Free Digital Art Software Download – Corel Painter Free Trial

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Microsoft Paint Windows Mac. Windows Users’ choice Corel painter 12 32 bit Corel painter 12 32 bit Most people looking for Corel painter 12 32 bit downloaded: Corel Painter. Photo Frame Genius. Picture Merge Genius. Dynamic Auto-Painter. Battle Painters. Corel Painter X3. There is a newer version of this item:. Customers also viewed these products.

Page 1 of 1 Start over Page 1 of 1. Previous page. Windows No Operating System. Windows 8. Next page. The new Navigator panel makes it easier to maneuver your way around large canvases. Ideal for: Concept artists Designers and illustrators Fine artists Professional photographers Students and teachers of art and design Painter Reasons to Buy 1. The new Kaleidoscope Painting mode lets you create wonderful concentric patterns.

In Mirror Painting mode, the green line represents the mirror plane, which you can display vertically, horizontally, or both at the same time.

Water color settings for enhanced control. Choose from a variety of brush styles. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

Learn more how customers reviews work on Amazon. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. There are reports on the internet of people wasting days. The bad news is that I was really looking forward to trying this software that I purchased from Amazon. This installed without problems but whenever I tried to run the program, Windows would crash with the banner “Windows has stopped working”.

I uninstalled the program and tried to install the free day trial download from the Corel site with the same result. I tried to contact the Chat support twice and got the message “Chat cancelled – no one available”.

I have installed a lot of software on my computers over the past 30 years and seldom have been so disappointed. It’s time to pack up the software and return it to Amazon and hope the next version will be better. I highly recommended you try the free trial software on your computer before you buy it.

Day Two: I had budgeted several days to learn a new painting program and I was not willing to give up. This program was released in October without fanfare. I downloaded the software from the Corel Web Site and installed on my computer without a problem. My first attempt at using Corel Painter Lite has been very positive. This program appears to be designed for a beginner digital painter like myself. In fact, it may meet all my needs. I checked several internet help sites. I did this and Corel Painter Lite is running again.

Day Four: With my recent success in finding the problem with Corel Painter Lite and installing the new drivers for my graphic tablet, I decided to revisit my failed attempts to get a satisfactory installation of Painter Once again I downloaded the trial version of Painter 12 and installed it on my computer.

Guess what? I got a normal installation and I’m enjoying the many new things I can do to a photo using Painter Summary: I found that the Painter Lite is a basic painting program with few canvases, brushes and instructional videos. It also lacks tracing paper, cloning and auto-paint functions. If you want the maximum capability of transforming a photograph into a painting, you need Painter I would have rated Painter 12 higher were it not for all the difficulty I experienced during installation.

I have both Photoshop and Corel Painter Corel Painter 12 is my favorite CG program. It is frat for sketching all the way to finishing a piece of CG art. I use it for many tasks creating CG art, cartooning, and drawing yonkoma manga in color. It is a very easy to use program. I love it and use it more than photoshop I use photoshop for editing photos.

When you select a new current color, and then choose Set Paper Color followed by the select-and-delete maneuver, you have in effect erased the entire canvas, revealing the new color. Traditional French Conte sticks are firmer and creamier than chalk or charcoal, and Painter emulates them rather well. Notice that there are a couple of breaks in the outline. This is deliberate, allowing some ambiguity between the foreground shape and the background.

This is a good reason to keep the source image open! Apply a few white strokes in the light areas, pressing harder in the brightest spots. Use dark brown to create some shadow areas. Switch between white and brown as you work by sampling with the Dropper. Only a few strokes are needed to bring out this form. Refer to Figure 2. White strokes on the highlight areas help to suggest volume. Adding the cast shadow places the apple in a three-dimensional space, as does the addition of more white behind the left side of the shape.

This changes your brush to the Dropper so you can tap your stylus on any desired color in your image. Release the modifier key and your brush tool is back. Crosshatch Contours Take another close look at the apple photo. This time, concentrate on its rounded contours. Tone and form will be built up from overlapping strokes that follow the contours of the fruit.

