Here's the way I usually draw fur in Photoshop. You'll find that it's actually quite easy, but it will require patience if you want the fur to look realistic.

Step 1 – I’m used to using a 1-2 pixel brush, drawing every hair... but you understand that this takes a lot of time.

Make a brush consisting of several dots of different sizes. The size of the toner depends on the size and resolution of your work. Also make sure there are not too many dots, otherwise the texture will be too noticeable due to repetition. When you have made the brush, set spacing to “1” in the brushes menu. I use several brushes, here is an example of two of them.

Step 2 – Make the base layer a neutral color, the base color a little darker and start painting with short strokes. Don't worry if it turns out a little sloppy.

Step 3 – More light color draw more strokes on top. Fur is actually made up of many different colors. You may look at your dog and think “brown,” but take a closer look and you will see many shades. Also remember that the fur is unlikely to be clearly straight, so make the lines curved.

Step 4 – At this stage I painted more dark fur in the background and light fur in the foreground. I copied it from my cat - he has a white “patch” of fur under his chin. I also added some gold strokes over the dark area to add some highlights:

Step 5 - Great... we have a good base ready, we can continue to work and highlight some individual hairs. At this stage I touch up the sloppy areas of the base to achieve realism. Using a small round brush, paint in individual hairs. You can smudge them a little using the Smudge Tool – Finger. Usually the fur lies in layers, so draw shadow in some places.

Before you start drawing, do some research. There are many types of fur in nature, so try to find out what makes them unique. In order to have an idea of ​​what the fur looks like in the photo, you can check out the photos of cats at http://kotemot.com/gallery/photo/. Copy some photos or find a live subject to practice with. When you draw sketches, try to mark which animal the fur belongs to, as well as what features it has.

I recommend having a sketchbook just for sketching. Sometimes, being an artist, a person is very involved in creating finished works, and he doesn't waste any time on exercise. Sketching regularly will keep you fit and is a fun and relaxing pastime.

Some basics

Now for some basic tips. The figure shows a rough model of the direction of hair growth on a generalized model of a representative of the wolf family. The fur usually “flows” from the front of the animal to the back. Note the curved lines: this doesn't necessarily mean that the fur itself is wavy, but rather to show that the fur is located in 3D space. Using curved lines to depict fur will make the drawing look three-dimensional. Using straight lines will make the image look flat, so be careful. In addition to the above, I note that the direction of the fur, its length and thickness also vary depending on the part of the body.

Here's another sketch, a simplified model that shows how fur length varies. Every animal is different, so try studying different animals to understand the unique fur distribution. Accordingly, varying the fur length and thickness will add a greater degree of realism to your work.

Do's and Don'ts

Here are a few things to avoid if you want to create realistic fur.
Obviously, there's no such thing as a wrong way to draw it, so if you want to style fur in these ways, go ahead!

Don't do that, whatever it is. I carelessly created this “box of pencils” when I did the last lesson. The fur looks too monotonous and waxy.

Use soft lines and brushes, as well as curved strokes.

Don't make the fur look like teddy bear fur! This is what happens if you draw the hair the same length and in the same direction, as if someone has combed it.

Alternate the length of the strokes and their direction. Real fur is a little disheveled!

Don't trace the fur. This might look pretty cool in comics, but it's not ideal for realism.

Instead of drawing an outline, try to create smooth transitions.

Be a critic!

Evaluate work with a critical eye. What's good and bad about work? Seeing the stages of someone else's work can help you identify your strengths and weaknesses. It happens that we do not realize what we are doing until we see how someone else does it.

Lighting

Ultimately, lighting is what determines how realistic your work will be. Make sure you decide where the light source (or light sources) will be before detailing the fur.

Once you determine the lighting, you will want to figure out what effect that light will have on it. On sunlight the fur will have bright highlights. If the light source is behind the animal, the fur around the edges of the figure will be illuminated. And very bright light will “extinguish” details in illuminated areas and emphasize them in the shadows.

Technique

This tutorial is aimed at Photoshop users, so the tools and settings mentioned may not be the same or available at all in other programs. But no matter what program you use, these techniques should be feasible with whatever options and tools you have.

This lesson was also created using a tablet. It will be very difficult to recreate such a result without having it.

Brushes

There are no special brushes. They are all standard.

-Hard Round 25 Fading

Take a regular 25 px hard round brush. Next, in the Brushes menu, click on “Other Dynamics” and set the Flow jitter to the Pen Pressure control mode in the drop-down menu.

