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• Blend mode: Normal
• Match mode: None
• Opacity: 100 percent for a fill that nothing shows through, or lower
for a more transparent fill
6. Click your selection in the image.
The color completely fills the selected area (in your chosen layer, if you
use layers). If you choose an opacity lower than 100, the color just tints
the selected area and increases in thickness if you click again.

Figure 9-13 shows the effect of a solid fill in a selection of the sky, using deep
blue to fill the sky uniformly. (The edge of the selection is feathered a bit,
causing the white band to appear along the skyline.)




Figure 9-13:
A solid fill of
the sky. In
this image, a
solid fill
doesn™t look
natural.




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If you™re modifying a drawing, a solid color may be exactly what you want. In
our photo, however, a solid color doesn™t look natural as sky. Sky is never a
uniform color in real life; it changes in color gradually as it approaches the
horizon. For a more natural look, you need a gradient, or shaded, fill.



Filling with a gradient, pattern, or texture
In real life, you rarely see a uniform color (even if you think you do). Changes in
lighting or the angles at which light strikes an object cause a gradual change
across the object from one color to another, lighter color. The surface of your
desk, for example, is probably a lighter color nearer your source of light.

If you need a realistic shading like that, or if for any other reason you want
colors in an area to make a smooth transition from one color to another, try
a shaded, or gradient, fill. Figure 9-14 shows the effect of a gradient fill on the
sky area of the photograph.

For some fills, like filling a rectangle to look like a brick wall or a tree trunk,
use a pattern rather than a solid color. To use gradients or patterns, you must
first set your foreground material to be a gradient or pattern; see Chapter 10
for instructions on choosing the gradient or pattern you need.




Figure 9-14:
Gradient fills
make filled
areas (the
sky, in this
photo) more
realistic.



Or, you may want to apply color with a textured appearance. Just like the
other painting tools, if the Material box has a texture, such as canvas or
asphalt, the Flood Fill tool applies it. Again, see Chapter 10 for more details




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Chapter 9: Basic Painting, Spraying, and Filling




What about tolerance?
Technical types may be wondering what the itself to determine which pixels are to be filled,
Tolerance control, on the Flood Fill tool™s Tool according to their color or other qualities.
Options palette, is good for. In this chapter, we Choose a Match mode other than None, and
bypass the need to use that control by instruct- then set tolerance. The Flood Fill tool deter-
ing you to select the area you want to fill and mines what pixels to fill based on those settings,
then use a Match mode of None. We think that exactly as the Magic Wand tool does to deter-
that™s the easiest way to fill a specific area. mine what pixels to select.
An alternative to selecting an area beforehand
with a selection tool is to use the Flood Fill tool




Blend modes
Sometimes, you don™t want to overpaint the underlying image; you want to
just tint or infuse the image with a color or increase or decrease color satura-
tion or apply some other quality. The Flood Fill tool has some fancy features,
called blend modes, that combine attributes of your chosen fill, such as hue
and saturation, with the underlying image in complex and subtle ways. In
general, these blend modes are too obscure to be useful for any except the
most dedicated graphics professional. For the rest of us, two of the modes,
Color and Hue, can be occasionally useful because they can infuse an area
with color, although the Colorize command, which we describe in Chapter 7,
does that job quite nicely.

To experiment with blend modes, click the Blend Mode drop-down list on the
Flood Fill tool™s Tool Options palette and choose a mode. Then try filling a
selected area of your image.




Painting an Example: A Halo for Alex
As an example of all this brushing and filling hoo-hah, we have decided that
Dave™s dog Alex is the best-behaved dog in the world. We™re attempting to
convince the Weekly World News tabloid that Alex is such a good dog that he
has a halo. (The Weekly World News may be naïve, but it pays well.)




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Two problems show up in the current picture of Alex, though, as shown in
Figure 9-15:

One, he has no halo ” but we draw that.
Two, the Weekly World News uses only black-and-white photos, and that
light slatted background behind Alex isn™t dark enough to make the halo
stand out. We rectify that in eight easy steps!



Figure 9-15:
Alex,
unedited
dog about
town.



