Weight-Paint Brushes¶
The point sliders are global; the brushes are local. When you only want to clean or reshape one region of a drawing — a messy hand, a busy hairline — you paint the effect exactly where it's needed, with a live heat-map showing the strength.
The brushes¶
The first three are weighted — they paint a 0..1 strength mask with the cold → hot heat-map. The fourth, Thickness, works differently (see below).
- Relax — smooths noise locally (moves points toward their neighbour mean), like the Relax slider but only under the brush.
- Simplify — decimates redundant anchors locally, thinning out busy regions.
- Pressure — removes pressure points where you drag. It blurs the local width profile flat, so the jittery thick-thin-thick keys drop out and the line evens toward a uniform width there. Use it to kill noisy pressure in a region without touching the rest of the line.
Thickness brush — not weighted¶
The Thickness brush sculpts the line weight itself: paint to fatten, hold Ctrl to thin. Unlike the three weighted brushes it isn't a 0..1 mask — it's unbounded and accumulative: each full-strength pass roughly doubles the width again (Ctrl passes halve), and holding the button keeps depositing, so you can push a stretch as thick or as thin as you want.
Because it's not a weight mask, there's no heat-map overlay — the fattened line itself is the feedback. It needs a pencil line to work on, so it's greyed out on fill-only (Colour Art) content.
All four use native dabs — each stroke is a set of dabs stored in the drawing's coords, so the effect re-applies deterministically per frame and survives re-import.
Painting¶
- Drag to paint the effect; the strength follows the brush falloff.
- Hold Ctrl to invert (un-relax, or thin instead of fatten with the Thickness brush).
- For the three weighted brushes, the cold → hot gradient overlay shows where you've painted and how strong — cool where it's light, hot where it's heavy. The Thickness brush shows no overlay — the fattened line itself is the feedback.
[/](or hold O and drag) change the brush size, following your Harmony config.
Range & onion¶
Brushes can paint the current frame only or across the onion window (the neighbour frames), so a fix propagates through a range of a sequence in one pass. The scope toggles sit next to the brush controls; when off, the onion stays purely a view aid.
Clear — and it's all non-destructive¶
A Clear button next to the brush controls undoes your painting whenever you want. On a sequence it asks whether to clear this frame or all frames; on a single drawing it just clears everything.
Every brush is non-destructive — painting deposits dabs on a layer above the stroke, it never rewrites the source geometry or width. Clearing simply drops those dabs and the line returns to exactly what was imported.
Even the Thickness brush is non-destructive
Fattening or thinning with the Thickness brush doesn't touch the stroke's Min / Max thickness — those stay put. The extra weight rides as a dab layer on top of the fixed width, so hitting Clear drops the dabs and the width snaps back to the imported profile. Nothing to un-retarget, nothing baked.
Same math as the import
The brushes run the same pure functions the import uses — Relax before Pressure before Simplify — on the same raw input, so the WYSIWYG preview and the written result match exactly.
Order matters
Relax to settle noise, Pressure to clear noisy pressure points, Simplify last to decimate. Sculpt the actual line weight with the Thickness brush — painting it hands the width for that region over to the brush (it overrides the auto-fit there).