Docs Drawing & painting

Brush tips & paper

The shapes a brush stamps down and the paper texture it can pick up, both set on the Texture tab of Brush Studio.

A brush paints by stamping a tip along your stroke, over and over, at the spacing you set in Brush Studio. What that tip looks like, and whether the stroke picks up a paper texture as it goes, are both set on one tab: Brush Studio ▸ Texture.

Nozzles

The tips a brush uses are called its nozzles, and they sit in a strip at the top of the tab. Add opens the tip library, a grid of thumbnails you hover for a name and click to take; Remove drops the selected one.

A brush with no nozzle at all is the round procedural tip, and that is the state where Hardness and Shape in General mean something: they are the procedural tip's own edge and roundness. Give the brush a nozzle image and both grey out, because the image supplies its own edge and its own outline.

More than one nozzle

A brush can carry several nozzles and choose between them as it paints. Two rows below the strip decide how, and both stay grey while there is only one:

RowValuesDefaultWhat it does
SelectionRandom / Sequential / Pressure / DirectionRandomHow the next nozzle is picked. Sequential cycles through them in order, one per dab; Pressure and Direction pick by sensor. The curve button beside it shapes that choice
Interpolateon / offonBlends between two nozzles instead of switching hard from one to the next

Pair several nozzles with a Rotation dynamic driven by Random, on the Dynamics tab, to break up a repeating stamp pattern.

What ships with Celas Studio

The tip library holds more than two hundred bitmap tips, each 1024 pixels across, so a large brush keeps its detail instead of softening. Most are drawn from real marks: pencil, charcoal, pastel, bristle, oil and watercolour, as well as leaves, stones, brick, fur, hair and grunge. Charcoal, crayon, chalk, the oil bristles, the spray and every watercolour brush use a tip made from the material they are named after, so each one shades with its own grain. Each tip's name is its file name, so the thumbnail grid reads like a folder listing rather than a curated glossary. The paper library holds 20 textures.

Paper carries real weight in the stroke: picking a different paper visibly changes the mark. Pencils carry no paper at all, because their grain comes from the lead itself.

Capturing a custom tip

With a selection active on the canvas, choose Pixel ▸ Save Selection as Brush Tip. Celas Studio renders the scene as you see it, crops it to the selection and reads it as black-on-white: dark is full coverage, light or transparent is nothing. It is deliberately layer-independent, so what you framed is what you get rather than one layer's pixels out of it.

The tip is saved as a PNG and registered immediately, named "Custom" plus a number, so it is in the library this session with no need to reopen Brush Studio or restart the app.

The tip library popup open over the Texture tab, showing bitmap tips and a freshly captured custom tip at the end.

Base texture and Grain

The lower half of the tab is the paper. A preview square shows the current texture, with Set Texture, Remove and Invert beside it. A brush ships with no base texture, so the rows below stay grey until you choose one from the paper library. Moving grain is the exception: it only needs some grain, so it stays live on a brush whose grain comes from its own tip, such as a pencil.

ParameterValuesDefaultWhat it does
Inverton / offoffFlips the texture's light and dark, so the tooth falls where the hollows were
TypeMultiply / FinalMultiplyMultiply works the texture into each dab as it lands; Final applies it once to the finished stroke
Scale0.1x to 4x1.00xSize of the paper grain relative to the canvas
Grain (paper)0 to 100%0%How strongly the texture modulates each dab's opacity, so the stroke reads as if it were dragged over that paper's tooth
Moving grainon / offoffMakes the texture travel with the brush instead of staying put on the canvas, so it drags into streaks, like a dry brush or chalk pulled over paper. It greys out while Grain (paper) is 0 or Type is Final
Unless Moving grain is on, the paper stays put under the artwork, even where painting near the edge grows a Pixel layer, so the grain of one stroke lines up with the next. Each stroke grips the sheet on its own, though, so working over the same area again catches fibres the last pass missed instead of leaving the same pale speckles.