Painter by leithomalley

What better way to enter the creative world of Painter than with the Painter 8 Wow! Book? This thoroughly updated full-color volume takes you, step by step, through natural media to Painter’s new territories of painting, photo-editing, multimedia, film, and the Web. You’ll be inspired by the stunning, original creations and real-world experiences in this clearly written guide. Many new tips and techniques have been added highlighting useful new functions such as Painter 8’s sleek, redesigned interface, new brushes, and improved portability between Painter and Photoshop. The Mac and Windows CD-ROM features stock photos and movies, 100 brand-new custom brushes and exciting new papers.

Here’s what reviewers have to say about The Painter Wow! Book: “Threinen-Pendarvis brings Painter to life.” —Kathleen Caster Mace, Amazon.com • “The latest in Peachpit’s wonderful Wow! series, The Painter Wow! Book artfully unveils the possiblities of Painter.” “…the hybrid CD-ROM contains a bunch of topnotch custom brushes, textures and effects…” —Richard Koman, Communication Arts

“The Painter Wow! Book (is) a useful and inspiring learning tool for all levels of Painter users...” —Sara Booth, Step-by-Step Graphics • “Being a fan and a user of Fractal Painter since version 2.0.1, I found this book absolutely fantastic.” “The book has a straight forward, no bull, approach.” —MouseTales

“Lavishly illustrated with full-color examples, this book takes you stepbystep through dozens of special effects and techniques that will let you take Painter to its limits.” —Henry Bortman, MacUser “If you use or are considering using Painter in your work, get this book.” —Flash Magazine

©2003 Cher Threinen-Pendarvis • This Painter 8 Wow! Book excerpt may be freely distributed For commercial distribution, reprint permissions, and book orders call Peachpit Press: 800-283-9444, or via the web at: www.peachpit.com/wow.html

“If you work with Fractal Design Painter, you need this book.” —Bright Ideas • “Painter Wow! stands out from the crowd with its clear explanations on how to properly render images.” —California Computer News • “The Painter Wow! Book is really professionally inspi-ational, like the Photoshop Wow! books.” —MicroTimes • “This is a most extraordinary book,—fully living up to it’s Wow! title— about a remarkably good paint program. If you’re a webpage designer, you could hardly find a better how-to book for glamor-izing your pages.” —Golden Gate Computer Society Newsletter • “A gorgeous, heavily illustrated book that proceeds methodically to demonstrate some of Painters’ most important features.” —CUNE

“The Painter Wow! Book is its (Painter) ideal companion, offering high-quality images and expert instruction.” —PMUG Dialog (Princeton MUG) • “It’s for artists making the transition from traditional to digital media, photographers, multimedia designers, graphic designers, and anyone out for some not-so- cheap thrills.” —Mac Monitor • “The Wow! series from Peachpit Press is widely recognized as good resource books for the desktop designer.” —Working Woman • “The Painter Wow! Book is a beautifully designed book.” “The Painter Wow! Book is an attractive reference book and learning guide well worth its price…” —Etana Finkler, Washington Apple Pi Journal • “Painter Wow! provides both inspiration and instruction.” —School of Medicine MUG

A highly visual guide to the use of Fractal Design’s Painter, with many extraordinary examples by highly skilled professionals.” —The Klepper Report • “The book is illustrated in rich, vibrant color.” “Abundant examples are explained in quick techniques, allowing beginners to create stunning effects like advanced users.” —Bright Ideas • “This full-color book explores the range of creative styles and effects available in Fractal Design Painter.” —Training Magazine • “When you are finishing that brochure or spiffing up that web page and you have to one more thing, and you want to do it now, this book can provide many of the solutions… —Tony Reveaux, Microtimes • “The book was very clear and easily understandable.” —Marie Taylor, The Bridge, Memphis PCMUG

The Painter 8 Wow! Book Cher Threinen-Pendarvis Peachpit Press 1249 Eighth Street Berkeley, CA 94710 (510) 524-2178 (800) 283-9444 (510) 524-2221 (fax) Find us on the World Wide Web at: http://www.peachpit.com/wow.html Peachpit Press is a division of Pearson Education. Copyright © 2004 Cher Threinen-Pendarvis

Series Editor: Linnea Dayton Peachpit Press Editor: Cary Norsworthy Peachpit Press Production Editor: Lisa Brazieal Cover design: Mimi Heft Cover illustration: Cher Threinen-Pendarvis Book design: Jill Davis Art direction and layout: Cher Threinen-Pendarvis Editors: Linnea Dayton, Carol Benioff and Dave Awl Proofreader: William Rodarmor Indexer: Cristen Gillespie Production and Prepress Manager: Jonathan Parker This book was set using the Stone Serif and Stone Sans families. It was written and composed in Adobe PageMaker 6.52. Final output was computer to plate at CDS, Medford, Oregon. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information, contact permissions@peachpit.com. Corel Painter 8 is a registered trademark of Corel Corporation and/or its subsidiaries in Canada, the United States and/or other countries. All other trademarks are the property of their respective owners. Notice of Liability: The information in this book is distributed on an “as is” basis, without warranty. While every precaution has been taken in the preparation of this book, neither the authors nor Peachpit Press shall have any liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described herein. ISBN 0-321-20007-1 0987654321 Printed and bound in the United States of America. ©2003 Cher Threinen-Pendarvis • This Painter 8 Wow! Book excerpt may be freely distributed For commercial distribution, reprint permissions, and book orders call Peachpit Press: 800-283-9444, or via the web at: www.peachpit.com/wow.html

To my husband Steven, for his friendship, encouragement and understanding; and to our Creator from whom all inspiration comes. . . . — Cher Threinen-Pendarvis

FOREWORD My, how time ﬂies. . . here is yet another new edition of both Painter and Cher’s companion Wow! book. This version represents a bold new chapter in Painter’s evolution: a completely new interface. You might say that Painter has a new wardrobe appropriate for the 21st century. However, underneath these spiffy new threads is the same philosophy that has guided Painter since its initial release in 1991: the quest to capture the artist’s natural gesture for the sake of personal expression.

John Derry, co-creator of Painter

Cher’s personal perspective with respect to expressive tools comes from a background in traditional art media. She uses this knowledge to create a bridge between traditional and digital tools. And because Painter is not a physical medium, it becomes possible to do things un-dreamed of with traditional tools. Imagine dipping your paintbrush into a photograph, or drawing with an endless string of pearls. With Cher’s tutoring, you can choose to be as traditional or avant-garde as you like. Like art in any medium, imagery created with Painter can look very different depending on the artist using it. The Painter Wow! Book is richly illustrated with examples produced by a wide crosssection of expert Painter users. Cher takes these examples and breaks them down into clear step-by-step explanations. This provides the reader with a valuable insight into the artist’s creative process. From here it’s a short step to applying this knowledge to create one’s own unique expression.

John Derry created the powerful image Imagine using Painter’s realistic brushes and industry-standard layers.

The act of creativity is the transmission of an internal vision to a physical form that can be interpreted by others. Painter is an excellent tool for enabling this creative transmission of ideas and emotions. Thomas Edison said, “Genius is one percent inspiration, ninety-nine percent perspiration.” Via The Painter Wow! Book, Cher has done most of the perspiring, leaving the inspiration to you. As you read through this book, you’ll discover the seeds of inventive visual ideas sprouting from your creative imagination. It has been a real pleasure to work with Cher throughout the evolution of The Painter Wow! Book series. She continually brings a never-ending source of enthusiasm to her efforts. With each new edition, she deftly adds instructional—as well as inspirational— features that get to the heart of Painter’s usefulness and utility. You, as the reader of this book, enjoy the direct beneﬁt of her labor of love. Now, I suggest that you ﬁnd a comfortable chair, sit down, read on, and prepare to be amazed! John Derry Overland Park, Kansas June, 2003

ÂŠ2003 Cher Threinen-Pendarvis â&#x20AC;˘ This Painter 8 Wow! Book excerpt may be freely distributed For commercial distribution, reprint permissions, and book orders call Peachpit Press: 800-283-9444, or via the web at: www.peachpit.com/wow.html

PREFACE

Groovy was created for the Painter 8 poster by Nancy Stahl.

“What is art?” That’s a question we’ve debated for centuries, and with the invention of the desktop computer, we’re now asking it in a whole new context. Is it possible to create art digitally? In The Painter 8 Wow! Book, Cher Threinen-Pendarvis clearly demonstrates the answer is yes. Over the years, the creators of Corel Painter developed a program to capture the entire art-making experience by turning traditional tools digital. During the development of Corel Painter 8, we enhanced the user experience while continuing to bring the most realistic natural-media tools to the computer desktop. In The Painter 8 Wow! Book, Cher shows you how to be creative and productive with this toolset in meaningful and artistic ways. Cher’s personal and professional experiences as an artist, designer, illustrator, and teacher provide her with a complete understanding of the art-making process. She’ll guide you through the steps of conceptualizing and creating compelling images, from composition, layout, and form through to medium, texture, and color.

Susan Levan created Conch Shell using Painter’s Water Color brushes, Pens, Airbrushes, masks and layers.

Whether you are a digital artist, illustrator, graphic designer, photographer, or someone who just wants to have fun with digital painting, The Painter 8 Wow! Book is the ideal resource for learning and inspiration. Tanya Staples Program Manager, Corel Painter products June 2003

Capitola Woodcut was created by John Derry using Painter’s Woodcut features. ©2003 Cher Threinen-Pendarvis • This Painter 8 Wow! Book excerpt may be freely distributed For commercial distribution, reprint permissions, and book orders call Peachpit Press: 800-283-9444, or via the web at: www.peachpit.com/wow.html

ACKNOWLEDGMENTS

Mark Zimmer created the original Paint Can image for the Painter 1.0 program.

Pouring it on with Painter was created for the Painter 3 poster by John Derry.

The Painter 8 Wow! Book would not have been possible without a great deal of help from some extraordinary people and sources. I am grateful to each of the talented Painter artists who contributed their work and techniques; their names are listed in Appendix D in the back of the book. Heartfelt thanks go to my friend and colleague Carol Benioff for collaborating with me to create new art and tutorials for the book and for helping to edit chapters. Warmest thanks go to Linnea Dayton, the Wow! Series Editor and a long-time friend and colleague. During all six editions, her inspiration, wisdom and encouragement proved invaluable. My special thanks go to Dave Awl for his careful copy editing and helpful advice. Sincere thanks go to my friends at Peachpit Press, especially Ted Nace for his inspiration, Nancy Ruenzel for guidance, Cary Norsworthy—our Wow! Peachpit editor—for her advice, William Rodarmor for his editing suggestions (which were often generously spiced with humor), Lisa Brazieal for her helpful production advice, Suki Gear and the rest of the publishing team for their support. Thank you Peachpit, for giving me the opportunity to write this book. A big “thank you” goes to the creators of Painter: Mark Zimmer, Tom Hedges and John Derry, for creating such a Wow! program with which we artists can enjoy limitless creativity. My heartfelt thanks go to our special friend John Derry for his inspiration, enthusiasm and encouragement during all editions of this book. My warmest thanks go to Tanya Staples and Roe J. McFarlane, the Program Manager and Product Manager for Painter products, for their support; I’m also grateful to the Painter 8 development, quality assurance and documentation teams.

John Derry created this illustration for the Painter 4 poster.

Phoenix and Painter 7 at Mount Fuji was created for the Painter 7 poster by Cher Threinen-Pendarvis.

John Derry and Adrian Garcia created the Paint Can image for the Painter 8 package.

