Duplication of mixing real paint

Similar Questions

• Painting icons cool - what are they doing?

  I loaded the fresh paint and I don't know what some of them do.  Why don't you have the description of the icons when you hover over them like the rest of the windows experience?

  What does the eyedropper icon?

  What does the icon to the right of the icon of dropper?

  How to melt on the paint palette colors?  I tried to slide or fall color to the top, but nothing happened.

  Finally, how do you create a sharp in a paint point.  I use my finger with the pointiest brush and I can't get a specific point.

  I have all your answers, but I don't have at least one.

  > How to mix colors on the paint palette? I tried to slide or fall color to the top, but nothing happened.

  As you would if you work with oils:

  . Click the first color, then 'paint' in the central area (the part in the center of the circle (cresent) of colours of paint. shake brush a little

  . the same with the second color, you will see the colours blend as if it were real paint.

  To get your brush color use water (or whatever it is in the large bowl; you will see a model of water as if you plunged your brush and all brushes clean)

  HTH,

  -Chris C.

• Problems with application of the wet paint.

  HOW. DO. YOU. MIX THE PAINT? Why the * isn't there any manual or help with this app? You guys are trying to send all your past customers to Apple?

  Hi Edward,.

  I suggest you refer to:

  Fresh paint FAQ

  I hope this helps.

• Paint Brush tool vs. Pen: why both?

  Hi all

  I just downloaded CC. animate happy with most of the changes, but we really intrigues me: the paint brush tool.

  Not to be confused with the Brush tool (which is still to animate it) Unlike the brush, paint brush tool tool is not draw with lock fills, pressure and tilt sensitivity or brush modes (Normal, fills, behind, selection, inside).

  The closest relative of the paint brush tool is actually the pencil, with a few differences: it can make custom vector brushes and draw like fillings but missing modes of pencil.

  My question is: why have both? Why didn't the Animate team just to extend the functionality of the pencil tool to make custom vector brushes? That's backward compatibility? Ease of use? Technical constraints?

  It's a small complaint, but I find it strange that the pencil can do everything from the paint brush tool can do with just an additional command. (You can change a pencil line vector brush in the properties panel, after it is drawn, and you can change a pencil line to a fill to change-> menu form)

  Anyone want to tell me?

  The paint brush tool is essentially the pencil, with 3 differences

  1. With the Brush tool, you can draw with brushes vector art from the library of the brush. (Object drawing mode will be fixed to) You can't do that with the pencil tool directly; Instead you have to draw a line, select it, and then apply a vector art brush in the menu dropdown style in the properties panel. (Note: you need to double click brushes vector art found in window--> library brush before they are added to the drop-down list Style)
  2. With the Brush tool, you can draw as fills or lines using the draw as fill the checkbox in the properties panel. You can do it with the pencil as well, but you will need to draw the line, select it, then click on change--> form--> convert lines in fillings to do the same thing.
  3. The overall behavior of the paint brush tool acts like a hybrid between the smooth pencil tool and straighten modes. On the one hand, the paint brush tool creates optimized lines similar to the smooth pencil mode; on the other hand, it performs similar to the mode to straighten shape recognition. If you draw a rectangle, an arc or ellipse, Animate will convert your drawing an exact shape. Recognition of shape can be adjusted under Edit--> preferences--> drawing--> recognize the forms.

  In summary, the paint brush tool seems to be a new and improved pencil tool and the pencil tool is kept for legacy reasons. The paint brush tool is not the different modes as the pencil tool, but personally, I find the lines made with the paint brush tool to have tasks less problem than the pencil tool. The pencil tool creates lumpy line segments or hyper-redresse light arcs; the paint brush tool strikes a nice balance. With recognition of shape and Vector Art brushes added to the mix, the paint brush tool is an asset.

  So in conclusion: change your shortcut 'Y' for the paint brush tool.

• Make a brush to react to the texture of the paper

  Perhaps someone knows how I can make a brush textured not react to a paper texture - as if it was real painting on textured paper?

  Thanks for any ideas you may have!

  Possible workaround for you: oil painting when brushed on a Web like pattern varies in thickness and character with the texture of the canvas showing through where the thickness of the paint is not enough to cover it.  With an adjustment of ground layer (texture), you can reduce its effect here and there using strokes eraser brush on the layer so that it appears that paint covers the floor of the more realistic canvas.  You'll need to experiment.  This isn't the process you are looking for, but a different approach to achieve something of the same look. The same principle applies to the fine Watercolour Painting of course there is no Impasto.

