![]() Painter X3 has added the option to view your source and clone side by side, and you can also now directly edit the source image, and choose to commit or discard edits when you return to work on the cloned copy. This lets you automatically sample colours as you paint, and will even automatically and intelligently paint the whole image for you. The Clone command comes in handy here, too. ![]() You can also now use a photo as the basis for setting up perspective guides (replacing the former grids), and even constrain your brushstrokes to these guides to accurately draw in one-, two- or three-point perspective. ![]() New in Painter X3 is the option to load a reference image to give you inspiration, and from which you can sample colours. However, these days you’re unlikely to be starting from a completely blank canvas. Painter X3 provides all the brushes and control you need to produce any sort of artistic project from scratch. This feature allows users to mimic such inconsistencies by adding randomness to each brushstroke. Puede explorar nuevas posibilidades creativas utilizando pinceles de medios naturales, texturas de papel y medios, que se ven y se sienten como materiales de arte tradicionales. In the real world, no two brushstrokes are exactly the same. Corel Painter es un completo estudio de arte digital. It’s such an obvious and effective solution that it seems bizarre that Painter hasn’t always worked this way.Īs well as overhauling access to its brush engine, X3 builds in important new control over what it calls “universal jitter”. Simply hit the new Advanced Brush Controls icon on the main toolbar and Painter X3 opens only those panels that are relevant to the current brush, with everything neatly organized into logically grouped tabs, and the most commonly used options brought to the fore. It’s thanks to X3’s dynamic and context-sensitive handling, though, that it hasn’t. The end result is that Painter X3 now provides no fewer than 34 separate Brush Control panels, which might suggest that the complexity problem has been made even worse. Key to this is a reorganisation of existing panels, with many broken up into more explicit logical groupings so that, for example, the former catch-all General panel has been split into separate Stroke Attributes, Grain and Opacity panels. Manually adjusting these parameters is daunting enough to dissuade most users from moving beyond the preset settings, but Painter X3 tackles this issue head-on – there’s been a complete overhaul of how brushes are customised. ![]() These parameters control not only the basics of size, opacity and so on, but the particular profile of the brush tip, how paint bleeds and dries, the level of wetness, the evaporation threshold, how the pigment diffuses and interacts with the underlying grain of the paper, and even the strength and direction of the simulated wind. With the Watercolour brushes, for example, Painter’s simulation is based on dozens of interacting parameters, many of which can vary depending on inputs such as pressure, speed and direction. Finding the right brush is one thing, but what really matters is how well it works, and Painter X3’s brush engine is extraordinary. ![]()
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