-Hard Round 5 pixels

A standard 5px hard brush. Doesn't need changing.

-Airbrush Detail

Open Photoshop's Standard Brushes and scroll down until you see Soft Brushes. Select one of them, set the size to at least 60 pixels. Open the Brushes menu, click on “Shape dynamics” and set the control mode to Pen Pressure (meaning Size jitter), then click on “Other Dynamics” and also set the Flow jitter and Opacity jitter to the control mode Pen Pressure.

Short hair.

Below is a method of drawing short hair, which will be ideal for representatives of the wolf family. Many animals have this type of fur, but it is not a solid color; all hairs differ in shade and brightness.

1) Start by applying a base color to the area where the fur will be located. Try to mix several colors so that it doesn't look monotonous.

2) Then use a 25px brush to define the direction of the fur. Paint with soft, short strokes.

3) Now let's start adding more color to the hairs. Continue using the 25px brush and select 1-2 colors to introduce the fur. I choose one color a little darker than the base color, and the other is not only darker than the base color, but also less bright (more gray). On the left side I make the fur shorter, and on the right longer, so I add more dark strokes on the left side, because if the length of the animal's fur changes, its color also changes.

4) Now you can switch to a 5 pixel brush for detailing. Choose a color slightly lighter than the base color. From this moment more intensive work will begin, as you will apply small short strokes over the entire area, drawing each hair. It seems tiring, but once it becomes a habit, the movement will become instinctive. Go over the entire area: short strokes for short fur and long strokes for long fur. Once you've completed this step, the fur will look pretty good and you can stop at this stage, but if you want to add even more depth to the image, you'll have to add even more changes.

5) Now you need to choose a color even darker than it was the darkest up to this point and a color even lighter than what was the lightest up to this point. Use short strokes to add dark color, go as freely as you like. There is no specific formula for this step, draw as you see fit. For application light color Use long strokes and wriggle your hand a little so your lines look slightly wavy.

6) Here you see the final result. All I did at this stage was create a new layer above in Overlay mode and use soft brush to add more shades.

For the following examples I do not provide a detailed description of the process, but essentially it is exactly the same.

Smooth/shiny fur: Basic colors, shadows and short hairs, the most shiny areas, adding more intense shadows, details.

Heavy, lumpy fur: Base colors, shadows around clumps, highlights, darkened shadows, details.

Fur with patterns: Applying “flat” colors, applying shadows and highlights in Overlay mode, general details, small details, adjustments.

Long wool

Now about the long fur. To avoid repetition in the future: for short hair we use short strokes, and for long hair, respectively, long strokes. Remember that most animals have different lengths and textures of fur on different parts of their bodies. The technique of drawing long hair is ideal for depicting manes, tails and simply long tufts of hair. Try to combine this technique with the one described above.

1) Just like when drawing short fur, start by applying the base colors.

2) Use the eyedropper tool to grab the colors from the base layer and use them to start defining the “flow” of the fur (using a 25px brush). Draw with curving lines to show that the fur gradually widens downward. At this stage I also added some shadows at the bottom to give it a more round shape(always determine the location of the shadows before drawing the fur).

3) It becomes a little more difficult to explain further. Choose a color much darker than the base color and, still using the 25px brush, apply it to the areas where the fur seems isolated. These are the areas between the hairballs. Use an eyedropper to grab a base color and paint clumps of fur hanging over the darkened area.

4) Now use a 5 pixel brush for detailing. Choose a color lighter than the base color and start drawing in small hairs. Start with short hairs on a short section of fur, then gradually make the strokes longer and longer. Try not to add a lot of detail to the shadow areas between the lumps that you outlined in the previous step, as light will not reach there.

5) Then choose a color lighter than the lightest and darker than the darkest. Now use this dark color to make very soft strokes in the area between the tufts of fur. Using the lightest color, casually draw in the hairs that catch the light. To make them look more natural, they should be a little wavy and tousled.

6) The sixth step shows the final result. To achieve this, enrich your color palette by painting on a layer in Overlay mode. If you want the edges to be fluffy, go around them with an eraser.

Messy Fur: Base colors (darker colors where the fur is unkempt), painting strands with a light base color, overlapping strands underneath, detailing with a lighter color, adding clumps with a 25px brush.

Coarse textured fur: Basic colors applied speckled, indicating the direction of fur, highlighting individual strands, applying careless strokes with varying colors and black strands, highlights.

