Corel PAINTER IX-ACADEMIC COURSEWARE User Manual

Academic
Courseware

Animation
by Joyce Ryan

Copyright 2001-2004 Corel Corporation. All rights reserved.

The content of this document and the associated Corel Painter software are the property of Corel Corporation
and its respective licensors, and are protected by copyright.

Corel, the Corel logo, Corel Painter, and Corel PHOTO-PAINT are trademarks or registered trademarks of
Corel Corporation and/or its subsidiaries in Canada, the U.S. and/or other countries. Adobe and Photoshop are
registered trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple, Mac
OS, and Macintosh are registered trademarks of Apple Computer, Inc., registered in the United States and
other countries. QuickTime is a trademark used under license. QuickTime is a registered trademark of Apple
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Corporation. Windows is a registered trademark of Microsoft Corporation in the United States and/or other
countries. Netscape Navigator is a registered trademark of Netscape Communications Corporation in the U.S.
and other countries. TARGA is a registered trademark of Pinnacle Systems, Inc., registered in the U.S. and
other countries. Cinepak is a registered trademark of Radius, Inc. Wacom is a registered trademark of Wacom
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their respective companies.

Academic Courseware

Table of contents

Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Jargon 101: The Technical Terms Every Animator Needs to Know1

The Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Digital Ink and Paint Techniques . . . . . . . . . . . . . . . . . . . . . . . . .25

The Background Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

The Write-on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Saving and Exporting Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Animating with Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Rotoscoping with Corel Painter. . . . . . . . . . . . . . . . . . . . . . . . . . .71

The Power of Scripting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

3-D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

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Foreword

In 1972, I got my first taste of “computer art.” My husband John and I
were students at the Rhode Island School of Design. John got involved
in an experiment at the Rhode Island School of Design, and Brown
University had started to encourage art students to collaborate with
computer science students. John was led into a frigid room that housed
gigantic machines that seemed to eat punched cards for fuel. Most of the
artists in the program quickly lost interest. The thought of feeding
punch cards in, one at a time, to plot out a black-and-white drawing
made of alphanumeric characters didn’t seem all that appealing. John,
who was studying Graphic Design at the time and liked anything to do
with turning type into pictures, thought this might have some real
potential. He ended up using all of his allotted time and most of the
other artists’ time as well. In those days it cost several hundred dollars
an hour to use the computers.

Moving forward to the mid 1980’s. I was working with Washington
University to develop a program of study that would introduce artists to
computers. John and I were the only artists they had ever heard of who
had any involvement with computers. I was already going to attend
Siggraph, so I kept an eye out for some software that would meet the
needs of such an academic program. I saw the big 3-D modeling
systems, but was most impressed when I came across the first “paint”
system I’d ever seen. It was by a small company called Time Arts, Inc.
and it used a pressure-sensitive tablet with a special graphics card that
allowed the computer to display 256 colors. Far beyond the punch cards
from college, I could now actually draw and paint with the computer,
and in color! This was the tool I needed to start my program at
Washington University. As excited as I was, that was about how
unimpressed the arts faculty were with the idea of drawing and painting
on a computer. My program got a lot of criticism for being “unnatural”
or superfluous. One or two brave souls came around, but mostly the
faculty could not imagine why anyone would want to try to make art
with a computer.

I threw myself into learning this software inside and out, and was
learning even more by teaching my students. This was the beginning of
the computer graphics program in the art school at Washington
University. The more I learned, the more I wanted to meet the people

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who had written this wonderful software. I had ideas for tools I wanted
them to make especially for animators. My next stop was the Time Arts
offices in Santa Rosa, California, where I first met, among many talented
artists, programmers and engineers, John Derry, who was destined to
become one of the co-creators of Painter. The people I met were
pursuing a goal—to replicate natural media with a computer. I fell in
love with their work, made some of the best friends of my life, and
eventually joined the company in an 8-year relationship, first as a
software reseller, then eventually as an animation consultant, software
trainer, demo artist and interface designer. I wanted to take what I knew
about conventional animation techniques and apply it to the computer.
It has been my passion ever since.