I’d also like to thank the companies who supplied the Wow! book team with supporting software and hardware during the development of the book. I’m grateful to Adobe Systems for supplying me with Photoshop, Illustrator, Premiere and GoLive; so I could demonstrate how nicely these programs work with Painter. Thanks to Wacom for their great pressure-sensitive tablets and to Epson for color printers for the testing of printmaking techniques, and to ColorVision, makers of color calibration software. Thanks to Corbis Images, PhotoDisc and PhotoSpin for their support during all editions of the book; these “stock on CD-ROM and Web” companies allowed us to use their photos for demonstration purposes in the book. I am also grateful to the other companies who provided images or video clips for The Painter 8 Wow! CD-ROM; they are listed in Appendix A in the back of the book. I’m grateful to Linnea Dayton, Jack Davis, Victor Gavenda and Shawn Grunberger for their helpful technical reads. My warmest thanks go to Carol Benioff for sharing her expertise in traditional and digital printmaking, and Steven Gordon for his experience with terrain maps. Special thanks also go to Dorothy Krause and Bonny Lhotka for sharing their knowledge of experimental printmaking; Jon Lee and Geoff Hull of Fox Television for sharing their experience in designing for broadcast television; Cindy and Dewey Reid of Reid Creative for sharing their expertise in animation and film; and Lynda Weinman for sharing her knowledge about designing graphics for the Web. I’d like to thank my co-workers “behind the scenes” on the Wow! book team. Warmest thanks go to Jill Davis for her brilliant book design; William Rodarmor for copy editing and proofreading; Cristen Gillespie for her careful indexing; and PageMaker whiz Jonathan Parker for his production and prepress expertise. Jonathan’s calm assurance during the deadlines of all six editions of this book was much appreciated! My special thanks go to Heidi Jonk-Sommer and Victor Gavenda at Peachpit Press for their work on the Painter Wow! CD-ROM. A heartfelt thank you to these special “co-workers”: to my husband, Steve, for his encouragement, healthy meals and reminders to take surfing breaks during the project; and to our cats, Soshi, Pearl, Sable and Marika, the close companions who keep me company in the office and studio. A warm thanks to our sister-in-law Joy Young and dear friends Lisa Baker, Julie Klein and Donal Jolley, who shared sincere encouragement and prayers. Thanks for checking in with me while I worked! Finally, I would like to thank all the other family, friends and colleagues who have been so patient and understanding during the development of six editions of this book. — Cher Threinen-Pendarvis

Contents Welcome

1 Getting to Know Painter 4 Painter’s Requirements for Mac and PC, File Size and Resolution, Opening Files, Saving Files, Painter Basics, Customizing Your Workspace, Setting Preferences, Libraries and Movers

2 The Power of Color 20 Hue, Saturation and Value, Putting HSV to Work, Painting with Multiple Colors, Making Color Adjustments, More Color Tools Adding Color and Gradations to Line Art 30 Coloring a Scanned Illustration 32 Coloring a Woodcut 36 Capturing a Color Set 38 Gallery 40

Blending and Feathering with Pastels 68 Painting with Pastels 70 A Painter Watercolor Primer 72 Wet-into-Wet Watercolor 76 Combining Wet-Into-Wet and Glazing on Layers 80 Painting with Digital Water Color 84 Coloring a Drawing Using Digital Water Color 86 Painting with Acrylics 88 Painting with Gouache 90 Painting an Expressive Oil Study 92 Painting with Oils 94 Sculpting a Portrait 96 Cloning and Tracing 98 Coloring and Cloning 100 Spontaneous Mixed Media 102 Applying Scanned Paper Textures 104 Combining Oil Pastels, Texture and Blending 106 Applying Rich Textures with Custom Brushes 108 Brushing Washes Over “Live” Canvas 112 Working with Thick Paint 114 A Painter Liquid Ink Primer 117 Encaustic Painting with Liquid Ink 122 Gallery 125

and Masks, Saving Selection Outlines, Selections at Work, Editing Selections, Masks, Using the Channels Palette, Calculating and Operating Making Masks for Embossing 155 Working with Bézier Paths and Selections 158 Using Selections to Limit Paint 160 Selections and Airbrush 163 Working with Hand-drawn Selections 165 Making a Color Mask 167 Auto-Masking with Color 169 Gallery 171

5 Using Layers 178 Working with Image Layers, Working with Floating Objects, Using Reference Layers, Working with Shapes, Using Dynamic Layers, Using Text Layers, Working with Media Layers, Organizing with the Layers Palette, Layers and Their Masks, Composite Controls Painting on Layers 191 Illustrating with Layers 193 Working with Shapes and Layers 196 Masks and Selections for Water Color Layers 199 Melting Text into Water 201 Gallery 203

4 Selections, Shapes and Masks 142

3 Painting with Brushes 44 Painting Basics, Continuous-Stroke Brushes, Emulating Traditional Techniques, Painting with Special Effects, Painting on Layers Building Brushes 57 Sketching with Pencils 64 Drawing with Colored Pencils 65 Making Sketchbook Studies Using Pens 66

What is a Selection? What is a Shape? What is a Mask? Creating Outlined-based Selections and Shapes, Moving Selections and Shapes, Reshaping Selections, Reshaping Shapes, Selecting and Masking by Color, Other Pixel-based Selecting and Masking Options, Feathering, Converting Selections, Shapes

Creating a Tidepool 270 Draping a Weave 272 Gallery 274

6 Enhancing Photos, Montage and Collage 214

11 Using Painter for Web Graphics 344

Image-Processing Basics, Advanced Techniques Creating a Sepia-Tone Photo 220 Selective Coloring 221 Simulating Motion 222 Zooming and Solarizing 223 Making a Selective Correction 224 Hand-Tinting a Photo 226 Blending a Photo 228 Cloning a Portrait 229 Creating a Photo-painting 230 Distressing a Photo 233 Making a Custom Solarization 234 Solarizing Color 235 Creating a Woodcut from a Photo 236 Creating a Montage Using Masks and Layers 239 Gallery 242

Creating Graphics for the Web Reducing Color Using Apply Screen 347 Posterizing with Web-Safe Colors 349 Making a Seamless Tile 351 Building an Image Map for a Web Page 353 Making a Slide Show Animation 356 Gallery 357

7 Exploring Special Effects 250 Adding Effects with Surface Texture, Adding Dimension with Lighting, Exploring Patterns, Creating Effects with Glass Distortion, Working with Mosaics, Special Effects Using Dynamic Layers Diving into Distortion 258 Creating an Impressionist Look 259 Creating a Seamless Pattern 260 Applying Patterns 262 Making an Environment Map 264 Applying an Environment Map 265 Building a Terrain Map 267 Building a Clone-Based Mosaic 268

8 Working with Type in Painter 284 A Typography Primer, Designing with Painter’s Type Tools Setting Text on a Curve 290 A Spattery Grafﬁti Glow 291 Creating Beveled Chrome 292 Painting with Ice 294 Gallery 296

9 Using Painter with Photoshop 302 Painter to Photoshop, Photoshop to Painter Compositing, Painting and Effects 304 Collage Using Cloning and Layers 306 Gallery 309

12 Printing and Archival Concerns 362 Color for Commercial Printing, Fine Art Printing at a Service Bureau, Photographic Imaging Options, Fine Art Printing in the Studio, Experimental Printmaking, Fine Art Editions from Digital Files Combining Digital and Intaglio Printmaking 370 Constructing a Lenticular Work 372 Making a Fine Art Master Print 374 Making an Archival Desktop Print 376 Gallery 378

Appendixes 390 10 Multimedia and Film with Painter 318 Working with Scripts, Animating with Frame Stacks, Importing and Exporting Animating an Illustration 327 Making an Animated Comp 330 Animating a Logo 332 Automating Movie Effects 334 Gallery 335

Image Collections, Hardware Information, Resources for Substrates and Inks, Software Information, Fine Art Print Studios and Service Bureaus, Contributing Artists, Reference Materials

Index 397

Sketching with Pencils

Making a stroke in the Brush Tracking window 2

The loose composition sketch 3

Adding tones to the background and values to the faces 3b

Darker tones and more texture have been added to the background and the faces.

CHER THREINEN-PENDARVIS

Overview Draw a loose sketch with Pencils variants; scribble and crosshatch to develop tones; brighten highlights with an Eraser.

LOOSE, EXPRESSIVE SKETCHES CAN BE DRAWN with the Painter’s Pencils variants, with a look that’s similar to traditional tools, as shown in this drawing of Soshi and Pearl. 1 Setting Brush Tracking. Pencil sketching often involves rapid, gestural movements with the stylus so it’s important to set up Brush Tracking before you begin to sketch. With Brush Tracking you can customize how Painter interprets the input of your stylus, including parameters such as pressure and how quickly you make a brushstroke. Choose Edit, Preferences/Corel Painter 8, Preferences, Brush Tracking and make a representative brushstroke in the window. 2 Beginning to sketch. Create a new image ﬁle (File, New). (Ours measured 1100 x 600 pixels). Click OK. In the Papers section of the Art Materials palette, select an even-textured paper such as Basic Paper and select the Pencils category, 2B Pencil variant in the Brush Selector Bar. The default 2B Pencil uses the Buildup method, which means that color you draw is semitransparent and will darken to black, just like when you draw with a conventional 2B graphite pencil. Select a dark gray in the Color picker and draw a line sketch that will establish the negative and positive shapes in your composition. 3 Building tones and modeling form. To bring the subjects forward in the picture frame, add dark values behind them. Make crosshatched strokes with the 2B Pencil to create the darker tones. Keep your strokes loose, and gestural. Lively stroke patterns will add texture interest to your drawing. To model the faces and bodies of the cats, we used the Oily Variable Pencil, which smeared the pencil slightly as we scribbled and crosshatched. The Oily Variable Pencil incorporates the Cover method, which means that the color you draw is opaque; a lighter color will paint over a darker color. For highlights, choose white in the Color picker and switch to the Cover Pencil variant in the Brush Selector Bar. The Cover Pencil is ideal for adding highlights because it covers previous strokes without smearing. To clean up areas, choose the Eraser variant (Erasers). A tiny Eraser also works well for brightening highlights.

Drawing with Colored Pencils CHER THREINEN-PENDARVIS

Overview Create a sketch with the Sharp Colored Pencil variant; use the Cover Colored Pencil to further develop the drawing; adjust Color Variability settings for a more active color effect.

YOU CAN MODIFY THE COLORED PENCIL variant and get a broken color effect (where the color only partially covers the background or underdrawing) by brushing lightly across a textured surface.

The line sketch drawn with Colored Pencils 2a

Developing values

Adding color

Building dimension using increased settings in the Color Variability palette and strokes that follow the form

1 Starting with a sketch. To work at the same size we did, open a new 883 pixel-wide ﬁle with a white background. Click the Paper Selector near the bottom of the Toolbox, choose Basic texture and select a dark brown color in the Color picker. From the Brush Selector Bar, choose the Colored Pencils category and the Sharp Colored Pencil variant, then draw a portrait sketch. 2 Developing value and adding color. Now choose the Cover Colored Pencil 5 variant of Colored Pencils from the Brush Selector Bar. Use this brush and a lighter brown to develop values throughout the sketch. Choose a skin color (we chose a tan for this portrait of Steve Pendarvis) and apply strokes with a light touch to partially cover some of COLORED PENCIL WASHES the brown sketch. Follow the If you’re using Colored Pencils on form with your strokes, switchrough paper, you can create a ing colors and brush sizes as wash effect. Choose the Grainy you draw. 3 Building dimension. To give a shimmery look to the color as it’s applied, drag the Hue (± H) and Value (± V) sliders in the Color Variability palette to 3%. Using a light touch to allow the underpainting to show through, apply a fresh layer of strokes in the areas of strongest color (in our drawing, the forehead and nose shadows and the hair).