This hatching and crosshatching is another traditional method, often used by cartoonists and graphic artists, especially for commercial black-and-white printing. Make another Quick Clone of the photo. Choose the Scratchboard Tool pen from the Basic Drawing custom palette.

Changes in pressure will affect the thickness of the lines, so take a few minutes to practice line control. Tweak the sensitivity of your tablet again, if needed. Sketch the stem and outer edges of the apple quickly, and begin to make a series of roughly parallel strokes that follow the curves of the fruit. Use strokes that vary in length and spacing as you build up the form. For darker areas, overlap strokes in different directions.

With Cloner brushes you can turn photos into drawings or paintings in virtually any style, not by clicking on global filter effects, but creating them one brush stroke at a time. Choose the Cloner brush in the custom palette it looks like a rubber stamp. This particular Cloner variant is the Pencil Sketch Cloner.

A glance at the Color panel shown in Figure 2. Concentrate on a couple of focal points, such as the stem area, the highlight, or the bumps at the bottom. This very sketchy style works best when you leave quite a bit of paper showing, as in Figure 2.

Clone Color Enabled Figure 2. You could use a bit more space at the left of the image, where the bowl touches the edge, so add some pixels where needed. Use Pencil Sketch Cloner to sketch a rough outline of the apples and the bowl, as shown in Figure 2. Find the Chalk Cloner in the list of variants for the Cloner category.

The default size of this brush is 9 pixels, as you can see in the Property Bar. Double that to 18 pixels by moving the size slider to the right. You will pick out some areas to accent later with the original 9-pixels size. Tracing Paper can be toggled off at this point, because the pencil sketch outlines will serve as your guide, while you observe the original photo beside it. Using what you learned a few pages ago about following contours with your brush strokes, take the painting to the next stage with your chubby chalk, as shown in Figure 2.

Not having to decide color or value can give you such freedom! Continue to develop the volumes with some crosshatch strokes. Allow a few bits of white to show through. The version in Figure 2. This is a lively, energetic drawing.

Or is it a painting? Sometimes not much, and I sometimes use these terms interchangeably. In general, drawings are made with dry media, and paintings with wet. Clone with Style Artists who work with traditional chalk or pastels generally choose special tinted paper. Open the Underpainting panel shown in Figure 2. Several intuitive ways to adjust the colors in a photo are provided. The Color Scheme and Photo Enhance presets can be chosen based on the style of clone painting you prefer.

Pick the Color Scheme optimized for chalk drawing. The image detail shown in Figure 2. Warmed-up apples. Sample a warm light brown from the wooden planks or just choose a pleasing neutral color for the paper.

Make a Cloner You can turn a variant from any category into a Cloner brush instantly. All you do is click the little rubber stamp icon in the Color panel. You can toggle regular color control back on by clicking the Rubber Stamp icon again. Increase its size to about 25 pixels.

Open the Papers panel, shown in Figure 2. Paper pushers. This will be a more detailed rendering than the first version. Apply your pastel strokes following the contours of the fruit and the bowl.

Now you can work on details and accents. Tap the Reset Tool icon to return your brush to its original size. Enable Clone Color once again, and find a few areas to bring into somewhat sharper focus. Keep the source image visible at all times, referring to it frequently. Remember to take control from time to time, using colors that you actually pick yourself!

A good drawing will have a focal point or two, with other sections less important. Ways to reduce the visual impact of portions of your drawing include blurring, erasing, and altering color or contrast.

The Soft Blender Stump or other Blender variant should do it. Erasing will be a problem if you used the Paint Bucket to create the background color. Instead, paint with the paper color, using one of the Pastel or Chalk variants. Most of the white highlights in the photo are too strong, so add some yellow strokes to tone them down a bit. Small details can be enhanced with the tiny Pencil Sketch Cloner, but some parts of the drawing, such as the crisp shine on the lip of the bowl, are much easier to create without cloning.

The cast shadow of the bowl was made with a very large pastel in just a couple of strokes. Keep practicing your tonal drawing and crosshatch techniques, with or without the aid of Clone Color.

There are source photos on the website that supports this book to serve as subjects for drawing and painting at whatever your skill level is. I also encourage you to go to the market and buy some nice fresh produce to work with. Make your own photos, but even better, set your hand-picked fruit or vegetable on a surface next to your computer and draw it live!

