Toon Boom
Harmony22
Paint Application
User Guide

TOON BOOM ANIMATION INC.

+1 514 278 8666

4200 St.Laurent Blvd, Suite 1020
Montreal, Quebec, Canada
H2W 2R2

contact@toonboom.com
toonboom.com

Harmony 22 Paint User Guide

Legal Notices
Toon Boom Animation Inc.
4200 Saint-Laurent, Suite 1020
Montreal, Quebec, Canada
H2W 2R2
Tel: +1 514 278 8666
Fax: +1 514 278 2666
toonboom.com

Disclaimer
The content of this document is the property of Toon Boom Animation Inc. and is copyrighted. Any
reproduction in w hole or in part is strictly prohibited.
The content of this document is covered by a specific limited w arranty and exclusions and limit of liability
under the applicable License Agreement as supplemented by the special terms and conditions for
Adobe® Flash® File Format (SW F). For details, refer to the License Agreement and to those special terms andconditions.

Trademarks
Toon Boom® is a registered trademark. Harmony™ and the Toon Boom logo are trademarks of Toon Boom
Animation Inc. All other trademarks of the property of their respective ow ners.

Publication Date
09-23-2022
Copyright © 2022 Toon Boom Animation Inc., a Corus Entertainment Inc. company. All rights reserved.

2

Table of Contents

Table of Contents
Table of Contents

3

Introduction

12

Chapter 1: Project Creation

13

About the Database Structure in Harmony Server

14

About Scene Creation for Paint

16

Starting Paint

17

Connecting to the Database18

Loading Draw ings and Elements in Paint

19

Opening Draw ings in Paint

20

Opening Elements in Paint

23

Saving a Scene in Paint

26

Advanced Saving in Paint

27

Verifying a Scene's Integrity

28

Chapter 2: User Interface

29

Changing the Theme Colours

30

Changing the User Interface Language

31

About Menus

33

About Toolbars

35

Adding and Removing Toolbars

37

Moving Toolbars

39

Customizing Toolbars

42

About View s

45Show ing and Hiding View s

46

Moving View s

47

Resizing View s

48

About Preferences

49

About Keyboard Shortcuts

50

Loading W orkspaces

51

Creating W orkspaces

523Harmony 22 Paint User Guide

Renaming W orkspaces

54

Saving W orkspaces

55

Deleting W orkspaces

56

Show ing and Hiding W orkspaces

57

Reordering W orkspaces

58

Restoring the Default W orkspace

59

About Interface Navigation

60

Accessing the Documentation

63

Chapter 3: Drawing

65

About Draw ing Tools

66

About the Brush Tool

69

Draw ing w ith the Brush Tool

70

Creating a Solid Brush

74

Creating a Textured Brush78

Configuring a Textured Brush Tip

79

Adding a Brush Tip

83

Renaming Brush Tips

85

Deleting Brush Tips

86

Exporting Brush Tips

87

Importing Brush Tips

89

Changing the Brush Tip Display

91

Configuring Smoothing for a Textured Brush92

Configuring Antialiasing and Transparency for a Textured Brush

93

Configuring a Textured Brush w ith a Dual Tip

95

Configuring a Brush w ith a Paper Texture99

Adding a Paper Texture

102

Renaming a Paper Texture

104

Deleting Paper Textures

106

Exporting Paper Textures

108

Importing Paper Textures

110

4

Table of Contents

Changing the Paper Texture Display

112

Setting the Textured Brush Resolution

113

About Brush Presets

115

Creating a Brush Preset

116

Creating a Stamp117

Selecting a Brush Preset

119

Updating a Brush Preset

120

Renaming a Brush Preset

121

Deleting a Brush Preset

122

Exporting Brush Presets

123

Importing Brush Presets

124

Changing the Brush Preset Display

125

Adjusting Texture Opacity

126

About the Pencil Tool

127

Draw ing w ith the Pencil Tool

129

Creating a Pencil

131

About Pencil Line Textures

134

Draw ing w ith Pencil Textures

135

Applying Texture to a Pencil Line137

Editing a Pencil Line's Texture

140

Picking a Pencil Texture from Artw ork

142

Disabling Pencil Line Textures

143

Pencil Texture Palettes

145

Creating a Pencil Texture Palette

146

Adding a Pencil Line Texture

149

Renaming Pencil Line Textures

153

Deleting Pencil Line Textures

156

Replacing a Pencil Texture

159

Setting the Default Pencil Texture Palette

161

Recovering the Default Pencil Texture Palette

163

5Harmony 22 Paint User Guide

Converting a Colour Palette to a Pencil Texture Palette
About Pencil Presets

164
166

Creating Pencil Presets

167

Creating Pencil Thickness Presets

168

Selecting a Pencil Preset

169

Applying a Pencil Preset

170

Renaming Pencil Presets

171

Deleting Pencil Presets

172

Exporting Pencil Presets

173

Importing Pencil Presets

174

Changing the Pencil Preset Display

175

About Shape Tools

176

Creating Lines, Rectangles and Ellipses w ith the Shape Draw ing Tools

177

Draw ing Curved Lines w ith the Line Tool

179

Creating Vector Shapes w ith the Polyline Tool

182

About the Stamp Tool

183

Creating a Stamp

185

Creating a Multi-Draw ing Stamp

187

Configuring a Stamp

190

Updating a Stamp

196

Draw ing w ith the Stamp Tool

198

Renaming Stamps

200

Deleting Stamps

201

Exporting Stamps

202

Importing Stamps

203

Changing The W ay Stamps Are Displayed

204

Stamp Tool Modes

205

About the Stroke Tool

206

Creating Invisible Lines w ith the Stroke Tool

207

About the Eraser Tool

209

6

Table of Contents

Erasing

210

Creating a Solid Eraser

211

Creating a Textured Eraser

215

About Eraser Presets

217

Creating an Eraser Preset

218

Selecting an Eraser Preset

219

Updating a Brush Preset

220

Renaming an Eraser Preset

221

Deleting a Brush Preset

222

Exporting Eraser Presets

223

Importing Eraser Presets

224

Changing the Brush Preset Display

225

About the Select Tool

226

Selecting, Repositioning and Transforming Artw ork

227

Selecting Artw ork in Several Draw ings

230

Inverting a Selection

232

Repositioning the Selection Pivot

233

Arranging and Reordering Draw ing Strokes

234Grouping Draw ing Strokes

235

Selecting Artw ork by Colour or Texture

236

About the Repositioning All Draw ings Tool

237

Repositioning All Draw ings in a Layer

238

About the Cutter Tool

240

Cutting Artw ork

241

Cutting Artw ork in Several Draw ings

245

About the Contour Editor Tool

247

Reshaping a Shape, Pencil Line or Stroke w ith the Contour Editor Tool
About the Centerline Editor

248
252

Reshaping Brush Strokes Using the Centerline Editor
About the Pencil Editor Tool

254
258

7

Harmony 22 Paint User Guide

Tw eaking the Thickness of Pencil Lines w ith the Pencil Editor Tool

259

Editing a Pencil Line Texture w ith the Pencil Editor Tool

262

About the Smooth Editor Tool

264

Smoothing Artw ork Using the Smooth Editor

265

About the Perspective Tool

266

Deforming a Draw ing w ith the Perspective Tool
About the Envelope Tool

267
268

W arping a Draw ing w ith the Envelope Tool

269

About the Text Tool

272

Adding Text to Draw ings

273

Breaking Text Into Letters or Vector Shapes

275

About the Tool Colour Sw atches

276

Unlinking the Tool Colour Sw atches

277

Linking the Tool Colour Sw atches

279

Using Independent Bitmap Colour Sw atches

280

About Draw ing Space Management

281

About the Zoom Tool

282

About the Hand Tool

283

About the Rotate View Tool

284

About the Grid

286

Displaying the Grid

287

Modifying the Grid

288

About OpenGL Antialiasing

289

Setting the Full Scene Antialiasing Preference
About Draw ing Optimization

290
291

Flattening Draw ings

292

Smoothing Draw ings

293

Creating Contour Strokes

294

Removing Contour Strokes

295

Flattening and Removing Extra Strokes

296

8Table of Contents

Optimizing Draw ings

297

Reducing the Draw ing Texture Resolution

298

About Strokes Conversion

299

Converting Brush Strokes to Pencil Lines300

Converting Pencil Lines to Brush Strokes

301

Converting Strokes to Pencil Lines

302

About Vector and Bitmap Layers

303

Setting the Bitmap Resolution

305

Chapter 4: Painting and Colours

309

About Colour Sw atches

311

Locking and Unlocking the Colour List

312

Adding a Colour Sw atch

313

Adding a Gradient Colour Sw atch

316

Adding a Texture Colour Sw atch

318

Copying and Pasting Colours

320

Deleting a Colour Sw atch

322

Modifying a Texture Colour Sw atch

324

Replacing Colours and Textures in Draw ings

325

Protecting Colours

327

Changing the Colour Display Mode

328

About Palettes

329

About Advanced Palette Management

331

Enabling the Advanced Palette Lists Mode

332

About Scene and Element Palette Lists

333

About Palette Storage Locations

334

About Exporting Palettes

336

About Backing Up and Recovering Palettes

337

About the Palette List

338

Show ing and Hiding the Palette List

341

Locking and Unlocking the Palette List

342

9

Harmony 22 Paint User Guide

Displaying Colour and Pencil Texture Palettes

343

Creating a Palette

344

Linking a Colour Palette

347

Importing a Colour Palette

349

Consolidating Used Colours Into a Single Palette

351

Renaming a Palette

354

Removing a Palette

355

Duplicating a Palette

357

Cloning a Palette

360

Tinting a Palette's Colour Sw atches

364

Reordering Palettes in the Palette List

366

Palette Operations

367

Opening the Palette Operations Dialog Box

368

Cloning a Palette in the Palette Operations Dialog Box

369

Renaming a Palette in the Palette Operations Dialog Box

371

Deleting a Palette in the Palette Operations Dialog Box

373

About Painting

374

About Colour Models

375

Loading Colour Models

376

Clearing Colour Models

377

Flipping Betw een Models

378

Copying Colour Models

379

About Dirt Cleanup

381

Removing Dirt

382

Removing Dirt Outside the Selection

383

Removing the Art Inside the Selection

384

Removing Hair

385

Painting Draw ings

386

Painting Several Draw ings Simultaneously

389

Repainting

391

10

Table of Contents

Repainting a Selection

392

Repainting Outside a Selection

394

Unpainting a Selection

396

Unpainting Outside a Selection

397

Closing Gaps

398

Picking a Colour w ith the Colour Eyedropper Tool

399

Inking Lines

400

Verifying Painted Zones

402

About the Edit Gradient and Texture Tool

403

Using the Edit Gradient and Texture Tool

404

Storing the Gradient and Texture Settings

406

Pasting a Stored Gradient or Texture

407

Editing Pencil Line Textures w ith the Edit Gradient/Texture Tool

408

About Colour Space Management

411

About Colour Spaces

412

Setting the Colour Space of an Element Layer

416

Setting the W orking Colour Space for a Scene

418

Setting the Display Colour Space

420

Setting the Colour Space for Rendered Movies and Frames

422

Customizing Available Colour Spaces

424

About Displays

426

11

Harmony 22 Paint User Guide

Introduction
The Harmony core functionality are explained in this User guide. All the steps required to create and completea project are covered in the follow ing chapters w ith concept descriptions and detailed step-by-stepprocedures focused on the task at hand.
Detailed parameter descriptions for all buttons, commands, and functions are covered in the Reference guideand Preference guide. Some of them are explained here w here necessary to the understanding of a given
concept or procedure.

12

Chapter 1: Project Creation

Chapter 1: Project Creation
Once Harmony is installed, you are ready to start the application and paint! In this chapter, you w ill learn about
starting the application, as w ell as opening and saving scenes

13Harmony 22 Paint User Guide

About the Database Structure in Harmony Server
Harmony Server has a client-server configuration linked through a netw ork. Although the user is w orking on aclient machine, all of the data is saved on the server.
You can compare the Harmony Server structure to a filing cabinet. Every element is structured and follow s astrictly organized hierarchy.
The follow ing production structure hierarchy is used:l

Environment: Production, project, feature film, series—see Environment Structure on page 14lJob: Episode and sequence from each environmentl

Scene: Scene from each joblElement: Layers and columns from each scenelDrawing: Draw ings from each element

If you imagine the environment as a filing cabinet containing all the folders and information, then the follow ing
structure is used:l

The job is a draw er in the filing cabinet containing all the folders related to the draw er’s topic.

l

The scenes are the folders contained in that draw erl

The elements are the papers contained in the folderl

The draw ings are the information contained on the paper

A Harmony Server scene can only be saved inside the structure. This maintains structural organization so
nothing is lost. By adhering to this structure, every user w orking in the database alw ays know s w here to findthe scenes to w ork on.

Environment Structure
Before you create or save any elements in your production, you should decide upon a project name. Thisshould reflect the content or title. Use the name to create the project’s environment, w here you w ill store all of

14

Chapter 1: Project Creation

your production elements.
For example, the environment could be called adventure_movie. An environment can be used for movies,
series, commercials, student w ork database, etc.
For a series, you can create an environment w ith the same name as the series, such as smith_family. Then
you can create a job per episode: smep_001, smep_002, and so on. Here is w hat the letters and numbers
represent:lsm: The first tw o letters of the name smithlep: Episodel001: The number of the episode

For commercials, w hich are rather short, you can create an environment, such as commercials. Then you cancreate one job per commercial: toothpaste, soap, car, and so on. As commercials are short and do not require
splitting into episodes or sequences, you can group them all in the same environment.
For a database of student’s w ork, you can create an environment and name it w ith the class or group name,such as gr402a. Then you can create one job per student: smith_john, robertson_jane. And then store
the different student exercises in separate scenes under their job name.

15Harmony 22 Paint User Guide

About Scene Creation for Paint
W hen w orking in Paint, you cannot create scenes or draw ings. You can only edit existing draw ings in existing
scenes. To create scenes, you must use the Control Center module. To create draw ings, you must use
Harmony and, optionally, Scan.
For documentation on how to use Control Center, Harmony and Scan, refer to the User Guide for your editionof Harmony.

16

Chapter 1: Project Creation

Starting Paint
T-HFND-001-002
You can run Harmony [Edition] from your operating system's desktop.

W ARNING
On macOS, Harmony and its other applications w ill not run on the first time unless you right-clickon the application, then select Open. You w ill be prompted to confirm a security exception, w hichw ill require administrative privileges.

How to start Harmony Paint
1. Depending on your operating system, do one of the follow ing:l

W indows: Open the Start menu and, in the list of programs, select Harmony 22 [Edition] >Paint.

lmacOS: Do the follow ing:
a. In Finder, proceed to Applications >Toon Boom Harmony 22 [Edition] anddouble-click Harmony [Edition].
The main Harmony application launches.
b. In the top menu, select Harmony [Edition] > Tools > Paint.
l

GNU/Linux: In the GNOME top menu, select Applications > Harmony 22 [Edition] >Paint.

The Paint application launches and displays a splash screen. After the splash screen, the log-in
dialog box appears—see Connecting to the Database on page 18.

17

Harmony 22 Paint User Guide

Connecting to the Database
Before you can w ork in HarmonyPaint via Harmony Server, you must be connected to the Harmony database.

How to connect to the Harmony database
1. Start Paint—see Starting Paint.
2. In the User Name field, type in your Harmony username.

NOTE
This username should be provided to you by your project lead or system administrator.

3. Click on OK.
The main application w indow appears. You can now load draw ings so you can w ork on them—see
Loading Draw ings and Elements in Paint

18

Chapter 1: Project Creation

Loading Drawings and Elements in Paint
Once you launch Paint, you need to load a scene’s draw ings from the Database Selector, in order to start the
ink and paint process. The draw ings must have previously been created and scanned.
There are tw o w ays of loading draw ings:lOpen Drawings: You can select individual draw ings to open.

lOpen Elements: You can open all the draw ings in one or several elements.

19

Harmony 22 Paint User Guide

Opening Drawings in Paint
This option w ill let you load draw ings from one element at a time, for quick ink and paint on a single layer
animation.

How to open drawings in Paint
1. Once Paint is launched and you are logged in, select File > Open Drawings. Press Ctrl + O(W indow s/Linux) or ⌘ + O (macOS).
The Database Selector opens, displaying the Environments available from the Harmony database.

2. Select the Environment, Job, Scene and Element w here the draw ings you need to paint are located.

3. Choose the version you w ant to open from the Version drop-dow n menu.

20Chapter 1: Project Creationl

The Saved By and Saved Date fields display the user w ho w as the last to save theselected scene and the date of the last save.

4. Click on the Open button.
The Draw ings Selector dialog box opens.

5. Select the desired draw ings from the draw ings list:lClick on a single draw ing to select it.

l

You can create a continuous multiple selection by holding the Shift key.

l

You can create a multiple selection by holding the Ctrl (W indow s/Linux) or ⌘(macOS) key.

l

Click on the All button to select all the draw ings that are listed in the Draw ings
Selector.

lClick on the Unpainted button to select all the draw ings w hose status appears as
UNPAINTED.

21

Harmony 22 Paint User Guidel

Click on the Painted button to select all the draw ings w hose status appears as
PAINTED.

6. Click OK.
The selected draw ings appear in the Draw ing Thumbnails view
7. Use the Control panel to navigate betw een the previous and next draw ings. Press F and G.

You are now ready to ink and paint!

22

Chapter 1: Project Creation

Opening Elements in Paint
This option w ill let you load draw ings from several elements at once. This can be useful w hen an animation isseparated in many layers, to insure that they are w ell aligned and that the painted shapes and lines fit
together. A good example of this w ould be a dialogue w ith the chin and mouth separated from the rest of thehead.

How to open elements in Paint
1. Once Paint is launched and you are logged in, select File > Open Elements. Press Ctrl + E(W indow s/Linux) or ⌘ + E (macOS).
The Database Selector opens, displaying the Environments available from the Harmony database.

2. Select the Environment, Job and Scene w here the elements containing the draw ings you need topaint are located.

3. Choose the version you w ant to open from the Version drop-dow n menu.

23Harmony 22 Paint User Guidel

The Saved By and Saved Date fields display the user w ho w as the last to save theselected scene and the date of the last save.

4. Click on the Open button.
The Open Elements dialog box opens.

5. Select the elements you need to paint from the Elements list:l

You can create a continuous multiple selection by holding the Shift key.

l

You can create a multiple selection by holding the Ctrl (W indow s/Linux) or ⌘ (macOS) key.

6. Select the frames you w ish to load from the Frames list:l

You can create a continuous multiple selection by holding the Shift key.

l

You can create a multiple selection by holding the Ctrl (W indow s/Linux) or ⌘ (macOS) key.

l

Click on the All Frames button to load all the frames of the scene.

24Chapter 1: Project Creation

7. Click OK.
The Draw ing Thumbnails view is hidden and your selected elements are loaded in Paint.
8. Enable the Light Table

option from the Draw ing view toolbar to display all the draw ing layers.

The selected layer are displayed in original colours and the other layers are displayed as w ashedout colours.

9. Use the Control Panel to navigate betw een previous and next layers. Press H and J.

10. Use the Control panel to navigate betw een previous and next draw ings. Press F and G.

You are now ready to ink and paint!

25

Harmony 22 Paint User Guide

Saving a Scene in Paint
It is important to regularly save your scene. As you make changes to a scene, an asterisk (*) appears in the title
bar beside the scene name to indicate that the scene contains unsaved changes.
In Paint, you can only make changes to draw ings in a scene, not to the scene's structure or set-up. W hen you
save in Paint, all the changes you made to the loaded draw ings are saved to the database.

How to save a scene
1. Do one of the follow ingl

In the top menu, select File > Save.

l

Press Ctrl + S (W indow s/Linux) or ⌘ + S (macOS).

26

Chapter 1: Project Creation

Advanced Saving in Paint
Use the Advanced Save dialog box to save specific draw ings, palettes and palette lists as a version of yourscene.

How to use the Advanced Save dialog box
1. From the top menu, select File > Save....
The Advanced Save dialog appears.
For information on the parameters in the Advanced Save Dialog Box, refer to the Advanced Save
Dialog Box topic of the Reference guide.

27

Harmony 22 Paint User Guide

Verifying a Scene's Integrity
The Check Files commandVerifies the integrity of the draw ing and palette files in your project. Use the Check
Files dialog box to verify that the data is consistent, correct, and accessible.

How to open the Check Files dialog box
1. From the top menu, select File > Check Files.

2. Click Check Colours to open the Check Colours dialog box.
The Check Colours dialog box checks the palette integrity and displays the colour recovery
data.

28

Chapter 2: User Interface

Chapter 2: User Interface
T-HFND-003-001
Know ing how to manage the Toon Boom Harmony interface helps you to w ork efficiently and organize yourw orkspace conveniently. There are a series of view s and toolbars you can use as you perform different
operations. Usually, each person has a specific w ay of w orking in the interface and prefer particular view s andtoolbars. In this chapter, you w ill learn about the main elements of the interface and how to manage them.

NOTE
To learn more about each view 's properties, see the Reference guide.

29

Harmony 22 Paint User Guide

Changing the Theme Colours
The Harmony interface is set to a dark theme by default. You have the option of sw itching to a light theme.

How to change the interface theme
1. In the top menu, select Edit > Preferences (W indow s/Linux) or Harmony [Edition] > Preferences(macOS) .
The Preferences dialog box opens.
2. In the General tab, in the Options section, uncheck the Use Dark StyleSheet (Requires Relaunch)check box.
3. Click OK.
4. Close and relaunch Harmony.

30

Chapter 2: User Interface

Changing the User Interface Language
Harmony is available in English, Spanish, Japanese, and Chinese.
By default, Harmony w ill automatically launch in your operating system language if it is one of the supported
languages. Otherw ise, it w ill launch in English.
There are tw o w ays of controlling the language in w hich Harmony launches:l

By changing the Language preference in the Preferences dialog.

l

By launching Harmony from a command line, w ith the -lang parameter follow ed by a tw o-letters
language code.

How to change the user interface language for Harmony
1. In the top menu, select Edit > Preferences (W indow s/Linux) or Harmony [Edition] > Preferences(macOS) .
The Preferences dialog box opens.
1. In the General tab, in the Language section, open the Language (Requires Relaunch) drop-dow n
and select the desired user interface language.
2. Click OK.
3. Close and relaunch Harmony.

How to start Harmony in a specific user interface language from the command line
1. Open a Command Prompt or Terminal w indow .
2. Type in the follow ing command, including the quotation marks, but don't press Enter/Return yet.
l

W indows: "C:\Program Files (x86)\Toon Boom Animation\Toon Boom
Harmony 22 [Edition]\win64\bin\Harmony[Edition].exe"lmacOS: "/Applications/Toon Boom Harmony 22 [Edition]/Harmony[Edition].app/Contents/MacOS/Harmony [Edition]"l

GNU/Linux: /usr/local/ToonBoomAnimation/harmony[Edition]_22/lnx86_
64/bin/Harmony[Edition]

3. Type a space, then type the follow ing parameter depending on w hich language you w ant to launch
Harmony in:lEnglish: -lang enlChinese: -lang zh

31

Harmony 22 Paint User GuidelJapanese: -lang jalSpanish: -lang es

4. Press Enter/Return.
Harmony w ill launch in the specified language.

32

Chapter 2: User Interface

About Menus
T-HFND-003-002
Harmony contains three types of menus from w hich you can access many commands and options:

Top Menu
The top menu contains most of the commands. Depending on the view you're w orking in and the element,
some commands are available and others are not. The top menu is alw ays located at the very top of theinterface.
The top menu contains the follow ing categories:
l

File

l

Edit

l

View

l

Draw inglSelected

l

Tools

l

OptionslColoursl

Palettesl

FrameslColumnsl

W indow slHelp

On macOS, there is also a Harmony [Edition] category that contains the follow ing commands:lPreferences

l

About

l

Quit

View Menu
A view menu contains commands specifically related to that view .

33

Harmony 22 Paint User Guide

To access a view menu, click the Menu

button in the top-left corner of a view .

A view menu is available in the follow ing view s:lColourQuick Access Menu
A quick access menu lets you open a list of the commands you w ill use most often.
To access this menu, right-click anyw here in a view .

34

Chapter 2: User Interface

About Toolbars
T-HFND-003-003
The Harmony user interface contains various toolbars, such as the Tools toolbar and the Edit toolbar, to give
you quick access to various menu commands.

NOTE
Throughout this section, there may be slight differences betw een your interface and theillustrations in this guide. This is because the images are taken from Harmony Premium.

Toolbars are separated in tw o main categories:l

W orkspace toolbars are toolbars that have a general purpose. For example, the File, Edit, W orkspace,
Advanced Animation and Deformation toolbars at the top, as w ell as the Tools toolbar on the left, arew orkspace toolbars. Those toolbars can be placed at the top, bottom, left or right edge of theapplication w indow . They can also be placed at the edge of specific view s if preferred.

lView toolbars are toolbars that are useful for a specific view . For example, the Camera view has a
Camera toolbar at its top. View toolbars can only be displayed inside their respective view . They can beplaced at the top, bottom, left or right edge of their view .

You can display or hide toolbars using the W indows > Toolbars menu. This menu contains all the w orkspace
toolbars, as w ell as the view toolbar for all the view s that are currently displayed in your w orkspace.
For example, in the default w orkspace, you have the Camera and the Draw ing view s in the same area, and you
can sw itch betw een either view by clicking on the Camera or Draw ing tab. If the Camera view is the one being
displayed, then the Camera toolbar w ill be in the list. If the Draw ing view is displayed, then the Draw ing
toolbar w ill be in the list instead.
W orkspace toolbars can be added to either the general w orkspace or the inside of a view . For example, you
can add the Edit toolbar to the top of the area occupied by the Camera view instead of the top of theapplication w indow , w here it is by default. In the default w orkspace, the Tool Presets and Art Layer toolbars
are placed in the area w here the Camera and Draw ing view s are, even though they’re actually w orkspace
toolbars.
W hen a w orkspace toolbar is added to a view , and several view s are placed w here this view is, then all thoseview s w ill have this toolbar inside of them. For example, if you add the Edit toolbar to the Camera view , it w illalso be available in the Draw ing view , as both these view s share the same space. How ever, the Camera
toolbar w ill not be available in the Draw ing view as it is specific to the Camera view .
Some toolbars have buttons that are hidden by default to avoid cluttering. You can customize w hich buttons
are displayed in these toolbars, and in w hich order they’re displayed—see Customizing Toolbars.

35

Harmony 22 Paint User Guide

TIP
Many toolbar buttons have a keyboard shortcut associated to them. You can check w hich keyboard
shortcut is associated to a button by leaving your mouse cursor over the button for a second. If the
button has a keyboard shortcut, it w ill be indicated in the tooltip that appears.

36Chapter 2: User Interface

Adding and Removing Toolbars
T-HFND-003-004
You can add toolbars to certain areas of your w orkspace. The w ay it w orks is as follow s:lA w orkspace toolbar can be added to any edge of the application w indow , or to the edge of a view inyour w orkspace.

lA view -specific toolbar can be added to the edge of its respective view only.

NOTE
W hen a w orkspace toolbar is added inside a view , and this view shares its area w ith other view s—
like the Camera and Draw ing view s do by default—the toolbar w ill remain visible even if you
sw itch to a different view in this area. For example, if you added the Alignment Guides toolbar to
the Camera view , this toolbar w ould also be visible in the Draw ing view .

How to add or remove a workspace toolbar to the general workspace
1. Do one of the follow ing:l

In the top menu, select W indows > Toolbars and in the sub-menu, select the toolbar you
w ant to add.

l

Right-click on any toolbar that is at the top or side of the w orkspace, or in the empty spacenext to these toolbars, and select the toolbar you w ant to add in the contextual menu.

NOTE
In the list of toolbars in the top menu and in the contextual menu of the w orkspace, thetoolbars listed above the separator are w orkspace toolbars, and the ones below the
separator are view toolbars.

How to add a view toolbar to a view
1. Do one of the follow ing:lClick on the tab of the view for w hich you w ant to add a toolbar to set the focus on it. Then,in the top menu, select W indows > Toolbars and select the toolbar you w ant to add.

l

In the top area of the view to w hich you w ant to add a toolbar, to the left of its tab, right-click
and select the toolbar you w ant to add in the contextual menu.

37

Harmony 22 Paint User Guide

How to add or remove a workspace toolbar to a view
1. In the top area of the view to w hich you w ant to add a toolbar, left of its tab, right-click and selectthe toolbar you w ant to add in the contextual menu. You can also-right-click on a toolbar inside thisview , if there is any.

NOTES
l

If the w orkspace toolbar w as present somew here else in your w orkspace, it w ill be
removed from its previous position and moved to the view w here you just added it.

l

In the list of toolbars in the contextual menu of a view , the toolbars listed above theseparator are w orkspace toolbars, and the ones below the separator are view
toolbars.

38

Chapter 2: User Interface

Moving Toolbars
T-HFND-003-005, T-HFND-003-006
You can move toolbars around using drag & drop. This can be used to:lReorder toolbars w ithin the same toolbar area.

lMove a toolbar from one edge of the application w indow or view in w hich it is located to another edge.

lHide part of a toolbar w ith another toolbar.

The action you do depends on the gesture w ith w hich you drag the toolbar:l

If you drag the toolbar horizontally you are “sliding” the toolbar. This allow s you to move the toolbar
over another toolbar in the same row . W hen tw o toolbars share the same space, the toolbar on theright appears over the toolbar on the left, and the left toolbar’s rightmost buttons are hidden in a popup menu.

Likew ise, you can do this w ith a vertical toolbar by sliding it vertically, in w hich case the toolbar at thebottom appears over the toolbar at the top.
l

If you drag the toolbar vertically, you “pop” it out of its row . W hen a toolbar is popped out, you canreorder toolbars and move the toolbar to another row or to a different edge of the user interface.

Likew ise, you can do this w ith a vertical toolbar, such as the Tools toolbar at the left of the w orkspace,by moving it horizontally.

NOTE
You cannot move a toolbar from the edge of the application w indow to the inside of a view , or viceversa. If you w ant to do that, you must add the toolbar w here you w ant it to be located, and it w ill
automatically be removed from the area w here it is currently located. For example, if you w ant tomove the Edit toolbar from the top of the w orkspace to the Camera view , all you have to do is add
it to the Camera view —see Adding and Removing Toolbars.

39Harmony 22 Paint User Guide

How to move a toolbar around
1. Click and hold the handle at the left of the toolbar you w ant to move.

2. Do one of the follow ing:l

If the toolbar is horizontal, move it up or dow n to make it pop out of its row .

l

If the toolbar is vertical, move it left or right to make it pop out of its column.

3. Do one of the follow ing:l

To reorder toolbars, drag the toolbar w here you w ant it to be located and drop it.

The toolbar w ill move to its new position. Toolbars to the right (or to the bottom, if thetoolbar is vertical) w ill be offset to make space for it.

l

To move the toolbar to a new row or to a new column, simply move the toolbar w here the
new row or column should be created. For example, to create a new row of toolbars at the
top of the user interface, move it just below the existing toolbars at the top of the userinterface. A new row or column w ill appear, highlighted in cyan.

W hen you drop the toolbar, the new row w ill be created and the toolbar w ill be placed at
the left end of the row .

40

Chapter 2: User Interface

Likew ise, to create a new column at the left of the user interface, move the toolbar just rightof the existing toolbars at the left of the user interface.
l

To move the toolbar to another edge of the user interface, drag it all the w ay to that edge ofthe user interface.

How to move a toolbar over another toolbar
1. Make sure both toolbars are in the same row or column. If they are not, move both toolbars to thesame row or column using the method previously described.
l

If the toolbars are horizontal, click and hold the handle at the left of the rightmost toolbar.
Then, w ithout going outside of the toolbar’s row , slide the toolbar tow ards the left.

l

If the toolbars are vertical, click and hold the handle at the top of the bottom toolbar. Then,w ithout going outside of the toolbar’s column, slide the toolbar up.

As you slide the toolbar over the other toolbar, the other toolbar’s buttons become hidden and a
pop-up menu button appear.

2. To separate the toolbars again, simply slide the same toolbar in the opposite direction.
3. To expand a toolbar that is overlapped by another toolbar, click on the expand button at the rightof the overlapped toolbar.

41

Harmony 22 Paint User Guide

Customizing Toolbars
T-HFND-003-007
Some toolbars have buttons that are hidden by default to prevent clutter. You can customize w hich buttons
are displayed in these toolbars, as w ell as the order in w hich the buttons are displayed.

How to customize a toolbar
1. Right-click on the toolbar that you w ant to customize.
2. In the context menu, select Customize.
The Toolbar Manager dialog appears.

NOTES
l

If the Customize option is greyed out, this toolbar cannot be customized.

l

The Customize option is only available if the toolbar is in the space above theCamera View .

l

The Tools toolbar can only be customized in Flat Tools Toolbar mode—see
Enabling the Flat Toolbar.

3. To add a new toolbar button, select the button you w ant to add from the Available Tools list, thenclick on the

Add the selected tool into the toolbar button.

The button w ill be removed from the Available Tools list and added to the Toolbar list.

42

Chapter 2: User Interface

4. To remove a button from the toolbar, select it in the Toolbar list, then click on the Remove theselected tool from the toolbar button.
The button w ill be removed from the Toolbar list and added to the Available Tools list.

5. To reorder the buttons in the toolbar, select a button in the Toolbar list, then use the Move the toolup and Move the tool dow n buttons to change the button’s order. The order of the tools in the
toolbar from left to right is the same as the order of the buttons in the Toolbar list from top tobottom.

43

Harmony 22 Paint User Guide

6. Click OK w hen you are done customizing the toolbar.

44

Chapter 2: User Interface

About Views
T-HFND-003-008
The Harmony interface is composed of different view s, each one designed for a specific purpose. You can
modify the location of the view s by adding a new view as a tab or as a w indow . You can also sw ap the locationof a view .
W hen a view is active, a red rectangle appears around the view . Keyboard shortcuts and top menu options areassociated w ith the active view . If a menu option is greyed out, it means it does not apply to the layer, draw ing
or other type of selection or the option does not apply to the active view .

W orkspace modifications are automatically saved w hen you exit the application, unless you disable theAutomatically Save W orkspace option in the Preferences dialog box.

45

Harmony 22 Paint User Guide

Showing and Hiding Views
T-HFND-003-012
You can temporarily show and hide view s using the collapsing buttons.

How to temporarily hide a view
1. On the edge of the w indow you w ant to hide, click the Collapse/Expand button.
The view is compressed and only the Collapse/Expand button is visible.
2. Click the Collapse/Expand button again to redisplay the view .

46

Chapter 2: User Interface

Moving Views
T-HFND-003-011
You can move view s by dragging their name tab to a new location.

47

Harmony 22 Paint User Guide

Resizing Views
T-HFND-003-013
You can resize a view by sliding its edges.

How to resize a view
1. Place the pointer on the edge of the view to resize.
2. W hen you see the Resizing

icon, drag the side of the view to the desired size.

48Chapter 2: User Interface

About Preferences
An important feature of Toon Boom Harmony is the Preferences dialog box. From here you can customize thebehaviour of various user interface elements, as w ell as draw ing and animation tools, and enable or disable
advanced features.

NOTE
For a list of all the preferences as w ell as their functionality, refer to the Preferences guide.

How to open the Preferences dialog box
1. Do one of the follow ing:ll

W indows or GNU/Linux:l

In the top menu, select Edit > Preferences.

l

Press Ctrl + U.

macOS:l

In the top menu, select Harmony [Edition] > Preferences.

l

Press ⌘ + U.

49

Harmony 22 Paint User Guide

About Keyboard Shortcuts
Harmony uses keyboard shortcuts to allow you to quickly use commands you are familiar w ith w ithout having
to brow se through menus and toolbars. Learning the keyboard shortcuts for the commands you use the mostoften can be a great w ay to increase your productivity w ith Harmony.
Using the Keyboard Shortcuts dialog, you can: check w hich keyboard shortcuts are assigned to w hichcommands, you can customize existing keyboard shortcuts, and you can assign keyboard shortcuts tocommands that don't have any.

NOTE
For more information on how to configure keyboard shortcuts as w ell as a list of commands andtheir default keyboard shortcuts, refer to the Keyboard Shortcuts guide.

How to open the Keyboard Shortcuts dialog box
1. Do one of the follow ing:l

W indows or GNU/Linux: In the top menu, select Edit > Keyboard Shortcuts.

lmacOS: In the top menu, select Harmony [Edition] > Keyboard Shortcuts.

50Chapter 2: User Interface

Loading W orkspaces
T-HFND-003-015
You can load an existing w orkspace from the drop-dow n menu.

How to load a workspace
1. Do one of the follow ing:lSelect W indows > W orkspace > W orkspace.

lSelect a w orkspace from the W orkspace toolbar.

51

Harmony 22 Paint User Guide

Creating W orkspaces
T-HFND-003-016
You can create new w orkspaces through the W orkspace Manager dialog box.

How to create a new workspace
1. Do one of the follow ing:l

In the W orkspace toolbar, click the

button.

l

From the top menu, select W indows > W orkspace > W orkspace Manager.

2. In the Available W orkspaces list, select an existing w orkspace.

3. At the bottom of the Available W orkspaces list, click the Add

button to add a w orkspace.

4. Select the new w orkspace that w as created. Click Rename and give it a new name.

52

Chapter 2: User Interface

5. Select the new w orkspace and click the Right Arrow
toolbar.

6. Click OK.

53

button to move it to the W orkspace

Harmony 22 Paint User Guide

Renaming W orkspaces
You can rename a w orkspace through the W orkspace Manager dialog box.

How to rename a workspace
1. Do one of the follow ing:l

In the W orkspace toolbar, click the

button.

l

From the top menu, select W indows > W orkspace > W orkspace Manager.

2. Choose the w orkspace to be renamed from the list.
3. Double-click on the w orkspace to be renamed or click the Rename button. This allow s you to edit
the name.

4. Type in the new name of the w orkspace.
5. Press the Enter/Return key to validate the name.
6. Click OK.

54

Chapter 2: User Interface

Saving W orkspaces
T-HFND-003-017
You can either save your w orkspaces automatically or manually.

How to save your workspace as a new version
1. From the top menu, select W indows > W orkspace > Save W orkspace As.
The Save W orkspace As dialog box opens.
2. Type in a w orkspace name and click OK.

How to disable the Automatically Save W orkspace preference
1. From the top menu, select Edit > Preferences (W indow s/Linux) or Harmony [Edition] >Preferences (macOS) to open the Preferences dialog box.
2. Select the General tab.
3. In the Options section, deselect the Automatically Save W orkspace option.
4. Click OK.
The Save W orkspacebutton appears in the W orkspace toolbar.

How to save a workspace manually
1. Do one of the follow ing:l

In the W orkspace toolbar, click the Save W orkspacel

You can also select W indows > W orkspace > Save W orkspace.

55

button.

Harmony 22 Paint User Guide

Deleting W orkspaces
You can delete a w orkspace through the W orkspace Manager dialog box.

How to delete a workspace
1. Do one of the follow ing:l

In the W orkspace toolbar, click the

button.

l

From the top menu, select W indows > W orkspace > W orkspace Manager.

2. In the W orkspace Manager, select the w orkspace to be deleted and click the Left Arrowbuttonto move it to the Available W orkspaces list.

3. Select the w orkspace from the Available W orkspaces list, then click the Delete
the w orkspace.
4. Click OK.

56

button to delete

Chapter 2: User Interface

Showing and Hiding W orkspaces
You can show and hide w orkspaces from your drop-dow n list through the W orkspace Manager dialog box.

How to show a workspace
1. Do one of the follow ing:l

In the W orkspace toolbar, click the

button.

l

From the top menu, select W indows > W orkspace > W orkspace Manager.

2. In the Available W orkspaces list, select the w orkspace to be displayed and click the Right Arrowbutton to move it to the W orkspace toolbar.
3. Click OK.

How to hide a workspace
1. Do one of the follow ing:l

In the W orkspace toolbar, click the

button.

l

From the top menu, select W indows > W orkspace > W orkspace Manager.

2. In the W orkspace Manager, select the w orkspace to be hidden and click the Left Arrowto move it to the Available W orkspaces list.
3. Click OK.

57

buttonHarmony 22 Paint User Guide

Reordering W orkspaces
You can reorder w orkspaces in your drop-dow n list through the W orkspace Manager dialog box.

How to reorder workspaces
1. Do one of the follow ing:l

In the W orkspace toolbar, click the

button.

l

From the top menu, select W indows > W orkspace > W orkspace Manager.

2. In the W orkspace toolbar, select the w orkspace to be reordered and on the Up
buttons to move it up or dow n.

3. Click OK.

58

or Dow n

Chapter 2: User Interface

Restoring the Default W orkspace
T-HFND-003-018
You can restore modified w orkspaces to their original layout.

How to restore the default workspaceslSelect W indows > Restore Default W orkspace.

59

Harmony 22 Paint User Guide

About Interface Navigation
W ith the help of menu commands and keyboard shortcuts, some view s let you navigate their content byzooming in, zooming out, panning and rotating them. You can also reset the zoom level, pan and rotation angleof these view s as needed.

TIP
Keyboard shortcuts can be customized. You can view , search for and change keyboard shortcutsfor Harmony in the Keyboard Shortcuts dialog. To access the Keyboard shortcuts dialog:l

W indows or GNU/Linux: In the top menu, select Edit > Keyboard Shortcuts.

lmacOS: In the top menu, select Harmony [Edition] > Keyboard Shortcuts.

Command

ActionZoom In

Zooms in theview .

Access Methods

View > Zoom In
Press 2
Roll the mouse w heel up (except in the Timeline and Xsheet view s)

View > Zoom Out
Zoom Out

Zooms out theview .

Press 1
Roll the mouse w heel dow n (except in the Timeline and Xsheet
view s)Roll the middle mouse button up or dow n.
Zoom In or Out

Zooms in or outof the view .

Pan

Moves the viewhorizontally or
vertically.

Reset Pan

Resets the view ’s
pan to its default
position.

Reset View

Resets the view
to its default
position.

Hold dow n the Spacebar and the middle mouse button w hile
dragging the mouse up or dow n.

Hold dow n the Spacebar and drag in the direction you w ant to pan
the view .

View > Reset Pan
Press Shift + N

View > Reset View
Press Shift + M
TheReset View button at the bottom of the Camera view .

60

Chapter 2: User Interface

Command

ActionAccess Methods

View > Reset Rotation

Reset Rotation

Resets the view ’s
rotation to its
default position.

Press Shift + X

Reset Zoom

Resets the view ’szoom to its
default position.

View > Reset Zoom

Rotate View

Rotates the viewleft or right.

W hile holding Ctrl + Alt (W indow s/Linux) or Ctrl + ⌘ (macOS), click
and drag the rotating disc to rotate it clockw ise or counterclockw ise.

3D Rotate View

Rotates the viewin any direction.
This is only
available in the
Perspective view .

W hile holding Ctrl + Shift (W indow s/Linux) or ⌘ + Shift (macOS),
click and drag the stage to rotate it in any direction.

Rotate 30 CW

Rotates the
Camera view 30
degrees

View > Rotate View CWclockw ise, like ananimation table.

Rotate 30 CCW

Rotates the
Camera view 30
degrees counterclockw ise, like ananimation table.

Mirror View

Temporarily flips
the Camera or
Draw ing viewhorizontally,
allow ing you toview and edit
your artw ork as if
it w as being
mirrored.

Toggle Quick
Close-up

Instantly
multiplies theView > Rotate View CCW

View > Mirror View
In the Camera or Draw ing toolbar, click on the
button.

Shift + Z

61

Mirror View

Harmony 22 Paint User Guide

Command

ActionAccess Methods

view 's Zoom
Factor by 4. For
example, if the
Camera View 's
Zoom Factor is at
100%, this w ill
make it toggle
betw een 400%
and 100%.

62

Chapter 2: User Interface

Accessing the Documentation
T-HFND-001-004
The Harmony documentation can be accessed from the Help menu.

How to access the Harmony documentation
1. From the top menu, select Help > Online Help.

63

Harmony 22 Paint User Guide

64

Chapter 3: Draw ing

Chapter 3: Drawing
Harmony has many pow erful tools, view s, and features for sketching, draw ing and animating w ith ease. This
chapter describes the main assets needed w hen draw ing , as w ell as tips on how to start and use these tools
efficiently.

65Harmony 22 Paint User Guide

About Drawing Tools
Harmony has a w ide array of draw ing tools and draw ing features to allow flexible design, w ork methods andstyles.
Here are the draw ing tools available in Harmony, follow ed by the types of layer on w hich they are supported.
If you are editing a vector layer, then all of the tools are available to you. If you are draw ing on a bitmap layer,some tools are not available. W hen tools are not available, they are grayed out in the Tools toolbar.

Icon

Tool Name

Vector Layer

Bitmap
Layer✓✓

Cutter✓✓Reposition All Draw ings✓

Select✓Contour Editor

Centerline Editor✓

Pencil Editor✓

Smooth Editor✓

Perspective✓

Envelope✓

Edit Gradient/Texture

✓

Brush

66

✓

Chapter 3: Draw ing

Icon

Tool Name

Vector Layer

BitmapLayer

Pencil✓Eraser

✓

✓

Text

✓

✓

Line

✓

✓

Rectangle✓✓

Ellipse✓✓Polyline

✓

✓

Paint

Ink

✓

Paint Unpainted✓

Repaint✓

Unpaint✓

Stroke

✓

67

✓

✓

✓

Harmony 22 Paint User Guide

Icon

Tool Name

Vector Layer

Close Gap✓

Colour Eyedropper✓

BitmapLayer✓✓

Pencil Texture Eyedropper

Each draw ing tool has a series of options to customize its behaviour and draw ing style. W hen you select atool, the Tool Properties view displays the properties of the currently selected tool, w here you can configure
your draw ing tool's behavior and style, if applicable.

68Chapter 3: Draw ing

About the Brush Tool
T-HFND-004-003
The Brush tool is pressure sensitive and lets you create a contour shape w ith a thick and thin line effect, as if it
w as created w ith a paint brush.
W ith the Brush tool, you can draw solid vector strokes or textured bitmap strokes, depending on your brushproperties. Solid vector brush strokes are made of a vector shape filled w ith a solid colour, making themlimited in terms of art style, but lightw eight and easy to manage. Textured brush strokes can have a bitmap
brush tip, a bitmap paper texture, and various settings such as hardness, randomness, antialiasing andtransparency. Hence, they can be used to draw in various art styles, add natural-looking details to yourdraw ing and reproduce the feel of a real brush stroke.
W hen draw ing on vector layers, you can use the Select Tool, Contour Editor, Smooth Editor, Perspective andEnvelope tool to scale your brush strokes or to tw eak their shape. If your strokes contain a bitmap texture,
Harmony w ill scale or deform the texture to fit the new shape of your brush. If your brush is scaled up or
deformed in a w ay that takes more volume, Harmony w ill automatically generate new pixels for the textures,w hich might cause them to lose quality.
On vector layers, textured vector brush strokes are composed of a greyscale bitmap mask applied to theircolour. Hence, their colour can be repainted or updated as easily as w ith solid vector brush strokes. Changing
the colour used to paint a textured vector brush stroke from the colour palette w ill update the colour intextured vector brush stroke, as it w ould w ith solid vector brush strokes, all the w hile preserving its texture.
You can also create dynamic brushes, w hich allow you to use artw ork created in Harmony as if it w as a brushtip or a stamp.

NOTE
To learn more about the options of the Brush tool, see the Reference Guide.

69

Harmony 22 Paint User Guide

Drawing with the Brush Tool
T-HFND-004-003A
In the Draw ing view , you can draw on any draw ing layer type w ith the Brush tool.

How to draw with the Brush tool on a vector layer
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Tools toolbar, select the Brush

tool or press Alt + B.

3. In the Tool Properties view , set the Maximum Size to the desired brush size.

NOTE
If you are draw ing w ith a mouse, your strokes w ill alw ays be at their maximum size. If you areusing a pressure-sensitive tablet, your strokes w ill vary in size depending on the pressure ofyour pen, ranging betw een 25% to 100% of the maximum size.

4. In the Colour view , click a colour sw atch to select a colour.

5. In the Draw ing or Camera view , start draw ing.

70

Chapter 3: Draw ing

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Spacebar key w hile draw ing a straight line, the angle of your line
w ill lock. If you are using a pressure-sensitive tablet, you can draw over your line to adjust
its thickness.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing, yourdraw ing stroke w ill turn into a closed shape.

l

If you press and hold Alt before draw ing a stroke, and start draw ing near existing artw ork,
the start of your draw ing stroke w ill connect to that artw ork.

l

If you press and hold Alt w hile draw ing a stroke, and end your draw ing stroke near
existing artw ork, the end of that draw ing stroke w ill connect to that artw ork.

How to draw with the Brush tool on a bitmap layer
1. In the Draw ing Thumbnails panel, select a bitmap draw ing.
2. In the Tools toolbar, select the Brush

tool or press Alt + B.

3. In the Tool Properties view , set the Maximum Size to the desired brush size. If you are draw ing w ith
a mouse, your strokes w ill alw ays be at their maximum size. If you are using a pressure-sensitive
tablet, your strokes w ill vary in size depending on the pressure of your pen, ranging betw een 25%
to 100% of the maximum size by default.
4. In the Colour view , select a colour.

71Harmony 22 Paint User Guide

5. If you w ould prefer using Red/Green/Blue sliders, you can sw itch betw een HSV and RGB sliders by
doing one of the follow ing:lSelect Colour > Bitmap Colour Sliders > HSV Sliders or RGB Sliders.

lRight-click on the colour sliders and select RGB Sliders or HSV Sliders.

NOTE
Although you can use colours from your colour palette to paint on a bitmap layer,
colours used in a bitmap draw ing layer are not linked to their colour sw atch in thepalette. This means that, contrary to vector draw ing, updating the colours in yourcolour palette w ill not update your bitmap draw ings w ith the new colours.

6. In the Camera or Draw ing view , start draw ing.

72

Chapter 3: Draw ing

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Spacebar key w hile draw ing a straight line, the angle of your line
w ill lock. If you are using a pressure-sensitive tablet, you can draw over your line to adjust
its thickness.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing, yourdraw ing stroke w ill turn into a closed shape.

73Harmony 22 Paint User Guide

Creating a Solid Brush
T-ANIMPA-002-001A
W hen draw ing w ith the Brush tool on a vector layer, you can use either solid vector brushes or textured vector
brushes. By default, your brush w ill be a solid vector brush. A solid vector brush creates a vector shape andsimply fills it w ith the selected colour, making lightw eight, simple crisp strokes.
A solid vector brush's tip can be shaped like a circle, a diamond or a square, and can be configured to have a
specific size, aspect ratio and angle. Also, solid vector brushes can be automatically smoothed by Harmony as
you draw .
If you are draw ing on a bitmap layer, you can only use textured brushes. You can create a textured brush thatmakes solid looking strokes, but they can not be automatically smoothed by Harmony, nor can they tw eaked
w ith vector tools such as the Contour Editor.

You can now control the Size properties w ith input options such as Pressure, Tilt and Speed. You can use acombination of multiple inputs to control a single property. Also, you can control the Angle Function by
selecting any one option from the drop dow n list.

How to create a solid vector brush
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

The Brush Properties dialog opens.

74

Chapter 3: Draw ing

1. In the Brush Type dropdow n list, select Solid Vector.
2. In the brush tip list, select either Circle, Diamond or Square.
3. Use the Maximum Size slider to set the maximum size of your brush tip.

4.

NOTE
W hen draw ing w ith a mouse, your brush is alw ays at its maximum size. W hen draw ing
w ith a pressure-sensitive pen tablet, your brush's size w ill range betw een its minimum
and maximum size, depending on the amount of pressure you put on the pen w hen
draw ing.

5. You can control the size properties by clicking on the arrow button on right and the Size Properties
dialog box w ill appear.

75

Harmony 22 Paint User Guide

6.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool options, see
Brush Tool Properties.

7. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourbrush w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour brush tip's maximum size, w hich is 25% by default. If you don't w ant the pressure on your pen
to affect the brush size, set this parameter to 100%.
8. If you w ant your brush to keep the same size relative to the camera frame w hen the camera zooms
in on or zooms out of the scene, check the Proportional to Camera option.

9.

NOTE
The "Size Proportional to Camera" option has been moved to the new Size Properties
w indow .

10. If you w ant your brush tip to have uneven dimensions, use the Roundness slider to shrink the brushtip vertically all the w hile preserving its horizontal size.
11. If you w ant your brush tip to be at an angle, use the Angle slider to rotate your brush tip.
12. If you w ant your brush tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

76Chapter 3: Draw ing

13. If you w ant your brush tip to rotate w ith the angle of your pen tip use the Angle Function. You canselect one of the follow ing options:lConstant: The static orientation of the brush tip expressed in degrees.

lHeading: The orientation of the brush tip is determined by the direction in w hich the strokeis draw n. It changes dynamically as the stroke is draw n.

lAzimuth: W hen the pen is tilted, it uses the direction in w hich the pen eraser is facing.

lTwist (if supported by pen): It uses the tw ist angle of the stylus and is only available w ith
W acom Art Pen.

14. Click on the Smoothing tab.

15. Use the Centerline Smoothing slider to set the amount of smoothing Harmony should perform on
your stroke's direction, curves and corners. A higher setting w ill prevent your line from being shaky,but is liable to reduce your draw ing precision and to round sharp corners into curves.
16. Use the Contour Smoothing slider to set the amount of smoothing Harmony should perform on
your stroke's contour. A higher setting w ill round sharp corners and reduce the amount of control
points for the resulting vector shape.
17. Either close or set aside the Brush Properties dialog.
18. In the Draw ing view , start draw ing to test your brush settings.

77

Harmony 22 Paint User Guide

Creating a Textured Brush
T-LAY-001-004
Using textured brushes, you can create an infinite range of fuzzy, textured and w atercolour lines. You can use
bitmap brush tips, adjust your line's hardness and opacity, combine tw o tips and apply a paper texture to yourbrush strokes so as to adapt the Brush tool to a variety of art styles and create natural-looking brush strokes.
W hen draw ing on a vector layer, brushes are solid vector brushes by default. You can how ever create atextured vector brush w hich combines both Harmony's vector and bitmap draw ing capabilities. You can tw eak
textured vector brush strokes using various vector editing tools such as the Contour Editor, the Smooth Editor,
the Perspective tool and the Envelope tool, and Harmony w ill resample the textures inside your brush strokes
w ith each modification.
If you are draw ing on a bitmap layer, your brush is alw ays textured. You can configure a textured brush to lookcrisp and solid if desired, but brush strokes on bitmap layers cannot be tw eaked or smoothed.

78

Chapter 3: Draw ing

Configuring a Textured Brush Tip
T-ANIMPA-002-002
The Brush tool supports tw o types of brush tips: Solid and Textured. Solid brush tips are plain shapes that canbe used to draw vector shapes filled w ith a solid color, w hereas textured brush tips are bitmap images w ith
various shapes and opacity levels that can be used to create natural-looking brush strokes.

Solid brush tips are not customizable. The selection is limited to either a circle, diamond or square-shaped
brush tip, the proportions and angle of w hich can be adjusted. W hile Harmony also comes bundled w ith
preset textured brush tips, it is also possible to create and use your ow n textured brush tips.

How to configure a textured brush tip
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.

79Harmony 22 Paint User Guide

4. In the Brush Tip list, select the desired brush tip. If you w ant to create your ow n brush tip, see
Adding a Brush Tip on page 83.
5. Use the Maximum Size slider to set the maximum size of your brush tip.

6.

NOTE
W hen draw ing w ith a mouse, your brush is alw ays at its maximum size. W hen draw ing
w ith a pressure-sensitive pen tablet, your brush's size w ill range betw een its minimum
and maximum size, depending on the amount of pressure you put on the pen w hen
draw ing.

7. You can control the size properties by clicking on the arrow button on right and the Size Properties
dialog box w ill appear.

80

Chapter 3: Draw ing

8.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool options, see
Brush Tool Properties.

9. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourbrush w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour brush tip's maximum size, w hich is 25% by default. If you don't w ant the pressure on your pen
to affect the brush size, set this parameter to 100%.
10. If you w ant your brush to keep the same size relative to the camera frame w hen the camera zooms
in on or zooms out of the scene, check the Proportional to Camera option.

11.

NOTE
The "Size Proportional to Camera" option has been moved to the new Size Properties
w indow .

12. If you w ant your brush tip to have uneven dimensions, use the Roundness slider to shrink the brushtip vertically all the w hile preserving its horizontal size.
13. If you w ant your brush tip to be at an angle, use the Angle slider to rotate your brush tip.
14. If you w ant your brush tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

15. If you w ant your brush tip to rotate w ith the angle of your pen tip use the Angle Function. You canselect one of the follow ing options:81Harmony 22 Paint User GuidelConstant: The static orientation of the brush tip expressed in degrees.

lHeading: The orientation of the brush tip is determined by the direction in w hich the strokeis draw n. It changes dynamically as the stroke is draw n.

lAzimuth: W hen the pen is tilted, it uses the direction in w hich the pen eraser is facing.

lTwist (if supported by pen): It uses the tw ist angle of the stylus and is only available w ith
W acom Art Pen.

16. Use the Hardness slider to set how much of the outer part of your brush tip should fade totransparency. If you set it to 100 %, the brush w ill be completely solid. If you set it to 0 %, thebrush w ill only be opaque in its center, and w ill gradually become transparent tow ards its edges.
17. Use the Spacing slider to set how much distance you must drag your brush before Harmony prints
the brush tip onto your canvas, relative to your brush's size. The default setting is 7%, w hichproduces a relatively realistic brush stroke-like result. If this setting is too low , your brush strokes
might feel too thick and opaque. If this setting is too high, your strokes w ill look like the brush tip
has been stamped repeatedly over your canvas instead of dragged on it.
18. If you w ant the size of your brush tip to vary each time it's printed on your canvas, set the Random
Size setting to any value above 0 %.
19. If you w ant the angle of your brush tip to be random each time the tip is printed on your canvas, set
the Random Angle setting to any value above 0 °.
20. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
21. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
22. In the Draw ing view , start draw ing to test your brush settings.

NOTE
It is also possible to use textures w hen draw ing w ith the Pencil tool. Those textures follow theangle of your pencil lines, w hich may create more interesting results depending on your desired
draw ing style. For more information, see About Pencil Line Textures on page 134.

82

Chapter 3: Draw ing

Adding a Brush Tip
In the Brush or Eraser Properties dialog, you w ill find a set of default brush tips w hich are bundled w ith
Harmony, but you can also create your ow n brush tips, then export your collection or import an existing set.
To make your ow n brush tip, you must first create an image file containing the brush tip, either in Harmony orin a third party softw are, like Adobe Photoshop, then import it into Harmony. A brush tip must be a greyscale
image. Colors in brush tips are not acknow ledged by Harmony, as brush tips only use the colour you are
painting w ith in Harmony. Your brush tip should also not contain transparency, as Harmony determines thebrush tip's transparency based on its black, w hite and grey levels. Its black parts w ill appear 100% opaque, its
w hite parts w ill appear 100% transparent, and its grey parts w ill appear semitransparent.
You can import brush tips in any image format supported by Harmony. It is recommended to create brush tips
in a resolution ranging from 100 x 100 pixels to 400 x 400 pixels.
Brush tips are shared betw een the brush tool and the eraser tool. Like paper textures and brush presets, paper
textures are saved in your preferences. You can also export your brush tips into an .xml file, and import themon a different w orkstation, allow ing you to share your brush tips betw een the different people collaborating
on your project.

How to add a brush tip
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Do one of the follow ing:lClick on the Paper Texture menu iconlClick the Add Paper Texture button.

and select Add.

83

Harmony 22 Paint User Guide

5. In the file brow ser w indow , navigate to the location of your texture image file and select it.
6. Click Open to import the file into the Paper Texture library.
By default, an imported texture is given the name of the image file.

84

Chapter 3: Draw ing

Renaming Brush Tips
You can rename your bitmap brush tips to keep your list organized.

How to rename a brush tip
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Select the brush tip you w ish to rename.
5. Click on the Paper Texture menu icon

and select Rename.

6. In the Rename dialog box that appears, type in the new name of the brush tip.
7. Click OK.

85

Harmony 22 Paint User Guide

Deleting Brush Tips
You can delete unnecessary brush tips to keep your list organized.

How to delete a brush tip
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Select the brush tip you w ish to delete.
5. Do one of the follow ing:lClick on the Paper Texture menu iconlClick the Delete

and select Delete.

button.

NOTE
You can delete any brush tip in the Paper Texture library, including the default paper textures,
except for the three solid brush tips: Circle, Diamond and Square. Also, brush tips w ill not get
deleted if they are used in a brush preset.

86Chapter 3: Draw ing

Exporting Brush Tips
You can export brush tips to share, backup or install on a new computer.

How to export brush tips
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Click on the Paper Texture menu icon

and select Export.

The Export Tips and Textures dialog opens. This dialog allow s you to export both your textured
brush tips and your paper textures.

5. By default, both your brush tips and your paper textures are selected for export. If you only w ish toexport your brush tips, uncheck the Select Paper Textures option.
6. Click Export.

87

Harmony 22 Paint User Guide

7. In the Export Textures w indow that appears, brow se to a location w here you w ant save the .xml
file and give it a name.
8. Click Save.

88

Chapter 3: Draw ing

Importing Brush Tips
You can import Harmony brush tips you previously exported.

How to import brush tips
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Click on the Paper Texture menu icon

and select Import.

5. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush tips.
6. Click Open.
In the Import Tips and Textures dialog box appears.

89Harmony 22 Paint User Guide

7. If the selected .xml file also contains paper textures, they w ill be selected for import along w ith
the brush tips by default. If you w ish to only import the paper textures, uncheck the Select Paper
Textures option.
8. Click Import.
The imported brush tips appear in the Brush Tips Library.

90

Chapter 3: Draw ing

Changing the Brush Tip Display
You can display your preset list as thumbnails or a list.

How to change the Brush Tips thumbnail display
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
1. Click on the Brush Tips menu icon.

2. Select one of the follow ing options:lSmall Thumbnail: Displays brush tips in a grid of small thumbnails.

lLarge Thumbnail: Displays brush tips in a grid of large thumbnails w ith their name.
The default view setting.

l

List View: Displays brush tips in a list, w ith their name on the left and their texture on
the right of each row .

91

Harmony 22 Paint User Guide

Configuring Smoothing for a Textured Brush
T-ANIMPA-002-003
If you are draw ing on a vector layer, the Brush Properties dialog w ill have a Smoothing tab, w hich allow s toconfigure how Harmony automatically smooths your brush strokes. If you are draw ing on a bitmap layer, this
topic is not applicable, as bitmap layers do not support automatic smoothing.

How to configure a textured brush's smoothing
1. In the Brush Properties dialog, open the Smoothing tab.

2. Use the Centerline Smoothing slider to set the amount of smoothing Harmony should perform on
your stroke's direction, curves and corners. A higher setting w ill prevent your line from being shaky,but is liable to reduce your draw ing precision and to round sharp corners into curves.
3. Use the Contour Smoothing slider to set the amount of smoothing Harmony should perform on
your stroke's contour. A higher setting w ill round sharp corners and reduce the amount of control
points for the resulting vector shape.
4. In the Draw ing view , start draw ing to test your brush settings.

92

Chapter 3: Draw ing

Configuring Antialiasing and Transparency for a Textured Brush
A textured brush can be either antialiased or not antialiased. W ithout antialiasing, your brush strokes w ill only
create fully opaque artw ork. W ith antialiasing enabled, you also have the option to set the flow and opacity ofyour brush, allow ing you to simulate the effect of inks and paints w ith various consistencies.
You can now control the Flow /Opacity properties w ith input options such as Pressure, Tilt and Speed. You can
use a combination of multiple inputs to control a single property.

NOTE
If you are w orking on a vector layer, make sure the Brush Type option in the Tip tab is set to
Textured Vector Brush to enable the textured brush options.

How to configure a brush's antialiasing and transparency settings
1. In the Brush Properties dialog, open the Transparency tab.

2. If you w ant your brush to have antialiasing or transparency, enable the Antialiasing option.

NOTE
If the Antialiasing option is disabled, all Transparency settings w ill be disabled, andyour brush w ill only create fully opaque artw ork.

3. Use the Maximum Flow slider to set the consistency of your brush strokes. A low er flow w ill makeyour stroke more transparent tow ards the extremities and more opaque in its center, w hereas ahigher flow w ill make your stroke consistently opaque.

93

Harmony 22 Paint User Guide

4. If you are using a pressure-sensitive pen tablet, use the Minimum Flow slider to set the percentageof the maximum flow that you w ant your brush to use w hen using your pen w ith very little
pressure. If you don't w ant the pressure on your pen to affect the flow , set this parameter to 100%.
5. Use the Maximum Opacity slider to set the maximum opacity of your brush strokes.
6. If you are using a pressure-sensitive pen tablet, use the Minimum Opacity slider to set thepercentage of the maximum opacity that you w ant your brush to use w hen using your pen w ithvery little pressure. If you don't w ant the pressure on your pen to affect the opacity, set thisparameter to 100%.

NOTE
You can control the Flow /Opacity properties by clicking on the arrow button on theright and Flow /Opacity Properties Dialog box w ill appear.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool option, see
Brush Tool Properties.

7. If you w ant the Flow of your brush to be randomized, set the Random Flow setting to any value
over 0 %.
8. If you w ant the Opacity of your brush to be randomized, set the Random Opacity setting to any
value over 0 %.
9. In the Draw ing view , start draw ing to test your brush settings.

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Chapter 3: Draw ing

Configuring a Textured Brush with a Dual Tip
Textured brushes can also have a dual tip. A dual tip is a secondary tip that can be blended into your primary
tip in various blend modes, w ith its ow n full set of tip settings.

NOTE
If you are w orking on a vector layer, make sure the Brush Type option in the Tip tab is set to
Textured Vector Brush to enable the textured brush options.

How to configure a brush with a dual tip
1. In the Brush Properties dialog, click on the Dual Tip tab.
2. Check the check box in the Dual Tip tab to enable the Dual Tip functionality.

95Harmony 22 Paint User Guide

3. In the Brush Tip list, select the desired brush tip. If you w ant to create your ow n brush tip, see
Adding a Brush Tip on page 83.
4. In the Blend Mode drop-dow n list, select the algorithm w ith w hich you w ant your secondary tip toblend into your primary tip:lMultiply w ill draw the least opaque pixel of either brush tip, making more spaced out,
inconsistent strokes.

lColor Dodge w ill add the opacity of the pixels in both brush tips, making moreopaque strokes.

lCombine w ill draw the most opaque pixel of either brush tip, combining the tip
shapes w ithout increasing their opacity.

5. Use the Maximum Size slider to set the maximum size of your brush tip.

6.

NOTE
W hen draw ing w ith a mouse, your brush is alw ays at its maximum size. W hen draw ing
w ith a pressure-sensitive pen tablet, your brush's size w ill range betw een its minimum
and maximum size, depending on the amount of pressure you put on the pen w hen
draw ing.

7. You can control the size properties by clicking on the arrow button on right and the Size Properties
dialog box w ill appear.

8.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool options, see
Brush Tool Properties.

9. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourbrush w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour brush tip's maximum size, w hich is 25% by default. If you don't w ant the pressure on your pen
to affect the brush size, set this parameter to 100%.
10. If you w ant your brush to keep the same size relative to the camera frame w hen the camera zooms
in on or zooms out of the scene, check the Proportional to Camera option.

96

Chapter 3: Draw ing

NOTE

11.

The "Size Proportional to Camera" option has been moved to the new Size Properties
w indow .

12. If you w ant your brush tip to have uneven dimensions, use the Roundness slider to shrink the brushtip vertically all the w hile preserving its horizontal size.
13. If you w ant your brush tip to be at an angle, use the Angle slider to rotate your brush tip.
14. If you w ant your brush tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

15. If you w ant your brush tip to rotate w ith the angle of your pen tip use the Angle Function. You canselect one of the follow ing options:lConstant: The static orientation of the brush tip expressed in degrees.

lHeading: The orientation of the brush tip is determined by the direction in w hich the strokeis draw n. It changes dynamically as the stroke is draw n.

lAzimuth: W hen the pen is tilted, it uses the direction in w hich the pen eraser is facing.

lTwist (if supported by pen): It uses the tw ist angle of the stylus and is only available w ith
W acom Art Pen.

16. Use the Hardness slider to set how much of the outer part of your brush tip should fade totransparency. If you set it to 100 %, the brush w ill be completely solid. If you set it to 0 %, thebrush w ill only be opaque in its center, and w ill gradually become transparent tow ards its edges.

97Harmony 22 Paint User Guide

17. Use the Spacing slider to set how much distance you must drag your brush before Harmony prints
the brush tip onto your canvas, relative to your brush's size. The default setting is 7%, w hichproduces a relatively realistic brush stroke-like result. If this setting is too low , your brush strokes
might feel too thick and opaque. If this setting is too high, your strokes w ill look like the brush tip
has been stamped repeatedly over your canvas instead of dragged on it.
18. If you w ant the size of your brush tip to vary each time it's printed on your canvas, set the Random
Size setting to any value above 0 %.
19. If you w ant the angle of your brush tip to be random each time the tip is printed on your canvas, set
the Random Angle setting to any value above 0 °.
20. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
21. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
22. In the Draw ing view , start draw ing to test your brush settings.

98

Chapter 3: Draw ing

Configuring a Brush with a Paper Texture
T-ANIMPA-002-004
Paper textures are bitmap textures that you can apply to your brush strokes as you draw . They act astransparency filters that are tiled over your brush strokes to make them look grainy, as if you w ere draw ing on
a rough paper surface. W hile Harmony comes bundled w ith preset paper textures, it is also possible to create
and use your ow n paper textures.

How to configure a brush with a paper texture
1. In the Brush Properties dialog, click on the Paper Texture tab.
2. Check the check box in the Paper Texture tab to enable paper textures.

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Harmony 22 Paint User Guide

3. In the paper texture list, select the desired paper texture. If you w ish to create your ow n paper
texture, see Adding a Paper Texture on page 102.
4. Using the Texture Scale slider, select the scaling factor at w hich to scale the paper texture w hen
applying it to your brush strokes.
5. If you w ant your brush strokes to get more opaque as you drag your brush or w hen you draw overthem, enable the Additive option.
6. If you w ant the paper texture to alw ays be aligned to the same grid regardless of w here you draw
your strokes, enable the Aligned option. Otherw ise, your paper textures w ill be positioned relative
to w here you start your draw ing stroke, and if you draw tw o strokes one over the other, their paper
textures w ill clash w ith each other.
7. In the Draw ing view , start draw ing to test your brush settings.

100Chapter 3: Draw ing

NOTE
It is also possible to use textures w hen draw ing w ith the Pencil tool. How ever, those textures
follow the shape of the line instead of tiling over your strokes. For more information, see About
Pencil Line Textures on page 134.

101

Harmony 22 Paint User Guide

Adding a Paper Texture
In the Brush Properties dialog, you w ill find a set of default paper textures w hich are bundled w ith Harmony,
but you can also create your ow n paper textures, then export your collection or import an existing set.
To make your ow n paper texture, you must first create an image file containing the texture, either in Harmony
or in a third party softw are, like Adobe Photoshop, then import it into Harmony. A paper texture must be agreyscale image. Colors in paper textures are not acknow ledged by Harmony, as paper textures are applied
onto the colour you are painting w ith in Harmony. Your texture should also not contain transparency, asHarmony determines the texture's transparency based on its black, w hite and grey levels. W hen draw ing w ith
a paper texture, its black parts w ill appear 100% opaque, its w hite parts w ill appear 100% transparents, andits grey parts w ill appear semitransparent.
You can import brush tips in any image format supported by Harmony. It is recommended to create paper
textures in a resolution ranging from 100 x 100 pixels to 400 x 400 pixels.
Like brush tips and brush presets, paper textures are saved in your preferences. You can also export yourpaper textures into an .xml file, and import them on a different w orkstation, allow ing you to share yourtextures betw een the different people collaborating on your project.

How to add a paper texture
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

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Chapter 3: Draw ing

1. In the Brush Properties dialog, do one of the follow ing:l

From the Paper Texture menu, select Add.

l

Click the Add Paper Texture button.

2. In the brow ser w indow that appears, navigate to w here you saved your texture file.
3. Click Open to import the file into the Paper Texture library.
By default, an imported texture is given the name of the image file.

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Renaming a Paper Texture
You can rename your paper textures to keep your list organized.

How to rename a paper texture
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

6. Select the texture you w ant to rename.
7. Click on the Paper Texture menu icon

and select Rename.

104Chapter 3: Draw ing

8. In the Rename Texture dialog box that appears, type in the new name for the texture.

9. Click OK.

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Deleting Paper Textures
You can delete unnecessary paper textures from your preset list.

How to delete a paper texture
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

1. Select the texture you w ant to delete.
2. Do one of the follow ing:lClick on the Paper Texture menu iconlClick the Delete

and select Delete.

button.

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Chapter 3: Draw ing

NOTE
You can delete any paper texture in the Paper Texture library, including thedefault paper textures, as long as no brush preset is using that paper texture.

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Harmony 22 Paint User Guide

Exporting Paper Textures
You can export paper textures into an .xml file w hich w ill contain their name and bitmap texture. This can be
useful if you w ish to back up or share your paper textures.

How to export paper textures
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

6. Click on the Paper Texture menu icon

and select Export.

The Export Tips and Textures dialog opens. This dialog allow s you to export both your textured
brush tips and your paper textures.

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7. By default, both your brush tips and your paper textures are selected for export. If you only w ish toexport your paper textures, uncheck the Select Brush Tips option.
8. Click on the Export button.
9. In the Export Textures dialog that appears, brow se to a location w here you w ould like to save the.xml file, then type in the desired file name.
10. Click Save.

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Harmony 22 Paint User Guide

Importing Paper Textures
You can import paper texture presets you previously exported from Harmony.

How to import paper textures
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

6. Click on the Paper Texture menu icon

and select Import.

7. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your paper textures.
8. Click Open.
In the Import Tips and Textures dialog box appears.

110Chapter 3: Draw ing

9. If the selected .xml file also contains brush tips, they w ill be selected for import along w ith thepaper textures by default. If you only w ish to import the paper textures, uncheck the Select Brush
Tips option.
10. Click Import.
The imported paper textures w ill appear in the Paper Texture Library.

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Harmony 22 Paint User Guide

Changing the Paper Texture Display
You can change the w ay the paper textures are displayed in the paper textures list of the Brush Properties
dialog.

How to change the Paper Texture thumbnail display
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

1. Click on the Paper Texture menu icon.

2. Select one of the follow ing options:lSmall Thumbnail: Displays paper textures in a grid of small thumbnails.

lLarge Thumbnail: Displays paper textures in a grid of large thumbnails w ith theirnames. The default view setting.

l

List View: Displays paper textures in a list, w ith their name on the left and their
texture on the right of each row .

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Chapter 3: Draw ing

Setting the Textured Brush Resolution
An important thing to take in consideration w hen draw ing w ith textured brushes is that, contrary to solid
vector brushes, textured brushes store their texture in bitmap data, w hich is stored in individual pixels. Thisimplies that, w here solid vector artw ork can be scaled and zoomed in w ithout issue, textured brush strokes areresolution dependent, and are liable to lose quality and appear pixelated if they are enlarged or zoomed in.
By default, textured brush strokes have a pixel density of 100%. At this density, w hen your scene is notzoomed in and your artw ork is not scaled up, each pixel in the textured brush strokes corresponds to one pixelin the rendered image. Scaling it up or zooming in w ill require Harmony to render several pixels using thesame pixel from the brush stroke's texture, making the artw ork lose quality.
Hence, before you start draw ing using textured brushes, it is important to consider if you w ill need to zoom
onto or scale up your artw ork, and set the pixel density accordingly. For example, if you intend to scale yourbitmap artw ork up to 300%, or if you intend to zoom in from 12 fields to 4 fields, you should make sure thepixel density for your textured brush strokes is of at least 300% before you start draw ing.
You can specify the pixel density for textured brushes at the scene level or at the draw ing level:lSetting the pixel density at the scene level w ill make new ly created draw ings have the specified pixel
density, but it w ill not change the pixel density of existing textured artw ork.

lSetting the pixel density at the draw ing level w ill allow you to change the pixel density of existingdraw ings, but w ill not affect the pixel density of draw ings created afterw ard.

NOTE
In Paint, you cannot set the pixel density of textured brush strokes for the w hole scene, since Paint
is only able to modify individual draw ings. You can only change the pixel density of textured brushstrokes in existing draw ings. If you need to make this change for the w hole scene, open the scene
in Harmony and refer to the Harmony documentation.

NOTE
If you are draw ing on a bitmap layer, you must set the pixel density and canvas size for bitmap
artw ork instead—see Setting the Bitmap Resolution on page 305.

How to change the pixel density for textured brushes strokes in existing drawings
1. In the Draw ing Thumbnails panel, select the draw ing for w hich you w ant to change the textured
brush stroke resolution.
2. From the top menu, select Drawing > Change Vector Drawing Brush Resolution.
The Change Vector Draw ing Brush Textures Resolution dialog opens.

113Harmony 22 Paint User Guide

3. In the Pixel Density field, enter the desired percentage of pixel density. If you intend to scale orzoom in on your artw ork, make sure your pixel density is set to be at least the factor by w hich yourartw ork w ill scaled or zoomed on. For example, if you intend to scale your artw ork by 300%, youneed to set the pixel density to at least 300%. If you intend to zoom in on your artw ork from 12fields to 6 fields, you need to set the pixel density to at least 200%. If you intend to do both, youneed to set the pixel density to at least 600%, as the camera zoom and scaling factor w ill have amultiplying effect on the apparent scaling of your artw ork.
4. If you w ant the specified pixel density to be applied on the existing textured brush strokes in thedraw ing, check the Apply to Existing Strokes option.
5. If you w ant the specified pixel density to be applied to all the draw ing's art layers (ie: Line Art,
Colour Art and, if enabled, Overlay Art and Underlay Art), check the Apply to All Art Layers
option. Otherw ise, only the currently active art layer w ill be affected.
6. If you w ant the specified pixel density to be applied to all draw ings in the active layer, check the
Apply to All Drawings option. Otherw ise, only the current draw ing w ill be affected.
7. Click OK.
From now on, new brush strokes w ill be in the selected draw ing w ill be in the specified pixel
density.

NOTEThis does not change the default pixel density for the scene. New draw ings w ill still becreated w ith the scene's default pixel density.

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Chapter 3: Draw ing

About Brush Presets
Setting up your brush to perfectly reproduce the desired art style can require a lot of tw eaking as w ell as trial
and error. Once you have found the correct settings for your brush, you w ill w ant to reuse it throughout yourproject for consistency. You can do that by creating and using brush presets.

Harmony comes preloaded w ith many brush presets w hich you can select from the Tool Properties view . It isalso possible to create your ow n brush presets by configuring your brush, then saving it as a preset.
Like brush tips and paper textures, brush presets are saved in your preferences. You can also export yourbrush presets into an .xml file, and import them on a different w orkstation, allow ing you to share your brush
presets betw een the different people collaborating on your project.

NOTES
l

Brush presets are not to be confused w ith brush tips and paper textures. A brush tip is one ofthe properties of a brush. A brush preset contains all of the properties for a given brush.
How ever, both can be exported, imported and managed similarly.

l

Brush presets for vector layers and for bitmap layers are separate. A brush preset createdw hile w orking on a vector layer cannot be used w hen w orking on a bitmap layer, and viceversa.

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Harmony 22 Paint User Guide

Creating a Brush Preset
You can create your ow n custom brush presets by configuring your brush, then adding it as a preset.

How to create a brush preset
1. Make sure the current draw ing layer is vector if you w ish to create a vector brush preset, or bitmap
if you w ish to create a bitmap brush preset—see About Vector and Bitmap Layers.
2. In the Tools toolbar, select the Brush

tool or press Alt + B.

3. Click on the Arrow button to open the Brush Properties dialog.

4. Configure your brush to be exactly how you w ish to use it in the future—see Creating a Solid Brushor Creating a Textured Brush.
5. Do one of the follow ing:l

From the Brush Properties dialog, click on the New Brush Preset

button in the top-right corner.
l

In the Tool Properties view , click the New Brush Presetl

In the Tool Properties view , open the Brush Presets menu

button.
and select New Brush

Preset.
6. In the New Preset w indow , type a name for your new brush preset.
Your new brush preset is added to the end of the list of brush presets.

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Chapter 3: Draw ing

Creating a Stamp
You can create a stamp by draw ing the artw ork for your stamp, then selecting it and creating a stamp preset.

How to create a stamp
1. In the Draw ing view , draw the artw ork w ith w hich you w ant to create a stamp.

2. Do one of the follow ing:l

If you w ant to create a stamp w ith all the artw ork in the draw ing, select this draw ing in theThumbnails list.

l

If you w ant to create a stamp w ith part of the artw ork in the draw ing, select the Selecttool in the Tools toolbar, then select the artw ork that you w ant to use to create a stamp—
see—Selecting, Repositioning and Transforming Artw ork on page 227.

3. In the Tools toolbar, select the Stamptool.

4. In the Tool Properties view , click on the New Preset

button.

5. In the New Preset dialog, type the desired name for your new stamp.
6. Click OK.
A stamp containing the selected artw ork is added to the Presets list for the Stamp tool. You can

117Harmony 22 Paint User Guide

now draw w ith the Stamp tool using this stamp.

NOTE
Once your stamp has been created, you can delete the artw ork you used to create it from yourproject. The artw ork in your stamps w ill be saved in your preferences.

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Chapter 3: Draw ing

Selecting a Brush Preset
Harmony provides you w ith default brush presets available in the Tool Properties view .

How to select a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , select a brush preset from the Presets list.

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Updating a Brush Preset
If you w ant to modify the settings of an existing custom preset, you can do so by adjusting the parameters in
the Tool Properties view , then updating your preset w ith your brush current's parameters.

How to update a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

1. In the Tool Properties view , select the Brush Preset you w ish to update.
2. Click on the Arrow button to open the Brush Properties view .

3. Configure your brush to be exactly how you w ish to use it in the future—see Creating a Solid Brushor Creating a Textured Brush.
4. Click on the Update Brush Preset

button in the upper-right corner of the Brush Properties

dialog.

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Chapter 3: Draw ing

Renaming a Brush Preset
To keep your list comprehensive and organized, you can name your custom brush presets.

How to rename a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , select a brush preset to rename.
3. Open the Brush Preset menu

and select Rename Brush.

4. Type in a new name for the brush and click OK.

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Harmony 22 Paint User Guide

Deleting a Brush Preset
You can keep your preset list clean by deleting unw anted custom presets.

How to delete a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , select the brush preset you w ant to delete.
3. Do one of the follow ing:lClick the Delete Brushbutton.

lOpen the Brush Preset menu

and select Delete Brush.

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Chapter 3: Draw ing

Exporting Brush Presets
You can export brush presets into an .xml file w hich w ill contain all of your brush's settings. This can be
useful if you w ish to back up or share your brush presets.

How to export pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil and Eraser tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export
presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you w ant toexport the presets.
4. Click Export.
5. In the Export Presets dialog that appears, brow se to the location w here you w ant to save the .xml
file and enter its file name.
6. Click Save.

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Harmony 22 Paint User Guide

Importing Brush Presets
You can import brush presets that you previously exported from Harmony.

How to import pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Import Brushes.

3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush presets.
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you
w ant to export the presets
6. Click Import.
The imported brush, eraser and pencil styles w ill appear in the Presets list.

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Chapter 3: Draw ing

Changing the Brush Preset Display
You can display your preset list as thumbnails or a list.

How to change the way presets are previewed in the Tool Properties view
1. In the Tool Properties view , open the Brush Presetsmenu.

2. Select one of the follow ing options:lSmall Thumbnail: Displays presets in a grid of small thumbnails w ith a preview of
their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

lStroke View: Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

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Adjusting Texture Opacity
An advantage of using textured vector brushes on vector layers is that you can adjust their opacity afterw ard.
Using the Adjust Line Texture Opacity dialog, you can adjust the opacity levels betw een the most opaque andthe most transparent pixels in your textures.

How to adjust the line texture opacity
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Draw ing view menu, select Drawing > Adjust Line Texture Opacity.
The Adjust Line Texture Opacity dialog box opens.

3. Do one of the follow ing:lDrag the upper slider tow ards the right to increase the transparency of the moretransparent pixels.

lDrag the low er slider tow ards the left to increase the opacity of the more opaque
pixels.

4. If you w ant to apply the changes to all draw ings exposed on the layer, enable the Apply to All
Drawings option.
5. Click OK.

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Chapter 3: Draw ing

About the Pencil Tool
T-HFND-004-004
The Pencil tool is for draw ing the final images, such as character nodes, cut-out puppet and clean animation.
The pencil creates a central vector shape. Pencil lines support pressure sensitivity and texture.

The Brush and Pencil tools are used for draw ing and sketching. Both tools support pressure sensitivity,
allow ing you to create lines w ith variable thickness. The Brush tool produces contour vector lines. The Pencil
and shape tools produce central vector lines. This means that a pencil line’s control points (used to deform its
shape) are located along the length of the central spine, w hile the Brush line’s control points are located along
the contour.

l

If you draw w ith the Brush tool and w ant to modify the thickness variation, use the Contour Editor tool.

l

If you draw w ith the Pencil tool and w ant to modify the thickness variation, use the Pencil Editor tool.

l

You can also convert a brush zone into a pencil line w ith the Brush Stroke to Pencil Line option.

If you sketch a draw ing using a semitransparent colour to get a paper-like feel, you should use the Brush tool,
as it produces a more realistic and natural feel. Transparent pencil lines may not display the w ay you w ant
w hen they overlap:

127Harmony 22 Paint User Guide

The pencil line is more appropriate for the final line of your clean draw ings. Also, if you're draw ing for digital
animation and intend to use the Auto-Patch effect to connect the parts of your character model, you should
use pencil lines for the Auto-Patch effect to w ork as expected.

NOTE
To learn more about the Pencil tool options, see the Reference Guide.

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Chapter 3: Draw ing

Drawing with the Pencil Tool
T-HFND-004-004A
Using the Pencil tool, you can draw vector pencil lines w hich can be easily tw eaked and reshaped as needed.

How to draw with the Pencil tool
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Tools toolbar, select the Pencil

tool or press Alt + /.

3. In the Colour view , click a colour sw atch to select a colour.

4. In the Draw ing view , start draw ing.

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Harmony 22 Paint User Guide

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Spacebar key w hile draw ing a straight line, the angle of your line
w ill lock. If you are using a pressure-sensitive tablet, you can draw over your line to adjust
its thickness.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing, yourdraw ing stroke w ill turn into a closed shape.

l

If you press and hold Alt before draw ing a stroke, and start draw ing near existing artw ork,
the start of your draw ing stroke w ill connect to that artw ork.

l

If you press and hold Alt w hile draw ing a stroke, and end your draw ing stroke near
existing artw ork, the end of that draw ing stroke w ill connect to that artw ork.

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Chapter 3: Draw ing

Creating a Pencil
T-LAY-001-001
You can configure a pencil's size, how much Harmony should automatically smooth your pencil lines w hen
draw ing, the shape of the tips and corners of your pencil line as w ell as its texture.

How to modify the pencil settings
1. In the Tools toolbar, select the Pencil

tool or press Alt + /.

2. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

The Pencil Properties dialog opens.

3. Use the Maximum Size slider to set the maximum size of your pencil line.
4. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourpencil w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour pencil's maximum size, w hich is 20% by default. If you don't w ant the pressure on your pen toaffect the pencil size, set this parameter to 100%.
5. If you w ant your pencil to keep the same size relative to the camera frame w hen the camera zooms
in on or zooms out of the scene, check the Proportional to Camera option.
6. Use the Centerline Smoothing slider to set the amount of smoothing Harmony should perform on
your pencil stroke's centreline. A higher setting w ill prevent your line from being shaky, but is liable
to reduce your draw ing precision and to round sharp corners into curves.

131Harmony 22 Paint User Guide

7. If you are using a pressure-sensitive tablet, use the Contour Smoothing slider to set the amount ofsmoothing Harmony should perform on your pencil stroke's contour. A higher setting w illsmoothen the variations in your pencil line's thickness and reduce its amount of control points, but
may affect the precision of the variations in line thickness.

NOTE
This parameter is only useful if you are draw ing w ith a pressure-sensitive tablet, as it
only affects the control points for the thickness of your pencil line. W hen draw ing w ith
a mouse, the pencil line has a uniform thickness, and hence its contour only has control
points at its extremiities.

8. Click on the Shape pop-up buttons to select w hether you w ant the Start and End of your pencil
lines to be Round or Flat, and w hether you w ant the points and corners w here pencil lines Join to
be Round, Mitre-shaped or Beveled.

9. Click on the Texture tab.

10. If you w ant your pencil line to have a texture, select the desired pencil line texture from the pencil
line texture library. Otherw ise, select None. For more information on pencil line textures, see About
Pencil Line Textures on page 134.

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Chapter 3: Draw ing

11. Either close or set aside the Pencil Properties dialog.
12. In the Draw ing view , start draw ing to test your pencil settings.

133Harmony 22 Paint User Guide

About Pencil Line Textures
Just like the Brush tool, the Pencil tool also supports textures. How ever, there are important differences
betw een the w ay brush textures and pencil textures w ork.
For one thing, a pencil line texture is applied w ith regard to the w idth and direction of the pencil lines. For
example, if you draw a spiral w ith a dash texture, the dashes w ill follow the curves of the spiral, and if you
draw a thicker line w ith the same texture, the dashes w ill be both longer and thicker.

Like colours, pencil textures are stored in special palettes in your scene. W hile brush textures are stored inyour artw ork as bitmap data, pencil textures are stored in your artw ork by linking the pencil line w ith its pencil
texture in the palette. This means that if you scale or tw eak your pencil line, the pencil texture w ill be updated
based on the new line's shape and the original texture. This also means that you are able to change the pencil
texture of an existing pencil line or to apply a texture to a pencil line that does not already have one.

Pencil line textures can also be used w ith the Line, Rectangle, Ellipse and Polyline tools, as those tools also
draw pencil lines.

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Chapter 3: Draw ing

Drawing with Pencil Textures
You can draw a textured pencil line by selecting the pencil texture, then draw ing.
There are tw o w ays to select a pencil texture. In the Colour view , you can select a pencil texture palette, thenone of its pencil texture sw atches, as you w ould do to select a colour, or you can select a pencil texture fromthe current pencil texture palette in the Pencil Properties dialog.
Your pencil texture w ill be combined w ith the selected colour to make a textured colour line.

NOTE
You can also draw w ith textured pencil lines w ith the Line, Rectangle and Ellipse tools.

How to draw with a textured pencil line using the Colour view
1. In the Tools toolbar, select the Pencil

tool or press Alt + /.

2. In the Colour view , select the colour w ith w hich you w ish to draw .
3. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.

4. In the palette list, select the pencil texture palette containing the desired pencil texture.

5. In the sw atch list, select the pencil texture you w ant to use.

6. In the Draw ing view , draw a pencil line.

135Harmony 22 Paint User Guide

How to draw with a textured pencil line using the Pencil Properties dialog
1. In the Colour view , select the colour w ith w hich you w ish to draw .
2. In the Tools toolbar, select the Pencil

tool or press Alt + /.

3. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

4. In the Pencil Properties dialog, click on the Texture tab.

NOTE
The texture library in the Texture tab lists the same pencil textures as the ones in thecurrently selected pencil texture palette in the Colour view .

5. In the Texture library, select a texture for the pencil.
6. In the Draw ing view , draw a pencil line.

136Chapter 3: Draw ing

Applying Texture to a Pencil LineYou can apply a pencil texture to an existing pencil line. You can also change a textured pencil line's texture byfollow ing the same steps.

NOTE
You can also apply pencil line textures on artw ork created w ith the Line, Rectangle, Ellipse andPolyline tools.

How to apply a pencil line texture to an existing pencil line using the Colour view
1. In the Tools toolbar, select the Selecttool or press Alt + S.

2. In the Draw ing view , select a pencil line.

3. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.

4. In the palette list, select the pencil texture palette containing the desired pencil texture.

5. In the sw atch list, select the pencil texture you w ant to apply to your pencil line.

137Harmony 22 Paint User Guide

6. The selected pencil line now uses the selected pencil line texture.

How to apply a pencil line texture to an existing pencil line using the Tool Properties
view
1. In the Tools toolbar, select the Selecttool or press Alt + S.

2. In the Draw ing view , select a pencil line.

3. In the Tool Properties view , scroll dow n to the pencil texture library panel.

NOTE
The texture library in the Tool Properties view lists the same pencil textures as theones in the currently selected pencil texture palette in the Colour view .

4. Select the pencil texture you w ish to apply.

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Chapter 3: Draw ing

5. The selected pencil line now uses the selected pencil line texture.

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Harmony 22 Paint User Guide

Editing a Pencil Line's Texture
There are tw o kinds of modification you can make to a pencil line's texture. Using the Edit Gradient/Texture
tool, you can scale the texture by its length and thickness, as w ell as offset its starting position. Using thePencil Editor tool, you can change the texture's symmetry relative to the line's center.

How to scale the length or thickness of a pencil line texture.
1. In the Tools toolbar, select the Edit Gradient/Texture

tool or press Shift + F3.

2. Click on the pencil line you w ant to edit.

3. Drag one of the square-shaped handles to scale the texture's length, thickness, or both
simultaneously.

How to offset a pencil line's texture.
1. In the Tools toolbar, select the Edit Gradient/Texture
2. Click on the pencil line you w ant to edit.

3. Drag the triangle-shaped handle to offset the texture.

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tool or press Shift + F3.

Chapter 3: Draw ing

How to change a pencil line's symmetry
1. In the Tools toolbar, select the Pencil Editor

tool or press 8.

2. Click on the pencil line you w ant to edit.

3. Drag one of the line's control points closer or further aw ay from the center line to change the size of
its half of the texture.

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Picking a Pencil Texture from Artwork
Just like you can pick a colour from your artw ork using the

Colour Eyedropper tool, you can pick a pencil

texture from your artw ork and make it the current pencil texture using thePencil Texture Eyedropper tool.

How to pick a pencil texture from your artwork
1. In the Tools toolbar, double-click or long-click on the
pop-up menu, selectColour Eyedropper button. Then, in the

Pencil Texture Eyedropper.

2. In the Draw ing view , click on a pencil line that uses the pencil texture you w ant to select.
The pencil texture used by that line w ill become the active pencil texture, and pencil lines you draw
from that point w ill use that texture.

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Disabling Pencil Line Textures
After you selected a pencil line texture, if you w ish to resume draw ing solid pencil lines again, you can do sousing either the Colour view or the Pencil Properties dialog.

How to resume drawing with a solid pencil line using the Colour view
1. Click on the Show Pencil Texture Palettes

button to display your pencil texture palettes.

2. Over the sw atch list, click on the No Texture button.

From now on, the pencil lines you draw w ill not have a texture.

How to resume drawing with a solid pencil line Pencil Properties dialog
1. In the Colour view , select the colour w ith w hich you w ish to draw .
2. In the Tools toolbar, select the Pencil

tool or press Alt + /.

3. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

4. In the Pencil Properties dialog, click on the Texture tab.
5. In the pencil textures library, select None.

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From now on, the pencil lines you draw w ill not have a texture.

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Pencil Texture Palettes
Just like colours used by your draw ings, pencil textures are stored in pencil texture sw atches, w hich are stored
in pencil texture palettes. Because pencil lines draw n w ith pencil textures are linked to the pencil texture in
their pencil texture palette, pencil textures can be shared and updated just as easily as colours in yourHarmony project.
For example, you can create the texture palette for your character in your character model's scene, then makescenes that include this character link to that character's pencil texture palette, as you can w ith their colour
palette, to make sure both their colour and line textures are the same throughout your project. For more
information, see About Advanced Palette Management on page 331.
Just as w ith colour palettes, you can update a sw atch in a pencil texture palette w ith a different texture, andthe pencil lines that are draw n w ith this texture w ill update w ith the new texture. This means your pencil
textures can alw ays be subjected to revisions.
W hen you create a new scene, your palette list w ill be preloaded w ith a default colour palette and a default
texture palette, the latter w hich is contains some sample pencil textures. If you w ish, you can use thesetextures for your project, you can build on this palette and add new textures as needed, or you can create yourow n texture palette, loaded w ith only your custom textures, to use across your project. You can configure
Harmony to create new scenes w ith your ow n custom pencil texture palette.

NOTE
The follow ing topics w ill introduce you to the basics of creating and using pencil texture palettes.
For more information on creating and managing sw atches and palettes, see About Colour
Sw atches on page 311 and About Palettes on page 329.

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Creating a Pencil Texture Palette
Creating a pencil texture palette allow s you to manage your ow n pencil textures as you w ish. You can create
separate pencil texture palettes for different characters, props and backgrounds as needed, and share themamong the people collaborating on your project like you w ould w ith colour palettes.
Creating a pencil texture palette is as simple as creating a colour palette. W hen creating a palette, you havethe option to create it as a colour or a pencil texture palette.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to create a pencil texture palette (Basic palette list mode)
1. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.
2. Do one of the follow ing:l

In the Colour View , click the New Palettebutton over the palette list.

lFrom the Colour view menu, select Palettes > New

The Create Palette dialog box opens.
3. In the Create Palette dialog, enter the new palette's name. Make sure your palette name contains
information to be easy to identify, such as the name of the character and information about the typeof setting for this palette, if any.

4. In the Palette Type drop-dow n, select Pencil Texture.
5. Click OK.
The palette appears in the draw ing element’s palette list.

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How to create a pencil texture palette (Advanced palette list mode)
1. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.
2. If you w ant to add the palette to an element's palette list, select a draw ing from the element forw hich you w ant to create a palette in the Timeline, Xsheet or Camera view .
3. Do one of the follow ing:l

In the Colour View , click the New Palettebutton over the palette list.

lFrom the Colour view menu, select Palettes > NewThe Palette Brow ser dialog box opens.

4. In the Palette Location panel, select the location w here you w ant to store the palette file. If you areusing Harmony Server, you can store the palette in any environment, job, scene or element on yourdatabase. In Harmony Stand Alone, you can store the palette in the scene, inside one of its element,
or inside its provisional job or environment. For more information, see About Palette Storage
Locations on page 334.
5. In the New Palette Name field, enter the name for the new palette. The palette list above this fieldlists the palettes that already exist in the selected location. Make sure you enter a name that is notalready used by another palette.
6. In the Palette Type drop-dow n, select Pencil Texture.

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7. In the Palette List panel, select w hether you w ant the palette to be added to the Scene Palette
List, or to the Element Palette List of the currently selected element. Note that in the latter case,the palette w ill only be usable by the element. For more information, see About Scene and Element
Palette Lists on page 333.

8. Click OK.
The new palette appears in the palette list.

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Adding a Pencil Line Texture
You can create your ow n pencil textures by first creating an image file containing the texture, either inHarmony or in a third party softw are, then importing it to your pencil texture palette.
A pencil texture must be created w ith transparency, as Harmony w ill only use the image's transparency
channel to determine how to apply the texture to your pencil lines. Hence, pencil textures can be in image
format that are supported by Harmony and w hich supports transparency: .png, .tga, .tif, .psd, .psb and.sgi.
A pencil texture can be of any size, but the bigger the image resolution, the thicker the lines you can draw w ith
it w ithout seeing pixels. The pencil texture w ill follow your pencil lines on their horizontal axis, like so:

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to add a pencil line texture using the Colour view
1. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.

2. In the palette list, select the pencil texture palette containing the desired pencil texture.

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3. Do one of the follow ing:lClick on the Add Texture

button.

l

Right-click on the sw atch list and select New Texture.

lOpen the Colour view menu

and select Colours > New Texture.

4. In the file brow ser dialog, navigate to the location of your texture image file and select it.
5. Click Open.
The texture is added to your pencil texture palette.

You can start draw ing w ith your new pencil texture.

How to add a pencil line texture using the Pencil Properties dialog
1. In the Tools toolbar, select the Pencil

tool or press Alt + /.

2. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

3. In the Pencil Properties dialog, click on the Texture tab.

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NOTE
The texture library in the Texture tab lists the same pencil textures as the ones in thecurrently selected pencil texture palette in the Colour view .

4. Do one of the follow ing:lClick on the New TexturelOpen the Brush menu

button over the pencil textures list.
and select New Texture.

5. In the file brow ser dialog, navigate to the location of your texture image file and select it.
6. Click Open.
The texture is added to your pencil texture palette.

7. In the pencil texture library, select the new pencil texture.

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You can start draw ing w ith your new pencil texture.

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Renaming Pencil Line Textures
You can rename pencil textures from the Colour view or from the Pencil Properties dialog box.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to rename a pencil line texture using the Colour view
1. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.

2. In the palette list, select the pencil texture palette containing the desired pencil texture.

3. In the sw atch list, double-click on the name of the texture you w ish to rename.

4. Enter the texture's name, then click outside of the text input field to confirm the new name.

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How to rename a pencil line texture using the Pencil Properties dialog
1. In the Tools toolbar, select the Pencil

tool or press Alt + /.

2. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

3. In the Pencil Properties dialog, click on the Texture tab.

NOTE
The texture library in the Texture tab lists the same pencil textures as the ones in thecurrently selected pencil texture palette in the Colour view .

4. In the pencil texture library, select the texture you w ish to rename.

5. Open the Brush menu

and select Rename Texture.

The Rename Texture dialog box opens.

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6. In the Name field, type in the desired name for your texture
7. Click OK.
You can start draw ing w ith your new pencil texture.

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Deleting Pencil Line Textures
You can delete pencil texture palettes that you do not need.

NOTE
You should not delete any pencil texture that is used in your project, as pencil lines using a deleted
pencil texture w ill become solid pencil lines.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to rename a pencil line texture using the Colour view
1. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.

2. In the palette list, select the pencil texture palette containing the desired pencil texture.

3. In the sw atch list, select the pencil texture you w ish to delete.

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4. Do one of the follow ing:lClick on the Remove Colour button.

l

Right-click on the pencil texture and select Delete.

lOpen the Colour view menu and select Colours > Delete.

lPress Del (W indow s/Linux) or Backspace (macOS).

The selected pencil texture is removed from the pencil texture palette.

How to rename a pencil line texture using the Pencil Properties dialog
1. In the Tools toolbar, select the Pencil

tool or press Alt + /.

2. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

3. In the Pencil Properties dialog, click on the Texture tab.

NOTE
The texture library in the Texture tab lists the same pencil textures as the ones in thecurrently selected pencil texture palette in the Colour view .

4. In the pencil texture library, select the texture you w ish to delete.

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5. Do one of the follow ing:lClick on the Delete TexturelOpen the Brush menu

button.

and select Delete Texture.

The selected pencil texture is removed from the pencil texture palette.

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Replacing a Pencil Texture
Just like you can edit a colour sw atch and simultaneously update all the draw ings using the colour sw atchw ith this new colour, you can replace an existing pencil texture w ith a different texture, and update all pencil
lines that use this texture w ith the new texture.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to replace an existing pencil line texture
1. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.

2. In the palette list, select the pencil texture palette containing the desired pencil texture.

3. In the sw atch list, select the pencil texture that you w ant to replace.

4. Do one of the follow ing:

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Harmony 22 Paint User Guidel

Right-click on the pencil texture and select Edit Texture.

lOpen the Colour view menu and select Colours > Edit Texture.

5. In the file brow ser dialog, navigate to the location of your new texture image file and select it.
6. Click Open.
The selected texture is replaced w ith the new texture file. It is also renamed based on the new
texture's file name.

Any pencil line that w as draw n w ith the older pencil texture w ill now be draw n w ith the new
pencil texture.

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Setting the Default Pencil Texture Palette
You can make a pencil texture palette into the default texture palette w hich is added to every new scene you
create. This w ill be saved in your user preferences.

How to add a texture to your preferences
1. In the Colour view , click on the Show Pencil Texture Palettes

button to display your pencil

texture palettes.

2. In the palette list, select the pencil texture palette containing the desired pencil texture.

3. In the Tools toolbar, select the Pencil

tool or press Alt + /.

4. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

5. In the Pencil Properties dialog, click on the Texture tab.

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NOTE
The texture library in the Texture tab lists the same pencil textures as the ones in thecurrently selected pencil texture palette in the Colour view .

6. Do one of the follow ing:lClick on the Use as Default Texture PalettelOpen the Brush menu

button.

and select Use as Default Texture Palette.

From now on, new scenes created in Harmony w ill have the selected pencil texture palette as theirdefault pencil texture palette.

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Recovering the Default Pencil Texture Palette
If you have made modifications on the default pencil texture palette in your scene that you w ish to undo, you
can easily re-import the default pencil texture palette back into your scene as a new pencil texture palette.

How to recover the default pencil texture palette into your scene
1. Click on the Show Pencil Texture Palettes

2. In the Tools toolbar, select the Pencil

button to display your pencil texture palettes.

tool or press Alt + /.

3. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

4. In the Pencil Properties dialog, click on the Texture tab.

NOTE
The texture library in the Texture tab lists the same pencil textures as the ones in thecurrently selected pencil texture palette in the Colour view .

5. Click on the Reload Default Texture Palettebutton.

A copy of the default pencil texture palette is added to the scene's pencil texture palette list.

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Converting a Colour Palette to a Pencil Texture Palette
As of Harmony 15, each palette is set to either be a colour palette, or a texture palette, and both palette types
are kept in separate lists. How ever, in Harmony 14 and prior versions, pencil texture palettes w ere just regularpalettes, w hich you had to temporarily set at your pencil texture palette in order to use it for pencil line
textures.
Because of this, if you open a scene created in Harmony 14 or prior, and w hich contains pencil texture palettes,
Harmony 15 w ill not be able to tell w hich palettes are colour palettes and w hich ones are pencil texture
palettes. Hence, you must manually move your pencil texture palettes to the pencil texture palette list before
you can use them for pencil line textures.
The only exception to this is if a scene created in a prior version of Harmony has a pencil texture palette named
penstyle_opacity. Because this w as the default name for pencil texture palettes in older versions ofHarmony, Harmony 15 w ill automatically convert those palettes to pencil texture palettes.

NOTE
Converting a colour palette to a pencil texture palette is permanent. You cannot convert a pencil
texture palette to a colour palette. How ever, you w ill be prompted to confirm before making theconversion, and the conversion can be undone w ith the Undo command.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to convert a colour palette to a pencil texture palette
1. In the palette list of the Colour view , select the palette you w ant to convert to a pencil texture
palette.
2. Do one of the follow ing:lRight-click on the palette and select Change to Pencil Texture.

lOpen the Colour view menu

and select Palettes > Change to Pencil Texture.

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The palette w ill be moved from the colour palette list to the pencil texture palette list. To
see it, click on the Show Pencil Texture Palettes
button.

165

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Harmony 22 Paint User Guide

About Pencil Presets
Setting up your pencil to perfectly reproduce the desired art style can require a lot of tw eaking as w ell as trial
and error. Once you have found the correct settings for your pencil, you w ill w ant to reuse it throughout yourproject for consistency. You can do that by creating and using pencil presets.

Harmony comes preloaded w ith a few pencil presets w hich you can select from the Tool Properties view . It isalso possible to create your ow n pencil presets by configuring your pencil, then saving it as a preset.
Pencil presets are saved in your preferences. You can also export your brush presets into an .xml file, andimport them on a different w orkstation, allow ing you to share your brush presets betw een the different people
collaborating on your project.

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Creating Pencil Presets
T-LAY-002-002
You can create your ow n custom pencil presets.
Regular pencil presets allow you to set the size and smoothing of the line or shape. As you draw , the thicknessof the line varies according the amount of pressure you apply w ith a pen and tablet.

NOTE
To learn more about the Pencil tool options, see the Reference guide .

How to create a pencil preset
1. In the Tools toolbar, select the Pencil, Line, Ellipse, or Rectangle

tool.

2. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

3. Configure your brush to be exactly how you w ish to use it in the future—see Creating a Pencil on
page 131.
4. In the Tool Properties view , click the New Brushbutton.

The New Preset dialog box opens.

5. Type in a name for your new pencil thickness stencil and click OK.
6. Start draw ing in the Draw ing view .

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Creating Pencil Thickness Presets
T-LAY-002-003
Thickness stencils that are indicated w ith thisicon are also set w ith specific properties, but disregards thepressure of your pen and tablet. The line thickness varies. You can access thickness stencils from the list ofpresets on the Tool Properties view or create your ow n.

How to create a pencil thickness stencil
1. In the Tools toolbar, select the Selecttool.

2. In the Camera view , select the pencil line or shape from w hich you w ant to take the style.

3. In the Tool Properties view , click the New Thickness Stencil

button.

A new thickness stencil is added to the end of the list in the Presets menu.
4. In the Presets menu, select a new thickness stencil and click on a line or shape in the Draw ing viewto apply the thickness stencil you created.

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Selecting a Pencil Preset
T-ANIMPA-010-001
A pencil preset is a pencil w ith specific properties. You can w ork w ith regular pencil presets and thickness
stencils.

How to select a pencil preset
1. In the Tools toolbar, select the Pencil, Line, Ellipse, or Rectangle

2. In the Tool Properties view , use the Presets menu to select a pencil preset.

3. In the Draw ing view , draw your pencil line or shape.

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Applying a Pencil Preset
T-ANIMPA-010-004
You can apply a pencil preset on already draw n pencil lines using the Select tool.

How to apply a thickness stencil to a pencil line or shape
1. In the Tools toolbar, select the Selecttool.

2. In the Draw ing view , select the pencil line or shape on w hich you w ant to apply a style.

3. In the Tool Properties view , select the style you w ant to apply from the Presets list.

The style you selected is applied to your selection.

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Renaming Pencil Presets
You can rename your pencil presets to keep your list organized.

How to rename a pencil preset
1. In the Tools toolbar, select the Pencil, Line, Ellipse, or Rectangle

tool.

2. In the Presets menu, select the thickness stencil or preset you w ant to rename.
3. From the Brush menu

, select Rename Brush.

The Rename Preset dialog box opens.

4. In the Name field, type in the new name.
5. Click OK.

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Deleting Pencil Presets
You can delete unnecessary presets from your list.

How to delete a thickness stencil or pencil preset
1. In the Tools toolbar, select the Pencil

tool.

2. In the Presets menu, select the thickness stencil or preset to delete.
3. Click the Delete Preset

button.

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Exporting Pencil Presets
T-ANIMPA-010-005
You can export your pencil presets to either backup, share or install on a different computer.

How to export pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil and Eraser tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export
presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you w ant toexport the presets.
4. Click Export.
5. In the Export Presets dialog that appears, brow se to the location w here you w ant to save the .xml
file and enter its file name.
6. Click Save.

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Importing Pencil Presets
T-ANIMPA-010-006
You can import Harmony pencil presets that you previously exported.

How to import pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Import Brushes.

3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush presets.
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you
w ant to export the presets
6. Click Import.
The imported brush, eraser and pencil styles w ill appear in the Presets list.

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Changing the Pencil Preset Display
You can display your preset list as thumbnails or a list.

How to change the way presets are previewed in the Tool Properties view
1. In the Tool Properties view , open the Brush Presetsmenu.

2. Select one of the follow ing options:lSmall Thumbnail: Displays presets in a grid of small thumbnails w ith a preview of
their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

lStroke View: Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

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About Shape Tools
T-HFND-004-006
In Harmony, you can use the shape tools to draw circles, lines and rectangles. You can also easily reshape asquare or circle into a much more complex draw ing—see About the Contour Editor Tool on page 247 andAbout the Pencil Editor Tool on page 258.
The available shape tools are:lLine tooll

Rectangle toollEllipse tooll

Polyline tool

NOTES
l

The shape tools use the same pencil presets as the Pencil tool. To learn how to create, delete,rename, import and export presets, see About the Pencil Tool on page 127.

l

To learn more about the shape tool parameters, see the Reference guide .

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Chapter 3: Draw ing

Creating Lines, Rectangles and Ellipses with the Shape Drawing Tools
T-HFND-004-006A
You can use the Line, Rectangle, or Ellipse tool to draw shape w ithout having to trace them. You can also use
these tools to draw perfect circles and squares.

How to draw with the Line tool
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Tools toolbar, select the Linetool.

3. In the Draw ingCamera view , click and hold w here you w ant the line to start, then move the mouse
cursor w here you w ant the line to end.

l

If you w ant to snap the angle of your line to the nearest 15° angle, hold the Shift key.

l

If you w ant to snap the end of your line to the nearest shape, hold the Alt key.

l

If you w ant to draw a curved line, hold Ctrl (W indow s/Linux) or ⌘ (macOS). The line w ill
end w here your mouse cursor currently is, and moving the mouse cursor w ill pull the line's
curve tow ards it.

TIP
You can use the Contour Editor

tool to tw eak the shape of your line—see About theContour Editor Tool on page 247.

How to draw with the Rectangle or Ellipse tool
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Tools toolbar, select the Rectangle

or Ellipsetool.

3. To automatically fill the shape, in the Tool Properties view , enable the Auto Fill

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4. In the Draw ingCamera view , click and hold w here you w ant one of the corners of your shape to be,then move the mouse cursor w here you w ant the opposing corner of the shape to be.

TIPSl

To draw a perfect square or circle (w ith equal w idth and height), hold the Shift key.
You can also enable theDraw Square or

Draw Circle option in the Tool

Properties view .
lTo draw the rectangle or ellipse from its centre instead of its corner, hold the Alt
key.

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Drawing Curved Lines with the Line Tool
The Line tool allow s you to draw curved lines very quickly by draw ing a straight line, then defining its curveright after.
There are three w ays to do this:l

In Straight Line Mode, the default mode of the Line tool, you can press and hold the Ctrl
(W indow s/Linux) or ⌘ (macOS) key w hile draw ing a line to define a simple curve for it.

l

In Curved Line Mode, after draw ing a line, you are prompted to move the mouse cursor or tablet pen
and click once to define the line’s curve.

l

In S Curve Line Mode, after draw ing a line, you are prompted to click once to position the line’s first
Bezier handle, and then once more to position its second Bezier handle.

NOTE
You can also define the curve of an existing line using the Contour Editor tool—see About theContour Editor Tool on page 247.

How to draw a curved line in Straight Line Mode
1. In the Tools toolbar, select the
2. In the Tool Properties view , click

Line tool.
Straight Line Mode.

3. In the Draw ing view , click and drag to draw a line, but don’t release the mouse button or tablet pen.

4. W hile holding the mouse button or tablet pen dow n, press and hold the Ctrl (W indow s/Linux) or⌘ (macOS) key.
5. Move the mouse or pen in the general direction of the desired curve.

6. W hen the curve looks as intended, release the mouse button or pen to preserve it.

179Harmony 22 Paint User Guide

How to draw a curved line in Curve Line Mode
1. In the Tools toolbar, select the
2. In the Tool Properties view , click

Line tool.
Curve Line Mode.

3. In the Draw ing view , click and drag to draw a line, then release the mouse button or tablet pen.

4. Move the mouse or pen in the general direction of the desired curve.

5. W hen the curve looks as intended, click to preserve it.

How to draw a curved line in S Curve Line Mode
1. In the Tools toolbar, select the
2. In the Tool Properties view , click

Line tool.
Curve Line Mode.

3. In the Draw ing view , click and drag to draw a line, then release the mouse button or tablet pen.

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Chapter 3: Draw ing

4. Move the mouse cursor or pen w here you w ant the curve’s first Bezier handle (from the start of theline) to be positioned, then click.

5. Move the mouse cursor or pen w here you w ant the curve’s second Bezier handle (from the end of
the line) to be positioned, then click.

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Creating Vector Shapes with the Polyline Tool
You can use the Polyline tool to draw complex segmented lines or curved lines by creating each point
constituting the line.

How to draw with the Polyline tool
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Tools toolbar, select the Polyline

tool or press Alt + _.

3. In the Draw ing view , do one of the follow ing:lClick to create a point w ith no Bezier handles.

lClick and drag to create a point and its Bezier handles in the same stroke.

TIP
W hile dragging to create a Bezier handle, you can:lHold the Alt key to only change the angle of the outer handle, and leave the innerhandle at its current angle.

lHold the Shift key to lock the angle of the handle at every 15 degrees.

4. Click or click and drag somew here else to create the second point in your line. A line w ill be draw n
betw een the first point and the second point.

5. Repeat the previous step until your line is complete.
6. W hile holding Ctrl (W indow s/Linux) or ⌘ (macOS), click anyw here in the draw ing space to release
the Polyline tool from the line you've been building. You can then start building a new line.
7. If you w ant to make adjustments to the line you created, you can use the Contour Editor
see Reshaping a Shape, Pencil Line or Stroke w ith the Contour Editor Tool on page 248.

182

tool—

Chapter 3: Draw ing

About the Stamp Tool
The Stamp tool allow s you to create stamps out of draw ings in your projects, then stamp those draw ings overyour artw ork. You can click on your artw ork to apply your stamp once, or draw a stroke w ith the Stamp tool, as
you w ould w ith the Brush or Pencil tool, to apply the stamp repeatedly along the stroke.

A stamp can contain one or several draw ings. W hen a stamp is made of multiple draw ings, it w ill cycle
through each one of its draw ings each time it is stamped onto your artw ork. Hence, w hen you draw a stroke
w ith a multi-draw ing stamp, you w ill see the stamp tool cycle through the sequence of draw ings as you draw
the stroke. The w ay the draw ings in a multi-draw ing stamp are cycled through can even be customized.
Among other settings, you can make it cycle backw ard, stamp random draw ings or even stamp only a specificdraw ing in the sequence.

Other than being able to easily re-use draw ings, The Stamp tool can be used to streamline draw ing if you
need to draw something that requires a lot of repetitive detail, such as starry skies, grass, w eather conditions
or particle-type effects. For example, a stamp made of a few different draw ings of a blade of grass can beused to draw a grass line by draw ing a few strokes of that stamp over the same horizontal line. The ability torandomize the size, angle and distance of the stamping can give the result of using this procedure a morenatural look.

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NOTES
l

To learn more about the Stamp tool properties, see the Reference Guidel

The Stamp tool replaces the Dynamic Brush option of the Brush tool in Harmony 15.0 andearlier.

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Chapter 3: Draw ing

Creating a Stamp
You can create a stamp by draw ing the artw ork for your stamp, then selecting it and creating a stamp preset.

How to create a stamp
1. In the Draw ing view , draw the artw ork w ith w hich you w ant to create a stamp.

2. Do one of the follow ing:l

If you w ant to create a stamp w ith all the artw ork in the draw ing, select this draw ing in theThumbnails list.

l

If you w ant to create a stamp w ith part of the artw ork in the draw ing, select the Selecttool in the Tools toolbar, then select the artw ork that you w ant to use to create a stamp—
see—Selecting, Repositioning and Transforming Artw ork on page 227.

3. In the Tools toolbar, select the Stamptool.

4. In the Tool Properties view , click on the New Preset

button.

5. In the New Preset dialog, type the desired name for your new stamp.
6. Click OK.
A stamp containing the selected artw ork is added to the Presets list for the Stamp tool. You can

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Harmony 22 Paint User Guide

now draw w ith the Stamp tool using this stamp.

NOTE
Once your stamp has been created, you can delete the artw ork you used to create it from yourproject. The artw ork in your stamps w ill be saved in your preferences.

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Chapter 3: Draw ing

Creating a Multi- Drawing Stamp
You can create a stamp containing a series of draw ings. All you need to do is create each draw ing you w ant to
add to your stamp in a separate draw ing cell, then create a stamp w ith those draw ings selected. The resulting
stamp w ill cycle through each one of those draw ings as you use it.
In order to create a stamp using multiple draw ings, your draw ings must either be in a single contiguous
horizontal or vertical sequence.

NOTE
You cannot create a multi-draw ing stamp in Paint. To follow these steps, you must open yourscene in Harmony.

How to create a multi- drawing stamp
1. In the Timeline view , select an empty cell.

2. In the Camera or Draw ing view , create the first draw ing you w ant to have in the draw ing sequenceof your stamp.

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Harmony 22 Paint User Guide

3. In the Timeline view , select the cell right after the current cell.

4. In the Camera or Draw ing view , create the second draw ing you w ant to have in the draw ing
sequence of your stamp.

5. Repeat these previous steps until you have all the draw ings you w ant to have in your stamp, in one
continuous sequence of draw ings, in the same layer.

NOTE
You can also create a stamp using draw ings in a sequence of layers, provided thatthose draw ings are all in the same frame and that those layers are adjacent to eachother. The draw ings in the stamp w ill be ordered from top to bottom.

6. In the Timeline view , select all the cells containing the draw ings you w ant to add to your stamp.

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Chapter 3: Draw ing

TIPSl

You can click and drag over a sequence of draw ing cells to select them.

l

You can also select multiple cells by clicking on the first cell you w ant to select,
holding shift, then clicking on the last cell you w ant to select.

7. In the Tools toolbar, select the

Stamp tool.

8. In the Tool Properties view , click on

New Preset.

The New Preset dialog appears.
9. In the New Preset dialog, type the desired name for your new stamp.
10. Click OK.
A multi-draw ing stamp containing the artw ork in all the selected layers is added to the Presets list.

NOTE
Once your stamp has been created, you can delete the artw ork you used to create it from yourproject. The artw ork in your stamps w ill be saved in your preferences.

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Harmony 22 Paint User Guide

Configuring a Stamp
W hen draw ing a stroke w ith the stamp tool, the w ay the stamp is applied in terms of size, angle, spacing canbe customized.

How to configure the size, pressure sensitivity, roundness, angle and spacing of astamp
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

The Stamp Properties dialog opens.

3. If you w ant to adjust the size of the stamp, change the Maximum Scale setting until you obtain thedesired size.

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Chapter 3: Draw ing

NOTE
The Scale of a stamp is relative to the original size of the draw ing used to create thestamp. At 100% scale, the stamp added to your artw ork w ill be the same size as its
original draw ing.

4. If you're using a pressure-sensitive pen tablet and w ant the size of the stamp to depend on theamount of pressure you put on your pen, reduce the Minimum Scale setting.
5. If you w ould like to flip the stamp horizontally, click on the tw o-ended horizontal arrow over thestamp thumbnail. If you w ould like to flip the stamp vertically, click on the tw o-ended verticalarrow left of the stamp thumbnails.

6. If your stamp is round or square, and you w ould like it to appear flat or squished, reduce theRoundness parameter. This w ill scale dow n the stamp vertically.

7. If you w ant your stamp to be added to your artw ork at an angle, change the Angle parameter. Thissetting rotates the stamp counterclockw ise, on a 360 degrees scale.

8. If you w ant to change the amount of space betw een each stamp w hen you draw a stroke w ith the
Stamp tool, adjust the Spacing parameter.

9. If you w ant the current settings to be saved to your stamp preset, click on the Update Brush Preset
button at the top-right corner of the Stamp Properties dialog.

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Harmony 22 Paint User Guide

NOTE
You can use the Stamp tool w ith the currently selected settings w ithout updating yourpreset.

You can randomize the size, angle and spacing of the stamp. This w ill make the Stamp tool apply a randomly
picked value to these parameters every time it applies a stamp to your artw ork.

How to randomize the size, angle and spacing of a stamp
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

The Stamp Properties dialog opens.

3. If you w ant the size of the stamp to be randomized every time the stamp is added to your artw ork,decrease the Minimum Scale setting, then increase the Random Size setting.

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Chapter 3: Draw ing

NOTE
The Random Size setting makes the size of each stamp vary randomly betw een its
Minimum Scale and Maximum Scale. The higher the Random Size is, the closer to its
Minimum Scale the random size can be.

4. If you w ant the angle of your stamp to be randomized every time the stamp is added to yourartw ork, increase the Random Angle setting.

5. If you w ant the spacing of your stamp to be randomized every time the stamp is added to yourartw ork, increase the Random Spacing setting.

6. If you w ant the current settings to be saved to your stamp preset, click on the Update Brush Preset
button at the top-right corner of the Stamp Properties dialog.

NOTE
You can use the Stamp tool w ith the currently selected settings w ithout updating yourpreset.

You can make a multi-draw ing stamp cycle through its sequence of draw ings in several different w ays. You
can also randomize the cycle, or disable it so that it only stamps the draw ing of your choice.

How to change the way a multi- drawing stamp cycles through its drawings
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

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The Stamp Properties dialog opens.

1. In the Cycle drop-dow n, select the desired cycling method:lForward: Starts by applying the first draw ing in the sequence, then the next one, and so on
until it reaches the last draw ing in the sequence, then cycles back to the first one.

l

Reverse: Starts by applying the last draw ing in the sequence, then the previous one, and soon until it reaches the first draw ing in the sequence, then cycles back to the last one.

l

Forward- >Reverse: Starts by cycling forw ard through the sequence until it reaches the lastdraw ing, then cycles backw ard to the first draw ing, and so on.

lReverse- >Forward: Starts by cycling backw ard through the sequence until it reaches thefirst draw ing, then cycles back to the last draw ing, and so on.

194Chapter 3: Draw inglRandom: Applies a random draw ing in the sequence each time the stamp is applied.

lHold: Applies a single one of the draw ings in the sequence over and over again.

2. If you selected the Hold option, select w hich one of the stamps in the sequence you w ish to stamp
onto your artw ork by changing the Stamp setting in the Tool Properties view . For example, if you
only w ant to stamp the second draw ing in the sequence, set the Stamp setting to 2.
3. If you w ant the cycle to restart at the beginning of each one of your draw ing strokes, enable theReset Cycle for Each Stroke option.
4. If you w ant the current settings to be saved to your stamp preset, click on the Update Brush Preset
button at the top-right corner of the Stamp Properties dialog.

NOTE
You can use the Stamp tool w ith the currently selected settings w ithout updating yourpreset.

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Harmony 22 Paint User Guide

Updating a StampA stamp in your Presets list does not only contain its draw ings, but also its properties. If you have made anychanges to the properties of your stamp, and w ish for those properties to be set automatically w henever you
use that stamp, you can update the stamp. This w ill save the current properties of the stamp into its preset.
Once that is done, the current properties of the stamp w ill be loaded the next time you select it from the
Presets list, even after you close and reopen the project.

NOTE
You cannot update the draw ings in a stamp. You can only update its parameters. If you need to use
different draw ings for your stamp, you must create a new stamp—see Creating a Stamp on page
185 and Creating a Multi-Draw ing Stamp on page 187.

How to update a stamp
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

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Chapter 3: Draw ing

The Stamp Properties dialog opens.

3. In the Stamp Properties dialog, adjust the settings of your stamp as desired—see Configuring a
Stamp on page 190.
4. In the top-right corner of the Stamp Properties dialog, click on the Update Preset

button.

The selected stamp properties w ill be loaded w henever you select this stamp, even after you closeand reopen your project.

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Drawing with the Stamp Tool
Once you have created a stamp, you can start draw ing w ith it. You can either stamp it into your artw ork once ata time, or draw strokes w ith the tool, making it apply the stamp repeatedly onto your artw ork along yourstrokes.

How to draw with the Stamp tool
1. In the Layer panel of the Stage or Camera view or the Layers view , select the layer on w hich you
w ant to apply the stamp.
2. In the Tools toolbar, select the

Stamp tool.

3. In the Tool Properties view , select a stamp from the Presets list—see Creating a Stamp on page
185 and Creating a Multi-Draw ing Stamp on page 187.

4. Move the mouse cursor over the Stage or Camera view . You w ill see the stamp under your mouse
cursor as it w ill be applied into your artw ork. If you w ant to adjust the size in w hich it w ill beapplied, adjust the Maximum Scale setting in the Tool Properties view .
5. By default, your stamp w ill be applied at an even size, angle and distance. Also, if your stamp is amulti-draw ing stamp, it w ill cycle through its draw ings in their original order. If you w ant yourstamp to be applied w ith different parameters, see Configuring a Stamp.
6. In the Draw ing view , do one of the follow ing:l

To apply the stamp once, simply click w here you w ant to apply it.

l

To draw a stroke along w hich the stamp is applied multiple times, simply draw a stroke w ith
the tool as you w ould w ith the Brush or Pencil tool.

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Chapter 3: Draw ing

TIPSl

If your stamp has multiple draw ings in it, you can select w hich draw ings to stamp by using
the Stamp slider in the Tool Properties view . You can also cycle through the stamp's
draw ings by pressing the Left Arrow and Right Arrow keys.

l

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Spacebar key w hile draw ing a straight line, the angle of your line
w ill lock. If you are using a pressure-sensitive tablet, you can draw over your line to adjust
its thickness.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing, yourdraw ing stroke w ill turn into a closed shape.

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Renaming Stamps
You can rename stamps you have created to make them easier to identify in the Presets list.

How to rename a stamp.
1. In the Tools toolbar, select the Stamptool.

2. In the Presets list of the Tool Properties view , select the stamp you w ant to rename.
3. Open the Brush Presets

menu, then select Rename Brush.

4. In the Rename Brush dialog, enter the new name for your stamp.
5. Click OK.
The stamp's new name updates in the Presets list.

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Chapter 3: Draw ing

Deleting Stamps
You can delete stamps you no longer need from the Presets list.

How to delete a stamp.
1. In the Tools toolbar, select the Stamptool.

2. In the Presets list of the Tool Properties view , select the stamp you w ant to delete.
3. Click on the Delete Brushbutton just above the Presets list.

The stamp is removed from the Presets list.

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Exporting Stamps
You can export stamps you have created to keep a backup of them, or to import them for use in anotherproject.

How to export stamps
1. In the Tools toolbar, select the Stamptool.

2. In the Tool Properties view , open the Brush Preset

menu and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil, Eraser and Stamp tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export yourstamps, uncheck Select/Deselect All, then check Stamp.
4. Click on Export.
A save dialog appears.
5. Brow se to the location w here you w ant to save the .xml file that w ill contain your presets.
6. Enter the desired file name for your presets file.
7. Click on Save.

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Chapter 3: Draw ing

Importing Stamps
You can import stamps you have exported from another project into your current project, allow ing you to reuse
them betw een projects or to restore backups of your stamps.

How to import stamps
1. In the Tools toolbar, select the Stamptool.

2. In the Tool Properties view , open the Brush Preset menu

and select Import Brushes.

An Open File dialog appears.
3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your stamps
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import the stamps from this file, uncheck Select/Deselect All and check Stamps.
6. Click on Import.
The imported stamps w ill be added to the Presets list in the Tool Properties view .

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Changing The W ay Stamps Are Displayed
By default, your stamps are listed in the Tool Properties dialog as strokes. You can also preview them as big
thumbnails if you w ant to be able to pick them w ithout scrolling, or as small thumbnails if you have a lot.

How to change the way presets are previewed in the Tool Properties view
1. In the Tool Properties view , open the Brush Presetsmenu.

2. Select one of the follow ing options:lSmall Thumbnail: Displays presets in a grid of small thumbnails w ith a preview of
their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

lStroke View: Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

204Chapter 3: Draw ing

Stamp Tool Modes
W hen you select the Stamp tool, its properties are displayed in the Tool Properties view .

Draw Behind Mode
W hen enabled, your draw ing strokes w ill be added underneath the existing artw ork instead of over it.

NOTEYour stroke w ill appear over your artw ork as you draw it, until you release the mouse cursor ortablet pen.

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Harmony 22 Paint User Guide

About the Stroke Tool
T-HFND-004-013
There are tw o different w ays to draw invisible lines, using the Pencil tool or Stroke tool.
Using the Pencil tool, you can draw as strokes only, meaning that the line w ill be invisible. This can be usefulfor draw ing tones and highlights directly on the character.

The Stroke tool draw s invisible lines only. You cannot add thickness to the line. Unlike the Close Gap tool thatcreates a short, straight line betw een tw o points, the stroke line w ill stay exactly w here you draw it. This tool
can be useful for closing a zone in a particular w ay or creating some hard shadow s or highlight areas.
Sometimes, it may be difficult to see strokes, especially if your colours are similar to the blue stroke colour. In
Harmony, you can display the strokes in w ashed-out colours so the invisible lines stand out.

NOTE
To learn more about the Stroke tool parameters, see the Reference guide .

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Chapter 3: Draw ing

Creating Invisible Lines with the Stroke Tool
T-HFND-004-013A
You can draw invisible lines w ith the Stroke tool. These lines can be used to delimit or close off colour areas
w hen you colour draw ing w ith the Paint tool.

How to draw invisible lines with the Stroke tool
1. Select a draw ing from the Draw ing Thumbnails panel.
2. Make sure strokes are visible in your draw ing space by doing one of the follow ing:l

In the top menu, select View > Show StrokeslPress K.

3. Select the Stroke tool by doing one of the follow ing:l

In the Tools toolbar, double-click on Paint. In its drop-dow n menu, select thelPress Alt + V.

Stroke tool

4. In the Draw ing view , start draw ing.

TIPSl

If you press and hold the Shift key before or w hile you are draw ing, your stroke w ill
be a straight line until you stop draw ing or release the Shift key.

l

If you press and hold the Shift and the Alt keys before draw ing, your stroke w ill be astraight line in an angle that is a multiple of 15 degrees.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing,
your stroke w ill be a closed shape.

l

If you press and hold Alt before draw ing a stroke, and you start your stroke nearanother stroke, the start of your stroke w ill connect to the other stroke. Likew ise, if
you press and hold the Alt key and end your stroke near another stroke, the end of
the stroke w ill connect to that stroke.

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Harmony 22 Paint User Guide

NOTE
If the Show Strokes option is not enabled, the follow ing message w ill appear after you
draw a stroke. To remedy this, refer to step 2.

Authors
Marie-Eve Chartrand
Christopher Diazchrisdiazart.com

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Chapter 3: Draw ing

About the Eraser Tool
T-HFND-004-010
Using the Eraser tool, you can erase portions of your draw ing by draw ing strokes over it.
Just like the Brush tool, the Eraser tool is pressure-sensitive, allow ing you to erase w ith more precision if you
are using a pen tablet.

It is a good idea to create and save erasers w ith precise sizes and parameters in order to save time w hen
draw ing and designing. Harmony provides you w ith a variety of default eraser styles and allow s you to createand save your ow n eraser presets.
Just like the Brush tool, you can use the Eraser tool on both vector and bitmap layers, and you can configure aneraser to have a solid or textured tip, to have automatic smoothing, a dual tip and a paper texture.

NOTE
To learn more about each individual parameter of the Eraser tool, see the Reference Guide.

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Harmony 22 Paint User Guide

Erasing
T-HFND-004-010A
Using the Eraser tool, you can erase portions of your draw ing by draw ing strokes over it.

How to erase with the Eraser tool
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Tools toolbar, select the Eraser

tool or press Alt + E.

3. In the Presets list of the Tool Properties view , select a brush preset to use.

NOTE
To learn how to create an Eraser preset, see Creating a Solid Eraser on page 211 andCreating a Textured Eraser on page 215.

4. Set the Maximum Size to the desired Eraser size.

NOTE
If you are draw ing w ith a mouse, your strokes w ill alw ays be at their maximum size. If
you are using a pressure-sensitive tablet, your strokes w ill vary in size depending on
the pressure of your pen, ranging betw een 25% to 100% of the maximum size.

5. In the Draw inga view , start erasing.

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Spacebar key w hile draw ing a straight line, the angle of your line
w ill lock. If you are using a pressure-sensitive tablet, you can draw over your line to adjust
its thickness.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

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Chapter 3: Draw ing

Creating a Solid Eraser
W hen using the Eraser tool on a vector layer, you can use either solid vector erasers or textured vector erasers.
By default, your eraser w ill be a solid vector eraser. A solid vector eraser cuts out the shape of its stroke fromyour vector artw ork.
A solid vector eraser's tip can be shaped like a circle, a diamond or a square, and can be configured to have a
specific size, aspect ratio and angle. Also, solid vector erasers can be automatically smoothed by Harmony as
you draw .
If you are erasing on a bitmap layer, you can only use textured erasers, although you can configured a textured
eraser to appear solid.

How to create a solid vector eraser
1. In the Tools toolbar, select the Eraser

tool or press Alt + B.

2. In the Tool Properties view , click the arrow button to open the Eraser Properties view .

The Eraser Properties dialog opens.

211Harmony 22 Paint User Guide

3. In the Eraser Type dropdow n list, select Solid Vector.
4. In the brush tip list, select either Circle, Diamond or Square.
5. Use the Maximum Size slider to set the maximum size of your eraser tip, in pixels.

NOTE
W hen draw ing w ith a mouse, your eraser is alw ays at its maximum size. W hen
draw ing w ith a pressure-sensitive pen tablet, your eraser's size w ill range betw een its
minimum and maximum size, depending on the amount of pressure you put on the pen
w hen draw ing.

6. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the percentageof your eraser tip's maximum size your eraser should be w hen you use your pen w ith very little
pressure. If you don't w ant the pressure on your pen to affect the eraser size, set this parameter to
100%.

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7. If you w ant your eraser tip to have uneven dimensions, use the Roundness slider to shrink theeraser tip vertically all the w hile preserving its horizontal size.
8. If you w ant your eraser tip to be at an angle, use the Angle slider to rotate your brush tip.
9. If you w ant your eraser tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

10. If you w ant your eraser ip to rotate w hen you rotate your pen, check the Use Pen Rotation check
box.

NOTE
This option only w orks if your tablet and your pen support pen rotation.

11. Click on the Smoothing tab.

12. Use the Centerline Smoothing slider to set the amount of smoothing Harmony should perform on
your stroke's direction, curves and corners. A higher setting w ill prevent your line from being shaky,but is liable to reduce your draw ing precision and to round sharp corners into curves.

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13. Use the Contour Smoothing slider to set the amount of smoothing Harmony should perform on
your stroke's contour. A higher setting w ill round sharp corners and reduce the amount of control
points for the resulting vector shape.
14. Either close or set aside the Eraser Properties dialog.
15. In the Draw ing view , start erasing to test your eraser settings.

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Creating a Textured Eraser
A textured eraser can have the same settings as a textured brush: It can have a bitmap tip of any shape, can be
hard or soft, semi-transparent, combine tw o tips and be applied w ith a paper texture effect.
W hen w orking on a bitmap layer, the eraser tool is alw ays textured, w hereas w hen w orking on vector layers,erasers are solid vector by default. A solid vector eraser merely cuts out the shape of the eraser stroke fromthe vector artw ork, w hereas a textured vector eraser makes the artw ork's bitmap texture more opaque or fully
invisible, depending on its intensity, then cuts out some of the vector artw ork that the eraser made fully
invisible.
A textured eraser w orks like a reverse textured brush: It makes the pixels in a brush stroke's texture more—orcompletely—transparent, depending on the eraser's intensity. This effect can only be obtained by using a
textured eraser on a textured brush stroke. If you use a textured eraser on solid vector shapes or on pencil
lines, the eraser w ill act like a solid vector eraser, that is, it w ill merely cut out the shape of the stroke from theartw ork. This is because solid vector shapes and pencil lines don't have a bitmap texture, and therefore thetextured eraser cannot w ork on the opacity of their individual pixels. Hence, w hen w orking on vector layers, it
is better to use a textured eraser only if all your artw ork is composed of textured brush strokes, or it mightw ield strange-looking results.

This outlines one of the advantages of w orking w ith bitmap layers. On bitmap layers, your brushes anderasers alw ays w ork as textured brushes and erasers.
Another issue you might encounter w hen erasing textured vector artw ork is that textured vector brush strokes
are not flattened together, w hereas on bitmap layers, your artw ork is alw ays flattened. This implies that if you
use a semi-transparent eraser on textured vector artw ork, and the artw ork has overlapping strokes, all the
strokes you erase w ill become semi-transparent, the resulting image w ill be a composite of the overlapping
strokes. On a bitmap layer, this w ould simply result in a single layer of semi-transparent artw ork.

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There are tw o different types of textured vector erasers: Textured and Textured, Preserve Vector. A simple
textured eraser w ill do tw o things: First, it w ill make textured brush strokes more or completely transparent
w here you erased, and second, it w ill cut out from the brush stroke's vector shape w here it made its texture
completely transparent. In contrast, a Textured, Preserve Vector-type eraser w ill only make the texture brushstrokes more or fully transparent, but w ill leave its vector shape intact.

Creating a textured eraser w orks exactly like creating a textured brush. Therefore, you can follow the steps in
the Creating a Textured Brush section to learn how to create a textured eraser.

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About Eraser Presets
Once you have found the correct settings for your eraser, you might w ant to reuse it throughout your projectfor consistency. You can do that by creating and using eraser presets.
Harmony comes preloaded w ith a few eraser presets w hich you can select from the Tool Properties view . It isalso possible to create your ow n eraser presets by configuring your eraser then saving it as a preset.
Like eraser tips and paper textures, eraser presets are saved in your preferences. You can also export youreraser presets into an .xml file, and import them on a different w orkstation, allow ing you to share your eraser
presets betw een the different people collaborating on your project.

NOTES
l

Eraser presets are not to be confused w ith eraser tips and paper textures. Eraser tips and paper
textures are one of the many properties of an eraser, w hereas an eraser preset contains all theproperties of a brush.

lEraser presets for vector layers and for bitmap layers are separate. An eraser preset createdw hile w orking on a vector layer cannot be used w hen w orking on a bitmap layer, and viceversa.

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Creating an Eraser Preset
You can create your ow n custom eraser preset by configuring your eraser, then adding it as a preset.

How to create an eraser preset
1. Make sure the current draw ing layer is vector if you w ish to create a vector eraser preset, or bitmap
if you w ish to create a bitmap eraser preset—see About Vector and Bitmap Layers .
2. In the Tools toolbar, select the Eraser

tool or press Alt + E.

3. Click on the Arrow button to open the Eraser Properties dialog.

4. In the Eraser Properties dialog, configure your eraser—see Creating a Solid Eraser and Creating a
Textured Eraser.
5. Do one of the follow ing:l

From the Eraser Properties dialog, click on the New Brush Preset

button in the top-right corner.
l

In the Tool Properties view , click the New Brush Presetl

In the Tool Properties view , open the Brush Presets menu

button.
and select New Brush

Preset.
6. In the New Preset w indow , type a name for your new eraser preset.
Your new eraser preset is added to the end of the list of eraser presets.

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Selecting an Eraser Preset
Harmony provides you w ith default eraser presets available in the Tool Properties view .

How to select a brush preset
1. In the Tools toolbar, select the Eraser

tool or press Alt + E.

2. In the Tool Properties view , select an eraser preset from the Presets list.

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Updating a Brush Preset
If you w ant to modify the settings of an existing custom preset, you can do so by adjusting the parameters in
the Tool Properties view , then updating your preset w ith your brush current's parameters.

How to update a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

1. In the Tool Properties view , select the Brush Preset you w ish to update.
2. Click on the Arrow button to open the Brush Properties view .

3. Configure your brush to be exactly how you w ish to use it in the future—see Creating a Solid Brushor Creating a Textured Brush.
4. Click on the Update Brush Preset

button in the upper-right corner of the Brush Properties

dialog.

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Renaming an Eraser Preset
To keep your list comprehensive and organized, you can name your custom brush presets.

How to rename a brush preset
1. In the Tools toolbar, select the Eraser

tool or press Alt + E.

2. In the Tool Properties view , select an eraser preset to rename.
3. Open the Brush Preset menu

and select Rename Brush.

4. Type in a new name for the brush and click OK.

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Deleting a Brush Preset
You can keep your preset list clean by deleting unw anted custom presets.

How to delete a brush preset
1. In the Tools toolbar, select the Eraser

tool or press Alt + E.

2. In the Tool Properties view , select the eraser preset you w ant to delete.
3. Do one of the follow ing:lClick the Delete Brushbutton.

lOpen the Brush Preset menu

and select Delete Brush.

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Exporting Eraser Presets
You can export eraser presets into an .xml file w hich w ill contain all of your eraser's settings. This can be
useful if you w ish to back up or share your eraser presets.

How to export pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil and Eraser tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export
presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you w ant toexport the presets.
4. Click Export.
5. In the Export Presets dialog that appears, brow se to the location w here you w ant to save the .xml
file and enter its file name.
6. Click Save.

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Importing Eraser Presets
You can import eraser presets that you previously exported from Harmony.

How to import pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Import Brushes.

3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush presets.
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you
w ant to export the presets
6. Click Import.
The imported brush, eraser and pencil styles w ill appear in the Presets list.

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Changing the Brush Preset Display
You can display your preset list as thumbnails or a list.

How to change the way presets are previewed in the Tool Properties view
1. In the Tool Properties view , open the Brush Presetsmenu.

2. Select one of the follow ing options:lSmall Thumbnail: Displays presets in a grid of small thumbnails w ith a preview of
their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

lStroke View: Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

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About the Select Tool
T-HFND-004-005
The Select tool allow s you to select draw ing strokes and draw ing objects. W hen selected, you can use theSelect tool to scale, translate, rotate, resize, flip and delete them.

NOTES
l

The Select tool can only be used to select, reposition and transform w hole draw ing strokes. If
you need to cut out part of your artw ork to reposition or transform it, you must use the Cutter
tool—see About the Cutter Tool.

l

To learn more about the Select tool options, see the Reference Guide .

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Selecting, Repositioning and Transforming Artwork
T-HFND-004-005A
Using the Select tool, you can select draw ing strokes and groups, then reposition, rotate, scale and skew them.

NOTE
The select tool can only select w hole draw ing strokes. If you need to cut out part of your artw ork,
use the Cutter tool instead—see About the Cutter Tool on page 240.

How to select artwork
1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Tools toolbar, select the Selecttool or press Alt + S.

3. In the Camera or Draw ing view , select the artw ork you w ant to edit by doing one of the follow ing:lClick on a draw ing stroke to select it.

lDraw a lasso around draw ing strokes to select them simultaneously.

TIPSl

To add more draw ing strokes to the selection, press and hold the Shift key andeither click or draw a lasso around the strokes you w ant to select.

lPress SHIFT+ALT to unselect all the strokes you have selected previously. You canalso unselect strokes on multiple layers in the Timeline by pressing SHIFT+ALT+CTRL.

l

By default, you can only select artw ork in the currently selected layer. You canselect artw ork from any visible layer by holding the Ctrl (W indow s/Linux) or ⌘(macOS) key.

l

If you prefer draw ing a rectangle rather than a lasso to select artw ork, click on the
Lasso button in the Tool Properties view and selectMarquee.

l

You can select all the draw ing strokes in the draw ing by select Edit > Select Allfrom the top menu or by press ing Ctrl + A (W indow s/Linux) or ⌘ + A (macOS).

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4. Do one of the follow ing to edit your selection:l

To reposition the selected artw ork, click on it and drag w here you w ant to position it.

NOTE
You can also nudge your selection using the arrow keys, and fast-nudge yourselection by holding Shift and pressing the arrow keys.

l

To rotate the selected artw ork, click and grab just outside one of the handles at the cornersof the control box and rotate it.

l

To scale the selected artw ork, click and drag on one of the control points at the corners or
the middle of the edges of the control box.

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Chapter 3: Draw ing

TIP
W hile scaling artw ork, you can preserve its proportions by pressing and holding
the Shift key.

l

To skew , drag sidew ays or up and dow n the sides or top and bottom segments, betw een thecontrol points.

l

To delete, press Del (W indow s/Linux) or Backspace (macOS).

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Selecting Artwork in Several Drawings
You can use the Select tool to select and manipulate artw ork in several draw ings in the same layer at the sametime. There are tw o approaches to doing this, both of w hich are options available in the Tool Properties view :lApply to All Frames: W hen you draw a lasso or marquee in the Draw ing view s, it w ill selectstrokes in that area in all of the exposed draw ings in the current layer.

lApply to Onion Skin Range: W hen you draw a lasso or marquee in the Draw ing view s, it w ill selectstrokes in that area in all of the draw ings currently displayed in the Onion Skin. This method allow s you
to select and manipulate artw ork in a specific range of draw ings, and allow s you to see the artw ork you
selected in the Draw ing view .

How to select artwork in a specific range of drawings
1. In the thumbnails list, select a draw ing somew here in the middle of the range that you w ant to edit.
2. In the Tools toolbar, click on theOnion Skin button to enable Onion Skin.

3. Using the Options in the View > Onion Skin menu, adjust the amount of previous and next
draw ings displayed in the Onion Skin until all the draw ings you w ant to pain simultaneously aredisplayed.
The draw ings included in the Onion Skin range w ill appear in red and green in the Draw ing view .
4. In the Tools toolbar, select the

Select tool.

5. In the Tool Properties view , click and hold on themenu, selectApply to All Frames button and, in the pop-up

Apply to Onion Skin Range.

NOTE
If this button is already set to

Apply to Onion Skin Range, simply click on it to toggle

it on.

6. In the Draw ing view , draw a lasso or marquee around the artw ork you w ant to select.
Strokes in the current draw ing and in the draw ings displayed in the Onion Skin that fit inside thelasso or marquee you drew w ill be selected.

How to select artwork in all exposed drawings in a layer
1. In the thumbnails list, select any draw ing.
2. In the Tools toolbar, select the

Select tool.

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3. In the Tool Properties view , click on the

Apply to All Frames button to enable the Apply to All

Frames mode.

NOTE
If this button is currently set to

Apply to Onion Skin Range mode, click and hold on

the button to open its pop-up menu and selectApply to All Frames.

4. In the Draw ing view , draw a lasso or marquee around the artw ork you w ant to select.
Strokes in the current draw ing as w ell as in all other draw ings exposed in the current layer that fit
inside the lasso or marquee you drew w ill be selected.

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Inverting a Selection
You can invert your selection to select everything else in your draw ing that w as not previously selected.

How to invert a selection
1. From the top menu, select Edit > Invert Selection or press Ctrl + Shift + I (W indow s/Linux) or Shift+ ⌘ + I (macOS).

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Repositioning the Selection Pivot
You can temporarily reposition the selection's pivot position to rotate, scale, or skew from a different point.

How to temporarily reposition the pivot point
1. In the Draw ing view , select the draw ing object you w ant to transform.
The pivot point appears in the middle of your selection.

2. Click the pivot point and drag it to a new position.
This becomes the new position of the pivot point for the current transformation and w ill remain
there until you make a new selection.

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Arranging and Reordering Drawing Strokes
The different Arrange options let you reorder draw ing objects and strokes inside a single layer in the Draw ing
view .

How to arrange drawing strokes
1. In the Tools toolbar, select the Select tool.
2. In the Camera or Draw ing view , select the strokes to be reordered.
3. Do one of the follow ing:l

From the top menu, select Selected > Arrange > Bring to Front—Moves the selected
art to the front (on top). Press Ctrl + Shift + PgUp (W indow s/Linux) or ⌘ + Shift +PgUp (macOS).

l

From the top menu, select Selected > Arrange > Bring Forward—Moves theselected art one level forw ard (closer to the front). Press Ctrl + PgUp
(W indow s/Linux) or ⌘ + PgUp (macOS).

l

From the top menu, select Selected > Arrange > Send Backward—Moves theselected art one level low er (behind). Press Ctrl + PgDow n (W indow s/Linux) or ⌘ +PgDow n (macOS).

l

From the top menu, select Selected > Arrange > Send to Back—Moves the selectedart behind everything (bottom / back). Press Ctrl + Shift + PgDow n (W indow s/Linux)or ⌘ + Shift + PgDow n (macOS).

lBring to Frontbuttonl

Bring Forw ard

buttonl

Send Backw ard

buttonl

Send to Backbutton234

Chapter 3: Draw ing

Grouping Drawing Strokes
Use the grouping options to group and ungroup selected draw ing objects and strokes. This can help in theselection, repositioning, re-scaling and other transformations to be applied to multiple objects of a draw ing.
Grouping does not flatten your objects. You can ungroup your selection at any time. You can also group
groups.

How to group strokes
1. In the Tools toolbar, select the Select tool.
2. In the Camera or Draw ing view , select the strokes to be grouped.
3. Do one of the follow ing:l

From the top menu, select Selected> Group > Group.

lPress Ctrl + G (W indow s/Linux) or ⌘ + G (macOS).

How to ungroup strokes
1. In the Tools toolbar, select the Select tool.
2. In the Camera or Draw ing view , select the groups to be ungrouped.
3. Do one of the follow ing:l

From the top menu, select Selected > Group > Ungroup.

lPress Ctrl + Shift + G (W indow s/Linux) or ⌘ + Shift + G (macOS).

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Selecting Artwork by Colour or Texture
You can select all the shapes in your artw ork that are painted w ith a specific colour or texture. You can also
select all the pencil lines that use a specific pencil texture.

How to select all the artwork painted with the same colour as your selection
1. In the Tools toolbar, select the

Select tool.

2. In the Tools toolbar or Tool Properties view , toggle on

Select by Colour.

3. In the Draw ing view click on a shape filled w ith the colour you w ant to select.
All the shapes in the draw ing that are painted w ith the same colour as the shape you clicked on
w ill be selected.

How to select all the artwork filled with a specific colour or texture
1. In the Colour view , click

Show Colour Palettes.

2. In the upper list, select the palette containing the colour or texture you w ant to select
3. In the low er list, select the colour or texture you w ant to select.
4. In the top menu, select Edit > Select Strokes with Current Colour.

How to select all the pencil lines using a specific pencil texture
1. In the Colour view , selectShow Pencil Texture Palettes.

2. In the upper list, select the palette containing the pencil texture you w ant to select.
3. In the low er list, select the pencil texture you w ant to select.
4. In the top menu, select Edit > Select Strokes with Current Pencil Texture.

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Chapter 3: Draw ing

About the Repositioning All Drawings Tool
T-ANIMPA-010-008
The Reposition All Draw ings tool is used to reposition, scale, rotate or skew all draw ing strokes on every
draw ing included in a layer.

If your hand-draw n animation requires to be repositioned in the grid, as soon as your select the Reposition All
Draw ings tool, all the strokes in all the draw ings exposed on the current layer are selected. You can use thecontrols the same w as as the Select tool—see About the Select Tool on page 226.

NOTE
To learn more about the Reposition All Draw ings tool options, see the Reference guide .

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Harmony 22 Paint User Guide

Repositioning All Drawings in a Layer
T-ANIMPA-010-009
Use the Reposition All Draw ings tool to reposition all the draw ing strokes on all draw ings exposed in thecurrent layer.

How to reposition all drawings
1. From the Tools toolbar, select the Reposition All Draw ings

tool. This also automatically selects

every stroke in your draw ing in the Draw ing and Camera view .
2. Do any of the follow ing:l

To reposition, click and drag your selection to a new area.

l

To rotate, rotate the selection box handle.

l

To scale, pull or push on the top, side, bottom or corner control points. Hold dow n
Shift to maintain the selection’s ratio.

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Chapter 3: Draw ingl

To skew , drag the sides or top and bottom segments, betw een the control points.

3. W hen you release your cursor, every draw ing in the draw ing layer you repositioned, scaled, rotatedor skew ed w ill follow the same transformation.
4. You can also adjust the position by modifying the settings and using the operation buttons in the
Tool Properties view .

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About the Cutter Tool
T-HFND-004-007
The Cutter tool lets you cut out part of a draw ing so that you can transform it, copy it or delete it. You can use it
to scale or reposition the portion of a flattened or bitmap draw ing. You can also use it to trim strokes using asingle gesture.

NOTE
To learn more about the Cutter tool options, see the Reference guide .

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Chapter 3: Draw ing

Cutting Artwork
T-HFND-004-007A
Use the Cutter tool to trim and cut your artw ork.
You can also use the Cutter tool to trim the ends of overshot lines. Line ends can be trimmed up to the point
w here they intersect w ith another line. This technique can be used to clean sketches much faster. Enable theSingle Line Cutting Gesture mode for precision or the Multiple Line Cutting Gesture mode for speed.

How to cut drawings
1. In the Tools toolbar, select the Cutter

tool or press Alt + T.

2. In the Draw ing view , draw a lasso around the artw ork you w ant to cut aw ay.

The artw ork inside the lasso you drew w ill be cut from the rest of the artw ork and w ill be selected.

TIPSl

You can add another part of your artw ork to the selection by holding Shift anddraw ing another lasso.

l

By default, the Cutter tool w ill only w ork on the current layer. You can cut artw ork
from all visible layers by holding the Ctrl (W indow s/Linux) or ⌘ (macOS) key.

3. Once you've cut out artw ork, you can manipulate it like w ith the Select tool. For example:l

To move the selected artw ork, click and drag it.

l

To delete the selected area, press Del.

l

To scale, rotate or skew the selection, use the controls around the selection's bounding box.

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Harmony 22 Paint User Guide

How to trim a single line
1. In the Tools toolbar, select the Cutter

tool or press Alt + T.

2. In the Tool Properties view , under the Cutter Tool Options, select the Lasso.

The Line Cutter Gesture modes are enabled.
3. Select the Single Line Cutting Gesture Mode.

4. In the Stage or Camera view , sw eep the Cutter tool across the end of a line you w ish to trim.
The line end disappears.
BeforeAfter

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Chapter 3: Draw ing

NOTE
Even if your mouse gesture touches other lines, only the first line that the Cutter tool makes
contact w ith disappears.

How to trim multiple lines
1. In the Tools toolbar, select the Cutter

tool or press Alt + T.

2. In the Tool Properties view , under the Cutter Tool Options, select the Lasso.

The Line Cutter Gesture modes are enabled.
3. In the Tool Properties view , select the Multiple Lines Cutting Gesture Mode.

4. In the Stage or Camera view , sw eep the Cutter tool across the end of a lines you w ish to trim.
The line ends disappear.
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Harmony 22 Paint User Guide

After

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Chapter 3: Draw ing

Cutting Artwork in Several Drawings
You can use the Cutter tool to cut out and manipulate artw ork in several draw ings in the same layer at thesame time. There are tw o approaches to doing this, both of w hich are options available in the Tool Properties
view :l

Apply to All Frames: W hen you draw a lasso or marquee in the Draw ing view s, it w ill cut out
artw ork in that area in all of the exposed draw ings in the current layer.

lApply to Onion Skin Range: W hen you draw a lasso or marquee in the Draw ing view s, it w ill cut
out artw ork in that area in all of the draw ings currently displayed in the Onion Skin. This method allow s
you to cut out and manipulate artw ork in a specific range of draw ings, and allow s you to see theartw ork you cut out in the Camera or Draw ing view .

How to select artwork in a specific range of drawings
1. In the thumbnails list, select a draw ing somew here in the middle of the range that you w ant to edit.
2. In the Tools toolbar, click on theOnion Skin button to enable Onion Skin.

3. Using the Options in the View > Onion Skin menu, adjust the amount of previous and next
draw ings displayed in the Onion Skin until all the draw ings you w ant to pain simultaneously aredisplayed.
The draw ings included in the Onion Skin range w ill appear in red and green in the Draw ing view .
4. In the Tools toolbar, select the

Cutter tool.

5. In the Tool Properties view , click and hold on themenu, selectApply to All Frames button and, in the pop-up

Apply to Onion Skin Range.

NOTE
If this button is already set to

Apply to Onion Skin Range, simply click on it to toggle

it on.

6. In the Draw ing view , draw a lasso or marquee around the artw ork you w ant to select.
The artw ork in the current draw ing and in the draw ings displayed in the Onion Skin w ill be cut out
by the lasso or marquee you drew and w ill become selected.

How to select artwork in all exposed drawings in a layer
1. In the thumbnails list, select any draw ing.
2. In the Tools toolbar, select the

Cutter tool.

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Harmony 22 Paint User Guide

3. In the Tool Properties view , click on the

Apply to All Frames button to enable the Apply to All

Frames mode.

NOTE
If this button is currently set to

Apply to Onion Skin Range mode, click and hold on

the button to open its pop-up menu and selectApply to All Frames.

4. In the Draw ing view , draw a lasso or marquee around the artw ork you w ant to select.
The artw ork in all the draw ings in the current layer w ill be cut out by the lasso or marquee you
drew and w ill become selected.

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Chapter 3: Draw ing

About the Contour Editor Tool
T-HFND-004-008
The Contour Editor lets you reshape vector shapes, brush strokes and lines in your draw ings.
Artw ork in Harmony is made of vector shapes. Vector shapes are defined by points, the lines joining the points
together (contours) and the curve vectors, represented by Bezier handles, w hich make the curve of said lines.

The Contour Editor tool allow s you to select a contour or point, and change the position of points, add andremove points from the shape, rotate, lengthen and shorten curve handles to influence the curve of contours
betw een those points, or drag contours betw een points to change their curve directly.
Since pencil lines are defined by a single line w ith a line w idth, you can use the Contour Editor to easily modify
the shape of pencil lines. In contrast, brush strokes are full vector shapes, so the Contour Editor can be used tomodify their shape.

The Contour Editor can be used to tw eak vector artw ork in all sorts of w ays. It can be used to perfect a pencil
line, correct shapes, or create complex shapes out of a basic ellipse or rectangle.

NOTE
To learn more about the Contour Editor tool options, see the Reference Guide.

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Reshaping a Shape, Pencil Line or Stroke with the Contour Editor Tool
T-HFND-004-008A
You can use the Contour Editor tool to tw eak the contours of vector shapes and brush strokes in yourdraw ings, as w ell as reshape pencil lines and strokes.

How to reshape drawings
1. In the Tools toolbar, select the Contour Editor

tool or press Alt + Q.

2. In the Draw ing view , click the shape, contour or pencil line you w ant to edit near the area you w ish
to change.
The shape or line's control points appear.

3. Click on one of the points to select it.
The point's Bezier handles appears, as w ell as Bezier handles for the surrounding points.

TIP
You can select several points by draw ing a lasso around the points, or by holding Shiftw hile clicking on points to add them to your selection. You can use the Contour Editor
to scale and rotate a selection of multiple points by enabling the
Editor Control option in the Tool Properties view .

248

Show Contour

Chapter 3: Draw ing

4. Do one of the follow ing:l

To move a point or a selection of multiple points, click and drag it.

l

To change the curve on both sides of a point, drag one of its Bezier handles.

l

To change the curve on only one side of a point, press and hold the Alt key, then drag one ofits Bezier handles.

l

To deform the contour, drag a part of the contour betw een tw o points.

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Harmony 22 Paint User Guidel

To deform the curve betw een tw o points, hold the Shift key and drag the contour betw een
tw o points.

l

To remove a point's Bezier handles and make the lines it is connected to straight, press andhold the Alt key and click on the point.

lStraight lines have no Bezier handles at their points by default. To create Bezier handles forthese points and make their lines curved, pres and hold the Alt key, then click and hold thepoint and drag the mouse cursor aw ay from it. A new Bezier handle w ill follow your mouse
cursor until you release the mouse button.

l

To add a control point, press Ctrl (W indow s/Linux) or ⌘ (macOS) and click on the contour
w here you w ant the new point to be created.

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Chapter 3: Draw ingl

To remove a control point, select the control point and press Del (W indow s/Linux) or
Backspace (macOS).

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About the Centerline Editor
T-HFND-004-009B
The Centerline Editor allow s you to tw eak and reshape a brush stroke by manipulating its centre line rather
than its contour (you can manipulate its contour using the Contour Editor tool). This gives a flexibility similar tomanipulating a pencil line w ith the Contour Editor tool.

Keep in mind that brush strokes are vector shapes w ith a fill. As such, the Centerline Editor must do guess
w ork to figure out the centreline of your brush strokes, and apply deformations on its shape as you tw eak its
control points. The Centerline Editor w ill not be able to make a accurate centreline out of brush strokes thatmerge together, that look scrambled or that otherw ise do not have a clear direction.

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Chapter 3: Draw ing

NOTE
If you use the Centerline Editor on a textured brush stroke, it w ill deform the texture to make it fit
the new shape of the stroke.

NOTE
If you use the Centerline Editor to deform a closed brush stroke w ith a fill inside it, the fill w ill not
be reshaped to fit the new shape of the brush stroke.

NOTE
To learn more about the Centerline Editor tool options, see the Reference Guide.

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Reshaping Brush Strokes Using the Centerline Editor
T-HFND-004-009C
You can use the Centerline Editor tool to reshape brush strokes from their centreline rather than their contour,
like you w ould reshape pencil lines using the Contour Editor.

How to reshape brush strokes
1. In the Tools toolbar, double-click on the Contour Editor
tool, or press Alt + W .

button and select the Centerline Editor

2. In the Draw ing view , click the contour or pencil line you w ant to edit near the area you w ish tochange.
The Centerline Editor creates a centreline manipulator based on the outline's shape, w ith control
points.

3. In the Tool Properties view , use the Centerline Smoothness slider to adjust the amount of control
points on the centreline as needed:l

If you find that the generated centreline has too many control points to be easily
manipulated, reduce the Centerline Smoothness parameter.

l

If you need more control points to make precise manipulations, increase the Centerline
Smoothness parameter.

4. Click on one of the points to select it.
The point's Bezier handles appears, as w ell as Bezier handles for the surrounding points.

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Chapter 3: Draw ing

TIP
You can select several points by draw ing a lasso around the points, or by holding Shiftw hile clicking on points to add them to your selection. You can use the Contour Editor
to scale and rotate a selection of multiple points by enabling the Show Centerline
Editor Control

option in the Tool Properties view .

5. Do one of the follow ing:l

To move a point or a selection of multiple points, click and drag it.

l

To change the curve on both sides of a point, drag one of its Bezier handles.

l

To change the curve on only one side of a point, press and hold the Alt key, then drag one ofits Bezier handles.

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Harmony 22 Paint User Guidel

To deform the contour, drag a part of the contour betw een tw o points.

l

To deform the curve betw een tw o points, hold the Shift key and drag the contour betw een
tw o points.

l

To remove a point's Bezier handles and make the lines it is connected to straight, press andhold the Alt key and click on the point.

256Chapter 3: Draw ing

lStraight lines have no Bezier handles at their points by default. To create Bezier handles forthese points and make their lines curved, pres and hold the Alt key, then click and hold thepoint and drag the mouse cursor aw ay from it. A new Bezier handle w ill follow your mouse
cursor until you release the mouse button.

l

To add a control point, press Ctrl (W indow s/Linux) or ⌘ (macOS) and click on the contour
w here you w ant the new point to be created.

l

To delete the control point, select it and press Del.

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About the Pencil Editor Tool
T-HFND-004-009
A pencil line is a central vector shape. Control points are located along the central spine allow ing you to adjust
the stroke curve and position. Using the Pencil Editor tool, you can adjust the thick and thin areas of pencil
lines. Using the Contour Editor tool, you can reposition the spine of the stroke.

NOTE
To learn more about the Pencil Editor tool options, see the Reference guide .

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Tweaking the Thickness of Pencil Lines with the Pencil Editor Tool
T-HFND-004-009A
You can use the Pencil Editor tool to reshape the pencil line thickness.

How to reshape pencil lines
1. In the Tools toolbar, select the Pencil Editor

tool.

2. In the Draw ing view , select a pencil line and click to reshape it.

3. Select one or several points by clicking them or circling around.

4. Press Del to delete a selected point.
5. Press Ctrl (W indow s/Linux) or ⌘ (macOS) and click the central spine to add a set of points toadjust the contour.
6. To modify the shape, you can:lMove the selected points to a new area. If you select matching points on each side ofthe line, holding the Shift key w ill move them both. This w ay you can thicken or thin a259

Harmony 22 Paint User Guideline from both sides at the same time.

lPull on the Bezier handle to move both points’ handles as one.

l

Hold dow n Alt and pull on one of the Bezier handles. It moves the handle
independently from the other one.

l

Pull directly on the line betw een tw o points. No selection is necessary. Holding dow n
the Shift key w ill limit the contour modification to the curve betw een the tw o firstpoints.

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Chapter 3: Draw ingl

If an anchor point has no visible Bezier handle, hold dow n Alt to display them.

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Editing a Pencil Line Texture with the Pencil Editor Tool
W hen w orking w ith textured pencil lines, the Pencil Editor w ill deform the textures starting from the centre
lines.

How to use Pencil Editor tool to edit the texture or gradient on a pencil line
1. Do one of the follow ing:l

In the Tools toolbar, select the Pencil Editor

tool.

2. Click on the pencil line to be modified to bring up its contour envelope.

3. Select one of the contour points around the envelope and move its position to change the size ofthe tiled texture or gradient. You can also pull directly on the lines of the contour envelope or playw ith the Bezier handles of any given point in order to continue to modify the envelope form.

Expanding the w idth of the envelope parallel to the pencil line’s central vector w ill cause the tiled
texture to be stretched. Conversely, reducing the envelope’s w idth w ill cause the tiled texture tolook squashed.
Reducing the contour’s w idth perpendicular to the pencil line’s central vector w ill reduce thenumber of tiles, w hile expanding it w ill increase the number of tiled images.

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About the Smooth Editor Tool
T-ANIMPA-010-010
W hen draw ing in a digital application, it is not like draw ing on a sheet of paper. Sometimes the lines you draw
may look as if they w ere draw n w ith an unsteady hand. W hen this occurs, you may need to correct the look ofyour lines.

Harmony has a very pow erful tool you can use to optimize contours and reduce the number of points on thelines, the Smooth Editor tool.

NOTE
To learn more about the Smooth Editor tool options, see the Reference guide .

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Smoothing Artwork Using the Smooth Editor
T-ANIMPA-010-011
You can use the Smooth Editor to smooth out specific areas of your draw ing strokes.

How to optimize lines with the Smooth Editor tool
1. In the Tools toolbar, select the Smooth Editor

tool or select Tools > Smooth Editor.

2. In the Draw ing view , place your pointer over the lines to smooth. You may need to pass over thesame line several times to remove more points and make the line smoother. Note that by default,
the Smooth Editor tool colour is yellow , it w as changed to orange for screen grab clarity—see theReference guide to learn about the various settings available.

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Spacebar key w hile draw ing a straight line, the angle of your line
w ill lock. If you are using a pressure-sensitive tablet, you can draw over your line to adjust
its thickness.

265Harmony 22 Paint User Guide

About the Perspective Tool
The Perspective tool lets you deform a draw ing selection and alter its perspective. You can use the corner andedge anchor points to w arp the shape.

NOTE
If you use the Perspective tool on a textured brush stroke, it is w ill deform its texture to fit the newshape of the brush stroke. Keep in mind that this w ill resample the texture, w hich is liable to makeit lose quality.

NOTES
To learn more about the Perspective tool options, see the Reference guide .

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Chapter 3: Draw ing

Deforming a Drawing with the Perspective Tool
Use the Perspective tool to distort a draw ing's bounding box and simulate a perspective effect.

How to deform a drawing with the Perspective tool
1. In the Tools toolbar, select the Perspective

tool from the Contour Editor drop-dow n menu orpress Alt + 0.
2. In the Draw ing view , select the artw ork you w ant to deform by doing one of the follow ing:lClick on a draw ing stroke to select it.

lDraw a lasso around draw ing strokes to select them simultaneously.

TIPSl

To add more draw ing strokes to the selection, press and hold the Shift key andeither click or draw a lasso around the strokes you w ant to select.

lPress SHIFT+ALT to unselect all the strokes you have selected previously. You canalso unselect strokes on multiple layers in the Timeline by pressing SHIFT+ALT+CTRL.

l

By default, you can only select artw ork in the currently selected layer. You canselect artw ork from any visible layer by holding the Ctrl (W indow s/Linux) or ⌘(macOS) key.

l

If you prefer draw ing a rectangle rather than a lasso to select artw ork, click on the
Lasso button in the Tool Properties view and selectMarquee.

l

You can select all the draw ing strokes in the draw ing by select Edit > Select Allfrom the top menu or by press ing Ctrl + A (W indow s/Linux) or ⌘ + A (macOS).

3. Click and drag the different anchor points to deform the shape.

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About the Envelope Tool
The Envelope tool lets you deform and w arp part of a draw ing using a grid envelope and Bezier handles. You
can w arp images to make them look like they are reflected in w ater or in a deformable mirror.

NOTE
If you use the Envelope tool on a textured brush stroke, it is w ill deform its texture to fit the newshape of the brush stroke. Keep in mind that this w ill resample the texture, w hich is liable to makeit lose quality.

NOTE
To learn more about the Envelope tool options, see the Reference guide .

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Chapter 3: Draw ing

W arping a Drawing with the Envelope Tool
You can w arp your draw ings using the Envelope tool.

How to warp a drawing with the Envelope tool
1. In the Tools toolbar, select the Envelope

tool from the Contour Editor drop-dow n menu.

1. Select a draw ing from the Draw ing Thumbnails panel.
2. In the Draw ing view , select the artw ork you w ant to deform by doing one of the follow ing:lClick on a draw ing stroke to select it.

lDraw a lasso around draw ing strokes to select them simultaneously.

TIPSl

To add more draw ing strokes to the selection, press and hold the Shift key andeither click or draw a lasso around the strokes you w ant to select.

lPress SHIFT+ALT to unselect all the strokes you have selected previously. You canalso unselect strokes on multiple layers in the Timeline by pressing SHIFT+ALT+CTRL.

l

By default, you can only select artw ork in the currently selected layer. You canselect artw ork from any visible layer by holding the Ctrl (W indow s/Linux) or ⌘(macOS) key.

l

If you prefer draw ing a rectangle rather than a lasso to select artw ork, click on the
Lasso button in the Tool Properties view and selectMarquee.

l

You can select all the draw ing strokes in the draw ing by select Edit > Select Allfrom the top menu or by press ing Ctrl + A (W indow s/Linux) or ⌘ + A (macOS).

A rectangle appears around the selected artw ork. Bezier handles stem from each corner of therectangle, w hich can be manipulated to make the sides of the rectangle into curves.

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3. Click and drag the different anchor points and handles to deform the image.

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Chapter 3: Draw ing

TIPSl

In the Tool Properties view , you can enable theShow Advanced Controls option tocontrol the w arp points inside the control box.
l

You can also divide the control box into several sections by increasing the value in the
W idth and Height fields of the Tool Properties view .

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About the Text Tool
W ith the Text tool, you can add text in your project using various fonts and texts attributes.

Text objects are draw ing objects in the same w as as brush strokes and draw ing groups are, so they can be
manipulated w ith the select tool. After you have w ritten and formatted your text, you can break the string
apart to convert the letters into draw ing objects that can than be individually modified w ith tools such as
Select, Perspective, Contour Editor, Smooth Editor.

NOTE
To learn more about the Text tool options, see the Reference guide .

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Chapter 3: Draw ing

Adding Text to Drawings
You can use the Text tool to add text to your draw ings.

How to add text to drawings
1. Do one of the follow ing:l

In the Tools toolbar, select the Text

tool.

l

From the top menu, select Tools > Text.

lPress Alt + 9.

2. In the Timeline view , select the cell containing the draw ing on w hich you w ant to add text.
3. In the Draw ing view , click on the location you w ant the text to begin.

4. You can use the Tool Properties view to select the font, font size and format of the text you w ill
type—see the Reference guide .
5. Type in the desired text.

6. Click outside the text box to exit the typing mode.
If you w ant to create another text object, click outside the currently active text box. You can alw ays
return to edit the text by selecting the Text

tool and clicking in the text.

7. You can resize the text box by selecting your text box w ith the Text

tool and moving the anchor

point right or left. Using the Select tool w ill distort and scale your text itself rather than changing
the w idth and height of your text box.

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Chapter 3: Draw ing

Breaking Text Into Letters or Vector Shapes
Text contained in a text field is treated as a single draw ing object. You can easily separate the text so eachcharacter becomes an individual draw ing object that you can select and modify independently.

How to break a text object
1. In the Tools toolbar, click the Selecttool or press Alt + S.

2. In the Draw ing view , select the text object you w ant to break.

3. From the top menu, select Drawing > Convert > Break ApartText Layers.

Each character is surrounded by a bounding box that you can modify; they remain text objects thatyou can edit.
4. If you w ant to convert your independent letter to a complete vector object that you can deform, use
the Select tool to select the letters to convert.
5. From the top menu, select Selected > Convert > Break Apart Text Layers to break the selection
into a regular draw ing object, w ith no more text attributes.

275Harmony 22 Paint User Guide

About the Tool Colour Swatches
T-ANIMPA-010-018
W hile draw ing and painting, you can let Harmony retain the last colour you selected for each one of thefollow ing tool types:
l

Brush

l

Paint

l

Pencil, Ellipse, Line, Rectangle, Polyline

The Colour view has three sw atches w here you can set a colour for the Brush , Paint, and Pencil tools.

You can also link or unlink the colour sw atch used betw een vector and bitmap layers.

276

Chapter 3: Draw ing

Unlinking the Tool Colour Swatches
T-ANIMPA-010-019
You can unlink the tool colour sw atches and use separated colours for the Brush, Paint, and pencil line tools.
If you prefer to have Harmony use the same colour sw atches regardless of the selected tool, you can link thethree sw atches together.

How to unlink the tool colour swatches
1. In the Colour view , if the storage sw atches are linked, click the Link

2. Click on the Brushstorage sw atch.

3. In the Colour list, select the desired colour.
4. Click the Pencil

storage sw atch.

5. In the Colour list, select a colour.
6. Click the Paint

storage sw atch.

7. In the Colour list, select a colour.

277

button to unlink them.

Harmony 22 Paint User Guide

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Chapter 3: Draw ing

Linking the Tool Colour Swatches
You can link the tool colour sw atches so all the tools use the same colour sw atch.

How to link the storage swatches
1. In the Tools toolbar, select one of the follow ing tools:
l

Brush

l

Paint

l

Pencill

Polyline

l

Line

l

Ellipsel

Rectangle

2. In the Colour view , if the storage sw atches are unlinked, click the Link

button to link them.

Each time you select a new colour for your current tool, all the storage sw atches are updated.

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Using Independent Bitmap Colour Swatches
W hen w orking in the Colour view , by default the current colour is active for both vector and bitmap layers. You
can how ever, use different reference colours for each layer.
Although you can use colours from your colour palette to paint on a bitmap layer, colours used in a bitmap
draw ing layer are not linked to their colour sw atch in the palette. This means that, contrary to vector draw ing,
updating the colours in your colour palette w ill not update your bitmap draw ings w ith the new colours.

How to use independent colourslFrom the Colour view menu, select Colours > Independent Bitmap Colour.
W hichever colour you choose as the reference color is retained for that layer type.

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Chapter 3: Draw ing

About Drawing Space Management
W hen you are draw ing in the Camera or Draw ing view , you can zoom, pan and rotate the view to make iteasier to determine w here to place objects, determine the scale of objects, and w hen zooming out, get an
overall view of the panel and its contents. You can also use the grid to help you determine the size andplacement of objects as you draw .
If you like draw ing in the Camera view , but don't w ant overlays to cover the draw ing you're w orking on, you
can enable the Current Draw ing on Top option.

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About the Zoom Tool
The Zoom tool in the Tools toolbar lets you zoom in and zoom out of the Draw ing view .

NOTE
To learn more about the Zoom tool options, see the Reference guide .

How to use the Zoom tool
1. In the Tools toolbar, select the Zoom

tool available in the Hand tool drop-dow n menu.

2. Click in the Draw ing view .
3. In the Tools Properties view , do the follow ing:lEnable the Zoom In

mode to zoom in mode w hen you click in the Draw ing view .

W hen you're in Zoom In mode, hold as you click to zoom out.
lEnable the Zoom Out

mode to zoom out w hen you click in the Draw ing view .

lClick on the Zoom In

button to immediately zoom in. You can also press 2.

lClick on the Zoom Out

button to immediately zoom out. You can also press 1.

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About the Hand Tool
You can use the Hand tool to pan through the Draw ing view . W hen you are zoomed in your w orkspace, you
may need to pan to a different area of your image. You can do so w ith the Hand tool or the Spacebar keyboard
shortcut.
The Hand tool has no options in the Tool Properties view .

How to use the Hand tool
1. Do one of the follow ing:l

In the Tools toolbar, select the Hand

tool, click in the Draw ing view and drag.

l

You can also Hold dow n the Spacebar, click in the Draw ing view and move yourmouse in the direction you w ant to pan the view .

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About the Rotate View Tool
T-LAY-001-005
The Rotate View tool lets you rotate the Draw ing view , the same w ay as you w ould do w ith a real animation
disc for increased flexibility. This tool can also be used in the Perspective view .

The Rotate View tool has no options in the Tool Properties view .

How to use the Rotate View tool
1. Do one of the follow ing:l

From the top menu, select Tools > Rotate View.

l

In the Tools toolbar, select the Rotate View tool in the Hand tool menu.

l

In the Draw ing view , right-click and select Drawing Tools > Rotate View.

l

Hold dow n Ctrl + Alt (W indow s/Linux) or ⌘ + Alt (macOS).

The rotation disc appears.

2. In the Draw ing view , click and drag to rotate the space.

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Chapter 3: Draw ing

3. Release the keyboard shortcut or sw itch to a new draw ing tool.
4. Reset the view rotation using View > Reset Rotation or press Shift + X to reset the rotation.

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About the Grid
Harmony is equipped w ith a traditional animation grid. You can use it as a reference w hile draw ing to fit agiven layout field chart, align elements, or simply see the center of your draw ing. You can draw beyond thegrid boundaries as it is only a visual reference.

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Displaying the Grid
You can display the grid and it w ill be visible in the Draw ing view .
Use the Show Grid option to display a grid in the Draw ing view .

How to display the grid
1. Do one of the follow ing:l

In the Draw ing View toolbar, press the Show Gridbutton.

l

In the Camera View toolbar, press the Show Gridbutton.

l

Select View > Grid > Show Grid.

lPress Ctrl + ' (W indow s/Linux) or ⌘ + ' (macOS).

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Modifying the Grid
You can modify the look of the grid to be either square, 12-field, 16-field, outline, and so on.

How to modify the grid display
1. Select View > Grid > Show Grid to display the grid.
2. To modify the grid, select one of the follow ing:lView > Grid > Grid Outline Only—Displays the outline of the grid only.

lView > Grid > Square—Displays a standard square grid.

lView > Grid > 12 Field Grid—Displays a 12-field size grid.

lView > Grid > 16 Field Grid—Displays a 16-field size grid.

lView > Grid > Underlay—Displays the grid under the draw ing elements.

lView > Grid > Overlay—Displays the grid over the draw ing elements.

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Chapter 3: Draw ing

About OpenGL Antialiasing
T-ANIMPA-010-016
Everything you draw in Harmony is vector-based, unless you purposely elected to draw as bitmap. W hen you
draw in the Draw ing view , notice that your lines may appear jagged. This is caused by the fast real-time
display called OpenGL. If you prefer to see smooth lines as you draw , you can enable the antialiasing
preference.

Full scene antialiasing is generated by your computer’s graphics card. This antialiasing w ill not only antialias
your draw ings, but all your different view s in the interface. Full scene antialiasing is an option you can turn on
or off; by default, it is disabled.
There is no need to modify your graphic card settings.

NOTE
Full Scene Antialiasing parameters are only valid w hile you w ork in your scene. The scene w ill berendered to 100% of its resolution regardless of your preference settings or graphic card panel.

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Setting the Full Scene Antialiasing Preference
T-ANIMPA-010-017
You can enable the Full Scene Antialiasing preference to smooth out the OpenGL artw ork.

NOTE
You must restart Harmony after you change the parameters.

How to customize the full scene antialiasing parameters
1. Do one of the follow ing:lSelect Edit > Preferences (W indow s/Linux) or Harmony [Edition] > Preferences(macOS).

l

Press Ctrl + U (W indow s/Linux) or ⌘ + U (macOS).

The Preferences dialog box opens.
2. In the OpenGL tab, select the Enable option in the Full Scene Antialiasing section.

3. Number or samples: Enter the number of samples you w ant to be used for the antialiasing process.
The number of samples is basically equivalent to the amount of times a pixel w ill be enlarged to
calculate the antialiasing. This technique is called supersampling. The higher the number ofsamples, the better the antialiasing quality w ill be, but the heavier it w ill be on performance.
4. Restart Harmony.

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Chapter 3: Draw ing

About Drawing Optimization
As you w ork, you draw ing can get complex and contain multiple strokes. You may w ant to optimize thosedraw ings to reduce the number of brush strokes, pencil lines, and invisible strokes. You may also w ant toflatten your artw ork or optimize your brush stroke textures.
The Optimize command reduces the number of layers, such as overlapping brush strokes, in the selecteddraw ing objects. Draw ing objects w ill only be flattened and optimized if the selected objects do not change
the appearance of the final image w hen they are merged.
For example, if you have selected a number of partially transparent objects, w hich you layered to create an
additive colour effect, the selected transparent draw ing objects w ill not be merged. This is because merging
the transparent draw ing objects w ill cause them to lose the effect of the layered transparent colours.

You could also w ant to add invisible contour strokes so that if you unpaint lines, the vector container remains
to be repainted later.

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Flattening Drawings
T-ANIMPA-002-006
The Flatten operation is used to merge draw ing objects and brush strokes into a single layer. If you draw newlines to fix a draw ing or line w ith many brush strokes, it can be useful to flatten them all into a single shape. Bydefault, lines are draw n one on top of each other. If you intend to repaint the lines or modify their shape, it w ill
be easier if they are flattened.

How to flatten drawings
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the draw ing strokes you w ant to flatten.
3. Select Drawing > Optimize > Flatten or press Alt + Shift + F. You can also press the Flatten
button in the Tool Properties view .

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Smoothing Drawings
The Smooth operation is used to reduce the number of contour points on a brush stroke and center points on a
pencil line. It also smooths out the shape.
The Smooth Fast option allow s out to smooth out a draw ing stroke at a faster rate than the regular smooth
option.

How to smooth drawings
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the draw ing strokes you w ant to smooth out.
3. Select Drawing > Optimize > Smooth or press Alt + Shift + S. You can also press the Smoothbutton in the Tool Properties view .

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Creating Contour Strokes
The Create Contour Stroke option is used to add a permanent invisible line around a shape that w as draw n
directly in Harmony. This allow s you to unpaint your lines w ith the Paint tool but maintain the shape of thelines, should you need to repaint later.

This command is useful w hen inking and painting and using the Apply to All Draw ings in Layer option.

How to create contour strokes
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , use the Select tool to select the draw ing objects you w ant to create contour
strokes for.
3. From the top menu, select Selected > Create Contour Strokes.

294Chapter 3: Draw ing

Removing Contour Strokes
The Remove Contour Stroke option is used to remove any permanently invisible lines that w ere created w hilescanning and vectorizing draw ings or manually adding contour strokes. This is useful if you w ant to remove
the intersection triangles created during vectorization.

How to remove contour strokes
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , use the Select tool to select the draw ing objects you w ant to remove contour
strokes for.
3. From the top menu, select Selected > Remove Contour Strokes.

295Harmony 22 Paint User Guide

Flattening and Removing Extra Strokes
The Flatten and Remove Extra Strokes command allow s you to flatten the selected artw ork together andinstantly remove invisible lines that are adjacent to it.

NOTEThis w ill only remove invisible lines that are adjacent to visible artw ork. Invisible lines that are notconnected to any visible shape or line w ill not be removed.

How to flatten artwork and remove extra strokes
1. In the Tools toolbar, select the Selecttool.

2. In the Draw ing view , use the Select tool to select the artw ork that you w ant to flatten and clean up.
3. In the top menu, select Selected > Flatten and Remove Extra Strokes.

296Chapter 3: Draw ing

Optimizing Drawings
You can use the Optimize feature to flatten your draw ing strokes w ithout changing the aspect of yourdraw ings. This mainly means that transparencies w ill not be flattened.

How to optimize a drawing
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the draw ing strokes you w ant to optimize.
lFrom the top menu, select Selected > Optimize.

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Reducing the Drawing Texture Resolution
How to reduce the drawing texture resolution
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , use the Select tool to select the draw ing objects w hose texture resolution you
w an to reduce.
3. From the top menu, select Drawing > Optimize > Reduce Drawing Texture Resolution.

4. In the dialog box, drag the slider tow ard the left to reduce the texture resolution.
5. Enable the Apply to All Drawings option if you w ant the modification to be applied to all thedraw ings in your layer.
6. Click OK.

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Chapter 3: Draw ing

About Strokes Conversion
You may have draw ing stroke using the Pencil tool w hen you w anted to use the Brush tool. You may also havedraw ing your image using the Polyline tool and now you w ant to convert your strokes to brush strokes. For
many reasons, you may w ant to sw itch your stroke types to another type to use the various advantage set they
offer.
There are three types of strokes:lBrush strokes (contour vector)l

Pencil strokes (central vector)lInvisible strokes (central vector w ith a thickness value of 0)

Harmony lets you convert pencil lines to brush strokes, brush strokes to pencil lines, and invisible strokes(strokes) to pencil lines.
You can also break text objects apart—see Breaking Text Into Letters or Vector Shapes on page 275.

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Converting Brush Strokes to Pencil Lines
The Brushes Strokes to Pencil Lines operation converts selected contour strokes into centreline pencil strokes.
The brush stroke thickness w ill be lost.

How to convert brush strokes to pencil lines
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the strokes you w ant to convert.
3. Do one of the follow ing:l

From the top menu, select Selected > Convert > Brush Strokes to Pencil Lines orpress ^ .

l

Right-click on the selection, select Convert >Brush Strokes to Pencil Lines or press ^300

Chapter 3: Draw ing

Converting Pencil Lines to Brush Strokes
The Pencil Lines to Brush Strokes operation converts the selected centreline pencil strokes into contour
strokes brush lines. This feature w orks for both solid and textured pencil lines.

How to convert pencil lines to brush strokes
1. In the Tools toolbar, select the Selecttool.

2. In the Draw ing view , select the strokes you w ant to convert.
3. Do one of the follow ing:l

From the top menu, select Selected > Convert > Pencil Lines to Brush Strokes .

lRight-click on the selection, select Convert > Pencil Lines to Brush Strokes.

l

In the Tool Properties view , press the Pencil Lines to Brush Strokes

301

button.

Harmony 22 Paint User Guide

Converting Strokes to Pencil Lines
The Strokes to Pencil Lines operation converts the selected invisible line to a pencil line.

How to convert strokes to pencil lines
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the strokes you w ant to convert.
3. Do one of the follow ing:lSelect Selected > Convert > Strokes to Pencil Lines or press Shift + F12(W indow s/Linux only).

lRight-click on the selection, select Convert > Strokes to Pencil Lines or press Shift +F12 (W indow s/Linux only)302

Chapter 3: Draw ing

About Vector and Bitmap Layers
T-LAY-001-002
W ith Harmony, you have the choice to use vector or bitmap draw ing tools. Vector draw ing tools allow you tomake draw ings that can be scaled w ithout losing quality, to easily tw eak and fine tune your draw ings and touse the w hole suite of draw ing tools available in Harmony, w hereas bitmap draw ing tools allow you to lay on
brush strokes to make more traditional-looking artw ork, and to tw eak your draw ing by the pixel rather than by
their strokes and contours.

W hen draw ing, w hether you can use vector or bitmap draw ing tools is determined by w hether the art layer
you are draw ing on is a vector or a bitmap layer. By default, each draw ing layer has tw o art layers: Line Art
and Colour Art, and each of these art layers can be a vector or a bitmap layer. This can be useful if, forexample, you w ish your line art to be done using bitmap draw ing tools, and then to paint your draw ings using
vector draw ing tools, or vice versa.
Using bitmap layers may be preferable if you find that vector draw ings are too limiting for the desired art style,or if your vector draw ings are so complex that they affect softw are performance. How ever, bitmap layers havethe follow ing limitations w hich you should carefully consider before using them:lIn vector draw ings, each stroke is a separate draw ing object by default, and each of these draw ing
objects, as w ell as each of their points, curves and outlines, can be manipulated independently. It is notpossible to do that w ith bitmap layers, as they are alw ays a single draw ing object. They can be draw n,
filled or erased over, and manipulated as a w hole, but its individual elements cannot be manipulated
independently.

l

By default, bitmap layers are created at the same pixel density as your scene's camera w hen it is in its
default position. This means that your artw ork w ill lose picture quality if you zoom in on it or scale it up.
If you need bitmap draw ings to be scaled up or zoomed on, you must set your bitmap artw ork's pixel
density higher before you start draw ing.

l

Bitmap draw ings may require more storage space than vector draw ings. Note that this depends a lot on
the amount of space in your draw ing that is covered by artw ork. Harmony does not store bitmap data
for empty areas of your draw ings.

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Harmony 22 Paint User Guide

W hen draw ing on a bitmap layer, the follow ing tools are unavailable, as they exploit the vector draw ing
capabilities of Harmony:l

PencillContour EditorlPencil EditorlSmooth EditorlPerspectivelEnvelope

l

Ink

l

Strokel

Close Gapl

Polyline

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Chapter 3: Draw ing

Setting the Bitmap Resolution
W hen draw ing in bitmap, it is important to understand that, contrary to vector artw ork, bitmap artw ork isstored in pixels. This implies that, w here vector artw ork can be scaled and zoomed in w ithout issue, bitmap
artw ork is resolution dependent, and is liable to drop in picture quality and appear pixelated if it is enlarged orzoomed in.
By default, bitmap layers created in Harmony have a pixel density of 100%. At this density, w hen your scene is
not zoomed in and your artw ork is not scaled up, each pixel in your artw ork corresponds to one pixel in therendered image. Scaling it up or zooming in w ill require Harmony to render several pixels using the same
bitmap pixel, making the artw ork lose quality.
Hence, before you start draw ing on your bitmap layer, it is important to consider if you w ill need to zoom ontoor scale up your artw ork, and set the pixel density accordingly. For example, if you intend to scale your bitmap
artw ork up to 300%, or if you intend to zoom in from 12 fields to 4 fields, you should make sure your bitmap
artw ork's pixel density is of at least 300% before you start draw ing.
The pixel density of a bitmap layer affects the amount of pixels it contains, but not its apparent size in thescene. For example, if your scene resolution is set to 1920 x 1080 and your bitmap artw ork's pixel density is300%, its resolution w ill be 5760 x 3240. How ever, it w ill be scaled dow n to 1920 x 1080, and the extra
pixels w ill be used to preserve the image quality if the artw ork is zoomed on or scaled up.

Bitmap layers are also limited by a canvas. By default, this canvas is set to be 200% of the scene's w idth andheight. This means that your artw ork can bleed outside any edge of the camera frame by 50% of its size. If you
need your bitmap artw ork to have a larger canvas, it is possible to change its canvas size. This can be usefulfor example if you w ant to create a panning background in a bitmap layer. If you w ant a background to pan
horizontally over three times the w idth of the camera frame, you w ould need to set its canvas w idth to at least
300%, but it is recommended to make your canvas bigger than w hat you plan to use so as to avoid
accidentally including the edges of your artw ork in the picture.

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Harmony 22 Paint User Guide

You can specify the pixel density and canvas size at the scene level or at the draw ing level:lSetting the pixel density and canvas size at the scene level w ill make it new ly created bitmap draw ings
have the specified settings, but it w ill not change the pixel density and canvas size of existing bitmap
draw ings.

lSetting the pixel density and canvas size at the draw ing level w ill allow you to change the pixel density
and canvas size of existing draw ings in a bitmap layer, but w ill not affect the pixel density and canvas
size of draw ings created afterw ard.

NOTE
In Paint, you cannot set the canvas size and pixel density for the w hole scene, since Paint is only
able to modify individual draw ings. You can only change the canvas size and pixel density ofexisting draw ings. If you need to make this change for the w hole scene, open the scene inHarmony and refer to the Harmony documentation.

NOTE
If you are using textured brushes on a vector draw ing layer, you must set the pixel density forvector draw ing brush textures instead—see Setting the Textured Brush Resolution on page 113.

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Chapter 3: Draw ing

How to change the canvas size and pixel density of existing bitmap drawings
1. In the Draw ing Thumbnails panel, select the bitmap draw ing for w hich you w ant to change thecanvas size or pixel density.
2. From the top menu, select Drawing > Change Bitmap Drawing Resolution.
The Change Bitmap Draw ing Resolution dialog opens.

3. In the W idth and Height fields, enter the percentage of your scene's resolution that you w ant thecanvas of your bitmap layer to occupy. By default, both values w ill be set to 200%, w hich means
the w idth and height of your bitmap canvas w ill be tw ice the w idth and height of your scene's
resolution. W hen the camera is in its default position, this leaves extra space around the camera
frame to draw on your bitmap layer.
4. In the Pixel Density field, enter the desired percentage of pixel density. If you intend to scale orzoom in on your artw ork, make sure your pixel density is set to be at least the factor by w hich yourartw ork w ill scaled or zoomed on. For example, if you intend to scale your artw ork by 300%, youneed to set the pixel density to at least 300%. If you intend to zoom in on your artw ork from 12fields to 6 fields, you need to set the pixel density to at least 200%. If you intend to do both, youneed to set the pixel density to at least 600%, as the camera zoom and scaling factor w ill have amultiplying effect on the apparent scaling of your artw ork.
5. Enable the Resample Bitmap option if you w ant your draw ings to preserve their apparent size inthe scene.
6. If you w ant the specified settings to be applied to all of the draw ing's art layers, i.e., Line Art,
Colour Art and, if enabled, Overlay Art and Underlay Art, check the Apply to All Art Layers option.
Otherw ise, only the currently active art layer w ill be affected.
7. If you w ant the specified settings to be applied to all draw ings in the active layer, check the Apply
to All Drawings option. Otherw ise, only the current draw ing w ill be affected.
8. Click OK.
The selected draw ing's canvas size and pixel density is set to the specified settings.

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Harmony 22 Paint User Guide

NOTE
This does not change the default canvas size and pixel density for the scene. New draw ings
w ill still be created w ith the scene's default canvas size and pixel density.

308Chapter 4: Painting and Colours

Chapter 4: Painting and Colours
T-ANIMFX-003-001
Toon Boom Harmony has some very pow erful painting features to add colour to your draw ings. W hereassome other softw are only allow users to w ork w ith one colour sw atch at a time, painting in Harmony is doneby using palettes containing multiple colour sw atches that can be saved and reused as needed.

In the Colour view , you choose a different colour sw atch for each colour you w ant to paint in your draw ing. You
can add as many sw atches as you w ant. You can also rename them and modify existing ones.

W hen you modify the colour of an existing sw atch, it automatically updates all the zones painted w ith thissw atch throughout the entire scene. The colour sw atch has a unique ID number that associates it w ith thepainted zones. This w ay, you can change the look of your character at any time w ithout having to repaint it!
Another advantage of this system is that you can create complete palettes for different lighting situations. For
instance, in addition to the regular palette for a character, you could have one for that character in the rain309

Harmony 22 Paint User Guideusing colours that are duller and less vibrant than the dry daytime colours, or yet another for using in a night
scene. Using palettes linked to your character in this w ay allow s you to instantly change its colouring to suitthe mood and atmosphere of the scene w ithout having to repaint each element.
It is also possible to use colour sw atches from palettes in bitmap draw ings, although changing the colours in
the palettes w ill not automatically update colours used in bitmap layers.

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Chapter 4: Painting and Colours

About Colour Swatches
T-HFND-006-017
You can use several different types of colour sw atches, including solid colour, gradient colour and bitmap
texture sw atches.

A colour palette is an actual file on the hard drive.
In Harmony Server, these palette files can be stored in a different location on the server. They can be stored in
the Environment, Job, Scene, or Element folder and linked to any palette list. This means that if the original
palette file is modified, it w ill update in every draw ing element the palette is linked to.
In Harmony Server, to avoid accidentally modifying the palette, the palette files can be locked. If a palettemust be modified, you must get the rights to modify them before doing so.

311

Harmony 22 Paint User Guide

Locking and Unlocking the Colour List
In Harmony Server, you can lock and unlock the colour list to avoid modifying or modify the colour sw atches.

How to lock and unlock the colour list
1. In the Colour view , click the Edit Palette Modebutton.

A grey pencil icon appears in the top-right corner of the Palette list.

312Chapter 4: Painting and Colours

Adding a Colour Swatch
T-HFND-006-017A
You can add as many colour sw atches as you w ant in your palette.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to add a solid colour swatch
1. In the Colour view , click the Add Colour

button.

2. Do one of the follow ing to edit the colour sw atch:l

From the Colour view menu, select Colours > Edit.

l

Double-click on the colour sw atch.

The Colour Picker w indow opens.

3. To set your colour, do one of the follow ing:lSelect either Red, Green, Blue, Hue, Saturarion of Value to change the colour w heel's
spectrum, then click on the desired colour in the colour w heel.

313

Harmony 22 Paint User GuidelEnter the hue, saturation, value, red, green and blue values manually into theircorresponding fields. All values range from 0 to 255.

l

Click the Dropper

button to select any colour on your screen. It can be from theHarmony interface, your operating system or any other open application.

You can also click Multi W heel Mode to open the Multiw heel Colour w indow . This displays all the
picking area styles together and also contains a picking undo list. To return to the regular Colour
Picker w indow , click Single W heel Mode.

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Chapter 4: Painting and Colours

4. Click on the Shade Scale sw atches to modify the shade of the selected colour.

5. Adjust the transparency w ith the Alpha slider or type the value directly in the Alpha field.

6. Click the Add button to add the current selected colour to the Colour Storage Library, so you canquickly access it later.

7. Rename the colour sw atch in the Colour Picker w indow or directly in the colour list by doubleclicking on its name.

By default, w hen you create a new colour sw atch, its colour w ill be the same as the currently selected colour
sw atch, or black if no colour sw atch is selected. You can make Harmony create new colour sw atches w ith a
specific default colour instead.

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Harmony 22 Paint User Guide

Adding a Gradient Colour Swatch
T-HFND-006-017B
You can transform any colour sw atch into a linear or radial gradient.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to create a gradient colour swatch
1. In the Colour view , select a colour to modify .
2. Do one of the follow ing:lClick the new colour and from the Colour View menu, select Colours > New.

l

Double-click on the colour sw atch.

The Colour Picker w indow opens.

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Chapter 4: Painting and Colours

3. Select the Gradient option.
4. Select the Linear or Radial option.
5. In the Gradient slider, create your gradient:l

To change one of the colours of your gradient, select a key colour from the gradient slider,then pick its colour in the colour picker.

l

To add a key colours to your gradient, click anyw here on the colour slider, betw een theexisting key colour.

l

To delete a key colour, use the mouse to pull dow n on it.

l

To move a key colour's position in the gradient, use the mouse to drag it left or right.

NOTE
To learn how to reposition the gradient zones in your draw ings, see About the Edit Gradientand Texture Tool on page 403.

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Harmony 22 Paint User Guide

Adding a Texture Colour Swatch
T-HFND-006-017C
You can add bitmap texture colour sw atches to your palette. This allow s you to fill zones in your artw ork w ith
custom patterns and textures.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to create a texture colour
1. From the Colour menu, select Colours > New Texture or click the New Texture

button.

The Brow ser w indow opens.
2. Brow se for a PSD or TGA bitmap file created w ith a third party softw are and click Open.
The texture is added to the colour list.

You can also replace a texture once it is painted. If you decide to make the character’s shirt w ool
instead of plaid, just update the texture file in the sw atch and the entire project updates. Anytransformation previously applied to the texture’s position in your draw ings w ill be kept.

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Chapter 4: Painting and Colours

NOTE
To learn how to reposition the textured zones in your draw ings, see About the Edit Gradientand Texture Tool on page 403.

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Harmony 22 Paint User Guide

Copying and Pasting Colours
There are three w ays to copy and paste colour sw atches:lPaste as New Colours: This create a new colour sw atch w ith the same colour value, but w ith a different
colour ID as the original sw atch.

lPaste as Clones: This creates a new colour sw atch w ith the same colour value and the same colour ID
as the original sw atch.

lPaste Colour Values: This replaces the colour values in the selected colour sw atch w ith the colour
values from the copied sw atch.

Pasting a colour as a clone is useful if you’ve created a clone of a palette, then added a new sw atch in theoriginal palette, and need to add a sw atch w ith the same colour ID in the clone palette.

NOTE
A palette cannot have tw o sw atches w ith the same colour ID. Hence, you can only paste colours
as clones in a different palette than the ones the colours w ere copied from.

If, for any reason, you need to obtain the colour ID of your colour sw atches, w hether to make a reference tableof them, or to compare the colour IDs of tw o sw atches, you can copy the colour ID of a colour sw atch to the
clipboard. You cannot paste a colour ID anyw here on a colour sw atch, but you can paste it in a text editor or a
spreadsheet application for your ow n purposes.
A colour ID is a string of 16 hexadecimal digits, i.e.: 075cf5b552401130.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to copy and paste colours
1. In the Colour view , select one or more colours to copy.

320Chapter 4: Painting and Colours

2. In the Colour View menu, select Colours > Copy or press Ctrl + C (W indow s/Linux) or ⌘ + C(macOS).
3. In the Palette list, select the palette in w hich you w ant to paste the colours.

4. From the Colour View menu, select Colours > Paste as New Colours or press Ctrl + V(W indow s/Linux) or ⌘ + V (macOS).
l

To paste the colour values of the copied sw atch over an existing colour sw atch, selectColours > Paste Colour Values.

How to clone a colour swatch
1. In the Colour view , select the colour sw atch you w ant to clone.
2. From the Colour View menu, select Colours > Copy or press Ctrl + C (W indow s/Linux) or ⌘ + C(macOS).
3. In the Colour view , select the colour palette you w ant to paste the clone into or create a newpalette.
4. From the Colour View menu, select Colours > Paste as Clone.
The cloned colour sw atch appears in the palette.

How to copy a colour ID
1. In the Colour view , select the colour sw atch from w hich you w ant to copy the ID.
2. From the Colour View menu, select Colours > Copy Colour ID or press Ctrl + C (W indow s/Linux)or ⌘ + C (macOS).
3. Paste the copied colour ID in a document.

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Harmony 22 Paint User Guide

Deleting a Colour Swatch
T-ANIMPA-003-007
You can delete unnecessary colour sw atches from your palette. If painted zones are using this colour, they w ill
be displayed in red and the system w ill try to recover them the next time you load the scene.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to delete a colour swatch
1. In the Colour view , select the colour sw atches to delete.

2. Do one of the follow ing:l

From the Colour View menu, select Colours > Delete.

lClick the Delete ColourlRight-click and select Delete.

lPress Del.

button.

If the colour sw atch is used in a draw ing, the Delete Colour dialog box opens.

3. Click OK to delete the colours or click Cancel to abort the operation.

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Chapter 4: Painting and Colours

If you delete colour sw atches already in use, the zones painted w ith them turn red so you can easily
identify them.

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Harmony 22 Paint User Guide

Modifying a Texture Colour Swatch
You can replace a texture colour sw atch and all zones already painted w ith it w ill update.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to replace a texture swatch
1. In the Colour view , select the texture sw atch that contains the bitmap texture you w ant to replace.

2. From the Colour View menu, select Colours > Edit Texture or double-click on the sw atch.
The Brow ser w indow opens.
3. Brow se for the new PSD or TGA bitmap file created in a third party softw are.

4. Click Open to update the colour sw atch.

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Chapter 4: Painting and Colours

Replacing Colours and Textures in Drawings
T-H15NEW -004-001
Although it is alw ays possible to change colours and textures in existing draw ings by updating the sw atch inthe palette, there may be situations w here you w ant to replace a colour or texture in your draw ings w ith adifferent colour or texture sw atch, w ithout updating the existing sw atch. For example, you may w ant to only
replace a colour w ith a different colour in specific draw ings, but not in all the draw ings that use the original
colour, or you may w ant to replace a colour w ith a colour from a different palette w ithout changing yourpalettes.
Using the Recolour Draw ing dialog, you can replace all instances of a colour or texture used in your draw ings
w ith a different colour or texture sw atch. This w ill actually change the colours or textures from w ithin thedraw ings, w ithout making any changes to your palette. You can perform this operation on the currently
selected draw ing, on all draw ings in the current layer or in all draw ings in your scene.

How to recolour drawings
1. First, make sure one of the palettes in your scene already has a sw atch containing the colour or
texture you w ant to replace the original colour w ith—see About Colour Sw atches on page 311,
About the Edit Gradient and Texture Tool, Adding a Texture Colour Sw atch on page 318 andAdding a Pencil Line Texture on page 149.
2. In the Timeline or Xsheet view , select the draw ing or draw ing layers you w ish to recolour.

NOTE
You can select multiple layers if needed.

NOTE
You can skip this step if you intend to recolour all the draw ings in your scene.

3. In the Colour view , click on Show Colour Palettes
texture, or on Show Pencil Texture Palettes
click on Show All Palettes

if you w ant to replace a colour, gradient or

if you w ant to replace a pencil texture. You can also.

4. In the Colour view , select the colour or texture sw atch you w ant to replace by doing one of thefollow ing:lSelect the palette in w hich the colour or texture sw atch is located, then select the sw atch
you w ish to replace.

l

If the draw ing in the Camera or Draw ing view contains the colour or texture you w ant toreplace, select the Colour Eyedropper

tool in the Tools toolbar, then click on that colour

325

Harmony 22 Paint User Guideor texture in the draw ing. The Colour view w ill automatically select that colour or texture's
palette as w ell as that colour or texture's sw atch.
5. Do one of the follow ing:lRight-click on the sw atches list, then select Recolour Drawings.

lOpen the Colour view menu

, then select Colours > Recolour Drawings.

The Recolour Draw ings dialog appears.

6. In the Replace Colour In panel, select w hether you w ant to replace the selected colour in the
Current Drawing, in All drawings in the selected layers or in All drawings in the scene.
7. In the palette list in the Replacement Colour panel, select the palette that contains the colour or
texture sw atch you w ant to replace the original colour or texture w ith.
8. In the sw atches list, select the colour or texture sw atch you w ant to replace the original colour or
texture w ith.
9. Click OK.
A dialog displays show ing the progress of the recolour operation. W hen finished, the original
colour or texture is replaced w ith the replacement colour or texture in your draw ing.

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Protecting Colours
T-ANIMPA-011-006
W hen you are finished inking one colour, you can lock it so if you ever paint over it accidentally, the w ork
already done w ill not be affected. You can also use the Protect Colour feature to block the filling colours if you
painted all of the animation in Line Art and you plan to repaint the lines.
W hen painting, the Respect Protected Colour option is enabled by default. In the Colour view , you can protect
In the Colour view , you can protect a colour sw atch to avoid repainting or unpainting the zones linked to thatsw atch. If you using the Paint tool and this option is deselected, you w ill repaint or unpaint the protectedcolours on your draw ings until you enable the option again.

How to protect colours
1. In the Colour view , select the colour to be protected.

2. Do one of the follow ing:l

From the Colour view menu, select Colours > Protect Colour.

lFrom the top menu, select Colours > Protect Colour.

A red bar appears beside the colour to indicate that it is locked.

How to enable the Respect Protected Colours option
1. Do one of the follow ing:l

In the Paint tool properties, click the Respect Protected ColourlFrom the top menu, select Options > Colour Protection > Respect Colour
Protection.

lPress Shift + S.

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Changing the Colour Display Mode
The Colour view has tw o display modes:
l

List

l

Sw atchYou can also display the RGB values and names of your solid colour sw atches instead of only the name. This
option is not available w hen displaying the colours in Sw atch mode.

How to switch between the display modes
1. From the Colour View menu, and do one of the follow ing:lSelect Colours > Swatch Mode to display the sw atches.

lDeselect Colours > Swatch Mode to display the colour list.

How to display the swatch colour valueslFrom the Colour View menu, select Palettes > Display Colour Values.
The solid colour sw atches’ RGB values are displayed betw een the colour sw atch and its name. The
gradient colour sw atches w ill be identified as (gradient).

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About Palettes
T-ANIMPA-003-001
In animation, specific colours are used to paint each part of each character. In order to maintain absoluteconsistency, a base colour palette should be created for each character, prop and effect in the production. Thisis referred to as a master palette.
Master palettes contain a colour sw atch for each area to colour. Each sw atch stores a colour in precise levelsof red, green, blue and opacity (the latter w hich is referred to as alpha).
Using a master colour palette has many benefits, including:lEach character consistently retains their dedicated colours.

l

You cannot accidentally use a colour w hich is not in the master palette.

lStandardization and colour consistency throughout the production.

lMultiple artists can use the same colour palette and produce the same results.

Harmony uses palettes to hold all the colours needed to paint your elements, allow ing complete control andconsistency in the painting process.
A palette is created by assigning a set of colours to each character, prop or effect. You w ill create a newpalette and add a new colour, know n as a colour sw atch, for each zone of the character, such as the skin, hair,
tongue, shirt, pants, and so on.
W hen you modify the colour of an existing sw atch, it automatically updates all the zones painted w ith thissw atch throughout the entire scene. The colour sw atch has a unique ID number that associates it w ith thepainted zones. This w ay, you can change the look of your character at any time w ithout having to repaint it!
Another advantage of this system is that you can create complete palettes for different lighting situations. For
instance, in addition to the regular palette for a character, you could have one for that character in the rainusing colours that are duller and less vibrant than the dry daytime colours, or yet another for using in a night
scene. Using palettes linked to your character in this w ay allow s you to instantly change its colouring to suitthe mood and atmosphere of the scene w ithout having to repaint each element.

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About Advanced Palette Management
In Harmony, palettes are individual *.plt files that can be copied, transferred and stored. W hen a palette is
created in Harmony,it is stored in your scene's palette-library subfolder by default, and linked to yourscene's palette list. How ever, Harmony has advanced palette management features that allow you to store
and manage your palettes in manners that may better serve your production's needs. This is called Advanced
Palette Lists mode. To enable these features, you must enable the Advanced Palette Lists preference.
The Advanced Palette Lists mode unlocks tw o features that can be very useful, especially for a big production:l

Palette location: W hile palette files are stored in a scene's palette library directory by default, you canchoose to store palettes in different locations, allow ing you to easily share palettes betw een different
scenes in a Harmony Server database.

l

Palette list type: W hereas palettes are usually added to a scene's palette list, making them available
to all the elements in your scene, you can also choose to add palettes to the palette list of individual
elements (layers) in your scene.

W hen the Advanced Palette Lists mode is enabled, Harmony open a dialog called the Palette Brow ser
w henever you w ant to create, import, clone, duplicate or link to a palette, w hich allow s you to decide yourpalette's location and palette list type.

To use advanced palette lists, it is important to understand the difference betw een a palette's location and apalette list's level. For example, it is possible to add a palette file stored in a scene's palette library folder to anelement's palette list. This can be useful if you w ish to have the same palette file used by several specificelements in your scene, w ithout copying it in the palette library folder of each element that uses it. The reverse
is possible: You can add a palette file stored in an element's palette library folder to a scene's palette list,
making the palette usable for all the elements in the scene, even if it is stored inside a single element's folder.

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Enabling the Advanced Palette Lists Mode
Advanced Palette Lists mode is disabled by default to avoid cluttering a basic w orkflow w ith too many
options, but it enables palette management capabilities that are very useful for big productions. Mainly, thispreference allow s you to:lCreate palettes inside a scene's environment, job or element palette-library directory, instead of thescene's palette-library directory. Storing a palette at the environment or job level can be especially
useful if you w ant to use the same palette in several scenes w ithout creating dependencies betw een
animation scenes and colour model scenes.

lCreate palettes for specific elements instead of the entire scene. You can do this by adding, importing or
linking to a palette in an element's palette list. A palette in an element's palette list can only be used bythat element.

You can set up the Advanced Palette Lists option in the Preferences panel.

How to set the Advanced Palette Lists mode
1. Do one of the follow ing:l

From the top menu, select Edit > Preferences (W indow s/Linux) or Harmony [Edition]> Preferences (macOS).

l

Press Ctrl + U (W indow s/Linux) or ⌘ + U (macOS).

2. Select the General tab.
3. In the Advanced OptionsColor Management section, select the Advanced Palette Lists option.
4. Click OK.

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About Scene and Element Palette Lists
By default, you can only add palettes to a scene's palette list. W ith the Advanced Palette Lists preference
enabled, you can choose to store add palettes to the palette list of individual elements if you choose. Here isan explanation of the tw o different levels of palette lists:l

Scene palette list: This palette list and its palettes are available for and can be used in all of the scene's
elements. Hence, it is the most simple and least restrictive approach, and is the type of palette used by
Harmony w hen Advanced Palette Lists mode is disabled. It is most recommended to add your palettes
to your scene's palette list if you are doing digital animation, w here character models can be made ofmany different elements that must use the same palette.

lElement palette list: A palette list associated w ith a single element in your scene. An element is thecontainer for the draw ings used by a draw ing layer. Hence, w hen an element has a palette list w ith its
ow n palettes, only the draw ings in that element can use the colours in these palettes, and the palettes
in this element's palette list w ill only be show n in the Colour view w hen a draw ing from this element isselected.

Using element palette lists as certain advantages, depending on your type of production:l

In paperless and traditional animation projects, characters are usually draw n on single elements.
Hence, you can use this to associate characters in a scene to their colour palette.

l

If a scene requires a lot of palettes, linking those palettes only to elements that need them rather than
to the w hole scene can help declutter your palette list.

l

W hen a palette and its clone are in the scene's palette list, Harmony w ill only use w hichever palette ishighest in the list. If you w ant one element to use the original palette and another element to use thecloned palette, you can do so by adding the right palette to each element's palette list.

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About Palette Storage Locations
Palettes can also be stored in four different locations. The best location to store palettes depends on the typeof production, the purpose of the palette, your pipeline and your backup plan. Here is an introduction to eachtype of palette location and their purpose:lElement: The palette-library folder inside an element's folder in the scene. This is the recommended
location if you are adding palettes to the palette lists of individual elements.

lScene: The palette-library folder inside the scene's folder. This is the default location w hen creating apalette in the scene's palette list, and is the location chosen by Harmony w hen creating a palette w ith
the Advanced palette Lists preference disabled. This is a suitable location to store the palettes ofcharacters, props and backgrounds used in a single scene, a small project, or any production that uses
Harmony Stand Alone.

lJob: For Harmony Server, this is the palette-library folder inside the job's folder on the database server.
This is the recommended location if you w ant to share the same palette betw een several scenes in thesame job, like for characters, props and backgrounds that are used in across entire episodes or smallerscale projects.

lEnvironment: For Harmony Server, this is the palette-library folder inside the environment's folder on
the database server. This is the recommended location if you w ant to share the same palette betw een
several scenes in the same environment, like for characters, props and backgrounds that are used
across an entire series or movie.