Water variant of the Blenders, reducing Opacity and Grain penetration in the Property Bar to 40% or less. Stroke over your pencil work to blend colors while maintaining texture on the “peaks” of the paper grain.

Before

After

Painting an Expressive Oil Study Overview Open a new file and sketch using a Bristle Oils variant; paint using Oils brushes that can both apply color and smear it; complete the study using Oils and Blenders variants.

CHER THREINEN-PENDARVIS

We painted a loose sketch in color using the Bristle Oils variant of the Oils, sized to about 10 pixels. 2a

Painting color over the sketch

PAINTER’S OILS BRUSHES ENCOURAGE SPONTANEITY and quick gestural painting because they make expressive, smooth strokes and thus make possible a more tactile painting experience. For this color study, Calla Lily and Ti, we sketched using the Bristle Oils variant. Then we laid in color using the Smeary Bristle Spray and a Medium Bristle Oils variant. To blend and pull color we used a modified Medium Bristle Oils brush, that can both apply color and smear it like traditional wet oil paints. To build up more color activity in some areas, we painted glazes using a low-opacity version of the modified Medium Bristle Oils brush. We added final details using small Round Camelhair (Oils) and Round Blender Brush (Blenders) variants. 1 Setting up and making a sketch. Open a new file (our file measured 1300 x 1500 pixels). Before you begin your sketch, open the Papers palette by choosing Window, Show Papers. Click the Paper Selector (near the upper right corner) and choose Coarse Cotton Canvas from the pop-up menu. For a finer canvas effect, scale the paper to 50% using the Scale slider on the Papers palette. In the Brush Selector Bar, choose the Bristle Oils 20 variant of the Oils, and reduce its Size to about 10 pixels (using the Size slider popped out of the Property Bar). We chose the Bristle Oils because of

the sensitivity of this tool when used with a stylus—with it you can make expressive, thick and thin strokes that reveal bristle marks. Now select a mid-toned color in the Color picker to begin your sketch. As you sketch, develop the contours of the shapes in your image.

Roughing in colors to show the afternoon sunlight on the leaves 3

The Medium Bristle Oils 25 chosen in the Brush Selector Bar (top) and the new settings in the Property Bar 4

Using the modified Medium Bristle Oils to add more brushstrokes and smear areas on the leaves and flower 5

Using a tiny Round Camelhair brush to define edges of the leaves and to add striated highlights and shadows on the calla lily and under the leaves

2 Developing the underpainting. The brushes we used for the underpainting, the Smeary Bristle Spray and Medium Bristle Oils, have unique qualities. By varying pressure on the stylus, you can add new color, or subtly mix color as you paint. This gives the feeling of painting with conventional wet oil paints. We established a general color theme by laying in color— greens, purples, blues and yellows—directly over the sketch. Using the Medium Bristle Oils, and Smeary Bristle Spray (also Oils), we loosely blocked in color. We purposely left some of the white from the canvas showing to help retain the loose quality of the study. 3 Modifying a brush. In preparation for the blending and glazing work in Step 4, we modified the Medium Bristle Oils to accentuate its smeary capabilities as follows: Choose the Medium Bristle 25 variant of the Oils and in the Property Bar, reduce the Resaturation to 25% and increase the Bleed to 40%. Now choose a color. Using your stylus, paint a few brushstrokes on your image using firm pressure, then select a new color and apply more brushstrokes over the original strokes using very light pressure. As you drag this brush through a pool of color while using light pressure, you’ll notice the brush picks up a small amount of the existing color from the canvas. Resize the brushes as you work using the Size slider in the Property Bar. 4 Blending and glazing. After painting the foreground, we wanted to create an atmosphere of afternoon light shining on and through the leaves by painting a subtle separation between the foreground calla lily and ti leaf, the mid-ground leaves and the background wall. We used the new smeary version of the Medium Bristle Oils brush to modulate deeper blues, purples and grays into the mid-ground and background areas. To make the background recede more, we softened the focus in some areas using a Round Blender Brush (Blenders). Next, we used a low Opacity version of the smeary Medium Bristle Oils brush and lighter yellow and orange colors to brighten the backlit areas in the foreground and mid-ground leaves. To lower the opacity of the brush, move the Opacity slider on the Property Bar to the left. 5 Adding details. To finish, we modulated the highlight areas on the foreground ti leaf and calla lily using the new Medium Bristle Oils and a Round Blender Brush; we used a tiny Round Camelhair brush to define the edges of the calla lily and to brighten areas where sun was shining on the leaves; we built up more detailed, striated shadows under the ti leaves.

Combining Oil Pastels, Texture and Blending Overview Start from a pencil sketch; build a drawing using multiple variants of the Oil Pastels combined with different paper textures; blend them with Blenders variants.

CAROL BENIOFF

THE OIL PASTELS ARE A VERY VERSATILE set of tools—their strokes, their blending capability and their responsiveness to paper textures all add to the tactile feel of this illustration of toys painted by artist Carol Benioff. She also used Blenders variants, with which you can smear, ripple, add texture, and blend your drawing. The scan of the pencil sketch

1 Starting with a pencil sketch. Benioff started by drawing a simple composition of toys on a ﬂoor with traditional pencils and paper. Then she scanned the drawing at 300 pixels per inch and opened it in Painter. She started drawing directly over the pencil drawing with the Chunky Oil Pastel 10 variant, resized to 5 pixels using the pop-out Size slider on the Property Bar.

Using Invert Paper Texture to create the texture for the flooring 2b

Paper selection from the Toolbox, and Invert Paper Texture option

2 Picking different papers. Next, Benioff began sketching the stuffed dog. First, she selected the Pebbled Leather texture in the Paper Selector near the bottom of the Toolbox. The paper mimics the dog’s nubby blue fabric. With the Chunky Oil Pastel she drew colored strokes which revealed the pebbly paper, and she blended the new color with colors picked up from underneath. For the floor, she switched to the Simulated Wood Grain texture and to a Soft Oil Pastel variant—with the Grain turned down to 10% in the Property Bar—to reveal more of the texture. She chose a dark ochre color and with swift strokes roughed out parts of the floor. Then she opened the Papers palette (Window, Show Papers), and clicked on the Invert Paper button. She selected a light ochre and again drew on the floor with quick strokes. Because she had inverted the paper texture, she was now drawing into the recesses of the paper with the lighter color. The Soft Oil Pastel is designed

so the amount of resaturation and bleed are controlled by the amount of pressure you apply. Benioff varied the pressure on the stylus as she painted to control how much of the paper texture was revealed or covered by the pigment. For more information about Resaturation and Bleed, turn to Building Brushes on pages 57–63. The jacks are drawn with Oil Pastel variants on Smooth Handmade Paper. The ball is drawn with Chunky Oil Pastel on Coarse Cotton Canvas.

1954 Graphic Fabric is the texture for the jack-in-the-box, drawn with the Round Oil Pastel; and the wallpaper, drawn with the Variable Oil Pastel.

3 Using smooth and coarse textures. To achieve the dull metal sheen on the jacks, Benioff chose the Oil Pastel 10 variant and sized it to 4 pixels. To modify the Oil Pastel so it would lay down less color and blend more with the underlying colors, she reduced the Resat to 10% and set the Bleed at 80% in the Property Bar. Then she chose the Smooth Handmade Paper, for a more subtle paper texture effect. To paint the ball and simulate the roughtextured rubber, she picked Coarse Cotton Canvas in the Paper Selector, and switched back to the Chunky Pastel which reveals the paper texture as well as blending with the colors underneath. Next, she painted the box, the jack-in-the-box’s clothing and the striped wallpaper using the 1954 Graphic Fabric texture and different Oil Pastels. For the wallpaper and the jack-in-the-box’s clothing Benioff used the Variable Oil Pastel variant in a variety of sizes; for the box she selected the Round Oil Pastel. She clicked on the Straight Line Strokes button in the Property Bar when she drew the straight lines in the wallpaper.

4 Using inverted texture. To paint the stuffed bear’s well-worn fur she used a Chunky Oil Pastel over Corrugated Paper texture. She mapped out the lights and darks of the forms. Then she clicked on the Invert Paper button in the Papers palette and selected lighter shades of browns to draw into the recesses of the paper. By varying the colors, pressure and strokes she was able to paint mottled textures on the bear.

The bear was drawn with Chunky Oil Pastel on Corrugated Paper, with the paper texture inverted and lighter colors to add depth to the grain. 5

Using Blenders variants as the final touch

5 Blending and smearing color. To complete the study, Benioff used a variety of the Blenders brushes on different areas of her drawing as follows: For the dog, she chose an Oily Blender, and pushed and pulled the existing color. For the ball, she switched to a Coarse Oily Blender, with the Coarse Cotton Canvas paper selected. (This pushed and pulled the paint and blended the strokes, while still revealing the paper texture.) For the jacks, she used a Detail Blender, which maintained their dull metallic shine, but smoothed out some rough edges. For the jack-in-the-box’s clothing she used a Coarse Smear blender. On the box she used Just Add water to bleed and blur the rough-edged strokes. With the Bear she selected a Grainy Blender and the Corrugated Paper texture to soften the transitions from light to dark while keeping the texture. Next, she chose French Watercolor Paper and used a Grainy Water on the bunny. Finally, she used the Runny variant of Blenders to create a rippling effect on the ﬂoor.

Distressing a Photo CHER THREINEN-PENDARVIS

Overview Open a photo; copy the image to a new layer; use Distress to make it black-andwhite and texturize it; combine the layer and the canvas using a transparent Composite Method.

CHER THREINEN-PENDARVIS

The original photo 1b

Scaling the Crosshatch paper texture 2

Applying the Distress effect 3

The image showing the layer set to Screen Composite Method before reducing Opacity

BY DEFAULT, THE DISTRESS FILTER IN PAINTER adds texture and changes a color image to black-and-white. In this example, we used custom settings to apply the filter to a layer, then set its Composite Method to Screen, so the effect would combine with the colored photo beneath it. 1 Choosing a photo and a texture. Open a photo with good contrast and color. A bold image with a strong focal point will respond best to this technique. Choose a high-contrast texture that will complement your photo. We opened the Papers palette (Window, Show Papers) and chose Crosshatch from the Painter 7 Textures library (loaded from the Paper Textures folder on the Painter 8 CD 2 CD-ROM). To achieve a finer texture in the final image we scaled the texture down to 42%. 2 Making a layer and applying the effect. The Distress process is easier to control when the filter is applied to a copy of the image on a layer, and then the filtered and original versions are combined. To put a duplicate of the image onto a layer in the Layers palette, choose Select all (Ctrl/1-A), then press the Alt/ Option key and choose Select, Float. With the layer active, access the Distress dialog box by choosing Effects, Surface Control, Distress. Experiment with the settings in the dialog box to suit your taste. We increased the Edge Size to 20.30 to bring out the highlights; lowered the Edge Amount to 36% to darken the shadows; reduced Smoothing to 1.00 so the filter would not “round” the edges, and reduced Threshold to 43% to lighten the image subtly. When you’ve achieved a texture with the amount of white you want, click OK. 3 Blending the treated layer with the original photo. In the Layers palette, to drop out the black areas of the layer to reveal the photo underneath, change the Composite method to Screen. For a more subtle effect, we also lowered the opacity of the layer to 75% using the Opacity slider in the Layers palette.

