Foreword |
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xiii | |
Introduction |
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xv | |
Acknowledgements |
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xxi | |
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Chapter 1 What's New in Painter 12 |
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1 | (12) |
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2 | (1) |
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3 | (1) |
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4 | (1) |
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5 | (1) |
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5 | (1) |
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6 | (2) |
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6 | (1) |
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6 | (1) |
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6 | (1) |
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7 | (1) |
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7 | (1) |
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8 | (2) |
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8 | (1) |
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8 | (1) |
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9 | (1) |
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9 | (1) |
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10 | (1) |
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11 | (2) |
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Chapter 2 First Steps in Cloning |
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13 | (26) |
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Soft Cloner: A Simple Clone |
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14 | (2) |
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16 | (2) |
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Chalks: Using Paper Grain |
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18 | (2) |
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Smart-Strokes: Auto-Painting |
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20 | (2) |
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22 | (17) |
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Opening Painter 12 for the First Time |
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22 | (1) |
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Open the Original Photograph |
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23 | (1) |
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Preparing the Photograph for Cloning |
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24 | (1) |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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26 | (1) |
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26 | (1) |
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27 | (1) |
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28 | (1) |
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28 | (2) |
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30 | (2) |
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32 | (1) |
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32 | (7) |
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Chapter 3 Painter 12 Basics |
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39 | (40) |
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40 | (2) |
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40 | (1) |
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40 | (1) |
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41 | (1) |
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41 | (1) |
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41 | (1) |
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42 | (2) |
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Using and Organizing Panels and Palettes |
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42 | (1) |
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42 | (1) |
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43 | (1) |
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44 | (2) |
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44 | (1) |
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44 | (1) |
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Normal and Full Screen View |
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45 | (1) |
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Moving Around the Picture |
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45 | (1) |
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46 | (2) |
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46 | (1) |
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46 | (1) |
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47 | (1) |
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48 | (2) |
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48 | (1) |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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50 | (2) |
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50 | (1) |
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50 | (1) |
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51 | (1) |
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The Auto-Painting Palette |
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52 | (4) |
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52 | (2) |
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54 | (1) |
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55 | (1) |
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56 | (2) |
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Merging and Grouping Layers |
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57 | (1) |
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Duplicating and Locking Layers |
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57 | (1) |
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58 | (5) |
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58 | (1) |
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58 | (1) |
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Preserve Transparency and Pick Up Underlying Color |
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59 | (1) |
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Layer Composite Method and Depth |
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59 | (4) |
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63 | (3) |
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63 | (1) |
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64 | (1) |
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65 | (1) |
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Some Useful Keyboard Shortcuts in Painter 12 |
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65 | (1) |
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66 | (4) |
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66 | (1) |
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66 | (1) |
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66 | (1) |
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66 | (1) |
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67 | (1) |
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68 | (1) |
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68 | (1) |
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Brush Calibration for Individual Brushes |
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69 | (1) |
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69 | (1) |
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70 | (2) |
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70 | (1) |
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71 | (1) |
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71 | (1) |
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Adding Space Around a Picture |
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71 | (1) |
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72 | (2) |
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What is Color Management? |
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72 | (1) |
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72 | (1) |
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72 | (1) |
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Color Management in Painter 12 |
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73 | (1) |
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Viewing the Effect of Profiles |
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74 | (2) |
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74 | (1) |
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Applying and Changing Profiles |
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75 | (1) |
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Problems with Printing Textures |
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76 | (3) |
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76 | (1) |
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How File Sizes Affect Paper Textures |
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76 | (1) |
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How Print Sizes Affect Paper Textures |
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77 | (1) |
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Resampling Files with Paper Textures |
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77 | (2) |
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Chapter 4 Choosing Brushes |
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79 | (66) |
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Selecting Brushes in Painter 12 |
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80 | (2) |
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First Select the Category |
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80 | (1) |
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80 | (1) |
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81 | (1) |
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Blenders for Smoothing and Mixing |