Aim a spotlight on one side to get dramatic highlights and shadows. After every lesson or practice session, choose your best couple of drawings and print them. Examining a print of your drawing is also a good way to evaluate it for possible changes. Most desktop inkjet printers can create high-quality output.

To enhance the fine art nature of your image, use special paper or other media designed for your printer. High gloss heavy weight photo paper might be ideal for some projects, canvas or watercolor paper for others see Appendix A for resources. For example, draw outlines on one layer and create color on another. You can even shuffle layers around to experiment with alternate compositions and effects. Crop it to remove everything but the gray shoe in the foreground, as shown in Figure 3.

Figure 3. Choose the Real 6B Soft Pencil from the custom palette for this lesson. Scribble on a blank canvas to get the feel of this Pencil variant. Settings for this project are: uncheck Close Source Image this will leave the source image open and Switch to Cloner Brushes.

The other options should remain checked. Using various shades of gray, make a sketchy drawing of the shoe, following the contours of the forms.

If you want to fix a line, no need to switch to an eraser. Remember to use the Page Rotate tool to tilt the canvas for your comfort. Working with traditional dry media, you can make very wide marks when the stick or pencil is held at an extreme angle.

You can even change your grip to hold the stylus nearly parallel to the tablet, as shown in Figure 3. Save your sketch and keep it handy for later. You will draw two more shoes, using different brush variants and styles. For convenience, make a separate image file for each of them. Make a Quick Clone and choose the Smooth Edge variant from the custom palette for this lesson. It has a chisel shape that allows you to change the thickness of the line with the direction of your stroke.

You can change the Tracing Paper opacity by using the slider in the Clone Source panel. Make a new layer by tapping the New Layer icon at the bottom of the Layers panel, or choosing the New Layer command in the Layers menu.

Sample a blue-gray color from the photo and switch to the Flat Color Pen in the second row of the custom palette. This variant makes a smooth fat stroke with a perfectly round beginning and end. You can cover a lot of ground with one stroke of this pen. The Layers panel in Figure 3. Multiply or Darken methods will also work.

Layers Menu Figure 3. They always involve a comparison of the pixels between the two layers. You may find some surprising and exciting effects. To create the textured area, switch to the Square Hard Pastel variant and find a paper that is similar to the fabric.

The finished shoe appears in Figure 3. Ready for the other shoe to drop? Make a rough sketch of the opentoed mid-heel shoe, using a dark brown color with the Fine Tip Marker.

The sketch in Figure 3. Sensitivity Training Does it take too much pressure to make a line thicker or darker? Use the Dull Conte with a light brown color.

Conte variants imitate the French Conte sticks, and have a creamy look and feel. The look of suede depends on the way light is reflected from slight differences in the direction of the nap. This can be suggested effectively by dabbing some lighter and darker strokes with Dull Conte and smoothing them slightly with a Blender variant.

The Blender provided in this custom palette is Pointed Stump. The finished suede shoe is shown in Figure 3. The final image is shown in Figure 3. The Layers panel will look like Figure 3. Shoe stack. Make a new white canvas with pixel dimensions wide by high, to accommodate all of the image elements. Rename each layer by double-clicking its label in the Layers panel. Make another copy of the blue flat shoe layer by either pasting it twice, or using the Duplicate Layer command in the Layers menu at the top of your screen.

Your layers should be stacked so that the gray strap shoe is at the bottom, and one of the blue flats is at the top. Stacking order can be changed by simply dragging the items in the Layers panel up or down. The composite should look like Figure 3. The upper blue flat is blocking out some of the brown suede shoe because it is still using the default Composite Method.

Change that to Difference Method for a dramatic effect. To create a blue tint for the gray shoe, make another new layer and use the Paint Bucket to fill it with the blue-gray color you used earlier. Drag the solid color layer to a position just above the bottom shoe, where it will look just awful until you change Composite Method to Overlay.

