Suminagashi 2 Brushes

Corel Painter version compatibility: 12.2 and above.
Download (92 KB) in Painter brushlibrary format.
Download additional info. (pdf)


For those of you who remember the original Suminagashi brushes, which I made available on a previous website, these comprised of two brush categories; 1 Suminagashi and Distortonagashi. I have now amalgamated these into a single brush category, incorporating a few tweaks and additions to the variants. The new library is named Suminagashi 2, and is intended to replace the original Suminagashi library.

Suminagashi brushstrokes demo image

There are no restrictions on use, other than the resources are not to be offered for sale or redistributed without my prior consent.

Note that these variants will only apply media directly on the canvas, or non-transparent regions of a default layer (i.e. one previously filled with white for example). Variants with a Z prefix in their name do not apply any colour of their own, but have a distorting effect on the underlying pixels.

The Traditional Suminagashi Technique

Traditional Suminagashi is a marbling technique that originated in Japan more than 800 years ago, involving the process of marbling plain paper, transforming it into something vibrant and colourful. The term translates literally as ‘ink-floating’. In the following YouTube video, artist, print maker and teacher Rebecca Ramos demonstrates this technique.

Whilst my Corel Painter Suminagashi variants cannot replicate the fluid movement dynamics of the traditional ink media over the surface of the water (although there are several distortion variants included in the library), they can portray a ‘Suminagashi inspired style’, incorporating their own unique brush stroke properties and appearance.

Traditional Turkish Ebru

A related style of paper marbling known as ebru is also popular in Turkey, with the term appearing in the late 19th century. The above video demonstrates the ebru technique.

Links to Traditional Suminagashi

Traditional Suminagashi tutorial (
Suminagashi demonstration by Yoju.
The world of Japanese Marbling (Traditional Suminagashi and Suimonga examples and techniques).
Paper marbling (Wikipedia)


Live Impasto Brushes

Corel Painter version compatibility: 12.2 and above.
Download (145 KB) in Painter brushlibrary format.


The word impasto most commonly refers to a painting technique, where paint is applied to an area of the surface (or the entire canvas) very thickly, so that the brush or palette knife marks often remain visible when dry, providing a textural element to the canvas.

Live Impasto is a brush library for Corel Painter 12.2 and above, developed to mimic the traditional impasto effect digitally. Whilst there is an Impasto brush category in the default Painter Brushes library, and various other ‘Thick’ media variants throughout that library, I have always struggled to produce anything visually convincing with them.

Live Impasto Brush Strokes image

A chance observation was made that although Drip method variants cannot directly paint using colour with impasto depth, by changing the Draw To method in the Impasto section of the Brush Controls to ‘Color and Depth’, these variants can interact with existing impasto depth data, previously applied to the canvas. In essence, impasto depth is sculpted by the variants, not applied with the variants.

The answer then was simple; just as a traditional artist may prime or Gesso their canvas prior to painting with oil or acrylics, in this case, the entire digital canvas or area to be painted is primed using a variant which only applies impasto depth. I am therefore pleased to present Live Impasto for Corel Painter. 

There are no restrictions on use, other than the resources are not to be offered for sale or redistributed without my prior consent.

Note that as this library contains many captured dab variants, coupled with the possible memory related bug issue, described below, I would recommend installing these as a stand alone brush library, rather than as a brush category within another library. Also, due to advances in the brush engine, some of these variants may render more slowly in earlier Painter versions.

Priming the Canvas

impasto 1

Here, I have selected the AA Depth Primer variant from the Live Impasto library, and painted a few overlapping strokes in the region to the left of the canvas. This variant does not apply any colour, only depth information. The appearance of depth shadowing in the stroke is controlled via. the Canvas menu> Surface Lighting dialog. For convenience, the AA Depth Primer is the topmost variant in the Brush Variant Selector menu.

It is required that Impasto depth media is laid down prior to using most other variants in the Live Impasto library, in the areas of the canvas to be subsequently painted. Additional depth can also be selectively added with the AA Depth Primer variant during the impasto painting process, and these areas painted over again, using another variant from the library.

Let There be Depth

Impasto 2

In this screen shot, after applying my impasto depth to the left region of the canvas, I then selected the Brush Rake Med WiW variant from the Live Impasto library, and made a few brush strokes to the non- depth area to the right. As expected, an oil-like appearance to the brush stroke, but without depth interaction. When I moved the brush into the depth region of the canvas to the left, we now have an impasto simulation. The variant is actually a hybrid, being able to apply apply colour in both impasto and non-impasto situations, without any modification to the brush settings.