Thick fur: Base colors, furball outlines, shadows, highlights worked in with a detail brush, softening the image with a large fade brush, and adding highlights.

Very often we see completely unimaginable, captivating our attention, very beautiful, cute creatures that he drew talented artist. Their fur or eyes or other parts of the body look very, very realistic; it seems to us that it is not at all possible to do the same. But we are trying, we are learning, and in this lesson let’s try to repeat drawing a very funny fantastic creature with fluffy fur!

IN this lesson we will use the version Adobe Photoshop CS6.

This is what we should get in the end:

So, in this Photoshop tutorial, we will concentrate and look at how to create a cute furry character in Photoshop, which, for example, is found in cartoons. Let's get started!

For the lesson we will need (registration required):

1. Fur image ( registration)
2. Gravel Image()

Step 1

If you decide to create a bizarre creature, then start with a sketch to find the optimal shapes and proportions, this is always in a good way get something interesting and fun, and it will also be the starting point to get the basis for your final creation.

Step 2

As soon as we decide on our idea to embody a cartoon furry character, we will immediately begin to create. Open a new document and fill it with bright orange, I usually start with the eyes, for me they are the center of the character, in them you can find a reflection of his personality. Why are they asymmetrical? The answer to this question is simple - this is my personal preference, I prefer to draw eyes in this likeness for my characters. So, first draw two circular selections using the Elliptical Marquee Tool (M), create a new layer, calling it “Eyes Base” and fill the selection with white, then apply the Drop Shadow property in the Layer Style as shown in the picture.

Step 3

Now let's create an iris for our furry creature, to save time let's draw one eye for him and then later copy and paste it into the other eye. Draw a circle using the Elliptical Marquee Tool (M) in the middle white circle, create a new layer “Right Iris” with default settings, and fill this selection with blue. To make it concave, create a new layer “Concave Shadow”, set its Blending Mode to Overlay and Opacity to 100% and apply a black to transparent gradient as shown in the image.

Step 4

For the texture of the iris, you will need to create a special brush, which will later be useful for the fur as well. Hide the previous layers that we created before, create one new one, and using Pen Tool(P) create vertical line, then using the Convert Point Tool, bend it as shown. Now in the Brush Presets palette select Flat Point Medium Stiff, then go to the Path Tab -> Stroke Path, make sure Simulate Pressure is checked, play around with the brush sizes to get fine lines with degraded edges. Now go to the Edit -> Define Brush Preset menu and save the shape as a fur brush or whatever you want, it doesn’t matter.

Step 5

Once we have created the brush, then it’s time to configure its parameters. Go to Brush Settings (F5) and on the Brush Tip Shape tab we adjust the interval between the slider, and on the Shape Dynamics tab we set up the controls as shown below, play with them doing a few tests until you get the required behavior to draw the radial texture of the iris. Create a new layer “Iris Texture” place it below the “Cavity Shadow” layer, set the blending mode to Soft Light and opacity to 100%, select black color and draw the texture, and then use the Smudge Tool to make a small transformation to make it look like a little messy (wrong).

Step 6

Repeat the same operation as before, but this time selecting white, on a new layer “Texture Iris White”. Set its Blending Mode to Soft Light and Opacity to 100%. This is necessary to lighten the area of ​​the opposite shadow, so apply a layer mask to hide the top right corner of the layer.

The iris tends to have a darker area at the edge, so create a new “Iris Stroke” layer, set its Blending Mode to Multiply and Opacity to 60%. Use the Wand Tool (W) to select the shape of the iris and go to Edit -> Stroke, select Inside Location and make a 4 px stroke using the Smudge Tool, smudge it a little to integrate it better into the texture.

Step 7

The iris still doesn't look concave enough, so duplicate the "Iris Shadow" layer and set the Blending Mode to Multiply and the Opacity to 90%. This will give us a deeper finish.

Now it's time for the light. Create a new layer “Concave Light 1″, set its Blending Mode to Luminosity and leave the Opacity at 100%. On it, draw a white ring, which should be smaller than the diameter of the iris. Use a soft round brush to do this with low opacity. Then create another layer “Concave Light 2”, set its Blending Mode to Lighten and Opacity to 57%, add light to the bottom with some extra white strokes, and use the Smudge Tool to simulate the surface of the iris.