Zooming and Solarizing CHER THREINEN-PENDARVIS / PHOTO: CORBIS IMAGES

Overview Float a copy of the image, use Painter’s Zoom Blur feature to zoom in on an area of the layer; paint the layer mask to accentuate the focal point; make a solarization by changing the Composite Method. 1

WITH PAINTER’S ZOOM BLUR feature you can create zoom and pan effects that rival results you can achieve when shooting with a zoom lens. Here we used Zoom Blur to elongate the subjects, adding to the excitement and illusion of speed during a volley. Afterwards, to add more drama we changed the photo into a mysterious “night scene.”

The original photo of the volleyball players 2

The Zoom Blur dialog box after clicking in the image 3a

The zoom-blurred layer (left) and the mask retouched to reveal the sharp underlying image of the hand and ball (right) 4

The Opacity and Composite Method settings for the solarization

1 Copying the image. Open a color photo and choose Select, All (Ctrl/1-A). Choose the Layer Adjuster and Alt/Option-click on the image. This creates a layer with an exact copy of the original image. 2 Blurring the layer. Select the layer by clicking on its name in the Layers palette and choose Effects, Focus, Zoom Blur. To get a moderate blur on our 600-pixel-wide image, we set the Amount to 31%. Set the focal point of the zoom by clicking in the image (not in the Preview). To create the elongated, distorted effect of zooming in, check the Zoom In box. Click OK. 3 Painting on the mask. To enhance the focal point of the image, we painted areas of a layer mask to reveal the underlying image, for instance, the ball and hands. Target the layer in the Layers palette and add a layer mask by clicking the Create Layer Mask button on the Layers palette. Click on the layer mask thumbnail to target it—you’ll see a dark outline around it when it is active. In the Brush Selector Bar, choose a Fine Tip Soft Air variant of Airbrushes and choose black in the Color picker. (To view the layer imagery while editing the layer mask, keep the layer mask eye icon shut.) 4 Making a solarization. Next, we created a solarized “night scene” from the image by selecting the layer in the Layers palette, choosing the Layer Adjuster tool and changing the Composite Method to Difference in the Layers palette. To make the layer slightly transparent, allowing the original colored image to show through, we also lowered the Opacity of the layer to 85%.

■ Artist Michela Del Degan creates illustrations for educational books and multimedia projects and she exhibits fine art work. Africa and Life is a series of six images, two of which are shown here. The works were inspired by a story that takes place in Africa. In the story, there are three parallel situations: the growth of a tree from a small seed, the growth of love, which brings to life a new being, and the attraction between the sun and the moon. Four main elements—Earth, Wind, Fire and Water—are important in the story. Del Degan began the images using traditional materials: She painted with conventional acrylic on canvas using

thick white paint; she chose a piece of watercolor paper and painted brightcolored washes over the background and figures. To define the elements, she used a dark pencil to draw an outline rendering for each composition. Next, she scanned the canvas and the watercolor and pencil studies using a flatbed scanner and saved each scan as a TIFF file. Working in Painter, she opened the scan of the acrylic on canvas and each scanned watercolor and assembled the pieces as layers in six separate files. To combine the acrylic brushwork with the watercolor images, she used Multiply Composite Method in the Layers palette, then she dropped the layers by choosing

Drop All from the Layers palette menu. She increased the saturation of each watercolor using the Effects, Tonal Control, Adjust Colors dialog box. She also bumped up the luminosity using the Image Luminance choice in the Adjust Color dialog box. Then Del Degan strengthened the outline drawings using the Soft Charcoal. To retouch areas of the scanned art, she sampled color from the image and used the Soft Charcoal to paint color over the areas. To add a rough paper texture to areas of her images, she used the Grain Emboss variant of Impasto. Finally, to complete the works, she touched up the black outlines using a small Soft Charcoal variant.

■ An accomplished illustrator who specializes in book illustration, Don Stewart used to work on gessoed illustration board with airbrush and colored pencils before he began using Painter. Today he draws on the computer using Painter’s tools and brushes that match his traditional ones. Planters Foundation Books commissioned Stewart to create Baskim’s Lesson for a children’s story poster. Stewart began by

choosing a fine-textured paper and drawing a detailed sketch in Painter using Pencils variants. To isolate areas of the image (such as the fox’s head and body), he made freehand selections using the Lasso tool and then saved the selections as masks in the Channels palette (Window, Show Channels), in case he needed to use them later. He blocked in basic color using Water Color brushes, and then he dropped the Water Color layer to the Canvas so he

could paint on it with other brushes. To build up values, he used the Digital Airbrush variant of Airbrushes and the Smeary variants of the Oils. Then he added highlights, deeper shadows and fine detail using the Colored Pencil variant of Colored Pencils. Stewart sprayed texture on the fox’s fur using the Coarse Spray variant of Airbrushes. For the texture on the grass in the foreground, he used Chalk variants and the Coarse Spray and Variable Splatter Airbrushes.

■ For Switches, a collage made of several photos, Aleksander Jensko began by shooting his own photographs with a Nikon Coolpix digital camera. The rich textures in his collage were created by combining the layers when the collage was complete and then adding brushwork painted with Painter’s Water Color brushes and the Coarse Spray variant of Airbrushes. To begin, Jensko opened all of the source photos: a black-and-white photo of a window curtain, an image of switches, a blurry photo of a woman, an image of a wooden crate with stenciled lettering and a photo with pronounced grain. He opened a new file, then copied and pasted each source image into the composite. Jensko used the Layer Adjuster tool to position the elements to his taste. To make areas of certain elements transparent (the Switches and the woman layers, for instance), he added

layer masks to the layers and painted on them with the Digital Airbrush variant of Airbrushes to hide portions of the layers. He created the edge effect on a new layer and set the layer’s Composite Method to Overlay to make it translucent. For additional transparency effects, he used transparent Composite Methods and reduced opacity on some of the layers. When the composite was as he liked it, he dropped all of the layers to the Canvas by Shift-Selecting them and choosing Drop All from the menu on the right side of the Layers palette. He created the grainy texture behind the woman by spraying dark color using the Coarse Spray variant of Airbrushes. To complete the image, he added watercolor brushwork. To put the collage on a Water Color layer, he targeted the Canvas and chose Lift Canvas To Water Color Layer from the Lay-

ers palette menu. Once the image was on a Water Color layer, he could use various Water Color brushes, including the Dry Bristle and Wash Camel to paint subtle brushstrokes and soft washes.

■ An innovative professional photographer, Michael Campbell specializes in portraits and also excels in painting. When creating Frances with Hat, Campbell combined photography with painting using Painter brushes. He began the work by choosing a photo from his shoot and retouching it using Photoshop. In Painter, he used cloning and paint applied with various brushes to paint over the photograph, adding expressive brushwork and texture. He made a clone of the image

(File, Clone) and painted a loose, expressive background with a modified version of the Camel Oil Cloner variant of Cloners. He saved the image and then began to gradually build up basic forms of the figure and clothing. He alternated between painting with Clone Color turned on and off in the Color picker. With Clone Color turned on, he could sample color from the original and with it turned off, he could paint with color he chose in the Color picker. He gradually

built up details in the focal areas of the image (for instance, the model’s face and hands), and he painted looser brushwork to suggest folds in the clothing. Finally, he used Effects, Surface Control, Apply Surface Texture to add three-dimensional highlights and shadows to the brushwork and canvas texture. Turn to “Creating a Photo-Painting” on page 230 to see Campbell’s technique step by step.

Index A Accurate Diffusion, 73 Acrylics, 52–53, 88–89, 134, 194, 229 Captured Bristle variant, 25, 166, 192, 229 Detail variants, 194 Dry Brush variant, 194 Feathering Brush, 62 Wet Acrylic, 194 actions, automating with scripts, 318–322 Adjust Colors, 26, 125, 152, 203, 214, 220, 221, 235, 241, 343 Adjust Selected Colors, 26–27, Adobe After Effects, 322, 332, 336, 337, 338, 359 Adobe Illustrator exporting ﬁles to Photoshop, 308 exporting shapes to, 151, 338 importing ﬁles from, 145, 163, 184, 337, 341 importing layers from, 310 importing shapes from, 184 Adobe ImageReady, 359 Adobe Photoshop. See Photoshop Adobe Premiere, 318, 322, 323, 332, 334, 337 Airbrushes, 52, 59, 100–101, 163– 164, 198, 343, 360 Coarse Spray variant, 128, 129, 172, 173, 175 controlling spray direction of, 58 custom, 99 dab types, 59 Digital Airbrush variant, 92, 128, 129, 152, 159, 164, 173, 282, 301, 343 Fine Detail Air variant, 221 Fine Spray variant, 58, 59, 162, 173, 197 397 INDEX

Fine Tip Soft Air variant, 221, 223 Fine Wheel Airbrush variant, 52, 360 Pixel Spray variant, 291 Tiny Spattery variant, 172 Variable Splatter, 128, 172, 212, 213 Alanis, Mauricio, 389 alias, making (Mac), 19 Align dialog box, 14 alpha channels, 189, 303 analogous hues, 21 anchor points, 147, 158, 288 adding, 147 adjusting, 147, 158, 290 deleting, 147 animatics, 324 animation banner, 358 based on video clip, 323, 334 of drawings, 324, 327–329 using frame stacks, 321, 322– 323, 325, 328–329, 330–331, 333, 334, 336, 337, 356 using PICT ﬁles, 325–326, 333, 336, 359 of text, 332–333, 341 for Web pages, 346, 356, 357, 358, 359 antialiasing, 143 Web graphics and, 344 Apply Lighting, 126, 195, 218, 252, 292 to add atmosphere, 111, 195, 218, 278 for backgrounds, 252 for diffused effect, 271 for movies, 324 for photo enhancement, 218 to provide contrast, 22 for sky glow, 278, 305 for spotlight effect, 252, 292 to unify an image, 252 Apply Screen, to reduce number of colors, 347–348

Apply Surface Texture, 52, 53, 100, 186, 249, 250–252 for background, 281 for bevel effect, 157 combining with other effects, 252 with dynamic layers, 186 for embossed effect, 155–157, 219, 289, 372–373 for folds in fabric, 272–273 for map relief, 267 for overall image, 154 for ripple effect, 271 for sand effect, 270 for 3D effect, 198, 219, 232, 249, 250–251, 282, 283 Apply Surface Texture dialog box, 14, 250–251 archival printmaking, 364–365, 367, 368, 374–375, 376–377 art papers, 367, 368, 371 art techniques, emulating, 48–56 Artists brush Impressionist variant, 241 Sargent Brush variant, 40, 53, 54, 134, 280 Van Gogh variant, 135 atmospheric perspective, 22 Auto Clone, 277 Auto Mask, 149–150, 169–170, Auto Select, 142, 149–150, 338 Auto Select Layer, 180 AVI format, 10, 321–323, 324, 330, 331, 334

B background lighting of, 252, 292 for Web pages, 351–352, 353– 354 working on, 37 banners, creating, 358 Barbante, Ben, 344, 357 bas relief effect, 156–157