Please note that as with all Drip method variants, they will only apply colour on the canvas, or non-transparent regions of a default layer (one previously filled with white for example).

Variant Naming Convensions

When naming the variants, I opted for the following naming conventions;

Brush Rake – Variants having a Rake stroke type, and Spread Bristles checked in the Rake section of the brush controls. These variants can profuse a tapered brush stroke controlled by stylus pressure.

Color – These variants only apply or act upon the color component of the impasto. i.e. they have no affect upon impasto depth.

LD – Loaded with colour. Note that all variants will apply the currently selected main colour in the Colors Palette, with the following exceptions; AA Depth Primer, Large Rake ClearVarnish, and variants with either Eraser of NC in their name. Note that the ClearVarnish variant does not apply impasto depth, but sculpts existing depth media without adding colour.

MedMedium brush size.

NCNo Color is added with these variants, but existing color is pulled/ smeared by the brush stroke.

Pal KnifePalette Knife.

Rake – Variants having a Rake stroke type.

Spring Rake/ Spr Rake – Rake variants whose individual bristles spread wide apart with stylus pressure, and spring back when pressure is released.

Texture Art – Variants which can use the luminance of normally large scale, high contrast paper textures as a selective depth and colour mask in order to create unique textures and art forms.

WiWWet in wet. These variants will apply the currently selected Main Color, and also ‘pull in’ any underlying colors at the start of the brush stroke. Many other variants which do not have a WiW suffix (Bristle 1 for example), will also apply the main color, but will act as if any underlying color is already dry. Both types will still interact with the depth component.

Color Variability

Impasto 3

Although the colour rendering variants in this library cannot load multiple colors onto the brush from the Mixer Palette. All applicable variants with Rake in their name can have color variability applied to each individual bristle across the width of the brush via. the Color Variability palette. NC and WiW variants can also pick up existing multiple colors in their brush strokes on the canvas.

In this example, I have used the Bush Rake Med variant, (with color variability set to 50 percent Hue and Value in the Color Variability palette), to paint the brush strokes on the far left. I then chose a blue color from the Colors palette and painted a stroke along the bottom using the Rake Large WiW variant (2 percent V variability). Note how the original underlying colours flow into the beginning of the new stroke to give a wet in wet effect.

When used in combination with impasto depth, excessive color variability can detract from the appearance of depth in the stroke. Color variability for the individual color rendering rake bristles is also computed on a stroke by stroke basis. For example, the top bristle band in the first stroke could be yellow in the first stoke, but orange in the second stroke.

Texture Art

Impasto 4

As previously mentioned, the Texture Art variants can use the luminance of normally large scale, high contrast paper textures as a selective depth and colour mask in order to create unique textures and art forms. I can’t remember whether it is the white regions in the paper texture which mask subsequent colouring, or the black areas, but it is possible to reverse this by clicking on the Invert Paper button in the Papers palette (double arrow button, centre right of palette).

In this next example, after priming the canvas with depth using the AA Depth Primer variant, I selected a saturated yellow as the main color, and applied a few strokes using the AA Ld Pal Knife WiW variant. In the Papers palette, I selected the default Pebble Board paper and increased the paper Scale and Contrast settings in that palette. I then selected the Texture Art Round variant from the Live Impasto library and proceeded to apply several downward brush strokes using a darker yellow-orange shade. Magically, a wonderful elongated crystalline texture appeared, with the direction of elongation following the direction of the stroke paths.

Note that it is only the peaks of these ‘crystals’ which has been masked, the sides of the crystals being formed by coloured drip-based media flowing past the mask boundaries. The effect seems to work better with larger scale, higher contrast, open textures, and it may be necessary to adjust paper contrast to achieve the best result. Lower contrast textures tend not to exhibit this phenomenon.

Impasto Bug

Impasto 4

The Live Impasto variants actually came very close to becoming Dead Impasto, not being developed nor made public. This issue could be related to my computer resources, but I discovered that after using different variants in the library for a period of time, a variant which had been previously working perfectly would no longer interact properly with impasto depth.

In this screen shot, the Good and Bad strokes were made by the same variant without changing any brush settings. The left hand stroke looks and works as intended, picking up underlying colours and being very fluid-like in the depth interaction. The stroke on the right shows none of these qualities, and it almost felt like the depth/ drip media had become very viscous and almost dry. At that point, the only way I found to restore the original fluidity was to quit and restart Painter (not very practical).

