................................373 Liquid Ink .......................................378 Min setting ......................................317 Mouse .............................................389 Multi ...............................................395 Rake .......................
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brush tracking ......................................116 setting .............................................117 Wacom Intuos tablet .........................82 brush variants calibrating .......................................321 copying ...........................................304 definition ...........................................20 deleting ...........................................305 exporting .........................................309 Hard Media .....................................
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aligning ...........................................124 applying ..........................................120 applying straight ..............................120 applying to selections .......................561 applying, mouse settings for .............119 applying, to movies ..........................805 blending Impasto .............................475 boosting ..........................................347 constraining ............................ 122, 837 controlling angles ............................
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size ....................................................56 texture, changing ...............................57 transferring to Watercolor layer ........412 workflow for painting .......................110 Canvas menu keyboard shortcuts for commands .......95 Channels panel description ..................................23, 38 displaying ....................................... 535 editing channels with ....................... 533 managing channels with ................... 533 Charcoal brushes ..............
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editing .............................................157 exporting .........................................157 filling areas with ..............................177 moving reference points ....................174 painting ...........................................159 rotating ...........................................170 rotating and mirroring .....................171 rotating and scaling ..........................171 rotating, scaling, and shearing ..........172 scaling ..................................
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adding to gradients ..........................701 adjusting ................................ 249, 258 adjusting for video ...........................269 adjusting levels ................................848 adjusting selected .............................261 annotating .......................................226 applying as fills ................................230 changing canvas .................................57 changing for Impasto lights ..............474 changing light .................................
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color engines, choosing .........................244 Color Expression brush controls .............405 Color Expression panel displaying ........................................405 color expression, setting ........................228 color fills applying ..........................................230 applying pixel-based .........................231 color management ................................235 assigning color profiles .....................242 color policies ....................................
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color sets adding colors to ...............................224 adding Mixer swatches to .................218 choosing colors from .........................221 creating ...........................................223 customizing layout ...........................222 deleting colors from .........................225 displaying color names .....................223 displaying, for weaves .......................729 editing .............................................224 exporting ................................
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Composition panels description .................................. 38, 39 composition tools ............................. 27, 28 working with ...................................179 compound shapes .................................773 creating ...........................................774 releasing ..........................................774 compression support for LZW ...............................61 Computed Circular brush controls .........362 Computed Circular dab type .................
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Cover brush methods ............................331 Custom tile controls ............................. 600 crayons ................................................282 Custom Tile effect ................................ 597 Crop tool ...............................................25 constraining to a square ......................73 cropping images with .........................73 setting aspect ratio .............................73 customizing brushes ...........................................
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damping brushstrokes ...........................390 Difference composite method ................ 516 Darken composite method ....................516 Difference merge mode ........................ 338 Darken merge mode .............................338 diffusion, adjusting Digital Watercolor .......................... 417 Real Watercolor .............................. 355 Real Wet Oil ................................... 361 watercolor ....................................... 377 darkening image tone ....
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presets, choosing ..............................194 presets, creating ...............................194 presets, deleting ...............................194 settings ............................................193 settings, saving as presets .................194 showing ...........................................192 dodging ............................................... 270 Divine Proportion panel ..........................38 using ...............................................
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Drip brush methods ..............................331 deleting ........................................... 649 Equalize, creating ............................ 657 Glass Distortion, creating ................. 658 Kaleidoscope, creating ..................... 660 Liquid Lens, creating ........................ 663 Liquid Metal, creating ...................... 668 Posterize, creating ........................... 675 Drop Shadow tool .................................832 drop shadows adding to layers .............
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using luminance ...............................575 Effects menu keyboard shortcuts for commands .......97 elements Esoterica effect .................................605 placing ............................................605 Elliptical Marquee tool ..........................832 emailing images .....................................80 embedding color profiles .......................240 embossing effects ..................................621 endpoints, joining .................................
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script libraries ......................... 273, 822 selection libraries ..............................273 shapes .............................................777 texture libraries ................................273 weave libraries .................................273 workspaces ................................. 46, 47 Express Texture effect ...........................634 expression brush settings .......................317 expression operators ..............................737 precedence ordering of ......
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patterns ...........................................677 setting attributes for shapes ..... 758, 761 undoing ...........................................232 Filter Gallery ........................................832 fingerwheel adjusting flow with ..........................128 adjusting mouse settings for ..............120 Flat brush tip profile .............................349 Flat dab type ........................................325 Flat Rake brush tip profile .....................349 flattening images ...
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resizing ............................................780 freehand lines, drawing ......................... 121 foreground color vs Main Color ...............50 freehand selections ............................... 548 fractal patterns converting to paper texture ...............691 creating ...........................................688 creating, controls for ........................688 in tiles .............................................861 freehand shapes, drawing ......................