  With the textured brush strokes, you can always add variety to the depth of the race using a jitter setting.

• Save the file without the application of effects?

  Forgive me if it's dense - my first experience with audio with soundbooth CS5 was so am new and now relearning with hearing.

  If I have audio charge up and I handle the effects to try to get perfect results, it seems that I can't save what I'm doing and come back later? If I close or save the file without applying the effects on the grid, they all disappear.

  It's just mind-boggling because all other programs Adobe Photoshop, After Effects, first, etc allow you to configure effects, save, open, and reconfigure.

  Knowing that I can assume I am doing something wrong because this simply makes the hearing as a musket - do or die right now, otherwise start again - and I know what that is impossible.

  What am I missing?

  TIA

  Paul

  Well Yes, that's all.

  Change display is for destructive processes that modify the file for good, whether they are physically cut the file or the application of permanent changes.

  View Multtrack's mixes real-time and process that can be used to do what you have the final product without changing the file.  As long as you save the Session that you use, all your changes are retained for the next time that you open it, but the track itself is unchanged... and when you're done, you mix your session (even if only a trace) to a new file that contains all of your effects.

  In defence of Adobe, this way of working is logically to anyone who comes to the hearing of the sound aspect.  Change the workflow to match Photoshop or whatever it would probably result in loud home audio guys (who, until this version, were 99.9% of the user base).  Even when I was doing audio post production for television (a Soundstation DAR and then with the formidable Protools) it was the kind of workflow I was used.

  I hope this helps.

• Question about rich blacks

  OK, I know that this topic has been discussed several times in these forums, and I've read many of them. However I need help with details pertaining to the following question.

  Lets say, I'm working on album covers and import a picture into my document psd to cmyk. To create a shadow, I then paint in the background areas with a black color with a soft brush. I add a text, "convert to shapes" and save as PDF for printing. One of my concerns is that the areas that I painted with black print possibly to a different shade of black to my photo. It should be a concern?

  I understand that the default black 0,0,0,100 is ok for small text and images, but for bigger bigger texts and larger areas of black, it is preferable to use an intense black as (0,60,0,100) for example. Well, since I have more large areas of black outside my image, how do I change them to a rich black while ensuring it will mix well in black edges of my images? Just mix everything with a brush sweet sampling of colors while enough to ensure my black will print in color is uniform?

  I read on "create a profile" and a "custom CMYK" allowing me to adjust my levels of black, but not quite sure how to make this really and when it must be done. I have experimented with this option and noticed that it seems not darken my blacks, but also obscuring the black pixels in areas unwanted such as a people's face in a picture for example. I guess I could just apply changes to a new layer and hide the or erase the unwanted areas so the original indicates layer shows through.

  Sorry if that sounds confusing, that I am a bit confused with how to approach fills with projects where I painted in some blacks. Any help from someone competent in this area would be greatly appreciated.

  I have attached the cover of the album I'm working on to show what I'm trying to do.

  For this type of image, the ONLY way I would, and I did more that I can count, would be to make the composite whole or whatever you want to call in RGB. When your black blend RGB, they will automatically, as stated above, work together, but to ensure that they are based in fact. Second, you want or need in a black traditional "rich." You want what you get - a 300 percent ink medium light black black generation. You don't want or need a 100 per cent black in this image type. Take account of this photograph. The black area in is NOT the same which would fill you with an intense black solid part of graphic design.

  In regards to the CMYK conversion, of course you don't get 90 percent black of this conversion. That's what indicates the SWOP v2 profile and it's why happened just to add up to 300 percent of ink. Now, if that's the right profile for your printer is doubtful, and the way you describe the people you have worked with, it sounds like they Classic old school print idiots. I would definitely not trust them with the conversion, but of course, I want to see proof on their first Proofer. If it were me, I would just take a profile custom and with it, but you don't have that luxury.

  If you start to mix and paint CMYK, you may really goes well beyond the limit of ink for your process, or worse, ending up with a weird CMYK mix in black that prints in reality with a cast you can see.

• I need Photoshop or...?

  Hi all... I asked around and the majority of people say photoshop, that's what I need, but I guess that this is the best place to ask.

  Thanks for re; pies as appropriate.

  I need to sharpen my creations and to put for example: a T.shirt or all kinds of items on the computer then ask my art top and move it around and resize etc to see where and how it will be displayed.

  Is this sound like P.shops that I need.

  Also on the track, I heard that I cannot draw directly on a block I think and it can be found on the computer and I can play with it then... is that Illustrator, I'll need.

  Thank you again... Happy new year to you all... and do not know when, but will certainly respond to your comments.