That would have been the end of Live Impasto, except for another chance observation. I noticed that when the variants stop reacting fluidly with the depth data, if I selected either the AA Ld Pal Knife WiW or AA Ld Pal Knife WiW1 variant, and painted on the canvas (even just a small brush stroke), when I then tried to paint with the variant which had not previously been working correctly, I discovered that fluidity had been restored, and I could continue working until the problem eventually arose again.

Obviously this work around is still a pain (perhaps made easier by selecting the variant via. a custom palette), but at least the workflow is more tolerable. The inner workings of Painter are still a mystery to me, and the domain of the software developers, but I will speculate that either the impasto algorithm has been assigned an elaborate drying routine, or perhaps more likely, selecting and painting with one of the more processor demanding palette knife variants forces an internal memory/ data cache to empty and reset. There may of course be a simpler solution for a work around, and if any of you discover one (or maybe the bug does not present itself on your system), then please let me know.


Concept Glow Brushes

Corel Painter version compatibility: 12.2 and above.
Download (389 KB) in Painter brushlibrary format.


The Concept Glow brushes for Corel Painter 12.2 and above, take advantage of the Glow Brush Plug-in Subcategory, and are the result of a three day brush creation jam session. Although the brushes were developed with concept artists in mind, there is a stripped down version for those of you who are less interested in this genre (both download links below).

Sample Concept Glow Brush Strokes

Concept Glow demo image

The above image demonstrates some of the brush strokes possible using the more concept art orientated variants from the Concept Glow brush library.

As the name of the Glow Brush plug-in suggests, these variants will look their best when used on a default layer above a darker background canvas or layer.

The Glow variants will not work directly on a white canvas or white regions of a default layer.

There are no restrictions on use, other than the resources are not to be offered for sale or redistributed without my prior consent.

Glow Versus Cover


In the above example, the brush strokes at the top were made using the Glow Square variant from the custom Concept Glow category, whilst those at the bottom were made using the Square variant from the Concept Cover category (also included in the brush library download). The chosen color was identical in each case, with the only difference between the variants being the brush Method and Subcategory used.

Alien Glow Variants


The four Alien Glow variants can produce a skeletal rib cage or spine effect, but were not completely successful, as I was unable to prevent some of the elements within the brush strokes from unexpectedly changing direction. Individual strokes are made in a sweeping curve motion of the stylus, with speed of movement controlling the spacing between each rib element.

As with all the Concept Glow variants, the appearance (saturation?) of the glow may be further influenced by changing the Strength value in the Brush tool Property Bar.

Bristle Glow Variants


Bristle Glow variants, Flat, Round, Sparkle, Sparse and Twister are demonstrated in the above image. You will probably discover that some selected RGB/ HSV values work with these brushes better than others. Overlapping strokes tend to lighten the colors where they cross.

Candle Flames, Clouds and Circles


Demonstrated in this image are the Candle Flame Glow, Glow 30 (pretty much the default F-X Glow Brush), Glow Circle and Glow Cloud variants. In the case of the Candle Flame variant, hold the stylus in one position with very small up and down movements, until the desired brightness of flame is achieved. Note that this particular variant is saved with a preset color.

Glow Finger Print and Glow Rake Variants


A collection of Rake variants for cross hatching effects, etc.

Glow Sponge And Glow Square


The Glow Sponge has been created to produce a subtle background effect (at low coverage and Strength value), whilst the Glow Square can yield a more intense glow.

Glow Worm and Glow Texture Variants


Whilst it is not currently possible for the Glow Brush plug-in variants to interact with the currently selected paper grain, the Glow Worm and Glow Texture variants can produce a textured effect. The Glow Worm variant was named after the worm-like appearance of the brush stroke at 100 percent Strength value.

Random Lines/ Lobster Pot Glow Variants


The Lobster Pot Glow variant stroke, depicted above left, produces a wire mesh effect. The Random Line variants are self explanatory, with the Random Lines Glow 4 variant being saved with 10 percent Hue variability in the Color Variability palette.

Scratchboard Glow and Tentacle Glow Variants


These are fairly self explanatory, except the sucker spacing on Tentacle variant strokes is influenced by the speed at which the stylus is moved.

Resizing of Brushes.

