Learn Digital Painting with Photoshop's Mixer Brush

1. 1 - Promo: Hi, Aunt Evita joined me to learn how to create digital paintings using photo shops. Mixer brush Have you ever tried using photo shows? Mixer brush. But you couldn't figure out what it was doing or how to make it work like you wanted it to . Or maybe you're an artist familiar with photo shop, but have been looking for ways to get a more painterly effect with your digital work as if you were working with actual acrylics or oils. Have you been wondering how people turn their photographs into paintings or manipulate their digital images in seemingly magical ways? In this class, I'll be breaking down the mixer. Brush is options so that you will understand exactly how each element works and interacts with each other. Have also included three demos. One of me painting with the mixer brush from scratch, one where I turned a photograph into a painting and one where I do some correction from a watercolor painting that needed some fixing up and roll today and learn everything you need to know about digital painting with the photo shop mixer, brush 2. 2 - Mixer Brush Uses: Let's go over some of the things that you can use The mixer brush for. One of the most popular ways of using the mixer brush that I've seen is turning photographs into paintings. Could see that I've done this here. What? This duck took me about 10 minutes. I took this photo that I took down by the river and pulled it into photo shop and turned the photograph into Ah, very painterly like effect using the mixer brush on top of the photograph. This is not how I normally use the mixer brush, not my forte. I'm sure they're some people out there than to some really spectacular work with this. But even though this is not how I use it, I think that this tutorial will still help you understand that mixer brush in a way that you could go and do exactly this with your photographs, that that's how you want to use it. The other thing that I like to do is use the mixer brush as a mixer. I like it better than using the stamp or liquefy for fixing problems. You can see here that this is a watercolor elephant that I did years ago, and for some reason I thought it would be awesome to add the's these little lines that they would add interest in texture. But all they did was make a mess of things. So I went in with the mixer brush and took out the lines quite easily. And this is something that I'm gonna do a little as a demo later on, I'll take out some of these lines sees concede exactly the process that I used to do that and the final thing you can do. The mixer brush is created painting right from scratch, which is what I did here with this tendering painting completely done today in foot of shop , starting with a blank canvas and using the mixer brush. Now that you know what to use the mixer brush for, let's go over the brush controls found up here 3. 3 - Brush Controls Overview: Let's start with the toolbar options that we have at the top here when we select the mixer brush. Now, I should start with the fact that you find the mixer brush under the brush tool, and it's the last option in the pop out menu when you right click. So let's start with this brush preset button here. This isn't unique to the mixer brush. You'll find this under any of the brush tools you can see that doesn't change. The other thing that doesn't change is the brush panel and the option to turn the brush into an airbrush style, Um, and the pressure sensitivity, which is used only for pens. It is good to understand how these work the brush presets is a place where you can kind of quickly select rushes from your brushes here, and you can control the size of the brush, the hardness of the brush very quickly. From this This view the brush panel is where you pin micro control the various aspects of your brushes. Eso if we go back and weak, we select, say, one of these fancy brushes here and we want Teoh, um you know, control. Uh, the length of the bristles. Um, the angle that were using them at you can see how these have effects. One thing that really does, um, actually affect the mix of bridge pretty significantly is the stiffness of your brush that will lay down the paint and in a different way, the more stiff it is o r. Lest if it is. But for the purposes of our tutorial today, I'm going to stick with standards, rounds, brush That's not trying. Teoh emulate an actual brush. The only thing I want to do is turn the spacing down. And I do want to make sure the hardness is that 100% the other things that you need to know about. I'm gonna skip over all of this to the ends. This is the air brush toggle. It makes your brush act like it's an airbrush. So it kind of builds up the paint as if you're spraying it on. And this is the pressure sensitivity toggle for when you are using a pen. I will be using a pen for a lot of this, but I'm going to probably keep present sensitivity off, and the only other thing that I want to point out, is this. Select all layers toggle. This is kind of important. It does affect how your mixer brush is working. When this is on, it will treat all of your layers as if they are all merged together. This is really important because the mixer brush will act differently when it's painting over transparency versus when it's painting over a color. And if you want it to pull up color from layers underneath transparent layer or a transparent part of the current layer, you would have this on they just pretty processor intensive. So I tend to keep it off and control the colors that I wanna work with by actually working on the same layer. But for the duck photograph that I showed you before, where I turned that into a painting, I simply put the photograph down. Put a transparent layer on top of it, make sure that this was enabled. And then I used the mixer brush to pull up the color from the photograph underneath and turned it into a painting. That way we'll learn a little bit more about exactly how I did that. Now that you've learned about how to control your brush, let's learn about the paint wells 4. 