Infinite Painter Brush Editor

Infinite Painter Brush Editor

August 17, 2019 22 By Peter Engel


welcome to another Infinite Painter 6
tutorial. Today I will try to show you and explain all the controls of the
brush editor in painter. This will be a detailed technical description so it
will take time and may contain parts that are not interesting for you.
So if you are looking for some specific information, in the description text
below the video you will find links pointing directly to explanation of each
section of the brush editor. The basics of general functionality of the brush
editor you may find in my previous videos. This tutorial describes the
Android version of Infinite Painter but in iOS version all the content and
functionality of the brush editor is identical, despite the visual differences.
Okay let’s now start from the beginning the brush editor in current version has
10 sections plus a stationary header with brush preview thumbnail. first section
groups main controls that affected brush stroke in general plus the name of the
brush, which is of course editable as well. then we have brush size opacity and
size range. size and size range together define the actual diameter of the brush
head. size range works as a multiplier for size, so when at 100% of size range
maximum size is 256 pixels, at 300 percent it is 768 pixels. size range
value affects certain other settings like dynamic size ranges. in general
every single settings in the brush options interacts with many others and
it is not always possible to demonstrate how they work in isolation. like opacity
parameter which may affect most of other settings for example if set very low, or
the next selector which is blend mode. Color blending mode of the brush defines
how the color applied with the brush is being visually mixed with the background.
As in painter we have 25 different color blending modes even the shortest
explanation of how they work and what they could be used for would take a
separate video. let’s leave it as normal for now. next we have two curve graphs
which have been added recently in January this year. these are size and
flow profiles of the stroke. each graph has three section grid. the left third is
the starting part of the stroke, the right third is the ending of it, and the
middle section is the rest in between them. this tool allows you to add a nice
tapered end to any brush but may affect other controls like dynamic pressure
controlled size. Similar graph for flow lets you control the flow of the brush
along the stroke. at the end of the main section we have reset button that
brings you home when you’ve got lost in the brush options. Okay next is the sources
section and it controls two most essential aspects of each brush in
painter: its brush head, or tip, and the internal brush texture.
the two thumbnails let you select new bitmap for each purpose or to remove
existing bitmap. if you remove the brush head bitmap, the brush defaults to simple
round tip. brush doesn’t have to have a texture but adding one usually adds
quality and realism to its appearance. since Android version 6.1.23 and iOS
version 3.2 both source bitmaps may be used in full color and with transparency;
also there is practically no limit of the size of the bitmaps to be used here.
using color brush heads you have to be aware that the color of this source
bitmap will interfere with the color used with the brush and may be altered by
many other factors; but the effects may be interesting. below each source
thumbnail is another curve graph which is similar to profile curve but has
quite different function: it controls how the source image luminosity is used in the
brush. it allows for basic tonal adjustments of the source bitmap without
editing the original file. that section defines the brush head behavior. to
explain how the brush head works I will use another source bitmap and let me
start from spacing parameter. when I set it around 1 you see that unit here is
the width of the source bitmap. above 1 the brush head bitmap is stamped further
apart, below 1 the stamps overlap. when I reduce the flow parameter
you can see clearly what in fact flow controls: it is the opacity of each a
single brush stamp. when I reduce spacing to near zero the shape of the brush it
doesn’t really matter anymore, and flow gives us pretty good control over the
intensity of the stroke. now let’s get back to the Style selector. it has been
added quite recently and gives three options: normal, glaze and glow.
the style defines how each brush head stamp interacts with previous stamps. so
in normal the stamps just overlap, in glaze they do not build up color and in
glow they add color of each other. with reduced spacing the glow gives a
nice neon effect. for most brushes however this style should be set to
normal. okay now this structure parameter. this in
fact is a special effect applied to the brush. in oil painting this is called
impasto. this is real impasto. in digital painting generally it adds simulated
thickness to the brush strokes. in Painter the impasto, or structure, effect is not very
sophisticated it just adds a shadow to each stroke. with more appropriate bitmap
it gives more realistic results especially if I use next control:
softness. now we have a subsection controlling the
angular position of the brush head. the angle parameter becomes obvious when you
understand that the direction of the stroke on this thumbnail is from left to right.
rotation controls how the brush head is positioned relative to the direction of
the stroke. tangent, or 100 position, is the most obvious as the brush head just
follows the path of the stroke. zero position is labeled Fixed and now the
brush head is oriented relative to canvas. minus 100 or Reverse setting is
pretty counterintuitive: the brush head rotates in opposite direction than the
path. all settings besides tangent and fixed must be used with caution.
okay now we have Texture section. you can add the texture to the brush from here
or from the sources section. the Texture section provides parameters that control
applying the texture to brush stamps. these settings interact heavily with
other settings like flow spacing softness so your results may differ. the
most important setting here is the texture style, or the way it is applied
to the stroke. it will be better visible when I reduce the spacing parameter. in
fixed style the texture is repeated side by side, in rotate style that texture is
oriented along the path of the stroke. in warp style, besides rotation, the texture
is deformed in real-time, following the stroke path. it is better visible with
this kind of texture. again: fixed, rotated and warped. the warp style is a powerful
tool for creating special effect brushes. the depth parameter controls how much
the texture blocks the color of the stroke. darker areas in the texture block
the color, lighter areas apply it. interesting that if you use a color
texture it behaves differently, especially at lower depth values. with
white color and zero texture depth the brush paints with texture only but when
I turn off the color switch, the brush paints with pure white again. the remaining
controls here allow you to adjust the size of the stroke and stretch it along