For some variants in this library, unfortunately it is often not a simple matter of changing the brush size value. For example, the appearance of the Tentacle Glow variants has been made through careful, selective changes in the Spacing, Bristle and Rake palettes, therefore the strokes may well look different to the defaults when changing brush size alone.

Wireframe Glow Variants


Last, but perhaps the most interesting are the Wireframe Glow Variants. To render brush strokes using these variants, it is necessary to hold down the keyboard Shift key in order to constrain the stroke to one of eight preset directions as shown in this image.

The width of the stroke is controlled by stylus pressure, whilst line spacing is controlled by the speed of the stroke. As the regions between the lines are transparent, it is also possible to bring the stroke back in the opposite direction, with a different stylus pressure and/ or speed.


Tribal Beads and Weaves Brushes

The Tribal Beads and Weaves brushes for Corel Painter 7 and above have been primarily developed to quickly place repeating jewellery elements in your compositions.

Beads and Weaves Brush Strokes

Tribal Beads and Weaves Brush Strokes image

The above image demonstrates some of the brush strokes possible using the Tribal Beads_Weaves variants.

Download the Tribal Beads and Weaves Brush Library (144 KB) for Corel Painter 7 and above. Download Button image

The download comprises of the following; a complete zipped brush library for Corel Painter 7 and above.

Note that the captured dab variants in this library require a lot of processing power, and depending on your system resources and Painter version, it may be necessary to restrict the brush size for some of these variants. For example, when I tested them in Painter 7, I had an error dialog; Insufficient Memory to Complete This Operation, after selecting the Beads 1 String Dab4 variant. I had to reduce the brush size down to around 25 in order to use this variant successfully.

There are no restrictions on use, other than the resources are not to be offered for sale or redistributed without my prior consent. The zipped file is also compatible with the current (0.6.1012) version of the Studio|chris Brush Manager (see link in Painter Utilities section), which will automatically install them as a brush category. All variants are SaveRestoreDamping|SaveRestoreMouseParams compliant.

Beaded Braid Variants


The Beaded Braid variants are supplied in three widths; 3, 5 and 7 Strand. Both hue and value for each strand has been randomised via. the Color Variability palette, and it is recommended that this palette is kept open when using variants from the Tribal Beads_Weaves library, in order to make adjustments on the fly.

Beads 1 String Dab Variants


The Beads 1 String Dab variants are based on captured dabs, and have been configured to produce single strings of beads (or bones).

It is important to note how the strokes appear against a non-white background. This is due to the fact that Painter uses the luminance of the captured dab imagery to control transparency within the resulting dab. This means that areas which were originally white in the pre-capture dab imagery, will now be totally transparent, whilst black regions will be fully opaque. This factor can impact on the three dimensional appearance of resulting dabs.

Dab orientation is affected by the direction of the stroke, and can also be constrained to a straight line in any one of eight directions by holding down the shift key whist making the stroke. In order to maximise the three dimensional quality of the original dab, for the bottom stroke in the above image, I have used a more contrasting, lighter colour shade, and this time rendered the stroke from right to left. The original lighter (more transparent) regions of the dabs are now in the lower half of the beads, thus appearing top-lit, with the dark background seeping through the more transparent areas, giving the illusion of shadow.

The Beads 1 String Round and 3, 5 and 7 String Round counterparts employ the Circular Dab Type, rendering circular, soft cover beads of flat colour. I have set these variants up so that you can easily make the dabs oval in shape by reducing the Squeeze value in the Angle section of the Brush Controls.

Beads 3, 5 and 7 String Dab 1


Using Painter’s Rake stroke type, it is possible to render several rows of beads in one stroke, and by checking the Spread Bristles option in the Rake section of the Brush Controls, the gap between the individual rows can be controlled by stylus pressure, as is Size and Min Size of the individual beads (via. the Window menu> Brush Controls> Size palette). The number of rows (strings) is governed by the Contact Ang and Bristles settings in the Rake section. It is also possible to modify the height and length of the repeating dab by changing the Squeeze value in the Brush Controls> Angle palette (this must be set at 99 percent or less to allow rotation).

Although it does not seen possible to vary the individual spacing between each row with three or more strings (which could be created manually using a Beads 1 String variant), the overall spacing between rows can be further controlled using the Brush Scale slider in the Rake section of the Brush Controls. The spacing between individual dabs (beads) is controlled by the Spacing and Min Spacing values in the Spacing section of the Brush Controls.

