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In this video, we are going to take a look at the medium of gouache. What is gouache? Gouache is basically an opaque watercolor and it's used a lot by commercial artists for things like posters, illustrations, comics, a lot of different types of design work, and it's used in fine art as well. But the principle aspect of it is that it's an opaque color medium as opposed to one that is transparent. And we are specifically going to take a look what's in the Gouache category at a dab type that it uses and that is the Continuous Stroke, and within that we are going to look at Camel Hair.
So let's go ahead, take a look at Gouache. So I am going down to the Gouache category, and we are going to be looking at the Fine Round Gouache 30. And if we go over to the General palette, I want to show you this. The Dab Type here is Camel Hair. And this is completely different than the dab type we looked at in Acrylics where that's actual individual dabs that are closely spaced together, so that you get the appearance of a continuum of overlapping dabs to make the illusion of a single brush stroke.
With the continuous brush stroke, these actually are continual brush strokes, there is no real dab. It's actually a bunch of anti-aliased one-pixel lines that make up all the individual hairs that are the brush bundle of these continuous strokes. And there are several of the dab types that use this technology. The Camel Hair is one, and that's the one we are going to be looking at. But also the Flat, which is the same brush. It's just, instead of circular, it's an elliptical shaped brush. Then you get the Palette Knife, the Bristle Spray, and the Airbrush. These all are continuous strokes and as such they use the same controls that we will be looking at when we are adjusting the Camel Hair brush.
But I just want you to be aware of what looks like lots of different types in here, really they are bundled together. The whole group of these actually makeup this one category known as the continuous stroke. So let's take a look at it. And I am going to go ahead and just draw a sample stroke or two here, and right now, you can just start to see that there's some hairs within these bundles but it's very dense. So what we want to play with here is how do we adjust the density of the bundle of brushes, and that's done in the Size palette, and where this is typically grayed out with dab types that are overlapping dabs, all of a sudden we now have this Feature slider that's available to us.
And I am going to go ahead and I am going to turn it up to a higher number and let's see what happens. See now how it's a much more sparse bundle of hairs and let's go back and do our stroke test that we want to do here. So I'm going to take advantage of the same stroke I was using earlier, there it is. So now as I start to go through and make adjustments, I can watch what happens here. So let's just try turning Feature size down a bit. See how the hairs are now getting more dense? As I keep taking this down you see what happens is as Feature size decreases, the number of hairs within a brush increase.
So this is also another performance issue. You can get this down to some very small number and I even saw it right there, it took it longer to draw that stroke. If I were to try to draw this stroke by hand it would lag and be very slow. So, what you have to do on various systems because of the performance level of the processor in a specific system, Feature size may have to be adjusted upwards or downwards. And again, that's what I call the sweet spot. So when you're making brush adjustments, you sometimes have to sacrifice the absolute look of hairs that you'd want in a bundle for a brush that is performing adequately.
And so there's always going to be some sweet spot in here but I always find, I actually like this brush with some available air in between the brush strokes. So I am going to turn this up a little bit more. And now I am getting a nice distribution but I am going to show you another characteristic that we can enter into this, and just so we can see this I am going to go ahead and Select All > Delete. And let's go through one other change here, and that is in the Random palette. So I am going to open that one up as well. We are going to play with Jitter.
And watch what Jitter does. Let's put our sample up here. Now I am going to turn this up to some high number, like around 1. Oh, look at that. Now that is really wild. What it's doing is its really taking these individual lines and randomizing them but because they are continuous lines, they will always stay connected. But you can see what happens as we get an overabundance of randomness. Now, for some brushes, this actually may be a desirable characteristic, but for my brush I want it to look more realistic, so I am going to turn this down and just try it again.
Now see I am still getting quite a bit of randomness in there, so I am going to keep turning it down. Even that's quite a bit. So now I am going to really refine it down, and take it somewhere below about a 6th or 8th, so let's see what we get there. Now I'm almost not seeing it. Let's take it up one more, there. Now there's a little bit of what I call Analog Glow being introduced into this brush, rather than it being perfect, there's just some randomness being introduced into it. So let's go ahead and turn off the Stroke Playback and Select All > Delete.
And see now I get a brush that has some randomness in the hair but not necessarily too much. That might be a little bit much. So I will make another refinement, take it down a little bit, there. Now I am getting a brush that I like the way it looks. Another characteristic of the way Jitter works, notice if I draw real fast, there's not much change in that line whereas when you draw slow, it has more time to do the Jitter effect. And so it's also based on kind of how fast you draw as well.
So you've got the characteristic of both being able to adjust the Feature size of a brush as well as Jitter to play around with how you get a variable characteristic into the brush hair bundle that you're working with when you work with continuous stroke brushes. So now you've got both static dabs and continuous strokes under your belt. You're starting to now see how the different types of dabs have different effects in the way they look. And it's all of these different dab types that really give Painter the wide expressibility that it has.
So now that you are starting to learn how to adjust these, you are going to start to see that you can customize these variants so that you're not using just the plain vanilla ones that came with Painter, but you are starting to add your own flavor into these brushes.
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