Jump ahead again and it is now 2004 and I am teaching Digital Ink and
Paint at the Art Institute of Atlanta. I am demonstrating Corel®
Painter™ to my class. I ask my students how many of them remember
seeing the scene in “Willy Wonka and the Chocolate Factory” where the
children are shown lickable wallpaper. Willy Wonka excitedly tells them
to lick the wallpaper, that the strawberries taste like strawberries, the
pineapple tastes like pineapple, and the snozzberries taste like
snozzberries—but the children had never heard of or tasted
“snozzberries.” The snozzberries had to be magic. I then showed my
students the watercolor brushes in Painter that acted like watercolor, the
chalk that acted like chalk, and then the brushes that acted like nothing
they had ever seen before. The Image Hose that painted with donuts.
The brush that painted with metal. And how it could all be used to
make animation. For that moment we were all as excited as children
tasting “snozzberries” for the first time. The fruit not from a bush or a
tree, but from an inventor’s imagination!

I wish to thank my husband John for contributing so much of his
artwork and support while I was writing these chapters. I want to thank
my son Lucas for his comments and insight. I want to thank my
students at the Art Institute of Atlanta for letting me test my tutorials
on them. I want especially to thank all the good people at Corel who
supported this book and who continue to develop Painter, pushing the
envelope of what it can do. They just keep making it better—it must be
magic.

Joyce N. Ryan, 2004

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Chapter 1

Always check to make sure you
are working at the right size before
starting any project. Check the preset
sizes in your editing software, or talk
with your video editor, film editor, Web
developer or service bureau.

Jargon 101: The Technical Terms Every Animator
Needs to Know

Before beginning an animation project, you must consider the final
format your work will be displayed in. Are you working for film, video,
or the Web? Will any of the animation frames ever need to be resized for
print? Setting the correct size, shape, and resolution for your project
from the start is critical to its success.

Typically, if you are working
for film and video, you might work at
720 x 486 pixels (standard NTSC
video). If you are making an animated
comp in QuickTime®, or an AVI to
run on your computer, 320 x 240
usually works well.

Storyboard panel formatted for television.

TV cut-off and safe titling

If you are creating animation for television or film, you must make sure
that your type is not cropped by the shape of the screen, and that
nothing vital in your image is lost. The rule of thumb for layout
purposes is to crop a 12-field layout, 1.5 inches all around for TV cut­off, and 2 inches around for title safe.

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A field guide or “graticule”
helps the animator plan a layout. 35­mm film layout is based on a
proportion of 1:1.376 (known as the
Academy Ratio). This typically yields
a size of 12 x 8.72 inches. For
television, this format varies slightly.
Typically, an aspect ratio of 4:3
corresponds to the NTSC standard.
The degree to which TV cut-off crops
the field depends on the make, model,
and age of the TV set.

Tape an animation peg bar to
your scanner, so that all your drawings
are scanned in perfect alignment
(registration) to one another.

TV layout based on a 4:3 aspect ratio indicating TV cut-off and title safe for a
standard NTSC (National Television Standards Committee) television broadcast.

Scanning for animation

If you draw your animation by hand, you will have to scan it into Corel
Painter. Your drawing should be created at the correct dimensions
(width to height) for your animation. Ten seconds of animation at 30
frames per second can translate into 300 drawings if you create one
drawing for every frame of video. It is critical to scan efficiently to
handle that volume of artwork. If you are scanning in art to use as final
renderings in your animation, you will scan at 72 dpi in RGB at 720 x
486 for NTSC video. However, if you are scanning in to trace, reference,
or make a rough pencil test of your motion, get into the habit of
scanning at 72 dpi in grayscale, so that your files are small and scan
quickly. Depending on your drawings, you may even scan them in as
black-and-white line art; the drawings will look jaggy, but if you are
only using them as reference to trace from in Corel Painter, that is all
you need. This will give you files that take up the least amount of
storage space on your computer.