For the Beads 7 String Dab1 variant, I have employed 50 percent Value (V) variability from the Color Variability palette, but please feel free to adjust the Color Variability setting to your own requirements. This particular variant is also useful for creating mosaic bead patterns at lower stylus pressure. It is a good idea to set up Brush Tracking in the Painter Preferences, to ensure a smooth spread transition in the brush stroke, based on stylus pressure.

Sequin Braid and Tiny Bead Necklace


In combination with Color Variability, the Sequin Braid and Tiny Bead Necklace variants are capable of producing a shimmering metallic appearance to the brush stroke. With suitable colour and Color Variability combinations, the scaly appearance of Sequin Braid variant could also be used for rendering butterfly/ moth wings or reptile skin for example.

Tribal Weave Variants


The Tribal Weave 1, 2 and 3 variants are also Rake based, and there was something subconsciously familiar about the brush stroke form when I first saw it; maybe it was a beaded chest piece or perhaps an Ancient Egyptian collar. Again, Painter’s wonderful Color Variability feature was used to provide added interest to the strokes.


Inkspiration Brushes for Corel Painter

The Inkspiration brushes have been developed primarily as a inspiration aid for fantasy and concept artists, although some of the variants can also produce strokes resembling Chinese calligraphy. Many of the variants have been intentionally designed to have a looseness and unpredictability of stroke, hopefully with the end result of producing ‘unfamiliar originality’ upon which to develop new characters and ideas.

All variants in the Inkspiration category are Liquid Ink layer based, and there is a download link at the end of this article.

Inkspiration Brush Strokes

Inkspiration demo image

It is possible to quickly generate a wealth of interesting and potentially inspirational forms like the ones shown above, using the Inkspiration variants, . There is no restriction to use black, as the majority of variants in the custom library are set to Ink Plus Color, and will apply any colour selected from the Colors palette.

Download the Inkspiration Brush Library (116 KB) for Corel Painter IX and above.Download Button image


_________________________________________________ (92 KB) for Corel Painter 7 and 8.Download Button image

The download comprises of the following;

A complete zipped brush library for Corel Painter 7 and 8.
Alternatively, a complete brush library for Corel Painter IX and above.

Note that due to changes in the brush engine, the Painter 7/8 version does not contain every variant demonstrated above, and the Inkspiration brush strokes may also render more slowly in these versions too.

There are no restrictions on use, other than the resources are not to be offered for sale or redistributed without my prior consent. The zipped file is also compatible with the current (0.6.1012) version of the Studio|chris Brush Manager (see link in Painter Utilities section), which will automatically install them as a brush category. All variants are SaveRestoreDamping|SaveRestoreMouseParams compliant.

About Painter’s Liquid Inks


The Liquid Ink technology was first introduced in Painter 7, and like Painter’s Watercolor, rendering with these variants is performed on a special layer. Only variants which have one of the Liquid Ink Dab types can be used on a Liquid Ink layer (with the possible exception of the Erase All variants). Conversely, these variants cannot be used directly on the Canvas or default layer, and any attempt to do so will automatically create a new Liquid Ink layer in the Layers palette.

A new Liquid Ink layer may be created by clicking the New Liquid Ink Layer icon (1) in the Layers palette, and you will see that this layer has a special icon (2). Layer Opacity may be adjusted (3) and alternative Composite Methods may be selected (4).

I believe one feature of the Liquid ink Layer/ media is that it has vector-like scaling properties. Although I have not experimented with upscaling, if correct, this would be very useful for working enlargements from thumbnail sized renderings. Note however that the document would need to be in Painter’s native RIF format, with the Liquid Ink layers preserved and not committed before changing the document size/ resolution. Note also that I have included variants in the Inkspiration category which can soften both the Ink and Color components of the brush strokes.

Ink Types

A quote from the Liquid Ink Visual Guide;

“The Ink Type pop-up menu [located in the Window menu> Brush Controls> Liquid Ink section] controls how ink is deposited on a layer by separating Liquid Ink into two basic components that can be manipulated: ink and color. The ink component is responsible for the plastic quality of Liquid Ink and its tendency toward simplified, rounded forms. The color component applies color to a Liquid Ink form.

The ink and color components can be used in conjunction with each other or separately. They can also be modified using the Softening tool. A special form of Liquid Ink, called Resist, repels normal Liquid Ink strokes. Erase is used to delete ink and color”

There is much more to learn and discover about Painter’s Liquid Ink, which is beyond the scope of this article, but I would recommend reading the relevant sections in the Painter Help guide, and also in this Liquid Ink Visual Guide pdf.

