# Aquarell brush spacing: continuous lines, dotted textures and borders Language: en Canonical: [Aquarell brush spacing: continuous lines, dotted textures and borders]() 中文：[中文 HTML]() English: [English HTML]() Published: 2026-10-22T00:00:00+08:00 Modified: 2026-10-23T10:34:06+08:00 Author: Bison Keep brush size fixed and compare low, medium and high spacing, then use the results for dotted decoration and hand-drawn borders. English translation of the [Chinese original](), translated on 2026-10-23. The article body uses automated translation; app descriptions, historical reading notes and video subtitles receive separate editorial checks. Original publication dates, attribution, code and version notes are retained. **Brush spacing controls how impressions are arranged along a moving stroke; smaller is not automatically better.** Dense spacing may resemble a continuous line; wider spacing may reveal separate brush-tip impressions. Aquarell's public description supports spacing adjustment. This article uses small, comparable experiments to understand it. Aim for two useful setups: one for continuous outlines and another for dotted decoration. Results depend on the brush; increasing spacing does not turn every brush into regular round dots. ## 1. Choose a brush with an easily recognizable tip Create a 1400 × 900-pixel canvas with a white background. Choose a brush with relatively clear edges and modest texture. Make a few dark dots so that a single stamp's shape is recognizable. If each dot is itself scattered, use a simpler brush to reduce variables. Fix the size at, for example, 32 pixels and opacity at 100%. These are starting values for the exercise. Keep the canvas zoom unchanged so zooming is not mistaken for a spacing change. If you need to retain existing settings, record them first and restore them afterward. ## 2. Draw three sets of straight lines, from dense to sparse Open the brush settings and find Spacing. If the interface expresses it as a multiplier, try 0.05, 0.3, and 1.0. If it provides only a slider, choose three clearly different positions and use its actual scale; these multipliers are not universal requirements for every version. For each setting, draw three straight lines at a similar speed, moving left to right without deliberate pauses. Use the first to inspect continuity, the second for the edges, and the third for repeatability. Large differences within one set may involve speed, pressure, or randomness; standardize the gesture before comparing. If low spacing still produces a grainy edge, the setting may be working correctly; the tip itself may be textured. Separate impressions at high spacing suggest potential for dotted decoration, but their shape still depends on the brush. ## 3. Check corners with curved strokes A good straight line does not guarantee an even curve. With the same three settings, draw semicircles and waves and inspect crowding on the inside and gaps on the outside. Start with wide curves, then tighter ones, comparing the effect of turning radius on visual rhythm. Corners often reveal problems in decorative borders. Try gentler curves or stop and join separate strokes at corners. Avoid repeatedly redrawing the whole border in pursuit of mathematically equal spacing; pixel brushes are not the only suitable tool for a strictly uniform vector dot pattern. ## 4. Create a practical decorative border Mark out a blank area of about 900 × 300 pixels in the lower half of the canvas for a future text card. Draw a dotted border along one long edge first, rather than surrounding all four sides before discovering that the density is unsuitable. Keep the center clear. More dots do not necessarily make a richer border; increase spacing to reduce density and keep decoration secondary. If one dot stands out, confirm the active layer, undo, and redraw that section. Alternatively, keep the whole border on its own layer for adjustments without affecting the text area. ## 5. Record continuous-line and decorative-line settings separately Record the brush name, size, spacing, opacity, and intended use for both setups—for example, “fine outline” and “widely spaced border”. These combinations come from your samples; the values in this article do not make them officially recommended presets. Save the sample canvas too. After enlarging the brush, compare the visual distance between dots. If spacing is relative to tip size, changing size changes the actual pixel distance. That is why a spacing value alone is not enough to record the setup. ## Completion checks and troubleshooting order Reduce the work to its intended blog display size. Confirm that the border still looks dotted rather than like a gray edge, and check for unusually dark buildup at corners. If too dense, reduce the number of impressions or increase their visual separation. If too sparse, reduce spacing or enlarge the tip, changing only one variable at a time. If dragging produces only a few isolated large impressions, check brush size and spacing before checking whether another setting changed accidentally. Sparse impressions are not automatically evidence of missed touch input. Recheck with the original settings and another brush; if needed, include the actual version and device in your feedback. ## Try another display size before choosing its use After completing the border, place it on a card you actually intend to use. Dots clearly separated at full size may merge into a thin line when reduced; dots that looked too large may suit a spacious layout. Decide the final display width before choosing spacing rather than judging only a magnified canvas. For multiple sizes, keep the original and export each separately, recording which spacing suits each layout. ## Questions and limitations ### Does smaller spacing always produce smoother strokes? The impressions may connect more closely, but smoothness also depends on the tip, input path, and other settings. This article does not test performance or claim that minimum spacing is best on every canvas or device. ### Why are the dots not perfectly round? Spacing arranges impressions of the current brush tip. Textured, square, or irregular tips retain those characteristics in separated stamps. Make a single dot first, inspect its shape, and decide whether it suits the task. ### What if border corners become too dark? Check whether you paused at corners, drew repeatedly, or overlapped several strokes in one area. Put the border on a separate layer and try longer continuous strokes or connected sections. Lowering the entire layer's opacity only fades it; it cannot restore an even rhythm. ## Sources and applicable version Information checked on October 22, 2026, for Aquarell 1.0.5 (iOS / iPadOS 15.0 or later). See [the official description]() and [Apple release lookup](); the interface may change with the version. ## Keep practising - [Comparing brush size and opacity]() - [A hand-drawn text card]() - [Making a consistent icon set]()