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Each scanner has a different
interface, so you may have to explore a
little to find the settings you need.

If you have to increase the size
of an image, the best place to do that is
on the scanner; blowing up a bitmap in
a software program is always a bad
idea.

“Paint” = Bitmaps, “Draw” = Vectors

Computers handle images in two ways: as bitmaps, or as vector images
(also known as object-oriented graphics). When working with objects
and vectors, the computer keeps a “display list” that describes a series of
points in space and their attributes.

What size should you work
at? That depends on your finished
product. Will the artwork ever be used
for other purposes? Remember, it is
always easy to make the image smaller,
but it is very difficult to make it
bigger.

The rough draft for the fish was done in Corel PHOTO-PAINT®. Once
the client approved it, the image was recreated with shapes so it could
easily be resized for various uses.

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Bitmaps are resolution­dependent. If you blow up pixels, they
just look more obvious.

The finished design created with vectors.

Unlike vector images, bitmaps cannot always be easily resized without
loss of quality.

Note what happens to the letters when they are blown up. It is all right
to reduce a bitmap, but it is almost never acceptable to enlarge one.

Understanding vectors

A vector is a mathematical description of a location in space; as such, it
has no actual size. Images described by vectors are resolution­independent. They can be rendered at any size and maintain their image
quality. The image file only contains a list of vectors and display
properties, making vector-based (object-oriented) files very small
compared to bitmaps. Eventually, the file has to be converted to a
bitmap output. When it is sent to a printer, the raster image processor

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Vector-based graphics are
easy to resize with no loss of quality.
However, they tend to have a
somewhat flat graphic style to them. If
you want a painterly look, you will
not be satisfied with working only
with vectors.

(RIP) usually handles that task. The display adapter in your computer
interprets the image as a bitmap of pixels on your monitor. Some “Paint”
programs like Corel Painter and Adobe® Photoshop® let you import
vector graphics and turn them into bitmaps (“rasterize” them) so they
can be embellished with paint effects. Corel Painter combines the best of
both worlds by letting the artist work with both bitmaps and vector­based objects.

An image like this one would be impossible to create with vectors.

Understanding bitmaps

Everything in graphics output eventually becomes a bitmap. Bitmap
files are large! They have to be—the computer must keep track of the
color values of every pixel that makes up the image, not just vectors and
attributes. Bitmaps are also resolution-dependent. If you blow up pixels,
they just look more obvious. To make a bitmapped image large and
smooth, you have to have a finer grid of pixels defining the image. For
best results, you must create your image at the correct resolution, or
higher.

A bitmap is a rectangular grid of dots used to describe an image. It has
four basic characteristics:

•Dimension

•Resolution

•Bit depth

• Color model

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Some software, games, and
Web sites will stipulate the ideal
settings for your monitor, so that you
can see the images as they were
intended.

Resolution

The word “resolution” can be used to describe different things.

Spatial resolution — describes the dimensions of an image in width
and height.

Color resolution — often referred to as “color depth” or “bit depth”;
refers to how many colors are available to define the image.

Scanner resolution — refers to the number of dots per inch (DPI). If
you have to enlarge an image, it should be done on the scanner and not
in Corel Painter. DPI is also used for the resolution of printers,
describing how many dots per inch the printer can apply to the paper.

Screen resolution — refers to the number of pixels per inch (PPI).
Computer monitors can be set for different screen resolutions. The
setting determines how many pixels the monitor can display. A large
monitor can accommodate a high setting. A small monitor may be easier
to see at a lower setting.

Line frequency — also known as “screen frequency”; refers to the
number of lines per inch (LPI) that a halftone screen uses to break down
a continuous tone image into printable dots for reproduction on a
printing press. Low line frequency (large dots) is used for porous papers
like newsprint. Coated stock can hold more detail and can take a higher
line frequency. Always ask your service bureau what LPI you should be
working at.