If you™re reading ahead in this chapter, you may notice that the doorbell
directly above Alex™s head, as shown in all the other pictures of Alex in this
book, isn™t present here. We got rid of that using the Clone Brush; refer to
Chapter 8 to find out how to remove unsightly doorbells from your pictures.

1. Select the slatted background behind Alex.
As we discuss earlier in this chapter, in “Coloring within the Lines By
Using Selection,” you want to select the background to make sure that
you don™t accidentally draw over Alex™s head while you™re changing the
slats. Refer to Chapter 3 for help with getting exactly the selection you
want.
(For the record, we used the Magic Wand Tool set to a Match mode of
Color, a tolerance of 17, a feather of 1, and a large amount of judicious
Shift+clicking to clean up the small patches of unselected areas.)
2. Select the Paint Brush tool from the brush tool group.
3. Change the material (as we discuss in Chapter 3), and then do a test
paint along the edges to make sure that the edges look good.
We selected a dark red material for our paint, but we set the opacity for
our Paint Brush to 50 (half-transparent) so that the slatting still appears
through the paint. As you can see in Figure 9-16, our brush strokes have
stopped at the marquee edge of the selection, right above Alex™s
Buddha-like gaze.
If you don™t see the Tool Options palette, press F4.




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Chapter 9: Basic Painting, Spraying, and Filling




Figure 9-16:
Testing a
small patch
of the new,
transparent
paint color
for the wall.



4. Paint the entire selected area.
You could also use the Flood Fill tool with a Match set to none. The
Flood Fill tool is at its best, though, on fairly even areas that are mostly
the same color, like the sky in the Fill example earlier in this chapter ”
not areas with dark vertical streaks through it, like this one. Besides,
you™re already using the Paint Brush tool, so why switch? The final
results are just as good, as shown in Figure 9-17.



Figure 9-17:
The now
repainted
wall forms a
darker
background.



5. Deselect the area.
Alex™s halo needs to be big and impressive. So big and impressive, in
fact, that it sticks out of the current selection ” and as long as we have
the background selected, we can™t paint outside the lines. If you don™t
feel like skipping to Chapter 12, where we tell you how to deselect, you
can either press Ctrl+D or choose Selections➪Select None.
6. Select the Airbrush tool from the brush tool group.
A halo is supposed to be fuzzy, so we airbrushed it in. The airbrush also
makes it easy to build up the halo from repeated loops so that we don™t
have to be so careful about shape.




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7. Set the Airbrush options on the Tool Options palette and choose your
color (texture, pattern) from the Materials palette.
A halo is supposed to be fuzzy and bright white, so we picked a pure
white color from the Materials palette. We wanted a reasonably small
line for our halo, so a size of 11 seemed about right ” and a halo is sup-
posed to be bright, so we cranked up the Opacity to 100 so that the
background doesn™t bleed through.
This process still doesn™t address the “fuzziness” issue ” but the
Hardness and Step settings do. We reduced the Hardness to 0 to provide
maximum fuzziness, and we set the Step to 35 to produce a slightly spot-
tier line.
8. Draw a halo.
Keep a steady hand, here! Alex™s reputation is at stake! (see Figure 9-18).




Figure 9-18:
Beatific
Alex.



What™s that, you say? It looks fake? Have you ever seen the Weekly World
News?

You may be asking “Isn™t Alex™s halo a little shaky there? Doesn™t Paint Shop
Pro have a tool for drawing perfect shapes, like circles, squares, and elliptic
halos?” Of course, it does ” and we show you how to draw better halos in
Chapter 12.




TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 10
Advanced Painting for the Artiste
In This Chapter
Understanding foreground and background
Convenient ways to choose materials
Precise ways to choose colors
Painting with gradients, patterns, and textures
Storing swatches of materials for reuse
Painting with picture tubes
Mimicking real art materials with Art Media




I f you do lots of painting, this chapter is the one to check out before you go
flinging your paint brush around with wild abandon. Among other things,
an artiste like you needs the fastest and best ways to choose a color.

Moreover, because you™re so talented, you don™t just paint with color. How
boring and pedestrian! No, you paint with materials in Paint Shop Pro!

Material, in this case, is the Paint Shop Pro term for anything from plain old
solid colors to textured colors, gradients (shaded areas with transitions from
one color to another), or even multihued geometric patterns. You can even
save your carefully designed materials as swatches for future use.