  Photoshop will do exactly what you need. PSElements can meet your special requirements too, and at a considerably reduced price. I give all the details of your needs and also ask on the forum PSElements.

  Much can be done in the way of 'paint' (in every flavor of PS), but both are image editing programs. For real 'paint', look in Corel Painter. It of a great program, and works very well with the Psalm Adobe Illustrator is a vector illustration program, which can make great design, but it is less a "paint" program, what is the PS this doesn't decrease AI, but only indicates that you will NOT "paint" in it.

  Good luck in your decisions and to "paint", to search Corel Painter. I am using since version 3 (was fine prior to its acquisition by Corel) and would not be without it.

  Hunt

• HSV values in custom mode

  Maybe it's my lack of understanding.
  1 but if I get the first value of the VHS (so the value shade), I understand this must be a value in degrees on 360, right?
  According to wikipedia: varies between 0 and 360 (but standardized 0-100% in some applications)
  http://en.Wikipedia.org/wiki/HSV_color_space
  
  But none of the two versions up to 100 or 360, it creates the right angles in the color wheel.
  
  2. more or less, is also built on the last question because I want to start creation of color combination based on the harmony of the degrees indicated in the image of this site:
  http://www.metacolor.de/winkelharmonie.htm
  
  Can you please help? By the way: great tool!
  
  
  
  Concerning
  
  Steffen
  
  
  

  Hello

  This from our special invited talk Ty Voliter, Adobe kuler:

  The reason that the hue of the HSV color model number does not match the angle of the wheel is that Kuler uses a red-yellow-blue color wheel. This wheel fits the color wheel that many artists know where red/green, blue, orange and magenta/yellow are supplements. This wheel has been invented by Johannes Itten, a theoretician of color and art Switzerland. The color wheel does not correspond with different types of color receptors in the human eye and reflects rather how pigments are mixed by painting. Addition of complement of a color with the color wheel Cup.

  Here are a few references with more information:
  http://realcolorwheel.com/othercolorwheel.htm
  http://www.Color-Wheel-Pro.com/color-wheel-types.html
  http://en.Wikipedia.org/wiki/RYB_color_model

• The complementary color rule

  Hello.
  I have been using your application and I realize that the rules you use to find the complementary color is different from the rule that I know and that she finds everywhere that I was looking for.
  I have been using the base FF00FF color (rgb: 255,0,255; hsv:300, 100, 100), and the complementary color of your set of rules is 59FF00 (RGB: 89, 255, 0, hsv: 99,100,100). The rule for the complementary color in HEXADECIMAL is FFFFFF - FF00FF which means 00FF00. The rule in the HSV for the complementary color adds 180 to the tint if the hue is less than 180, or subtract 180 if the tint is greater than 180, which means that the complementary color's hsv: 120,100,100. 00FF00 is the same color with 120,100,100.
  Is there something I have missed?
  I really don't expect a response from you guys.
  

  Hi, I asked for a special guest, our guru of color, to answer your question of HSV/HSB.

  The reason that the hue of the HSV color model number does not match the angle of the wheel is that kuler uses a red-yellow-blue color wheel. This wheel fits the color wheel that many artists know where red/green, blue, orange and magenta/yellow are compliments. This wheel has been invented by Johannes Itten, a theoretician of color and art Switzerland. The color wheel does not correspond with different types of color receptors in the human eye and reflects rather how pigments are mixed by painting. Addition of complement of a color with the color wheel Cup.

  Here are a few references with more information:
  http://realcolorwheel.com/othercolorwheel.htm
  http://www.Color-Wheel-Pro.com/color-wheel-types.html
  http://en.Wikipedia.org/wiki/RYB_color_model

  That's why complementary colours are not apart to HSB 180 degrees outside (where hue angle =). The distribution of Hue on the wheel is a different than a pure hue to the mapping of angle. This mapping is the color wheel RYB (red, yellow, blue) instead of the RGB color wheel.

• Why RYB?

  Hello. Sorry for my English. I just find Kuler today and seems to me a wonderful resource, but I was checking for instance the triadic system and I found that Kuler works based on the color of the element theory, he died for a long time. I know that this model is still very spread in the community of the designs and artists. My suggestion is that Kuler should allow to change the basic model of system of RGB color, (where, for example, the secondary triad is red, blue and green and that primary is cyan, magenta and yellow).
  Thanks in advance for your repply.

  Hello, thanks for the post. This question has come up before.