So how do we understand all
these different references to resolution?
It’s all about dots—the dots just come
in different flavors! Whenever people
are talking about “resolution,” they
are talking about a grid of dots that
are assigned or mapped to a given
space, usually measured in inches or
centimeters. The more dots you put in
an inch, the more detailed the image
will be—it will have a “higher rez.”

An image must be broken into dots with a halftone screen to print on a

commercial printing press.

When you are creating an animation with Corel Painter, consider

• the type of animation you are producing,

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The PPI doesn’t tell you
anything about the actual size of the
grid.

PC’s typically default to 96
ppi, and Macintosh® computers
default to 72 ppi. Television sets
default to 72 ppi. A liquid crystal
display (LCD) screen may be set
brighter than a cathode ray tube
(CRT) one. Apple® computers
typically default to a brighter screen
gamma than PC’s. When designing
for the Web, developers typically test
their work on both platforms. If you
are working in video, you will also
want to look at your work on a video
monitor.

• the requirements of any systems that will process the animation
when you are finished with it in Corel Painter,

• the final delivery medium of the animation (video, film, Web, CD,
QuickTime, AVI, etc.).

Dimensions or spatial resolution

Bitmaps have two dimensions. They are grids containing picture
elements (pixels). The dimensions of a bitmap are described by the
number of pixels the bitmap is high and the number of pixels the
bitmap is wide.

spatial resolution = width x height

The spatial resolution of a bitmapped image is based on how many
pixels in the grid make up each unit of measurement. In Corel Painter,
you are working in pixels per inch (PPI). In other words, if you have a
one-inch grid, how many pixels is this grid broken up into: 72, 96, or
maybe 300? Which would look sharper and have more detail, the 1”
grid described by 76 pixels or the 1” grid described by 300 pixels?

Compare resolution and zooming

Look at an image file and note its resolution. Let’s say it is 720
x 486 pixels and has a resolution of 72 ppi. Zoom in on it
200%. It looks twice as big, but it is still only 720 x 486
pixels. You have made the pixels of the grid look bigger, but
you have not added more pixels to the grid, so the resolution
has not increased.

Increase screen resolution

Increase the resolution of your monitor to see what happens.
The icons on your desktop look smaller. Why?

Color resolution

A bit (binary digit) can describe two states: on and off, black and white,
0 and 1, etc. If 1 bit = 2 colors, 2 bits give you 4 colors, and 8 bits give
you 256 colors. That’s 2x2x2x2x2x2x2x2 = 256, or 2 to the power of 8

8

(2

). At 24 bits of information, you have over 16.7 million colors to
work with. Each pixel is made of three components: Red, Green and
Blue, or RGB for short. We have 8 bits of color for each component, or
256 levels of Red, 256 levels of Green and 256 levels of Blue. Multiply
256 x 256 x 256, and you get 16,777,216 colors. You now know why
Corel Painter and other software programs display RGB in values of 0 to

255. If each of the three RGB colors has 8 bits, the image needs 24 bits

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There is an important
difference between displayable and
definable color. If you have 24 bits of
color, you can define over 16.7 million
colors. If your display is set for 1024 x
768, you only have 786,432 pixels,
so you can only display 786,432 colors
out of a possible 16.7 million.

for all the colors. But what does it mean when you are working with a
32-bit image? What are those other 8 bits for, if they’re not needed to
display the RGB colors? They are used for transparency. Certain file
formats support “alpha channels.” Having an 8-bit alpha channel means
that you can have 256 levels of transparency in your image. Color
resolution, or bit depth, affects not only the file size (fewer colors means
fewer bits), but also the smoothness of the color gradations in an image.

This image has excellent color resolution.

Here is the same image using only 60 colors (it has decreased color depth). Look closely

at the green boat and the clouds; notice how the colors are simplified. This effect is called

“posterization.”

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A common trick used to save on file size is to lower the color resolution
of an image. Depending on the image, it can be hard to tell the
difference between an 8-bit image and a 24-bit image on the screen.