Becker, Laurel, 229 Benioff, Carol, 66–67, 86–89, 140, 141, 193–195, 370–371, 376– 377 Bevel World dynamic layer, 185, 256, 257, 292–293 beveled look, 157 Bézier curves, 158 setting type on, 288, 290 Biever, Richard, 96–97 Blavatt, Kathy, 50, 52, 253 Blavatt, Ray, 160–162 Bleed setting, 60, 62, Blend command, 184–185 Blenders, 23 Coarse Smear, 126 Grainy Water variant, 23, 69, 71,130, 131, 132, 135, 241 Just Add Water variant, 71,132, 139, 217, 228 Marbling Rake variant, 96–97 Smudge, 126 blending, 23 between shapes, 184–185 with pastels, 68–69, 71, 107 in photos, 228 blending modes, Photoshop, 302– 303 blurring with Motion Blur, 218, 222 of photos, 217 with Zoom Blur, 223 BMP ﬁles, 9 Boncompagni, Athos, 206, 257, 319, 335 Boolean operations, 154, 156 Border function, 152 borders adding, 152 feathered, 266 brightness, adjusting, 216, 224, 234 Brightness-and-Contrast dynamic layer, 216, 224 Brightness/Contrast, for cleaning up masks, 168

brightness/contrast, in photos, 216 Brightness slider, 33 Bristle brushes, 74 Bristle Spray dabs, 58–59 bristles, control of, 59 Brown, Marc, 294, 302, 310 Browse button, 7 Brush Category, 44, 45 Brush Category icon, 12 brush footprint cursor, 16 Brush Creator, 46, 57–61, Preview, 63 Randomizer, 63 Stroke Designer, 57, 59, 61–63, 213 Impasto, 113, 115 opening, 61 typing in settings, 60 Water Section, 73 Well Section, 59, 60, 116 Transposer, 57, 63 Grainy Charcoal variant, 63 Oil Pastel Pencil, 63 Wet Bristle Oils, 63 brush footprints, 59 brush libraries, 19 brush loading, 47, 59 Brush Look, 56 Brush Selector Bar, 12, 44, 45, 152 brush styles, 45 Brush tool, 44 Brush Tracking, 16, 64, 68 with water color brushes, 74, 77 Brush variant icon, 12 brush variants, 45 custom, 45–46, 61–63, 70, 103, 109–111, 123, 274, 280, 304– 305 methods for, 46 Restore Default, 61 Save Variant, 61 subcategories of, 46–47 See also speciﬁc brushes brushes, 44–57 for adding grain, 105

Bleed setting for, 60 capturing, 58, 60 cloning, 99, 100 continuous stroke, 47–48, 58–60 custom, 45–46, 61–63, 70, 103, 109–111, 123, 274, 304–305 dab types, 57–60 data-based, 110 default, 45 Grain settings for, 110 importing, 19 libraries of, 19 opacity of, 45 pattern, 48 rendered dab, 48 Resat setting for, 60 resist type, 118, 119, 121 resizing, 49 Restore Default Variant, 45 special-effects, 55–56, 253 stroke types for, 60–61 thinning of, 58 Webmedia, 350 brushstrokes, 24–25, 57 erasing, 116 preferences for, 16 textured, 53 3D effects for, 251 Threshold control for, 121 undoing, 77 Bryce 3D, 276, 320 Buildup method, 46, 64 bump map, 326 Burke, Jeff, 306–308, 309 Burn plug-in, 257 buttons, Web page, 344–345, 358

C calibration, monitor-to-printer, 362–363 Calligraphy, 50–51, 60 Dry Ink variant, 25 Camel Hair dabs, 58 Campbell, Michael, 214, 236, 249, 317 Campbell, Steve, 165–166, 278 canvas

INDEX 398

adding to, 97 increasing size of, 99, 171, 238, 239 patterns and, 260 texture of, 191–192 Canvas, Resize dialog box, 7 Capillary Factor, 74 Capture Paper, 105, 254 Capture Pattern, 260, 264, 299, 352 captured dab type, 58 Carr, Karen, 44, 126, 127 Cartoon Cel method, 33–34 certiﬁcate of authenticity, 369 CGI script, 355 Chakkour, Mario Henri, 359 Chalk, 49, 103, 129, 130, 131, 132, 274 Sharp Chalk variant, 70, 71, 96, 343 Square Chalk variant, 96, 110, 161, 175, 381 Channels palette, 144, 148, 149, 150, 153, 161, 302 Channel Attributes dialog box, 154 Duplicate Channel, 189 Invert Channel button, 153, 168 Load Selection, 153, 154, 156, 202, 224 Save Selection, 153, 154, 156, Charcoal, 46, 49, 127, 315, 316, 343 Soft Charcoal variant, 207, 304, 315 Gritty Charcoal variant, 283, 329 Charris, Phillip Stewart, 248, 365 chiaroscuro, 49 Chrome Digital, 366 chrome effect, 257, 281 Cibachrome, 365 Cinema 4DXL, 342, 343 Cinepak, 346 circular dab types, 58 Clone Color button, 98 clone source turning off, 253

399 INDEX

using color from, 23, 99, 253 Cloners, 99, 100 164, 218, 249, 307, 317 Camel Oil Cloner variant, 231, 317 Soft Cloner variant, 218, 226, 228, 307 Straight Cloner variant, 218 cloning, 98–99, 100, 101, 314, 333 for image processing, 215 of photos, 132, 133, 215, 229, 231, 234, 248, 268 from unrelated image, 99 CMYK, 8, 303 for printing, 362–363, 374–375 TIFF files from, 362 coatings, protective, 366, 367– 368, 375 collage, 170, 242, 244, 246, 306– 308, 314, 315, 316, 368, 386, 383 Collapse command, 188 color altering, 255 basic properties of, 20–22 from clone source, 23 filling with flat, 29, 30, 33–34, 212, 213 removing, 216 sampling, 38, 269 selecting by, 147–148 smearing, 60 Color (HSV) triangle, 21, 22 Color Composite Method, 342 Color Correction dialog box, 26, 235 Color Correction icon, 365 Color Expression Palette, 25 color gamuts, 8 for printing, 362, 374–375 Color Info palette, 21 color management, 28, 362–363, 376–377 Color Mask, 147–150, 167–168 macros for, 322 with photos, 215 Color Mask dialog box, 167

Color Mixer, 21, 87 Color Overlay, 27, 37, 105, 198, 218 macros for, 322 Color Overlay dialog box, 14 Color pickers, 20, 21, 31, 347 Color Proﬁles, 363, 377 color ramps, 30–31 custom, 28 color rectangle, 11, 21, 25, 31 Color Select, 148, 149 color separations, 363 color sets, 29, 86, 88, 194 creating, 25, 38–39, 348, 376 for posterization, 219, 349 for Web graphics, 346, 348, 349–350 color texture map, 326 color trapping, 35 Color Variability, 24, 36, 71, 95, 109, 135 based on a color set, 25 based on a gradient, 24 building dimension with, 65 Palette, 24–25, 26 ColorVision, 376, 377 color wheel, 21 Colored Pencil, 48, 65, 128, 129 Colored Pencil variant, 48, 65, 114–115, 173, 327 Prismacolor, emulating, 48 Variable Colored Pencil variant, 261 colors adjusting, 26–27 blending, 23, 68–69, 134, 135 complementary, 21, 22 ﬁnding, 29 naming, 29 out-of-gamut, 28 painting with multiple, 24–25 Video Legal, 28, 325 Web-safe, 346, 347–348, 349–350 Colors picker, 20, 26 Colorspan printers, 365 complementary colors, 21, 22

Composite Depth controls, 55, 190 composite ﬁles, reference layers and, 182 Composite Methods, 27, 84–85, 87,178, 125, 189–190, 194, 211, 235 Photoshop and, 303 compositing in Painter, 133, 140, 239–241, 244, 246, 280, 342, 343 in Photoshop, 281, 304–305, 306–308, 309, 315, 384 compound shapes, 184, 185 compression, 324 JPEG, 8–9 of Web graphics, 345, 352 comps, animated, 330–331 Cone, John, 374–375 Cone Editions, 363, 364, 366, 368, 374 Conté, 49 Content Selectors, 10, 11, 17 context-sensitive menus, 13, 143 Contiguous checkbox, 148 continuous-stroke brushes, 58–60, 73, 118 Continuous Time Deposition, 59 contrast, 22 adjusting, 32–33, 216, 220, 224, 226, 234 simultaneous, 23 copperplate etching, 368, 370–371 Correct Colors, Curve, 26 counters, in type, 184, 185 Cover method, 46, 64 Crayons, 46, 210, 339 Crooks, Stephen, 203 Current Script, 318–319 Curve mode, 26 custom variants. See brush variants, custom Cymbolic Sciences Lightjet, 365

D D-1 files, 325 dab-based brushes, 57–58 dab types, 57–60, 73 multicolor painting and, 24 dabs spacing between, 109 viewing, 60, 98 D’Avanzo, James, 174 Davick, Linda, 29, 30–31 DCS files, 9 debossing, 157, 219 default settings, reverting to, 251 Degas, Edgar, 49 Del Degan, Michela, 125, 207, 282 Delaunay, Robert, 20 depth of field, altering, 217 Derry, John, 4, 120, 122–124, 188, 236–238, 243, 246, 256, 270–271, 366, 380 desaturation, 21, 26, 216, 220 dialog boxes, 14 Diaz, Eduardo, 283 Difference Composite Method, 223 Diffusion Amount, 73 digital editions, 369 digital photos, 243, 246, 247, 380, 386 digital television, 325 Digital Water Color, 51, 84–85, 86–87, 121, 371 Diffuse Water variant, 195 Simple Water variant, 141 Soft Diffused variant, 195, 277 Dineen, Matt, 253 direct digital photographic prints, 365 Directional Grain checkbox, 274 Dismukes, John, 160–162, 239–241, 286, 300, 301, 311 displacement map, 256 display type, 284

distance, indicating, 22 Distortion brushes, 54, 55 Distorto variant, 127, 212, 213, 314 Distress ﬁlter, 233 Dither Colors, 345 Dodds, Karen, 358 Dr. Graphix, 367 Draw Anywhere, 151 Draw Inside, 151, 360 Draw Outside, 151, 204, 360 Drawing Modes, 14, 151, 159, 291 drawing programs, 5–6 drawing tablet, 5, 48, 52, 119, 120, 130 drop shadow applied to shapes, 185 automatic, 266 creating, 164, 207, 276, 299, 386 Dropper tool, 23, 26, 231, 269 for Info palette, 18 switching to, 21 Dry Rate, 73 Durst Lamda, 365 Dye Concentration, 27, 100, 105, 157, 162, 202, 217, 238 dye-sublimation printers, 365 dynamic layers, 178, 179, 185–186, 256–257 Bevel World, 186, 257, 292–293 Brightness-and-Contrast, 216, 224 converting to image layers, 224, 281 creating, 257 Distortion, 218 Equalize, 215 Glass Distortion, 218, 255, 259, 273, 372 Kaleidoscope, 257, 351–352 Liquid Metal, 250, 256–257, 281, 294–295, 389 opening in Photoshop, 303 Posterize, 219 See also text layer

INDEX 400

E edge subcategories, 46–47 edges, irregular, 197–98 effects. See special effects Effects menu, 214 El Greco, 22 embossing effect, 154–157, 219 Encad printer, 364, 383 encaustic painting, 122–124 Envall, Mary, 7, 50, 149 environment map, 264, 265–266 EPS ﬁles, 9, 308, 311 importing to Painter, 145, 163– 164, 212 Epson printers, 364, 367, 377, 380, 381, 386 Equalize, 109 for image processing, 214, 220, 226 Equalize layer, 215 Equilibrium DeBabelizer, 363 Erasers, 51, 55, 162, 189 Bleach variant, 55, 162, 204 Darkener variant, 162 Eraser Variant, 64, 189 Pointed variant, 67 erasing, 54–55, 167, 168, 180– 181, 189 Evaporation Threshold, 73 Exposure slider, 251 Express In Image, 28, 37, 220 Express Texture, 219, 234 extensions, in ﬁle names, 355 Evaporation Threshold, 73