4 - The Paint Wells: next, we're going to be looking at the paint Will. Now you're gonna find the paint well, right here. And there are two paint wells that you confined represented here, and the 1st 1 is called the reservoir. And you can think of your reservoir as you know, your cup of paint that you have or the paint that you have sitting on your palate. But it's what you're gonna be loading on to your brush as if you were dipping it right into that paint. Well, the other paint well that you have is called the pickup well, and the pick up well is the big paint that you would have on the end of your brush after you've been doing some painting. So if you were painting with some red paint Sands who paid tenses, um, yellow paints and you get a little bit of yellow mixed in right there is going to be your pick up. Well, now you only activates it can control your pickup. Well, um, by these next two toggles that will be going over next. Now that we've learned about the paint wells, let's move on to these next two options. The load and clean toggles 5. 5 - Load and Clean Toggles: Let's go over these next two buttons. These are the load brush and clean brush toggles, and they will have a pretty dramatic effect on how the mixer brush performs when you're using it. First, let's look at the load brush option and let's bring back ER too little pink can hear. So when we want to load the brush that we're using with paint from the reservoir, we can click this load brush icon. We can either do it as a one time act like I just want to load it up with the red or we can keep it on all the time. What that means is, is that every time I stroke with my paintbrush and I lift the paint brush off the canvas, I go on, I dip it in my reservoir again. Hands again. I dip, have I paint and I did and I paint. And I did. Now if I were to turn that off and now I painted, I'm not reloading my brush with paint, so at some point I'm gonna run out. You can see that I did on the second stroke, so let's load that back up again and we'll keep loading it now to clean our brush will need to have a little cup of water. I'm sorry. I couldn't resist hope it needs a happy face to. So for the clean brush, just as the little brush, I make a stroke. And, uh, I go when I did mine, brush into the water and clean it all off. Um, And then, of course, my little brushes like it. So they load it back up into some red paint, and I go again. Clean load paint, clean load paint. Now, if we turn this off and I'm gonna have to mess with my witness here, you'll understand why later? Um, but we're that become significant is if I change my color. Let's say we load up a nice bright yellow and we go into this read a little bit. Well, now you can see here. This is now my pick up. Well, I've got a paintbrush that has a lot of yellow on it, and just a little tiny bit of red loaded onto it. So when I would've paint again and this is really subtle, but it matters. You can see I get just a little bit of orange paint that gets laid down Next. We're getting to the good stuff. What a load. Mix and flow 6. 6 - Wet, Load, Mix, and Flow: Let's next talk about these controls right here. Wet load, mix and flow. You can see that I'm skipping over the presets dropped down here. Look over those next. The reason being is that basically these presets are controlling these functions. So I really want everybody to understand what these different things mean first, before we look at the presets, what now? As somebody who has done a lot of watercolor painting, this one confused me for a long time, cause I thought Wet was referring to how what I was getting my paint as in, how much water was I adding to my paint as I loaded it up onto my brush. It was really confusing to me because it wasn't responding in a way that made sense to me. But what what means is actually how wet paint on your canvas is, so if it's at 0% that is completely dry, and that means any paints that is found on the canvas is absolutely dry. So this white in the background is paint on the canvas and is completely dry through the magic of digital painting. As I laid down this red paints, um, it is also immediately completely dry. 100% means the paint down on the cannabis is absolutely what, and we're going to get a little bit of ah difference experience when we paint into it with a different color. So let's ah, let's load up with some some yellow. Actually, I'm gonna make sure that my load and clean are on right now to reduce the amount of variables that are happening. But if I were to go into my red box here with the yellow on the with the red at 100% witness, you'll see that it's interacting with a little difference. So dry, good night saturation and 100% wet. You'll see that it's it's mixing in a little bit load. It's simply how much paint you are loading into your brush each time you load it. So if we were to put this down at 5% and let this put this back to dry just so you could really see it happening, you can see that I run out of paint pretty quickly, and if I go to E three, it's gonna last a little bit longer, but still it runs out, and if you go to 100%. It's going to act as if I have endless paints flowing out of my brush, and I never run out. Now mix mix is actually a little bit more difficult to understand, and you can't even have mix when you were. Paint is dry, and the reason for that is this, because mix is defining the paint that you are laying down as the percentage of the paint that is loaded on your brush. And how much of it