This TIFF file takes up 600 KB of storage space.

This GIF file takes only 60 KB of storage space.

Compare output colors

Let’s look at an image at different bit depths in Corel Painter
using the GIF file format.

1 In Corel Painter, open a new file, 100 x 100 pixels at a resolution of

72 ppi.

2 Set the paper color to pure red in the RGB values by setting the red

to 255 and the green and blue to 0.

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NTSC (National Television
Standards Committee) is often
jokingly referred to as “Never Twice
the Same Color.” Video can’t display
the pure bright red you see on a
computer monitor. That is why you
want to look at your work on an
NTSC monitor if you are working for
video. Corel Painter has a special filter
that ensures your animation will be
compatible with both NTSC for the
U.S. and Pal (Phase Alternation by
Line) for European video systems.

When you have finished
making a movie, you can also run a
script in Corel Painter that will apply
the NTSC filter and convert your
movie to video-safe colors.

3 Go to Effects > Tonal Control > Video Legal Colors. Choose NTSC.

Notice how different the red looks in NTSC.

Visually reduce the number of colors in an image

1 Choose File > Save As and name your image file. Choose the GIF file

format, and click Save. Click OK to dismiss the layer warning, if
displayed.

2 In the Save As GIF Options dialog box, in the Number of Colors

area, choose 256 colors. In the preview window, the image appears in
256 colors.

3 Change the number of colors to 128. In the preview window, the

image appears in 128 colors. Continue reducing the number of colors

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in the graphic until you find the minimum number of colors
necessary for adequate display of your image on a Web page.

4 Choose an Imaging Method. Choose Quantize To Nearest Color if

you want Corel Painter to look at each pixel for which it doesn’t have
the exact color and pick the nearest color for it from the available
colors. Choose Dither Colors if you want Corel Painter to apply a
pattern to the colors chosen to generate a more accurate, less banded
result. In this case, Corel Painter will approximate the color of a
larger area of the image, rather than individual pixel colors.

5 You can now either save the graphic to use it on a Web page, or

return to Corel Painter to continue working on the image.

Resolution for video

In Corel Painter, when we start a new file, we see a dialog box that
requires us to enter a resolution in pixels per inch (PPI), or pixels per
centimeter. These pixels represent the number of blocks per inch making
up the grid of the bitmap. In video, the default screen resolution is 72
ppi. In addition, it is critical to know the width and height, or spatial
resolution necessary for the format you are working in.

Resolution for print

The RGB model can describe 256 levels of gray. Remember those gray
scales you did? How hard it was to create a gray scale with ten steps,
with twenty? Look at this grayscale strip—it is made of 256 levels of
gray. Can you tell the difference between all 256 shades of gray?

Most job printing presses can’t reproduce much more than 100 levels of
gray. Fine printers can do better if they use top quality materials and
papers, and highly controlled press conditions.

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Create a grayscale gradient

In Corel Painter, open a new file, 640 x 100 pixels at a
resolution of 72 ppi. Fill it with a grayscale gradation from
white to black. How many shades of gray can you see? Zoom
in on the gradient and examine it closely.

If you have your own printer
(ink-jet, laser, etc.), you should know
the printer DPI. If you don’t, check
your printer documentation or the
printer properties, or check with the
manufacturer. If you are using a
service bureau, they should tell you
what LPI to work at—ask! If they
don’t know, use a different service
bureau!

The rule of sixteen

Let’s say you want to print out your storyboard for a big client
presentation. There will be several people in the room and you want it to
look good from a distance and also upon close examination. A high­quality look is important to impress the client. You created the
storyboard at 72 ppi, and it looked fine on your monitor. When you
printed it out, it looked awful! What happened? There weren’t enough
pixels per printed dot to give you a good-looking print. You need higher
resolution for print than you do for video. How do you find out how
much higher?