Step 8

Next, draw the pupil. Create a new layer “Pupil”, leave the layer settings as default, and draw a black dot, placing it in the center of the iris. Use the Smudge Tool to make the edges a little worse. Now we'll add a final reflection for the eye. Create a new layer “Retina Brightness”, leave the layer settings as default. Draw white dot in the upper right corner, and smudge the edges a little with the Smudge Tool. To simulate the reflection, we will also draw and smudge a blue and orange outline in the lower left corner to make the blue light reflect and the surrounding hair orange.

Step 9

The last effect will reflect the horizon on the surface. To do this, create a new layer “Horizon Reflection”, set its Blending Mode to Soft Light and Opacity to 20%, draw irregular lines in the center of the eye with black and fill the rest to the bottom. Now apply a layer mask to hide the part painted on the outside.

Step 10

By merging all the visible layers that were used to draw the eyes, except for the “Eyes Base” layer, we will end up with a layer that we will call “Right Eye”, duplicate it and rename the resulting layer “Left Eye”. Go to Edit -> Transform -> Scale to resize the left eye. Using the Move Tool (V) move it to the desired location. Merge all layers with eyes.

Step 11

The eyes of our cool funny creature are finished and now it's time to work on his body. Create a new layer above the “Orange Background” layer, select a soft round brush, select black color, and start drawing the body shape of the furry character. You don't need to be very precise, just sketch out the basic shapes. Now go to Filter -> Liquify and use the Forward Warp Tool (W) to adjust the shapes such as the arms, legs, cheeks and head.

Step 12

Now we will add details to the edges, to do this, first use the Smudge Tool and a Hard Round Pressure Size, start making larger tufts of hair. Adjust the brush size during the process to get best results. Fur with more varied tufts looks more realistic. Also change the direction and angle of the stroke.

In the next step, use a 14px Spatter brush. This brush gives a more variable effect. Again, vary the size and angle to achieve better results. Use small size brushes to create fine hairs, and then the Smudge Tool to create curls.

Step 13

Next, we'll add the eyebrows. With them, our furry cartoon character will look even funnier. Create a new layer “Eyebrows” on top of the eye layers, make a rectangular selection above the eyes with the Rectangular Marquee Tool (M) and fill it with orange. Then apply Layer Style, Drop Shadow and set the parameters as shown in the image. Using the Smudge Tool again and the Spatter brush at 14px create some hair. Since the layer has a shadow, each stroke we make will project its own shadow, giving us the effect of depth.

Step 14

Using the fur image downloaded from the link, we will lay the foundation for our character's fur. Start selecting areas of fur in the picture with the Polygonal Lasso Tool, then copy and paste them to create different layers of fur. Once you transfer the selected fur to a new layer, move or rotate it according to the right direction hair. The arrows in the picture show how the hair should be positioned on the body, head and tops. In some cases it is necessary to use the Warp Tool Transform to fix them.

Step 15

Now we will “glue” each tuft of hair of the furry creature, first of all, set the blending mode of each layer so that they are all Multiply and with Opacity 100%. Apply a mask to each layer and use the Smudge Tool with a 14px Spatter brush to merge adjacent hairs. Follow the direction of hair growth to avoid large cuts. Setting the pressure during the process will give you better results. Remember that we are not painters, we are simply making it possible to see the layer underneath using the transparency of the layer mask, so to complete the process in some areas you will need to paint on the layer mask with black or white to show or hide some of the hair.

Once we've mixed everything and made adjustments in the mask layers, merge all the layers, set the blending mode to Multiply, and go to Filter -> Sharpen -> Smart Sharpen and sharpen at 50%.

Step 16

Our furry funny character needs his mouth adjusted. To fully express it, create a new layer “Mouth”, set its blending mode to Multiply and Opacity 100%, select a round brush, set its size to about 3 pixels and draw a line of the mouth, then use the Smudge Tool to disturb the stroke a little to imitate the surrounding hair. We still have a body without volume. To fix this, create two more layers, set their blending mode and opacity as shown in the image. Now we will paint shadows to reveal shapes such as hands, chin, eye sockets and so on, using black and playing with the Opacity.

Step 17

On next step we will add a side blue light that will enrich our color palette. Create a new layer “Blue Light” and set the Blending Mode to Color. Leave the opacity at 100%, select a soft round brush and draw an outline on the left side of the character. Then use the Smudge Tool and a 14px Spatter Brush to adjust the outline to match the hair texture.