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saving ................................................79 transparent ......................................850 Glass Distortion effect ..........................583 controls ...........................................586 replacing image colors with .............. 696 saving ............................................. 703 setting color variability based on ....... 404 spiral, adjusting ............................... 698 two-point, creating .......................... 700 types of .......................
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Grid Paper effect ..................................601 gridlines printing ...........................................199 grouped layers adding layers to ...............................503 closing .............................................503 collapsing ........................................504 creating 1-Rank nozzles from ............446 creating transparent GIFs from .........851 naming ............................................488 opening ...........................................
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Hue composite method .........................517 Hue merge mode ..................................338 Hue Shift slider ....................................261 I icons creating for brushes ..........................307 Image Hose ..........................................287 brush controls for .............................391 changing indexing rules ....................442 creating 1-Rank nozzles ....................446 creating 2-Rank nozzles ....................448 creating 3-Rank nozzles ...............
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creating gradients from ....................702 creating patterns from ......................683 cropping ............................................73 dodging ...........................................270 emailing ............................................80 equalizing ........................................264 erasing areas ....................................123 fitting to page ..................................826 fitting to printed page ......................825 flattening ........................
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brush categories ...................... 309, 311 brush libraries ..................................309 brush variants ..................................309 color set libraries ..............................273 color sets .........................................221 custom palettes ..................................45 flow map libraries .............................273 gradient libraries ..............................273 image libraries .................................273 legacy libraries ..................
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Kaleidoscope tool ...................................27 using ...............................................185 kerning text .........................................781 key sets ..................................................89 managing ..........................................90 keyboard shortcuts .................................87 closing a document ............................81 creating key sets from .........................89 dynamic brush resizing .....................300 for adjuster tools ..
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adding to groups ..............................503 adding to Image Portfolio panel ........528 aligning ...........................................497 animating with ................................798 applying gradients to .......................694 beveling ..........................................655 blending, with composite methods ....510 burning ...........................................651 composite methods ..........................525 composite methods, changing ...........
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layers libraries ........................................45 Layers menu keyboard shortcuts for commands .......96 Layers panel deleting layers with ..........................486 description .................................. 23, 37 displaying ........................................485 selecting transparency masks from ....522 understanding ..................................483 Layout Grid .........................................179 hiding .............................................180 moving ...........
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adjusting properties ..........................614 ambient ...........................................614 applying presets to ...........................612 applying to textures .........................626 brightness ........................................614 color for Impasto ..............................473 controlling direction of .....................613 effects ..............................................611 elevation ..........................................614 exposure .........................
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renaming resources ...........................277 main color, choosing ............................. 204 Looks library panel .................................................36 Make Mosaic dialog box ....................... 706 luminance adjusting colors using .......................258 creating texture with ........................619 generating channels from ..................531 mapping gradients to .......................696 using with effects .............................
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media pooling ......................................125 Media Selector bar accessing ............................................29 orientation .......................................840 media source, choosing .........................334 Medium brush tip profile ......................348 for Hard Media ................................349 memory usage preferences .............................841 Memory Extender for Mac ............................................841 menu bar, description ...................
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creating color sets from pad ..............218 description .........................................23 displaying ........................................212 loading colors ..................................219 loading pad ......................................219 mixing colors in ...............................214 opening images in ............................216 painting from ...................................215 resetting colors .................................218 resizing .............................
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erasing frame contents ......................800 erasing frames ..................................800 exporting, as numbered files .............809 file formats ......................................794 getting started with .........................792 importing numbered files .................809 inserting ..........................................801 inserting movies within ....................802 modifying ........................................796 navigating .......................................
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new patterns ......................................11 Perspective Guides .................... 11, 186 reference image ......................... 10, 112 set max colors for color sets ........ 12, 223 show onion skin ........................ 12, 797 Smart Brush Settings ................. 11, 301 transform across layers ............... 12, 495 creating from movies ....................... 454 designing Image Hose ..................... 443 editing in libraries ............................ 453 Image Hose .......
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pattern painting ...............................681 setting for brushes ............................299 setting for layers ..............................508 setting for strokes .............................337 setting for text .................................783 opacity brush controls ...........................334 operators, expression .............................737 Options bar, Painter equivalent ...............49 options buttons accessing for panels ............................
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shapes .............................................768 troubleshooting ................................131 with 360° brushstrokes .....................125 with airbrushes ................................126 with airbrushes, spread settings for ....127 with media pooling ..........................125 with multiple colors .........................228 with patterns ...................................679 with perspective ...............................186 with stylus vs. mouse ........................
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importing and exporting ...................273 modifying display of .........................276 moving resources .............................277 removing .........................................274 renaming resources ...........................277 Papers panel .......................................... 36 description ........................................ 23 Paper Libraries panel ..............................36 description .........................................23 path aligning brushes to .......
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adjusting appearance ........................679 applying ..........................................677 creating ...........................................682 creating seamless ..............................685 editing .............................................682 filling channels with .........................540 fractal ..............................................688 from images .....................................683 from scratch .....................................683 from selections ...........