Painter also allows you to save layered files as Photoshop documents. More info on file formats can be found in Appendix A. Papers, Please! A texture in Painter is simply a rectangular grayscale image element that repeats as a seamless tile. It carries no color information. You choose color whenever you use the selected paper with brush variants whose behavior is designed to express paper grain. You can easily create a custom paper with commands in the Papers panel menu: Make Paper and Capture Paper.

Make Paper lets you produce a texture from a small list of geometric elements, such as lines or squares. Capture Paper requires making a selection on any open image and is much more fun.

About pixels square is fine, at any resolution. Make some small strokes and scribbles with several Pen variants, similar to Figure 3. Use dark gray for most of the marks, so the brightness and contrast of the resulting paper can be adjusted more easily.

The purple strokes were made with the Grad Pen, which paints with the current Gradient. Make a tight rectangular selection around your favorite scribble and use the Capture Paper command in the Papers panel pop-up menu. To create a texture from a photo, open the image burlap. This should make a great paper texture after increasing the contrast.

Drag a rectangular selection and use the Capture Paper command. Increase the Crossfade amount to about 50, as shown in Figure 3. Save Paper dialog box. Change the scale and invert the values for different looks.

My efforts appear in Figure 3. The top row has a rectangle filled with Nervous Pen scribbles. I used the Capture Paper command to make a Nervous Fibers paper. The middle row shows the tiny purple donut I made with the Grad Pen as the captured element.

The resulting paper responds wonderfully to changing pressure. This is the happy result of having the tile with built-in variation in tonality. The two-tone effect was made by inverting the paper and painting over the same area with a different color. Finally, in the last row, the texture was made from a photo or scan of real burlap.

So grab your mask and fins, and open the image aquarium. You will find the Underpainting panel grouped with AutoPainting panels.

The following sequence of commands will create a new layer and place the altered version into it. Look at the Layers panel to confirm that the operation was a success. Then create a layer mask by tapping the icon indicated at the bottom of the Layers panel, shown in Figure 3. With black as the main color and white as the secondary color, open the Gradient panel and choose the Two-Point option. This will hide the upper portion of the altered layer, revealing the original.

The fading of black to white will reveal more and more of the Watercolor Scheme version below it. Then apply a fill to the layer mask. New Layer Mask Figure 3. Who Was that Masked Layer? A layer mask is a device for making portions of a layer visible or invisible, without actually erasing pixels or making any permanent changes to the image.

Shades of gray produce partial visibility. Painting with white in the layer mask will bring out the colorful fish. Use the Smooth Round Pen variant. Brackets If you want to fatten up the size of the pen for the bigger fish, use the right bracket key ] , which makes a brush bigger. To return the pen to its default size, use the left bracket key [ or tap the Reset Tool icon in the Property Bar.

Your Layers panel at this stage should look similar to Figure 3. Notice the tiny copy of the grayscale changes you made to manipulate visibility of the layer. Use it when you want to save stages in the development of a painting without breaking the flow in your creativity. Changes will automatically be numbered in sequence.

Clone Fish All of that was just preparation for a layered clone painting. Create a new layer and use it to make a black line drawing of the fish, leaving the rocks and water for later. All three of the Cloner variants use the same icon, because they are from the same brush category. Use the Smeary Bristle Cloner to paint the fish. Only a couple of strokes will be needed for each fish.

You may certainly choose different papers or create your own. The black line layer is not visible at the moment. Watercolor Run Cloner will do nicely. As soon as you use a Watercolor variant, a new layer dedicated to Watercolor strokes is created for you. Watercolor layers are automatically in Gel mode. Rocks get darker. There are several spots with a bit too much white showing. The Impressionist Cloner will handle those areas. With the background finished, turn your attention once again to the original black line layer.

Are there ways to change how those lines interact with the rest of the painting? If you guessed changing Composite Method, you are correct. First, I just tried out several different Composite Methods. I made a copy of the layer, using the Duplicate Layer command in the Layers drop-down menu.

Once again, I just tried out several alternatives until Saturation method solved the problem. The effect is stronger with Overlay on top of Saturation, as the Layers panel in Figure 3. The close-up detail in Figure 3. This is just the kind of adventure I enjoy—plunging into unknown territory with very little chance of physical injury, unlike real-life snorkeling where you could easily scrape yourself against those rocks. You explored composite methods enough to see how powerful they can be in the development of artwork.