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81 | (1) |
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82 | (2) |
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84 | (2) |
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86 | (2) |
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88 | (2) |
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90 | (2) |
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92 | (2) |
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94 | (2) |
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96 | (2) |
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98 | (2) |
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100 | (2) |
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102 | (2) |
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104 | (2) |
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106 | (2) |
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108 | (2) |
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110 | (2) |
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112 | (2) |
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114 | (2) |
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116 | (2) |
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118 | (2) |
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120 | (2) |
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122 | (2) |
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124 | (2) |
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126 | (2) |
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128 | (2) |
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130 | (2) |
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132 | (2) |
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134 | (2) |
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136 | (2) |
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138 | (2) |
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140 | (2) |
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142 | (3) |
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Chapter 5 Customizing Brushes |
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145 | (18) |
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146 | (2) |
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146 | (1) |
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146 | (1) |
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General Panel: Stroke Attributes |
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147 | (1) |
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147 | (1) |
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General Panel: Dab Types 1 |
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148 | (2) |
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General Panel: Dab Types 2 |
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150 | (6) |
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152 | (1) |
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General Panel: Subcategory |
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153 | (1) |
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153 | (1) |
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154 | (1) |
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154 | (1) |
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155 | (1) |
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155 | (1) |
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156 | (2) |
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Creating Brush Dabs from a Photograph |
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157 | (1) |
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158 | (1) |
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Creating a New Brush Category |
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158 | (2) |
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Installing Extra Brush Libraries |
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160 | (3) |
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163 | (22) |
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164 | (1) |
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165 | (1) |
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166 | (2) |
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168 | (1) |
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169 | (1) |
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170 | (1) |
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171 | (1) |
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172 | (2) |
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174 | (1) |
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175 | (1) |
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176 | (1) |
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176 | (1) |
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Posterize Using Color Set |
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177 | (1) |
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178 | (1) |
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179 | (1) |
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Hand Coloring: Cosy Cottage |
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180 | (5) |
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185 | (14) |
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186 | (1) |
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187 | (1) |
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Using Extra Paper Libraries |
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188 | (1) |
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Creating Your Own Paper Texture |
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189 | (1) |
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Applying Texture on a Completed Picture |
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190 | (1) |
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191 | (1) |
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192 | (1) |
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Applying Paper Textures to a Layer |
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193 | (1) |
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Creating Pictures with Textures |
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194 | (2) |
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Using Paper Textures for Stamping |
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196 | (3) |
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199 | (20) |
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200 | (6) |
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206 | (4) |
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210 | (9) |
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219 | (60) |
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220 | (2) |
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222 | (4) |
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226 | (4) |
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Real Watercolor: What's This? |
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230 | (2) |
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232 | (6) |
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238 | (4) |
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242 | (4) |
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246 | (4) |
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Creating a Boldly Colored Portrait |
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250 | (2) |
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252 | (4) |
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256 | (2) |
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258 | (4) |
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262 | (4) |
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Sargent Brush: Merry Wives |
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266 | (6) |
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272 | (7) |
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279 | (22) |
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Smeary Bristle Brush: Dog |
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280 | (4) |
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Loaded Palette Knife: Horse |
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284 | (3) |
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287 | (5) |
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292 | (4) |
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296 | (5) |
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301 | (24) |
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Impressionist: Autumn Colors |
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302 | (2) |
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Dry Bristle Watercolor: Old Tree |
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304 | (4) |
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308 | (5) |
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Pastels: Worcester Cathedral |
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313 | (5) |
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Pencils: Six Cold Crosses |
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318 | (4) |
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322 | (3) |
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Chapter 12 Special Effects |
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325 | (14) |
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326 | (1) |
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327 | (1) |
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328 | (1) |
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329 | (1) |
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330 | (2) |
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332 | (1) |
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333 | (1) |
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334 | (1) |
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335 | (1) |
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336 | (3) |
Index |
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339 | |