Cumulative brush opacity within one stroke
888toto last edited by 888toto
Thank you both. I don't have a paper texture for the pencil tool, so the "Apply by each plot" option is greyed out.
I tried adding a texture and checking the option, but the problem remains.
In that case you have something limiting the opacity or the darkness of your line. The remaining ones would be
A) check the square icon next to the opacity setting to see if it is using opacity dynamics... it may look like opacity is 100% but for example a pressure or tilt curve could be overiding it to set a lower opacity.
B) The layer itself is set to an opacity of less than 100%
C) There is an adjustment layer somewhere above the current layer that is restricting its darkness
D) The pencil and the layer are at opacity 100% but the layer is in a folder set to a lower opacity
To further explain how this works...
A line is created by multiple ,usually overlapping, stamps of the brush shape. Opacity determines the opacity of the whole line. Density determines the opacity of each individual stamps ( which is why it should be able to build up opacity within a single stroke going over the same area). Texture works by subtracting opacity from the brush in the granular form of the texture. Without that "Apply by each plot" setting it subtracts that opacity from the whole line ( like the opacity control) but with that option set then it applies the texture at each stamp and so acts like the Density control.
PS.....Thanks Micmac ;-)
The opacity was unaffected by pen pressure or tilting, and the issue occurred even in a new file. Through experimentation with the options however, I found the solution.
I mostly use the "Darker pencil" sub-tool, for which the density must be set to a very low value (15% or lower) to see any build-up. Anything above that will simply result in a hard black line.
But before I discovered this, I tried selecting "Mix brush tips with darken" in the Sub Tool Detail palette, which was setting a single opacity for the entire stroke.
My thanks again!
This post is deleted!
@micro Yes that would also account for it...It is a setting I would never use on a semi opaque line..... to me its only purpose is when drawing complex two color lines at 100% opacity as it can make them overlap behind the first pass of the line ( i.e. appearing to recede in 3D space)
@micro If you are finding it too dark at a low density setting it will be because the stamp gap setting is very small and so and so is stamping repeatedly at say 20% density on almost the same spot.... building up instantly to 100% ... below the Density setting is a setting called "Adjust brush density by gap" ... if switched on it will compensate for the small gap setting and 20% density will be similarly dark to 20% opacity.... but its still a density setting that can be built up to 100% by repeatedly going over the same area ( even within a single stroke)
Out of curiosity, what exactly is a "two-colour" line? I'm not familiar with this feature.
garlam last edited by
A brush can use both the main and sub colors with the mix rate being determined by pressure, velocity, tilt, or random.
Neat! Thank you very much.
The key is that a CSP brush ( unlike Photoshop) can be made to use both the first and the secondary picked colors to produce complex powerful effects. If the brush shape you define is just black then it will only use the primary picked color but if its contains white then when used in the brush the white bits will be of the secondary color... so in this example ( a single stroke recorded in real time). This particular brush uses both the techniques..i.e. the one that Garlam describes and the use of black and white in the brush shape
here is another example using my soft edger two color brush ..just using black and white picked colors
I'll keep my eye on that setting in the future; I had no idea that sort of usage was possible, thank you.
edulofter last edited by
Micmac last edited by
Looks like much use of gradients.
bimaloy30 last edited by
That's a well-known behavior. Setting the Spacing smaller just means you have to tone down the Flow. It has always been thus as far back as I can remember.
I initially thought that this coupling should have been compensated-for by Photoshop, but when you start to consider the continuum of values between the two settings you showed above, you realize that such compensation is not really possible, and that the Flow setting is the best answer.