You learned to create custom paper textures from just about anything. Brush controls will be introduced, so you can understand the anatomy of a Painter brush and how to bend it to your will. But first, grab some coffee and a snack. You earned it. Later on you can pack a lunch with your laptop and set out for digital plein air painting in the park. But for now, enjoy the comfort and safety of home, protected from the criticism of nosy neighbors and rude tourists.

Suppose you prefer the image on the left, but would like to add one of the cacti from the other image. Not a problem. Figure 4. Plants and Transplants Use the Lasso tool to make a loose selection around the saguaro2 cactus on the right, similar to Figure 4. The new layer is automatically created for you. Position the new cactus where you want it. Make it larger, if needed, with the Transform tool, which shares a space with the Layer Adjuster tool. To constrain the proportions, hold down the Shift key as you drag a corner handle.

Transform commands are also available in the Edit menu. Start by using the Magic Wand to select the bright blue sky pixels and delete them. The remaining pixels can be erased, especially if you work carefully at the edge of the cactus. For a safety net, create a layer mask so you can make pixels invisible before you commit to deleting them altogether. A fine-point Pen variant works well. Mask it out. If that bothers you, fix it. Make a loose Lasso selection, shown in the left side of Figure 4.

Sample the blue sky near the section you want to eliminate and paint over it. The right side of Figure 4. Use the Blur variant of the Blenders to gently soften the edge of your new cactus tip. Selected Protected Figure 4. Change the Color Scheme to Sketchbook.

Those settings are shown in Figure 4. The prepared image, in Figure 4. Instead, create a painting from scratch using the prepared photo as a reference. In order to restrict your color choices to those in the photo, make a custom color palette containing only those colors. A wide variety of alternate color sets can be loaded from the support files in your Painter application folder.

You can also generate a custom set of colors from virtually any image source. This new color set, shown in Figure 4. I chose the medium swatch size from Color Set Library View in the pop-up menu. I also changed the sort order to LHS so that the swatches are arranged primarily according to lightness L. Not all the swatches are showing here. Scroll up or down to see the darkest and lightest colors.

There are some orangey shades in this set that were hard to notice in the image. Each stage will be on a separate layer, allowing you to gradually minimize earlier stages by reducing their opacity. To find the pixel dimensions of an image, choose Resize from the Canvas menu. Analyze the composition of the prepared photo according to four elements—line, shape, tone, and texture. Make a new layer and roughly lay out the basic lines in pencil.

There are two major vertical lines for the cacti, two slightly angled horizontal lines establishing different sections of foreground and a wavy line for the distant mountains.

Include a line showing the edges. Those lines also establish the basic shapes. Add another new layer for large areas of tonality. Use either Gel or Multiply method to allow the line layer to show through. Medium brown and creamy yellow, applied with a Chunky Oil Pastel, divide the picture plane into light white paper , dark, and midtones.

Roughing it. For the distant mountains reduce the scale of Pebble Board in the Papers panel. An interesting paper choice for the trees and some bushes is Retro Fabric. Just Add Paper The custom palette for this project includes a couple of paper swatches as well as brush variants, to save you time rummaging through paper libraries. You can even include frequently used commands in a custom palette.

Invert Scale Contrast Brightness Figure 4. You can erase most of the original line layer at this point, but keep the outline of the edge, which is important for the composition. The tonality layer is now your primary layer for developing the drawing. Make a copy of it with the Duplicate Layer command. Use the Default Composite Method to cover up the layers below. Now you can work on the copy while the current state remains untouched, as a safety net. For the foreground stones Pebble Board is ideal.

Change its scale several times and apply it with Square Hard Pastel for stronger texture. Invert the paper and use lighter colors for the sunlit surfaces. Define the bushes in the middle distance with lighter and darker colors using the Retro Fabric texture once again. Safety First Making copies of a layer is just one way to save stages in your work. I added a pale yellow sky to define the upper edges so I could eliminate the outline layer. The Nervous Pen is a quirky variant that could be just right for the prickly vertical striations in the two main characters.

