Copyright 2014 Corel Corporation. All rights reserved. Corel® Painter® 2015 User Guide The contents of this user guide and the associated Corel Painter software are the property of Corel Corporation and its respective licensors, and are protected by copyright. For more complete copyright information about Corel Painter, please refer to the About Corel Painter section in the Help menu of the software.
Contents Welcome to Corel Painter..................................................................................................................... 1 Using the documentation.....................................................................................................................1 Adjusting the Help window text size.................................................................................................... 4 Additional resources...........................................................
Displaying the property bar................................................................................................................ 39 Exploring the Navigator panel............................................................................................................ 40 Displaying the Brush Selector bar and the Brush library panel.............................................................41 Displaying the command bar.............................................................................
Cropping images................................................................................................................................ 85 Resizing images and the canvas......................................................................................................... 86 Saving and backing up files............................................................................................................... 88 Choosing a file format..............................................................
Window menu commands............................................................................................................... 111 Screen navigation............................................................................................................................. 112 Panel navigation............................................................................................................................... 112 Panel menu commands..............................................................
Erasing image areas......................................................................................................................... 141 Aligning brushstrokes to paths and shapes...................................................................................... 142 Letting media pool........................................................................................................................... 143 Making 360° strokes......................................................................
Setting cloning preferences.............................................................................................................. 172 Working with multiple clone sources................................................................................................173 Editing, updating, saving, and exporting clone source images.......................................................... 174 Painting in the clone...........................................................................................
Showing or hiding Color panel components.....................................................................................221 Using the temporal colors palette.................................................................................................... 222 Changing the paper color................................................................................................................ 223 Sampling colors from images.............................................................................
Applying a color as a fill.................................................................................................................. 242 Limiting and preventing leakage.......................................................................................................244 Color management........................................................................................................................... 247 Understanding color management.......................................................
Posterizing an image........................................................................................................................ 278 Applying video legal colors...............................................................................................................279 Dodging and burning.......................................................................................................................279 Libraries..........................................................................
Importing and exporting brush libraries, categories, and variants..................................................... 317 Saving a brush look......................................................................................................................... 321 Creating brush dabs......................................................................................................................... 321 Adjusting brushes with brush controls..............................................................
Hard Media controls.........................................................................................................................373 Bristle controls..................................................................................................................................374 RealBristle controls........................................................................................................................... 375 Static Bristle controls...............................................
Watercolor.........................................................................................................................................423 Working with the Watercolor layer...................................................................................................424 Watercolor brushes and paper texture interaction............................................................................ 425 Working with Real Watercolor brushes............................................................
Previewing Hard Media dabs............................................................................................................ 463 Markers............................................................................................................................................. 465 Getting started with markers............................................................................................................465 Customizing markers.............................................................
Using Liquid Ink controls..................................................................................................................498 Impasto............................................................................................................................................. 501 Applying, displaying, and clearing impasto.......................................................................................501 Adjusting and creating Impasto brushes.............................................
Painting on layers.............................................................................................................................539 Preserving layer transparency............................................................................................................541 Adjusting layer opacity..................................................................................................................... 542 Adding drop shadows to layers..................................................
Editing channels............................................................................................................................... 571 Selections and transformations.........................................................................................................577 Getting started with selections......................................................................................................... 578 Creating path-based selections......................................................
Common options for effects.............................................................................................................609 Fading effects................................................................................................................................... 609 Applying recently used effects.......................................................................................................... 610 Changing effects with open panels.................................................
Applying the Maze effect................................................................................................................. 639 Placing elements...............................................................................................................................640 Applying the Pop Art Fill effect........................................................................................................ 642 Using lighting and surface texture effects........................................
Applying the Sketch effect............................................................................................................... 676 Dynamic Plug-ins...............................................................................................................................679 Getting started with dynamic plug-ins..............................................................................................680 Modifying and deleting dynamic layers...................................................
Gradients...........................................................................................................................................723 Applying gradients........................................................................................................................... 723 Replacing image colors with gradient colors.....................................................................................726 Adjusting gradients...............................................................
Defining warp and weft color expressions........................................................................................ 765 Designing the tie-up.........................................................................................................................766 Reference: Expression operators........................................................................................................768 Shapes.........................................................................................
Adding text....................................................................................................................................... 811 Adding text to images......................................................................................................................811 Formatting text.................................................................................................................................812 Aligning text.........................................................
Repeating frames............................................................................................................................. 831 Inserting movies............................................................................................................................... 832 Rotoscoping..................................................................................................................................... 833 Applying scripts to movies...........................................
Saving files in EPS format for printing.............................................................................................. 858 General notes on printing................................................................................................................ 859 Notes for users of Adobe Photoshop............................................................................................... 861 Comparing terminology in Corel Painter and Adobe Photoshop........................................
Creating web buttons.......................................................................................................................889 Index.................................................................................................................................................
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Welcome to Corel Painter Corel® Painter® 2015 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.
The Help is also provided as a PDF file, which is available online. In addition, you can refer to the Corel Painter 2015 Getting Started Guide, which provides general overviews about Corel Painter features and presents the most commonly used procedures. Documentation conventions The following table describes the conventions used in the Help.
Convention Description Example Panel tab The panel tab appears at the top of a panel. You can click a panel tab to expand that panel. Panel options menu Clicking the panel options menu button displays a pop-up 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.
To use the Help 1 Choose Help Corel Painter 2015Help (Mac OS) or Help topics (Windows). 2 Perform a task from the following table. 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.
• To increase the zoom level, press Ctrl and + (Windows), or Command and + (Mac). • To decrease the zoom level, press Ctrl and - or Command and - (Mac). To adjust the size of text in Internet Explorer • In the Internet Explorer browser, do one of the following: • To increase the zoom level, press Ctrl and +. • To decrease the zoom level, press Ctrl and -. 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 +.
Corel Cinco for Painter Corel® Cinco™ for Painter® is a companion app that lets you control Painter remotely from your iPad by opening and using any custom palettes that you created in Corel Painter. You can download Corel Cinco for Painter from the Apple App Store. Corel Cinco for Painter lets you display only one custom palette at a time, but you can quickly switch between palettes. Corel Cinco for Painter displays five palette controls per screen.
2 Enable the Allow companion application to connect to Painter check box. 3 Type a name in the Service Name box to give your copy of Corel Painter a unique name. We recommended that you do not enable the Allow companion applications to connect to Painter check box before the companion application is available. To use Corel Cinco for Painter with Corel Painter, you must have iTunes or Bonjour (Windows only) installed.
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What’s new in Corel Painter 2015 Corel Painter takes you far beyond what’s possible in a traditional art environment.
factors, such as pressure, bearing, tilt or velocity. Or you can let them run free, with beautiful, unpredictable results. You can quickly get to work with Particle brushes by choosing the New Brushes user interface arrangement, which displays all palettes and controls related to the Particle brushes. For more information, see “Particle brushes” on page 431. Particle brushes were used to create the sparks and wisps of smoke in this image.
Angle Jitter applied to a brushstroke without Jitter Smoothing (top) and with Jitter Smoothing (bottom). Opacity Jitter applied to a brushstroke without Jitter Smoothing (top) and with Jitter Smoothing (bottom) Enhanced speed and performance Speed and performance enhancements let you focus on your art and forget about technology.
Enhanced brush tracking Because each artist uses a different strength or pressure level in a stroke, the enhanced Brush Tracking utility helps calculate the appropriate settings for pressure and velocity. The new visual power curve helps you control universal application pressure-sensitive memory and instantly apply the settings to the current brush variant. There are default pressure curves to choose from, or you can tweak the curve and save it as a preset.
Fresh new content You can add an extra special touch to your artwork with new, freshly inspirational papers, nozzles, images, patterns, weaves, gradients and more. Some of the updates are designed specifically for different types of digital artists, so whether you're an illustrator or photo artist, you can be sure to find compelling content to work with. Mobile art that moves you Corel Painter 2015 lets you paint on the go, so you can create anytime, anywhere.
What was new in Corel Painter X3? If you are migrating to Corel Painter 2015 from Update 2 of Corel Painter 12, you may not be aware of the features and enhancements that were added in Corel Painter X3. These features and enhancements are also available in Corel Painter 2015. A platform for inspiration, creativity, and reflection Brush search Helps you find the perfect brush by performing a search.
Inspirational Mixer Pads Lets you choose colors from a collection of original mixer pads that were created for you by expert Corel Painter artists. For more information, see “Displaying and resizing the Mixer panel” on page 228. The innovator in digital art Jitter brushes Produces more realistic brushstrokes by introducing an increased amount of randomness. The Jitter brush variants are found under various brush categories. For more information, see “Jitter brushes” on page 419.
Smart Brush Settings with added media panel (Advanced Brush Controls) Provides you with a more intuitive way of modifying the advanced brush controls of a selected brush. For more information, see “Displaying advanced brush controls dynamically” on page 310. Perspective Guides Allows you to accurately draw in one, two or three-point perspective by using preset guides. The Perspective-Guided Strokes constrain your strokes to direct them towards the vanishing points.
For more information, see “Using onion skinning” on page 829. Performance Memory Extender Lets you take advantage of more of your Mac systems’s available RAM by letting you control how much RAM you want to designate to Painter. This features was introduced in Painter 12.2.1. For more information, see “Performance preferences” on page 871.
Corel Painter 12 brush control panels Corel Painter X3 brush control panels General panel General panel (Modified) Stroke Attributes panel (New) Opacity panel (New) Grain panel (New) Size panel Size panel (Modified) Bristles panel (New) Multi panel (New) 18 | Corel Painter 2015 User Guide
Corel Painter 12 brush control panels Spacing panel Corel Painter X3 brush control panels Spacing panel (Modified) Smoothing panel (New) What was new in Corel Painter 12 Updates 1 and 2 If you are migrating to Corel Painter 2015 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 2015.
For more information, “Creating and deleting brush categories” on page 315. Saving brush variants Allows you to quickly save the custom brush variants that you create. For more information, “Saving and deleting brush variants” on page 313. Moving brush variants Allows you to easily drag variants between categories. For more information, “Copying and moving brush variants” on page 312. Deleting Workspaces Allows you to delete custom Workspaces from within the application.
Corel Painter 12 Update 2 Features Flow Maps Introduces an additional textured surface for working with Real Watercolor and Real Wet Oil brushes that help you direct the flow of paint. For more information, see “Applying and adjusting flow maps” on page 449. Vertical docking of panels Allows you to vertically dock panels in the document window. For more information, see “Rearranging panels and palettes” on page 49.
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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.
Corel Painter terms Before you get started with Corel Painter, you should be familiar with the following terms. 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.
Term Description Rendered dab type The rendered dab type produces continuous, smooth-edged strokes. For example, Camel Hair and Airbrush use the rendered dab type. Dab-based dab type The dab-based dab types produce brushstrokes that are made up of tiny dabs of color that are closely spaced together so they appear smooth. Panel A panel is a single tabbed container that displays commands, controls, and settings for a specific feature. Panels reside in a palette.
Term Description cloning, but, unlike cloning, it does not create a separate document that stores clone sources. Composite method A composite method, which is similar to blend modes in Adobe Photoshop, lets you change how a layer blends with an underlying image. 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 Android Jones) Part Description 1.
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. Brush Search bar Lets you quickly search the content of the currently selected brush library to find brushes that match a specific description.
Part Description 10. Layers panel Lets you manage the hierarchy of layers and includes controls for creating, selecting, hiding, locking, deleting, naming, and grouping layers 11. A custom brush button This custom brush button shows the brush as a stroke instead of a brush category, helping you recognize the brush variant. 12. A custom palette Custom palettes give you easy access to controls that you use often.
Workspace layout Description Simple Displays minimal user interface that includes the toolbox, the menu bar, and a command bar that contains shortcuts to commonly used commands. This layout is ideal for small screens. Photo Art Displays palettes commonly used by photo artists, providing optimal setup for cloning photos, textures, and paintings Illustration Displays palettes commonly used for creating illustrations Default The default workspace layout that works well for most computers.
• Reposition the display panel of your dual- or multi-mode device (for example, from Notebook mode to Tablet mode). • Choose Window Arrange Palettes Quick Switch Toggle Layout. You can switch between factory workspace layouts or custom workspace layouts that you created. For information about creating and saving custom workspace layouts, see “Rearranging panels and palettes” on page 49.
Tool Description or clone. The property bar shows options for the areas that you can fill and the media that you can use. For more information, see “Working with color fills” on page 241. The Eraser tool lets you remove unwanted areas from an image. For more information, see “Erasing image areas” on page 141. Selection tools The Layer Adjuster tool is used to select, move, and manipulate layers. For more information, see “Displaying the Layers panel” on page 517.
Tool Description information, see “Creating path-based selections” on page 580. The Magic Wand tool lets you select an area of similar color by clicking or dragging in an image. For more information, see “Creating pixel-based selections” on page 583. The Selection Adjuster tool lets you select, move, and manipulate selections created with the Rectangular, Oval, and Lasso selection tools and selections converted from shapes. For more information, see “Preparing selections for transformations” on page 600.
Tool Description The Text tool creates text shapes. Use the Text panel to set the font, point size, and tracking. For more information, see “Adding text” on page 811. The Shape Selection tool is for editing Bézier curves. You use the Shape Selection tool to select and move anchor points and adjust their control handles. For more information, see “Selecting a shape” on page 791. The Scissors tool lets you cut an open or closed segment.
Tool Description information, see “Painting in the clone” on page 176. 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 179. The Dodge tool lets you lighten the highlights, midtones, and shadows in an image. For more information, see “Dodging and burning” on page 279. The Burn tool lets you darken the highlights, midtones, and shadows in an image.
Tool Description composition method. For more information, see “Using the Divine Proportion tool” on page 208. The Layout Grid tool lets you divide your canvas so that you can plan your composition. For example, you can divide your canvas into thirds vertically and horizontally to use the compositional rule of thirds. For more information, see “Using the Layout Grid” on page 196. The Perspective Guides tool lets you display guides using one, two or three-point perspective.
Tool Description the main color, and the back swatch displays the additional color. For more information, see “Choosing colors from the Color panel” on page 218. The Paper Selector opens the Papers panel. From the Papers panel, you can choose a paper texture to alter the canvas surface and achieve more realistic results when applying brushstrokes. For more information, see “Working with paper texture and grain” on page 151. The View Mode selector allows you to switch between Full Screen and Windowed.
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. To access tools grouped in flyouts 1 In the toolbox, click and hold the tool icon whose flyout you want to open. A flyout menu of the entire group of related tools appears. 2 Click the tool that you want to use. The tool you’ve chosen appears in the toolbox. To move the toolbox • Drag the toolbox header bar to a new location in the application window.
To open or close the Media Selector bar • Choose Window Media Selector. You can also close the Media Selector bar by clicking the close button on the header bar. To move the Media Selector bar • Drag the Media Selector bar header to a new location in the application window. To change the Media Selector bar display 1 Do one of the following: • (Mac OS) Choose Corel Painter 2015 Preferences Interface. • (Windows) Choose Edit Preferences Interface.
To move or dock the property bar • Perform a task from the following table. To Do the following Move the property bar Drag the property bar’s header bar to a new location. Dock the property bar Drag the header area of the property bar, and place it under the menu bar. The property bar snaps into place. To reset the default tool settings • Click the Reset Tool button on the property bar. The Reset Tool button on the property bar has the same icon as the selected tool in the toolbox.
The Navigator’s canvas preview allows you to view the entire image even when you’re zoomed in. The Navigator lets you enable various tools such as the drawing modes, Impasto information, tracing paper, grids, and color management. The Navigator panel also displays document information such as the X and Y coordinates and the cursor position to help you navigate the image. You can also view document width, height, and resolution.
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.
To Do the following Move the Brush Selector bar Drag the Brush Selector header bar to a new location in the application window. Dock the Brush Selector bar Drag the Brush Selector header bar to the edge of the application window or a panel. The bar snaps into place. Displaying the command bar The command bar gives you quick access to commonly used commands such as starting and saving documents, undoing and redoing actions, cutting and pasting, and accessing brush tracking options.
most often or to maximize screen space. For example, you can display all color-specific panels in one color palette, or display panels individually. This palette includes three color-related panels: Color, Mixer, and Color Set Libraries. You can access a panel’s content by clicking its tabs. Corel Painter also includes the Brush controls palette, which is a preset palette that groups all panels that contain brush-related settings.
Panel Description Advanced Brush Controls panel Generates a grouping of brush control panels that are relevant to the currently selected brush. For more information, see “Displaying advanced brush controls dynamically” on page 310. Color panels Color Lets you choose main and additional colors for painting in Corel Painter documents. For more information, see “Choosing colors from the Color panel” on page 218. Mixer Lets you mix and blend colors as you would on an artist’s palette.
Panel Description Image Portfolio and Selection Portfolio Contain all images or selections in the current library. You can view the items as thumbnails or in a list as well as preview the current item. For more information, see “Storing layers as images in the Image Portfolio” on page 561 and “Working with the Selection Portfolio” on page 592.
Panel Description Reference Image panel Lets you display an inspirational image in the document window while maintaining focus on the canvas. For more information, see “Displaying reference images” on page 133. Layers and Channels panels Layers Lets you preview and arrange all layers in a Corel Painter document. You can use Dynamic Plug-ins, add new layers (including Watercolor and Liquid Ink layers), create layer masks, and delete layers.
Panel Description more information, see “Auto-painting photos” on page 162. Restoration Lets you fine-tune a painting by providing brushes that help you restore detail. This panel is used in the third step of the photo-painting process. For more information, see “Restoring detail to paintings” on page 165. Composition panels Divine Proportion Lets you customize the Divine Proportion guide — a tool that helps you plan a layout according to a classic composition method.
Rearranging panels and palettes You can rearrange the display of panels to better match your workflow. For example, you can group taskrelated panels together in one palette. At any time, you can further customize these palettes by adding or removing a panel, repositioning a panel, or moving a panel to another palette. You can easily display a panel when you need it, and you can quickly close a panel when you’re done.
To group panels into palettes • Perform a task from the following table. To Do the following Group panels into a palette Drag a panel by its tab to another open panel to create a group. Add a panel to a palette Drag the panel tab to the palette. Remove a panel from a palette Drag the panel tab out of the palette. Reposition a panel in a palette Drag the panel tab to a new location in the palette. To hide or show a panel or palette • Perform an action from the following table.
To expand or collapse a panel • Double-click the panel tab. To resize a panel or palette • Perform a task from the following table. To Do the following Resize a panel or palette proportionally Point to the lower-right corner of the panel or palette. When the cursor changes to a doublesided arrow, drag the panel or palette to resize it. Resize a panel or palette vertically Point to the lower edge of the panel or palette.
To Do the following Dock a panel Drag the panel tab to the vertical edge of the application window. The panel snaps into place when it lines up with the edge. Undock a panel Drag the panel tab away from the application window. If there’s not enough space along the vertical edge of the application window (for example, if you have a lot of expanded palettes), you may not be able to dock a panel or a palette. Collapse one or multiple panels to create sufficient space for docking.
Creating and modifying custom palettes Corel Painter lets you create custom palettes that contain only the features that you want so you can quickly access them. For example, you can place items from the Brush library panel or any of the Media library panels in a custom palette. 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.
To open or close a custom palette • Perform a task from the following table. 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.
2 Perform a task from the following table. To Do the following Use a custom icon Choose Set Custom Icon, and locate the image you want. Display a text label for each item Choose Text View. Display an icon for each item Choose Icon View or Wide Icon View. To change the size of the icons, click the Options button in the custom palette, and choose Small Icons or Large Icons. Managing custom palettes You can manage your custom palettes in the Custom Palette Organizer.
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. 2 In the Custom Palette Organizer, choose a palette from the Custom Palette list. 3 Click Import. 4 In the Open Palette File dialog box, choose the file where the custom palette is saved. 5 Click Open. Only custom palette files created with version 8.1 or later are supported by Corel Painter.
The Paper Libraries panel lets you choose, organize, and apply paper textures. Creating, importing, exporting, and deleting workspaces Corel Painter lets you completely customize your workspace to suit your workflow needs. You can customize Brush libraries, Paper libraries, and Portfolios and save these changes to use later. In addition, you can easily create multiple workspaces, each with different libraries and portfolios.
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. Corel Painter lets you modify the default workspace, so this workspace may eventually differ from the factory default workspace.
• Color Management presets • Perspective Guides, Layout, and Divine Proportion presets Before restoring the Corel Painter default workspace, we recommend that you export any libraries that you want to preserve. For example, if you created custom brushes, you can export the brush library. For more information, see “Importing and exporting libraries” on page 281. To restore Corel Painter to its default factory settings 1 Hold down Shift and start Corel Painter.
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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.
Brush Selector bar On the far left of the property bar is the Brush Selector bar, which lets you open the Brush library panel. The Brush library panel contains the amazing brush categories and brush variants of Corel Painter, such as the Real Watercolor Brushes category and its variants. 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.
Color panel In Corel Painter, you can resize the Color panel by dragging the handle in the lower-right 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. You can access additional rich paper textures by clicking the Paper Selector from the toolbox, or from the Paper Libraries panel (Window menu Paper Panels Paper Libraries).
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.
tablet and has used these electronic tools since they were first released. Her artwork has been exhibited worldwide, her articles and art have been published in many books and periodicals, and she is a member of the San Diego Museum of Art Artist Guild. She has taught Corel Painter and Adobe Photoshop workshops around the world and is the principal of the consulting firm Cher Threinen Design.
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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.
• • • • • • • • “Choosing a file format” (page 89) “Emailing documents” (page 91) “Closing documents and quitting the application” (page 92) “Using two monitors” (page 93) “Support for tablets and other devices” (page 93) “Multi-touch support” (page 93) “Wacom Intuos support” (page 96) “Drag-and-drop features” (page 97) 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.
Pixels-per-inch (ppi) is equivalent to dots per inch (dpi). 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 a preset to automatically determine the size, resolution, color of the canvas, and the paper texture. 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.
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. You can delete a canvas preset by choosing the preset name from the Canvas Preset list box and clicking the Delete button .
Pixels-per-inch (ppi) is equivalent to dots per inch (dpi). Resolution and print quality The resolution of output devices (printers) is measured in dots per inch, and in the case of halftones, lines per inch (lpi). Output device resolutions vary, depending on the type of press and paper used. In general, a photograph is output at a crisp 150 lpi if printed on glossy magazine stock, and at 85 lpi if printed on newspaper stock.
For more information, see “Working with reference layers” on page 559. 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. • Adobe Photoshop formats (PSD) — Corel Painter preserves layers, layer masks, alpha channels, and composite methods.
To browse for a document (Mac OS) 1 Choose File Open. 2 Click Browse. The Browse dialog box shows thumbnails for all the RIFF files in a folder. 3 Double-click the filename, or select a file, and click Open. To place a file 1 Choose File Place. 2 Select an image file, and click Open. The Place dialog box appears. 3 Perform a task from the following table.
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.
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 869.
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.
To Do the following 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.
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.
2 Click in the document window. 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.
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.
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 .
You can also Rotate the Canvas layer 90 degrees counterclockwise Choose Canvas Rotate Canvas 90 CCW. 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.
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.
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.
2 In the Navigator panel, click a different area of the preview area. 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 86.
Resizing images and the canvas You can change the physical dimensions of an image by resizing the canvas and the image together, or by resizing the canvas area only. It is important to understand the distinction between the two resizing techniques. 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 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 70 and “Creating documents” on page 68.
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. You can also track the changes that you make to a file by saving multiple versions of the file, also known as iterations.
• (Mac OS) Choose Corel Painter 2015 menu Preferences. • (Windows) Choose Edit Preferences. 2 In the Preferences list of categories, click General. 3 Enable the Create backup on Save check box. Choosing a file format When you save a file, you must choose a file format. The following section contains information about some of the supported file formats. Saving RIFF files RIFF is the Corel Painter file format, which retains special information about your document.
• The Progressive JPEG check box creates a progressive JPEG file. The progressive format is useful for files designed for the Web. As the name implies, the progressive format displays an image in stages — as a series of scans — while the file downloads. The first scan is a low-quality image; the following scans improve in quality. This allows the user to see the whole image quickly. • The HTML Map Options — NCSA Map File, CERN Map File, and Client Side Map File — let you generate an image map.
Transparency is displayed in the Preview window by a rectangular lattice. You can toggle between the Preview window and your Save As GIF options to the results you want. Enable the Interlaced check box if your image will be displayed on a Web page. For more information, see “Selections and transformations” on page 577. Saving RGB TIF files The TIF format facilitates exchange between applications and computer platforms.
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.
Using two monitors The Corel Painter user interface can be displayed across two or more monitors. You can drag any of the Corel Painter panels, palettes, the property bar, and the toolbox to any monitor; however, each panel or palette must be displayed entirely on one monitor at a 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.
Corel Painter multi-touch This option, available both on Mac OS and Windows, provides enhanced support for Wacom Intuos 5 tablets and other Wacom-compatible devices. You can simultaneously pan, rotate, and zoom the canvas. This provides a seamless and responsive way of positioning and navigating the canvas. For example, you can rotate and move the canvas at the same time by moving two fingers in a circular motion while simultaneously swiping them across the tablet.
Changing the finger positions from the center of the image (1) allows you to move the reference point (2). Windows multi-touch With this option, your gestures on the tablet or device behave the same way in Corel Painter as in other applications. However, you cannot use the advanced features of your Wacom-compatible device. Multi-touch disabled When the multi-touch mode is disabled, you cannot simultaneously pan, rotate, and zoom the canvas.
Wacom Intuos support Corel Painter supports the use of Wacom® Intuos® tablet, pen, and airbrush technology. Painting with an Intuos tablet and pen The Intuos tablet provides increased pressure sensitivity to help you create smooth curves, gradual transitions, and precise brushstrokes. When using an Intuos tablet with Corel Painter, you can take advantage of tilt and bearing input in exciting ways. Customizing brush tracking Every artist uses different pressure when drawing on an Intuos tablet.
Using multiple Intuos pens All Intuos pens — both standard and airbrush — feature Tool ID, which lets you configure and work with multiple pens during a Corel Painter session. For example, let’s assume you have two Intuos pens: Pen 1 and Pen 2. Pen 1 is set to an Oil brush variant; Pen 2 is set to an Artists variant. Every time you bring Pen 1 into the tablet’s proximity, Corel Painter automatically changes the active brush to the Oil brush.
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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.
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.
• • • • • • “Shape tools” (page 118) “Animation” (page 120) “Lighting” (page 120) “Layer selection tools” (page 121) “Mosaics” (page 121) “Other commands” (page 121) 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.
To Do the following Assign the shortcut to the selected command while deleting the shortcut key from the conflicting command Click Accept. Assign the shortcut to the new command and then assign another keyboard shortcut to the conflicting command Click Accept and Go To Conflict. To revert keyboard shortcuts To Do the following Revert the last keyboard shortcut you created or modified Click Undo.
To Do the following Save the active key set Click Save. In the Save Key Set dialog box, type a name for the key set in the Save As box, and click Save. Create an HTML summary of the active key set Click Export to HTML. In the Save Summary dialog box, type a name in the Save As box, and click Save. Delete the active key set Click Delete. Key set files created on the Mac OS cannot be imported into Corel Painter on Windows.