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pixels per inch ........................................58 definition ...........................................20 vs dots per inch ..................................56 Place Elements effect ............................605 placing elements ..........................................605 files ............................................ 59, 61 planes, kaleidoscope controlling display of ........................186 hiding .............................................185 planes, mirror controlling display of .
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presets, canvas ........................................58 displaying ......................................... 30 docking ............................................. 31 moving ............................................. 31 opening ............................................. 31 resetting tools with ............................ 31 pressure, brushstroke ............................119 previewing brush dabs .......................................319 brush sizes .......................................
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Rake brush controls ..............................392 settings for ...................................... 458 RAM preferences .......................................841 RealBristle panel .................................. 458 Bristle Length setting ...................... 459 Bristle Rigidity setting ..................... 459 Fanning setting ............................... 460 Friction setting ................................ 460 Height setting ................................. 460 opening ...............
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moving ............................................112 sampling colors from ........................112 zooming ..........................................112 reference layers .....................................482 committing ......................................527 creating ...........................................526 modifying ........................................526 resizing ............................................526 rotating ...........................................527 scaling ............
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selections .........................................558 text ................................................. 782 REVERSE expression operator ...............746 rotoscoping .......................................... 802 Reverse-Out composite method .............512 Rubber Stamp tool ................................. 27 cloning with .................................... 163 Reverse-Out merge mode ......................339 RGB converting from CMYK to ...............241 specifying default color profile .
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saturation adjusting .........................................258 Saturation composite method ................517 Saturation merge mode .........................339 Saturation slider ...................................261 saving Adobe Photoshop files ........................80 Adobe Photoshop files, notes on ........834 background scripts automatically ......817 brush looks ......................................312 brushstrokes ....................................130 clone source images ....................
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scripting ..............................................813 scripts ..................................................813 adding .............................................816 applying brushstrokes to movies with 803 applying to movies ...........................803 auto-recording .................................838 auto-saving ......................................838 auto-saving background ...................817 converting to movies ........................820 creating for movies ......................
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adding to .........................................564 anti-aliasing .....................................561 applying gradients to .......................694 beveling ..........................................655 burning ...........................................651 circular, making ...............................546 combining .......................................554 combining with alpha channels .........557 contracting ......................................563 converting pixel-based to path-based .
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selectors .................................................28 separations, printing .............................827 Serigraphy effect ...................................644 server-side image maps .........................857 creating ...........................................858 Shadow Map composite method ............512 Shadow Map merge mode .....................339 shadows adding to layers ...............................509 adding to text ..................................783 adding to Web buttons ....
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sizing brushstrokes ....................................340 canvas ...............................................56 Hard Media .....................................430 page ..................................................57 Soft Light composite method ................ 515 Sketch effect .........................................645 softening focus ............................................... 588 selection edges ................................. 560 skewing reference layers ..........................
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erasing in straight lines with .............123 Woodcut ......................................... 639 straight lines drawing ...........................................121 surface lighting adjusting Impasto depth .................. 475 adjusting intensity and brightness ..... 475 Impasto ..................................468, 473 stretching text ......................................782 Stroke Jitter brush controls ...................385 Stroke Selections command using with mosaics .....................
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temporal color palette choosing color with ..........................207 displaying ........................................207 using ...............................................206 terminology Painter ..............................................19 vs. that of Adobe Photoshop .............831 tessellation mosaics ...................... 705, 721 changing tile color ............................726 coloring ...........................................721 creating ...........................................
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filling selections with ........................719 pattern fills ......................................678 removing from mosaics .....................709 rendering into masks ........................717 re-rendering .....................................719 selecting for mosaics .........................709 selecting in mosaics ..........................710 using to create seamless patterns .......685 tiling clones ..............................................168 images ....................................
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duplicating selections .......................567 locked layers ....................................497 moving selections .............................566 reference point, setting .....................565 rotating selections ............................568 sampling .........................................174 scaling selections ..............................568 skewing selections ............................570 when cloning ...................................165 transforming duplicated shapes ..............
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UPDOWN expression operator .............744 UPTO expression operator ....................741 using Expression with ........................ 82 using Min Size with ........................... 82 V Wacom Intuos 5 Multi-touch ....................................... 83 value adjusting .........................................258 Value slider ..........................................261 warp expressions color, defining ................................. 735 defining .........................................
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deleting resources .............................277 importing and exporting ...................273 modifying display of .........................276 moving resources .............................277 removing .........................................274 renaming resources ...........................277 Weave Selector, accessing .......................29 weaves .................................................727 applying ..........................................727 color sets, displaying ...................
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starting with a sketch .......................109 starting with blank canvas ................110 workspace tour .......................................19 for Adobe Photoshop users .................49 workspaces components of ...................................19 creating .............................................46 creating and deleting ..........................46 customizing .......................................46 exporting ...........................................47 importing .....................