Choose the dark browns and greens for the shadow side and bright yellow or white for the sunlit parts. Too Much Caffeine? Nervous Pen behaves as it does because of its Jitter setting. Jitter is one of many variables that determine the behavior of a variant. Nervous energy.

The smoothness of the sky and fine-grained gravel give the eyes a place to rest. These can be made from tape or cardboard or self-adhesive frisket paper cut to the precise shape needed. Pixel-based applications like Painter and Photoshop provide several tools for selecting portions of the canvas to accept painted strokes or effects. You can make perfect rectangles and ovals, or draw freehand selections around an irregular area using the Lasso tool.

The Polygon Lasso tool is handy for selecting shapes with straight edges. A sophisticated selection tool that has no counterpart in traditional media is the Magic Wand, which selects all pixels in a defined color range.

Notice the Selection Adjuster tool, which allows you to move or alter a selection marquee. The Property Bar shows that the Polygon Lasso is currently active.

Choices are available for adding to or subtracting from a selection using any of the selection tools. This allows you to create some very complex selection areas. The cute nickname for this is marching ants. You might want to turn off the marching ants without losing the selection to see your work better. You can apply paint to a selection without having to be careful at the edges. You can also use the Paint Bucket tool to fill a selection instantly with your choice from the Property Bar: current color, gradient, pattern, or weave.

An especially dandy command in the Select menu is Stroke Selection. This will automatically paint the edges of your selection with the current color, using the current brush variant. Air Apparent The ideal brush category for working with selection masks is airbrushes. Traditional airbrushes spray tiny droplets of pigment mixed with compressed air. The instrument connected to that compressed air source is a device with a nozzle and a small reservoir for pigment. It has a couple of tiny wheels for finger control of the size of the spray and the density and coarseness of the droplets.

It takes quite a bit of practice to get skilled with a traditional airbrush. Painter lets you shave months, even years, off that process. Make a new canvas for trying out several of the Airbrush variants.

Airbrushes respond not only to pressure but also to the tilt of your Wacom stylus, creating a realistic directional spray of pigment. Next is the aptly named Graffiti variant, which can produce a directional spraycan effect as well as controlled drawing or lettering. Variable Splatter has clumpy droplets of different sizes.

The multi-colored effect is made by adding Color Variability to the spatter. Painter 12 groups the Color Variability panel, shown in Figure 4. Practice, practice. You can choose the colors in a gradient or a color set to create some unusual effects, as shown in Figure 4. The golden sphere shown in Figure 4. The Digital Airbrush variant, a much finer spray, was used for the shadow. Find them in Media Library panels. A library of selections is shown in Figure 4. Doubleclick one of them and it will appear on your canvas instantly, ready for you to experiment with.

Users of earlier versions will find the Selection Portfolio under the Window menu; the items need to be dragged to your canvas. That curly arrow was painted with a teal blue, then the selection was moved a few pixels up and to the right with the Selection Adjuster.

A lighter tint was sprayed on to create the depth effect. A soft highlight and shadow on the pink arrow were made with the pixel Soft Airbrush. Major Adjustments Use the Selection Adjuster not only to move a selection, but to resize, distort, and rotate it. When you choose the Selection Adjuster tool and click on an active selection, eight tiny black handles will appear, as shown in Figure 4. Drag the appropriate handle to scale the selection, with or without maintaining its proportions.

Then drag the handle to any angle you desire. Start by making a very rough sketch, similar to the one in Figure 4. The custom palette for this project, shown in Figure 4. Happily, customizing icons in Painter 12 is quick and easy.

Make a stroke with each of the Airbrush variants, similar to Figure 4. Drag a small rectangular selection to represent a variant whose icon you want to replace—in this case it is Variable Splatter on the lower right.

Right-click Ctrl-click on the Mac the target item in the custom palette.

 
 

 

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– Я понял, что «Цифровую крепость» не следует останавливать. Сьюзан смотрела на него в растерянности. Стратмор продолжал: – Внезапно я увидел в «Цифровой крепости» шанс, который выпадает раз в жизни. Ведь если внести в код ряд изменений, «Цифровая крепость» будет работать на нас, а не против .