Corel Painter 2022 Download

[Norine Wiltshire]

Everytime I open Substance Painter it amazes me how monstrously inconvenient it is . It has gazillion of useless things and still lacks basic tools that makes an artist life simple and let you focus on art rather than technical stuff.

2.Those generator based masks are static. Nothing like Zbrush or some corel painter brushes which could respond to pressure in how deep you can paint down to crevices or otherwise on corners . I broke my head trying to recreate such mask for SPainter :) Lack of it is what inputs into kind of "robotic" look of many Substance software created materials IMO.

3.I meant those finger pointing buttons in Photoshop curve , HSL tools which could allow you tweak anything on screen while sometimes not even care about masking . Affinity photo has them too. HLS in substance is a torture.

It always amazes me how convenient simple things may be. Like good kolinsky brush, good easel , a maulstick and a properly made palette with right size and right hole for your thumb. Lots of just right solvents. Walnut oil with a tint of lavender or rose oil and a slowing agent. They may be expensive but they exists at least and it's a pleasure by itself to deal with them whatever art result you got. It took them centuries of evolution although.

And while with traditional tools you know you can buy a better thing with money in software it's often opposite , an open source tool could be much more convenient. That is a huge riddle of universe :).

Ever done technical drawing with perspective lines, more rulers and squares than you can keep track of, and pencil smudges all over your hands? Those tools are simple and intuitive, used together in a system that is mind numbingly torturous. In Maya, I don't have to think about how to draw a sphere in 3 point perspective.

There are some crafts than begin artistic and evolve technically, like painting. Others begin technical and evolve artistically, like photography. 3D began as pure code drawing dots and lines on a screen, and now we have Substance Painter. Its an ongoing evolution, but I've been doing this long enough to see it moving in the right direction.

Yeah, I had this subject "descriptive geometry and perspective" . Never thought it would be most precious knowledge of all that art education I wasted few years for. Hated it that time, now regret I haven't learned more.

sprunghunt . My point was that Photoshop actions could free you from lots of tedious routine , while in Substance Painter you have to do things again and again. End even when you try to make a sbsar that could be sort of replacement to a Photoshop action it doesn't work properly half the time because you always miss some condition and then waste days to debug it.

I don't have a lot of tedious routine in substance painter. I setup smart materials and smart masks for the look I want and I avoid painting anything at all. For many of my textures it can be as simple as opening an existing substance painter file, importing a new lowpoly, and then baking a new set of maps. The substance tools save me a lot of time.

I am accustomed to use Blender that way . Just drop a shader and bake. Not even a hi res model necessary. Its bevel node could do much easier to setup edge wear than gazillion sliders in Painter that never looking realistic anyway and depend on a curvature bake rather than actual geometry and a real scale .

Besides you can really see what happening there by looking at the node flow. I 've never understood why Algorithmic just didn't do same node based approach in Painter as it is in Designer. Or did a hybrid both layers and nodes. I usually couldn't recollect a thing in my own smart materials in Painter couple weeks after.

In Painter you have to maintain steady texel size , no stretches no scale variations since it's UV space based mostly . Otherwise is a pain usually . In Blender you can do textures to whatever efficient UV pack you want since the noises and edge wear is not texture space based mostly.

The reason why painter isn't node based is because they already have substance designer. Why make two node based products? Substance painter is designed for artists who find node based workflows difficult.

Painter is capable indeed. My main complain is excessive complexity where things could be simple like 2x2 . All those anchors and path through. Wish they would just copy Mari approach where you can use layers or nodes , whatever you prefer.

To drop and use packed channels texture in you have to go to Designer and do a special sbsar. If you miss or forgot some condition it doesn't work. You then waste hours to debug. And so on for every small thing. I am trying to do a sbsar that would do per pixel snapping/ accurate move/shift in Painter for a year already and still have no idea why it doesn't work.

I often do special brushes that scatter random details from a long list . It's damn puzzle every time . I instantly know i would waste half of a day and just give up, then go to a vector editor like Xara and do it there in 5 minutes with pixel grid snapping working perfectly.

If some day Corel corp wake up and realized that their Painter have depth /height channel support since ancient times that could be used much more efficient nowadays I would switch in a blink of an eye. They did have a version to paint on 3d objects once.

Here is a Blender add-on to import Corel Painter RIFF files.

Corel Painter is a commercial traditional media digital art application.

I created this add-on specifically to extract the impasto (3D) depth layer information found in RIFF files, but the add-on should also be able to load most raster layers from RIFF files.

Corel Painter can store up to 65536 levels of impasto depth information per layer in RIFF files.

Theoretically, using this add-on, fine displacement and 3D printing, you should be able to print a painting featuring a real visual and tactile impasto texture.

Using JPEG color for displacement is very different from using the real impasto depth (paint thickness) detail information found in a RIFF file. Impasto depth is not related to visual color information at all, although it may appear like that to you. Besides, a JPEG only hold 256 shades; the add-on imports all possible 65536 levels of actual fine detail impasto depth information, a high-resolution 3D render with detailed impasto displacement would make this very clear. The add-on also can import multiple separate layers (both impasto and raster images) found in Painter RIFF files.

Would love somebody could do same height extracting plugin for Rebelle files. It so much ahead of Corel painter . I installed Painter back to my PC for a while and feels like a dinosaur from early 90th. I have 2017 version, wonder if updating it worth it ?

Too bad there is no AI image generator that would do a nice height map .

Unlike most digital painters, I usually paint on one layer. When I do use layers, it's for adding effects and making adjustments, after which, I drop the layer and continue to paint. My painting process is pretty straightforward: value study using shapes, color glazing, creating form, and then adding detail.

This early stage sets the composition: depth, lights, and darks while using simple shapes and just a few values. I fill the entire canvas with a 30% gray by using the Paint Bucket tool, and then create my shapes using lighter and darker values. I don't dry the Digital Watercolor until the value underpainting is where I want it. This stage is extremely quick, taking only a few minutes. If I'm not happy with it, I trash it and create another value comp. That way, I don't waste a lot of time on a bad composition.

Next, I dry the Digital Watercolor value study by clicking Layers menu > Dry Digital Watercolor. Then, I quickly glaze in color with the same Simple Water variant of the Digital Watercolor brush category. I use Digital Watercolor during these first few stages because I can paint both light to dark and dark to light. The color block-in is very basic. I'm just adding local color over the dried value study. This stage takes only a few minutes more.

The next step is to do a little brushwork with the Sargent Brush followed by more blending with the Water Rake. Then I continue to work over the rest of the painting in this manner.

Once I have developed the desired texture, I change the layer's Composite Method to Soft Light. This adds even more brush texture. I also reduce the Opacity of the layer until I get the desired effect.

At this point, the painting has taken under two hours. I go through it one last time in order to clean up any glaring problems. I usually clean it up by blending with the Water Rake. I also use the Blenders > Just Add Water variant to soften the shadow sides just a bit. While I go through the painting, I'm constantly thinking about light side versus dark side, warm side versus cool side, hard edge versus soft edge, saturation versus desaturation, detail versus suggestion, and detail in the focal point.

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