Krita: Creating Custom Brushes | Paul Gieske | Skillshare

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Krita: Creating Custom Brushes

teacher avatar Paul Gieske, Digital Art Enthusiast

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (53m)
    • 1. Introduction

    • 2. Overview of the Editor

    • 3. Brush Tip Parameters

    • 4. Example: Hair

    • 5. Opacity, