▲ sharpen: finer marks · smudge: drag a solid colour over detail, picked up
where the stroke starts (works in view 1) · black disc darken darks · white disc darken lights · ◆+ colour push (a source edit: pushes the colour differences under the brush apart, Alt calms; passes compound) · half-grey disc desaturate (toward grey at the same value).
Alt reverses each: the arrows turn up (lighten), ◆− calms, desaturate saturates, the smudge restores the photo, the sharpen softens.
3.0
0.60
0.50
Every stroke carries a REAL PIGMENT MIXTURE: the enabled paints are
premixed (pairs at quantized ratios + white/black ladders) through Kubelka–Munk optics
— K (absorption) and S (scattering) per channel, masstone reflectance
R∞ = 1 + K/S − √((K/S)² + 2K/S) — and each stroke snaps to the nearest pile in Oklab.
Blue+yellow makes green, black+yellow makes olive, because the physics says so.
Pigment K/S data: Curtis et al., “Computer-Generated Watercolor”, SIGGRAPH ’97, fig. 5.
Keys: ` final, 1–5 views (press again to return), C the crop view (V back to final)
(drag the rectangle, its corners and edges; turn it by a corner's outside or Shift+wheel;
the keystone sliders straighten converging lines; double-click it = the whole photo; the
cut goes into 1 Color), hold X = photo,
W the lens view (the ⊕ lenses' grid over the graded photo; C there clears them), Z fit/100%, wheel zoom, Space-drag pan,
O open, D download (Shift+D = PNG). Brushes: drag to paint, Alt erases,
[ ] size, Ctrl/⌘Z undo, Ctrl+Y/⌘⇧Z redo.
The paint store
Your palette — click a tube to put it back on the shelf:
3–6 tubes plus a white and a black is a
painter's kit — the palette IS the look. Each swatch: masstone → tint with white.