It is actually possible, but not recommended, to use palettes that are from a different job or environment. For
example, if you w ish to store a colour model's palette in the colour model's scene, you can make animation
scenes that user this character link to the palette in the colour model's scene. How ever, this means your scene
w ill depend on the colour model's scene and its palette being available at this location to render its colours. If
the colour model's scene is moved or deleted, or if you export the animation scene and import it in anotherdatabase, it w ill not be able to retrieve the palette. Hence, you w ould have to export the colour model along
w ith the animated scene, and import it into the other database. If you w ere to store the colour model's palettein its element folder, this w ould have the same restriction, w ith the added risk of breaking links to the original
palette if the character model's element is renamed. How ever, if you are sure that the structure of yourHarmony database w ill remain static and available at all time and at all steps of your production, then you canstore your palettes in w hichever job or environment you see fit.
Another reason w hy it is better to store shared palettes in a scene's job or environment is because, w hen you
export a Harmony scene, you can choose to export the palettes in the scene's job or environment palette
libraries along w ith it. These palettes are then stored w ith the exported scene and, w hen importing the scene
back into the database, you can choose to import the job and environment palettes that w ere exported w ith itback into the scene's job and environment.
Even in Harmony Stand Alone, you can store palettes at the job or environment level, even though Harmony
Stand Alone scenes do not have a job or an environment. W hen you do this, palettes are stored inside a
provisional jobs or environments directory inside the scene directory. If you import your scene to a Harmony
Server database, you can choose to import the files located in that scene's provisional job and environment

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into the scene's job and environment. Hence, w hen using Harmony Stand Alone, you should only store
palettes at the job or environment level if you intend to import your scene in a database later.

NOTE
In Harmony Server, even if you store palettes in a job or environment, they w ill not become
immediately accessible to the scenes inside that job or environment. You must still add them to thescene's palette list, or to the palette list of one of its elements, before you can use the palette.

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About Exporting Palettes
It is important to understand w hat is happening to a palette file w hen the scene is exported.
Because of the Harmony client-server configuration, all of the data can be shared through all of the scenes inthe database. This also includes the palette files, even if they are stored at the Element, Scene, Job, Draw ing orEnvironment level. The palette files can be accessed from any scene of any project.
W hen you export scenes from Harmony to either archive or send them to other users or studios, you canchoose to export it w ith palettes stored in the scene's ow n job or environment, but if your scene uses palettes
stored in other jobs, environments, or in any other location, those palettes will not be exported. Hence, if you
w ish to use the same palette for several scenes, it is recommended to store that palette at the environment or
job level to avoid ever facing a situation w here a scene no longer has access to its palette.
For example, in the follow ing chart, if you export Scene 2 from Job 1, the package w ill carry the palettes from
Scene 2, Job 1 and Environment. It W ILL NOT carry the palettes from Element 3 in Scene 1, Scene 1 and Job 2.
If Scene 2 w as linked to any of these, the system w ill create a recovery palette the next time Scene 2 is opened
in another Harmony system.

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About Backing Up and Recovering Palettes
Although Harmony Server opens palettes in read-only mode by default, there is alw ays the possibility of
palettes that are shared betw een scenes getting modified or their sw atches getting deleted by accident. Thatis w hy it is a good idea to copy and back up your palette libraries, your master palette directories and yourcolour models.
If you open a scene and a palette file happens to be missing, it w ill still appear in the palette list for that scene
or element, w ith a strike through across its name.

W hen Harmony attempts to load a draw ing that uses colours from a missing palette, or colours that w ere
removed from their palette, it w ill display the zones painted w ith the missing colours in red. Then, it w ill
prompt you to recover the missing colours into a recovery palette. A recovery palette is based on the colour
information w hich Harmony stores in each draw ing as a backup mechanism. This palette is stored at the scenelevel, and is not shared or sourced externally.
W hether you choose to perform colour recovery or not, your artw ork w ill preserve the colour IDs w hichHarmony uses to associate brush strokes, pencil lines and filled zones w ith the colour sw atches in yourpalettes. Hence, if you recover your original palette, you can just import or link it back to your scene—andremove the recovery palette, if you have one—and Harmony w ill automatically associate your artw ork w ith
the original palette again. You w ill not have to repaint your draw ings.
You can backup your palettes by copying them manually using your operating system's shell, or by cloning
them using the Palette Operations dialog. In both cases, the palette preserves the colour IDs, making it easy toreplace a missing palette w ith its backup. For more information on the Palette Operations, see PaletteOperations on page 367.

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About the Palette List
T-ANIMPA-003-006
A palette list is a file containing all of the links to the palette files. Each scene created has its ow n palette list.
How ever, it is also possible to assign palette lists to individual layers in a scene. To be able to do that, youmust first enable Advanced Palette Lists mode—see Enabling the Advanced Palette Lists Mode on page 332.
lScene Palette List
The scene palette list is simple to understand and convenient. Every element in your scene can use
colours from a palette in your scene's palette list. This is especially useful for digital animation, as a cutout character model w ill often be divided into dozens of different layers w hich w ill all use the same
palette.

The scene palette list is stored inside the scene's directory in a file named PALETTE_LIST, and its
palettes are usually located in the scene's palette-library subfolder.
lElement Palette List

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An element palette list is a list of palettes that is associated to an individual layer (element) in yourscene. Only the draw ings inside that element are able to use the colours in the palettes of its element
palette list. The palettes in an element palette list w ill only be visible in the colour view w hen adraw ing from that element is selected. This can be useful if you are doing traditional animation in w hichcharacters are usually draw n on a single layer, so you can assign each character to their individual
palette.

An element's palette list is stored in a file named PALETTE_LIST, inside the element's directory in thescene's elements subdirectory. An element's palettes can be stored in palette-library
subdirectory of the element's directory.
If you have the Advanced Palette List preference enabled, then you can build a palette list by creating palettes
in different locations, or linking to palettes from different locations. You might notice that the icon left of each
palette in the list looks different depending on w here the palette is sourced from. The follow ing is a table
explaining the meaning of each icon in the list.
Icon

Description

Indicates that the palette is stored at the same level as its palette list. For example, a palette that isstored in the scene's palette library and w hich is listed in the scene's palette list, or a palette that isstored in an element's palette library and w hich is listed in that same element's palette list.

Indicates that the palette file is stored in an external location, such as a different scene, an element in
a different scene, a job other than the scene's job, or an environment other than the scene's
environment. This means the palette is liable to be missing if it is moved from its original location, or if
the scene is exported from the database into an offline scene or to a different database.

This indicates that the palette is stored at a higher level than its palette list, making it a shared
palette. For example, a palette in your scene's palette list that is stored in the palette library of thescene's job or environment, or a palette in an element's palette list that is stored in the palette libraryof the scene.

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Indicates a potentially dangerous situation. For example, a palette file that is stored in one of thescene's element folders, but w hich is added to your scene's palette list. The w hole scene can use thepalette, but since it's stored inside an element, deleting that element w ill make your w hole scene lose
access to that palette.

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Showing and Hiding the Palette List
By default, the palette list is enabled. If you w ant to only use one palette for all of your scenes, you can disable
the palette list simply by collapsing it, w hich w ill give more vertical space to your colour sw atch list:

How to show or hide the palette list
1. In the Colour view , right over the palettes list, click on the expand/collapse arrow to expand or
collapse the palettes list.

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Locking and Unlocking the Palette List
In Harmony Server, palette lists are open in read only mode w hen loading a scene. This is to prevent users
from accidently removing palettes. To create, link to, reorder or remove palettes, you must first unlock yourscene's palette list.

How to lock and unlock to the palette list
1. Do one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option
is checkedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

A grey pencil appears on the top-right corner of the Palette list to indicate that it can be modified.

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Displaying Colour and Pencil Texture Palettes
Besides regular colour palettes, Harmony also supports pencil texture palettes. A pencil texture can be
combined w ith a colour to create pencil lines of various styles, ranging from styles reproducing traditional
draw ing tools such as chalk or felt to simple patterns like dots and circles. For more information, see About
Pencil Line Textures on page 134.
By default, the Colour view only lists colour palettes in its palette list. You can make the Colour view list only
pencil texture palettes, or all types of palettes.

How to change the palette list's filter to show colour palettes, pencil texture palettes,
or both
1. In the Colour view , do one of the follow ing:l

If you only w ant to only see colour palettes, press the Show Colour Palettes
button.

l

If you only w ant to see texture palettes, press the Show Texture Palettesl

If you w ant to see both types of palettes, press the Show All Palettes

button.
button.

NOTE
If you open the Link Palette dialog, it w ill only list either colour palettes or pencil texture palettes,
depending on w hich filter is currently applied to the palette list. If the palette list is set to display
all palettes, the dialog w ill list the type of palettes of the last palette list filter that w as used.

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Creating a Palette
T-ANIMPA-003-002
You can create a palette in either Basic or Advanced mode.
By default, Toon Boom Harmony is set to the Basic mode. For simple productions, it is recommended to use
the Basic mode. This setting stores the palettes automatically for you and saves them at the Scene level.
W hen you use the Advanced Palette Lists mode, you can decide at w hich level you w ant to store yourpalettes: Environment, Job, Scene, or Element.To enable Advanced Palette Lists, see Enabling the Advanced
Palette Lists Mode on page 332.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to create a new palette (Basic palette list mode)
1. Do one of the follow ing:l

In the Colour View , click the New Palettebutton over the palette list.

lFrom the Colour view menu, select Palettes > New

The Create Palette dialog box opens.
2. In the Create Palette dialog, enter the new palette's name. Make sure your palette name contains
information to be easy to identify, such as the name of the character and information about the typeof setting for this palette, if any.

3. Set the Palette Type to Colour if you w ant to create a colour palette, or to Pencil Texture if you
w ant to create a pencil texture palette—see About Pencil Line Textures.
4. Click OK.
The palette appears in the draw ing element’s palette list.

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How to create a palette (Advanced palette list mode)
1. If you w ant to add the palette to an element's palette list, select a draw ing from the element forw hich you w ant to create a palette in the Timeline, Xsheet or Camera view .
2. Do one of the follow ing:l

In the Colour View , click the New Palettebutton over the palette list.

lFrom the Colour view menu, select Palettes > NewThe Palette Brow ser dialog box opens.

3. In the Palette Location panel, select the location w here you w ant to store the palette file. If you areusing Harmony Server, you can store the palette in any environment, job, scene or element on yourdatabase. In Harmony Stand Alone, you can store the palette in the scene, inside one of its element,
or inside its provisional job or environment. For more information, see About Palette Storage
Locations on page 334.

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4. In the New Palette Name field, enter the name for the new palette. The palette list above this fieldlists the palettes that already exist in the selected location. Make sure you enter a name that is notalready used by another palette.
5. Set the Palette Type to Colour if you w ant to create a colour palette, or to Pencil Texture if you
w ant to create a pencil texture palette—see About Pencil Line Textures.
6. In the Palette List panel, select w hether you w ant the palette to be added to the Scene Palette
List, or to the Element Palette List of the currently selected element. Note that in the latter case,the palette w ill only be usable by the element. For more information, see About Scene and Element
Palette Lists on page 333.

7. Click OK.
The new palette appears in the palette list.

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Linking a Colour Palette
T-ANIMPA-003-004
Linking a palette means adding a palette to your scene's palette list, or to an element's palette list, w ithout
making a local copy of that palette in your scene's palette library. This means your scene w ill depend in thispalette remaining in its location in order to render its colours, but it allow s you to reuse the same palette files
for several scenes, making sure that recurring characters and objects keep their original colours across a
production and that any late change done to their colour scheme can be quickly reflected across all yourscenes.
In Harmony Server, environments, jobs, scenes and elements can all have their ow n palette library, and you
can link to a palette from the palette library of any environment, job, scene or element in your database.
How ever, to make it easier to ensure scenes do not lose access to their palettes, it is recommended to only linkto palettes from w ithin the scene's ow n environment, job, scene or elements. The most important reason forthis is that if you export a scene that uses palettes from other jobs, environments, scenes or elements, thesepalettes w ill not be exported. Hence, they w ill be missing if you import them in a different database. How ever,you can export a scene w ith all of its assets along w ith the assets contained in its ow n job and environment.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to link a colour palette
1. If you w ant to add the palette to an element's palette list, select a draw ing from the element forw hich you w ant to create a palette in the Timeline, Xsheet or Camera view .
2. Do one of the follow ing:l

From the Colour View menu, select Palettes > Link.

l

Right-click and select Link.

l

Click the Link Palettebutton.

The Palette Brow ser: Link Palette dialog box opens.

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3. In the Palette Location panel, brow se to the location of the palette you w ant to link to.
4. In the Palette list, select the palette you w ant to link to.
5. In the Palette List panel, select w hether you w ant the palette to be added to the Scene Palette
List, or to the Element Palette List of the currently selected element. Note that in the latter case,the palette w ill only be usable by the element. For more information, see About Scene and Element
Palette Lists on page 333.
The palette appears in the Colour view .

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Importing a Colour Palette
T-ANIMPA-003-005
You can import an existing palette from your file system or netw ork into your scene. This w ill create a copy ofthe palette file and add it to your palette list.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to import a palette into your project (Basic palette list mode)
1. Do one of the follow ing:l

From the Colour menu

, select Palettes > Import.

lRight-click on the palette list and select Import.

The Brow ser w indow opens.
2. Brow se for a palette file located (*.plt) on your hard drive. You can usually find a scene's palettesby brow sing to the palette-library sub-folder of the scene's folder.
3. Click Open.
The Import Palette dialog box appears.

4. In the New Palette Name field, enter the name for the imported palette.
The palette is copied to your project and added to your scene's palette list.

How to import a palette into your project (Advanced palette list mode)
1. If you w ant to add the palette to an element's palette list, select a draw ing from the element forw hich you w ant to create a palette in the Timeline, Xsheet or Camera view .

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2. Do one of the follow ing:l

From the Colour menu

, select Palettes > Import.

lRight-click on the palette list and select Import.

The Brow ser w indow opens.
3. Brow se for a palette file located (*.plt) on your hard drive. You can usually find a scene's palettesby brow sing to the palette-library sub-folder of the scene's folder.
4. Click Open.
The Palette Brow ser dialog box appears.

5. In the Palette Location panel, select the location w here you w ant to store the palette file. If you areusing Harmony Server, you can store the palette in any environment, job, scene or element on yourdatabase. In Harmony Stand Alone, you can store the palette in the scene, inside one of its element,
or inside its provisional job or environment. For more information, see About Palette Storage
Locations on page 334.
6. In the Palette List panel, select w hether you w ant the palette to be added to the Scene Palette
List, or to the Element Palette List of the currently selected element. Note that in the latter case,the palette w ill only be usable by the element. For more information, see About Scene and Element
Palette Lists on page 333.
7. In the New Palette Name field, name the imported palette.
The palette is copied to your project and added to your scene's palette list.

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Consolidating Used Colours Into a Single PaletteUsing the Create Palette from Selection dialog, you can instantly generate a single palette that contains all thecolours used in your artw ork, and no other colours. This can be useful if you have used colours from several
different palettes to design the colours for a character, background or prop, and w ant this asset to have its
ow n dedicated palette.

NOTE
The Create Palette from Selection dialog uses the colours in all the draw ings in the selected
layers, even draw ings that are not exposed.

How to create a single palette with the colours used by one or several drawings
1. In the Timeline, Camera, Xsheet or Node view , select all the layers for w hich you w ant to create asingle colour palette.

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TIPSl

To select multiple layers, press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS)
key, then click on each layer you w ant to select.

l

In the Timeline or Xsheet view , you can select a contiguous series of layers byclicking on the first layer you w ant to select, then, w hile holding Shift, clicking on
the last layer you w ant to select. Every layer in-betw een w ill also be selected.

l

If your scene has a complex layer hierarchy, you can expand all the layers in theTimeline view by pressing 9 before selecting all the layers in your scene.

l

To select all layers in your scene, select Edit > Select All in the top menu or press
Ctrl + A (W indow s/Linux) or ⌘ + A (macOS).

l

To select all but a few specific layers, select the layers you w ant to exclude, thenselect Edit > Invert Selection in the top menu or press Ctrl + Shift + I(W indow s/Linux) or Shift + ⌘ + I (macOS).

2. In the top-left corner of the Colour view , open the

View Menu and select Palettes > New

Palette from Selected Drawings.The Create Palette from Selection dialog appears.

NOTE
If the Advanced Palette Lists preference is enabled, the dialog w ill also have a palettebrow ser to allow you to select w here to store the palette and w hether to associate thepalette to the scene or to an element. For information on how to create a palette inAdvanced Palette Lists mode, see Creating a Palette.

3. In the Name field, type in the name for the palette to create.
4. In the Palette Type drop-dow n, select Colour if you w ant to create a palette containing all thecolours, gradients and bitmap textures in the selected layers, or select Pencil Texture if you w ant
to create a palette containing all the pencil textures in the selected layers.
5. If you w ant the sw atches in the new colour palette to have different colour IDs than the ones
currently used by the selected draw ings, check the Generate New Colour IDs and Recolour
Selected Drawings option.

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NOTES
l

This option creates a palette w ith new colour IDs, and replaces the old colour IDs inyour artw ork w ith the new ones. This w ill typically not cause any visible change,
and it w ill prevent your new palette from using the same colour IDs as the palettes
that are currently in your scene. This is important because, w hen tw o colour
sw atches in tw o different palettes have the same colour ID, the zones filled w iththat colour ID w ill appear in the colour in the top-most palette. If you w ant toprevent this, it is recommended to check this option.

l

If there are any Colour-Override in the selection, they w ill not be updated to use the
new colour IDs, w hich w ill cause them to no longer w ork w ith your artw ork unless
you reconfigure them manually. Using this option is not recommended in this case.

6. Click on OK.
A new palette is generated containing all the colours used in all the draw ings in the selected layers
and is added to the palette list.

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Renaming a Palette
T-ANIMPA-003-003
You can rename a colour palette to keep your list organized.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to rename a palette
1. In the Colour view , select the palette to rename.

2. Do one of the follow ing:lRight-click and select Rename.

l

From the Colour View menu, select Palettes > Rename.

3. In the Rename dialog box, give the palette a new name and click OK.

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Removing a Palette
You can remove palettes from your Palette list if they're not needed in your scene. The actual palette file w ill
not be deleted, so you can add it back to your palette list later if you need it.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to remove a palette
1. In the Colour view , select the palette to remove.

2. Do one of the follow ing:l

From the Colour View menu, select Palettes > Remove.

l

Right-click on the selected palette and select Remove.

l

Click the Remove Palettebutton located above the Palette list.

If the palette w as used in your scene, the zones painted w ith its colours turn red.

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NOTE
If you w ish to delete the palette file, you can select the Remove and Delete From Disk option
from the same menu. You w ill be prompt to confirm the deletion. Note that the palette w ill bedeleted from your file system, and there w ill be no w ay to recover it.

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Duplicating a Palette
A duplicated palette is a simple copy of the original palette. W hen you duplicate a palette, the duplicatedpalette w ill have the same colour names and values, but w ill have different colour IDs so that Harmony does
not mix it up w ith its original palette. This is useful w hen you w ant to create different palettes for similar
models, but w ant to avoid having to create the palette and its colours all over again. You can just start w ith
your duplicate palette, tw eak the colours and add and remove colours as needed.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to duplicate a palette (Basic palette list mode)
1. In the Colour view , select a palette to duplicate.

2. Do one of the follow ing: From the Colour menu, select Palettes > Duplicateor right-click and selectDuplicate.
l

Right-click on the palette and select Duplicate.

lOpen the Colour menu

, then select select Palettes > Duplicate.

The Duplicate palette dialog box opens

3. In the New Palette Name field, enter the name for the new palette. By default, the palette's nameis based on the original palette name follow ed by "-copy". The palette list above this field lists thepalettes that already exist in the selected location. Make sure you enter a name that is not alreadyused by another palette.

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4. Click OK.
The duplicated palette appears in the palette list.

How to duplicate a palette (Advanced palette list mode)
1. In the Colour view , select a palette to duplicate.

2. Do one of the follow ing: From the Colour menu, select Palettes > Duplicate or right-click andselect Duplicate.
l

Right-click on the palette and select Duplicate.

lOpen the Colour menu

, then select select Palettes > Duplicate.

The Palette Brow ser dialog box opens.

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3. In the Palette Location panel, select the location w here you w ant to store the palette file. If you areusing Harmony Server, you can store the palette in any environment, job, scene or element on yourdatabase. In Harmony Stand Alone, you can store the palette in the scene, inside one of its element,
or inside its provisional job or environment. For more information, see About Palette Storage
Locations on page 334.
4. In the New Palette Name field, enter the name for the new palette. By default, the palette's nameis based on the original palette name follow ed by "-copy". The palette list above this field lists thepalettes that already exist in the selected location. Make sure you enter a name that is not alreadyused by another palette.
5. In the Palette List panel, select w hether you w ant the palette to be added to the Scene Palette
List, or to the Element Palette List of the currently selected element. Note that in the latter case,the palette w ill only be usable by the element. For more information, see About Scene and Element
Palette Lists on page 333.

6. Click OK.
The duplicated palette appears in the palette list.

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Cloning a Palette
Cloning a palette creates an exact copy of the palette, w here each colour sw atch has the same colour ID as in
the original palette, but w hich you can modify independently afterw ard. Since painted zones in draw ings areassociated to their colour by their colour ID, this means that any draw ing colored w ith the original palette canhave its colours replaced w ith the cloned palette's colours just by sw itching the palette in the scene w ith thecloned palette.
A good example of how this can be useful is w hen you w ant to make variants of a character's palette. A
character usually has only one master palette, although there are times w hen the characters are placed indifferent lighting conditions and require a different colour shading. The night palette is a popular choice w hen
a scene or sequence changes from day to night. Instead of creating a different palette for the character andrepainting all of its zones w ith the night palette, you can just clone the character's master palette, tw eak its
colours, and the character w ill have its original colours or its night colours depending on w hich one of thepalettes is in the palette list, w ithout having to repaint your draw ings.

W hen a palette and its clone are present in the same scene, Harmony uses the palette that is highest in thelist. If one palette clone is present in the scene's palette list and another clone is present in the element's
palette list, the element w ill use the palette in its ow n palette list.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to clone a palette (Basic palette list mode)
1. In the Colour view , select a palette to clone.

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2. Do one of the follow ing: From the Colour menu, select Palettes > Clone or right-click and selectClone.
l

Right-click on the palette and select Clone.

lOpen the Colour menu

, then select select Palettes > Clone.

The Clone palette dialog box opens

3. In the New Palette Name field, enter the name for the new palette. By default, the palette's nameis based on the original palette name follow ed by "-clone". The palette list above this field lists thepalettes that already exist in the selected location. Make sure you enter a name that is not alreadyused by another palette.
4. Click OK.
The cloned palette appears in the palette list.

How to clone a palette (Advanced palette list mode)
1. In the Colour view , select a palette to clone.

2. Do one of the follow ing: From the Colour menu, select Palettes > Clone or right-click and selectClone.

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Harmony 22 Paint User Guidel

Right-click on the palette and select Clone.

lOpen the Colour menu

, then select select Palettes > Clone.

The Palette Brow ser dialog box opens.

3. In the Palette Location panel, select the location w here you w ant to store the palette file. If you areusing Harmony Server, you can store the palette in any environment, job, scene or element on yourdatabase. In Harmony Stand Alone, you can store the palette in the scene, inside one of its element,
or inside its provisional job or environment. For more information, see About Palette Storage
Locations on page 334.
4. In the New Palette Name field, enter the name for the new palette. By default, the palette's nameis based on the original palette name follow ed by "-clone". The palette list above this field lists thepalettes that already exist in the selected location. Make sure you enter a name that is not alreadyused by another palette.
5. In the Palette List panel, select w hether you w ant the palette to be added to the Scene Palette
List, or to the Element Palette List of the currently selected element. Note that in the latter case,the palette w ill only be usable by the element. For more information, see About Scene and Element
Palette Lists on page 333.

6. Click OK.
The cloned palette appears in the palette list.

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NOTE
You can modify your cloned palette by changing its colour sw atches individually, or you can use
the Tint Panel to change all of the palette's colour sw atches simultaneously—see Tinting a
Palette's Colour Sw atches on page 364.

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Tinting a Palette's Colour Swatches
You can use the Tint Panel dialog to offset, blend or mix all the different colour sw atches in a palettesimultaneously. This can be useful if you w ant to give a cloned palette a different tint, for example to make anight-themed version of a character's master palette.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the selected palette bydoing one of the follow ing:l

In the Colour view , make sure the Edit Palette Mode

toggle button is pressed in.

l

In the palette list of the Colour view , right-click on the selected palette and select either Get
Rights to Modify Palette or Get Rights to Modify All Palettes.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette or Get Rights

to Modify All Palettes.

How to tint a palette
1. In the Palette list, select the palette you w ant to tint.
2. From the Colour View menu, select Palettes > Tint Panel or right-click and select Tint Panel.
The Blend/Offset Tint panel opens.

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Chapter 4: Painting and Colours

3. Select one or more colours to modify. You can select all your colours by pressing Ctrl + A(W indow s/Linux) or ⌘ + A (macOS).
4. Offset, blend, or mix the colours using the sliders and increasing the Amount value.

5. Select the Preview option to see a preview of the colours w hile you adjust them.

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Reordering Palettes in the Palette List
You may w ant your palettes to be listed in a specific order. In a lot of cases, this is strictly a matter ofconvenience. How ever, if your palette list contains palettes that have been cloned off each other, Harmony
w ill use the palette that is located the highest in the list to determine the colours to use in the draw ings.
Hence, if you are using cloned palettes, you must mind the order of your palettes in the palette list. For more
information, see Cloning a Palette on page 360.

NOTE
If a palette in the scene's palette list has been cloned into an element's palette list, Harmony w ill
use the palette in the element's palette list for this element.

NOTE
If you are using Harmony Server, make sure you have the rights to modify the palette list by doing
one of the follow ing:l

From the top menu, open the Edit menu and ensure the Edit Palette List Mode option ischeckedlRight-click on the palette list and select Get Rights to Modify Palette List.

l

From the Colour view menu

, select Palettes > Get Rights to Modify Palette List

How to reorder palettes in the palette list
1. Select the palette you w ish to reorder.
2. Do one of the follow ing:l

In the Palette list toolbar, click the Up

or Dow nl

From the Colour View menu, select Palettes > Move Up or Move Down.

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buttos.

Chapter 4: Painting and Colours

Palette Operations
W hen you start Toon Boom Harmony connected to the database, you can access the Palette Operations
dialog box w hich lets you clone, rename, or delete palettes in your database, w ithout having to open a sceneor brow se the database's file system in your operating system's shell.

NOTE
The Palette Operations dialog box never makes any change to any palette list in your database. All
it allow s you to do is manipulate palettes files. You should be careful not to rename or delete
palettes that are required by some of your existing scenes, or Harmony w ill be unable to locate
those palettes w hen you open one of those scenes.

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Opening the Palette Operations Dialog Box
You can open the Palette Operations dialog box in Harmony Server.

How to open the Palette Operations dialog box
1. Start Paint and log in.
2. Close the Database Selector dialog box.
3. From the top menu, select Tools > Palette Operations.

The Palette Operations dialog box opens.

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Cloning a Palette in the Palette Operations Dialog Box
From the Palette Operations w indow , you can clone palettes in Harmony Server.

How to clone a palette in the Palette Operations dialog box
1. Select the palette you w ant to clone at the location and level in w hich it w as stored.

2. Click Clone.
A W arning dialog box opens.

3. Select the Don't show this message again option if you do not w ant to see this message every
time you perform this operation.
4. Click Yes.
The Palette Brow ser dialog box opens.
5. Select the level to store the palette file.

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6. In the New Palette Name field, enter the name of your palette.
7. Click OK.

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Renaming a Palette in the Palette Operations Dialog Box
You can rename palettes in the Palette Operations dialog box in Harmony Server.

How to rename a palette in the Palette Operation dialog box
1. Select the palette you w ant to rename at the location and level in w hich it w as stored.

2. Click Rename.
A W arning dialog box opens.

3. Select the Don't show this message again option if you do not w ant to see this message every
time you perform this operation.
4. Click Yes.
The Rename Palette dialog box opens.

5. Type in a name for the palette.

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6. Click OK.

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Deleting a Palette in the Palette Operations Dialog Box
You can delete palette files from the Palette Operations dialog box in Harmony Server.

How to delete a palette in the Palette Operation dialog box
1. Select the palette you w ant to delete at the location and level in w hich it w as stored.

2. Click Delete.
A W arning dialog box opens.

3. Select the Don't show this message again option if you do not w ant to see this message every
time you perform this operation.

NOTE
It is not recommended to disable the w arning message as deleting a palettecannot be undone.

4. Click Yes.

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About Painting
Harmony is optimized to ink and paint draw ings efficiently. Since most of the draw ings are vector-based, thecolour zones are completely filled and there are no scattered spots left blank. Also, there are some actions
that can be applied on an entire animation sequence at once, like dirt removal, some colour filling, line
repainting, and so on.
W hen traditional animation is traced, cleaned up, scanned in and properly exposed, it's time for the ink andpaint process. This consists of cleaning all dirt and hair (for example, dust that w as in the scanner, dots that do
not belong in the draw ing, extra floating artw ork around the draw ing that must be removed), painting thelines and filling the colours in the empty zones on an entire animation sequence.

For paperless animation, the draw ings are cleaned up directly in Harmony, so there is generally no dirt toclean, only painting and inking.
Harmony uses palettes to hold all the colours you need to paint your elements. A palette is created byassigning a set of colours to each character, prop or effect. The colour styling artist w ill create a new paletteand add a new colour for each zone of the character, such as the skin, hair, tongue, shirt, pants, and so on. Eachcolour is know n as a colour sw atch—see About Palettes on page 329.

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Chapter 4: Painting and Colours

About Colour Models
Once you have a fully painted draw ing, you can use it as a colour model and load it in the Reference view . That
draw ing can be used and loaded in any of your Harmony scenes—see Painting Draw ings on page 386.

Once a draw ing is loaded in the Reference view , you can use the Reference view ’s

Colour Eyedropper tool

to select a colour from the model and use it to paint in your Draw ing view w ithout having to pick the colour
from the colour palette.
You can do more than just copy colours from a colour model. Harmony gives you the ability to copy parts of thecharacter directly from its colour model and paste these elements into the Draw ing view .

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Harmony 22 Paint User Guide

Loading Colour Models
T-ANIMPA-004-005
You can load any TVG draw ings in your Model view . To avoid brow sing for models every single time you w ork
on your scene, you can store default models in your scene and load those.

How to browse for a colour model drawing on your hard drive
1. Do one of the follow ing:lRight-click in the Reference View and select Import References.

2. In the Brow ser w indow , brow se for any *.tvg draw ing file on your hard drive or in the database for
Harmony Server.
3. Click Open.
The model appears in the Reference view .

How to load the default models
1. In your scene ’s folder, create a new folder and name it models.
2. On your hard drive, copy the *.tvg draw ing files you w ant to use as colour models in your scene.
3. Paste the copied models in the models folder you created.
4. Do one of the follow ing:lRight-click in the Reference View and select Load Default References.

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Clearing Colour Models
You can remove colour models from the Reference view .

How to clear a colour modell

Right-click in the Reference view , select Clear Model or press Del.

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Flipping Between Models
T-LAY-002-001
Once your models are loaded in the Reference view , you can flip through them using a keyboard shortcut or
toolbar buttons.

How to flip between models
1. Do one of the follow ing:lRight-click in the Reference view and select Next or Previous.

The previous or next model appears in the Reference view .

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Copying Colour Models
You can copy pieces or the entire colour model to paste in your scene,

How to copy the entire model from the Model view
1. Right-click and select the Selecttool.

2. In the Reference view , select your model.

3. Press Ctrl + C (W indow s/Linux) or ⌘ + C (macOS).
4. Select the Draw ing view , then go to the top menu and select Edit > Paste Drawing Object or press
Ctrl + V (W indow s/Linux) or ⌘ + V (macOS).
The model appears in the selected view .

How to copy part of the model from the Reference view
1. Right-click in the Reference view and select Cutter Selection or press Alt + T.
2. In the Reference view , use the Cutter tool to create a selection around the part of your model thatyou w ant to copy.

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Harmony 22 Paint User Guide

3. PressCtrl + C (W indow s/Linux) or ⌘ + C (macOS).
4. In the Timeline view , make sure you have the correct layer and frame selected.
5. Do one of the follow ing:lSelect the Draw ing view and select Edit > Paste Drawing Object.

The model appears in the selected view .

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About Dirt Cleanup
T-INK-002-001
W hen paper draw ings are passed through a scanner, there can be some hair and dirt scattered across them.
These lines and dots need to be cleaned. Harmony provides different tools to help get rid of them quickly.

If there are some marks that cannot be removed w ith the automated tools, you can erase them w ith the Eraser
tool or select them w ith the Select tool and then delete them. It's alw ays safer to select and delete them thanto erase them, so you do not overlook anything.

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Harmony 22 Paint User Guide

Removing Dirt
T-INK-002-002
The Remove Dirt tool selects small dots and hairs on the draw ing.
Raising the Remove Dirt level w ill select bigger dots. W hen selecting larger dots, be careful not to lose small
details like pupils and nostrils. Once you have chosen the level, you can apply it to the current draw ing or theentire animation sequence. This is a quick w ay to get rid of most dirt and dust.
During this process, the dirt that w ill be removed is highlighted in red.

How to use the Remove Dirt tool
1. Do one of the follow ing:l

From the top menu, select Drawing > Remove Dirt.

l

Press Shift + D.

2. Increase the Remove Dirt value by moving the slider to the right.
3. Select the Apply to All Drawings option if you w ant to apply the operation to all draw ings in thelayer.

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Chapter 4: Painting and Colours

Removing Dirt Outside the Selection
T-INK-002-003
The Remove Art Outside Selection option lets you remove any art existing outside a selection. It is
recommended that you clean your Colour Art level as w ell. If you have a stroke accumulation in your Colour
Art, it can result in large output files, especially if you w ork in high-definition resolutions.

How to clean dirt with Remove Art Outside Selection
1. In the Tools toolbar, select the Selecttool.

2. From the top menu, select Options > Permanent Selection.
3. Draw a selection around the animation making sure to include the entire animation sequence.

4. From the top menu, select Selected one of the follow ing options:lRemove Art Outside Selection to delete artw ork outside your selection on a single
draw ing.

lRemove Art Outside Selection on All Drawings to delete artw ork outside yourselection on all the draw ings.

The art outside the selection is removed.

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Harmony 22 Paint User Guide

Removing the Art Inside the Selection
T-INK-002-004
You can delete any art inside a selection w ith the Remove Art Inside Selection option. W e recommend that you
clean your Colour Art level as w ell. If you have a stroke accumulation in your Colour Art, it can result in large
output files, especially if you w ork in high definition resolutions.
You can simultaneously apply this operation to all your draw ings in the layer by using the Remove Art Inside
Selection on All Draw ings command.

How to clean dirt with Remove Art Inside Selection
1. In the Tools toolbar, click the Selecttool or press Alt + S.

2. To apply the action to your entire animation, select Options > Permanent Selection.
3. In the Draw ing view , draw a selection around the animation. Make sure the area is large enough toinclude all the zones to be cleaned up on all draw ings.
4. From the top menu, select Selected > Remove Art Inside Selection to delete artw ork inside yourselection on one single draw ing. You can also press Delete.
5. To apply the action on all your draw ings in the layer, select Selected > Remove Art Inside
Selection on All Drawings to delete artw ork inside your selection on all the draw ings.

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Removing Hair
T-INK-002-005
The Remove Hair command lets you remove any small strokes created in the Colour Art layer from very thicklines or filled zones. Increasing the Remove Hair level value w ill select larger strokes for removal from thedraw ing.

How to use the Remove Hair tool
1. Select the draw ing containing the draw ing to clean.
2. From the top menu, select View > Show Strokes to display the invisible lines or press K.
3. In the top menu, select Drawing > Remove Hair.
The Remove Hair dialog box opens.

4. Move the slider to the right to increase the number and length of hairs to be selected.
5. Select the Apply to All Drawings option if you w ant to apply the operation to all the draw ings in
the layer.

6. Click OK.

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Painting Drawings
T-HFND-004-011
The main tool you w ill use to paint your draw ings w ith is the Paint tool. The Paint tool can be used in several
different modes, w hich can be customized in the Tool Properties view .
The Paint tool paints closed zones, including brush strokes and pencil lines. If there are gaps in the lines
defining a zone, you must close them using the Brush, Pencil, or Close Gap tools or the Automatic Close Gap
option.