  Kuler color wheel is based on the dynamic color color wheel in Illustrator CS3, which uses a red-yellow-blue color wheel. This wheel fits the color wheel that many artists know where red/green, blue, orange and magenta/yellow are supplements. The RYB wheel was invented by Johannes Itten, a theoretician of color and art Switzerland. The color wheel does not correspond with different types of color receptors in the human eye and reflects rather how pigments are mixed by painting. Addition of complement of a color with the color wheel Cup.

  Here are a few references with more information:
  http://realcolorwheel.com/othercolorwheel.htm

  http://www.Color-Wheel-Pro.com/color-wheel-types.html
  http://en.Wikipedia.org/wiki/RYB_color_model

• How to make Windows Media Player and Real Player STOP my each image stored in MS Paint - loading Vista

  More specifically, when I open Windows Media Player or Real Player to view the photos uploaded from my cameras, players are full of 2,000

  images, I stored in MS Paint.  I need these images in MS Paint for reference material for my work.  They are all the print screen shots pasted in MS Paint.

  What I want, it's for Real Player and Windows Media Player to be used only to store the photos from my camera.  I don't want these other 2,000 images in there, because they make it very difficult to manage all 2,000 of them when looking to find photos of the camera that are much more limited.

  So, basically, I don't want media players store these images of MS Paint.  And I hope that I do not need to delete one by one or in boots.  And I don't want to accidentally remove it from my computer.  I just keep them in the painting.     Please tell us how to proceed, if possible.

  Media Player is not all image acquisition to import videos from cameras.

  But let me clarify: Media Player also does not maintain a library index more (this is bad for performance).  When you browse through your photo library by clicking on the links on the left side of the media player, it's just browsing through files as if you open the window of your file and you click on the image on the left side of the library.  The two are different programs, but they both go through the same places as a folder view, so there is no worry about the index of the media player clog, because it is not a plus.

  Example:

  

  Media Player does not index more, it uses just the file system.  If you right click and select properties of the picture library, this is where you control the locations it reflects in its scope.  It is not a folder (nothing can be stored "in"a library".  The circled "3 locations" is another way to access the same.

• Why the colors mix into the paint after you save an image?

  After I recorded a new image in paint, some colors are distorted and mixed together. They have pants air. If something was originally a solid color, for example a pink box next to a blue zone, when I open it after that I have recorded the two colors of the boxes would be sort of a model gardiant and partially mixed between them. Is this normal? Is it possible to stop him?

  Hi wishbigmoc,

  By default in Microsoft Paint save setting is jpeg.  When you save a JPEG using paint quality is very low and it is not an option to change the quality setting.  You can change the option record under when you save your 24-bit Bitmapor PNGfiles.  Using one of these options will allow you to keep the quality of the original file, but save the file size will be much larger it would be if it was saved in jpeg format.  There isn't really anything else you can do insofar as going to save the file as a jpeg file.  you still going to lose some of the quality.  Please let us know if you have any other questions.  Thank you. Shane
  Microsoft Answers Support Engineer
  Visit our Microsoft answers feedback Forum and let us know what you think.

• How can I get a display of a Gaussian filter in real time by painting with the brush?

  I'm trying to find information on how to get a live view of the Gaussian blur by painting with the brush.

  Google is not useful, nor own Adobe forum searches produce something useful.

  I've seen talk about Smart filters and naming the layer as a smart object in order to activate a dynamic filter, but I can't get the display in real-time of the filter when you paint so I'm not sure if this process is helpful at all for me or not because I can't locate information specific to what I'm trying to do.

  I use by way CS5, so if this option does not exist, it would be useful to know so that I'm not spinning my wheels.

  Thank you

  You seem to talk about to see in the future.  You want to see the effect of a unused Gaussian blur filter while wearing the brushstrokes on that later, you intend to use the Gaussian blur.  How would this work?

  I use constantly a similar workflow for shading in my illustration work.  If the blur spreads too wide effect, I use Free Transform to resize. If it becomes too transparent, duplicate the layer to increase the opacity.  If too thick, I reduce the opacity of the layer.  I wouldn't bother using intelligent layers of the to because it would have no benefit.  Is it that help at all?

• Painting in symmetry in real-time?

  Hey,.

  I want to be able to paint with any paint brush tool and Photoshop copies the brush strokes in real-time on the X, Y or both axis. For example, if I pull a half of one, the other will half draw Hello.adb exactly the same thing on the side opposite of the canvas.

  Can someone help me find a way to do this either here or through a tutorial please?

  Thank you

  Once again, it is already there as part of the 3D painting features.

  (and by defining the mapping of texture on a postcard - you can set any desired symmetry)