To Do the following Delete the active key set Click the Delete button . Key set files created on the Mac OS cannot be imported into Corel Painter on Windows. Likewise, key set files created on Windows cannot be imported into Corel Painter on the Mac OS. Toolbox commands Tool name Shortcut key Navigation and Utility tools Magnifier M Grabber G Rotate Page E Divine Proportion , Layout Grid / Perspective Guides (opens property bar) .
Tool name Shortcut key 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 Keyboard shortcuts | 105
Tool name Shortcut key Text T Shape object tools Rectangular shape I Oval shape J Shape edit tools Scissors Z Add point A Convert point Y Remove point X Transform tool Transform tool Option + Command + T (Mac OS) Alt + Ctrl + T (Windows) Symmetry tools Mirror tool ‘ Kaleidoscope tool Command + K (Mac OS) Ctrl + K (Windows) 106 | Corel Painter 2015 User Guide
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 Clone source Command + 6 Ctrl + 6 Navigator Command + 7 Ctrl + 7 Gradients Command + 8 Ctrl + 8 Patterns Command + 9 Ctrl + 9 Corel Painter menu commands Command Preferences General Mac OS Windows Command + , Ctrl + , Hide Corel
Command Mac OS Windows 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 + Alt + S E-mail image Option + Command + E Alt + Ctrl + E Page setup Shift + Command + P Shift + Ctrl + P Print Command + P Ctrl + P Ct
Command Mac OS Windows 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 tracking Brush Shift + Command + K Shift + Ctrl + K Canvas menu commands Command Mac OS Windows
Command Mac OS Windows Color management settings Option + Command + K Alt + Ctrl + K 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 Select menu commands Command Mac OS Windows All Command + A Ctrl + A None Command + D Ctrl + D Inve
Shapes menu commands Command Mac OS Windows Join endpoints Shift + J Shift + J Duplicate Command + ] Ctrl + ] Set shape attributes Command + [ Ctrl + [ Effects menu commands Command Mac OS Windows Last effect Command + / Ctrl + / Auto clone Command + Shift + Z Ctrl + Shift + Z Correct colors Shift + Command + K n/a Adjust colors Shift + Command + A Ctrl +Shift + A Brightness/Contrast Shift + Command + B Ctrl +Shift + B Equalize Shift + Command + E Ctrl + Shift + E Negative
Command Mac OS Windows Zoom in Command + Plus sign Ctrl + Plus sign Zoom out Command + Minus sign Ctrl + Minus sign Zoom to fit Command + 0 Ctrl + 0 Screen toggle mode Command + M Ctrl + M Actual size Command + Option + 0 Ctrl + Alt + 0 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 + c
Command Mac OS Windows Scroll contents of panel Option + click + drag Alt + click + drag Expand/Collapse all panels Shift + click on Open/Close triangle Shift + click on Open/Close triangle 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 Zo
Command Mac OS Windows New from Command + Shift + M Ctrl + Shift + M Clear Command + Shift + U Ctrl + Shift + U Command + Shift + E Ctrl + Shift + E 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
Command Mac OS Windows Load nozzle Command + L Ctrl + L Set clone source Option Alt Set clone destination Option + Shift Alt + Shift Re-link clone source Command + Option + Clone Ctrl + Alt + Clone 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 Cloners Colors Gradations Adjust spiral Paint bucket Keyboard shortcuts |
Selection tools Command Mac OS Windows Constrain to square or circle Hold down Shift after you start to drag. Hold down Shift after you start to drag.
Command Mac OS navigation or Shape tools are selected) Windows 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 Move layer by one screen pixel Arrow keys Arrow keys Hide/Display marquee Command + Shift + H Ctrl + Shift + H Attribute dialog box for curre
Command Mac OS Windows Reposition Click inside active selection, and drag Click inside active selection, and drag Duplicate Option + drag Alt + drag Move selection by one screen pixel Arrow keys, on canvas Arrow keys, on canvas Delete current selection Delete Backspace Select/Deselect mode 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/Pre
Command Mac OS Windows Shape selection tool toggle Command Ctrl Mac OS Windows Click last point Click last point Click and draw from endpoint Click and draw from endpoint Mac OS Windows Shift + click Shift + click Shift + click Shift + click Mac OS Windows Home Home Shape design tools Command Pen Add to current point Quick curve Add to current endpoint Shape objects tools Command Rectangle Constrain to square Circle Constrain to circle Shape selection tool Command Direct selection S
Command Mac OS Windows 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 Page up Page up Previous frame Page down Page down Stop at current frame Option + Stop Alt + Stop Stop and return to current starting
Layer selection tools 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 Vary color of selected tiles V V Command Mac OS Windows Add cur
Command Mac OS Windows 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 when Hold down Shift and drag the vanishing point to a new position.
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.
• “Reference: Troubleshooting” (page 149) 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.
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.
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 152 2. Choose a brush “Selecting, managing, and creating brushes” on page 287 3.
Corel Painter to match your stroke strength for all brushes by using the Brush Tracking preferences, or for a specific brush, by using the Brush Calibration controls. Brush Tracking for all brush variants Brush Tracking is particularly useful for artists with a light touch. If a light stroke leaves no color on the canvas, you can use Brush Tracking to increase sensitivity for all brushes.
Use the scratch pad in the Brush Tracking dialog box to customize how Corel Painter responds to your stroke pressure and speed. In addition, Corel Painter includes the following brush tracking presets that you can choose from: Default, Legacy, and Linear. The graph in the Brush Tracking dialog box shows how increasing the pen pressure affects brushstrokes, which are referred to as “output” in the graph.
Brush Calibration for individual brush variants The Brush Calibration controls are very useful for adjusting individual brush variants. You can modify the pressure of your stroke on the scratch pad to achieve different results. For example, you could use a light touch when sketching with a pencil brush variant, but set more pressure when using an oil paint brush variant.
To Do the following Limit brush tracking to the current brush variant Enable the Apply to current brush variant check box. To choose a brush tracking preset 1 Do one of the following: • (Mac OS) Choose Corel Painter 2015 Preferences Brush Tracking. • (Windows) Choose Edit Preferences Brush Tracking. 2 Choose one of the following presets from the Preset list box: • Default — suitable for most artists. The preset also provides a good starting point for brush tracking adjustments.
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 PressureScale and Pressure Power sliders.
Media For information Patterns “Painting with patterns” on page 711 Cloners “Painting in the clone” on page 176 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 applying brushstrokes on it. Working with layers allows you to protect the canvas from any unwanted changes. When you select a layer in the Layers panel, that layer becomes the target for your brushstrokes.
Displaying reference images In Corel Painter, you can open an inspirational photo or image that you want to reference in a painting by using the Reference Image panel. An example of displaying an image in the Reference Image panel and using it as an inspiration for a painting You can reposition or magnify the reference image while maintaining focus on your painting. In addition, you can sample a color directly from the reference image and apply it to your painting.
To move a reference image 1 In the Reference Image panel, click the Grabber tool . 2 Drag the image to a new position in the Reference Image window. To zoom in and out of a reference image 1 In the Reference Image panel, click the Magnifier tool . 2 Do one of the following: • To zoom in, click in the Reference Image window. • To zoom out, hold down Command (Mac) or Ctrl (Windows), and click in the Reference Image window.
The Brush ghost (left) gives you information about the size of your brush variant. The Enhanced brush ghost (right) gives you information about the tilt, bearing, and rotation of your pen. To choose a drawing cursor icon 1 Do one of the following: • (Mac OS) Choose Corel Painter 2015 menu Preferences Interface. • (Windows) Choose Edit Preferences Interface. 2 In the Cursor Type area, enable the Iconic option.
To set brush ghost options 1 Do one of the following: • (Mac OS) Choose Corel Painter 2015 Preferences Interface. • (Windows) Choose Edit Preferences Interface. 2 In the Cursor Type area, enable one of the following options: • Brush ghost — gives you immediate visual feedback on the cursor, showing you the shape and size of the selected brush • Enhanced brush ghost — gives you visual feedback about the brush size as well as the tilt, bearing, and rotation of the pen.
Paint with the face of a flat brush for a wide stroke; use the edge for a narrow stroke. 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.
4 Move the Bearing slider. 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.
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 .
You can also paint in a straight line by holding down Shift as you drag on the canvas. 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.
You can also undo a stroke by pressing Command + Z (Mac OS) or Ctrl + Z (Windows). 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.
You can toggle between Soft Mode and Hard Mode by holding down Option (Mac OS) or Alt (Windows) as you drag in the image window. You can erase in straight lines by clicking the Straight line strokes button on the property bar, clicking a point on the canvas where you want to start your line, and clicking where you want to end the line. 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.
If there are multiple shapes within the tolerance area, the brushstroke is aligned to the shape on the selected layer. To set the tolerance area for brushstroke alignment 1 Choose one of the following: • (Mac OS) Corel Painter 2015 menu 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.
Making 360° strokes Because there are no restrictions on bearing (stylus direction) in Corel Painter, you can create full 360° strokes with noncomputed brushes by completing an arc without 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.
Previous versions of airbrushes sprayed a thin layer of dots within an area that was always circular, like a circle of light from a flashlight that is perpendicular to a piece of paper. Now, airbrushes respond to angle (tilt), bearing (direction), and flow (fingerwheel setting) data from a stylus, allowing for a truly realistic 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.
A good range for the Spread setting is 30° to 40°. Narrow settings for Spread and Angle can cause problems. Combined with a very tilted stylus, a narrow setting for Spread can cause paint to be deposited away from the cursor. Varying edges You can vary the edges of the paint sprayed from an airbrush to achieve desired softness by selecting a brush tip profile. Each profile gives you a different edge to the paint you spray. For more information, refer to “Changing dab profiles” on page 359.
To change the size of airbrush droplets 1 Choose Window Brush Control Panels General. 2 Choose Airbrush from the Dab Type list box. 3 In the Brush palette, click the Size tab to open the Size panel. 4 In the Size panel, move the Size slider. 5 Move the Feature slider to the left for smaller droplets, or to the right for larger droplets. 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.
A brushstroke (top) is recorded and played back within a triangular selection. 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.
To save a stroke 1 Choose Brushes Save Stroke. 2 In the Save Stroke dialog box, type a name. Corel Painter adds the stroke to the list of saved strokes. To select a saved stroke • 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.
The terms “paper grain” and “paper texture” are used synonymously. 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.
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 Paper Textures library button , and clicking a paper texture swatch in the Paper Textures library panel.
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. You can also make a paper texture from the Paper Libraries panel by clicking the Make Paper button .
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.
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 in the Papers panel, and choosing Invert Paper. The green brushstroke was painted with the paper grain inverted. To scale paper grain 1 Choose Window Paper Panels Papers.
Brushstrokes on paper grains with different scale values. 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 lowercontrast paper.
If you want a uniform paper grain across an image, create your artwork first, and then apply the grain as a surface texture. If you apply paper texture before you create an image, the texture is erasable, and you cannot erase the paper texture without erasing brushstrokes at the same time. For this reason, it is usually best to add paper texture as a last step in developing your image. By default, paper grain is fixed, which means that the texture is in the same position each time you apply a brushstroke.
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.
Creating underpaintings An underpainting is a version of the photo in which you adjust the photo’s colors, tones, and sharpness. The purpose of the underpainting is to prepare it for auto-painting. For example, you can darken colors to simulate the colors used in an 18th-century painting, or you can soften colors to simulate the colors found in watercolor paintings. After adjusting these elements, you must clone the underpainting to preserve it and to prepare for autopainting.
5 In the Photo Enhance area, move any of the following sliders: • Brightness — lets you brighten or darken the photo • Contrast — lets you increase or decrease the difference in tone between the dark and light areas of the photo • Hue — lets you shift the color balance of the photo. For example, you can correct a color cast or apply a cast to create a special effect.
3 In the Underpainting panel, choose the filename for the source image from the Color Scheme list box. The underpainting is automatically updated with the color scheme from the source image. If you want to fine-tune the underpainting, you can adjust the Photo Enhance settings. 4 Click the Apply Underpainting button . To clone an underpainting • In the Underpainting panel, click the Auto Clone button .
• Pressure — lets you set a value from 0 to 100 to specify the amount of pressure with which brushstrokes are applied. This setting represents the percentage of the preset pressure for the Stroke option. • Length — lets you set a value from 0 to 100 to specify the length of the brushstrokes. This setting represents the percentage of the preset length for the Stroke option. • Rotation — lets you set a value from 0 to 360 degrees to specify the rotation of the brushstrokes.
3 Click the Play button . Brushstrokes are applied automatically. 4 Click the Stop button when you are satisfied with the results. If you do not click the Stop button, auto-painting stops at the end of the brushstroke cycle. You can also Control the speed at which brushstrokes are applied Move the Speed slider. Change the size of the brushstrokes Move the Brush Size slider. Randomize the brushstrokes Move the Randomness slider.
stroke is added to the Stroke list box. For more information, see “Recording and playing back brushstrokes” on page 147. Restoring detail to paintings After using the Auto-Painting panel to create the painting, you can use the Restoration panel to recover detail from the original photo, if necessary. For example, the Restoration panel is ideal for restoring some detail in the area of a subject’s eyes in a portrait. You can restore detail from the original photo by using brushes in the Restoration panel.
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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.
This section explains the manual process of cloning an image. The manual process involves choosing the image you want to clone (source image), creating the clone, and then setting up the workspace to start painting in the clone. However, if you prefer, you can choose a source image and let Corel Painter automatically set up the workspace for painting in the clone. For information, see “Using Quick Clone” on page 171.
When the clone document opens in the document window, you need to clear the canvas to begin painting in the clone by using the painterly technique of your choice. For more information, see “Painting in the clone” on page 176. Cloning with tracing paper Before you begin painting in the clone, you can also enable tracing paper. Tracing paper displays a fadedout version of the source image beneath the clone document, which lets you precisely apply clone colors to the canvas.
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.
To display the Source Image window and crosshair cursor 1 Choose Window Clone Source. 2 In the Clone Source panel, enable the Show Source Image (with crosshair cursor) check box. To enable tracing paper 1 Choose Window Clone Source. 2 In the Clone Source panel, click the Toggle Tracing Paper button . To use a keyboard shortcut, press Command + T (Mac OS) or Ctrl+ T (Windows). A faint rendering of the source image is displayed through the tracing paper.
• enables tracing paper • selects a cloner brush You can also change the Quick Clone preferences. For more information, see “Setting cloning preferences” on page 172. To clone an image using Quick Clone 1 Open the image that you want to clone. 2 Choose File Quick Clone. 3 In the Clone Source panel, enable the Show Source Image (with crosshair cursor) check box. 4 Apply brushstrokes to the canvas by using the selected cloner brush.
To Do the following Activate the last Cloner brush variant Enable the Switch To Cloner Brushes check box. Use the current brush variant to clone the underlying color Enable the Clone Color check box. Display a dialog box every time you switch to the Source Image window from the clone document window. The dialog box warns you that any source image editing needs to be updated, saved, discarded, or exported. Enable the Show Edit Source Image Dialog Box check box.
2 Choose Window Clone Source. 3 In the Clone Source panel, click the Open Source Image button , and choose Open Source. 4 Locate the image that you want to add as a clone source. 5 Click Open. The clone source is added to the Clone Source panel, and it’s also embedded in the document. If you want to add additional clone sources, repeat steps 3 to 5. To work with multiple clone sources 1 Choose Window Clone Source. 2 In the Clone Source panel, choose a clone source from the clone source list.
actions flattens all layers and deletes all undo levels from the image. If you want to retain the layers, you can export the source image as a new document and then update the embedded source image to continue cloning. Once the source image is exported as a new document, the relationship with the embedded source image is broken. You can also discard any changes that you make to embedded source image. To edit a clone source image 1 Choose Window Clone Source.
You can also export a clone source image by pressing Command + Shift + S (Mac) or Ctrl + Shift + S (Windows). To discard the changes made to the 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 Discard option. 3 Click OK.
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 325. 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.
To For information, see Add three-dimensional effects by applying surface texture “Using 3D brushstrokes to create texture” on page 650 Create a selection or channel “Selections and transformations” on page 577 and “Alpha Channels” on page 563 To choose a cloner brush 1 With a clone source selected, click the Cloner tool in the toolbox. The Cloners brush category and a cloners brush variant are automatically selected.
• 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 stroke 8 Choose Window Brush Control Panels Cloning. 9 In the Cloning panel, choose Normal from the Clone Type list box. The additional cloning types allow you to apply transformation to the clone. For more information, see “Applying transformations when sampling” on page 182.
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. Destination reference points determine the area where you want the sampled image to appear. To identify which area of the source document you are sampling, a crosshair cursor appears. The green dot (left) represents the sampling reference point. The red dot (right) represents the destination point.
You can also Adjust the randomized jitter of the brushstroke On the property bar, type a value in the Stroke Jitter box, or adjust the slider. You can also enable offset sampling by clicking the Cloner tool in the toolbox. You can set the destination area before painting by clicking while holding down Option + Shift (Mac OS) or Alt + Shift (Windows). A red marker indicates the destination area.
You can also 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. Control how much the brush colors smear underlying colors, including the paper color On the property bar, type a percentage in the Bleed box, or adjust the slider. Adjust bristle separation On the property bar, type a value in the Feature box, or adjust the slider. The higher the setting, the farther apart the bristle hairs will appear.
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.
Multi-point Cloners brush variant 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.
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.
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 193. To scale 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 XScale 2P brush variant.
To rotate 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 2P brush variant. When you choose the XRotate 2P brush variant, the Rotate (2) clone type is automatically selected in the Cloning brush control panel. 4 Hold down Option (Mac OS) or Alt (Windows), and set the two sample reference points.
then set the destination points at the same vertical angle but from top to bottom, the sampled image will be flipped 180 degrees. If you want to mirror the sample, without any rotation, set both the sample and destination points in the same position. 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 rotate, scale, and shear 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, Scale, Shear 3P brush variant. When you choose the XRotate, Scale, Shear 3P brush variant, the XRotate, Scale, Shear (3) 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 three sample reference points.
7 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. You can tile the sample by enabling the 4-Point Tiling check box in the Cloning brush control panel. To add perspective to the clone source 1 Click the Cloner tool in the toolbox. 2 Click the Brush Selector on the Brush Selector bar.
Using selections and transformations when sampling You can use a selection when sampling an image area in two ways: by making brushstrokes in the destination image obey the selection in the sample source image, or by copying the active selection in the sample source region. These two options can be used individually or together. These selection options require a Cloning method. They do not work for brushes of other methods that use the Clone Color button on the Color panel.
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 580. 2 Click the Cloner tool in the toolbox. 3 Click the Brush Selector on the Brush Selector bar. 4 In the Brush library panel, click the Cloners category, and click a brush variant. 5 Choose Window Brush Control Panels Cloning. 6 In the Cloning panel, enable the Clone Color check box.
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 182.
The destination points determine where the transformation occurs. By using transformed clone information, the brick pattern becomes a steep wall.
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.
Using the Layout Grid The Layout Grid provides an easy way to divide your canvas so that you can plan your composition. For example, you can divide your canvas into thirds vertically and horizontally to use the compositional rule of thirds. From the Layout Grid panel, you can access grid settings, such as the number of divisions, size, angle, color, and opacity of the grid. You can adjust these settings while you work and save them as a preset for future drawings and paintings.
In the Layout Grid panel, ensure that the Enable Layout Grid check box is enabled. 2 Perform a task from the following table. 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 . In the Size area, move the Vertical slider to set the height, and move the Horizontal slider to set the width.
3 Click Save. The preset appears in the Type list box. You can also save a preset by clicking the Layout Grid tool Add Preset button in the toolbox and clicking the on the property bar. 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 .
that contains previously applied brushstrokes, the mirrored brushstrokes blend with the colors that are already on the canvas. In addition, if you’re applying randomized brushstrokes, such as a nozzle, the mirrored brushstrokes are also randomly applied. 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.
To Do the following Disable mirror painting mode Click the Toggle Mirror Painting button on the property bar. 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.
Using the Kaleidoscope Painting mode Corel Painter lets you to transform basic brushstrokes into a colorful and symmetrical kaleidoscope image. When you paint a brushstroke in one kaleidoscope segment, multiple reflections of the brushstroke appear in the other segments. You can apply between 3 to 12 mirror planes to a kaleidoscope. You can also rotate or reposition the mirror planes to expose different colors and patterns.
To Do the following Disable the Kaleidoscope Painting mode Click the Toggle Kaleidoscope Painting button on the property bar. 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 kaleidoscope planes 1 In the toolbox, click the Kaleidoscope Painting tool .
Using Perspective Guides You can display non-printing Perspective Guides to create objects that give the impression that they are receding, or vanishing, from view. You can hide the Perspective Guides when you no longer need them. 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.
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.
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.
To control the display of the primary lines 1 In the toolbox, click the Perspective Guides tool . 2 Perform a task from the following table. 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.
To control the display of the intermediate lines 1 In the toolbox, click the Perspective Guides tool . 2 Perform a task from the following table. To Do the following Show or hide the intermediate lines On the toolbar, click the Show/Hide Intermediate Lines button . 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.
If you export your workspace, any Perspective Guides presets that you created are saved with the workspace. To delete a perspective guide preset 1 In the toolbox, click the Perspective Guides tool . 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.
To show or hide the Divine Proportion guide • Choose Canvas Compositions, and then choose either Show Divine Proportion or Hide Divine Proportion. You can also show or hide the Divine Proportion guide by clicking the Divine Proportion tool in the toolbox and clicking the EnableDivine Proportion button on the property bar. To set Divine Proportion options 1 Choose Window Composition Panels Divine Proportion. The Divine Proportion panel appears.
To Do the following Change the numbers of levels Move the Levels slider to the right to increase the number of levels. Move the slider to the left to decrease the number of levels. 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 .
To move the Divine Proportion guide 1 In the toolbox, click the Divine Proportion tool The cursor changes to a hand icon . . 2 Drag the Divine Proportion guide to a new position. 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.
To restore the origin • Double-click the box at the intersection of the rulers (upper-left corner of the document window). 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.
You can also double-click the guide’s marker to display the Guide Options dialog box, and enter a value in the Guide Position box. 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.
• Clicking with the Text tool to create a text entry point • Clicking and dragging with the Paint Bucket tool and Magnifier tool • 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.
4 Click the Grid Color chip to set the color of the gridlines. 5 Click the Background chip to set the grid’s background color. 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.
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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.
• • • • • • • • • • • • • • • • “Opening images in the Mixer panel” (page 231) “Changing and saving the Mixer color swatches” (page 232) “Saving Mixer panel colors to a color set” (page 232) “Clearing and resetting Mixer panel colors” (page 233) “Saving the Mixer pad” (page 234) “Loading color swatches and Mixer pad files” (page 234) “Working with color sets” (page 235) “Customizing the layouts of color sets” (page 236) “Creating and exporting color sets” (page 237) “Editing color sets” (page 238) “Setting
• 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. You can also set the Hue, Saturation, Value (HSV) and standard Red, Green, Blue (RGB) values for the selected color. You can also enable the Clone Color option from the Color panel. For more information, see “Cloning color” on page 224.
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. Click the front swatch to set the Main Color.
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. To switch between RGB or HSV values 1 In the Color panel, click the Color options button , and choose the available option: • Display as RGB or • Display as HSV 2 Move the sliders to adjust the values, or type new values in the boxes.
To show or hide the color information • In the Color panel, click the Color options button , and choose Color Info. A check mark indicates that it is displayed.
Keys. In the Customize Keys dialog box, choose Other from the Shortcuts list box, and click Toggle Temporal Color Palette from the Application Commands list. You can then type a new shortcut key in the Shortcut column and click OK. If you are using a Wacom tablet, you can also assign a shortcut to the stylus button. To choose a color on the temporal colors palette 1 In the Color panel, click a color on the Hue Ring.
2 Click the Dropper tool in the toolbox. 3 Move the cursor to the color that you want to sample, and click. The color swatch is updated to display the color you’ve selected. The Dropper tool picks up visible color only; it cannot be used to select a hidden color. The Dropper tool works with the Brush, Crop, Pen, Rectangular Shape, Oval Shape, Text, Shape Selection, Scissors, Add Point, Remove Point, Convert Point, and Paint Bucket tools.
You can use two colors at once in a brushstroke. To set up a two-color brushstroke 1 In the Color panel, click the Main Color (front) swatch . 2 Click a color on the Saturation/Value Triangle. 3 Click the Additional Color (back) swatch . 4 Click a color on the Saturation/Value Triangle. 5 Choose Window Brush Control Panels Color Expression. Displaying the Color Expression panel helps you determine which brush variants support two-color brushstrokes.
Exploring the Mixer panel and mixing controls The Mixer panel lets you mimic the experience of mixing colors on a traditional artist’s palette. In the Mixer panel, you can access color swatches and various tools that let you mix colors. You can then apply two or more colors to the Mixer pad, the mixing area at the center of the Mixer panel, and then blend them together to create a new color. You can save, load, and reset colors in the Mixer panel.
Mixer panel tool Description Apply Color tool Acts as a loaded paint source; applies color to the Mixer pad. Color loaded on the Apply Color tool blends with color already in the Mixer pad. Mix Color tool Mixes colors already in the Mixer pad; does not add new colors to the Mixer pad. 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.
when sampling with the Sample Multiple Colors tool. If you adjust the Change Brush Size slider, the new value is retained when you reopen the application. Displaying and resizing the Mixer panel To display the Mixer panel, you can use the Window menu, or you can use a keyboard shortcut. You can start mixing colors using the default Mixer Pad or you can load one of the inspirational Mixer Pads that were designed for you by various expert Corel Painter artists.
• Restore Skip Allen’s Mixer Pad • Restore Default Mixer To resize the Mixer panel • With the Mixer panel undocked, drag the resize handle at the lower-right corner of the main window of the panel. 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.
When you have finished mixing and sampling colors, you can clear the mixer pad, or save it as a mixer pad (MXS) file that you can open and use later. For more information, see “Saving the Mixer pad” on page 234. To mix colors 1 Choose Window Color Panels Mixer. 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.
To sample multiple colors 1 In the Brush library panel, choose a brush category and variant that supports mixing. 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 , and click the area of the Mixer pad that you want to sample.
3 Browse to the folder where the image file is stored. 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.
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 , and choose New Color Set from Mixer Pad. 2 In the New Colorset dialog box, type a name in the Name text box. 3 Adjust the Max Colors slider to set the maximum number of colors that you want to add to the color set. 4 Click OK.
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. 3 In the Save Mixer Pad dialog box, type a name for the Mixer colors, and choose where you want to save the Mixer pad (MXS) file. 4 Click Save.
2015\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. To load a saved version of the Mixer pad 1 Choose Window Color Panels Mixer. 2 Click the Mixer options button , and choose Open Mixer Pad. 3 In the Open Mixer Pad dialog box, choose the Mixer pad (MXS) file that you want to open. 4 Click Open. Working with color sets Corel Painter uses color sets to organize groups of colors.