is the paint that is on the canvas that you're painting on top of so, as we know, blew in yellow makes green. If I were to lay down some straight blue, let's make this dry so we just get appeared on saturated blue and I were to go on, grab a nice bright yellow and bring my mix up to 50%. What will you do expect to see is for this to be green, and that's exactly what it iss. It's because it's saying 50% of the color that I'm laying down is the yellow on my brush, and 50% of it is the blue that I'm going over on top of If I do it on the bread, it should come out orange, which it does and flow is simply how fast the paint is coming off of our paintbrush. So at 100% and again, let's put this down to zero so we can see it Holy in action, we can see we've got a fully saturated, completely opaque stroke. If we're take flow down to 10% or 9% you can see that now it is much lighter, much less saturated and less opaque. Think of it like transparency. Now that we understand what load, mix and flow, we can go on to learn how to use thes presets and what to expect from them. 7. 7 - Understanding the Mixer Brush Presets: Let's get started with the mixer brush presets. You can find those right here, and what they do is control a preset amount on the wet setting, load setting and mixed sitting. They're a great way to start out with learning the mixer brush and pretty much cover all of your basis. Um, and I often use them as a jumping off point to start micromanaging. You know where exactly I want thes settings to get the effect that I'm looking for. I do want to talk a little bit about how I have my documents set up. So right now what I have is these black and white boxes are on a transparent backgrounds and then on the background. I have this middle gray value, and that's important because actually, some of the settings of the mixer brush act quite differently. If you're painting on transparent than if you were painting on top of color, that's because you can think of it. That color is like active paint that's on the canvas and transparent is like completely blink canvas. Um, so because it does act differently, I'm going to have my pick up from all layers button selected here meaning. Let's treat this grey as if it's active color on my canvas right now. If I were to unclip that it would basically act like I had my canvas set up like this and any colors would be laid on top of the grey as if it didn't even exist. Okay, so let's get started with the presets here. So let's start with dry. Um, so we have a witness of zero and a load of 50% and ah, and then the mix is that is actually great out completely now. The reason for this is is that a witness of zero is referring to the paint that is on the canvas. What it means is that we've, you know, done some painting, and then we set our canvas out to dry, and we've let it dry, absolutely, completely bone dry before we picked it up again and started painting on it. And because of that mix is talking about the ratio of the paint from the canvas to the paint that we have in our paint bucket over here. And so if it's completely dry, we can't be picking any of it up. T mix in eso that's what we're talking about there. So this is gonna look pretty much like you. Expect it. Now, pay attention to the fact that the load is 50%. So what I'm gonna do is I'm gonna take my pen and just too nice. Wiped down. Now, as you can see, we've got a nice bright yellow. Doesn't appear to be mixing it all. It's covering the black paint completely, which is what we would expect now, as you can see what's happening as it is actually running out just about right there, that is because of the load. 50%. If we were to put this of higher, the line would go longer. If we were to put it lower, the line would go shorter. That's what we're gonna show right now. So here we're with a light load. See, it's a shorter line. And now heavy load. Heavy load is like you have endless paints coming off your brush. I am getting some serious like there. And I bet you it has to dio with that trade that again, Seafood. What's better? Oh, yeah. So be aware that when you have this selected, it puts a lot more strain on your processing power. I've been actually gonna keep that offer now, and we will make do all right. Amount of moist everyone's favorite word so moist is set at 10%. The load is at 5% and the mix is at 50% Now. I did want to point out that at the top level for each of these moist, wet and very wet, the mix is always 50%. When we go to light mix, that's gonna be a constant of 0% and heavy will be 100%. So that's what you can predict with these presets, so mixes up 50. Load is at 5% and witness is at 10%. See what happens when we drag on down and I'm gonna keep the flow at 100 now. What's interesting here is what you get is a little bit of a darker yellow, not as clean and bright as we have over here. That's because it's picking up 50% of the color that you placed down is being picked up by the paint that you already have down on the canvas because the witnesses, at 10% now remember, that's not the witness of the paint we have on our brush. That's the witness of the paint that is down on the canvas. So the black here is at 10%. Witness means we let it go dry almost all the way, but it still has some moisture to it, and the white is at 10% moisture and even the paint that we just put down the moment we put it down. Boom, that's now at 10% moistness and will act in the same way. Now what's interesting is right here as we go down from the black and to the white, you'll see that we just get a little tiny bit of drag. And if we were to go back up, you can see that we're just getting a little tiny bit of drag from the white up into black . And that's because this paint is almost dry. But it's what, enough to move just a little