Adrom, Bralelith, Cerranor, Dauwen and Eliron


Possibly doubling for Chinese calligraphy style brush strokes, the Adrom, Bralelith, Cerranor, Dauwen and Eliron variants utilise stylus tilt and bearing to produce very loose, irregular strokes which could conceivably have been applied with a very worn and uneven brush, or the end of a small branch even. In fact, I was originally going to name these after Ents; the wonderful tree-like characters in The Lord of the Rings. Being concerned with copyright/ trademark issues however, I instead used a Mac name generating application; Name Maker 1.0.

When creating new forms with these variants, I use quick, short and randomly orientated strokes, whilst changing the angle of the stylus, and create a selection of small thumbnails for later appraisal. Although the general look from these variants is similar, they each have their own individual personality. I have added another variant, the Em Dry Camel, which can produce smaller, pointed strokes if applied with low stylus pressure.

For those interested in inspiration from random shapes, I can highly recommend the wonderful and free Alchemy application.

Note that stylus tilt interaction may not be available on all models of graphics tablet.

Gasket and Ink Bucket Variants


Used again in combination with stylus tilt and bearing, as the name suggests, the Gasket variant can produce internally open shapes with a gasket-like appearance.

The Ink Bucket applies ink with attitude. Used with gentle stylus pressure, this variant will apply a smaller, rounded stroke, but as pressure is increased and the stylus tilt angle becomes more acute (less than 90 degrees), brush stroke size will increase significantly, and irregular splashes of ink will appear, relative to tilt and bearing.

Applying more than one Colour

When more than one colour/ value is used in combination with many of these variants on the same Liquid Ink layer, there will often be a visible softening of colour where one stroke overlaps another. To avoid this, simply create a new Liquid Ink Layers to apply each additional colour used. Using individual layers is also useful in making layer opacity adjustments, as many of these variants do not respond to less than 100 percent opacity settings in the Brush Controls/ Property Bar.

Inked Palette Knife and Tangram


For more angular forms, the Inked Palette Knife and Tangram variants are a good choice. The Angle Expression is set to Bearing for the Inked Palette knife, whilst the Tangram brush strokes are normally applied like a stamp, with multiple angular strokes being automatically generated (Angle Expression set to Random).

Note that due to changes in Painter’s brush engine, the Tangram variant is not compatible with the Painter 7/8 version of the brushes.

Splat Shapes


The Splat Shapes 1 and 2 variants are used as stamps (i.e. the strokes are applied as dabs by not moving the tip of the stylus) to generate random organic forms.

Twister Variants


For the Twister Direction and Twister Source variants, the brush angle changes automatically, based on stroke either direction or source (currently selected pattern) luminosity. In the case of the Twister Source variant, the magnitude of deviation can be further influenced by changing the Patten Scale value in the launched Patterns palette, or by simply selecting a different pattern.

Note that due to changes in Painter’s brush engine, the Twister variants are not compatible with the Painter 7/8 version of the brushes.

Eraser and Resist Variants


A selection of Eraser variants have been included in the library to further add diversity and refine your current brush strokes. Please note however that I have experienced Painter 11 randomly crashing when using the Eraser tool selected from the Toolbox palette to erase media on a Liquid Ink layer. Please see the thread Liquid Ink crashes Painter 11 at the Painter Factory.

Variants with the word Resist in their name could be used as an eraser, but will still retain their resist property when applying additional ink and colour strokes directly over the top. Alternatively, random invisible strokes may be applied to a transparent region of a Liquid Ink layer, and ink/ coloured media applied over this. In this case, some areas will effectively be masked to prevent coloured media being applied in these regions.

Colorize, Soften and Simplify


Liquid Ink is essentially comprised of two components; the Ink (which is always black) and Color (which can also be black or any colour/ value selected from the Colors palette). In the image above, blue and black colour has been applied by using the Round Colorize variant, directly over media applied in black using the Bralelith variant. The Soften Color Only variant was then applied over one half of the orange and blue regions.

Note that the Round Colorize variant will not mark transparent regions a Liquid Ink layer, and you may also have some success with lowered brush opacity.

The Soften and Simplify variant has been used (bottom right in above image) to soften the edges and simplify (pool together) the form of the original brush ‘Ink Plus Color’ brush stroke. This variant may also be used with very gentle stylus pressure to soften edges with the minimum of pooling.

Note that the Soften and Simplify variant will not have any effect upon the ‘Color Only’ component.