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 . 2 In the Select Color Set dialog box, click the Color Sets folder, choose a color set, and click Open.
• Saved — sorts colors in the order in which they were originally entered. • HLS — sorts colors by hue, luminance, and saturation. • LHS — sorts colors by luminance, hue, and saturation. • SHL — sorts colors by saturation, hue, and luminance.
• New Color Set from Layer — Includes all colors that are found in the active layer in the color set. This option is available only if an active layer is selected in the image. • New Color Set from Selection — Includes all colors in the selected area of the image in the color set. This option is available only if the image has an active selection. • New Color Set from Mixer Pad — Includes all colors that are used in the Mixer panel in the color set.
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.
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 , choose Restore a Default Color Set. Setting color variability Color variability allows you to create brushstrokes of more than one color.
3 Choose Window Brush Control Panels General. 4 Choose Static Bristle from the Dab Type list box. 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.
Fill type For more information see Gradient “Applying gradients” on page 723 Pattern “Applying pattern fills” on page 709 Weaves “Applying weaves” on page 757 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.
• 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, choose Current Color from the Fill with list box. 6 Adjust the Opacity slider. To apply a pixel-based color fill 1 Choose Window Color Panels Color Sets. 2 In the Color Sets panel, click the Color Sets options button , and choose New Color Set from Image.
You can also Anti-aliasing is desirable when the Feather setting is set to zero or extremely low. 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.
To close a leak 1 Copy the lines to a selection. 2 Choose Select Save Selection. 3 In the Save Selection dialog box, choose New from the Save to list box. 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.
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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.
What is color management? Color management is a process that lets you predict and control color reproduction, regardless of the source or destination of the image. For example, a monitor displays a different set of colors than a printer reproduces, so you may see colors on-screen that cannot be printed. If you want to reduce color discrepancies, you can use color management to ensure a more accurate color representation when an image is viewed, modified, or printed.
Color management lets you do the following: • reproduce colors consistently across your digital imaging workflow, especially when opening documents that were created in other applications • reproduce colors consistently when sharing files with others • preview, or “soft-proof”, colors before they are printed • reduce the need to adjust and correct images when sending images to different destinations A color management system does not offer identical color matching (this is not technically possible), but it
profile does more than affect the display of colors — it produces irreversible changes to the colors in the document. The best practice is to choose a working color space, such as sRGB, when you create an image and to use the same color profile throughout your workflow. You should avoid assigning and converting color profiles. However, you may encounter scenarios that require you to switch to a different color profile.
white areas of an image use the white of the paper to reproduce the color. Therefore, this rendering intent is a good option for printing images. • Absolute Colorimetric — Choose this rendering intent for logos, or other graphics, that require very precise colors. If no match is found for the source colors, then the closest possible match is used.
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. Embedding color profiles when saving files You can embed an assigned color profile in a file. However, if you did not assign a color profile to the file, the default color profile is embedded.
Specifying the default CMYK color profile for converting CMYK images to RGB Because Corel Painter works with RGB colors, all CMYK images that you open or import in the application are converted to an RGB color profile. You can specify the default CMYK profile that Corel Painter uses to convert the CMYK images to RGB.
To soft-proof an image 1 Choose Canvas Color Proofing Settings. 2 Choose a profile from the Simulate Device list box. 3 Choose a rendering intent from the Rendering Intent list box. 4 Enable the Turn On Color Proofing Mode check box. To turn off soft-proofing • Choose Canvas Color Proofing Mode. Assigning or removing color profiles You can change the appearance of a document by assigning a new color profile.
You can also assign a color profile from the Navigator panel by clicking the Open Navigator Settings button , clicking Color Management, and choosing Assign Profile. Converting color profiles Corel Painter lets you convert the color profile of a document to another color profile. Converting a color profile differs from assigning a color profile, which involves only the translation of one color profile to another and affects only the display of color.
You can also convert the color profile from the Navigator panel by clicking the Open Navigator Settings button , clicking Color Management, and choosing Convert To Profile. Working with color profile policies Corel Painter lets you create color profile policies for opening and placing both RGB and CMYK images. The options that you choose for the Color Profile Policy determine how colors are managed in images that you open and work with in the application.
• Relative Colorimetric — is ideal for producing proofs on inkjet printers • Absolute Colorimetric — preserves the white point and can be used to proof images If you want to display a warning message when you open a document that has a mismatched color profile, enable the Profile Mismatch check box. For more complete descriptions of rendering intents, see “What is a rendering intent?” on page 250.
3 Click the Add button next to the Preset list box. 4 Type a name for the preset in the Preset Name box. 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. To delete a preset 1 Choose Canvas Color Management Settings. 2 Choose a preset from the Preset list box. 3 Click the Delete button next to the Preset list box.
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.
Correcting colors using curves Corel Painter lets you correct colors by using curves to adjust the relative amounts of the color components in an image. You can adjust the curves for red, green, blue, or all three color components at once. Modifying a curve individually is useful for correcting an unwanted color cast. The curves describe how the input color values are adjusted to create the output (corrected) color values. A visual representation of the curve.
Use the Color Correction dialog box to correct colors. 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.
Before (left) and after (right) applying the Brightness/Contrast effect. When using the curve, you can adjust the contrast or brightness of colors while maintaining the tonal transitions in the original image. You can adjust all colors at once, or adjust R, G, and B individually. As you adjust the Contrast or Brightness sliders, the endpoints of the curves remain fixed.
An example of increasing the contrast by using the curve. Brightness moves all values on a curve to a brighter tone or darker tone. 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.
You can reset the sliders to the default settings by clicking Reset. You can compare the adjusted image with the original image by enabling and disabling the Preview check box. To adjust brightness and contrast by using the curve 1 Choose Effects Tonal Control Correct Colors. 2 In the Color Correction dialog box, choose Curve from the Method list box.
Curve method of color correction. To quickly adjust colors, you can use the automatic correction controls. To correct colors using the curve 1 Choose Effects Tonal Control Correct Colors. 2 In the Color Correction dialog box, choose Curve from the Method list box.
You can also Automatically adjust the contrast in an image according to the black point Choose Black Point from the CurvePreset list box. Clear all corrections Click Reset. Drawing freehand curves to adjust colors You can use the Freehand method to adjust colors. This method lets you draw a curve to produce dramatic results. It’s particularly useful for creating posterized or solarized effects. Freehand method of color correction.
You can clear all corrections so that you can start again by clicking Reset. You can compare the adjusted image with the original image by enabling and disabling the Preview check box. Specifying the curve values to adjust colors You can use the Advanced method to more accurately adjust colors using the curve. You can adjust the 1/4 Tone, Midtone, and 3/4 Tone ranges by manually dragging the curves of red, green, and blue.
You can compare the adjusted image with the original image by enabling and disabling the Preview check box. To adjust 1/4 tone, midtone, and 3/4 tone by dragging color curves 1 Choose Effects Tonal Control Correct Colors. 2 In the Color Correction dialog box, choose Advanced from the list box.
• 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. Areas of greater luminance are adjusted more. • Original Luminance — uses the luminance of the clone source as the model for color adjustment. If you have not set up a clone source, the current pattern is used. • [Alpha channel] or [Layer mask] — sets the selected alpha channel or layer mask as the model for controlling color adjustment.
To adjust colors 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. 4 Choose Effects Tonal Control Adjust Colors. 5 Choose Paper from the Using list box. 6 Adjust any of the Adjust Colors controls.
4 Choose Original Luminance from the Using list box. 5 Adjust any of the Adjust Colors controls. For information, see “Adjust Colors controls” on page 271. 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.
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. Areas of greater luminance are adjusted more. • Original Luminance — uses the luminance of the clone source as the model for color adjustment.
• 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 274. To adjust colors by using image luminance 1 To apply the effect to: • The canvas — Click the Canvas in the Layers panel.
Adjust Selected Colors controls The following controls in the Select area let you refine the color selection. Hue controls • Range — controls the number of hues adjusted. Only hues within the specified percentage of hues on the color wheel are adjusted. • Feather — controls the softness at the edge of the selected hues Saturation controls • Range — controls the range of saturation adjusted. Only saturations within this range are adjusted.
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 Method list box. 3 From the Curve Preset list box, choose Auto Set. To manually set black or white points 1 Choose the Dropper tool from the toolbox. 2 In the document window, click the color you want to assign as the darkest or lightest point.
3 In the Equalize dialog box, adjust contrast by dragging the black and white markers under the histogram, or type values in the Black box and White box. Any values in the image located to the right of the white marker become white; any values to the left of the black marker become black. 4 Move the Gamma slider. Moving the slider to the right darkens the image; moving the slider to the left lightens the image.
• Color — lets you determine how the colors from the source image blend with the colors in the destination image. At higher settings, more source color is applied. • Variance (Color) — lets you adjust the range of the source colors. Higher settings increase the number of shades used from the source image. • Brightness — lets you determine how the luminance from the source image blends with the luminance in the destination image.
Posterizing an image Corel Painter offers two different options for posterizing images. You can use the Posterize effect to reduce the number of color levels contained in an image. You can also posterize an image by specifying a color set. This effect lets you replace image colors with those of a specified colors set. This is useful for multimedia work, as well as applications such as silkscreening. You can use this effect to reduce the number of colors in an image.
4 Choose Effects Tonal Control Posterize Using Color Set. The image is replaced with the colors in the current color set. Applying video legal colors You can apply an effect that adjusts the colors in an image so they are compatible with video. Colors that aren’t possible in video are converted to video legal colors. Only bright yellows and cyans are not video legal. Corel Painter supports both the National Television System Committee (NTSC) for video systems in the U.S.
The Dodge tool was used to lighten the girl’s eye. To darken the tone 1 Choose the Burn tool from the toolbox. If the Burn tool is not displayed in the toolbox, hold down the Dodge tool 2 On the property bar, move the Size slider 3 Move the Opacity slider to open the tool flyout. , or type a value in the Size box. , or type a value in the Opacity box. 4 Drag the brush in the image to apply the effect. The Burn tool was used to reduce the strong highlights on the faces.
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.
To import a library 1 In a library panel, click the Import[Resource type] Library button . 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 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.
To modify the display of a library panel 1 Open a library panel. 2 Perform a task from the following table. To Do the following Resize the 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.
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 285.
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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.
Understanding brushes Corel Painter offers users a wide range of preset brushes that are designed with the real media in mind, so you can predict how a brush will behave. 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.
Acrylics Airbrushes Artists Blenders Image Hose Impasto Liquid Ink Markers Oils Palette Knives Pastels Pattern Pens Pencils Pens Photo Real Watercolor Real Wet Oil Smart Stroke Sponges Sumi-e Tinting Watercolor “Particle brushes” (page 298) Acrylics The Acrylic brush variants, much like their real-world counterparts, are versatile brushes that let you apply quick-drying paints to the canvas.
Digital soft flow airbrush Digital hard edge airbrush Digital soft flat airbrush The Wacom airbrush styluses are fully compatible with the variants in the Airbrushes category. For more information, see “Airbrush controls” on page 378. Coarse Spray Fine Spray Digital Airbrush Artists The Artist brush variants help you paint in the styles of master artists.
Blenders Blenders brushes 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. Just Add Water Smear Smudge Chalk & Crayons Chalk brush variants produce the thick, rich texture of natural chalk sticks, and have strokes that interact with the paper grain. 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. Blender brush variants can be used to soften and blend the charcoal strokes. For a smooth workflow, keep your favorite Charcoal and Blender brush variants together in a custom palette.
Original photo Soft Cloner Impressionist Cloner Digital Watercolor Digital Watercolor brush variants produce watercolor effects that react with the canvas texture. Unlike Watercolor brush variants, which work with the Watercolor Layer, Digital Watercolor brushstrokes can be applied directly to any standard pixel-based layers, including the canvas. For example, if you’re applying watercolor effects to a photo, Digital Watercolor brushstrokes can be applied directly to the image.
Bleach Eraser Flat Eraser F/X F/X brush variants can give you an array of creative results. Some add color; others affect underlying pixels. The best way to appreciate the F/X brush variants is to experiment with them on an image and a blank canvas. Fairy Dust Glow The Fire brush (works with underlying colors) Some variants, such as Grainy Distorto or Grainy Mover, produce blending effects. Other variants, such as Hurricane, Turbulence, and Water Bubble, produce more dramatic effects.
is similar to blending layers by using the Gel composite method; however, you do not require any layers to achieve the same results. Gel coarse Gel broad Gel captured Gouache Gouache brush variants let you paint with the fluidity of watercolors and the opacity of acrylics. These variants range from fine, detail brushes, to flat or thick brushes. Brushstrokes created with Gouache brush variants cover underlying brushstrokes.
Linear-Angle-B (Bearing) Linear-Size-P (Pressure) Spray-Size-P (Pressure) controls size and spread Impasto Impasto brush variants use the classic technique of applying thick paint on a canvas to create depth. The depth information for the brushstroke is stored with the layer, but you need to display the Impasto information to view it. For information, see “Impasto controls” on page 385 and “Impasto” on page 501.
Clumpy Ink Coarse Bristle Smooth Flat Markers The brush variants in the Marker category replicate conventional, real-world markers. The brush variants range from fine point to blunt and have a variety of nib shapes and opacity levels. The strokes that you make with some of the Marker variants closely reflect those of traditional, high-quality markers, mainly because of the way the Marker variants interact with the canvas. For example, the Flat Rendering Marker allows color buildup and pooling.
Fine Camel Opaque Flat Smeary Round Some Oil brush variants let you mix media as though you were working with traditional oil paints. You can use colors mixed on the Mixer pad and apply them directly to the canvas. The colors can then be blended with the oils already on the canvas. In addition, you can load multiple colors from the Mixer pad. Some Oil brush variants load the brush with a finite amount of oil, which is then transferred to the image.
Flow Aurora Gravity Deco Streamline Spring Concept Creature Pastels Pastels, which include oil pastels, range from hard pastel styles that reveal the paper grain to extra soft pastels that glide on to completely cover existing strokes. Opacity is linked to stylus pressure. Artist Pastel Chalk Soft Pastel Square Soft Pastel The oil pastel brush variants produce the thick, rich texture of natural pastel sticks. Most oil pastel brush variants cover existing strokes with the current paint color.
of the pattern, and Pattern Pen Transparent applies a semitransparent version of the pattern. For more information, see “Painting with patterns” on page 711. Pattern Pen Pattern Pen Masked Pattern Pen Marker (based on the current color) Pencils Pencil brush variants are great for any artwork that would traditionally require pencils, from rough sketches to fine-line drawings. Like their natural counterparts, Pencil brush variants interact with canvas texture.
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.
Real Watercolor The brushstrokes of the Real Watercolor brush variants flow and apply pigments in a very natural way, helping you create realistic watercolor paintings. In addition, the 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 362.
Smeary Wet Sponge variant lets you blend the current paint color with existing colors as you drag across the canvas. 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.
Basic Round Blender Soft Grainy Round 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.
of the panel. The Brush library panel also displays the most recently used brushes at the top of the panel so you can quickly access the last brushes that you used. The Brush library panel lets you choose a brush category (left) and a brush variant (right). The default Corel Painter brush variants are displayed 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.
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. You can also use the ghost brush to determine if a change in size is required. For more information, see “Setting up the drawing cursor” on page 134.
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 325. To set brush size 1 In the toolbox, click the Brush tool . 2 Click the Brush Selector on the Brush Selector bar.
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, move the Opacity slider , or type a percentage in the Opacity box. When the Opacity setting is low, the applied color is thin, so you can see through to the underlying colors. When the setting is high, the applied color covers underlying pixels more completely.
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. Change the brush opacity Hold down Command + Option (Mac OS) or Ctrl + Alt (Windows), and click the crosshair cursor to display the Radius circle in the document window.
You can also revert to an onscreen brush sizing control that has the look and feel of the brush sizing control in earlier versions of Corel Painter by choosing Corel Painter 2015 Preferences General (Mac OS) or Edit Preferences General (Windows) and enabling the Simplified (Legacy-style) check box. Displaying advanced brush controls dynamically You can quickly access the advanced brush controls for any default brush variant from the property bar.
To Do the following Hide the recently used brushes In the Brush library panel, click the Brush library options button Hide the dab and stroke preview window , and choose Recent Brushes. In the Brush library panel, click the Brush library options button , and choose Dab and Stroke Preview. To modify the display of 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.
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. Customize a brush category or brush variant icon Right-click a brush category or variant, and choose Set Custom Icon. Choose the drive and folder where the image is stored.
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, choose Rename Variant, and type a name for the variant. Saving and deleting brush variants You can save a customized brush variant for future use.
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’s Users folder. The variant is stored in the brush category folder that was selected when the variant was saved.
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 58. To restore a default brush variant 1 Click the Brush Selector on the Brush Selector bar.
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. You can also create a new brush category from the Brush library panel by clicking the Brush library options button and choosing New Brush Category. To remove a brush category 1 Choose Brushes Remove Brush Category. 2 In the Choose Brush Category dialog box, choose a category from the Category list box.
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. 5 In the Export Brush Library dialog box, type a name for the new library in the File Name text box. 6 Click Save. 7 Click Brushes Import Brush Library. 8 In the Import Brush Library dialog box, choose the exported library, and click Open. This is the recommended method for creating a new brush library in Corel Painter 12 Update 1 and later.
Corel Painter 11 (or earlier) brush libraries You can open brush libraries that were created in an older version of Corel Painter. In Corel Painter 11 and earlier versions, brush variants are individual XML files organized in brush category folders within brush libraries. To use older brush libraries, you must first copy them to Corel\Painter 2015\Brushes. After you copy the files, you can access them through the Brush library panel or the Brushes menu.
6 In the Brush library panel, click the Brush library options button , and choose Brush Library Painter Brushes. To export a brush library 1 Click Brushes Export Brush Library. 2 In the Choose Brush Library dialog box, choose the brush library that you want to export from the Library list box. 3 In the Export Brush Library dialog box, browse to the folder where you want to store the library. To rename the brush library, type a name in the File Name box. 4 Click Save.
You can also export a brush category from the Brush library panel by clicking the Brush library options button , choosing Export, and choosing Category. To import a brush variant 1 Click Brushes Import Brush. 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.
Saving a brush look A look retains all brush variant settings, plus the paper, pattern, gradient, or nozzle settings. For example, if you customize a brush variant and paper texture to achieve a specific effect that you want to use in the future, you can save these settings as a look. When you save a look, it is added to the Look Libraries panel. A brush variant is not itself associated with information about underlying texture or other elements.
This musical note was captured as a brush dab. 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 Hold down Shift and drag across your brush shape to create a square selection. Corel Painter uses the selected area to set the brush size.
You can paint with a captured brush just as you would with other brushes.
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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.
• • • • • • • • • • • • • • • • • • • • • • • “Real Watercolor controls” (page 362) “Real Wet Oil controls” (page 367) “Computed Circular controls” (page 373) “Hard Media controls” (page 373) “Bristle controls” (page 374) “RealBristle controls” (page 375) “Static Bristle controls” (page 375) “Airbrush controls” (page 378) “Artists’ Oils controls” (page 381) “Impasto controls” (page 385) “Digital Watercolor controls” (page 385) “Water controls” (page 385) “Liquid Ink controls” (page 390) “Stroke Jitter cont
Modifying Brush Variants When you modify a brush variant using the brush controls, the modified brush variant information is stored in the variant’s XML, NIB, STK, and in some instances, JPEG files that are found in the operating system’s User folder: Users\(user name)\AppData\Roaming\Corel\Painter 2015\Default\Brushes\Painter Brushes folder (Windows) When you start Corel Painter, the application applies the modified settings to the brush variant, instead of the default settings.
you choose the Pressure expression on the Opacity panel, set the Opacity slider to 50%, and then set the Min Opacity slider to 20%, the more stylus pressure you apply, the more opaque the brushstroke will be. Direction adjusts the angle value of the direction controller. When the expression is set to Direction, it specifies the angle at which a brushstroke narrows or widens, which is particularly useful for calligraphic effects.
To Do the following Adjust the brushstroke as you turn a flat-tip Intuos Art Pen that supports 360-degrees of barrel rotation sensitivity Choose Rotation from the Expression list box. Adjust the brushstroke according to the luminance of the clone source Choose Source from the Expression list box. Higher luminance (closer to white) increases the setting for that component, producing a wider stroke. Adjust the brushstroke on a random basis Choose Random from the Expression list box.
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. In the Hard Media view, you can preview what a Hard Media, such as a Pencil variant, will look like at various angles. This is useful when modifying the settings in the Hard Media brush control panel. The dab appears in the Dab Preview window at the corresponding angle.
The most common way of adjusting brush calibration is to apply a typical brush stroke, such as a wavy stroke, to the scratch pad. Corel Painter then uses your stroke to calculate the appropriate pressure and velocity settings for the brush variant. For example, you can set less pressure when sketching with a pencil brush variant, but set more pressure when using an oil paint brush variant.
General controls Corel Painter provides extensive control over brush properties and dab types. You can also choose how brushstrokes interact with existing color in the image.
Dab-based dab type Description Circular Dabs are controlled by the sliders in the Size and Angle brush control panels. Single-Pixel Consists of one pixel only. You can’t change its size. You use single-pixel brushes when you zoom in for editing at the pixel level. Static Bristle Controlled by the sliders in the Size brush control panel. When the Static Bristle dab type is selected, the preview grid displays a bristly profile. Captured Shapes that you create and capture.
Rendered dab type Description Camel Hair Creates bristle brushes with circular arrays of bristles. Individual brush hairs can have their own color, and they can also pick up underlying colors independently of the Brush Loading option. By increasing color variability in Corel Painter, you can make each hair a separate color. For more information, see “Setting color variability” on page 240. The Feature slider in the Bristles panel separates bristles.
Rendered dab type Description By adjusting the Feature slider in the Bristles panel, you can separate bristles. Airbrush Creates brushes that act like airbrushes. Bearing (direction) and angle (tilt) affect the eccentricity of the resulting conic section. The Feature slider in the Airbrush panel controls the size of the individual droplets of media. Setting the Feature slider too high might produce undesirable artifacts.
Rendered dab type Description airbrush from previous versions of the application, but react to bearing and angle data. They create conic sections with an overall softness. 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). Rendered Creates brushes that conform the source to a stroke.
Additional dab types wetness and evaporation rate of the paper. There are five types of Watercolor dab types: WatercolorCamel Hair, Watercolor Flat, Watercolor Palette Knife, Watercolor Bristle Spray, and WatercolorAirbrush. Artists’ Oil dabs Artists’ Oil dabs produce brushes that work like real-world, high quality oil brushes. To choose a dab type 1 Choose Window Brush Control Panels General. 2 Choose a dab type from the Dab Type list box.
The Multi stroke type draws a set of randomly distributed dab paths. • The Rake stroke type draws a set of evenly distributed dab paths. The several dab paths in a rake brushstroke are parallel. You can control all other aspects of the stroke by using settings in the Rake brush control panel. • 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.
General controls: Methods and subcategories The brush method defines the most basic level of brush behavior and is the foundation on which all other brush variables are built. The method and method subcategory represent attributes of the stroke’s appearance. Because the method sets a brush variant’s most basic behavior, you can alter a variant’s behavior by changing its method.
• • • • • • • Drip Mask (Cover) Cloning Wet Digital Wet 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.
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 176.
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.
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. Opacity controls Opacity lets you control how Corel Painter varies the density of the media that you apply to the canvas. The Opacity controls let you set opacity levels for the currently selected brush.
Digital Airbrush brushstrokes without Opacity Jitter (left) and with Opacity Jitter (right) Opacity Jitter applied to a brushstroke without jitter smoothing (top) and with jitter smoothing (bottom) 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.
You can also Smooth the opacity variation Move the Smoothness slider. When adjusting Opacity Jitter, make sure the Min Opacity slider is not set to 100%. Setting the Min Opacity to 100% stops Opacity Jitter from occurring. You can also set brush opacity dynamically onscreen. For more information, see “To set brush attributes onscreen” on page 308. Grain controls Grain lets you control the amount of paper texture that brushstrokes reveal.
Brushstrokes with Random Brush Stroke Grain disabled (top) and enabled (bottom) In addition, you can use the paper’s brightness and contrast settings to control brush–grain interaction. For more information, see “Working with paper texture and grain” on page 151 and “Expression settings” on page 327. 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 Smooth the grain variation Move the Smoothness slider. Randomize the brushstroke grain interaction Enable the Random Brushstroke Grain check box. When adjusting Grain Jitter, make sure the Min Grain slider is not set to 100%. Setting the Min Grain to 100% stops Grain Jitter from occurring. Stroke Attribute controls You can apply a merge mode to a brush variant to control how brushstrokes interact with the underlying colors within the currently selected layer or the canvas.
Merge Mode Description Darken Darkens the underlying color with the brushstroke color — whichever is darker Default Covers and hides the underlying brushstrokes Difference Subtracts one color from the other, depending on which color has a greater brightness value Dissolve Combines the underlying color with the brushstroke color, based on opacity Gel Tints the underlying color with the brushstroke color. For example, a yellow brushstroke gives the underlying color a yellow cast.
Merge Mode Description 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. Multiply Combines colors to create a darker color Normal Works like the Default method; the brushstroke covers the underlying color.
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. For more information, see “Expression settings” on page 327.
Oils Real Round brushstrokes without Size Jitter (left) and with Size Jitter (right) Size Jitter applied to a brushstroke without jitter smoothing (top) and with jitter smoothing (bottom) 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. 2 Move the Size slider to the right to make the brush larger, which makes the transition appear more abrupt.
You can also Adjust the amount of variation that is applied to Size Move the Size Jitter slider. Smooth the size variation Move the Smoothness slider. 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 Size slider. Adjust the angle of the Direction expression Move the Direction slider. You can also set the brush size dynamically onscreen.
Angle controls The Angle controls let you change the shape of a brush. Some Angle controls work in conjunction with Expression settings. For more information, see “Expression settings” on page 327. The Squeeze setting lets you control the shape of the brush dab. Squeezing a brush changes it from round to elliptical. You use the Squeeze controls with Circular and Captured dab types.
Brushstrokes with Angle set to 90° (top) and 45° (bottom) The Angle Jitter control lets you introduce variation to the angle of the brushstrokes, which enhances their responsiveness and natural appearance. You can use the Smoothness slider to smooth the angle variation in a brushstroke for a more organic look.
Angle Jitter applied to an Image Hose brushstroke without jitter smoothing (top) and with jitter smoothing (bottom) 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 327.
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 308. To apply an expression to the brush angle 1 Choose Window Brush Control Panels Angle. 2 Choose an option from the Expression list box.
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.
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. Decrease the distance between dabs Move the Spacing slider to the left until the dabs begin to overlap. Overlapping increases the density of the stroke and makes it look more continuous. Set the size of the dab to equal the spacing Move the Spacing slider to the right to 100%.
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.
Profile Description 1-Pixel Edge Provides maximum density throughout, with rapid falloff at the edge, producing a 1-pixel, anti-aliased edge. 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.