bit If we go to a light mix. What we can expect is a greater yellow, because we're not really gonna be picking up on the black as much still have a load of 5%. It's a little bit brighter But you can see that we still get that drag of the black down and of the white up as we change from black to white and heavy mix. Now this is an interesting one. Heavy mix means 100% of the color that you were painting with is coming from the canvas. So if I am scrambling around in the black, well, it's just but in black on black, and this is essentially putting white on white. But where it becomes interesting is if you again dragged down, drag up you're moving just a little bit of paint, which I rather like because it gives you some finite control. You can start to finesse and coax it up. That happened up sort of kind of drag it to get some really nice effects. Now, this is actually where the transparency comes into play. When you're on a completely transparent backgrounds, it actually will revert to painting with the paint that you have in the reservoir color because there's no paint to pick up from. So I think it just falls back onto whatever you have on your brush. Um, so if you were toe go up into here, you'd see that all of a sudden have got black, black, black, black, black And then boom kind of goes up into yellow. So that's something to keep in mind and something to definitely understand because it will probably flummoxed you. Just like it flummoxed me when I first discovered that. All right, let's back up a little bit here, so we'll have big mess on our campus. All right? What? Going to wet now? What is Ah, witness of 50%. So moist was 10. And now we're going all the way up to 50. And what that means again is that the paint on the canvas down here? The black and the whites are a little bit wetter. Um, we've let it drive for a little bit, but it still is gonna have a lot more movement to it. So let's see what that looks like. Our mixes at 50%. So we're gonna get that darker yellow coming down this way. Who says a little jacket, but you get the idea. You can see that it dragged. It's a little bit further. You come back up, you see that? It drives a little bit farther and light mix Well, we know what's gonna happen, right? It's gonna be about this this saturation of yellow. Um but we're gonna see colors get dragged a little bit farther as we go along and then heavy mix again. Nothing. But we just will move the paint that is already on the canvas around provided where? Not on a transparent layer film. And finally, we have very wet. So this means that the paint on the canvas is fully wet. So it's like we just laid it down and we're going to expect to see we still have that mix of 50% and we're gonna see him again, that darker yellow coming down and it's gonna drag nice and far form same on the way back up light mix stronger yellow, pushing that pain around even further and heavy mix and see how far the blackness down you can draw a straight line today, up and down. So here we have moist paint and that's actually me, uh, coaxing it well but farther. So let's look over here, just moves a little bit a little bit farther, a little bit farther and same. And the last thing that we're going to talk about is the wondrous Ault key, which brings a whole new dimension to using the mixer brush 8. 8 - The Wondrous Alt Key: Now that we know what all of the's items do up here, I would like to talk about the old key and how it can add a whole new dimension to using the mixer brush to create your art. Now, as you know, when you're using a regular brush, Uh, as in not the mixer brush in photo shop, you can use the old key too quickly. Switch to the eyedropper tool, which is really handy when you are going like this and going around. And he realized, like, Oh, I really want to use this shade of yellow again over here so we'll pick it up and I want to use this shade of green and where that becomes even more handy is when you have been mixing your colors up a little bit. Red and green don't always mix nicely. You know, I really like to mix colors with brush because it stirs to add some. I think some better textures in there so you can see now that I'm mixing these all up a little bit to kind of get some introduced some new colors into into this and now I can say , Oh, look like I really like this Deep warn should I've used And you can see over here that I've picked up that color using the old key. And that is really no different than using the standard for the shot brush alternately as we learned before. When you turn off the clean brush, toggle and paint into another color with the mixer brush, you get that pick up brush action like I showed you before. So right now the little snapshot that we have, which happened when we picked up our brush, was this blue field with a little bit of yellow and a little bit more blue. And if we were to strike with that, we get this lovely yet extremely subtle color variation that happens where the all key becomes really powerful with the mixer brush is under these options. Here, you see, load solid colors only Unq Lick that. And what you can do is actually grab a snapshot of the area that you were picking up and that becomes your reservoir. And I'm gonna put this down to dry so you can really get a good idea of what this is gonna look like. And let's bump up the size a little bit. I'm working on a 200% canvas right now, so things they're gonna be a little bit bigger. But there you can see how the red and the green on the snapshot of the mixer brush mixes together. I'm gonna get a little bit of a yellow on the blue. Now you see how it's kind of jumping like that. That's actually an attributes of the brush that amusing and you can go into your brush attributes here and this. It's the spacing that's doing