And, yes, Painter now supports PNG (portable network graphics) files. Painter now not only lets you save a color profile along with a file, to guarantee that a client sees what you see, but also recognizes color profiles associated with Photoshop files. The program recognizes that product's layers and lets you add your own, so photographers no longer have to go through the laborious process of saving work in Painter, moving it to Photoshop for layer work, and then importing it back to Painter. In the "if you can't beat 'em, join 'em" category, Corel has beefed up support for Photoshop users. Another welcome change: a virtual palette for mixing colors (much as one would do with a knife) that you can expand to as much as 1,600 pixels wide, so you have more room to play. One simple but significant one lets you adjust the size of the color-palette panel so you no longer have to squint to select the precise color desired. There are several upgrades of a more convenient, utilitarian nature as well. Naturally, not all the improvements in Painter 11 are geared to those who would spend weeks tweaking a brush stroke. For example, Painter 11 allows you to create a brush that doesn't exist in any studio, mix impasto with charcoal, or even create a canvas with surface textures unavailable in art-supply shops.- Next: Practical Improvements Indeed, this version, which eschews the word digital in favor of the neologism natural media, conclusively takes us beyond this old debate by letting you experiment with materials and media that lie beyond traditional, real-world techniques. In fact, tools like this let artists stretch the boundaries and take painting to places it can't go with actual paints and brushes. A hard-media palette in the program, for example, offers a dizzying array of adjustments, letting you alter traits including angle, size, dab profile and tilt angle, allowing nearly endless permutations that all but guarantee your work will be unique.įor many years, programs such as Painter have fought the notion that if the tools of your trade are digital, then what you create isn't art. If this still doesn't offer enough dexterity to satisfy your artistic longings, you can experiment by creating your own brushes and pens. The feature makes use of a digital tablet all but a prerequisite.
Also new is support for tablet tilt, which adjusts the width of a brush stroke or pencil line depending on the angle at which you hold the pen. Conversely, the velocity control will put down more ink with slower strokes. So now, when you select the digital versions of these instruments, faster strokes produce thinner lines. In this version, Corel has expanded the RealBristle tool to encompass hard or dry tools, including chalks, colored pencils, pastels, and even Conté crayons. Loaded brushes laid down a thicker, more saturated streak. Faster strokes were thinner, for example, while slower strokes with more pressure splayed out the brush so that more marks from individual strands appeared. With that information, the driving algorithm could map the path of each individual bristle.
It recreated the sensation and the artistic effect of working with physical brushes by recognizing the pressure applied on the stylus and the speed at which it moved when a user executed a stroke. The primary feature of Painter X, for example, was the astoundingly realistic RealBristle tool. What's more the refinements and increased flexibility will draw current users into upgrading. Anyone with a working knowledge of the previous version will be able to step into Painter 11 with ease.
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