Hard Media Profiles There are six tip profiles designed specifically for the Hard Media variants. Hard Media profile Description Pencil Profile Provides a sharper tip when perpendicular to the tablet and a wider, softer tip when at an angle. Medium Profile Has a wide area of greater density at the center, with rapid falloff toward the edge. Linear Profile Provides maximum density at the center, with even falloff toward the edge.
To choose a brush tip profile 1 Choose Window Brush Control Panels Dab Profile. 2 In the Dab Profile panel, click a brush tip profile icon. Real Watercolor controls The Corel Painter Real Watercolor brush controls help you achieve very realistic watercolor brushstrokes. The controls simulate working with a watercolor brush, watercolor paper, pigments, and a glass of water. You can adjust pigment levels and water consistency to achieve natural flow and pigment settling effects.
Brushstrokes set at a lower Viscosity setting (left) and higher Viscosity setting (right) Flow controls The Flow controls let you enable and choose flow maps, so you can introduce an additional surface texture that promotes greater water displacement. For more information, see “Getting started with flow maps” on page 449. You can also adjust the Flow Resistance to control the effect the paper grain or flow map texture has on the direction of the water flow.
Paper controls With the Paper controls, you can adjust how the Real Watercolor brushes interact with paper texture and grain. You can adjust the paper roughness, which affects all other paper settings. Brushstrokes set at a lower Roughness setting (left) and higher Roughness setting (right) 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.
To adjust the Real Watercolor controls 1 Choose Window Brush Control Panels Real Watercolor. 2 Perform an action from the following table. To Do the following Set the amount of water the brush deposits on the paper In the Brush area, move the Wetness slider to adjust the amount of water. 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.
To Do the following Adjust the paper roughness In the Paper area, move the Roughness slider to the left to decrease the paper roughness or to the right to increase the paper roughness. This impacts flow resistance, dry rate, and pigment granulation. Adjust the rate at which the paper grain can absorb water In the Paper area, move the Dry Rate slider to the left to decrease the speed of absorption or to the right to increase the speed of absorption.
To control Real Watercolor diffusion 1 Choose Window Brush Control Panels Real Watercolor. 2 Perform an action from the following table. To Do the following Apply diffusion precisely to ensure accurate water flow Enable the Accurate Diffusion check box. Delay diffusion until the brushstroke is complete Enable the Delay Diffusion check box. Suspend diffusion temporarily Enable the Pause Diffusion check box or click the Pause Diffusion button on the property bar to suspend the diffusion.
Brushstrokes set at a lower Wetness setting (left) and higher Wetness setting (right) Liquid Flow controls The Liquid Flow controls let you adjust the liquid viscosity, or thickness, in order to control the way it’s applied to the canvas. For example, if the liquid viscosity is high, the paint spreads easily and looks smooth. If the liquid viscosity is low and thick, the paint does not spread as easily and creates the illusion of texture.
Brushstrokes set at a lower Flow Resistance setting (left) and higher Flow Resistance setting (right) Paint controls The Paint controls let you modify the look and feel of paint on the canvas. For example, you can adjust the opacity of the paint deposited on the canvas after the oil dries. You can also specify how easily the paint blends and the degree to which oil is able to lift dry paint from the canvas.
Wind controls The Wind controls let you to set the angle at which the paint spreads on the canvas. You can also specify the amount of wind force exerted on the paint. 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.
To Do the following Adjust the oil thickness to control the way it spreads on the surface of the canvas In the Liquid Flow area, move the Viscosity slider to adjust the viscosity effect. Adjust the speed at which the paint dries In the Liquid Flow area, move the Evaporation Rate slider to adjust the effect. 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.
To Do the following Control the degree to which paint settles into the valleys of the canvas grain when it dries In the Canvas area, move the Granulation slider to adjust the effect. Control the angle at which paint spreads on the canvas In the Wind area, move the Angle slider to adjust the angle. Specify the amount of wind force exerted on paint, which affects the way it spreads on the canvas In the Wind area, move the Force slider to adjust the force.
Suspend diffusion temporarily Enable the Pause Diffusion check box to suspend the diffusion. You need to disable the check box to perform the diffusion. Specify the speed at which the paint 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.
and erasers. The Hard Media controls can be used only with the Circular, Captured, and Eraser dab types. For more information, see “Hard Media” on page 457. Bristle controls The Bristle controls allow you to adjust the appearance of bristle brushes, such as Camel Hair, Flat, Palette Knife, and Bristle Spray. You can specify the number of bristles, or bristle density (Feature). You can also control how far the bristles spray out, or fan out, when applying brushstrokes (Spread).
RealBristle controls RealBristle controls let you choose a brush tip profile, adjust the brush, and determine how the brush interacts with the surface of the canvas. For more information about RealBristle controls, see “Modifying RealBristle settings” on page 492. 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.
Brushstrokes with Clumpiness set to 0% (left) and 100% (right) The Hair Scale lets you control the density of bristles in the brush dab and, therefore, the number of bristles in the dab. 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. At a Scale/Size setting of 8%, when the brush size changes, the bristles remain a constant absolute size. The Scale/Size control is invalid if a size range is not specified (that is, if Min Size is set to 100%). To set bristle thickness 1 Choose Window Brush Control Panels Static Bristle.
To scale bristles according to brush size 1 Choose Window Brush Control Panels Static Bristle. 2 Move the Scale/Size slider to the left to reduce the degree of size variation. Move it to the right to increase size variation. Airbrush controls The Airbrush controls allow you to adjust the amount and the displacement of the media that is applied by an airbrush. Feature lets you set the spacing in between individual paint droplets. Flow controls how much media is applied by an airbrush stroke.
Broad Wheel Airbrush brushstrokes without Flow Jitter (left) and with Flow Jitter (right) Finer Spray Airbrush brushstrokes without Feature Jitter (left) and with Feature Jitter (right) Flow Jitter applied to a brushstroke without jitter smoothing (top) and with jitter smoothing (bottom) Adjusting brushes with brush controls | 379
Feature Jitter applied to a brushstroke without jitter smoothing (top) and with jitter smoothing (bottom) To adjust the Airbrush feature spacing 1 Choose Window Brush Control Panels Airbrush. 2 Move the Feature slider to adjust the paint droplet spacing. The higher the setting, the farther apart the paint droplets will appear. You can also Adjust the amount of variation that is applied to Feature Move the Feature Jitter slider. Smooth the variation in the paint spacing Move the Smoothness slider.
To set paint spread 1 Choose Window Brush Control Panels Airbrush. 2 Move the Spread slider to the left to reduce the amount of spread, or to the right to increase the amount of spread. To set ink flow 1 Choose Window Brush Control Panels Airbrush. 2 Move the Flow slider to the left to reduce the smallest amount of media applied with a stroke, or to the right to increase it. You can also Adjust the amount of variation that is applied to Flow Move the Flow Jitter slider.
The Grain slider on the General panel affects the look of Artists’ Oils by controlling the level at which paper absorbs paint. When the Grain slider is set to 0%, the paper absorbs a very limited amount of paint; no paper grain is visible in the stroke and the paint color appears lighter. When Grain is set to 100%, the paper completely absorbs the paint; no paper grain is visible, and the paint color appears darker. Grain is visible with Artists’ Oils when Grain is set between 1% and 99%.
Trail-off determines the length of a brushstroke tail when the brush is running out of paint. This doesn’t change the length of the brushstroke, just the look of the end of the stroke. For example, you can adjust the trail-off to produce a longer trail-off effect of the brushstroke tail. Canvas Wetness determines the wetness of the paint on the canvas. This affects how paint from a brushstroke interacts with paint already on the canvas.
You can also set how Artists’ Oils paint blend on the Blend slider on the Artists’ Oils property bar. To set Artists’ Oils brush bristling 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.
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 501 and “Adjusting and creating Impasto brushes” on page 503. Some Impasto controls work in conjunction with Expression settings. For more information, see “Expression settings” on page 327.
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.
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.
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.
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. Set the dry rate Move the Dry Rate slider to the right to reduce the amount of spread, or to the left to increase it.
To Do the following Delay diffusion Enable the Delay Diffusion check box. Diffusion begins when you finish the brushstroke. When you enable the Delay Diffusion check box, you increase the speed of Watercolor brush variants. Liquid Ink controls Liquid Ink controls work with Liquid Ink layers. You can use the Liquid Ink controls to specify qualities such as type, smoothness, and volume of a brushstroke. You can adjust the Liquid Ink controls when you select a Liquid Ink brush.
Example Description Color Only applies only the color component. Soften Ink Plus Color applies color to an ink form, causing inks and colors to blend into one another. Soften Ink Only applies only the ink component. Soften Color Only applies only the color component. Resist repels ink.
Example Description 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. 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. For example, you can link Volume to the Wheel expression to control the amount of spray from the Liquid Ink airbrush by adjusting the wheel on the airbrush stylus. The wheel on the stylus acts like a needle control on a real airbrush.
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. Brushstrokes with Bristle Frac set to 3% (top) and 20% (bottom) Rand Br Vol controls the variation in bristle height. A value of zero signifies that all the bristles are of equal height.
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. Lower values result in coarse brushstrokes. Higher values cause brushstrokes to blend into one another and appear smoother. To set ink volume 1 Choose Window Brush Control Panels Liquid Ink.
You can also 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. 2 Adjust the Rand Vol slider. Lower values result in more uniform brushstrokes. To set random size 1 Choose Window Brush Control Panels Liquid Ink. 2 Adjust the Rand Size slider. Lower values result in more uniformly sized brushstrokes.
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. For more information, see “Expression settings” on page 327. Brushstrokes with Stroke Jitter set to 0 (top) and 3.
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.
to the Resat control, set the Resat slider to 40% and set the Min Resat slider to 50%, the amount of resaturation will vary from 20% to 40% every time you apply pressure with the stylus. Brush Loading affects how dab-based brushes interact with underlying pixels and works in conjunction with Resat and Bleed. When Brush Loading is active, brushes can pick up existing colors, hair by hair. This capability offers truer color interaction, astounding color-variations, smearing, and better cloning results.
You can also Set the percentage of variability that you want the expression to apply Move the Min Resat slider. Adjust the angle of the Direction expression Move the Direction slider. To set color bleed 1 Choose Window Brush Control Panels Well. 2 Move the Bleed slider to the left to reduce the amount of interaction with underlying pixels. Move it to the right to increase the interaction.
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).
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 327. 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.
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 469. The settings for each rank consist of the Expression settings plus the Sequential setting. For more information, see “Expression settings” on page 327. Rank 1 The Rank 1 control lets you assign an input to locate Rank 1 imagery within an Image Hose nozzle. Rank 2 The Rank 2 control lets you assign an input to locate Rank 2 imagery within an Image Hose nozzle.
Brushstrokes with Contact Ang set to 180° (left), 125° (middle), and right 0° (right), with a Brush Scale setting of 450% Brush Scale controls the spacing between individual bristles that compose the Rake. The size of each dab is determined in the Size brush control panel. For more information, see “Spacing controls” on page 357.
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. Brushstrokes with Spread Bristles enabled (left) and disabled (right) Soften Bristle Edge makes a brush’s outer dabs semitransparent.
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.
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. To set bristle spacing 1 Choose Window Brush Control Panels Rake. 2 Enable the Spread Bristles check box. To soften bristle edge 1 Choose Window Brush Control Panels Rake. 2 Enable the Soften Bristle Edge check box. Multi controls You can set the number of bristles used for brushes set to the Multi stroke type.
The Obey Source Selection option uses any selection in the clone source region to constrain painting in the destination. If a transform Clone Type is used, the selection is appropriately transformed. This option is available only with the Cloning method. When Copy Source Selection is enabled, the Cloner brush reproduces the source selection information in the destination selection. This option is available only with the Cloning method.
Scale cloning. • Rotate (2) cloning rotates the source image using two reference points. The line between the two destination points in relation to the line between the two source points determines the rotation transformation. 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. 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. 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.
Brushstrokes with Variability set to 0 (top) and 12 (bottom) Introducing a degree of randomness disturbs the pixel-to-pixel correspondence. The resultant variations in the image distance the clone from its photographic source, which can contribute to a Natural-Media appearance. The How Often controls allow you to set the period between random offsets.
Brushstrokes with Random Clone Source disabled (left) and enabled (right) To set clone color 1 Choose Window Brush Control Panels Cloning. 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 set clone location variability 1 Choose Window Brush Control Panels Cloning. 2 Perform a task from the following table. To Do the following Increase the range (distance) that the sample can be offset In the Clone Location area, move the Variability slider to the right. Limit offset so that source and destination images correspond more precisely In the Clone Location area, move the Variability slider to the left.
Color Variability controls Color variability allows you to create brushstrokes of more than one color. Color variability can be set for HSV or RGB mode, and it can be based on the current gradient or color set. You can also use the Smoothness slider to smooth the color variability in a brushstroke for a more organic look.
You can try different hue, saturation, and variability settings with any of the brushes to produce interesting results. To smooth the color variability in the brushstroke, move the Smoothness slider. When you save a brush variant, the current color variability setting is also saved. When working with brushes like the Van Gogh and Seurat variants of the Artists brush category, you can add a natural, almost 3D appearance to your webpage images by increasing the hue, saturation, and value settings.
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. You can adjust the amount of variation applied to Color Expression by adjusting Color Jitter.
• Direction — adjusts the color expression based on the direction of the stroke, and according to the value you set with the slider or in the box • Pressure — adjusts the color expression based on stylus pressure • Wheel — adjusts the color expression based on the wheel settings on an airbrush stylus, specifically the Wacom Intuos Airbrush stylus • Tilt — adjusts the color expression based on the angle of the stylus from the tablet • Bearing — adjusts the color expression based on the direction in which the
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.
An example of the Artist Impressionist brush variant (no Jitter) (left) and the Artist Impressionist Blender Jitter brush variant (right) that has Opacity Jitter and Color Jitter The Jitter brush variants are found in many different brush categories. The following table lists the Jitter brush variants found in each of these brush categories.
Brush category Jitter brush variant Gouache Gouache Rake Jitter Image Hose Color Hose Jitter Impasto Captured Impasto Blender Jitter Coarse Impasto Jitter Heavy Impasto Stamp Jitter Markers Worn Marker Jitter Oils Dense Impasto Block Jitter Palette Knives Pointed Palette Knife Brush Jitter Pointed Palette Knife Plow Jitter Pattern Pens Pattern Chalk Jitter Squiggly Pattern Chalk Jitter Real Watercolor Light Fringe Jitter Real Wet Jitter Sponge Sponges Grainy Jitter Sponge To choose a Jit
Controlling the behavior of Jitter variants You can control the amount of Jitter a brush produces. The Jitter controls that you can modify are determined by the Jitter brush variant that you choose.
Watercolor Corel Painter features different tools and controls that allow you to produce natural-looking 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.
Brush category Description Layer. However, the brush control options for Digital Watercolor are limited. You can also alter the appearance of watercolor by changing the paper texture and modifying the brush controls.
To create a new Watercolor layer 1 Choose Window Layers. 2 In the Layers panel, click the Layer options button , and choose New Watercolor Layer. If you select a Real Watercolor or Watercolor brush variant from the Brush library, a Watercolor layer is automatically created when you apply a brushstroke to the document window. To transfer the canvas to a Watercolor layer 1 Open the image that you want to convert to a watercolor in the document window. 2 Choose Window Layers.
increases the height of the grain and adds more texture as a result. For more information, see “Controlling brightness and contrast of paper grain” on page 157. The Scale slider controls the size of the paper grain. The image on the left is set to 50% and the image on the right is set to 200%. 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 426.
Working with Watercolor brushes The Watercolor brush variants produce natural-looking watercolor effects. When working with Watercolor brushes, the brushstrokes are applied to the Watercolor layer. All Watercolor brush variants, except Wet Eraser, interact with the canvas texture. 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.
To customize a Watercolor brush variant • Choose Window Brush Control Panels Water. For more information about each of the Watercolor controls, see “Water controls” on page 385. 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.
2 Click the Brush Selector on the Brush Selector bar. 3 In the Brush library panel, click the Digital Watercolor brush category, and click a brush variant. 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.
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Particle brushes Particle brushes are physics-inspired brushes that give a unique look and feel to your artwork. They emit particles from a central point, and in turn the particles draw a pattern of lines (paths) as they move across the canvas. You can control the particle paths with precision or introduce randomness in the brushstroke movement by using the Particle brush controls. Particle brushes are capable of wide-ranging creative variation when you adjust the parameters of each brush variant.
Gravity, Flow, and Spring Particle brushes were used to create smoke and Aurora Borealis effects in this artwork, as well as to enhance the water reflections. The New Brushes workspace layout You can display all palettes and controls related to the Particle brushes in the New Brushes workspace layout. For more information about workspace layouts, see “Choosing a workspace layout” on page 29. To display the New Brushes layout • Choose Window Arrange Palettes New Brushes.
Gravity Particle brushstrokes Gravity brushes include the following variants: • Gravity Bristle • Gravity Jagged Light Pen • Gravity Lazy Sketch Gravity Particle brush controls You can customize Gravity Particle brushes by using the Gravity Particles control panel, which includes the Velocity, Acceleration, and Spin Rate controls. The Velocity slider sets the base speed of all particles. Use it together with the Acceleration slider to control the forward movement of the particles.
A brushstroke with low velocity and acceleration (left) and high velocity and acceleration (right) The Spin Rate slider sets the speed at which the particles spin around the cursor. Slower spin rates allow the particles to track the cursor closely, while higher spin rates allow the particles to travel further away from the cursor. You can also associate the spin rate with an expression by choosing an option from the Expression list box.
To choose a Gravity Particle brush variant 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 the Particles brush category, and click a Gravity Particle brush variant. To customize a Gravity Particle brush variant 1 Choose Window Brush Control Panels Gravity Particles. 2 Adjust any of the settings in the Gravity Particles panel. 3 Choose Window Brush Control Panels Particles - General.
Flow Particle brushstrokes Flow brushes include the following variants: • Flow Organic Texture • Flow Flare • Flow Sparkler Glow Flow Particle brush controls You can customize Flow Particle brushes by using the Flow Particles control panel, which includes the Position Jitter, Randomize Chaos, and Enhance Flow Map controls. The Position Jitter slider lets you vary the starting position of the particles.
A brushstroke with low position jitter (left) and high position jitter (right) The Randomize Chaos check box lets you change the chaos pattern randomly for a more organic look. Particle paths before and after applying randomized chaos A brushstroke with randomized chaos off (left) and on (right) The Enhance Flow Map controls include the Edge slider and the Brightness slider, which modify the brushstroke based on the edge and brightness of the flow map.
To customize a Flow Particle brush variant 1 Choose Window Brush Control Panels Flow Particles. 2 Adjust any of the settings in the Flow Particles panel. 3 Choose Window Brush Control Panels Particles - General. 4 Adjust any of the settings in the Particles - General panel. For more information see “General Particle brush controls” on page 442. Spring Particle brushes Spring Particle brushes consist of a net of particles held together by elastic springs.
Spring Particle brush controls You can customize Spring Particle brushes by using the Spring Particles control panel, which includes the Appearance, Path Opacity, Spring Opacity, Stiffness, Stiffness Jitter, Length Jitter, and Minimum Length controls. The Appearance controls let you choose a Nucleus, Chain, or Geometric appearance for the particle pattern. • Nucleus — Particles spring outward from the brush path. • Chain — A chain of particles whips around the brush path.
A brushstroke with Appearance set to Geometric The Path Opacity slider sets the opacity of the particle path (the mark that each particle makes on the canvas). The Spring Opacity slider sets the opacity of the springs (the links between the particles). Left: High path opacity, zero spring opacity. Right: High spring opacity, zero path opacity.
an expression by choosing an option from the Expression list box. The Stiffness Jitter slider randomly varies the strength of individual springs. Low stiffness (left) and high stiffness (right) A brushstroke with low stiffness (left) and high stiffness (right) The Length Jitter slider randomly varies the length of individual springs. Once adjusted, the lengths remain constant during the brushstroke.
Low minimum length (left) and high minimum length (right) A brushstroke with low minimum length (left) and high minimum length (right) To choose a Spring Particle brush variant 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 the Particles brush category, and click a Spring Particle brush variant. To customize a Spring Particle brush variant 1 Choose Window Brush Control Panels Spring Particles.
Low count (left) and high count (right) A brushstroke with low count (left) and high count (right) The Weight slider sets the opacity of particle paths. Use it together with Weight Jitter to add depth and dimension to rendered paths. The Weight Jitter slider randomly varies the opacity of individual particle paths.
Weight jitter applied to individual paths A brushstroke with low weight jitter (left) and high weight jitter (right) The Global Chaos slider applies chaos to all particles equally, so that they move chaotically but in unison. The Local Chaos slider randomly applies chaos to individual particles in the brush. The Smoothness slider smooths the chaos for a more organic look. You can also associate global and local chaos with an expression.
A brushstroke with low chaos (top), high global chaos (lower-left) and high local chaos (lower-right) Smoothness applied to chaos A brushstroke with high chaos, low smoothness (left) and high chaos, high smoothness (right) Particle brushes | 445
The Damping slider allows or inhibits particle movement. Low damping allows particles to move faster and be more responsive to any forces affecting their movement. High damping reduces all forces affecting particle movement, and the movement itself becomes slow and heavy. The Damping Jitter slider applies damping at random to individual particles.
A brushstroke with low force, direction 0 (left) and high force, direction 90 (right) The Flow Map slider sets the degree to which particle movement is affected by the flow map. For more information about flow maps, see “Applying and adjusting flow maps” on page 449. A brushstroke without (left) and with (right) a flow map applied To access the General Particle brush controls 1 Choose Window Brush Control Panels Particles - General. 2 Adjust any of the settings in the Particles - General panel.
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Applying and adjusting flow maps Flow maps are designed to maximize the creative potential of the Real Watercolor brushes and the Particle brushes by adding a textured surface that helps direct the flow of paint.
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). 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.
Brushstrokes using the Melted Flowmap (1), Noisy Flowmap Fringe (2), and Wet Flowmap Fringe (3) brush variants with the Fine Dots flow map selected. Brushstrokes using the Melted Flowmap (1), Noisy Flowmap Fringe (2), and Wet Flowmap Fringe (3) brush variants with the Gravel flow map selected. To choose a flow map brush variant 1 From the Brush library panel, choose the Real Watercolor brush category.
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. You can also adjust the flow resistance of a brush to enhance the flow map interaction. Flow resistance lets you control the degree to which the flow map surface, or the paper texture, affects the direction of the water flow.
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. Moving the slider to the right increases the effect.
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. 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. 4 In the Flow Maps panel, click the Flow Maps options button , and choose Create From Current Paper.
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. To Do the following Invert the flow map effect Click the Invert Toggle button Resize the flow map pattern Move the Flow Map Scale slider Control the contrast of the flow map Move the Flow Map Contrast slider . . .
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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.
You can modify select chalk (top) and pencil (bottom) variants using the Hard Media controls. 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.
Brush category Hard Media brush variant Chalk and Crayons Real Soft Chalk Real Fat Chalk Real Hard Chalk Charcoal and Conté Real Hard Conté Real Soft Conté Pastels Real Soft Pastel Real Hard Pastel Blenders Real Pointy Blender Real Stubby Blender Sumi-e Real Sumi-e Wet Brush Real Sumi-e Dry Brush Markers Most of the Marker variants To choose a Hard Media variant 1 Click the Brush Selector on the Brush Selector bar.
• 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.
Hard Media profile Description 1-Pixel Edge Provides maximum density throughout, with rapid falloff toward the edge, producing a 1-pixel, antialiased 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.
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. Moving the slider to the right makes the transition appear more abrupt, and moving it to the left makes the transition smoother. The Transition Range sliders lets you determine the angle at which you transition from a fine point to a wider stroke when tilting your stylus.
3 Move the Finish slider to set the angle at which the transition will finish. Moving the slider to the right increases the angle; moving the slider to the left decreases the angle. Previewing Hard Media dabs As you modify the Hard Media variants, you can preview your changes to see how they affect the dab shape and size in the Dab Profile panel. You can toggle between different views of the dab, including the Hard Media view. For more information about these views, see “Changing dab profiles” on page 359.
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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” (page 465) • “Customizing markers” (page 467) Getting started with markers The brush variants in the Markers category replicate traditional markers used for drawing and creating renderings.
Felt Art Marker Felt Marker Fine Point Marker Fine Tip Marker Fine Tip Flat Rendering Marker Leaky Marker Medium Tip Felt Pens Pointy Rendering Markers Round Tip Marker Scratchy Dry Tip Marker Sharp Marker Thick n Thin Marker Variable Chisel Tip Marker Worn Marker Jitter The strokes that you make with the Marker variants closely reflect those of traditional, high-quality markers, mainly because of the way the Marker variants interact with the canvas.
Customizing markers You can customize a preset Marker variant by using various brush controls, such as General controls or Size controls. In addition, you can change the look of Markers more precisely by using the Hard Media controls that are specifically designed for modifying drawing media, such as markers and pencils. For more information about the Hard Media options, see “Hard Media” on page 457. For more information about customizing brushes, see “Adjusting brushes with brush controls” on page 325.
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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 allows you to paint with images.
• • • • • “Creating a 1-Rank nozzle” (page 479) “Creating a 2-Rank nozzle” (page 481) “Creating a 3-Rank nozzle” (page 483) “Loading and managing nozzle files” (page 485) “Creating a nozzle from a movie” (page 487) 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.
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.
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 Opacity. In the Opacity panel, choose Random from the Expression list box. To adjust the grain of the image hose elements 1 In the Color panel, double-click the Additional Color swatch.
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.
To randomize the spacing between Image hose elements • On the property bar, move the Stroke 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.
• • • • • from a nozzle. For example, if you set up your nozzle file to progress from small to large images, heavier strokes deliver larger images. Wheel indexes images based on the wheel setting on an airbrush stylus. Tilt indexes images based on the tilt of the stylus. Not all stylus models convey this information. This control does not work with a mouse. Bearing indexes images based on the position of the stylus. Not all stylus models convey this information. This control does not work with a mouse.
Left: sequential indexing. Right: random indexing. To change the indexing rule 1 Choose Window Brush Control Panels Image Hose. 2 For each rank in the nozzle, choose an indexing rule from the list box. If you choose Direction, adjust the Direction slider. If you want to invert the effect of the indexing rule, click the Invert Rank button . For example, if you choose Pressure for an indexing rule, greater stylus pressure selects images from later in the rank.
is located where the selected column and row intersect. For this to work properly, you must use different indexing rules (input factors) for selecting in each rank. A 3-Rank indexing system extends the 2-Rank model. The third rank is created by repeating the 2-Rank “set.” Within the selected set, the 1-Rank and 2-Rank indexing (described above) is used. You must use different indexing rules for selecting in each rank. A 3-Rank indexing system can be used with calendar dates.
A 2-Rank nozzle progresses in two dimensions. In this example, changing angle is the first rank, and changing size is the second rank. You can extend the nozzle to a third progression, creating a 3-Rank nozzle. Again, you use a separate indexing rule (input factor) to control the location in each rank. If you use one indexing rule to control two ranks, some image elements become unavailable. In the following image, Rank 3 is a progression in color.