Step 18

Now begins the stage where we will finish finishing our fluffy's fur over the base we created from real picture fur. Select the brush we created in step 4, go to the Brush Setting Palette (F5) where we will play with the various brush tip shape controls. Firstly, the size of the brush to get different sizes of hair, depending on what part of the body it is, it will be longer or shorter. Another setting is the angle adjustment, you will need to adjust it according to the direction of hair growth, as we already did in step 14. And finally, the Spacing setting to adjust the hairs, on exposed areas such as the stomach, the hair will be more scattered, and on the cheeks should be closer to each other.

Step 19

With the Shape Dynamics brush settings we will have more control over the contours of the hair. Adjust the Angle Jitter to create tousled hair, and the Roundness Jitter to create more waviness. Let's have fun with our hair.

Step 20

The fur of the funny creature will be based on two layers, “Orange Fur”, where we will use light orange, than the main orange color of the body, and the “White Fur” layer, where we will paint the white hairs, in normal mode and 100% Opacity. The white fur should be on an orange layer of fur. As you can see in the image below, don't try to paint over all the body hair, just add some hair in some areas which will help give a more realistic finish. We'll add an additional layer of Under Eyebrows Fur where we'll draw in some dark orange hair outlines to get more shadows in that area.

Step 21

For the white tufts of our creature's fur that go from the chin to the chest, we will use a piece of fur from our real picture. Using the Lasso Tool (L) or Elliptical Marquee Tool (M) make a selection of the wisp, then copy and paste it onto a new layer “White Wisp”, leave the blending mode Normal and set the opacity to 75%. Apply a layer mask and hide the unwanted hair. Now, to give it a white tint, go to Image -> Adjust -> Levels and adjust the right slider for Lightness.

Step 22

To curl the hair a little more and make some adjustments, use the Smudge Tool with a high Strength value.

Step 23

Having reached this point, let's lighten the black eyes a little, to do this, create a new layer “Shiners Correction”, leave the blending mode to Normal, and set the opacity to 25%. Now with the brush we set up earlier, let's draw the outlines of the hair with an orange body color around the eyes.

Step 24

Now, let's look at the background for our funny creature. We need to go down the layer tree to create a new layer above the “Body Shape” layer. Name it “Background Blue Light”, leave the Blending Mode at Normal and set the Opacity to 35%. Then using the Body Shape layer, make a selection of the body with the Wand Tool (W) and then create a Layer Mask to isolate the body from the background. Take medium saturation blue and apply a gradient from top to bottom from blue to transparent using the Gradient Tool (G).

Step 25

Next, create a new layer “White Spotlight”, set the Blending Mode to Soft Light and 75% Opacity, copy and paste the Layer Mask we created in the previous step to isolate the character's body again. Select the Brush Tool (B) and use a soft round brush to paint a white dot large enough to highlight the character.

Step 26

To create the soil, use the gravel image from the link and import it onto a new “Soil” layer. Leave the settings in Blending Mode – Normal and Opacity at 100% and go to Edit -> Transform -> Perspective and adjust it according to the position of our furry character. Now, use the Elliptical Marquee Tool (M) to make an oval selection of the area of ​​soil that we want to show, then go to Select -> Refine Edge and adjust the Feather Edge to 15px. Finally, apply a layer mask. To hide the part of the soil that overlaps the legs, go to the “Body Shape” layer and make a selection with the Wand Tool (W). Select the Paint Bucket Tool (G) and fill it with black on the layer mask.

Step 27

To balance out the surrounding color on the soil, create a new “Soil Blue Tint” layer, set its Blend Mode to Color and Opacity to 35%, and fill it with the same blue color we used in the previous gradient.

Step 28

Finally, you need to draw the shadow of a funny furry creature above the soil. Create a new layer “Character Shadow”, set its Blending Mode to Multiply and 71% Opacity, select the Brush Tool (B) with a soft round brush and black color and paint a shadow.

Step 29

We are done with our funny cartoon furry character and background. Add some vignetting at the end. Go to Filter -> Lens Correction and apply the following settings.

Step 30

To make our image of the cool furry character a little sharper, go to Filter -> Sharpen -> Smart Sharpen and apply the following settings.

Conclusion

To complete our image of a funny creature, glue all the layers together. I prefer to duplicate them first and keep copies of the originals. On the resulting layer, make several adjustments: Image -> Adjustments -> Levels to increase the contrast. I hope that you were able to complete this Photoshop tutorial, and you were able to create the funny creature that we looked at, or maybe you created something better!