that. So if you take that all the way down, you're going to get a smoother now. This is a pretty dramatic example. But you could make it very subtle, too, if I put my pressure sensitivity on in. Start to To that maybe at my witness that my mix a little bit You can start to see where you're gonna have some lovely interactions with your colors, and you could even bring it to a new level using these brushes like I was talking about before. Grab that little bit of area there. Now you'll see here that once I moved to the brush, it's actually grabbing a much larger area. And I found that when you are using an actual brush like these down here, it does seem to grab a larger area, and it's still acts in, you know, a similar way. It's it's I could see that you're getting the reds and the yellows, Um, but it's much more subtle I But what you can do is make your size much smaller to grab, and you can see there that it's filling up the whole area. But it doesn't tend to use up the whole square, and it's something that you just get a feeling for as you're using it. As you can see, this is actually coming out mostly red. But if I go up, you can see words pulling in some of the other colors. But if I were removed back over to this other brush, you'd see that again. And of course, it's going back to its default with the spacing, so you would have to once again move that down. I'm gonna go ahead and clean some of this out of here, looks a little funky, but it'll work, and I'm gonna show you just a fun little thing to Dio with the mixer brush, Hold key, pick up. And, um, and using that spacing option this is just a fun thing. And it really, really brings home the point of how how this is working. Okay, so we're gonna go ahead and pick up, okay? One thing I should mention is at this point now, you can actually turned the clean brush on, and, uh and you know, the load brushes, actually loading this pattern now it's not loading a single color anymore. It's actually loading the pattern every time. Let's go over to our brush attributes again, and I'm gonna show you something. That's kind of fun. To Dio is to bring the spacing way up there and let's turn off the pressure sensitivity. So we just get a solid thing. And here you can see that we get this fun pattern. And, uh, I always think this could be neat, cause you could potentially make an interesting little tiny mini landscape and pick it up and use it as a pattern. Definitely not what the intention waas. But I still think it's something fun that you could potentially dio. And if you turn this on pressure sensitivity, then you start to get the Hui like that. Now, the things that I was showing you here, we're pretty dramatic. But it's really good when you want to use it in a more subtle way. And I actually painted this pair before, so it kind of show you how using the old key to pick up patterns and get some gentle color variations can really help add some interest to your painting. I did use the okey extensively to pick up different patterns from the pair to create this sketch, and I can talk a little bit through about how I set that up. I just grab some colors that I thought I might want to use in my pair. Several different greens, a little bit of yellow. I actually have quite a bit of orange, and they're mixed in. Although you might not be able to tell, Sometimes it helps to turn the wet down to get, like, really pure color in There s so you get the idea. I just kept doing this and then what I often like to do is then turn the mix up 200 get them blended in a little Vegas of interest between them. And then I used the l key to grab some of those colors. Now again, with the brushes, you have to kind of go really small toe. Pick it up. There we go. It's nice. Then go big again to start painting it out often. When you painted out like this, you're not always going to get what you expect. Um, so sometimes I'll actually go back to kind of your standard brush used that. Look at that. You can see all the variations that are still happening in there, right? Your little pair. This is for my husband, who likes to make fun of me because I paint pairs incessantly. And, uh, he thinks it's rather hope areas that makes back up. This is where I might head over to the other brush. And basically, this is like just a lot of a lot of this kind of back and forth, um, pulling in new colors, using the mixer brush to get some nice variation of color and line, and, uh, and then blending it all out again and on and on until have my little Paris catch done. And that is what I like to call the wonder. Result key. And that's that. Thank you so much for taking the time to take my mixer brush tutorial. I hope you found it informative and that it gives you the confidence you need to go off and make your own artwork. Using photo shops mix of Rush. I have included three bonus videos, demonstrations of me actually using the mixer brush to create artwork. And I hope you find that useful as well. Please put any projects into the project area of what you create using the mixer brush. I cannot wait to see them. Thank you. 9. Demo painting from scratch: Now that you've learned the ins and outs of the mixer brush, I thought it might be fun. Just do a little bit of a painting demo. So I'm starting off this painting with just some blocks of color, because what you have in the background will actually affect your final product in interesting and unpredictable ways. And I actually like that. I'm not one of those people who has to control every minute aspect of my painting. I enjoy happy accidents, and I will actively try to promote them in interesting ways. Now I'm going to be choosing my brush, and I want to get a brush. Has a nice painterly effect. So the length is good, nice and long. The stiffness is is good. Let's