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 476.
Nozzles are most useful when they deliver similar images with some irregularity — for example, butterflies on flowers. 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.
Creating a nozzle from layers. 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.
To create the grid 1 From the menu bar, choose File Height boxes. New, and enter the nozzle’s width and height in the Width and You must enter the nozzle’s width and height that you calculated in steps 3 and 4 of “To determine the grid cell size and nozzle dimensions” on page 481. 2 From the menu bar, choose Canvas Virtual Grid Virtual Grid Options. 3 In the Grid Options dialog box, set the Horizontal spacing and Vertical spacing to the values of the cell width and height, and click OK.
In this finished 2-Rank nozzle, variety is the first rank, and size is the second rank. To paint with your new nozzle file, you’ll need to load it first. For more information, see “To load a 1-Rank nozzle file” on page 486. Creating a 3-Rank nozzle You can create a 3-Rank nozzle using the grid method.
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. 2 Determine the number of elements you want in the third rank. 3 Choose Window nozzle file. Navigator to display the Navigator panel, and check the height of the current 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. 9 From the menu bar, choose Canvas Canvas Size. 10 To set the canvas to the height of your 3-Rank nozzle, add the correct number of pixels in the Add: pixels to bottom box.
To load a 1-Rank nozzle file 1 Choose Window Media Library Panels Nozzles. 2 In the Nozzle Libraries panel, click the Nozzle options button , and choose Load Nozzle. 3 Choose a nozzle from the Open dialog box, and click Open. 4 You can now paint with the nozzle. To load a 2-Rank or 3-Rank nozzle file 1 Choose Window Media Library Panels Nozzles. 2 In the Nozzle Libraries panel, click the Nozzle options button , and choose Load Nozzle. 3 Choose a nozzle from the Open dialog box, and click Open.
If necessary, enter the values to define the number of elements, their size, and rank. 4 In the Nozzle Libraries panel, click the Nozzle options button , and choose Add Nozzle to Library. 5 In the Save Nozzle dialog box, name the nozzle. To retrieve and edit a nozzle 1 Choose Window Media Library Panels Nozzles. 2 In the Nozzle Libraries panel, click the Nozzle options button , and choose Check Out Nozzle. 3 In the Check Out Nozzle dialog box, type a value in the Scale box.
2 Choose Window Media Library Panels Nozzles. 3 In the Nozzle Libraries panel, click the Nozzle options button , and choose Make Nozzle From Movie. An untitled image file appears containing each movie frame. 4 If you didn’t create selections in a frame of the frame stack, you can create the selections now. Remember, each image element must be included in the selection. 5 Save the file in RIFF format. You can now load and use this file as you would any 1-Rank nozzle file.
The image elements in this movie are arranged in color sets according to the second rank. 6 In the Frame Stacks panel, click the Rewind button to return to the first frame of the movie. 7 Choose Window Media Library Panels Nozzles. 8 In the Nozzle Libraries panel, click the Nozzle options button , and choose Make Nozzle From Movie. A new file appears. The resulting nozzle file from the movie in the previous example. 9 From the menu bar, choose File Get Info.
For example, the statement “Image hose 9 items” describes a 1-Rank nozzle with nine image elements. To describe a 2-Rank nozzle with three items in Rank 1 and three items in Rank 2, you need to change the statement to “Image hose 3 by 3 items.” 11 Save the file. To paint with the new nozzle file, you need to load it first. For more information, see “To load a 2-Rank or 3-Rank nozzle file” on page 486. Do not allow empty frames at the end of the movie.
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.
• “Getting started with RealBristle brushes” (page 492) • “Modifying RealBristle settings” (page 492) Getting started with RealBristle brushes RealBristle brush variants are stored in various brush categories. They consist of a broad range of bristlebased 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.
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.
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%.
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” (page 497) • “Adjusting attributes of the Liquid Ink layer” (page 498) • “Using Liquid Ink controls” (page 498) 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.
To choose a Liquid Ink brush variant 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 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.
Size The Feature slider lets you determine the space between bristles. You can experiment with the Feature slider and its effect on different Liquid Ink brushes; the higher the setting, the farther apart the bristles appear. Lower settings produce more solid strokes. 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.
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 390.
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.
An image with impasto information hidden (left) and displayed (right). 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 503. 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 clear the impasto information • Choose Canvas Clear Impasto. 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.
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.
Depth Jitter applied to a brushstroke without jitter smoothing (top) and with jitter smoothing (bottom) To choose an impasto drawing method 1 Choose Window Brush Control Panels Impasto.
The impasto depth method option is not supported by all brush types. You can create Impasto brush variants using only dab-based dab types, such as Circular, Static Bristle, and Computed Circular. When a brushstroke with a high Plow value encounters another Impasto brushstroke, it displaces the depth of the existing brushstroke. In essence, your brushstroke “plows” through existing brushstrokes. For a realistic effect, try varying Depth inversely with Pressure.
You can also Smooth the depth variation Move the Smoothness slider. Specify the transitions in the brushstroke texture Move the Smoothing slider to the right to increase the effect, or to the left to decrease it. A high smoothing value produces brushstrokes with less texture. Control how much depth a brushstroke displaces when it intersects with other brushstrokes Move the Plow slider to the right to increase the effect, or to the left to decrease it.
Setting light position and color You can adjust surface lighting by using preset (simple) lighting or custom lighting. With simple lighting, you can choose one of eight preset lights. With custom lighting, you can add more light sources, and you can move and delete light sources. The lighting sphere shows all possible surface angles and how the lights illuminate them. The light indicators on the sphere show the position of all light sources.
To add, remove, or modify a light source 1 Choose Canvas Surface Lighting. 2 Enable the Enable Impasto check box. 3 In the Light Controls area, perform an action from the following table. To Do the following Add a preset light source In the Light Controls area, enable the Simple lighting check box, and click a light indicator on the lighting sphere.
• Picture — controls how much color appears in the image. At its lowest value, all color is washed out, leaving only the highlights. • Shine — controls how much highlight appears on the surface of brushstrokes. Higher Shine values make the brushstroke look metallic. • Reflection — maps a clone source image or pattern onto the texture at a variable percentage. For more information, see “Creating reflection maps” on page 655.
An example of the Subtract composite depth method. • The Replace method uses layer masks to replace the depth information from lower layers with information from top layers. Wherever brushstrokes overlap, only the top brushstrokes are visible; the lower brushstrokes are completely covered. If the composite depth method is set to Replace and you paint with an Impasto brush variant on a layer, the composite depth method does not change. An example of the Replace composite depth method.
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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.
• “Viewing layer position” (page 536) • “Grouping layers” (page 536) • “Dropping layers with the canvas” (page 539) Working with layer content • “Painting on layers” (page 539) • “Preserving layer transparency” (page 541) • “Adjusting layer opacity” (page 542) • “Adding drop shadows to layers” (page 543) • “Blending layers by using composite methods” (page 543) Working with layers masks • “Creating and deleting layer masks” (page 552) • “Applying layer masks” (page 554) • “Loading layer masks to selections”
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.
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. For more information, see “Converting selections into layers or floating objects” on page 521. Watercolor Stores the paint applied with the Watercolor and Real Watercolor brushes and enables them to mix and flow together.
Layer type Description more information, see “Dynamic Plug-ins” on page 679. Shape Stores any shapes that you create using one of the shape tools. When you create a shape, a new vector-based shape layer is automatically created. For more information, see “Getting started with shapes” on page 782. Text Stores single blocks of text that were inserted with the Text tool. When you add text, a vectorbased text layer is automatically created. For more information, see “Aligning text” on page 813.
Layer panel components 1. Composite Method list box 8. New Layer button 2. Preserve Transparency button 9. New Layer Mask button 3. Pick Up Underlying Color button 10. Lock Layer button 4. Show Layer icon 11. Layer options button 5. Hide Layer icon 12. Layer list 6. Layer Commands 13. Canvas 7. Dynamic Plugins 14. Delete Layer button The Layers panel displays icons that identify layer types and characteristics. The following table lists the icons that appear in the Layers panel.
Icon Description 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 542 and “Blending layers by using composite methods” on page 543.
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 75. 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.
To Do the following 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.
You can move floating objects around a layer to create new compositions. Each layer in a document can have only one floating object at a time. You can drop a floating object to merge it with the layer, but many operations automatically drop (or merge) the floating object back to its parent layer. Floating objects are created by making a selection on a pixel-based layer. Shapes cannot be floating objects because they are vector-based. However, you can turn a shape into a pixel-based layer.
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. Drop a floating object Click the Layer Commands button , and choose Drop.
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.
Displaying layer indicators You can also display layer indicators, which are handles that display at the corners of a selected layer’s content. The layer indicators provide a visual representation of the layer’s bounding box. For more information, see “Moving layers” on page 528. Show the layer indicators to mark the corners of a selected layer. To select a layer To Do the following Select a single layer Do one of the following: •Click a layer in the Layers panel.
To Do the following •In the Layers panel, click the Layer options button , and choose Select All Layers. •Press Ctrl + Shift + 1. You can also press the F key to activate the Layer Adjuster tool. If you are working with a shape, you can switch to the Shape Selection tool by double- clicking a shape with the Layer Adjuster tool. To deselect layers • In the Layers panel, click the Canvas.
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. 5 Choose Edit Paste. To duplicate a layer 1 In the Layers panel, choose a layer. 2 Choose Layer Duplicate Layer. A duplicate layer is created on top of the original layer. Drag the new layer to reveal the original layer in the document window.
You can also copy from multiple layers by pressing Command + Option+C (Mac OS) or Ctrl + Alt + C (Windows). Moving layers When a layer is selected, you can move its content anywhere in the document to create a new image layout. The pink rose was added to an individual layer. The rose layer (left) was repositioned on top of the white roses (right). Think of a layer’s content as being contained by an invisible bounding box.
To Do the following Move a layer Click the Layer Adjuster tool in the toolbox, and drag the selected layer in the document window. Move a layer one pixel at a time Click the Layer Adjuster tool in the toolbox, click the layer in the document window, and press the Arrow keys to move the selected layer one pixel at a time.
Transforming layers You can apply transformations to layers individually or multiple layers simultaneously, which also includes transforming layer groups. For more information about the various methods of transformation, see “Selections and transformations” on page 577. An example of selecting multiple layers for performing a transformation. An example of applying a transformation across multiple selected layers.
Fast Preview Mode displays the selected layers in grayscale to perform the transformation more quickly. In addition, you can apply a transformation to a selection across multiple layers. For more information, see “Creating path-based selections” on page 580. 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.
• Distort button • Perspective Distortion button 5 Perform the transformation. 6 On the property bar, click the Commit Transformation button . When applying a transformation to a layer group, the transformation is applied to all layers within a layer group, including hidden layers or layers that do not appear to be selected. Transformations are not applied to locked layers. To enable or disable Fast Preview of transformations 1 In the toolbox, click the Transform tool .
2 Choose Layers Align, and choose any of the following commands: • Left Edges — aligns the left edges of the layers’ content • Horizontal Centers — aligns the midpoints of the layers’ content horizontally • Right Edges — aligns the right edges of the layers’ content • Top Edges — aligns the top edges of the layers’ content • Vertical Centers — aligns the midpoints of the layers’ content vertically • Bottom Edges — aligns the bottom edges of the layers’ content Locking layers You can lock layers to avoid
In the example on the right, the layer containing the background is hidden; in the example on the left, the layer containing the background is visible. Layer visibility settings stay active when you print or save documents to certain file formats. In other words, the content of hidden layers does not print and is not saved. However, saving a document in RIFF or PSD format preserves hidden layers as part of the document. For more information, see “Importing and exporting layers” on page 558.
To change the order of layers 1 Choose the Layer Adjuster tool from the toolbox. 2 In the Layers panel, select the layer you want to reposition. 3 Perform an action from the following table. To Do one of the following Move a layer to the bottom • From the menu bar, choose Layers Move to Bottom. •On the property bar, click the Move to Bottom button Move a layer to the top • From the menu bar, choose Layers Move to Top. •On the property bar, click the Move to Top button Move a layer down one . .
Viewing layer position You can display information about the size of a layer’s content and its position on the canvas in the Navigator panel. Think of the area of a layer that contains images as being marked by a bounding box. For more information, see “Selecting layers” on page 524. The Navigator panel displays the dimensions and position of the bounding box, not the entire area of the layer. This makes it easy to determine the exact size and location of a layer’s content in the document.
To work with individual layers in a group, you must open the group. To regain control of the group as a unit, you must close the group. Collapsing a group reduces its contents to a single layer. 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.
You can create a nested group by dragging a closed group to the open destination group. 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 • Click the Layer options button , and choose Ungroup Layers. , 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.
Dropping layers with the canvas You can drop a layer or layer group to merge its contents with the canvas. Dropping a layer is a permanent change. Once layers are dropped, you can no longer access the layers’ content separately from the canvas. You can drop specific layers or you can drop all layers at once, this also known as flattening an image. 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.
Pick up colors from underlying layers When painting using brush variants that push paint, rather than apply paint, you can choose to pick up colors from underlying layers. For example, if you have red paint on the top layer, and blue paint on the bottom layer, you can use the Subtle Palette Knife brush variant to blend the red and blue paint. In most cases, brush variants that allow you to blend colors within an individual layer will also support the picking up of colors on underlying layers.
4 Paint on the layer in the document window. 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 541. 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.
Erasing part of a layer (the woman’s hair) with Preserve Transparency disabled restores transparency (left). When the option is enabled, erasing reveals the paper color (right). You can create a layer mask based on the layer’s transparency. A layer mask defines which areas of a layer are visible in the document window. For more information, see “Creating and deleting layer masks” on page 552. To preserve layer transparency • In the Layers panel, click the Preserve Transparency button .
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. When you add a drop shadow, Corel Painter creates a new layer for the shadow and groups it with the original.
Corel Painter provides two types of composite settings: • Composite Method sets the standard composite method. • Composite Depth controls how a layer’s image data interacts with depth information on the canvas and other layers. For example, if the canvas contains Impasto brushstrokes, the Composite Depth setting determines what happens when these brushstrokes intersect with brushstrokes on the layer. For more information, see “Blending impasto with other layers” on page 510.
Composite method Example 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).
Composite method Reverse-Out Allows the layer to invert the colors beneath it. This method is a great way to remove text. Place a layer over black text to turn it white. A color’s inverse, also known as its complementary color, is the color on the opposite side of the color wheel. With Reverse-Out, the colors in the layer are ignored; the layer content becomes transparent and reveals the inverse of the colors beneath it.
Composite method Example Pseudocolor Translates the layer’s luminance into hue. You can use this method to turn a grayscale layer into a spectrum of color. Normal Works like the Default method; the layer covers the underlying image. The Normal method is the default mode in Photoshop.
Composite method Multiply Combines colors to create a darker color Screen Combines colors to create a lighter color Overlay Combines colors while preserving the highlights and shadows of the image color 548 | Corel Painter 2015 User Guide Example
Composite method Example 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 Darken Colors with the image color or the layer color — whichever is darker Layers | 549
Composite method 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 Hue Creates a color by combining the luminance and saturation of the image color with the hue of the layer color 550 | Corel Painter 2015 User Guide Example
Composite method Example 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. 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 510. Creating and deleting layer masks You can create a new, blank layer mask, or you can create a layer mask based on the layer’s transparency.
A layer mask for the butterfly layer is created based on its transparency. Black areas are transparent; white areas reveal the image. To create a blank layer mask 1 Select a layer. 2 In the Layers panel, click the New Layer Mask button . The blank layer mask icon displays next to the layer name in the Layers panel. 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 New Layer Mask button .
You can create layer masks based on transparency for pixel-based layers only. Other layers must first be converted to default layers by clicking the Layer options button in the Layers panel, and choosing Convert To Default Layer. Earlier versions of Corel Painter used layer visibility masks. If you have a file with a modified visibility mask that was created with an earlier version of Corel Painter, use this procedure to load the visibility mask to a layer mask.
To apply a layer mask 1 Select a layer mask. 2 Choose Layers Apply Layer Mask. Loading layer masks to selections Although a layer mask does not protect areas of a layer from being edited, you can load a layer mask to a selection. The selection provides protection to the hidden parts of the layer. For more information, see “Selections and transformations” on page 577. To load a layer mask to a selection 1 In the Layers panel, select a layer that has a layer mask.
To Do the following Select the transparency mask for a layer Press Command (Mac) or CTRL (Windows), and click the title or preview icon of a layer or layer group. Add the transparency mask for a layer to another layer Press Shift + Command (Mac) or Shift + CTRL (Windows), and click the title or preview icon of a layer or layer group. To view a layer mask 1 Select a layer with a layer mask. 2 In the Channels panel, click the layer mask. In this mode, the RGB image is hidden.
Copying layer masks You can copy a layer mask to an alpha channel or copy a channel to a layer mask. The name of a layer mask in the Channels panel reflects the name of the layer ([Layer Name] [Layer Mask]). Although you cannot change the name of a layer mask, it automatically updates if you change the layer name. To copy a layer mask to a channel 1 Select a layer mask. 2 In the Channels panel, click the Channel options button , and choose Duplicate.
Editing layer masks When you select a layer mask, you can edit it as you would edit a channel. You can paint in a layer mask; apply effects to it; fill it with a color, pattern, gradient, or weave; and feather it. You do not have to view a layer mask to edit it; you can select the layer mask, make changes to it, and view the resulting image immediately. A layer mask before (left) and after (right) feathering. When you edit a layer mask, you are making modifications to the mask, not to the layer’s image.
Corel Painter Composite Method Photoshop Blend Mode Corel Painter Composite Method Photoshop Blend Mode Gel Darken Overlay Overlay GelCover not converted Soft Light Soft Light Colorize Color Hard Light Hard Light Reverse-Out Normal Darken Darken Shadow Map Multiply Lighten Lighten Magic Combine Lighten Difference Difference Pseudocolor Normal Hue Hue Normal Normal Saturation Saturation Dissolve Dissolve Color Color Multiply Multiply Luminosity Luminosity Screen S
You can create a reference layer by basing it on an existing layer or by placing an image. For more information, see “Opening and placing files” on page 71. To create a reference layer 1 Select a layer. 2 Choose Layers Convert To Reference Layer. The layer’s icon in the Layers panel changes to an eight-handled shape , and an eight-handled box marks the boundary of the layer’s contents in the document window. To modify a reference layer • Select a reference layer.
To commit a reference layer • In the Layers panel, right-click a reference layer, and click Convert To Default Layer. The conversion process might take a few seconds, depending on the size and quality of the layer. Storing layers as images in the Image Portfolio The Image Portfolio is a convenient place to store layers as images so you can use them again. You can create your own Image Portfolio libraries to organize images by category.
Corel Painter places the Image Portfolio item on a new layer.
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.
Creating and copying channels You can create a channel from a selection, create a blank channel, or create a new channel by copying an existing channel. The channels are saved with the image and remain part of the file. Channels remain inactive (for canvas control) until you load them as selections in the image. For more information, see “To load a selection from an alpha channel” on page 592. Corel Painter lets you create up to 32 alpha channels.
To create a blank channel • In the Channels panel, do one of the following: • Click the Channel options button • Click the New Channel button , and choose New. . 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, enable the New Alpha Channel option. You can also copy a channel to an existing channel, so that the existing channel is replaced.
To generate a channel based on luminance 1 In the Channels panel, do one of the following: • To generate a new channel, choose the RGB channel from the list. • To replace a channel, choose it from the list. 2 Click the Channel options button , and choose New From.
3 With the New Channel from Color Range 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 New Channel from Color Range dialog box, adjust the Range slider in the Hue, Saturation, and Value areas. These sliders control the selected range. You can drag the limits of the range in either direction.
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 552.
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 570. To display the channels panel • Choose Window Channels.
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 close the eye next to the channel item to . A channel protecting the wings and body is displayed in grayscale. The RGB image is hidden.
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. If you want the channel displayed at its full intensity, move the Opacity slider to 100%.
Because the alpha channel is a grayscale image, you edit the channel by applying only white (to remove protected areas), black (to add protected areas), and shades of gray (to create semi-protected areas); no colors are available. You can apply changes by selecting a brush and painting the changes in the channel. In this example, the channel has a few stray areas that are unprotected (left). The stray areas were transformed into protected areas by applying black brushstroke (right).
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 241. 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.
2 Click the Channel options button , and choose Feather. 3 In the Feather dialog box, type a number of pixels. To invert a channel 1 In the Channels panel, choose a channel from the list. 2 Click the Invert Channel button . To fill a channel with a pattern 1 In the Channels panel, display and select the channel you want to work with. If you want to fill only a specific area of the channel, make a selection. 2 Click Window Media Library Panels Patterns.
You can also Specify the range of grey to be filled On the property bar, type a value in the Tolerance box, or adjust the slider. Specify the fill opacity for pixels outside the tolerance range On the property bar, type a value in the Feather box, or adjust the slider. Soften the edge of the fill Enable the Anti-Alias button on the property bar. Anti-aliasing is desirable when Feather is zero or extremely low. The Paint Bucket tool applies a fill only to a visible channel.
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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.
Transforming selections • “Preparing selections for transformations” (page 600) • “Moving selections” (page 600) • “Transforming a duplicate selection” (page 602) • “Scaling and rotating path-based selections” (page 602) • “Skewing and distorting path-based selections” (page 604) • “Canceling transformations” (page 606) 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.
To Description Apply an image effect Applies an effect to only an isolated area. You can also set different levels of protection within a selection to create partial intensity of the effect.
Magic Wand tool Selects pixels of similar color by clicking or dragging in an image (pixel-based) Transform tool Modifies path-based selections by using different transformation modes Selection Adjuster tool Selects, moves, and manipulates path-based selections Selection storage In Corel Painter, each new selection automatically replaces the current selection, therefore, you need to store a selection in order to reuse it.
inside or the outside of the selection is protected. For more information, see “Choosing the protected area of a selection” on page 588. In addition, if you select multiple layers prior to performing a transformation on a path-based selection, the transformation applies to the selected area across any layers that are currently selected. For example, if you select a layer group, the selection and transformation is applied to all layers within that group.
• 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 select Do the following A rectangular area Choose the Rectangular Selection tool from the toolbox. Drag in the document window to select an area. A square area Choose the Rectangular Selection tool from the toolbox. While dragging the selection in the document window, hold down the Shift key.
anchor points of the polygon selection, and double-click to set the last anchor point. If you draw an open path with the Lasso tool , the endpoints are connected automatically with a straight line before the selection is created. When using the Lasso tool or Polygonal Selection tool , you can switch from one tool to another by pressing Option (Mac OS) or Alt (Windows). To select the entire canvas • Choose Select All. To convert a shape to a selection 1 Select the shape that you want to convert.
In addition, there are ways to auto-generate pixel-based selections by using various image, clone, and color characteristics. For example, you can create a selection based on the luminance values of a clone. Pixel-based selections provide 256 levels of protection to the canvas. Each pixel in the selection sets a level of protection for its corresponding color pixel in the RGB image. Opaque areas of the selection provide 100% protection and prevent brushstrokes and effects from marking the canvas.
You can also Remove an area from the current selection On the property bar, click the Subtract From Selection button and click the areas you want to add. The default tolerance for selections is 32. This can be adjusted from 1 to 255. If you add to the current selection, you add to the range of values that the Magic Wand tool selects rather than create an additional selection with a unique seed color.
• Current Color — creates a selection of pixels based on the current main color. Before using this option, you can pick a color from the image by using the Dropper tool . If you want to invert the selection, enable the Invert check box. To auto-generate a selection based on clone characteristics 1 Choose Window Clone Source. 2 In the Clone Source panel, click the Open Source Image button , and choose the image that you want to set as the clone source. 3 Choose Select Auto Select.
To create a selection from a layer • With the Layers panel open, perform an action from the following table: To Do the following Select the content of a layer Choose Select Select Layer Content. You can also select the content of a layer from the Layers panel, by holding down Command (Mac) or Ctrl (Windows), and clicking the title of the layer that you want to select. Select the content of a group of layers Choose Select Select Group Content.
To Do the following the selected layer from the Load From list box, and enable the Replace Selection option. You can also create a selection from a layer by choosing Load Selection from the Select menu. In the Load Selection dialog box, choose the transparency of the selected layer from the Load From list box, and enable the Replace Selection option. 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.
Combining selections when saving or loading alpha channels When you save or load alpha channels, you can combine the current selection with an existing alpha channel by adding, subtracting, or intersecting with the selection. Adding to a selection combines it with the existing channel. Subtracting a selection cuts it out of the existing channel. When intersecting a selection, you include only those parts that are common to the selection and the existing channel.
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.
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.
• Subtract From Mask — subtracts the current selection from the chosen channel • 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.
4 In the Selection Portfolio panel, click the Selection Portfolio options button , and choose Add Selection To Portfolio. 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.
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.
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.
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. This technique works only when the selection is directly on the canvas, it does not work if the selection is on a layer.
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.
To Do the following Contract a selection Choose Select Modify Contract. In the Contract Selection dialog box, specify the number of pixels. 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.
Adding to a path-based selection. To subtract from a selection 1 Create a selection by using one of the selection tools. 2 On the property bar, click the Subtract From Selection button . 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.
Preparing selections for transformations Before attempting to transform a selection, it’s important to determine if it’s path-based or pixel-based because the selection type determines which transformations you can perform. For example, path-based selections support many transformations that pixel-based selections do not. However, you can convert a pixel-based selection to a path-based selection to apply transformations to it.
To move a selection 1 For a selection made by using the Selection Adjuster tool , choose the Transform tool from the toolbox. If the Transform tool is not displayed in the toolbox, click and hold the Layer Adjuster tool open the flyout, and then choose the Transform tool 2 On the property bar, click the Move button to . . 3 While staying within the bounding box, click the selection, and then drag it to a new position on the canvas.
Transforming a duplicate selection You can transform a copy of a selection or the contents of an active layer. To transform a duplicate 1 Hold down Option (Mac) or Alt (Windows), and choose the Transform tool from the toolbox. If the Transform tool is not displayed in the toolbox, click and hold the Layer Adjuster tool open the flyout, and then choose the Transform tool to . 2 On the property bar, click a transformation mode. The transformation is applied to copied content.
To Do the following Scale a selection in one dimension Drag a side, top, or bottom handle. On the property bar, click the Commit Transformation button Scale a selection in two dimensions . Drag a corner handle. On the property bar, click the Commit Transformation button Scale while maintaining the selection’s shape, or “aspect ratio” Hold down Shift while you drag a corner handle.
To rotate 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 open the flyout, and then choose the Transform tool 2 On the property bar, click the Rotate button to . . 3 Move the pointer outside the border of the selection’s bounding box. 4 Drag a corner handle. If you want to constrain the rotation by 15-degree increments, hold down Shift while dragging.
To skew 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 open the flyout, and then choose the Transform tool 2 On the property bar, click the Skew button to . . 3 Move the pointer outside the border of the selection’s bounding box. 4 Drag a side handle. If you want to skew only the selected side, hold down Alt (Windows) or Option (Mac) while dragging the side handle.
