Blue over yellow turns green. That is what pigment does and what plain blending never will, and it is where this brush starts. The paint here is alive while you work: a watercolor wash flows, blooms and dries darker at the rim, clean water pushes standing color around or wakes dried color back up, oil stays open, drags along your stroke and builds real thickness that catches the light, charcoal and pastel break over the tooth of the paper, and a smudger blends whatever it crosses. Every medium mixes as pigment, reacts with the paint already on the layer, answers a pen’s pressure in its own way, and paints on the paper you choose, from hot-pressed smoothness to rough grain and canvas.\n\nEvery medium also brings its own brushes, tuned for it: wash heads for the watery media, bristles, filberts and knives for the pastes, sticks for the dry media. The full set of tips is shown as strokes rather than as names, because a name tells you nothing about a tip and a stroke tells you everything, grouped from the media brushes and paint through dry media and calligraphy to spray, dots and shapes. When none of them is the one you want, draw your own out of discs, rings, stars, bars and leaves, holes included. It is kept as a recipe, so it stays sharp at any size and travels inside the document to whoever opens it next.\n\nColor is a choice of three. Keep the one you picked, scatter every mark around it so the stroke reads as a hand rather than a machine, or run a gradient from where you set down to where you lift off. The Eraser takes the same tips, because erasing through a texture is a technique. And a right-click while you paint opens a small palette at the cursor: the wheel, the colors you used last, the color under the cursor ready to pick up, and a button that dries the wash on the spot.