Hello and welcome to my lesson, although this is more like a superficial analysis of a drawing with useful tips. In any case, I hope it helps you. For this tutorial you will need basic knowledge of Photoshop (or other graphic editor which you are using).

This technique can be used with the same success in traditional drawing; I use it in conjunction with pencils and watercolors.

I don't use any ready-made fur brushes and I don't use the Dodge or Burn tool.

As a basis, I took a ready-made image of the dog on the left and quick sketch piece of wool on the right. This is where it all begins.

1. BASIC COLORS

Just apply the base colors of the character/object!

Advice: To achieve a softer blur using the Smudge tool, in the brush settings, check the box next to Scattering.

2. LAYER WITH SHADOWS

Add a new layer in Multiply mode and add shadows according to the light source.

Advice: Try other layer blending modes, maybe they will work better for some cases. Don't use just one color for shading, and it should never be black. If you already have a ready-made background, you can pick a color from there.

3. LAYER WITH LIGHT

Add another new layer on top of the previous one, set the blending mode to Overlay (Overlay) or Soft light (Soft Light) and apply light spots.

Advice: Again, try different blend modes and settings! You can also use multiple modes in different settings, rather than just one.

4. DARK DETAILS

This step is actually drawing the fur itself. Create a new layer in normal mode and just start painting! :) Try to achieve as natural a look as possible, don't make everything too symmetrical or "perfect". Brush it back and forth!

It's very good if you keep the palette next to the drawing! You can select and change colors in the drawing itself.

This is how this layer will look with the shadow and light layers turned off.

You can also change the color of what you drew and blend it even further with the background by locking the layer.

Advice: Don't be afraid to use photo samples to get an idea of ​​what real wool looks like! At this stage, you can also use the Eraser and Smudge tool to make the brush strokes softer and blend.

5. LIGHT DETAILS

For me personally, this is my favorite part! Time to “fill in the voids” on the dark coat. We take a color slightly lighter than wool, but not too bright; the goal is to mix colors. All this, again, is done on a separate layer (in Normal mode).

Advice: Work over the entire area of ​​the fur, drawing light tufts of fur everywhere!

See that piece of fur circled? You need to fill it not like (1)… but a little softer, like here (2)! On darker areas (where the fur is closest to the skin), make the brush strokes less clear, or erase a little with the Eraser.

6. FINAL TOUCHES: LIGHT AND SHADOWS

Here we repeat steps 2 and 3 on new layers on top of all the others, resulting in more realistic voluminous fur. We'll use the same settings, but you can try different layer blending modes if you want!

Thank you for your attention! I hope this lesson helps you at least a little. If you have any questions, write in the comments :)

NOTE:

Initial sketch

HELLO FRIENDS!

1 To begin with, we need to draw a tedious brush that would convey the desired texture of the drawn
object. Everything is very simple, for splashes these are droplets, for foliage they are leaves, for wool they are hairs.
With light strokes of the simplest brush we draw a few hairs.
2 You need to draw a few of the desired hairs on a separate empty layer, select them (Select),
and in Edit create a new brush - Edit / Define Brush Preser. Changing the pressure accordingly
pens on the tablet, we get hairs of different sizes even with one stroke.
But this is not a completely finished brush. You need to configure it.
3 After that, in Brushes (brush settings) with the Shape Dynamic settings base, add brushes
all sorts of variety, I publish the settings of this particular brush, but I assure you that after sitting
an hour and just playing with the settings, you will discover a lot of new and interesting things and
create your own settings, better than mine, in the future the brush can be saved to a directory
Your brushes.
4 By changing the shape and direction you can achieve even finer settings.
5 Of course, you can’t go past the Color Dynamic color mixer, which will give your brush
interesting color scheme.
6 Color Dynamic is especially helpful when drawing elements with complex colors
for example foliage.
7 Actually, by using such a brush we get this woolly effect
8 And by creating such droplets we get splashes, for example from a scooter, etc., etc.

The main thing is not to be afraid to experiment and try. There are a lot of different settings there
don't get carried away, spend a few hours in practice studying them, changing them and trying different ones
functions and their combinations. I hope this simple advice will be useful to many.

UNDOUBTEDLY! After any automatic application of the brush, to bring the work to
For full condition, you MUST add the necessary strokes and strokes with a simple brush.

Forgive me, I don’t have any time and I won’t respond to comments much. If there is
ask me specific questions