If you want to distort the selection relative to the Reference Point, hold down Alt (Windows) or Option (Mac) while dragging a corner handle. 4 On the property bar, click the Commit Transformation button . A selection before (left) and after (right) distorting. To distort perspective in 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 open the flyout, and then choose the Transform tool to .
To cancel a transformation • Click the Cancel Transformation button on the property bar, or press Esc.
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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.
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.
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. Any changes in the paper or color appear in the Preview window in the ColorOverlay dialog box.
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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.
• • • • “Applying Highpass” (page 638) “Applying the Maze effect” (page 639) “Placing elements” (page 640) “Applying the Pop Art Fill effect” (page 642) 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.
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.
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. If you want 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.
Darker regions of the source receive greater blur. 6 Adjust any of the Depth of Field controls. For information, see “Depth of Field controls” on page 618. To apply Depth of Field by 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. • A layer — Click a layer in the Layers panel. 2 Choose Effects Focus Depth of Field.
• To use an alpha channel, choose Window Channels, and click the alpha channel in the Channels 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 Choose Original Luminance from the Using list box. Darker regions of the source receive greater blur.
Before (left) and after (right) applying Glass Distortion. There are five sources of displacement information: • Paper uses the information in a paper texture to displace pixels. More displacement is applied to light areas of the texture, and less to dark areas. Paper texture is good for creating the pebbled glass effect. Unless you want frosted glass, you’ll probably want to increase the scale of the paper.
5 Choose Paper from the Using list box. 6 Adjust any of the Glass Distortion controls. For information, see “Glass Distortion controls” on page 621. To apply glass distortion by using 3D brushstrokes 1 Open an image. 2 Choose File Clone. 3 Apply brushstrokes to the clone. 4 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 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 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 621.
• Variance — creates multiple variations in the neighborhood of the displacement. The result of increasing variance depends on the type of image and other settings. • Direction — controls the direction of displacement. The 3 o’clock position corresponds to 0°. The Refraction map type is not dependent on direction. • Inverted — inverts the selected source • Quality — changes the quality of the distortion Applying Motion Blur This effect makes an image appear as if it has been blurred by movement.
• Angle — sets the direction in which the image appears to travel. A setting of 0° blurs in the direction of 3 o’clock. • Thinness — blurs the image in a direction perpendicular to the angle you choose with the Angle slider. Sharpening focus The Sharpen effect heightens contrast by intensifying highlights and shadows. You can create sharper images by using either the Gaussian or Circular aperture options.
Softening focus The Soften and Super Soften effects increase the transition from one part of an image to another by enhancing the anti-aliasing of the brushstrokes. You can apply the Soften effect to images by using either the Gaussian or Circular aperture options. The Gaussian aperture is useful for creating smooth, optical blurs or defocusing; the Circular aperture is useful for creating shadow maps cast by a circular light source like the sun.
You can also Wrap around the effect Enable the Wrap Around check box. Preview the effect Enable the Preview check box. Clear the effect Click Reset. 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.
Applying Marbling The Marbling effect creates intricate distortions of an image, following a technique that dates back to the 12th century. Marbling is created by dragging a fork, or rake, across an image, which produces an effect similar to a fork dragging through a mix of chocolate syrup and melted ice cream. Before (left) and after (right) applying the Marbling effect. Each time you drag a rake across an image, you create a step.
• Waviness — changes the amplitude (height) of the waves. When this slider is set to zero, the path is straight. • Wavelength — determines the distance between wave peaks • 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.
To Do the following Load a recipe In the Apply Marbling dialog box, click Load Marbling Steps. 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. Unlike most other effects, Auto Clone has no dialog box, using the current brush settings and the clone color instead.
To automatically fill an area with cloned brushstrokes 1 Open an image file to use as a clone source. 2 Choose File Clone. If you want to apply the effect to only a portion of your image, choose a Selection tool from the toolbox and make a selection. 3 Click the Brush Selector on the Brush Selector bar. 4 In the Brush library panel, click the Cloners brush category, and then choose a brush variant such as Driving Rain Cloner or Impressionist cloner. Not all Cloners are compatible with Auto Clone.
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. To apply Auto Van Gogh to an image 1 Select the image you want to clone. 2 Choose File Quick Clone. 3 Click the Brush Selector on the Brush Selector bar. 4 In the Brush library panel, click the Artists brush category, and then click the Auto Van Gogh brush variant.
Before (left) and after (right) applying a Blob effect created from Clipboard contents. A Blob effect created from the current color source. Blobs create a nice basis for the Apply Marbling effect because they create interesting color patterns. You may want to apply this effect to your original image before Apply Marbling. For more information, see “Applying Marbling” on page 626.
To Do the following 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. • A layer — Click a layer in the Layers panel. 4 Choose Effects Esoterica Blobs.
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 736.
• 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 635. 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.
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. 4 Choose Effects Esoterica Custom Tile. 5 Choose Paper from the Using list box. 6 Adjust any of the Custom Tile controls.
• Use grout — adds grout between the tiles • Grout Color — sets the grout color • Grout Thickness — controls the width of the cracks between tiles or the grout lines (if grout is enabled) Applying Grid Paper The Grid Paper effect adds a grid of horizontal lines, vertical lines, rectangles, or dots to an image. Unlike the grid overlay, which is a transparent layer that floats as a reference above an image, Grid Paper becomes part of an image.
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.
• Fork Ratio — is similar to Fork, but it affects only the tips of the outermost branches 5 Without closing the Growth dialog box, drag in the document window to create a growth pattern. 6 Do one of the following: • To apply the current growth pattern, click OK. • To discard all patterns, click Cancel. The sliders in the Growth dialog box affect both fractal and nonfractal growth patterns in a similar way, with the exception of Fork and Fork Ratio, which affect only fractal growth patterns.
• 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. 4 Move the Amount slider to determine how much to suppress the low-frequency areas. This value defines a radius, in pixels, around each pixel in the selected image area. Moving the slider to the left suppresses larger amounts of low-frequency information.
5 Type a value in the Seed box to generate a random maze pattern. 6 Type a value in the Thickness box to set the width of barriers and paths. Placing elements Place Elements is an effect designed to automate the application of brush dabs. It’s particularly useful when applying it with an Image hose brush variant. For more information, see “Using the Image hose” on page 470. An example of the Place Elements effect used with the Image hose.
To place elements 1 Do one of the following: • To use an Image hose, choose an Image hose brush variant from the Brush library, and then choose a nozzle from the Nozzle selector on the Media Selector bar. • To apply paint dabs, select a brush from the Brush library. Not all brush variants are supported by Place Elements. 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.
• 1 — specifies that each point receives only one element • 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.
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. 7 Click the Background chip, and choose a background color.
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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 609.
• • • • • • • • “Applying the Color Overlay effect” (page 660) “Applying the Dye Concentration effect” (page 663) “Applying the Express Texture effect” (page 666) “Applying a warp effect” (page 668) “Applying the Woodcut effect” (page 670) “Applying the Distress effect” (page 672) “Applying the Serigraphy effect” (page 674) “Applying the Sketch effect” (page 676) Applying preset lighting effects Corel Painter includes a series of preset lighting effects that you can apply to your images.
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 lights 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 lights.
2 Choose Effects Surface Control Apply Lighting. 3 Perform a task from the following table. To Do the following Add a light Click anywhere in the preview window. Delete a light Click an indicator, and press Delete (Mac OS) or Backspace (Windows). Move a light 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.
To change the light color, click the Color chip, and choose a color. 5 In the Ambient Lighting area, move any of the following sliders: • 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.
5 Choose Paper from the Using list box. If you want to apply an inverted paper texture, enable the Inverted check box. 6 Adjust any of the Apply Surface Texture controls. For more information, see “Apply Surface Texture controls” on page 659. Using 3D brushstrokes to create texture You can create the illusion of textured brushstrokes by applying the 3D Brushstrokes effect to an image.
You can apply a paper texture when you first create an image, and then paint or draw over it to make a textured canvas for your brushstrokes. However, the texture is erasable, so you might not end up with the same texture across the document surface. As a rule, you add the paper texture as the last step in producing artwork. You can also use advanced brush settings to make realistic brushstrokes. For example, you can use the Brush Loading option to move underlying colors as you make brushstrokes.
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. • 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 Apply Surface Texture. 3 Choose Image Luminance from the Using list box.
Any image effects or brushstrokes that you apply to the clone source result in different textures. For example, you can create raised areas in the clone by darkening the area in the source image. To create surface texture based on 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.
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, choose Current Color from the Fill with list box. 6 Adjust the Opacity slider to set the opacity of the fill. 7 Click OK to fill the clone file with color.
Before (left) and after (right) adding texture based on a saved alpha channel. Before (left) and after (right) adding texture based on a layer mask. To create surface texture based on a channel or layer mask 1 In the Layers panel, select a layer or the canvas. If you want to use a layer mask, you must select the layer to which the layer mask is attached. Make sure that the layer mask is not blank. 2 Choose Effects Surface Control Apply Surface Texture.
Before (left) and after (right) applying a typical reflection map. 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 668.
A selected image area, ready to become reflective. 8 Choose Effects Surface Control Apply Surface Texture. 9 Choose the layer mask from the Using list box. 10 Move the Reflection slider to adjust the amount of reflection you want. 11 Move the Softness slider to adjust 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.
The lighting sphere shows all possible surface angles and how the lights illuminate them. The light indicators on the sphere show the position of all light sources. The lighting sphere with a light indicator. 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.
To Do the following Add custom lights along a circular path Move the Lights slider. Move a custom light Drag a light indicator to a new position on the sphere. Change the light color Click a lighting indicator, click the Light Color chip, and then choose a color. 4 Adjust any of the Apply Surface Texture controls. For information, see “Apply Surface Texture controls” on page 659. Apply Surface Texture controls • Using — lets you choose a method for applying the surface texture.
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 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. 2 Choose Effects Surface Control Apply Screen.
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. If you want open to experiment with the effect, keep the Papers panel open while you apply the effect.
To use image luminance to apply a color overlay 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 Color Overlay. 3 Choose a color from the Use Color chip. 4 Choose Image Luminance from the Using list box. 5 Adjust any of the Color Overlay controls.
5 Choose Original Luminance from the Using list box. 6 See “Color Overlay controls” on page 663. To use a layer mask or channel to apply a color overlay 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 Window Color Panels Color. 3 Choose a color from the Color panel.
To uniformly adjust dye concentration 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 Dye Concentration. 3 Choose Uniform Color from the Using list box. 4 Adjust any of the Dye Concentration controls. For information, see “Dye Concentration controls” on page 665.
To adjust dye concentration 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. • To use a pattern, choose Window Media Library Panels Patterns, and click a pattern swatch from the Pattern library panel. 3 Choose Effects Surface Control Dye Concentration. 4 Choose Original Luminance from the Using list box.
Applying the Express Texture effect You can apply the Express Texture to generate a high-contrast version of an image in grayscale, which creates a visual effect similar to a custom halftone screen, like a mezzotint or line screen. When you use this effect, anti-aliasing is automatically applied to the image. You need to choose a method for applying the effect. There are five different methods for applying Express Texture: • Paper — adjusts light intensity by using the paper texture as a mapping model.
3 Choose Image Luminance from the Using list box. 4 Adjust any of the Express Texture controls. For information, see “Express Texture controls” on page 668. To apply Express Texture using paper texture 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.
2 Choose Effects Surface Control Express Texture. 3 Choose the layer mask or alpha channel from the Using list box. 4 Adjust any of the Express Texture controls. For information, see “Express Texture controls” on page 668. Express Texture controls • Gray Threshold — determines where the threshold is, between pure black and pure white • Grain — determines how deeply the texture penetrates the surface • Contrast — determines the number of levels of black and white.
An example of the Quick Warp effect using Sphere distortion. • Bump — warps the center of the image toward you, making it appear convex An example of the Quick Warp effect using Bump distortion.
• A layer — Click a layer in the Layers panel. 2 Choose Effects Surface Control Image Warp. 3 In the Image Warp dialog box, enable one of the following options: • Linear — pulls the selected area as if you were pulling from the top of a cone • Cubic — pulls a flat surface outward • Sphere — pulls a surface as if it were a lens 4 Adjust the Size slider. This slider controls the size of the area affected by dragging the cursor. The higher the number, the smaller the affected area.
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.
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. 5 Enable one of the following options: • Auto Color — computes the color set from the original image’s colors automatically • Use Current Color Set — uses a predefined color set. Next, choose a color from the Color Set box.
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.
• 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. For information, see “Distress controls” on page 674.
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. • 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 Serigraphy. 3 Click the Match to color chip, and choose a color from the Color dialog box.
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 124. To store the settings for the effect, you can create a preset. This allows you to quickly apply the settings to another image. Before (left) and after (right) applying the Sketch effect.
You can also apply a preset sketch effect by choosing a preset from the Preset list box. To save a sketch effect as a preset 1 Choose Effects Surface Control Sketch. 2 In the Sketch dialog box, modify any of the settings. 3 Click the Add button . 4 In the Add Preset dialog box, type a name in the Preset Name box. You can delete a preset sketch effect by choosing it from the Preset list box and clicking the Delete button.
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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 plugeffects 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.
• “Getting started with dynamic plug-ins” (page 680) • “Modifying and deleting dynamic layers” (page 681) • “Committing dynamic layers to default layers” (page 681) • “Applying the Brightness and Contrast dynamic plug-in” (page 682) • “Applying the Burn dynamic plug-in” (page 683) • “Applying the Tear dynamic plug-in” (page 684) • “Applying the Bevel World dynamic plug-in” (page 686) • “Applying the Equalize dynamic plug-in” (page 688) • “Applying the Glass Distortion dynamic plug-in” (page 690) • “Applying
To access the dynamic plug-ins 1 Choose Window Layers. 2 In the Layers panel, click the Dynamic Plug-ins button to display a list of dynamic plug-ins. 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 commit a dynamic layer to a default layer 1 In the Layers panel, choose a dynamic layer. 2 Click the Layer options button , and choose Convert To Default Layer. 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.
Applying the Burn dynamic plug-in The Burn dynamic plug-in lets you add a burn effect to the edges of a selection or layer. You can adjust the amount and character of the burn. 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.
You can also Use the current paper to vary the dye concentration in the scorch region Enable the Use paper texture check box. 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. Change the scorch color Click the Color chip, and choose a color in the Color dialog box. Restore the default settings Click the Reset button.
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.
You can also Restore the default settings Click the Reset button. You can view only the dynamic layer by hiding the canvas in the Layers panel. Use a rough paper texture to create a better tear by clicking the Paper selector in the toolbox and choosing a paper texture from the list. You can use the Revert to Original command in the Layers panel menu to restore a source image to its original condition. For more information, see “Modifying and deleting dynamic layers” on page 681.
• 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. 2 In the Layers panel, click the Dynamic Plug-ins button , and choose Bevel World.
You can also Change the light color Click the Light Color chip, and choose a color in the Color dialog box. Add a preset light source In the Light area, enable the Simple lighting check box, and click a light indicator on the lighting sphere. Add a custom light source In the Light area, disable the Simple lighting check box, and click on the lighting sphere where you want to add a new light source. A new light indicator (small circle) appears where you click.
The Equalize dynamic layer is applied to a rectangular selection. 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 from the toolbox, and then drag in the document window to select an area.
Applying the Glass Distortion dynamic plug-in The Glass Distortion dynamic plug-in creates a layer that simulates the appearance of viewing the image through textured glass. You can move the layer in the document to view the distortion over different parts of an image. 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.
• Amount — controls the degree of displacement. A higher amount leads to more distortion. • Variance — creates multiple variations in the neighborhood of the displacement. The result of increasing variance depends on the type of image and other settings. Corel Painter automatically creates a new layer when you apply the dynamic plug-in. 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.
the colored chips. When you add a Kaleidoscope dynamic layer, you first specify its size. You can move the layer over different parts of an image to produce different effects. To create a Kaleidoscope dynamic layer 1 In the Layers panel, click the Dynamic Plug-ins button , and choose Kaleidoscope. 2 In the Kaleidoscope dialog box, specify the size of the dynamic layer. Kaleidoscopes must be square, and no bigger than the shorter dimension of the document (width or height).
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. Applying the Liquid Lens dynamic plug-in Liquid Lens creates a dynamic layer that lets you distort and smear the underlying image. You can create “fun house” mirror effects, melting images, and more. You can also erase any of the changes that you make.
Liquid Lens tool The Right Twirl tool distorts in clockwise spirals. The Bulge tool distorts outward, pushing images out. The Pinch tool distorts inward, drawing images closer.
Liquid Lens tool Example 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: • 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.
Low spacing makes a smooth, continuous stroke (left); high spacing lets the dabs appear individually (right). • Amount — controls the degree of distortion applied • Smooth — changes the blending between the distortion stroke and the unaffected images Higher values create a smooth, continuous distortion (right). Lower values create individual dabs of distortion (left). 5 Drag in the document window to create distortion. If you don’t like the distortion, click Clear.
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. You can move the Liquid Lens layer to different regions of the document to distort other images. Rain melts the image. To erase Liquid Lens distortion 1 In the Liquid Lens dialog box, choose the Eraser tool . 2 Adjust the Size, Spacing, and Smooth sliders to modify the Eraser tool settings.
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.
Liquid Metal tool Example You can create strokes of metal by using the Brush tool. You can create circles of metal by using the Circular Drop 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. 3 In the Liquid Metal dialog box, choose one of the following tools: • Circular Drop tool • Brush tool 4 In the Settings area, move any of the following sliders: • Size — changes the diameter of the selected droplets that you apply by using the Brush tool or Rain. It does not affect the Circular Drop tool.
• Smooth — changes the perimeter range, which determines the droplet’s tendency to “join” its neighbors Low settings on the Smooth slider keep droplets distinct (left); higher settings make the droplets flow together (right).
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). 7 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 threedimensional Enable the Surface tension check box.
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 Select Drops 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.
To Do the following Add droplets to a selection Hold down Shift, and click additional droplets to add to the selection. 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 Select Drops tool , and select the droplets that you want to move.
You can drag the center of one of the droplets to move the selected group. To adjust the size of the Liquid Metal brush 1 In the Liquid Metal dialog box, choose the Select Drops tool , and click outside the droplets to deselect all. 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.
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.
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 plug-in.
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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 website. For more information, see “Working with libraries” on page 56.
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 Patterns library panel. 3 To apply a pattern to: • The canvas — Click Canvas in the Layers panel.
You can also On the property bar, click the Anti-Alias button Soften the edges of the pattern . Anti-aliasing is desirable when the Feather setting is extremely low or set to zero. 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. In the Fill dialog box, choose Original Luminance from the Fill With list box, and click the Pattern selector.
example, you can paint a pattern with a mask, which generates a pattern with a transparent background. You can also paint subtle patterns by adjusting the opacity, which produces a translucent effect. 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 Patterns library panel. 3 Choose Window Brush Control Panels General.
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.
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. You can also create a pattern from a mask, which produces a pattern with a transparent background. The image or selection that you choose is converted into a tile that, when repeated, generates a pattern. A pattern tile was created by applying brushstrokes to the canvas.
3 Choose Window Media Control Panels Patterns. 4 In the Patterns panel, click the Pattern options button , and choose Define Pattern. 5 Apply brushstrokes to the canvas. If you apply a brushstroke to the edge of the canvas, wrap-around colors are enabled so that you can drag a brushstroke off one edge of an image, while simultaneously applying the brushstroke to the other side of the image. 6 Click the Pattern options button , and choose Add Image to Library.
7 Type a name in the Name text box. 8 Click OK to save the pattern tile to the current library. You can also create a pattern that is based on a 4-point clone source, such as perspective or bilinear. For more information, see “Applying transformations when sampling” on page 182. To create a masked pattern 1 Open the image file that you want to use in creating a pattern. 2 Choose Window Media Control Panels Patterns. 3 Choose the Lasso tool from the toolbox.
4 On the canvas, modify the pattern tile image. 5 Click the Pattern options button , and choose Add Image to Library. 6 In the Save Image dialog box, click OK to save the pattern to the library. If you want to rename the pattern, type a new name in the Save As text box. For example, you may want to modify a default pattern, but keep a copy of the default pattern intact. The Check Out Pattern mode supports wrap-around colors.
Left: The pattern tile before the edges were modified. Right: The same pattern tile after the edges were painted by using the Straight Cloner brush and the wrap-around colors feature. To ensure a seamless pattern, you can also apply an effect, such as the Glass Distortion effect, the Super Soften effect (with the Wrap Around check box enabled), and most of the Tonal Control effects. Some effects, such as Apply Surface Texture, can result in a noticeable seam.
3 In the Patterns panel, click the Pattern selector, and click the pattern whose seams you want to modify in the Patterns library panel. 4 Click Canvas in the Layers panel. 5 Choose the Paint Bucket tool from the toolbox, and click the canvas in the document window. 6 In the Patterns panel, click the Pattern options button 7 In the toolbox, click the Grabber tool , and choose Define Pattern. .
The Power slider determines the degree of detail. The image on the left is set to -200% and the image on the right is set to 0%. • Feature Size defines the number of prominent features within the tile. 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.
To create fractal patterns 1 Choose Window Media Control Panels Patterns. 2 In the Patterns panel, click the Pattern options button , and choose Make Fractal Pattern. 3 In the Make Fractal Pattern dialog box, 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 features, or move it to the left to zoom in and see a few large features.
Creating the new pattern may take some time. When the pattern file is ready, it appears in a new document window. 7 In the Patterns panel, click the Pattern options button , and choose Capture Pattern. 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.
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.
Left to right: Linear, radial, circular, and spiral gradients. 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 332. 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.
5 Click the Paint Bucket tool from the toolbox. 6 In the document window, click the selected area, layer, or channel. You can also Specify the range of colors to be filled On the property bar, type a value in the Tolerance box, or adjust the slider. Specify the gradient fill opacity for pixels outside of the tolerance range On the property bar, type a value in the Feather box, or adjust the slider. Soften the edges of the gradient fill On the property bar, click the Anti-Alias button .
7 From the General controls panel, choose a dab type from the Dab Type pop-up menu. If the Source pop-up menu in the General controls panel is not available (appears gray), the selected dab type does not support gradients. For example, the Line Airbrush, Projected, and Rendered dab types support gradients.
To replace image colors with gradient colors 1 Open the image that you want to use. Select part of the image, or use the entire image. 2 Choose Window Media Control Panels Gradients. 3 Click the Gradient selector, and click a gradient from the PainterGradients library panel. 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.
The gradient with low spiral tension (left) and high spiral tension (right). To gradient direction 1 Choose Window Media Control Panels Gradients.
To Do the following Increase the spiral tension Drag the Scale the Spiral Rate of the Ramp slider to the right. Decrease the spiral tension Drag the Scale the Spiral Rate of the Ramp slider to the left. Change the direction of the spiraling effect 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.
A new color was added to the gradient by adding a color control point to the color ramp bar. 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.
6 Click the Gradient options button , and choose Save Gradient. 7 In the Save Gradient dialog box, type a name for the gradient in the Save as box. 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.
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.
4 In the Gradients panel, click the Gradient options button , and choose Capture Gradient. 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. After a gradient is captured, 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.
You can use the tessellation technique to create a stained-glass effect. You can alter the appearance of mosaics and tessellations in many ways. For example, you can give a threedimensional (3D) appearance to mosaics or add points to tessellations to increase the number of shapes.
• 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. Additional courses of tiles should follow the initial contours. Tiles applied to the outline of an image. • Use larger tiles in areas of flat color and smaller tiles in regions where you must add more detail. In flatcolor areas, you may want to introduce some color variability for a more realistic effect.
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 resolution-independent 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.
You can also change tile dimensions and shape. For more information, see “Adjusting mosaic tile dimensions and randomness” on page 742. You can also specify that Corel Painter automatically fill an area with tiles by choosing Stroke/ Fill Selection from the Action list box in the Mosaic and Tessellation dialog box. For more information, see “Stroking and filling a selection with mosaic tiles” on page 749.
To Do the following Select tiles Drag across the tiles you want to select. Red borders appear on selected tiles. Select contiguous tiles of the same color (no variability allowed) Press Command + Control (Mac OS), or Ctrl (Windows), and drag across part of a line of tiles, so that the whole line of tiles is selected. A magic wand appears as you select the tiles. Select all tiles Click Select All Tiles, or press the A key.
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.
• Vary — adds color variability based on the settings in Brush Controls Panels Color Variability. 3 Click individual tiles that you want to change or drag across a group of tiles. To apply color variability to tiles 1 In the Mosaic and Tessellation dialog box, choose Change Tile Color from the Action list box. 2 In the Color Adjustments area, enable the V (Vary) option. 3 Click Color Variability to display the Color Variability panel.
Dimension control Description 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). Pressure Determines how tile dimensions are affected by stylus pressure, which allows you to control the width variance under differently weighted strokes.
Dimension control Description Grout Sets the spacing between tiles in pixels. In this example, the spacing between tiles is 0% (top) and 15% (bottom). To adjust tile variability 1 Choose Effects Esoterica Make Mosaic and Tessellation. 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.
Randomness control Description Length Allows the length of a tile 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, the Length slider is set to 98%. Pressure 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°.
Randomness control Description 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%. Filling an area with tiles You can use different modes to fill an area of a mosaic with tiles. You can use the Start with triangle mode to fill a wedge-shaped area by applying a brushstroke that starts with a triangular shaped tile. The Start with triangle mode creates a perfect wedge in the “V.
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 and Tessellation. 2 In the Options area, enable one or both of the following check boxes: • Start with triangle • Respect edge of image 3 Drag in the document window to apply tiles. Creating 3D tiles You can create mosaics with a 3D appearance by rendering tiles into a mask.
To give mosaic tiles a 3D look 1 Choose Effects Esoterica Make Mosaic and Tessellation. 2 Drag in the document window to apply tiles. When the mosaic is complete, you can proceed to step 3. 3 Choose Render To Mask from the Action list box. 4 Click Render To Mask, and then click OK. This action uses tile data to create a new channel in the Channels panel (Window Channels). 5 Choose Effects Surface Control Apply Surface Texture.
8 Click OK. Corel Painter replaces the resized, blurry tiles with tiles rendered at the higher resolution. After you click Rebuild, Corel Painter erases any part of the image that is not a tile or grout. Stroking and filling a selection with mosaic tiles You can stroke or fill path-based selections that were created with the Rectangular Selection, Oval Selection, and Lasso tools with mosaic tiles.
5 From the Action list box, choose Stroke/Fill Selection. 6 Click one of the following buttons: • Stroke Selection — creates one row of tiles along each selection path • Fill Selection — applies multiple rows of tiles, working in from the path until the selected area is filled with tiles The Fill Selection command works with selections made by using the Lasso tool . To fill an oval selection, you must first choose the Stroke Selection command, and then choose the Fill Selection command.
a powerful option. The tessellation points are distributed according to the luminance of the clone source. Lighter regions receive a greater density of points, so the shapes are smaller. 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 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.