test that out and see what it looks like. And it looks pretty cool, actually, but I do want a little bit more texture and happy with that, um used the history to go back from the beginning because those were test strokes. This to see the brush. Now I'm putting my mix up at 100% and moving up the wet so the paint will move a little bit , making my brush tiny. I like to start with the mix at 100%. And the reason is I'm used to taking advantage of the colors I've already laid down to kind of block out, Uh, the I that I'm painting here. I love painting eyes. They're fun and relaxing to Dio, and by the time you're done with the with the exercise, it's a great warm up exercise. You're definitely in tune with the nuances of the mixer brush. You'll see here, too, that I tend to go for a very subtle, um, response from the mixer brush. I do this because I would rather build up my effects on by paint rather than, um, you know, start out strong and then try to fix it from there, although I do sometimes do that as well. But generally I kind of liked to coax it along, Um, ends and kind of go over a stroke over and over again. Zuman inherited Stir, adding some more detail. I'm just doing this, I up out of my head, and now I'm going to start putting in some of the wild colors of the IRS. I like to make psychedelic eyes. You'll see that I put many colors in here and to avoid having you sit here and listen to me and watch me for the next 20 minutes, I'm gonna go ahead and put on some music. So enjoy way . Ah, way, way, way, way. 10. Demo: Photo to Painting: okay. I thought I might do a little photo demo to show you how you might look at turning a photograph into ah, digital painting. So here's a photograph that I took of one of my favorite flowers instead of doing the all layers thing, which you're perfectly welcome to Dio, it's my computer. It just chokes on it a little bit. So I'm just gonna make a copy of the background and do it straight onto the background and not worry about that. I don't want to introduce any color into this, so I'm gonna make sure that my mixes at 100 I'm gonna do wet at 100 to so that I kind of get maximum smeary nous and moving, moving the colors around for my brush. Um, I kind of prepared this brush ahead of time. It took me quite a while to get the kind of look that I was going to do it so it might take some experimentation on your part ticket. A look that you really like. But this was working pretty well for me when I was testing it out before the important thing. You know, the difference that you're going, Teoh. See, between a painting and a photograph is the level of detail. Now, of course, there are some people who do photo realistic paintings. But that's kind of not what we're going for here. You know, we're going for a little bit more of a broad stroke painterly effect, which means you're gonna want to kind of get rid of these crisp edges. Get rid of these details kind of even out the tones that are happening, and you can start kind of wherever you want. But I'm I'm going to just start pulling in, uh, going around those edges and going up and down, pulling the dark color up the white color down and you can see already that that looks a lot more painterly, like it ven it'd before. I probably just continue doing the same thing. Now, remember, I'm not. This is not how it normally used the mixer brush. So this is the third time that I've ever done this. The 1st 1 was on the duck. I am. The second time was a few minutes ago to test this out and find a brush that I liked. And here we are a time number three. You know, I'm sure that somebody who really wanted to master this technique that could really do a nice job, And I'd love to see what some of you guys come up with. So I'm just gonna go ahead and keep going on and probably fast forward this videos. You want to sit through 10 minutes of smearing colors around? 11. Demo: Fixing Imperfections: now going to show you how I use the mixer brush to make corrections. I talked about this a little bit in the first video. How I had taken this watercolor elephants that I painted years ago. And for some inexplicable reason, I added all these crazy lines which clearly did not really work out very well and using the mixer brush to to erase the lines. It's actually quite effective. So I'm just gonna go ahead and work a little bit on that today and show you how that can be done. I really like zooming in as much detail as possible. I have my mix at 100 my wet at 98. Um, amusing this brush right here again. It's just one of those things where you're gonna wanna experiment and see which brushes gonna work work best. But basically, what you could do is just kind of moved the the colors around with your mix it 100% because it saying who only used the colors that are actually actively on the canvas, and, uh and then I can just kind of screw ants with source Great for these blocks of color that I've got going on and you can kind of follow the line down. But then when you get into a new color, block helps to kind of go from scientist side. - And there you have it. I just got rid of quite a few lines in just a few minutes as you can see thistles that 100% . It's actually kind of a small image that I'm working with, and you probably didn't notice as I was working in really close. That was kind of getting a little blurry. See, you could see where I did the work, but when you back out to 100% it doesn't not really losing a whole lot of information due to the style of it being a watercolor. And ah, and I could definitely use the same effect kind of throughout the whole thing. Um, if I wanted to make the texture more consistent, but to be honest at this level, I think that it it works out okay, and that wouldn't necessarily be necessary to make it look like a finished product