All this excitement springs from the Materials palette, which in Paint Shop
Pro 9 hides more secrets than a black dog hides ticks. Figure 10-1 shows the
palette and some of its more important features.

If the Materials palette isn™t on your screen, press F6 or choose View➪
Palettes➪Materials. Palettes are lumps of useful tools and settings in Paint
Shop Pro; the Materials palette is one of them. You can drag the palettes
around to different places in your Paint Shop Pro window; they stick (dock)
to various edges.

Here™s a quick review of picking color: As we note in Chapter 9, the simplest
way to choose a color is with the Rainbow tab in the Materials dialog box.
(Press F6 to display the Materials palette if it™s not showing already.) Click

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the center, or Rainbow, tab on that palette to display that tab, as shown in
Figure 10-1. On the multihued Rainbow tab, just click the color you want.
(Right-click for background color ” we tell you more about background
color later in this chapter.)


Rainbow tab

Frame tab Swatches tab
Figure 10-1:
Foreground (and stroke) Properties
The
Materials Foreground (and stroke) Color
palette and
Background (and fill) Color
its various
Swap colors
parts.
Background and fill Properties
Shown here
is the
Rainbow tab
for choosing
color.
Swap materials Style buttons


The cursor is a Dropper icon while it™s over the color selection area, to indi-
cate that you pick up a color if you click. As you move the cursor, you see an
enlarged sample of the color your cursor is over. (The numbers are primary
color values that give you the exact numerical color you™re using. We tell you
more about this subject later in this chapter.)




Choosing paint for each tool separately
or all tools together
In real life, if you paint with your brush dipped in tools you™re using; if you use the Spray Paint tool
red paint and then switch to spray-painting with with red paint and a rough texture and then
a can of green paint, your brush remains red. It switch to the Paint Brush tool, the paint brush is
doesn™t switch to green. Of course, in real life red with a rough texture. You can, however,
you can™t insert your dog into a picture of Elvis choose to change this rather odd behavior by
and then spray-paint him purple, so you have to unchecking the All Tools box on the Materials
assume that Paint Shop Pro is a little stranger palette. Checking All Tools applies your current
than the world outside your door. paint choice to all tools; deselecting All Tools
means that you choose paint individually for
Unless you tell Paint Shop Pro otherwise, it
each tool.
applies the same style and texture to all the




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Chapter 10: Advanced Painting for the Artiste


Choosing a Background Color
Paint Shop Pro has two painting colors, called foreground and background.
Foreground just means the color you normally paint with. Background is a sec-
ondary color used for certain operations, or just for convenience when you
switch often between two colors.

To choose a foreground color, you left-click a color on the Materials palette;
to choose background, you right-click. How do you know whether you need
or want a secondary color? It depends on the tool you™re using and how you
intend to use it:

If you want to be able to switch quickly between painting with one color
and another, you can paint the foreground color by pressing the left
mouse button and the background color by pressing the right mouse
button.
The Shapes tools require a background color if you want solid shapes.
If you plan to draw filled-in squares (as opposed to just the outline of a
square), you need to choose a background color to fill the shape in with.
If you™re using the Eraser tool, you can choose what the eraser leaves
behind: a transparent streak (useful if you™re using layers) or the back-
ground color.
If you™re using a tool that involves two colors ” for example, the Color
Replacer tool to replace one color with another, you need a second
color ” and the background color is that second color. Background
color also provides the fill of filled shapes and text.

To swap the background and foreground materials, click the Material
Switcher (the larger, double-headed arrow), as shown in Figure 10-1. The
background material becomes the foreground, and vice versa. If you want to
swap colors and keep textures or gradients the same, click the smaller arrow.



Choosing Color More Conveniently
Paint Shop Pro offers conveniences for the artist on the go who is in a rush to
choose the correct color. You can choose a recently used material or pick up
a color from the image.



Choosing a basic color or
a recently used material
You may want to use your everyday, smiley-face yellow ” but locating
exactly that same color in the Available Colors area is often next to
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176 Part III: Painting Pictures

impossible: Your eyes and fingers can™t be that precise. Likewise, you may
have developed a cool gradient that slid from cool blue to a sea green, but do
you think that you can do that again?

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