Subtitles of the Movie

I have a variant of the liquid ink brush group selected, the graphic bristle: let's make sure that it is its default settings. For some of the dab types, this one is showing that the feature slider is available, and if I increase feature amount that will result in this case not a very attractive look. Let's make that a little bit less, and still more than the default amount, and you'll see that the dabs have been separated. It's almost like getting a drier brush kind of an effect. Let's go back to the default feature amount and that's what that looks like. Make those disappear. Spacing is available for some of the brushes. Let's use the dry brush category this time, and by default - let's make sure that I do in fact have the default. So, let's go to the layers and make sure I'm on canvas, that's better. Now I can show you that oil pastel has a nice smooth look, but if we increase spacing quite a bit, we will start to see the edges of the dab. If we really go way up on spacing we will see the individual little triangular footprint of that stroke. Angle refers to brushes that actually can have an angle. Let's take a look at a brush that has a round dab. I think we could do that by finding a pen such as flat color. Let's just make it a little bit smaller, and that's definitely a round dab. As you can see if we use the squeeze slider we can make that into an elliptical dab. And then we begin to be able to adjust angle and the range of angle. If I had to bring that up to 360, then this particular brush can have as many different angles as we want. Now we would have to use the expressions section of the brush controls palette to make angle a function of some variable. And as I drag up, I see that at the moment angle is not going to be effected by any of the controllers. Controllers are: velocity, or speed of your stroke, the direction, pressure. Wheel, tilt, and bearing are variables that are available only on certain advanced pens with the Wacom tablet. Source, refers to a clone source and of course random. Let's try random for angle on this, and let's also increase spacing. So you can really see what's going on here and with larger spacing and a random angle you see the effect: kind of chunky, interesting. I just want to change color and so I will do that and then have angle now a function of direction. So, lets bring up so we can see it. And angle now is a function of direction, looks like so. And again if I increase spacing and maybe increase size, let's look at the size variables here. We can reduce size. Now we can really see with increased spacing, once again, I think we'll really be able to see that angle is a function of direction. We can really see that when we make a circular stroke. So we've looked at angle and spacing and some of the expressions. Size as a function of pressure, is usually quite versatile and useful: in this case I do not have a variation in size. I'd have to create that. So, let's have a minimum size and a maximum size. I'll pull this up a little bit and now I believe you will be able to see as soon as this work in progress gets completed. You'll see the soft view they call it, that little interior black ellipse is the smallest size and the gray outer ellipse shows you the largest size possible. So, now with pressure I can in fact make four different sizes. The well has to do with how much smeariness a brush is capable of: the higher the bleed and lower the re-saturation the more smeariness. If I take a brush that's already smeary, let's try one. Let's take an Impasto brush smeary flat, that's a smeary brush. Let's get to a different color going here. Sure enough there is a certain amount of smeariness, and you'll notice that bleed is a significant amount. We can make it smearier by increasing bleed, let's make it maximum and re-saturation, let's make that the minimum. And now I believe you will not see any color applied at all, it'll just be smeary regardless of the color I choose, it'll just get a smeary effect. We've got a random jitter adjustment, a nervous brush has a good deal of jitter. Let's go to it and take a look at the nervous pen. Let's make it a darker color and clear the canvas. This is what the nervous pen looks like, and sure enough it has a jitter of 1.73. Let's increase that jitter and see what we get. Let's make it maximum and we get a tremendous amount of jitter. The water section refers only to watercolor brushes. Let's take a look at a watercolor variant in this group; and as soon as we choose that, we now have access to all of these water choices: wetness, pickup, dry rate, evaporation threshold, diffuse amount, capillary factor and grain soak in. So there are quite a number of controlling variables for the new watercolor engine. If we choose this grainy wash flat that I have selected, let's give it a nice bright yellow. Let's see what happens when we decrease the wetness, increase the pickup, decrease the dry rate, decrease the evaporation threshold, and let's leave the rest the way it is ,and we'll see already a good deal of change in the way that brush behaves; and I will of course make it go back to it's default values.