F fabric, simulating, 272–273 feathering of border, 266 of masks, 154, 181, 198, 225, 240 with pastels, 68–69 of selections, 150, 176, 177, 208 Feature setting, 58, 59, 73, 91, 118, 212 Feature slider, 58, 73, 118

401 INDEX

Felt Pens, 359 Dirty Marker, 34 file formats, 7–10 for exchanging files with Photoshop, 302, 303 for multimedia, 324–326 for Web graphic, 344, 345, 352 file size, 5–6 for Web graphics, 345, 347–348, 352 files compression of, 8–9 copying, 6 enlarging, 5, 6 opening, 7 resizing, 7 resolution of, 5–6 saving, 7–10 Fill command, 29 filling Cartoon Cel method, 33–34 from clone source, 99, 253 with flat color, 29, 30, 33–34, 212, 213 with patterns, 262–263, 299 of selections, 164 of shapes, 183, 197 with weave pattern, 273 fills color, 29, 30–31, 33–34 gradient, 82, 102 trapping of, 35 film recorders, 364 film separations, 363 filters, third-party, 19 Final Cut, 324 fine art editions, 369, 374–375, 386 fine art prints, experimental, 368–369, 378, 379 fisheye lens effect, 264 Flash movies, 360 Flat brushes, 74–75 flat dabs, 58 flat submethods, 46 floating objects, 178, 179, 181–182, 233

font utilities, 285 fonts, 284–286 Formz (3D), 342 four-color printing, 362 Fractal patterns, 253–254 Frame Stack palette, 329 frame stacks animating with, 322–324, 336, 337, 339, 356, 358 applying scripts to, 336, 337 creating, 334, 331, 339, 356 editing, 323, 324 exporting as GIF animations, 346, 356, 358 ﬁle size and, 321 masks in, 325 starting, 328 using scripts to generate, 331 Free Transform, 246, 263, 329 fresco, 383 Fretz, John, 158–159 friskets, 129,163, 198, 301 Fujix printers, 365 Fujichrome prints, 366 Function keys, 7 F-X brushes, 55–56, 111, 162, 209, 253, 343 Fairy Dust, 280, 312 Fire variant, 56, 280, 342 Furry variant, 209 Glow variant, 56, 111, 342 Graphic Paintbrush, 8, 9, 59, 161

G Gartel, Laurence, 250, 281 Gauguin, Paul, 23 Gel Composite Method, 36–37, 211, 227, 298, 299 General Preferences dialog box, 17

Generations inks, 367 gesture drawing, 66–67 Giclée, 369 GIF animations, 9, 346, 356, 357, 358, 359 GIF format, 9 transparent, 345 for web graphics, 344, 345, 348, 350, 361 Glass Distortion dynamic layer, 218, 255, 256, 259 Glass Distortion effect, 218, 255, 258, 271, 273 glazes, 56, 80, 89, 93, 343 Golden, Helen, 387 Golden Varnish, 365, 367, 368 Gordon, Steven, 267, 276, 277 Gouache, 52, 90–91, 136, 208, 209 Grabber tool, 13, 237 Gradient Editor, 28–29 gradient effects, with Apply Lighting, 252 gradients, 28–29, 30–31 for background, 210 creating, 36–37 custom, 267 ﬁlling canvas with, 82, 102 load gradients, 168 saving, 29 Selector, 11 sepia, 220, 343 Two-point, 36, 82, 267 using Color Variability, 24–25 Web graphics and, 344 Gradients palette, 28–29, 30–31, 267 Edit Gradient, 28–29, 82, 267 Express In Image, 343 grain, adding to masks, 154 grain penetration, 47, 110 Grain setting, 47, 110 Grain Soak-In, 73–74 grainy subcategories, 46 Grid Overlay, 15 Grid Overlay icon, 13, 15 Grossman, Rhoda, 314 Grunberger, Shawn, 361

Guide Options, 15 guides, 15, 354

H Hammon, Kathy, 138, 139 hand tinting, emulating, 227 hard disk, 4, 5 hard submethods, 46 Hathaway, Andrew, 228 Hawthorne, Fiona, 1, 42 Hewlett-Packard printers, 364, 367, 378, 387 Hiding Power, 27, 270 Highpass effect, 255 Hose stroke type, 61 hot spots preventing, 252 on Web pages, 344–345 Howe, Philip, 100–101, 242, 367, 379 HSV, 20–23 HTML, 353, 355, 357, 361 HTML color, 347–348 hue, 20–21 toning down, 22 Hue ring, 20, 21 Hue Shift slider, 255 Hull, Geoff, 286, 341 hyperlinks, 344–345

I iMovie, 324 ICC proﬁle, 363, 377 icon buttons, 13 Illustrator. See Adobe Illustrator Image Hose, 8, 9, 61, 253, 270–271 image layers, 179–181, 193–195 adding texture to, 176 converting dynamic layers to, 186 converting shapes to, 184 selections in, 224–225 See also layers Image Luminance, 251, 255 image maps, 345, 353–355

Image Portfolio palette, 180, 188–189 image processing, basics of, 215–218 Image Slicer, 344, 357, 361 Impasto, 53, 91, 136, 137 Composite Depth methods, 55, 190 Impasto brushes, 53, 55, 114–116 building, 61 Gloopy variant, 60 Depth Equalizer variant, 116 Grain Emboss variant, 112, 125, 217 Loaded Palette Knife variant, 115, 116 Opaque Flat, 137 Opaque Round variant, 55 Palette knife variant, 136 Round Camelhair variant, 95, 136 Texturizer-Fine variant, 116 Variable Flat Opaque variant, 116 Wet Bristle variant, 112 Impasto icon, 13 Impasto Lighting, 112–113 impressionist look, 259 Info palette, 18 Ingres, 23 Inkjet Mall, 367 inkjet printers desktop, 366–368, 376–377 large-format, 364, 366, 368, 371, 374–375, 387, 389 inks archival, 367, 379, 383 color gamut, 367 inkjet, 367 intaglio printmaking, 370–371 Iris inkjet printing, 364, 366, 368, 371, 374–375

INDEX 402

J JavaScript rollovers, 344, 357, 361 Jensko, Aleksander, 244, 245 Jitter settings, 110 Jolley, Donal, 132, 133, 280, 312, 313, 321, 327–329 JPEG format, 8–9 for web graphics, 344, 345, 352

K Kaffa, 283 Kaleidoscope dynamic layer, 4, 257, 351–352 Kempe, Ron, 191–192 kerning, 286–287, 289 keyframes, 332–333, 337 Kirkman, Rick, 8, 172, 183, 188, 196–198 Kodak Color Management System (KCMS), 28 Kodak Photo CD format, 239 Krause, Dorothy Simpson, 362, 368, 382

L Larson, Ted, 342, 343 Lasso tool, 37, 144, 165, 168 Layer Adjuster tool, 11, 14, 146, 147, 151, 164, 178, 180, 202, 296, 328, 329 layer masks. See visibility masks layers, 4, 178 adding, 56 aligning, 14 for animation, 330–331 applying special effects to, 180 auto selecting, 188 converting shapes to, 184, 196, 197 copying, 179 creating, 179, 180 deselecting, 180 distorting, 181 duplicating, 6 Equalize, 215

403 INDEX

erasing from, 180–181, 189, 330 exporting to Photoshop, 302 ﬂipping, 181 ﬂoating objects and, 179, 181–182, 233 frame stacks and, 328 grouping, 188, 204, 276 for image maps, 353–354 importing from Photoshop, 303 lighting for, 252 Liquid Ink, 50, 119, 122, 123, 187, 338 locking, 188 making from active selection, 180 media, 179, 187 merging, 178, 195, 211, 275 merging select, 188 merging several, 182 merging with canvas, 181 moving, 181 opacity of, 181, 222 organizing, 188–189 painting on, 56, 180, 191–192, 194, 197, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 313 for photo compositing, 215 preserving, 7–8, 178–179 reference, 7, 178, 179, 182–183, 191–192, 240 renaming, 124 rotating, 181 scaling, 181 selecting, 180 stacking of, 4, 178 transformations to, 181, 182 transparent, 56 types of, 179 ungrouping, 188 using Composite Method with, 178, 189–190 using selections to make, 201–202 using selections with, 142, 225 woodcut effect using, 237

See also dynamic layers; image layers; Water Color layer Layers palette, 12, 143, 178, 179, 188 Create Layer Mask button, 180, 221, 241 Layer Commands button, 181, 188, 204, 205 Dynamic Plugins button, 186, 224 Lee, Jon, 325, 332–333 legibility, of type, 286 lenticular images, 366, 372–373, 382 letter spacing, 286–287, 289 LeVan, Susan, 28, 149, 169–170, 175, 284, 299, 345, 358 Lhotka, Bonny, 364, 367, 369 372–373, 383 libraries, 17–19 Lift Canvas to Water Color Layer, 80–81, 245 Light Valve Technology, 366 lighting, for Impasto, 55 See also Apply Lighting Lighting Mover, 252 LightWave 3D, 326 Lill, Michelle, 264, 265–266 line art adding color to, 30–31, 32–35, 36–37 scanning, 32 line screen, for offset printing, 363 line screen effects, 218, 219 Liquid Ink, 117–121, 122–124 Coarse Bristle variant, 120 Coarse Bristle resist variant, 121 dab types for, 118 encaustic painting with, 122–124 erasing, 123

Fine Point variant, 121 ﬂat variants, 120 Graphic Camel variant, 120 resolution and, 110 settings for, 117–119 Smooth Camel variant, 120 Smooth Flat variant, 120 Sparse Camel variant, 123, 243, Velocity Sketcher variant, 121 viewing 3D highlights and shadows of, 119 Liquid Ink dab types, 60 Liquid Ink layer, 50, 119, 122, 123, 187, 243 Liquid Metal dynamic layer, 186, 236, 256–257, 281, 294–295 Liquid Metal Selector, 295 Liquin, 379 Load Library, 17, 19, 350 Load Selection, 150, 156 Lock Out Color, 29, 33 Looks Selector, 11, 56 luminance, 22