You already know it is possible to display 256 levels of gray in RGB.
Now you need to know the highest screen frequency (LPI) you should be
working at, given the capabilities of your printer. To arrive at the LPI
value, divide your printer DPI by 16 and multiply by 2. Here is a simple
example. My ink-jet printer has a resolution of 1440 dpi. If I divide that
by 16, 1440 ÷ 16 = 90. The rule of thumb is that I need 2 pixels per
printed dot to get a nice-looking image from my printer. I multiply 90 x
2, and set my resolution at 180 ppi. This should give me a full range of
tones and a beautiful print on photo glossy paper from my ink-jet
printer.

There is no LPI to worry about in video. Video defaults to 72 pixels per
inch. The important thing to know is the spatial resolution—the size of
the image as measured by its width and height. The screen resolution is
going to default to 72 ppi for video and the Web, but you need to know
the spatial resolution of your final output, in order to create your
animation at the correct dimensions and aspect ratio (the ratio of width
to height).

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Use photo quality paper for
high-resolution printing. It has a
coating that enables it to handle more
color and detail than plain paper.

This printer has a maximum resolution of 600 dpi.

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Chapter 2

The Storyboard

There are two types of storyboards: the production guide and the
presentation board. A good presentation board helps you sell the client
on your idea. It should communicate the look and feel of the animation.

Presentation board created in Corel Painter using Watercolor variants

and the Sargent Brush from the Artists category.

The production storyboard serves as a visual road map for the
production crew, making it clear how the animation will work. It should
include camera angles, audio cues, zooms and transitions.

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Box and arrows indicate zooming out from a tight close-up.

Created using fills and layers in Corel Painter.
Blur filters were used to create shadow masks.

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Working out a detailed
storyboard in advance of production
helps predict the costs involved in the
production. The producer may use the
storyboard to estimate costs prior to
starting production.

This storyboard for “Mission Health” was created using the

Sargent Brush from the Artists category in Corel Painter.

Assignment 1

Storyboarding a 30-second TV commercial for a new radio show

The client wants something memorable that will help establish a brand
for a new radio show that will be competing with drive-time talk radio.
The show will offer an alternative to the incessant chatter of talk radio
by providing long uninterrupted blocks of music interspersed with
upbeat or funny stories. The radio station is broadcasting in areas with
heavy traffic and long commutes. The broadcast format is aimed at
commuters suffering through the stress of traffic, so the station wants to
communicate an image that will attract its target demographic group—
25- to 38-year-olds whose tastes have been formed by popular culture.

Your job is to come up with a concept that addresses the needs of your
client in an entertaining and memorable fashion. You have one week to
get a storyboard together to impress the client and win the job.

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1 In Corel Painter, create a new file. Set your image size to 720 x 486.

(D1 NTSC uses a spatial resolution of 720 x 486 at 72 ppi.)

2 Set the resolution to 180 ppi. The storyboard panels have to be

printed out in color for a presentation to the client and the
advertising agency for their initial reaction. Therefore, it is a good
idea to roughly double the resolution to 150-180 ppi, depending on
your printer. This will yield a printed panel that is 10 inches wide by

6.75 inches high.

3 Always name your files according to the job you are working on, and

keep all the files involved with that job in one folder. In this case,
name the file Radio_Panel_1.rif and save it in a folder called
Radio_Spot.

4 Pick a tool you like sketching with. Personally, I like the Scratchboard

Tool from the Pens category. Experiment with pencils, pens, charcoal
and chalk to find the tools you are most comfortable sketching with.
There is no “right” tool. If you are painting over a scanned image,
you are ready to go.

5 Once you are happy with the sketch, you are ready to begin working

with watercolor. Corel Painter automatically creates a new layer for
watercolors, so you don’t have to worry about painting over your
lines.

6 Try laying in a wash of color using the Soft Camel brush variant.

Clean up unwanted paint with the Eraser Dry brush.

7 When you are happy with your watercolor, dry the layer and add

another layer for more detail. Try colored pencils on this layer to add
crispness and finer detail.

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The more you work with
Corel Painter, the more you will
develop your own techniques.

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