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 and Tessellation. 2 Choose Dimensions from the Settings list box. 3 Move the Grout slider to set the grout line thickness. 4 Click the Grout Color chip, and select a color. 5 Choose Make Tessellation from the Action list box. 6 Choose one of the following tile shapes from the Tile Shape list box.
If you want to clear all tessellation points, click Clear. To create a tessellation from a clone source 1 Choose File Open, and locate the file that you want to clone. 2 Choose File Quick Clone. 3 Click the Clone Color button in the Color panel. Enabling the Clone Color option disables the Color panel. This is a reminder that the color information is pulled from the clone source. 4 Choose Effects Esoterica Make Mosaic and Tessellation. 5 Choose Make Tessellation from the Action list box.
To color tessellations 1 In the Mosaic and Tessellation dialog box, choose Change Tile Color from the Action list box. 2 In the Color Adjustments area, enable the Color option. 3 Click the color chip, and choose a bright main color. 4 Drag to create a stroke in the document, or click individual tiles. Colored, tessellated tiles appear beneath your stroke. You can also base the color on the color in a clone source if you enable Clone Color in the Colors panel.
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Weaves Corel Painter includes an assortment of weave samples that you can apply as fills. On Windows, 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 56.
The Weave Library is accessible from the Media Selector bar. You can also display a weave as two-dimensional or show the interwoven threads three-dimensionally, 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.
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 56. To adjust weave scaling and thickness 1 Choose Window Media Control Panels Weaves.
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. 3 In the Save Weave dialog box, type a name for the weave.
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.
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. Weft The values in the Weft area specify the treadling sequence of the horizontal threads in the weave.
Component Description 6. Tieup The Tieup area allows you to control the interlacing of the threads by determining which warp rows to use when weaving a weft thread. To access the Edit Weave dialog box 1 Choose Window Media Control Panels Weaves. 2 In the Weaves panel, click the Weave options button , and choose Edit Weave.
Connect warp thread To harness 5 2 6 3 The sequence repeats for subsequent threads. 7 2 8 3 9 4 The threading sequence above, 234123, has a length of 6, which indicates that the pattern runs for 6 threads before repeating. The following table describes which treadle is pressed (and therefore which harnesses are raised) for each successive weft thread for the weft sequence 654: Press treadle For weft thread 6 1 5 2 4 3 The sequence repeats for subsequent threads.
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 768. The following table includes an example of a traditional pattern expression expressed in the Corel Painter pattern language.
Thread color sequence Description [B 8 D 4] Use color B for 8 threads, use color D for 4 threads. To define a warp or weft color expression • In the Edit Weave dialog box, type an expression in the Warp Colors box. To display the weave color set • In the Weaves panel, click the Weave options button , and choose Get Color Set. The color set for the selected weave appears in the Color Set Libraries panel in its own color set library.
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. A white cell indicates that the weft thread should be placed in front of the warp. In this tie-up, the white cells instruct the weft thread (black) to be placed in front of the warp thread (white) in the weave pattern.
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.
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. In this case, use parentheses to distinguish operands. Expansion Refers to the actual warp or weft numeric sequence created when the expression is translated from the shorthand pattern language. Length Describes the number of elements in the expanded sequence.
Example Expansion 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|].
that the desired length, it is repeated out to the right length. If the left operand is shorter, it is merely trimmed. 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.
Example Expansion 123 interleave 76 172637 12345678 ~ 4321 1423324154637281 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.
Example Expansion 13 upto'' 5812 13456781234567812345812 DOWNTO Operator usage Short form extend ext, -> Operator usage: downto Short form: >, 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.
Example Expansion 13 downto'' 5812 132187654321876543218765812 TEMPLATE Operator usage Short form template temp, : The right and left operands are patterns of any length. Template allows texturing (sub-articulation) of a master pattern (the left operand) with a texture pattern (the right operand). The first element of the template is taken as the root. All other elements in the template sequence are considered with respect to their difference from the root.
Operator usage Short form palindrome pal, | This operator takes only one operand, the left operand. That operand can be a pattern of any length. The resultant expansion is the left operand concatenated with itself backwards. However, the center element is not repeated, and the last element of the result is dropped automatically. This is essential when the palindromed sequence is repeated and helps to remove flaws from a weaving draft.
PBOX Operator usage Short form pbox none The left operand is a pattern of any length. The right operand is a permutation vector. Its length will be adjusted, if necessary, (by trimming or repeating) to equal the length of the left operand. Then, the organization of the permutation pattern is used to reorganize the elements of the pattern. Pbox maintains the length of the left operand pattern.
Example Expansion 1234 updown 5678 12345432345654345676545678 12 <>' 567 1234567812345432187654323456781234565432187654321 DOWNUP Operator usage Short form downup >< The left and right operands are both patterns of any length. If either operand is shorter than the other, it is extended (via repeating) to exactly the length of the other operand. Then, DOWNUP generates alternating descending and ascending runs. An odd number of runs is always generated.
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. Example Expansion 12345678 rotate 3 45678123 1-4-1 rotate -3 3211234 REVERSE Operator usage Short form reverse rev, ` This operator takes only one operand, the left operand. That operand may be a pattern of any length. The resulting expansion is the left operand written backwards.
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.
Selecting and modifying shapes • “Selecting a shape” (page 791) • “Modifying shape outlines and fills” (page 792) • “Adding, deleting, and moving anchor points” (page 794) • “Adjusting curvature” (page 796) • “Cutting and joining shape segments” (page 798) Converting shapes • “Converting shapes to image layers” (page 800) • “Converting selections to shapes” (page 801) Transforming shapes • “Resizing, rotating, skewing, and flipping shapes” (page 802) • “Duplicating shapes” (page 804) • “Combining shapes” (p
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 801. 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.
To draw Do the following 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). 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. Shapes created with curved line segments. Working with Bézier lines Bézier Lines can be straight or curved, and they consist of anchor points connected by line segments (or paths). When the path is a curve, “wings” extend from the anchor points.
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. You can also convert between smooth and corner points. For more information, see “To convert a smooth or corner point” on page 798.
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. 3 Perform an action from the following table: To Do the following Draw a straight line segment Click where you want to start the line segment, and then click where you want to end it. Corel Painter draws a straight line between the two points.
You can constrain the placement of the points by snapping to the grid. For more information, see “Using the grid” on page 214. Each click or drag adds to the path. If you unintentionally add to the path, press Delete (Mac OS) or Backspace (Windows) to remove the last anchor point. To add to an open shape path 1 Click an endpoint with the Pen tool . 2 Click or drag where you want to add an anchor point. You can add to a path from an endpoint only.
Draw freehand shapes with the Quick Curve tool. 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. You can also modify the appearance of Bezier handles and various elements such as outlines and wings, to make it easier for drawing. To set preferences for drawing shape outlines 1 Choose a shape tool from the toolbox.
To Do the following Modify the appearance of corners where two line segments connect In the Stroke area, click one of the following Miter Set the miter limit to smooth out the sharpness of lines that join at a sharp angle Move the Miter Limit slider. buttons: Miter , Round , or Bevel . To set preferences for filling shape 1 Choose a shape tool from the toolbox. 2 On the property bar, click the Open Shape Attributes Dialog button.
• (Mac OS) Choose Corel Painter 2015 menu 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.
If you are using the Layer Adjuster tool, you can switch to the Shape Selection tool by double-clicking a shape. 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.
To Do the following Adjust the outline opacity In the Stroke area, move the Opacity slider. Adjust the outline width In the Stroke area, move the Width slider. Modify the appearance of endpoints of open shapes In the Stroke area, click one of the following Endcap buttons: Projecting Butt , Round , or .
To Do the following Leave overlapping areas unfilled Click the Don’t Fill Overlaps button. Multiple overlaps alternate between filled and not filled. Adjust the fill opacity In the Fill area, move the Opacity slider. 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 pixelbased layer. For more information, see “Applying a color as a fill” on page 242.
Use the Add Point tool to add anchor points to the path. 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.
You can quickly switch to Shape Selection tool by holding down Command (Mac OS) or Ctrl (Windows). To move anchor points 1 Choose the Shape Selection tool from the toolbox. 2 Click an anchor point to select it, or marquee select a point by dragging over it. If you want to select several points, marquee select them by dragging over them. All anchor points within the marquee are selected, including those from other shapes. If you want to add to the selection, hold down Shift and select more points.
When you drag the handle on one wing of a smooth point, the curves on both sides of the point change. With a smooth point, you adjust the angle of the wings concurrently. A corner point is converted to a smooth point. 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.
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 If you try to adjust an anchor point with the Convert Point tool for further adjustments. , the anchor point will be converted again.
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.
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.
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.
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. 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 802 | Corel Painter 2015 User Guide 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. To resize in both dimensions, drag one of the corner handles. You can maintain the proportions by holding down Shift as you drag. To rotate a shape 1 Choose the Layer Adjuster tool from the toolbox.
Duplicating shapes Duplicating creates an identical copy of the selected shape. Corel Painter also lets you duplicate shapes by using compound transformations. Transformed duplicates are created according to the options you set. To duplicate a shape 1 Choose the Shape Selection tool from the toolbox, and click a shape. 2 Choose Shapes Duplicate. To change duplication settings 1 Choose Shapes Set Duplicate Transform.
The oval shape was duplicated by using rotation only (left). The number 5 shape was duplicated by using translation, scaling, and rotation (right). Combining shapes You can combine shapes in various ways to achieve particular results. You can compound two or more shapes to create a single shape. The resulting shape takes on the attributes of the shape on the topmost layer. If the shape is filled, any overlapping areas are not filled.
The resulting compound shape can itself be used again to create another compound shape. To release a compound shape 1 Select a compound shape. 2 Choose Shapes Release Compound. 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.
5 In the Blend dialog box, type a value in the Number of Steps box to control how many intermediate shapes are created.
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.
Exporting Adobe Illustrator shapes Corel Painter lets you 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. If both Corel Painter and Adobe Illustrator are running on your computer, you can copy content from Adobe Illustrator and paste it in Corel Painter.
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Adding text Corel Painter lets you position and manipulate editable text on your image.
The text layer lets you work with your image without changing any text attributes. However, you can select the text layer and edit it at any time. The text remains fully editable until you drop it onto the canvas. For more information, see “Dropping text” on page 820. To add text to an image 1 Choose the Text tool from the toolbox. 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. Aligning text You can align a text block to the left, right, or center. The text baseline origin is used as the reference point for the text alignment. To align text 1 Choose the Text tool from the toolbox. 2 In the Layers panel, select a text layer.
To adjust leading 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, adjust the Leading slider . 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.
To Do the following Skew text Hold down Command (Mac OS) or Ctrl (Windows), and drag one of the center handles on either side of the text. If the bounding box is not shown, click the Layer options button and choose Show Layer Indicators. 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.
Applying effects to text You can alter the appearance of text or text drop shadows by applying different effects. You can apply a composite method to text, as you would with other types of layers, to control how the text interacts with the underlying image. You can also adjust opacity, which controls the transparency of text or shadows. Your text’s shadow should be semitransparent. You can also use opacity to fade the color of text.
• Text Attributes • Shadow Attributes 3 Adjust the Blur slider . If you want to apply a directional blur, enable the Directional check box, and adjust the Directional Blur slider . The first half of the slider adds a left-to-right blur on the text; the second half adds an up-and-down blur. Applying curves to text You can apply a curve style and modify the path (baseline) along which your text will flow.
Curve Style Example The Curve Perpendicular style places the text along the curve, with each letter perpendicular to the curve. The Curve Stretch style actually changes the shape of the letters to fill in the space that would be left when the curve bends. For example, if text is set on a circular path, Corel Painter makes the tops of the letters heavier and thicker to fill in space. You can control how the text is centered on the baseline.
4 Drag the Centering slider to the right or left. The text moves along the curve. You can also change the alignment of text on a path by clicking a text layer in the Layers panel and clicking an alignment button in the Text panel. For more information, see “To align text” on page 813. To change the text path 1 Choose Window Layers. 2 In the Layers panel, select a text layer. 3 Choose the Shape Selection tool from the toolbox. 4 Click an end point on the path.
2 Click the Layer options button , and choose Convert Text To Shapes. The text layer is replaced by a group of shape layers. Text shadows and blurring effects are not converted when you use this command. Dropping text While you are working with text, it resides on a layer and is not yet a part of the image. When a text layer is dropped, it integrates with the canvas and can no longer be edited. To drop a text layer onto the canvas 1 In the Layers panel, select a text layer.
Working with animation and digital videos Corel Painter lets you create animations frame-by-frame from scratch, as well as open existing digital videos (QuickTime or AVI) for editing frames on Windows. 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.
• “Importing and exporting numbered files” (page 838) • “Exporting animated GIFs” (page 839) Choosing an animation workflow Corel Painter offers different animation workflows: • 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.
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 about working with layers, see “Layers” on page 513.
current frame and four other frames adjacent to it. This will help you determine where the next frame of motion should be drawn. For more information, see “Using onion skinning” on page 829. Once you create a movie file, a blank frame appears in the document window so you can begin adding content by using brushes and other tools. After you complete a frame, you can use the navigation tools in the Frame Stacks panel to display the next frame in the sequence, or whichever frame you want to work on next.
You can also Choose a paper color Click the Color chip, and choose a color from the Color dialog box. Choose a paper texture Click the Paper chip, and choose a paper texture from the Papers Textures panel. The storage type lets you specify the color depth for saving each frame. This applies to the saved frame stack, not to your work in the current frame.
To open a Corel Painter movie 1 Choose File Open. 2 In the Open dialog box, locate the FRM file, and click Open. 3 In the Open Frame Stack dialog box, choose the number of onion skin layers you want to appear in the Frame Stacks panel. The number you choose determines the number of thumbnails visible in the Frame Stacks panel. 4 Click OK. The Frame Stacks panel appears and the document window displays the first frame in the stack.
When you open a QuickTime or AVI movie, Corel Painter makes a frame stack copy of the movie. This ensures that the original file does not change. Frame stacks are uncompressed, so you need an adequate amount of disk space to create them. For example, a 1MB QuickTime or AVI movie can become a 20MB frame stack. 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.
3 When you’re ready to work on the next frame, click the Step Forward button . Changing frames automatically saves the frame. You cannot undo changes after the frame is saved. Previewing animations The Frame Stacks panel provides the tools that you need to preview and navigate animations. For example, you can navigate to various frames in the stack for editing purposes or play the animation to preview how the frames link together.
To set the preview rate • In the Frame Stacks panel, move the Playback slider. Using onion skinning Onion skinning is a feature animators use to view previous and future frames while working in the current frame. Traditional animators work on an onion skin paper that allows them to see a sequence of frames through transparent layers. They then draw successive frames, using the previous frames for reference. Seeing several images superimposed helps increment the action evenly.
To show onion skin layers • Choose Movie Show Onion Skin Layers. In the document window, the current frame appears darkest. Each frame moving away is progressively fainter. Animating with layers One of the simplest ways to create animation in Corel Painter is to add an item from the Image Portfolio panel across a series of frames. This is the most basic example of animating with layers. Adding multiple layers allows you to make more complex animations.
12 Click the Play button in the Frame Stacks panel. The portfolio image moves across the screen. 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.
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 at the end. That 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 .
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 that 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.
A script can contain almost any action — a single command, a series of commands, or the many steps in creating an original drawing. You’ll devise scripts based on the needs of your project. You cannot undo changes after applying a script to a movie. Before applying the script, you should become familiar with scripting and experiment with a separate sample image. You might want to work with a copy of the movie, or you might apply the script to a short sample movie to test it.
4 In the Apply Script To Movie dialog box, double-click a script. Corel Painter applies that script to each frame in the stack. If you have a few small frames in your movie, and the script is not a complicated one, the script can be applied quickly. If the movie has several large frames, a complicated script could take a long time. You can apply only scripts that do not create new images.
QuickTime supports several compression schemes. The following descriptions should help you choose one; however, you’ll probably want to experiment with different compressors and settings to identify the best settings for your work. You may also have additional compression methods available. • The Animation method works well with areas of continuous tone. If you set the Quality in the Compression Settings dialog box to Best and make every frame a key frame, this compressor is lossless.
Exporting movies as AVI The AVI format supports several compression schemes. The following descriptions should help you choose one; however, you’ll probably want to experiment with different compressors and settings to identify the best settings for your work. You may also have different compression methods available. • The Cinepak method produces acceptable motion and image quality at remarkably small file sizes. It is the preferred format for CD delivery and transfer across the Internet.
Animation drawings contain far less detail than live-action images. The difference in the level of detail allows animations to be produced at frame rates significantly lower than those designed for live action. Because of the smoothness of color fills and continuity between images, animations can look quite nice at rates between 10 and 15 fps. You must consider frame rates to know how many drawings are needed to make actions smooth, natural, and consistent throughout the project.
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 Numbered File As 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. 2 Enable the Open Numbered Files check box in the Open dialog box.
If your movie is intended for the web, you should consider reducing its file size so the movie is small enough to download within in a reasonable amount of time. You can minimize file size by doing any of the following: • Reduce the frame size. You choose the frame size when you create a new movie. If you import an existing animation or video, you cannot resize the frames. • Limit the number of frames because each frame increases the file size. • Limit the number of colors.
You can also Enable server-side image map In the Map Options area, enable the NCSA Map File or CERN Map File option. Enable client-side image maps In the Map Options area, enable the Client Side Map File option. Apply transparency In the Transparency area, enable the Output Transparency option, and then enable a background option. Move the Threshold slider to specify the selection mask value at which the image becomes transparent.
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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.
can save time by pressing its speed-dial button. Similarly, a script lets you set the actions that you want to repeat; then, the next time you need to repeat those actions, you can save time by playing the script. You can record anything in a script — from a single edit command to an entire work session. There are a number of ways to take advantage of scripting: • You can record a script to replace repetitive tasks.
The Scripts panel The Script options button in the Scripts panel gives you several commands to choose from. 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 all actions with only one click of a button.
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 849. To record a script 1 Choose Window Scripts. 2 In the Scripts panel, click the Record button . 3 Perform the actions that you want to record. 4 Click the Stop 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. The background script starts recording all of the operations that you perform from the moment you open the application until you close the application.
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. When you’re creating the script, you can get smoother, more responsive performance by working at low resolution. Then, when you play back the script at a higher resolution, you get the benefit of a higher quality image. The record-to-playback scaling ratio is limited.
4 Click Play. The original script replays into the new document. All brushes, paper textures, and related functions are appropriately scaled for the new resolution. Editing, renaming, and deleting scripts Corel Painter lets you modify scripts in different ways. You can edit script instructions in order to change a recorded action sequence. You can also rename and delete scripts. You can edit a script by opening it as a series of instructions that contain parameters, most of which are editable.
3 Click the Script options button , and choose Script Library View Rename Script. 4 Type a new name in the Save As box. To delete a script 1 Choose Window Scripts. 2 In the Scripts panel, choose a script from the Scripts library viewer. 3 Click the Delete button . Converting scripts to movies (Windows only) You can convert a script into a Corel Painter movie, which you can save as a QuickTime or AVI file. Every action you perform in the script becomes a frame in the movie.
7 In the Scripts panel, click Play. 8 In the Enter Movie Name dialog box, type a name in the File name box, choose a destination folder, and click Save. 9 In the Open Frame Stack dialog box, enable an option in the Layers of Onion Skin area. 10 In the Storage Type area, enable an option for storing color. Corel Painter plays the script into the Frame Stacks dialog box. Not all actions can be converted into a movie. For example, a script that contains a File New command will not be converted.
Importing and exporting script libraries You can import multiple scripts at once if they are stored in a script library. This includes script libraries that were created in a previous version of Corel Painter. You can also export script libraries. In the Script library viewer, you can open and view multiple libraries at once. To import a script library 1 Choose Window Scripts. 2 In the Scripts panel, click the Script options button , and choose Import Script Library.
Creating and deleting script libraries You can store and organize scripts to make it easier to locate and access them. When you create a new script, it is automatically saved to the currently selected script library. However, you can move a script to a new library. If you no longer need a script library, you can delete it. To create a script library 1 Choose Window Scripts. 2 In the Scripts panel, click the Script options button , and choose New 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.
2 Choose a preset page size from the Paper Size list box (Mac OS) or the Size list box (Windows). 3 In the Orientation area, choose one of the following options: • Portrait — sets the page’s height to be greater than its width • Landscape — sets the page’s width to be greater than its height 4 Do one of the following: • (Mac OS) Choose Margins and Layout from the list box, and choose any margins and layout options you want.
To print an image 1 Choose File Print. 2 Do one of the following: • (Mac OS) Choose a printer from the Printer list box, choose an option from the Pages list box, and type a value in the Copies box. • (Windows) On the General page, choose a printer from the Select Printer area, enable an option in the Page Range area, and type a value in the Number of copies box. 3 Click Print.
To print to a file (Windows only) 1 Choose File Print. 2 On the General page, enable the Print to file check box. 3 Click Print. 4 In the Save Print Output As dialog box, type a filename in the File name box. Saving files in EPS format for printing You can save files in EPS-DCS format for printing. It is important to note that you cannot reopen EPS-DCS files in Corel Painter. Therefore, you should also save a copy in another format first so that you can reopen it in Corel Painter.
Corel Painter uses the device’s default screening information to produce high-quality color separations. If the No preview option is enabled when you save a file in EPS format, Corel Painter uses the Color Studio separation tables with your device’s default screening. General notes on printing This section includes general information about printing images. Proofs If you’re sending your images to a print service provider for printing, it is recommended that you first obtain proofs.
Instead of flattening a composite image by dropping each layer to the canvas, you can clone the file to produce a flattened image, which you can then print. This method lets you preserve the layers in the saved RIFF file in case you want to change them later. For more information, see “Cloning images” on page 167.
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.
Adobe Photoshop term Corel Painter term Blending mode Composite method Indexed color mode Web-safe color palette Smart Object Reference layer Layer effect Dynamic plug-ins Layer style Composite method Palette Panel Selection Selection Snapshot Clone 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.
Adobe Photoshop tool Corel Painter tool For more information Clone Stamp tool Rubber Stamp tool See “Performing offset sampling” on page 179. Crop tool Crop tool See “Cropping images” on page 85. Dodge tool Dodge tool See “Dodging and burning” on page 279. Drop shadow Drop shadow See “Adding drop shadows to layers” on page 543. Elliptical Marquee tool Oval Selection tool See “Creating pixel-based selections” on page 583.
Adobe Photoshop tool Corel Painter tool For more information Magic Wand tool Magic Wand tool See “Creating pixel-based selections” on page 583. Move tool Move mode of Transform tool See “Moving selections” on page 600. Paint Bucket tool Paint Bucket tool See “Exploring painting media” on page 131. Path Selection tools Shape Selection tools See “Selecting a shape” on page 791. Pen tool Pen tool See “Drawing lines and curves” on page 785.
Adobe Photoshop element When the PSD file is opened in Corel Painter 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.
Corel Painter element When saved to PSD file format Layers All layers are converted to standard Photoshop transparent layers. All Corel Painter layer composite methods are converted to Photoshop blend modes. For information about comparing Corel Painter composite methods with Photoshop blending modes, see “Importing and exporting layers” on page 558. Masks Layer masks are preserved in the PSD file. Shapes Shapes are converted to bitmaps and assigned to appropriate layers.
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.
Brush preference Description Align constrained brushstroke to canvas Matches the brush rotation angle to the canvas rotation angle. Disable feature scaling when resizing brush Disables the Scale feature with brush size option in all areas of the application. Simplified brush resizing control (Legacy-style) Removes the green highlight from the onscreen brush resizing control Brush size increment Lets you set the brush size increment value in pixels.
Create backup on Save Creates a backup file every time you save a document. For more information, see “Saving and backing up files” on page 88. Auto-record script Enables the automatic saving of Corel Painter background scripts. Auto-save scripts for Controls how long Corel Painter saves background scripts before deleting them. For more information, see “Enabling and playing background scripts” on page 847.
Enhanced brush ghost Displays a representation of the brush variant onscreen to give you information about the size, tilt, bearing, and rotation of your pen. Brush ghost Displays a representation of the brush variant onscreen to give you information about the size. Iconic Allows you to change the cursor icon that displays onscreen and modify its orientation. Single pixel Displays the drawing cursor icon as a single pixel.
Toolbox Layout Sets the orientation and layout of the toolbox in the document window. Media Layout Sets the orientation and layout of the Media Selector bar in the document window. Command Bar Layout Sets the orientation of the command bar in the document window. To access the interface preferences • Do one of the following: • (Mac OS) Choose Corel Painter 2015 menu Preferences Interface. • (Windows) Choose Edit Preferences Interface.
Performance preference Description the computer’s available cores, it may impact the performance of any applications that you have running in the background. Scratch Drive Allows you to specify the volume name (Mac OS) or drive (Windows) that has free memory to allow Corel Painter to perform an operation if your computer runs out of RAM. Undo Levels Allows you to undo and redo up to 256 levels of changes. The number of Undo levels applies across all open documents.
Shapes preferences The shapes preferences allow you to set the default fill and stroke for creating new shapes. You can also change the appearance of the Bézier handles when drawing or the wing, point, path, outline, and anchor colors. Shape preference Description On Draw - Fill with current color Fills both open and closed shapes with the currently selected color when drawing. On Draw - Stroke in current color Outlines both open and closed shapes with the currently selected color when drawing.
• (Mac OS) Choose Corel Painter 2015 menu Preferences Shapes. • (Windows) Choose Edit Preferences Shapes. If you set default preferences for the shape outline and fill color by using the Set Default Shape Attributes dialog box, the settings in the Preferences dialog box are ignored. Cloning preferences The Cloning preferences let you customize the cloning and Quick Clone behavior.
Show Edit Source Image dialog box Displays a dialog box every time you switch to the Source Image window from the clone document window. The dialog box warns you that any source image editing needs to be updated, saved, exported, or discarded. To change Cloning preferences • Do one of the following: • (Mac OS) Choose Corel Painter 2015 menu Preferences Cloning. • (Windows) Choose Edit Preferences Cloning.
Connections preferences Description Allow companion applications to connect to Painter Allows you to connect Corel Painter to the Corel Cinco for Painter companion application. Service Name Gives your copy of Corel Painter a unique name. Authentication Code Ensures that only a legitimate user can access your copy of Corel Painter from a remote application. To change Connections preferences • Do one of the following: • (Mac OS) Choose Corel Painter 2015 menu Preferences Connections.
Web Corel Painter includes various options for creating images for the web.
To select a web-safe color palette 1 Click the Options button in the Color Set Libraries panel, and choose Import Color Set. 2 In the Select Color Set dialog box, select the Hexadecimal folder within the Color Sets folder. 3 Choose a hex file from the list, and click Open. The selected color palette is displayed in the Color Set Libraries panel. Posterizing using color sets You can use the Posterize Using Color Set option to force your image to use the default color set.
Choosing web-friendly brushes Web artists are pulled between the desire for beautiful images and the need for small image file sizes, with faster download times. Corel Painter includes brushes that are designed for creating images for the web, making it easier to create smaller files without compromising image quality. Bitmapped images can be roughly divided into two general types — images with areas of flat color and continuous-tone images.