M Macintosh memory allocation for, 5 Painter’s requirements for, 4 MacLelland, Keith, 29, 43, 205 Macromedia Director, 325, 326, 339 Macromedia Dreamweaver, 359, 360 Macromedia Fireworks, 360 Macromedia Freehand, 276, 300, 311 macros, for actions, 322 Magic Wand, 34, 99, 147–148, 236, 347, 350 Magniﬁer tool, 165, 226 Make Paper dialog box, 254, 273 Mandel, Debi Lee, 358 Manning, Robert, 365 maps, 311 environment, 264, 265–266 reﬂection, 251, 264, 265 terrain, 267

texture, 326 topographical, 254 weather, 276 Martini, Janet, 8, 9, 47, 54 mask overlay, 167, 168 mask views, 153 masks, 142 adding to, 167 adding grain to, 154 for animations, 330–331 Boolean operations for, 154, 156 choosing, 153 cleaning up, 167–168, 221 converting selections to, 150, 151, 156 converting to selections, 150, 151 creating, 149–150, 153, 155– 157, 167–168, 169–170, 194– 195 editing, 153–154, 167–168, 197, 225 for embossing, 155–157 erasing from, 167, 168 exchanging, 189 exporting to Photoshop, 154, 303 feathering, 154, 198, 225, 240 hiding, 153 imported from Photoshop, 153, 240, 302, 303 inverting, 153, 200 layer, 180 See also visibility (layer) masks loading as selections, 143–144, 225 for movie frames, 325 opacity of, 168 painting on, 201–202, 222, 223, 241, 248 for photos, 214–215, 248 from Photoshop, 153 renaming, 156 replacing, 154, 168 subtracting from selection, 156 using Auto Mask, 169–170 using Color Mask, 147–148, 167 viewing, 189, 241

viewing as red overlay, 194, 225, 240 viewing in black and white, 221, 225 visibility of, 189 for Water Color layers, 187, 199–200 mat print, 373 Maya, 326 McClain, Craig, 219 measuring, 15 media layers, 179, 187 Media Street, 367 memory allocation, 5 menus, context-sensitive, 13, 143 Meyer, Pedro, 247 Miller, Judy, 360 mixed media, 54, 102–103, 368, 382, 379, 381, 383 Moncrieff, Judi, 378 monitor calibration of, 362–363 recommended, 5 monotypes, 364, 368, 369 monoprint, 364, 368 montages, photo, 239–241, 242, 246, 281, 378, 380 Moose, Brian, 56 Morris, Wendy, 32–35 Mosaic brush, 255–256 mosaics, 255–256, 268–269 Motion Blur, 218, 222 mouse, Liquid Ink brushes and, 120 movers, 17–19 Movie Player, 330 movies creating, 327–329 ﬁle formats for, 10 See also frame stacks; QuickTime Multi stroke-type brushes, 60 multicolor painting, 24–25 multimedia, using Painter, 318–343

INDEX 404

multimedia ﬁles importing, 324–325 exporting, 325–326 multiple-exposure effect, 219 Multiply Composite Method, 110, 125, 193, 238, 245, 371 Multiply mode, 110

N Nash Editions, 364, 366 Navigator, 13 Navigation icon, 13 negative, creating a, 28 neon glow effect, 280–281 Netscape Navigator Color Set, 348, 349–350 New dialog box, 7 New From Command, 148, 169 Color Range, 148,168, 215 Current Color, 170, 175 Image Luminance, 184 New Look, 56 No Export setting, 361 Noble, Richard, 22, 40, 53, 54, 134 Noritsu printers, 365 Nozzles Selector, 11, 253, 270, 271 nozzle, of Image Hose, 270–271 NTSC video color system, 333 nudging, of selections, 146

O object-oriented art, 5 Ocepek, Louis, 204 Odam, John, 326 offset printing, 362–363, 365, 388 Oil Pastels, 49, 54, 106–107, 138, 307 Soft Oil Pastel, 381 Oils, 52–53, 94–95, 112–113, 114– 116, 139, 191–192, 280, 282 Round Camelhair variant, 24, 45, 47, 48, 95, 139, 381, 385 Opaque Bristle Spray variant, 25, 282, 283

405 INDEX

Opaque variants, 170, 175, 209, 231, 386 Smeary variants, 41, 135, 175, 205, 210 Smeary Bristle variant, 25, 96, 135, 207 Smeary Flat variant, 4, 10, 25, 95,135 Variable Flat variant, 34, 205, 283 Okada, Corinne, 104–105, 254 Onion Skin layers, 329 OptiCal, 376 Orlando, Dennis, 41, 94–95, 135 out-of-gamut colors, 28, 375 output to desktop inkjet printers, 366–367, 376–377 to digital positive, 365 to ﬁlm recorders, 366 to high-quality inkjet printers, 364, 369, 374–375 to offset printing, 362–363, 365 Output Preview, 28, 362, 363 Output Preview icon, 13 oval selection tool, 142, 143, 144 oval shape tool, 143, 144 Overlay Composite Method, 205, 244, 246

P Paint Bucket, 29, 30, 33–34, 282, 296, 315, 316 Mask Threshold, 33, 34 Tolerance setting, 31 Painter 8 system requirements for, 4–5 vector capabilities of, 5 painting, basics of, 44–56 Palette Knives, 52–53, 54, 115, 134 Palette knife variant, 40, 309 Smeary Palette Knife variant, 53, 54,102 Subtle Palette Knife variant, 381 Palette Knife dabs, 58 palette preferences, 17

palettes arranging sections in, 16 custom, 15–16 desktop layout for, 16 displaying, 15–16 docking, 15 hiding, 13 navigating, 12, 15–16 resizeable, 15 Palomino, Cris, 210 panoramas, 339, 380 paper archival, 367, 368, 371, 375, 377, 384, 387 embossing, 112 Paper Color, 68, 97, 130, 137 Paper grain, Water Color and, 72 paper libraries, 17–18 Paper Mover, 17–18 Paper Selector, 11, 44, 195 paper texture, 37, 46, 47, 53, 90, 233, 270, 274, 275, 305 applying to selections, 166 custom, 104–105 resolution and, 50 scanned, 104–105 using fractal patterns for, 254 See also textures Papers palette, 46, 47, 72, 105 invert paper button, 105, 140 Make Paper, 104–105, 219 Pastels, 49, 68–69, 70–71, 131, 138, 176, 280 Artist Pastel variant, 37,41, 68–69, 70, 175 Round Hard Pastel variant, 371 Round Soft Pastel variant, 70 paths, 144, 145, 147, 158, 160, 161, 183

closing, 158 converting to selections, 158–159, 160, 161, 172, creating, 158, 196–198 drawing, 145, 161 exporting to Photoshop, 303 finding lost, 144 stroking, 161 See also shapes pattern library, creating, 261 Pattern Mover, 261 Pattern Pens, 48, 56 Pattern Chalk variant, 263 patterns capturing, 253, 260–261, 352 creating, 260–261 defining, 253 filling with, 262–263 Fractal, 253–254 loading, 262 saving, 261 seamless, 260–261, 351–352 for special effects, 253–255 wrap-around, 253 Patterns palette, 253–254 Capture Pattern, 253, 260, 261, 264, 299 Check Out pattern, 260, 261 Pattern Selector, 11, 48 Pavement texture, 160, 161 PC file formats, 9 PCX files, 9 pen and ink, emulating, 50 pen and wash, emulating, 51 Pen tool, 143, 144, 158, 160–162, 196, pencil drawings, emulating, 48, 64 pencil sketch, coloring, 100–101 Pencils, 48, 64, 94, 131 Cover Pencil variant, 39, 64 Flattened Pencil variant, 43, 160, 199 Oily Variable Pencil, 64 2B Pencil variant, 43, 48, 80, 141, 205, 315 Pens, 50, 66–67 1-Pixel variant, 30

Calligraphy variant, 45, 50–51 Fine Point variant, 175, 206 Grad Pen variant, 48 Pixel Dust variant, 34 Scratchboard Rake variant, 24, 34, 50, 305 Scratchboard Tool variant, 36, 43, 50, 168, 174, 175, 200, 205, 211, 238, 275 Smooth Ink Pen variant, 48, 50, 137, 206, 282 perspective, atmospheric, 22 Perspective Grid, 15 Phillips, Chet, 36–37, 50, 142, 211, 275, 389 Photo brushes, 55, 214 Add Grain variant, 55, 217, 282 Blur variant, 217 Dodge variant, 282 Saturation Add variant, 217 Scratch Remover brush, 216 Sharpen variant, 217 Photodyne, 366 photos adding film grain to, 217 adding saturation to, 217 adjusting brightness/contrast in, 216, 224 blending in, 228 cloning of, 216, 228, 229, 268 collages of, 306–308, 315 color filter effect for, 218 compositing, 239–241, 244 creating negatives of, 234 creating woodcuts from, 236–238 depth of field in, 217 desaturating, 220 digital, 243, 244, 245, 246, 247, 280, 386 enhancing, 214–235 hand-tinting effect for, 226–227 line screen effects for, 218, 219 masks for, 214–215, 248 montages of, 239–241, 242, 281, 342, 343, 378, 380 mosaic effect for, 268–269 motion blur in, 218, 222, 247

multiple-exposure effect for, 219 painting on, 241, 248, 249, 378 posterizing, 219, 243, 349–350 removing scratches from, 216 retouching, 215–218, 226, 268 selective coloring of, 221 sepia toning of, 220 sharpening, 217 smearing, 217 smudging, 217 solarization of, 219, 223, 234, 235 stock, using, 342 texturizing, 233 tonal control in, 255 tonal range in, 215 vignetting, 150, 216 Photoshop blending modes and Painter, 303 compositing in, 304–305, 308, 309, 373 in conjunction with Painter, 304–305, 306–308 exporting layers to, 179 exporting masks to, 154 exporting Painter files to, 302–303 importing files from, 303 importing masks from, 153 making CMYK conversions in, 363, 374–375 soft Proof, 377 Photoshop format (PSD), 8, 280, 302, 303, 317 Pick Up Underlying Color, 56, 206, 210, 227, 243 Pickup rates, watercolor, 73 PICT files, 8, 276, 324–326, 359 for animation, 333, 336, 339 Pixel Airbrush dab types, 59 pixel-based programs, 5–7 pixelation, 366 pixels, 5–6, 7 Plugins, 19 See also dynamic layers PNG files, 360 posterization, 186, 349–350 INDEX 406

Posterize command, 243, 386 PostScript files, importing, 145, 163, 300 PowerPoint, 342 power-pasting, 328 preferences, setting, 16–17, 25 prepress process, 362–363, 365 Preserve Transparency, 188, 187, 204, 210, 227, 298 presets, saving, 238 pressure, stylus, 25, 228, 316 pressure-sensitive stylus, 5 pressure-sensitive tablet, 5, 47, 52, 130, 311, 315, 338, 385 with Liquid Ink brushes, 119 preview sphere, of Surface Texture control, 250–251 Preview window, 14 primary colors, 21 printing fine art, 364–369, 374–375, 386 four-color, 362–363 printmaking, archival, 365–367, 374–375, 376–377, 380, 381, 384, 385, 387 experimental, 368–369, 383 intaglio, 370–371 prints, digital, 365–366 ProfilerPlus, 376, 377 Projected dab type, 59 Property Bar, 46, 47, 70, 91, 161 PSD format, 280, 317 Purnell, David, 181, 188, 212, 213

Q Quantel HAL system, 332–333 Quantize to Nearest Color, 345, 350 QuarkXPress, 308 Quick Curve (Shape Design) tool, 143, 144–145 Quick Warp, 251, 254 QuickTime movies, 10, 320, 321– 322, 323, 324, 330, 331 exporting, 325 with masks, 325 QuickTime VR, 339

407 INDEX

R rainbow effect, 29 Rake stroke type, 60–61 RAM, Painter’s need for, 4–5 Record Script, 319–320, 321 rectangular selection tool, 143 rectangular shape tool, 143 Redwood, Jo-Anne, 301, 311 Reed, Arena, 260–261, 262–263 Reed, Mike, 176, 177, 298 reference layers 6, 178, 179, 182– 183, 191–192, 240–241 reflection maps, 251, 264, 265, 326 Reflection slider, 250, 251 Refraction Map, 258 Reid, Cindy, 336 Reid, Dewey, 318, 322, 324, 330– 331, 336, 337 rendered dab brushes, 48 Rendered dabs, 59 rendering, 326 Replace Mask, 154 Reselect, 143 resists, 50, 121 resist-type brushes, 118, 119, 121 Resize dialog box, 7 resizing, 6 of brushes, 49 of files, 6 of selections, 146 of type, 284 resolution, 7 brush size and, 50 for movie editing, 325 for offset printing, 363 for transparencies, 366 retouching, of photos, 214–205, 226, 268 RGB mode, 7, 20, 21, 302, 303 converting to CMYK, 10, 362–363, 374–375 RGB Variability, 25 Rice, Cecil, 171 RIFF files, 7–8, 178, 185, 227, 203, 331

ripple effect, 271 Roland printers, 364, 369, 373, 382, 384 Roman type, 283 Rotate Page tool, 256 rotating of layers, 181, 296 of page, 13 of reference layers, 182 of selections, 146–147 of shapes, 183 rotoscoping, 324 Rubin, Cynthia Beth, 384 Rubin, Peter Mitchell, 322, 340 Ruler and Guides, 15, 354 Runny brushes, 75, 78 runny washes, 75, 78, 200 Rys, Steve, 385