NOTE
To learn more about the Paint tool options, see the Reference guide .

How to paint drawings
1. Select the draw ing on w hich you w ant to paint.
2. Do one of the follow ing:l

In the Tools toolbar, click the Paint

tool.

l

From the top menu, select Tools > Paint or press Alt + I..

l

Press Alt + I.

In the Tool Properties view or Tools toolbar, you can select additional painting modes.
l

The Paintmode paints everything it touches, including empty and filled zones.

l

The Paint Unpainted

mode paints only empty zones. Any line or filled zone w ill

remain unchanged.

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Chapter 4: Painting and Coloursl

The Repaintmode paints everything it touches except empty zones. Any zone thatis not painted w ill remain intact.

l

The Unpaintmode unpaints everything it touches, including empty and filledzones.

3. In the Colour view , select a colour.

4. In the Draw ing view , start painting. Click on a zone or pencil line to paint it, or trace a lasso or
marquee selection to paint several zones or pencil lines at the same time.

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Harmony 22 Paint User Guide

NOTE
The last colour you select w hile using the Paint tool w ill be used the next time
you select the Paint tool if you're using the unlocked painting tools in the Colour
view .

Authors
Marie-Eve Chartrand
Christopher Diazchrisdiazart.com

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Chapter 4: Painting and Colours

Painting Several Drawings Simultaneously
You can use the Paint tool on several draw ings in the same layer at the same time. W hen you set up the Paint
tool to w ork on several draw ings, if you click on a colour zone in the current draw ing to fill it, it w ill fill any
colour zone located w here you clicked in other draw ings as w ell. This can be useful if you have several
draw ings w ith colour zones that mostly overlap each other, such as in a typical w alk cycle, or in any animation
w here the character mostly stays in place:

There are tw o approaches to painting several draw ings at the same time. Both are options available in the
Tool Properties view :lApply to All Frames: W hen you click on a colour zone in the Draw ing view , it w ill fill the area you
clicked on in every exposed draw ing in the current layer.

lApply to Onion Skin Range: W hen you click on a colour zone in the Draw ing view , it w ill fill thearea you clicked on in every draw ing that is displayed in the Onion Skin. This method allow s you to only
fill a specific range of draw ings, and allow s you to see those draw ings in the Draw ing view as you fillthem.

How to paint a specific range of drawings simultaneously
1. In the thumbnails list, select a draw ing somew here in the middle of the range that you w ant topaint.
2. In the Tools toolbar, click on theOnion Skin button to enable Onion Skin.

3. Using the Options in the View > Onion Skin menu, adjust the amount of previous and next
draw ings displayed in the Onion Skin until all the draw ings you w ant to pain simultaneously aredisplayed.
The draw ings included in the Onion Skin range w ill appear in red and green in the Draw ing view .
4. In the Tools toolbar, select the

Paint tool.

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5. In the Tool Properties view , click and hold on themenu, selectApply to All Frames button and, in the pop-up

Apply to Onion Skin Range.

NOTE
If this button is already set to

Apply to Onion Skin Range, simply click on it to toggle

it on.

6. In the Draw ing view , click in an area w here the colour zones for all the draw ings in the Onion Skinoverlap each other to fill them all simultaneously.

How to paint all exposed drawings in a layer simultaneously
1. In the thumbnails list, select any draw ing.
2. In the Tools toolbar, select the

Paint tool.

3. In the Tool Properties view , click on the

Apply to All Frames button to enable the Apply to All

Frames mode.

NOTE
If this button is currently set to

Apply to Onion Skin Range mode, click and hold on

the button to open its pop-up menu and selectApply to All Frames.

4. In the Draw ing view , click in an area w here the colour zones for most or all of your draw ings
overlap each other to fill them all simultaneously.

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Repainting
T-ANIMPA-011-004
You can use the Paint tool to click on the zones to repaint. If you click in an empty zone, it w ill fill the area.
You can repaint lines, zones, and brush strokes using the Repaint tool. The repaint pencil lines more efficiently,
see Inking Lines on page 400. The Repaint tool does not fill empty zones, even if they are closed.

The Brush tool can be used to repaint specific segments. The Brush tool's Repaint Brush mode is used to painta section by manually painting over the lines. This is useful w hen the vectorization triangles are not placed as
you w ould like or you simply need to repaint a section of a segment. It is also useful for paperless animation,
w here there are no triangles. So, the Repaint Brush is used to paint a certain area. It acts like the Brush tool,
but w ill only show on painted areas that are already painted.
Unlike the Brush tool's regular mode, the Repaint Brush mode flattens automatically. The brush strokes are
not added one on top of each other.

NOTE
To avoid repainting specific colours, see Protecting Colours

How to access the Repaint Tool
1. In the Tools toolbar, select the Repainttool. You can also find the option in the Tool Properties

view w hen the Paint tool is selected.
2. In the Draw ing view , click on the zones to repaint. You can also make a lasso or marquee selection
around several zones.

How to enable the Repaint Brush mode
1. In the Tools toolbar, select the Brushtool.

2. In the Tool Properties view , click the Repaint Brush
3. In the Draw ing view , draw on the zones to repaint.

391

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Harmony 22 Paint User Guide

Repainting a Selection
The Repaint Selection command is used to repaint any art inside a selection. You must first draw a selection
using the Select tool in order for this command to be available. You can also click on the colour sw atch in thecolour palette to automatically repaint your selection.

The Repaint Selection On All Draw ings command is used to repaint any art inside a selection on all thedraw ings contained w ithin the same layer. You must enable the Permanent Selection option in the Select tool
Tool Properties view and then select an area of your draw ing using the Select tool in order for this command
to be available. The Permanent Selection option lets you maintain the same selection throughout the draw ings
of a same layer.

NOTE
To avoid repainting specific colours, see Protecting Colours

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How to repaint a selection
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the zones to repaint.
3. To repaint the selection on all draw ings, enable the Permanent Selection

option in the Selecttool Tool Properties view .
4. Do one of the follow ing:l

From the top menu, Camera or Draw ing view menu, select Drawing > Paint >Repaint Selection or Repaint Selection on All Drawings.

lFrom the top menu, select Selected > Paint > Repaint Selection or RepaintSelection on All Drawings.

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Repainting Outside a Selection
The Repaint Outside Selection command is used to repaint any art outside a selection. If no selection has beendraw n using the Select tool, the entire draw ing w ill be repainted.

The Repaint Outside Selection On All Draw ings command is used to repaint any art outside a selection on all
the draw ings contained w ithin the same layer. You must enable the Permanent Selection option in the Selecttool Tool Properties view and then select an area of your draw ing using the Select tool in order for thiscommand to be available. The Permanent Selection option lets you maintain the same selection throughout
the draw ings of a same layer.

NOTE
To avoid repainting specific colours, see Protecting Colours

How to repaint outside a selection
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the zones you do not w ant to repaint.

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3. To repaint outside the selection on all draw ings, enable the Permanent Selection

option in the

Select tool Tool Properties view .
4. Do one of the follow ing:l

From the top menu, Camera or Draw ing view menu, select Drawing > Paint >Repaint Outside Selection or Repaint Outside Selection on All Drawings.

lFrom the top menu, select Selected > Paint > Repaint Outside Selection or RepaintOutside Selection on All Drawings.

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Unpainting a Selection
The Unpaint Selection command is used to unpaint any art existing inside a selection. You must first draw aselection using the Select tool in order for this command to be available.

The Unpaint Selection on All Draw ings command is used to unpaint all art contained inside a selection on all
the draw ings w ithin the same layer.
You must enable the Permanent Selection option in the Select tool Tool Properties view and then select anarea of your draw ing using the Select tool in order for this command to be available. The Permanent Selection
option lets you maintain the same selection throughout the draw ings of a same layer.

How to unpaint a selection
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the zones to unpaint.
3. To unpaint the selection on all draw ings, enable the Permanent Selection

option in the Selecttool Tool Properties view .
4. Do one of the follow ing:l

From the top menu, Camera or Draw ing view menu, select Drawing > Paint >Unpaint Selection or Unpaint Selection on All Drawings.

lFrom the top menu, select Selected > Paint > Unpaint Selection or UnpaintSelection on All Drawings.

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Unpainting Outside a Selection
The Unpaint Outside Selection command is used to unpaint any art existing outside a selection. If no selection
have been draw n using the Select tool, the entire draw ing w ill be unpainted.

The Unpaint Outside Selection on All Draw ings command is used to unpaint all art outside a selection on all
the draw ings w ithin the same layer. You must enable the Permanent Selection option in the Select tool Tool
Properties view and then select an area of your draw ing using the Select tool in order for this command to beavailable. The Permanent Selection option lets you maintain the same selection throughout the draw ings of asame layer.

How to unpaint outside a selection
1. In the Tools toolbar, select the Select tool.
2. In the Draw ing view , select the zones you don't w ant to unpaint.
3. To unpaint the selection on all draw ings, enable the Permanent Selection

option in the Selecttool Tool Properties view .
4. Do one of the follow ing:l

From the top menu, Camera or Draw ing view menu, select Drawing > Paint >Unpaint Selection or Unpaint Selection on All Drawings.

lFrom the top menu, select Selected > Paint > Unpaint Selection or UnpaintSelection on All Drawings.

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Closing Gaps
T-HFND-004-014
W hen painting, you may notice that some draw ing areas are not closed. To close the zone, you can draw themissing line w ith the Brush or Pencil tool, or close the gap w ith an invisible line using the Close Gap tool.
The Close Gap tool allow s you to close small gaps in a draw ing by creating small, invisible strokes betw een
the tw o closest points to close the colour zone. You do not need to trace directly over the gap. You can draw it
a few millimeters aw ay. The tw o closest points automatically close the gap.

How to close gaps
1. Select View >Show Strokes or press K to see a preview of the result.
2. In the Tools toolbar, select the Close Gaps

tool.

3. In the Draw ing view , trace a line near the gap to be closed. Your strokes w ill be invisible.
4. Enable the Auto-Flatten

option in the Tool Properties view if you w ant your strokes to be

flattened w ith your artw ork. They w ill cut overlapping draw ing strokes in tw o pieces.
The gap automatically closes.

398Chapter 4: Painting and Colours

Picking a Colour with the Colour Eyedropper Tool
T-ANIMPA-011-002
W hile w orking in the Draw ing view , you can use the Colour Eyedropper tool to pick a colour from yourdraw ing w ithout going to the Colour view .

NOTE
To learn more about the Colour Eyedropper tool options, see the Reference guide .

How to use the Colour Eyedropper tool
1. Do one of the follow ing:l

In the Tools toolbar, select the

Colour Eyedropper tool.

l

From the top menu, select Tools > Colour Eyedropper.

lPress Alt + D.

2. In the Draw ing view , click on the desired colour.

TIP
If you're using another draw ing tool such as the Paint tool, you can temporarily hold dow n the
D key and click in your draw ing before releasing the key to pick a colour. W hen you release
the key, you w ill return to your previous tool.

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Inking Lines
T-HFND-004-012
The Ink tool allow s you to paint separate segments of pencil lines.
Although pencil lines can be painted in much the same w ay as closed zones, you can use the Paint, Repaint,
Repaint Brush, and Ink tools to make painting segmented lines easier. Normally w hen you have a draw ing,such as the one below , and you use the Paint tool to paint one of the lines, the entire line is painted.

How ever, if you select the Ink tool instead and click on the same pencil line, only the segment that you clicked
on betw een tw o intersections w ill be painted.

Painting and inking can be used in combination depending on w hat you need to paint. If you need to ink acharacter’s outline in black, it might be easier to use the Paint tool. If you need to paint the outline of acharacter’s neck w ith a tan colour and its shirt outline blue and both the neck and shirt belong to the same
continuous outline, then the Ink tool might prove more useful.

NOTES
l

To avoid repainting specific colours, see Protecting Coloursl

To learn more about the Ink tool options, refer to the Reference Guide.

How to use the Ink tool
1. In the Tools toolbar, select the Inktool located in the Paint tool drop-dow n menu.

2. In the Draw ing view , click on the pencil lines to repaint.

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The new ly inked segment is alw ays moved on top of all other pencil strokes, even if it
w as behind all other pencil strokes before it w as inked. To reverse that behaviour,disable the Raiseloption in the Tool Properties view .

Hold dow n Alt w hile clicking a segment to do the opposite option from the Raise
mode current state. The inked segment w ill be sent to the back or forw ard, even if it
w as in front or behind all other segments to begin w ith.

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Verifying Painted Zones
T-ANIMPA-011-008
W hen the ink and paint process is completed, it's alw ays a good idea to verify that every zone w as painted
properly.
The backlight produces Produces a silhouette effect by changing the draw ing’s coloured areas into a single
dark, solid colour. Use this to verify the completeness of the ink and paint process. Any unpainted zones can beseen as the light show s through the unpainted areas of the silhouetted draw ing.

How to use the backlight

NOTE
This feature is only available in the Draw ing view .

1. Do one of the follow ing:l

From the top menu, select View > Backlight.

l

From the Tools toolbar, click the BacklightlPress Alt + Shift + B.

button.

2. Verify the draw ings in the Colour Art to make sure that all the areas are painted. In the Colour view ,click the Colour Art

button.

3. In the Colour view , click the Preview

button to see the colour zones w ith lines to ensure thatyou did not forget any spots betw een the colour filling and lines.

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About the Edit Gradient and Texture Tool
T-HFND-006-019
If you paint a zone w ith a gradient or texture colour, you can use the Edit Gradient/Texture tool to modify its
position in the zone. You can move, scale, rotate and skew . If you w ant to match the colour to the animation,
set the first texture position and copy the Edit Gradient/Texture position. W hen moving to the next draw ing,
you can select the next texture and paste the previous position to continue the modifications.
If you are painting a hand-draw n animation or if you w ant the Brush and Paint tool to use your gradient’s
position, angle and scale settings instead of the default ones, you can store your ow n settings and reuse themafterw ard.
This w ay of editing a texture using the Edit Gradient/Texture tool also w orks w ith pencil lines draw n w ith
textured “brushes”. If you then paint your textured pencil line w ith a gradient, you can do so and then edit bothelements independently at the same time.

NOTE
For information on the Edit Gradient/Texture tool properties, see the Reference Guide

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Using the Edit Gradient and Texture Tool
T-HFND-006-019A
You can use the Edit Gradient/Texture tool to reposition a texture or gradient w ithin a painted zone.

How to use Edit Gradient/Texture tool
1. Do one of the follow ing:l

In the Tools toolbar, click the Edit Texture

tool.

l

From the top menu, select Tools > Edit Gradient/Texture.

lPress Shift + F3.

2. Click the gradient or texture colour to modify.

A blue selection frame surrounds the selected gradient or texture.

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3. Edit the gradient or texture by adjusting the control handles around the selection frame.

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Storing the Gradient and Texture Settings
You can store the position, scale, and angle of a selected gradient or texture to reuse it in other painting zones.

How to store gradient and texture settings
1. In the Tools toolbar, select the Selecttool or press Alt + S.

2. In the Camera or Draw ing view , select the gradient or texture zone to store.

3. In the Tool Properties view , click the Store Colour Gradient406

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Chapter 4: Painting and Colours

Pasting a Stored Gradient or Texture
You can apply the gradient and texture settings previously stored to paint zones w ith the same gradient or
texture, in the same position, scale and angle.

How to use the stored gradient and texture settings
1. In the Tools toolbar, select the Brushor Paint

tool.

2. In the Tool Properties view , click the Use Stored Colour Gradient
3. In the Camera or Draw ing view , draw and paint.

407

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Harmony 22 Paint User Guide

Editing Pencil Line Textures with the Edit Gradient/Texture Tool
You can use the Edit Gradient/Texture tool to tw eak the w ay a texture or gradient is applied onto a pencil line.

How to use Edit Gradient/Texture tool to edit the texture or gradient on a pencil line
1. Do one of the follow ing:‣

In the Tools toolbar, select the Edit Gradient/Texture‣

From the top menu, select Tools > Edit Gradient/Texture.

‣

Press Shift + F3.

tool.

2. Click on the pencil line to be modified to bring up the editor controls.

3. The editor controls delineate a single tile in the texture. For gradients, this is less applicable. Pullon the top of the editor controls to stretch the tiled texture throughout the length of the stroke.
As gradients are parallel to the stroke’s central vector, this w ill stretch the w ay that the gradient is
distributed in the pencil line’s envelope. The envelope still acts as a boundary for the texture or
gradient.

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Chapter 4: Painting and Colours

4. Drag the editor control perpendicular to the stroke. You w ill feel it glide along the strokes central
vector line. This is another w ay to resize the texture tile. Instead of stretching or shrinking it
vertically, this motion stretches or shrinks it vertically. As gradients are parallel to the pencil line’s
central vector, stretching them vertically gives no visual result.

How to use Edit Gradient/Texture tool to edit a pencil line with both a texture and a
gradient
1. Do one of the follow ing:‣

In the Tools toolbar, select the Edit Gradient/Texture‣

From the top menu, select Tools > Edit Gradient/Texture.

‣

Press Shift + F3.

tool.

2. Click on the pencil line to be modified to bring up the editor controls.

3. Use the top editor controls edit the gradient.

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4. Use the bottom controls edit the “brush” texture.

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About Colour Space Management

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About Colour Spaces
Colour spaces are profiles defining the rules used by a display device, such as a monitor or a projector, toconvert numerical colour values into colours.
In computing, as a general rule, colours are defined by three numerical values: one for red, one for green and
one for blue, w hich are the primaries used for additive colour mixing. Each of these values vary betw een 0 and
255. Those primary values result in actual red, green and blue light, at an intensity proportional to said value.
By mixing different primary colours, different hues such as cyan, yellow and magenta can be obtained, andmixing all three primaries results in w hite.
W here colour spaces come into play is how each primary value is used to determine the intensity of theirrespective colour signal. For example, let’s say you have a blue value of 127, w hich is halfw ay betw een 0 and
255. The resulting blue light w ill not be exactly halfw ay betw een black and the lightest possible blue light thedisplay can generate, because monitors don’t convert colour values to colour signals on a linear scale, butrather, on a curvilinear scale that is a lot like an exponential function. This is because the human eye canperceive differences betw een low er light intensities better than betw een higher light intensities. Hence, to get
the most nuances out of the 255 possible values of a primary, the differences betw een low er values must be
smaller than the differences betw een higher values. The point is that, to the human eye, incrementing a colour
value by 1 results in the same perceived intensity difference regardless of the colour value.
The curvilinear function used to convert colour values to colour intensities is referred to as the gamma
conversion curve, and each colour space has its ow n gamma conversion curve. The most commonly usedcolour space in computing, sRGB, has a gamma conversion curve that is designed to reproduce that of CRT
displays. How ever, the most commonly used colour space in HD television, Rec. 709, has a gamma conversion
curve that is considered better than that of sRGB.
Another aspect of colour spaces is the range of colours they can display. Commonly used colour spaces such
as sRGB, Rec. 709 and Display P3 can display the same limited subset of the colours that can be perceived by
the human eye. This subset is especially limited in the range of greens it can display. In contrast, the colour
space Rec. 2020 is know n for supporting a much w ider range of colours, especially in terms of greens, thanthose colour spaces. Rec. 2020 is hence preferred for high end productions, but displays that support Rec.
2020 are currently very expensive, and hence producing in Rec. 2020 comes at a cost in hardw arecompatibility.
Because of this, productions typically use a specific colour space that is different than that of the standard
sRGB. This also incurs common production problems such as:lMaterials such as character models and backgrounds may have been created in a specific colour spacethat is different than the one intended for production.

lProject collaborators may be using displays that do not use the colour space intended for the project’s
delivery.

lCompositing artists may also prefer using a specific colour space for compositing, as special effects may
w ield different results w ith a colour space that uses linear values than w ith a colour space that uses acurvilinear gamma curve.

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Colour Spaces in Harmony
To ensure the integrity of colours across your production, Harmony uses sRGB colour space for Toon Boomdraw ings—see Setting the W orking Colour Space for a Scene on page 418. It allow s you to specify the colour
space of your inputs (bitmap images), of your outputs (rendered frames, movies) as w ell as the colour spaceused internally for compositing your scene. More specifically, you can specify different colour spaces for:lEach imported bitmap imagel

The scenel

The preview image in the Camera viewl

The rendered images and movies

The w ay it w orks, w hen rendering a frame in your scene, is as follow s:
1. Harmony converts the colours of each draw ing layer from sRGB colour space to the scene’s w orking
colour space.
2. Harmony converts the colours in each bitmap image from their respective colour space to the scene’s
w orking colour space.
3. All visual elements and effects in your scene are composited together into a single image, all in yourscene’s w orking colour space.
4. The image is converted to the colour space selected for the Camera view or for rendering, depending on
w hether the frame is a preview image or a final frame.
The follow ing graph illustrates this process:413

Harmony 22 Paint User Guide

NOTE
If “Read Toon Boom Draw ings Using sRGB Colour Space” option is disabled—see Setting theW orking Colour Space for a Scene on page 418, in the Camera view the colour spaces of draw ing
layers are used in the Render View mode w hen converting their respective colour space to thescene’s w orking colour space. In OpenGL View mode, the colour spaces of draw ing layers are
ignored, and the colours of bitmap images are converted directly from their respective colour
space to the preview colour space, skipping the scene’s colour space.

Hence, in order to properly manage the colours in your production, you must make sure that:l

The colour space of each bitmap image layer is set to the colour space, used in the imported images—
see Setting the Colour Space of an Element Layer on page 416.

l

The colour space for your scene is the optimal colour space chosen for composition—see Setting theW orking Colour Space for a Scene on page 418.

l

The colour space for your Camera view is set to the colour space supported by your monitor and,preferably, the one intended for delivery—see Setting the Display Colour Space on page 420.

l

The colour space used w hen rendering frames or w hen exporting a movie is the one intended fordelivery or for post-production—see Setting the Colour Space for Rendered Movies and Frames on
page 422.

By default, Harmony supports the follow ing colour spaces:lLinear: The same primaries and w hite point as sRGB and Rec. 709, but w ith no gamma transfer curve
applied to the colour values. This colour space is useful for compositing intermediary images that aremeant to be rendered in sRGB or Rec. 709.

l

Display P3: A colour space commonly used for digital projection. It has the same primaries as DCI-P3,
the same w hite point as sRGB and the same gamma transfer curve as sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no gamma transfer curve. This colour space isuseful for compositing intermediary images that are meant to be rendered in Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries and w hite point as sRGB, but has
a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith a gamma transfer curve of 2.4(per ITU-R BT.1886). This colour space exists because some editing systems use a gamma transfer
curve of 2.4 instead of the standard gamma curve for Rec. 709.

lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV). It has a complex gamma transfer
curve and primaries that cover more of the human-perceivable colour space than other colour spaces,
especially in the area of human-perceivable greens.

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Chapter 4: Painting and ColourslRec. 2020 2.4: The same colour space as Rec. 2020, except w ith a simple gamma transfer curve of 2.4(per ITU-R BT.1886). This colour space exists because some editing systems use a gamma transfer
curve of 2.4 instead of the standard gamma curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no gamma transfer curve. This
colour space is useful for compositing intermediary images that are meant to be rendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It has the same primaries andw hite point as Rec. 709, but has a different gamma transfer curve.

Those colour spaces are defined using the OpenColourIO specification, w hich is a text based-technology fordefining colour spaces and how to convert betw een them. Hence, it is possible to configure Harmony tosupport different colour spaces as needed. Furthermore, if other softw are in your pipeline use a specific
OpenColourIO configuration file to define its colour spaces, Harmony is able to use that file as w ell for its
colour space definitions. For more information, see Customizing Available Colour Spaces on page 424.

NOTE
Any scene created in Harmony 17 or earlier has colour space management disabled by default. To
enable colour space management on a scene created in older versions of Harmony, see Setting theW orking Colour Space for a Scene on page 418.

NOTE
Any scene created in Harmony 20 has “Read Toon Boom Draw ings Using sRGB Colour Space”
option disabled, see Setting the W orking Colour Space for a Scene on page 418.

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Setting the Colour Space of an Element Layer
You can set the colour space of each bitmap image layer in your scene individually. For Toon Boom vector andbitmap draw ings by default, Harmony uses sRGB colour space.
W hen rendering your scene, the colours of each bitmap image layer w ill be converted from their respective
colour space to the scene’s colour space before they are composited together w ith your scene’s effects. The
colours of the bitmap draw ing layers and vector draw ing layers w ill be converted from sRGB colour space tothe scene’s colour space, ignoring the colour space selection of the draw ing layers.

NOTE
In OpenGL View mode, bitmap images are converted from their colour space to the colour space
selected in the Display Colour Space preference in the Camera tab of the Preferences dialog, andthe colour space of draw ing layers is ignored.

NOTE
If “Read Toon Boom Draw ings Using sRGB Colour Space” option is disabled—see Setting theW orking Colour Space for a Scene on page 418.
l

In Render View mode the colours of the original bitmap images, bitmap draw ing layers andvector draw ing layers are converted from their respective colour space to the scene’s colour
space before they are composited together.

l

In OpenGL View mode bitmap images are converted from their colour space to the colour space
selected in the Display Colour Space preference in the Camera tab of the Preferences dialog,
and the colour space of draw ing layers is ignored.

W hen adding a new element layer, by default sRGB is used as the layer’s colour space.

How to set the colour space of an element layer
1. Open the Layer Properties for the element layer for w hich you w ant to select a colour space by
doing one of the follow ing:l

In the Timeline view , double-click on the element layer but outside of its name (such as ontheicon).

l

In the Timeline view , right-click on the element layer and select Layer Properties.

l

In the Node View , locate the element node and click on itsl

In the Node View , right-click on the element layer and select Layer Properties.

416

Layer Properties icon.

Chapter 4: Painting and Coloursl

Add the Layer Properties view to your w orkspace, then select the element layer in theTimeline or Node view .

2. In the element’s layer properties, select the Drawing tab.
3. At the bottom, in the Colour Space drop-dow n, select the colour space for the element layer.

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Setting the W orking Colour Space for a Scene
You can select the w orking colour space for your scene in the scene settings dialog.
The w orking colour space is the colour space to w hich each layer in your scene is converted before all
elements in your scene are composited together along w ith your scene’s effects. Then, the image is converted
from your scene’s w orking colour space to the intended colour space for rendering. Hence, the scene’s w orking
colour space is the intermediary colour space in w hich the compositing is done internally.

TIP
For optimal compositing, it is recommended to set your scene’s w orking colour space to the linear
version of the colour space used by your production. That w ay, the calculations done for the visual
effects in your scene are not affected by the gamma curve of your production’s colour space.

How to set the working colour space for a scene
1. In the top menu, select Scene > Scene Settings.
The Scene Settings dialog appears.
2. Select the Colour Space tab.

3. In the W orking Colour Space list, select the desired w orking colour space for your scene.
4. Click OK.

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NOTE
Any scene created in Harmony 20 has “Read Toon Boom Draw ings Using sRGB Colour Space”
option disabled. In this case the colour space information of each draw ing layer w ill be used w hen
converting to the scene’s w orking colour space in the Camera view > Render View mode, but
ignored in OpenGL View mode—see Setting the Colour Space of an Element Layer on page 416.
Moreover, display colour space in OpenGL View mode is limited—see Setting the Display Colour
Space on page 420

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Setting the Display Colour SpaceYou can set the colour space in w hich to display the preview image in the Camera view .
The generation of the preview image w orks exactly the same as w hen you’re rendering your scene. You canselect the colour space in w hich to display the preview image using the drop-dow n menu at the bottom of the
Camera view . Furthermore, if you have several monitors and w ant to preview your scene in the respective
colour space of each monitor, you can do so by adding several Camera view s to your w orkspace, moving each
Camera view to its ow n monitor and setting the colour space of each Camera view to its monitor’s colour
space. The different Camera view s w ill display in their ow n colour space.
If “Read Toon Boom Draw ings Using sRGB Colour Space” option is disabled—see Setting the W orking Colour
Space for a Scene on page 418.
In OpenGL View mode, colour management is much more limited, in the follow ing w ays:l

The colour space used for the preview image cannot be selected individually for each Camera view .
Hence, instead of using the drop-dow n at the bottom of the Camera view , it is selected in the Display
Colour Space preference in the Camera tab of the Preferences dialog.

l

The colours in the bitmap images in your scene are converted directly from their ow n colour space tothe preview colour space, w ithout getting converted to your scene’s w orking colour space first, and thecolours in the draw ing layers in your scene are not processed at all. Hence, in OpenGL View mode, thecolours in the preview image are not faithful to those of the final rendered image.

How to set the display colour space for the Render View mode of the Camera view
1. At the bottom of the Camera view , select
2. In the drop-dow n right of theRender View .

Render View button, select the colour space in w hich you w ant

the render preview to be.

How to have an extra camera view displaying on a different monitor and a different
colour space
1. In the top menu, select W indows > Camera.
A floating Camera view appears over the Harmony user interface.
2. Drag the floating Camera view to the monitor w here you w ant it to display.
3. At the bottom of the Camera view , select
4. In the drop-dow n right of theRender View .

Render View button, select the colour space in w hich you w ant

the render preview to be.

420Chapter 4: Painting and Colours

How to set the display colour space for the OpenGL View mode of the Camera view
when “Read Toon Boom Drawings Using sRGB Colour Space” option is disabled
1. Do one of the follow ing to open the Preferences dialog:ll

W indows or GNU/Linux:l

In the top menu, select Edit > Preferences.

l

Press Ctrl + U.

macOS:l

In the top menu, select Harmony [Edition] > Preferences.

l

Press ⌘ + U.

2. Select the Camera tab.
3. In the Colour Space section, open the Display Colour Space drop-dow n and select the colour
space in w hich you w ant the OpenGL preview to be.

4. Click OK.

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Setting the Colour Space for Rendered Movies and Frames
You can select the colour space in w hich to render your scene in the Export Images and Export Movie dialog.
W hen rendering a scene, the individual layers are converted from their respective colour space to the scene’s
w orking colour space, then they are composited together along w ith your scene’s visual effects, and theresulting image is converted to the rendering colour space.

About Tagging Exported Files
Some but not all files exported from Harmony can be tagged w ith their colour space. Tagging is w hen theinformation for an image or movie file’s colour space is embedded in the file itself, w hich allow s some
softw are to automatically load its colour space information instead of requiring you to provide it manually.
Tagging images and movies w ith their colour space is not necessary, especially if you intend to load the files ina video editing or compositing softw are that allow s you to specify their colour space manually, but it can beconvenient if your post-production softw are supports reading the colour space information of your source
files.
Movies exported from Harmony are only tagged w ith their colour space information w hen exported in formats
below :l

QuickTime ProRes Movie (*.mov): W hen rendering a movie in QuickTime Prores Movie (*mov) format,
the movie colour space ‘nclc’ tag w ill be only set as:ll

HD (1-1-1) if using “Rec. 709” colour spacelBT.2020 (9-1-9) if using “Rec. 2020” colour spacel

P3 D65 (12-1-1) if using “Display P3” colour space

QuickTime Movie (*.mov) on macOS. The movie in this format w ill not be tagged w ith their colour space
information if exported on W indow s or GNU/Linux. W hen rendering a movie in QuickTime Movie(*.mov) format on macOS in a specific colour space, the movie buffer data w ill be tagged w ith thecorresponding ICC colour profile.

As for exported images, colour space tagging is supported in the follow ing formats:lPortable Netw ork Graphic (.png)lPhotoshop Document (.psd)l

OpenEXR (.exr)

NOTE
OpenEXR files are only tagged w ith the coordinates for their w hite point and primaries.

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How to set the colour space when exporting your scene as images
1. In the top menu, select File > Export > Images.
The Export Images dialog box appears.

2. In the Colour Space field, select the colour space in w hich you w ant your exported images to berendered.

How to set the colour space when exporting your scene as a movie
1. In the top menu, select File > Export > Movie.
2. In the Colour Space field, select the colour space in w hich you w ant your movie to be rendered.

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Customizing Available Colour Spaces
By default, Harmony supports a handful of commonly used colour spaces. If your production uses a colour
space that is not supported by Harmony out of the box, it is possible to customize the colour spaces supported
by Harmony to suit your production’s needs.
The colour spaces supported by Harmony are stored in files in the follow ing location:l

W indows: C:\Program Files (x86)\Toon Boom Animation\Toon Boom Harmony 22[Edition]\etc\colourmanagementlmacOS: /Applications/Toon Boom Harmony 22 [Edition]/Harmony[Edition].app/Contents/tba/etc/colourmanagementl

GNU/Linux: /usr/local/ToonBoomAnimation/harmony[Edition]_22/etc/colourmanagement

In this directory, you w ill find the follow ing contents:
Name

Type

Purposeconfig.ocio

OpenColorIO
configuration file

The configuration file that contains the colour profile definitions
used by Harmony.

luts

Directory

A directory containing some dependency files used by the colour
profiles defined in config.ocio.

icc

Directory

A directory containing ICC profiles matching the colour spaces
defined in config.ocio.

Just like many other softw are that support colour space management, Harmony uses the OpenColorIO colour
management technology to define its supported colour spaces. If the other softw are used by your production
also uses OpenColorIO, this means you can easily use the OpenColourIO configuration you use w ith your othersoftw are w ith Harmony so as to use the same colour space definitions across your production.
You can customize the colour space definitions used by Harmony by setting the OCIO environment variable foryour operating system to the full path of your ow n, custom config.ocio file. This allow s you to use thesame .ocio file for multiple softw are if needed.

NOTE
Harmony uses sRGB colour space for Toon Boom draw ings—see Setting the W orking Colour
Space for a Scene on page 418). If a customized config.ocio file does not contain colour space
definition named sRGB, a colour space of default view displayed in config.ocio file is used.

You might notice that, along w ith the OpenColorIO configuration files, there is a directory containing ICC
colour profiles. The ICC colour profiles are only used to tag exported images w hen supported and movies

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w hen using QuickTime Movie (*.mov) format on macOS, and are not required for any other part of the colour
management in Harmony.
Hence, if you decide to customize the colour space definitions used by Harmony, you can include the ICC
colour profiles for your colour space definitions if you w ant. If you don’t, Harmony w ill still render your images
and movies in the appropriate colour spaces w ith the appropriate colour values, but w ill not be able to tag
your exported images and movies w ith their colour space information.
For Harmony to be able to use an ICC colour profile to tag exported images and movies, the follow ing
conditions must be met:l

The ICC colour profiles must be located in an icc sub-directory, in the same directory as
config.ocio.

l

The file name of the ICC colour profile must match the name of the colour space as defined inconfig.ocio.

For example, if your config.ocio file contains a colour space definition named sRGBf, for Harmony to beable to tag exported movies (on macOS) and images w ith this colour space, then the directory containing yourconfig.ocio file should also contain a directory named icc, w hich w ould in turn contain a corresponding
colour profile for sRGBf named sRGBf.icc.

NOTES
l

W hen rendering a movie in a specific colour space in QuickTime Movie (*.mov) format on
macOS, the movie buffer data w ill be tagged w ith the corresponding ICC colour profile.

l

W hen rendering a movie in a specific colour space in QuickTime Prores Movie (*mov) format,
the movie colour space ‘nclc’ tag w ill be only set as:ll

HD (1-1-1) if using “Rec. 709” colour spacelBT.2020 (9-1-9) if using “Rec. 2020” colour spacel

P3 D65 (12-1-1) if using “Display P3” colour space

W hen rendering frames in a specific colour space, the follow ing file formats w ill be tagged
w ith their colour space information:lPortable Netw ork Graphic (.png)lPhotoshop Document (.psd)l

OpenEXR (.exr)

OpenEXR files are only tagged w ith the coordinates for their w hite point and primaries.

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About Displays
The Display node is an important node; it is used by the export and view s to display your scene, primarily the
Camera and Timeline view s. By default, a scene's node system alw ays has a Display node w hich can be used
to show your entire scene, a single node or a group of nodes through a Composite or Group node. You mightuse it to see one single character as you animate it, debug your node system as you create complex effects orexport your complete scene or a portion of it.

W hen your scene does not have a Display node, it is automatically set to Display All w hich uses the Timelineview ordering and show s floating nodes from the Node view . You can also set your scene to use Display All
using the Display toolbar.

NOTE
If you try to add a peg or other transformation layer in the Timeline view w ithout having a layer
selected, an error message w ill display. Make sure to change to Display All. The peg layer w ill befloating in the Node view and w ill not be visible in the Timeline view . The Timeline view show s
only layers that are connected to the Composite node.
If you sw itch to Display All, you run the risk of not realizing w hen you have floating nodes that are
not connected to your composite. For this reason, it is not recommended to w ork in Display All
mode.

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