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 313 and “Creating and deleting brush categories” on page 315. Brushes that require a particular method, such as Wet, Eraser, or Plug-in, will not work as well with the Cover method.
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 513. When saving to the GIF file format, you can reduce the number of colors, which translates into smaller files.
• 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. • Dither Colors — causes Corel Painter to apply a stippled effect to the chosen colors to generate a more accurate, less banded result. Dither Colors can reduce the effectiveness of GIF file compression. The RIFF format contains image data that is lost when saving to GIF or JPEG.
The RIFF format contains data about your image that is lost when you convert it to GIF. If you want to edit the file later, save a RIFF copy before you generate a GIF version. Creating image maps An image map is a web feature that lets you jump to different locations by clicking specific areas within an image. There are two types of image maps: • Client-side image maps store image map information right in your HTML document.
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. For more information, see “Layers” on page 513. The size of the layer determines the size of the clickable area, or hotspot. Server-side image mapping handles circles and ovals differently.
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. In the Save As GIF Options or Save as JPEG Options dialog box, enable the Client Side Map File check box to indicate that Corel Painter should export an HTML file containing the image map definition. The RIFF format contains data about your image that is lost when you convert it to GIF or JPEG.
8 Deselect the layer, then select the next hotspot in your image map. Try to avoid overlapping hotspot areas within an image map. You can set a default URL to use if the user clicks outside of your defined hotspot areas. For more information, see “To define a default URL for an image map” on page 885. 9 Export your image to the GIF or JPEG file format.
Use the Fade command to lighten a pattern. Controlling background color Using a background color closely matched to your background image takes no additional download time and creates a pleasing transition. For example, suppose your page loads a dark green seamless background tile. The tile takes a little time to download. While it’s loading, the browser displays the page, using the page background color (which, if not explicitly defined, is usually gray or white).
You can use any image or selection to define a pattern. An image designed for use as part of a pattern is normally created so that it tiles seamlessly. That is, the eye should not be able to distinguish the edges between tile repetitions. Corel Painter has features that can help you create seamless tiles, which you can then use as interesting web backgrounds. For information about creating, editing, saving, and filling with patterns, see “Patterns” on page 709.
Creating web buttons Corel Painter has a wide array of features that help you create web buttons. You can apply textures and effects to your web buttons. Using shapes and selections You can create web buttons using shapes or by choosing a selection from the Selection Portfolio. For more information, see “Drawing shapes” on page 783. For information about using selections, see “To use a selection from the portfolio” on page 593.
Using Bevel World No discussion of creating web buttons would be complete without mentioning Bevel World. Bevel World is a dynamic plug-in that can add 3D angled edges to your shapes and selections. You can bevel any element in your painting, and then turn it into a 3D button. Bevel World has controls that affect the 3D bevel shape being applied, as well as controls to adjust lighting. Try experimenting with lighting controls.
Index Numerics 1-Pixel Edge brush tip profile 360 for Hard Media 361 1-Rank nozzles creating 479 2-Rank nozzles building 482 creating 481 making from movies 488 360° brushstrokes 144 3D brushstrokes simulating 650 3D techniques applying depth of field 615 for mosaic tiles 748 for Web buttons 889 3-Rank nozzles creating 483 A Acrylics brushes 289 actions automating 843 repeating in movies 831 Actions palette 862 Add Point tool 34 using 795 Add to Selection button using 598 additional color, choosing 220 Adj
alpha channels 563 auto-generate 566 clearing 571 combining with selection 591 deleting 571 editing 571 importing 567 loading selection from 592 selecting 567 setting attributes 570 viewing 567 Artists’ Oils brush controls 381 brush tip profiles 360 alpha mask retaining when placing 73 Auto Van Gogh effect 629 anchor points 794 adding 795 averaging 796 converting 798 deleting 795 joining 799 moving 796 Angle brush controls 353 animated GIFs creating 839 exporting movies as 839 aspect ratio setting for
background color setting 870 vs Additional Color 62 background scripts saving automatically 847 blurring Camera Motion Blur effect 614 Motion Blur effect 622 Smart Blur effect 614 text 816 Zoom Blur effect 625 backgrounds creating for Web pages 886 creating transparent 880 tiled 887 brightness adjusting 261 adjusting for paper grain 157 matching across images 276 backing up files preferences for 868 Brightness and Contrast dynamic plug-in 682 backup files creating when saving 88 creating with scripts
brush control panels changes to 17 closing 327 descriptions 44 opening 326 shortcut for opening all 327 brush controls Airbrush 378 Angle 353 Artists’ Oils 381 bristle controls 374 Brush Calibration 330 Cloning 407 Color Expression 417 Color Variability 415 Computed Circular 373 Dab Profile 359 Digital Watercolor 385 displaying advanced 310 exploring 326 Expression 327 for Jitter brush variants 422 General 332 Hard Media 373 Image Hose 403 Impasto 385 Liquid Ink 390 Min setting 327 Mouse 401 Multi 407 Rake
brush tip profiles 359 airbrushes 146 Artists’ Oils 360 choosing 362 modifying Hard Media 460 Brush tool 31 applying Liquid Lens with 695 applying Liquid Metal with 699 erasing image areas with 142 keyboard shortcuts for 114 painting in channels with 573 stroking selections with 595 brush tracking 127 presets 130 setting 129 Wacom Intuos tablet 96 brush variants calibrating 331 copying 313 definition 24 deleting 314 exporting 317 Hard Media 457 hiding 311 importing 317 Jitter 419 modifying 327 moving 312 re
brushstrokes 360° 144 3D 650 aligning 142 applying 138 applying straight 138 applying to selections 595 applying, mouse settings for 137 applying, to movies 835 blending Impasto 510 boosting 357 constraining 140, 868 controlling angles 353 damping 402 expression setting 327 fading 140 jitter 397 merge modes 347 optimizing 357 perspective 203 perspective-guided 205 playing back 147 previewing 329 Rake 403 randomizing grain 346 recording 147 resizing 349 saving 149 scaling 307 setting alignment tolerance 143
channels 563 applying effects to 573 applying gradients to 724 copying 564, 565 copying layer masks to 557 copying to layer masks 557 creating blank 564 creating from selections 564 creating texture with 654 editing 571 feathering 573 filling 574 filling, based on color 574 generating automatically 565 generating texture with 654 hiding 570 inverting 574 loading selections from 588 painting in 573 placing mosaic tiles on 747 saving selections to 564 saving selections to new 591 selecting 567 viewing 567 vs.
cloner brushes 292 choosing 178 multi-point variants 182 painting with 176, 176 transforming brush variants into 178 Cloner tool 34 choosing brush for 178 performing offset sampling with 181 using 176 cloning 167 applying transformations 182 automatically 177, 628 between documents 181 brush controls 407 brush controls for 407 brush methods 341 clone color 176 color 224 displaying crosshairs cursor 171 editing source images 174 exporting clone source images 174 image sources 168 images 167 images, with Brus
color 217 adding to color sets 238 adding to gradients 731 adjusting 259, 268 adjusting for video 279 adjusting levels 878 adjusting selected 271, 271 applying as fills 242 changing canvas 69 changing for Impasto lights 509 changing light 648 choosing 218 choosing additional 220 choosing from Color panel 219 choosing from color sets 236 choosing main 220 choosing with temporal colors palette 223 cloning 224 controlling in Web page backgrounds 887 correcting 259, 260 creating color sets 237 creating overlays
Color panel 45 choosing color from 219 choosing colors 218 choosing hue from 219 creating color sets with 237 discovering 62 displaying 219 hiding color wheel 221 hiding information 221 resizing 221 setting color values with 221 Color panels descriptions 45 color policies 256 creating 256 color profiles 249 assigning or removing 254 CMYK 253 converting 255 creating policies 256 embedding 252 previewing 253 RGB 251 soft-proofing 253 Color selector 36 color set libraries 281 adding 282 creating 282 deleting r
Colorize merge mode 347 combining layers with canvas 539 selections 589 selections with alpha channels 591 shapes 805 commands assigning to keys 101 committing dynamic layers 681 reference layers 561 composite depth Impasto 510 composite images printing 859 composite methods blending layers with 543 changing for layers 552 converting to blend modes 558 definition 26 compositing mosaics with other images 750 Composition panels description 48 composition tools 35 working with 195 compound shapes 805 creating
Corel Painter interface 23 vs.
dabs, brush adjusting 325 creating 321 damping brushstrokes 402 Darken composite method 549 diffusion, adjusting Digital Watercolor 429 Real Watercolor 367 Real Wet Oil 372 watercolor 388 default layers converting layers to 520 Digital Watercolor brushes 293 adjusting diffusion 429 adjusting wet fringe 429 choosing variants 428 controls for 385 description 423 drying brushstrokes 429 using 428 Default merge mode 348 Digital Wet brush method 341 default settings displaying 61 restoring Painter 58 dire
Divine Proportion tool 35 using 208 docking Brush Selector bar 43 panels and palettes 49 property bar 40 document window 26 documentation 1, 1 conventions of 2 increasing text size 4 documents canvas size and resolution 68 closing 92 copying layers between 527 creating 68 custom canvas presets 69 emailing 91 opening and placing 71 repositioning 84 resolution 70 saving as templates 74 switching views 74 Dodge tool 35 lightening tone with 279 dodging 279 dots per inch vs pixels per inch 68 DOWNTO expression o
duplicating channels 565 layers 526 selections 602 shapes 804 shapes, settings for 804 shapes, transformed 804 Dye Concentration effect 663 dynamic brush resizing 306 dynamic layers 516 Brightness and Contrast, creating 682 changing settings 680 committing 681 creating 680 creating selections from 587 deleting 681 Equalize, creating 689 Glass Distortion, creating 690 Kaleidoscope, creating 692 Liquid Lens, creating 695 Liquid Metal, creating 699 Posterize, creating 706 effects applying recently used 610 ap
Eraser tool 32 erasing image areas with 141 erasing Liquid Lens with 697 erasers 293 erasing frames from movies 831 image areas 141 Liquid Lens distortions 697 Esoterica effects 613 Auto Clone 628 Auto Van Gogh 629 Blobs 630 Custom Tile 632 Grid Paper 636 Growth 636 Highpass 638 Marbling 626 Maze 639 Mosaic 736 Place Elements 640 Pop Art Fill 642 Tesselation 750 exporting Adobe Photoshop files, notes on 865 AVI movies 837 brush categories 317 brush variants 317 clone source images 174 color set libraries 2
fading brushstrokes 140 effects 609 FAQs from Adobe Photoshop users 864 fast preview layers 530 feathering channels 573 selection edges 595 feature jitter 378 features drag-and-drop 97 fills applying colors as 242 applying weaves as 758 color, working with 241 constraining 244 gradients 723 patterns 709 setting attributes for shapes 790, 793 undoing 244 Filter Gallery 863 fingerwheel adjusting flow with 146 adjusting mouse settings for 138 Flat brush tip profile 360 feedback, submitting 7 Flat dab type 3
flow map libraries 281 adding to 282 creating 282 deleting resources 285 importing and exporting 281 modifying display of 283 moving resources 285 panel 46 removing 282 renaming resources 285 fractal patterns converting to paper texture 722 creating 719 creating, controls for 719 in tiles 888 Flow map panel 46 frame stacks calculating disk space for 823 exporting as animated GIFs 840 opening 826 flow maps 449 controlling flow resistance 452 creating from image 453 creating from paper 453 customizing 453
gamma curves adjusting 260 adjusting using Equalize effect 274 Gel brushes 294 Gel composite method 545 Gel merge mode 348 GelCover composite method 545 GelCover merge mode 348 General brush controls 332 dab types 332 methods and subcategories 339 multicore support 343 source, opacity, and grain 342 stroke types 337 general preferences accessing 869 description 867 GIF files creating 880 exporting movies 839 reducing color 882 reducing the number of colors 882 saving 90 transparent 880 Glass Distortion dyna
grain adjusting for brushes 345 adjusting jitter 345 behavior, adjusting 157 brightness, adjusting 157 brush attributes 306 contrast, adjusting 157 direction, adjusting 157 Image Hose 471 inverting 155 randomizing for brushes 346 scaling 155 setting for brushes 308 setting for brushstrokes 346 setting in movies 835 working with 151 Gravity Particle brushes 432 grayscale images printing 857 viewing channels as 570 grid 214 activating 214 creating for 2-Rank nozzles 482 printing gridlines 215 setting up for 2
Hard Media controls using with markers 467 header bar 2 Help 1 increasing text size 4 using 1 Highpass effect 638 HSV values setting in Color panel 221 hue adjusting 268 choosing 219 Hue composite method 550 Hue merge mode 348 Hue Shift slider 271 I icons creating for brushes 316 Image Hose 295 brush controls for 403 changing indexing rules 476 creating 1-Rank nozzles 479 creating 2-Rank nozzles 481 creating 3-Rank nozzles 483 creating nozzles from movies 487 designing nozzles for 477 editing nozzles 487
Image Portfolio libraries organizing layers with 561 Image Portfolio panel adding layers to 561 displaying 561 storing images with 561 using images from 561 image sampling (definition) 25 Image Warp effect 668 912 | Corel Painter 2015 User Guide images adding text to 811 automatically painting 159, 162 blurring 613 burning 279 cloning 167 compositing mosaics with 750 correcting and adjusting colors 259 creating color sets from 237 creating gradients from 732 creating patterns from 715 cropping 85 dodging
Impasto 501 adding and deleting lights 507 adjusting depth 509 adjusting depth interaction 503 adjusting light source 510 blending with layers 510 brush controls for 385 brushes 296 clearing 501, 503 composite depth 510 creating custom brushes 503 creating effects 507 depth appearance 505 depth methods 503 displaying 501, 502 drawing methods 503 getting started with 501 hiding 502 inverting depth 506 inverting depth methods 503 light color 507 lighting 507 negative depth 506 Plow setting 506 plowing 506 sav
Jitter brushes 419 choosing variants 421 controlling variants 422 list of variants 419 jitter controls adjusting opacity 343 angle jitter 353 color jitter 417 feature 378 flow 378 flow and feature jitter 378 grain jitter 345 opacity jitter 343 size jitter 349 Jitter controls 422 joining endpoints 799 JPEG files saving 89 K Kaleidoscope dynamic plug-in 691 creating and capturing patterns 692 Kaleidoscope Painting mode 201 controlling display of planes 202 hiding planes 201 toggling 202 keyboard shortcuts 9
layer masks 552 applying 554 clearing 554 copying channels to 557 copying to channels 557 creating 552 creating texture with 654 deleting 554 disabling 556 editing 558 enabling 556 generating texture with 654 hiding 556 inverting 557 loading to selections 555 managing 557 selecting 555 viewing 555 vs.
layers libraries 56 Layers menu keyboard shortcuts for commands 110 Layers panel deleting layers with 521 description 29, 47 displaying 520 selecting transparency masks from 555 understanding 517 Layout Grid 196 hiding 196 moving 198 presets, choosing 198 presets, creating 197, 207 presets, deleting 198, 208 settings, adjusting 196 settings, saving as presets 197, 207 showing 196 Layout Grid panel 48 using 196 Layout Grid tool 36 layout tools 195 leading text 813 learning Corel Painter 1 Left Twirl tool app
lighting adding and deleting source 647 adjusting properties 648 ambient 648 applying presets to 646 applying to textures 657 brightness 648, 648 color for Impasto 508 controlling direction of 647 effects 645 elevation 648 exposure 648 Impasto brushstrokes 507 keyboard shortcuts for 120 position for Impasto 508 Liquid Metal dynamic plug-in 698 controls for 699 tools for 698 Line Airbrush dab type 335 locking guides 213 layers 533 Linear brush tip profile 359 for Hard Media 361 lines, Bézier 785 creating
Luminosity merge mode 348 M Mac OS commands 2 keyboard shortcuts for 107 Magic Combine composite method 546 Magic Combine merge mode 349 Magic Wand tool 33, 580 keyboard shortcuts for 116 selecting areas with 584 magnification fitting to screen 79 resetting to 100% 79 zooming to specific levels 79 Magnifier tool 36 resetting 79 zooming in with 78 zooming out with 78 main color, choosing 220 Marbling effect 626 creating recipes for 626 managing recipes for 626 masked patterns, creating 716 masking layers 5
Min Size using with Wacom Intuos tablet 96 Mirror Painting mode 198 controlling display of planes 200 hiding planes 199 toggling 200 Mirror Painting tool 35 using 199 mirror planes controlling display of 200 hiding 199 mirroring clones 187 Mix Color tool 227 sizing 227 Mixer pad changing background 229 clearing colors 233 color swatches 232 erasing contents 227 loading 234 opening images in 231 resetting zoom 227 restoring default 233 saving as MXS 234 saving as PNG 234 Mixer Pad default 228 inspirational 2
mosaics 735 compositing with other images 750 creating 736 creating 3D 747 creating from a clone 739 deselecting tiles 740 filling selections 749 filling with tiles 746 keyboard shortcuts for 121 random tiles 742 removing tiles 739 rendering tiles into masks 747 re-rendering tiles 748 respecting image edges 746 selecting strokes 749 selecting tiles 739 specifying grout color 741 tessellation 750 tile color 741 tile dimensions 742 variable colors 742 Motion Blur effect 622 mouse adjusting brushstroke bearing
N navigating images 75 panels, with keyboard shortcuts 112 screen, with keyboard shortcuts 112 navigation tools 36 Navigator panel description 28 displaying 40, 76 hiding info 75 repositioning documents with 84 using 75 viewing info 75 viewing layer position with 536 negative depth Impasto 506 Negative effect 277 negative metal 702 New Brushes workspace layout 432 new features 12 Updates 1 and 2 19 new features 2015 9 enhanced brush trakcing 12 full-document, real-time preview 11 Jitter Smoothing 10 Particl
nozzles 470 adding to libraries 486 creating 1-Rank 479 creating 2-Rank 481 creating 3-Rank 483 creating from movies 487 designing Image Hose 477 editing in libraries 487 Image Hose 476 Image Hose ranking 476 loading Image Hose 485 retrieving from libraries 487 selecting Image Hose 471 nozzles libraries 56 Nozzles library panels 45 nudging layers 528 numbered files 838 exporting movies as 839 importing 839 O offset sampling 179 between documents 181 within documents 180 oil pastels 299 oils 297 one-color b
overlays channels 569 color 660 P page fitting images to 856 height 69 setting margins 855 setting orientation 855 setting size for print 855 setting up 855 size, changing 69 unit of measure, changing 69 width 69 Paint Bucket tool 31 filling channels with 574 paint, mixing 229 painting 123 brush settings for 136 brushstrokes 138 brushstrokes, alignment for 142 brushstrokes, recording and playback of 147 brushstrokes, settings for 140 choosing a workflow 124 clones 176 drawing cursor for 134 from Mixer pan
palettes adding panel to 50 creating from panels 50 customizing 53 docking 49, 51 exploring 43 grouping panels into 50 managing custom 55 moving panel in 50 removing panel from 50 resizing 51 showing and hiding 50 undocking 51 using 49 PALINDROME expression operator 774 Pan tool 227 panel (definition) 25 Panel Options menu button 3 panel tab 3 panels adding to palette 50 docking 49 expanding or collapsing 51 exploring 43 grouping into palettes 50 keyboard shortcuts for 107 move in palette 50 navigating, wit
Paper Textures library 56 deleting paper textures from 155 opening 155 using 155 Papers panel 45 description 29 Particle brushes 431 Flow 435 general controls 442 Gravity 432 Info palettes 447 Spring 438 pastels 299 path aligning brushes to 868 Path Selection tools 864 patterns 709 adding to layers 714 adjusting appearance 711 applying 709 creating 714 creating seamless 717 editing 714 filling channels with 574 fractal 719 from images 715 from scratch 714 from selections 715 growth 636 Kaleidoscope type 69
Photo Enhance settings saving as presets 161 Photo Painting System 159 Auto-Painting panel 162 Restoration panel 165 Underpainting panel 160 photo tools 34 photos auto-painting 162 creating underpaintings from 160 opening as reference 133 restoring detail from 165 workflow for painting 124 Photoshop, Adobe notes for users of 861 Pinch tool applying Liquid Lens with 694 Pixel Airbrush dab type 335 pixel-based layers 515 converting shapes to 800 planes, mirror controlling display of 200 hiding 199 playing br
preferences connection 875 enabling Corel Painter for Cinco 6 for cloning 172 general 867 interface 869, 869 multicore support 871 performance 871 Quick Clone 172 setting for Painter 867 setting undo levels 872 shapes 873 shapes, drawing 789 tablets 875 presets brush tracking 130 presets, canvas 69 pressure, brushstroke 137 previewing brush dabs 329 brush sizes 352 brushstrokes 329 color profiles 253 with color management 253 printing 855 composite images 859 EPS files 858 fitting to page 855 general inform
Rain feature applying Liquid Metal with 699 Rake brush controls 403 RAM preferences 871 randomizing image hose elements 473 paper grain 158 randomness auto-painting 162 rank types for Image Hose 474 ranks Image Hose 476 Real Watercolor description 423 Real Watercolor brushes 302 choosing variants 426 controls for 362 customizing variants 426 flow maps 450 using 426 using variants 426 Real Wet Oil brushes 302 RealBristle brushes 491 choosing 492 choosing variant 492 choosing variants 492 controls for 375 cus
reference layers 516 committing 561 creating 560 modifying 560 resizing 560 rotating 560 scaling 560 skewing 560 working with 559 reference points for clones 185, 190 for transformations 600 reflection maps 655 creating texture with 655 registering Corel products 5 releasing compound shapes 806 Remove Point tool 34 using 795 rendered dabs types of 334 reshaping color curves 264 resizing brushes onscreen 306 canvas 86 images 86 shapes 802 resolution document 68 image 70 images 69 of canvas 68 of images 69 v
Right Twirl tool applying Liquid Lens with 694 ROTATE expression operator 777 Rotate Page tool 36 resetting images with 81 rotating images with 80 rotating canvas 80 clones 187, 187, 188 clones, while scaling and shearing 189 images 80 reference layers 560 selections 604 shapes 802 text 814 rotoscoping 833 Rubber Stamp tool 35 cloning with 180 rulers 211 hiding 211 origin, changing 211 origin, restoring 212 showing 211 snapping guides to 213 unit of measure, setting 211 S Sample Color tool 227 Sample Multi
saving Adobe Photoshop files 91 Adobe Photoshop files, notes on 865 background scripts automatically 847 brush looks 321 brushstrokes 149 clone source images 174 colors on Mixer panel 232 custom palettes 55 documents as templates 74 Encapsulated PostScript files 91 EPS files 91, 858 files 88 GIF files 90 gradients 733 JPEG files 89 layers 558 marbling recipes 627 Mixer pad 234 mosaics 736 preferences for 868 PSD files 91 PSD files, notes on 865 RIFF files 89 selections 588 selections to channels 564 shapes
Scripts panel description 48 displaying 844 showing and hiding 845 seamless patterns 717 searching for brushes 304 Help 4 segments cutting 798 joining 798 Select menu keyboard shortcuts for commands 110 selecting brushes 304 canvas 583 channels 569 frames 828 layer masks 555 layers 524 metal droplets 703 paths 580 shapes 791 tiles 739 Selection Adjuster tool 33, 580 inverting selections with 594 keyboard shortcuts for 118 modifying selection borders with 596 smoothing selections with 597 selection libraries
selections 577 adding metal droplets to 704 adding to 598 anti-aliasing 595 applying gradients to 724 beveling 686 burning 683 circular, making 581 combining 589 combining with alpha channels 591 contracting 597 converting pixel-based to path-based 583 converting shapes to 583 converting to layers 521 converting to shapes 801 copying from multiple layers 527 creating 578, 580 creating channels from 564 creating color sets from 237 creating from layers 586 creating mosaics in 749 creating patterns from 715 c
shapes 781 adding to open paths 788 adjusting curvature 796 aligning brushstrokes to 142 anchor points 794 Bézier lines 785 blending 806 combining 805 compound 805 converting selections to 801 converting to layers 800 converting to selections 583 converting to text layers 819 creating 783 creating for brush dabs 322 creating Web buttons from 889 cutting 798 duplicating 804 exporting 808 flipping 802 grouping 805 joining endpoints 799 painting 800 preferences for 873 printing 859 resizing 802 rotating 802 sa
Soft Light merge mode 349 Soft Round brush tip profile 360 Soften effect 624 softening focus 624 selection edges 594 soft-proofing color management 251 color profiles 253 source, media 342 choosing for brushes 342 spacing brush dabs in a stroke 357 images from Image Hose 473 lines of text 814 text characters 813 Spacing brush controls 357 special effects 613 Sponges 302 spread, airbrush 145 Spring Particle brushes 438 squares, creating 783, 784 Static Bristle brush controls 375 Static Bristle dab type 333 s
surface texture applying lighting 657 applying, to Web buttons 889 creating 3D brushstrokes 650 creating embossing 653 creating from paper 649 creating with paper 649 effects 645 generating from channels 654 generating from clone source 652 generating from image 651 generating from layer masks 654 generating from pattern 652 reflection maps 655 tessellation mosaics 735, 750 changing tile color 755 coloring 750 creating 750 creating from clone 754 TEMPLATE expression operator 774 text 811 adding to images
texture libraries 281 adding to 282 creating 282 deleting resources 285 importing and exporting 281 modifying display of 283 moving resources 285 removing 282 renaming resources 285 TIF files, saving RGB 91 tiles adjusting randomness in mosaics 742 color for mosaics 741 creating 3D 747 creating using fractal patterns 888 custom 632 deselecting in mosaics 740 dimensions 742 editing patterns 716 filling mosaic with 746 filling selections with 749 pattern fills 710 removing from mosaics 739 rendering into mask
transformations 577 applying when sampling images 182 cancelling 606 distorting selections 604 duplicating selections 602 locked layers 532 moving selections 600 reference point, setting 600 rotating selections 602 sampling 191 scaling selections 602 skewing selections 604 when cloning 182 transforming duplicated shapes 804 layer groups 530 layers 530 selections 600 selections across layers 580 transparency creating layer masks from 553 preserving on layers 541 transparency masks adding to selections 587 co
viewing document window 74 full-screen document window 74 viewing modes 74 choosing default 870 switching 75 toggling 75 W Wacom Intuos fingerwheel 137 support for 96 using airbrush wheel 96 using Expression with 96 using Min Size with 96 warp expressions color, defining 765 defining 763 warping clones 189 images 668 Water brush controls 385 watercolor choosing variants for flow maps 450 effects 423 flow maps 449 Watercolor description 423 Watercolor layers 516 creating 425, 520 transferring canvas to 425
web graphics reducing the number of colors 882 Web graphics GIF files 880 image maps 883 Web page backgrounds 886 controlling color in 887 creating fractal pattern tiles 888 designing 886 using tiled 887 Web-based resources 5 workspaces components of 23 creating 57 creating and deleting 57 customizing 57 exporting 58 importing 57 importing and exporting 57 importing legacy 57 opening 57 preferences for 870 restoring Painter default 58 reverting to default 58 Web-friendly brushes 879 Web-safe colors 877 We