S Salgado, David, 368 Sammel, Chelsea, 53, 102–103, 114–116, 252 sans serif type, 284–285 saturation, 21, 22, 217 Scale command, 257 scaling of layers, 181 of reference layers, 182 of selections, 146 of shapes, 183 scanning of paper textures, 104 of pencil sketches, 108–109 Scissors tool, 147 scratch disk, 5 scratchboard, emulating, 50

Screen Composite Method, 233 screen management, 13 Script Data ﬁle, 319 script libraries, 18 Script Mover, 18 Script Options dialog box, 320, 321, 331, 335 script typefaces, 285–286 scripts, 318–322 applying to frame stacks, 336, 337 automating actions with, 321 automating effects with, 334 playing back, 320, 321, 322, 334 recording, 319–320, 330, 331, 334 saving, 320, 331 saving as a movie, 321 Scripts palette, 320 Scripts palette bar, 320 Script Options, 320, 321, 331 scrolling, 13 scumbling, 71, 89, 181 secondary colors, 21 Seegmiller, Don, 108–111 Selection Adjuster tool, 145, 146–147, 150, 151, 156 Selection Mover, 151 Selection Portfolio, 143, 145, 151 selection tools, 143, 144 selections, 6, 142 active vs. selected, 146 adding to, 148, 152, 153, 165 adding texture to, 166 adjusting color in, 168 automatic, 149–150 converting masks to, 146 converting paths to, 158–159, 161 converting shapes to, 150, 155, 164 converting to masks, 150–151, 156 converting to shapes, 338 creating, 143, 144–145 165 drawing inside and outside, 151, 159, 291 duplicating, 146

edges of, 146, 150 editing, 150, 152 feathering of, 150, 174, 177, 208 ﬁlling, 164 inverting, 151, 170 with layers, 142, 225 lighting for, 252 loading, 146, 156, 225 making active, 166 making layers from, 180 modifying, 152, 144 moving, 137, 146, 156 naming, 164 outline-based, 142, 144–147 painting within, 166, 174 pixel-based, 142, 144 resizing, 146 restoring, 143 rotating, 146–147 saving, 142–143, 151, 156 saving as masks, 172 scaling, 146, 156 skewing, 147 stroking, 152 subtracting from, 148, 152, 159, 165 subtracting masks from, 156 transforming, 145, 146–147 types of, 142 using Apply Screen function, 348 using color, 147–148 in Water Color layers, 200 widening, 156 Sentinel Imaging, 367 sepia tones, 36 sepia toning, of photos, 220 serif type, 284–285 service bureaus, for ﬁne art printing, 364–365 shade (color), 22 shadows adding to type, 287–288 cast, 83 complementary colors for, 22 creating, 202 drop, 164, 185, 266, 293

Shape Design (Quick Curve) tool, 143, 144 Shape Edit tools, 147 Shape Preferences, 184, 196 Shape Property Bar, 144, 158 Shape Selection tool, 147, 158, 183, 290 shape tools, 143, 144 shapes, 4, 6, 142, 143, 179, 183–185 aligning, 14 blending between, 184–185 compound, 184, 185 converting to layers, 184, 197 converting to selections, 143, 150, 155, 164 creating, 144–145, 183, 196–197 dragging off a copy of, 183 drop shadow for, 185, 276 duplicating and transforming, 183 exporting, 151 fill attributes, 183–184 filling, 197 flipping, 183 grouping, 184, 185, 204 importing from Illustrator, 212 naming, 197 opacity of, 183, 197 overlapping, 164 painting on, 184 Property bar, 159, 201 rotating, 183 saving, 151 scaling, 183 selecting, 183 skewing, 183 stroking, 183–184 text as, 286, 288–289, 292–293 for type, 288–289 ungrouping, 164 See also paths Sharpen, 217 Single stroke-type brushes, 60 single-pixel dab type, 58 Sketch effect, 6

INDEX 408

skewing of reference layers, 182 of selections, 147 of shapes, 183 Small Color picker, 20, 21 smearing, 61, 217 Smooth command, 153 smudging, of photos, 217 soft submethods, 46 Soften command, 229 Softness slider, 250 solarization, 219, 223, 234, 235 Somerset paper, 367 special effects, 4, 250–257 libraries of, 18 See also Apply Lighting; Apply Surface Texture; dynamic layers special-effects brushes, 55–56, 253 sponging up, of watercolor, 54 Stahl, Nancy, 52, 90–91, 208, 209 Standard Color picker, 20 static-bristle dab type, 58 Steuer, Sharon, 346 Stewart, Don, 20, 128, 129, 173 Straight Lines button, 170 Strata Studio Pro, 326 Stroke Designer, 57, 61 See also Brush Creator stroke types, 60–61 multicolor painting and, 24 subcategories of, 46–47 Studio Artist, 278 stylus pressure, 74 changing colors with, 25 tilt, bearing, rotation, 52, 58, 74 subcategories (submethods), of brush variants, 46–47 Sumi-e, 116 Dry Ink variant, 139, 169, 170 SuperFlip software, 373, 382 surface maps, 326 Surface Texture. See Apply Surface Texture Swaminathan, S., 268–269 system requirements, for Painter, 4–5 409 INDEX

T Targa ﬁles, 9 Tear plug-in, 257 Temp ﬁle, 5, 17 terrain map, 267 tertiary colors, 21 text (type) adding special effects to, 289 animation of, 332–333, 341 beveled effect for, 292–293, 301 chrome effect for, 292–293 converting to selections, 291 editing, 288 kerning of, 286–287, 289 on-screen, 344 painting on, 289 Property bar, 187, 265, 287, 296, 354 resizing, 294 rotating, 288, 298 setting, 201, 266, 287–288, 291 setting on a curve, 288, 290 shadows for, 287–288, 293, 354 slanting, 288 text layers, 179, 187, 286–289, 292–293, 294–295, 296, 297, 298, 299 converting to image layers, 266, 287, 289, 297, 298 converting to shapes, 145, 286, 288–289, 292–293 Text palette, 287 Text tool, 145, 201, 266, 287,290, 292, 294, 297, 298, 299, 354 texture maps, 326 textures adding, 27 creating with Express Texture, 234 loading, 160 repeating, 254 switching, 55 See also Apply Surface Texture; paper texture 3D effects, 251, 266 3D objects map, 326

3D programs, 326 3ds Max, 326 Threinen-Pendarvis, Cher, 1, 10, 13, 19, 57, 130, 131, 178, 365, 381 Threshold slider, 121 TIFF format, 100, 178, 314, 315, 362 tile mosaics, 255–256, 268–269 tiles, seamless, 351–352 Tiles, Remove, 267 time of day, using saturation to indicate, 22 Tinting brushes, 210, 226 Basic Round variant, 195, 227 Soft Eraser variant, 227 Blender variant, 227 tints, color, 22 Tolerance, for Magic Wand, 148, 205, 236 tonal range, adjusting, 215, 226, 359 Toolbox, 11, 143 tortillion, 71 Touillon, Jean-Luc, 338, 339 Tracker palette, 44 Tracing Paper, 98, 109, 132, 231, 269, 315, 341, 371 in creating animations, 323, 324 Tracing Paper icon, 13 Transform Selection command, 145, 150 Translite transfers, 368 transparencies, large-format, 366 transparency layer, 56 transparency map, 326 transparent layer, for color trapping, 35 trapping, 35 Trillium Press, 368 Triolo, Lorraine, 306–308, 309 type. See text typography, 284–285

U undos, multiple, 16–17 ungrouping, 164, 188 Uniform Color, 255 unsharp mask, 217

V UV-protective varnish, 365, 366, 368 value (color), 22 variable strokes, 46 varnish, protective, 366, 368 Vealé, Stanley, 112–113 video clips, 321–323 importing, 334 for Web pages, 346 Video Legal Colors, 28, 325 vignettes, 150 with texture, 216 vinyl media, 389 Virtual Memory, 4–5 visibility (layer) masks, 171, 180, 181, 189 dropping and saving, 189 editing, 189, 197 exchanging, 189 Liquid Ink layers and, 188 painting on, 201–202, 221 for photos, 221–223

W Wacom tablets, 5, 48, 52, 130, 174 Walker, James Faire, 386 wash effect, 65 washes, emulating, 101, 343 Water Color brushes, 244 Camel variants, 51, 74, 82, 175, 200 Diffuse Bristle variant, 81 Diffuse Flat variant, 74

Diffuse Grainy Camel variant, 24, 82 Dry Bristle variant, 244, 245 Eraser Dry variant, 51, 55, 79 Eraser Salt variant, 51, 75, 79 Fine variants, 77, 79 Runny variants, 75, 78, 200 Runny Wet Bristle variant, 78 Runny Wet variants, 75, 78 Splatter Water variant, 75 Wash Bristle variant, 24, 51, 74, 83, 199 Wash Camel variant, 74, 101, 175, 244 Wash Pointed Flat variant, 74 Wet Bristle variant, 74 Water Color dab types, 59–60, 73 Water Color layers, 51, 72–75, 77, 78–79, 80–83, 109, 187, 199–200, 244 adding, 81, 199 dropping, 128, 129 editing, 79 lifting canvas to, 82–83 masks for, 187, 200 selections for, 200 water drop effect, 257, 258 water drop icon, 72 Weaves palette, 272, 273 Weave Selector, 11, 272, 273 Web graphics designing, 344–361 ﬁle formats for, 345–346 ﬁle size for, 345, 347–348, 352 Web pages backgrounds for, 351–352 banners for, 358 designing, 353–353 slide show for, 356 Webmedia brushes, 350 Web-safe color, 347–348, 349–350 Wells, Pamela, 315, 316, 364 Wet Entire Water Color Layer, 83, 245

wet-into-wet watercolor, 76–79, 80, 82, 199 Wetness setting, 73 white, leaving areas of, 77 Whole Shape Selection tool, 183 Wilhelm, Henry, 367 Wilhelm Imaging Research, 367 Windows file formats for, 9 memory allocation, for 5 Painter’s requirements for, 4 shortcut, making, 19 woodcut effect, 36–37 Woodcut filter, 8, 9, 236–238, 279 workspace, customizing, 16–17 World Wide Web file formats for, 8, 9 graphics for 344–361 WWW Map Clickable Region, 345

Y Yoshii, Hiroshi, 257, 274

Z Zoom Blur, 223 Zoom to Fit Screen, 13 zooming in and out, 13 Zoom, variable, 14

INDEX 410

Here’s what you get: • 432 full-color pages • Covers both Mac and Windows • Detailed, step-by-step descriptions of commercial illustration, painting, design, photography, special effects, multimedia, film, web graphics and fine art printmaking created by professionals prominent in their field • Loads of real-world tips and techniques for both beginners and power users • A Mac and Windows CD-ROM that’s full of stock photographs, movies, tutorials and new custom Wow! brushes and textures built by the author

The Painter 8 Wow! Book by Cher Threinen-Pendarvis ISBN 0-321-20007-1

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