the axis of the stroke. the X scaling or stretching works best with the warp style.
the scale-with-size switch locks the texture size to brush size changes.
the invert switch uses negative of the texture bitmap. the last control is
Structure. like the main brush head structure, it adds relief effect to the
texture itself. to see this effect you paradoxically have to turn the texture
depth to very low values. watercolor section requires a bit
different setup. I use here standard Turner brush preset on colored
background. using watercolor with transparency sometimes gives
unpredictable results. bleed-out adds watercolor spreading effect to the
stroke. you can control the spreading by holding your stylus or finger press down
at the end of the stroke. Glaze works as amount of the water in a real watercolors: for
higher values the stroke soaks into paper. mix-in controls how the spreading
effects interacts with existing colors on active layer dry-out reduces the penetration of the
spreading effect. this parameter works in opposite direction that the bleed-out.
higher settings give more defined edges of the stroke, low values simulate
painting on absorbing or wet paper. next section is named jitter but could be
better described as randomness. each slider here controls how much randomness
is applied to each parameter so scatter, angle, size and flow refer to the brush
head, hue saturation and brightness affect the color of the stroke, and the texture
position and scale add randomness to the texture, if one is used. now very
important section the dynamics controls. these controls are used mostly if you
have a pressure-sensitive stylus like Samsung’s s-pen or Apple Pencil, but
partly apply to finger painting as well. in general painter uses three inputs
from the stylus: pressure on tip, velocity or speed of the stroke, and the tilt or
angle between the stylus and the screen. to utilize all of them you have to use
advanced stylus with both pressure sensitivity and tilt recognition.
currently only a couple of brands support this, but soon you may find this
technology even on cheaper devices. in the meantime Painter still uses
velocity as a parameter, even if you are using your finger only, and on a
number of tablets it also allows for simulated finger pressure so at least
two dynamic controls may be used. each control input may affect four brush
behaviors: size, flow, scattering and texture application. texture dynamic
controls are grouped at the bottom of this section and they are of course
hidden if no texture is used in your brush. each pair of input and behavior is
controlled by a curve graph and it gives you very precise control over the
effect. on each graph the horizontal axis is the input from zero to maximum and
the vertical axis is the output, here the size of the brush, also from zero to
maximum brush size set earlier. the shape of the curve expresses the relationship
between the input from the stylus and the result: the actual
size, so if for example I bentdthe curve upwards, weaker pressure gives larger
sizes and the result is a softer brush. the only way to learn how to control the
curves is to start playing with them. you have to feel how the pressure or the
speed over stylus is expressed in the graph. Soon you will gain full control over your
brushes. it is impossible to demonstrate all the possible combinations here of
course. the tilt input may produce very realistic brush behaviors, like here with
the customized Blackwell pencil – perfect for delicate shading – but again, you have
to invest in a newest Wacom, Samsung or Apple tablet to enjoy this feature. One
additional control for tilt here is offset. it controls the placement of the
extra width of the stroke. negative is outside the tip, positive is under the
stylus. negative tilt offset gives a simulated airbrush behavior, positive
offset simulates a pencil or charcoal stick. next, we have blending controls. it
is applied to interaction of the brushstroke with the colors already
existing on the active layer. dilution works like adding a solvent to the paint
so the brush lifts some existing color and the resulting color of the stroke is
altered. mix-in controls how the brush mixes its color with the underlying
color. note that similarly named mix-in parameter in watercolor section applies
only to the watercolor spreading effect. the next three parameters affect brushes
only in blend mode. smudge defines how much detail of the existing picture is
mixed into the brush head. in low values it blends detail and how high values it
picks more detail and tracks it along the stroke strength defines how often
new colors are mixed into the brush. at low values new colors are sampled more
often so they are shorter kept along the stroke. at high values new colors are
added to the brush slowly so the stroke smudging is more intensive. the Opacity
here is of course a different parameter than the main opacity of
brush. here it defines a separate flow control for bending effect. it is only
used in blend mode. The last three sliders from this section may be accessed
directly in the blend mode. changes made here are automatically saved to the
brush definition. okay now a pretty new settings section
added in January this year: the Screentone. this is intended for creating
halftone or dot matrix brushes. once the screentone switch is on the brush snaps
to a rectangular grid. the controls here allow for adjusting the grid. size
changes density of the grid, angle defines the angle of the grid lines. scale-with-size adjust brush size when the density of the grid changes, so the
resulting pattern keeps proportions. there is one more, hidden section of the
brush editor: the particles. it shows up only for special particle brushes.
currently in the default brush set you have only two particle brushes these are
Svetlana and Pollock. you can create custom particle brushes by making copies
of these two default brushes. particle controls bring two new concepts: a
particle and an attractor. in painter a particle may be any bitmap set as the
brush head source, so the particle systems may be relatively complex. an
attractor is a virtual point that travels along the brushstroke that
generates particle around it. attractors may be considered
tips of the bristles of a paintbrush. the set of attractors for given brush
acts like a brush head, so it can be controlled with regular brush controls.
but besides that there are special parameters that affect particle
distribution and dynamics. this is how one attractor works… two attractors… three… ten…
then I am adding more particles. the radius is the distance how far the
attractors are set from the path of the stroke. value 100 seems equal to 100
percent of the general brush size. particle size defines the size of the
particle but in relation to the brush size so for large brush sizes you can
have pretty large particles. and the last parameter, Overshoot, controls the
dynamics of the particles on sharp turns of the brushstroke. All the behavior of
the particle systems may be strongly affected by the regular brush controls
so effects may be really cool. all right, so we reached the end of the brush
editor of Infinite Painter. I hope this tutorial was informative and useful.
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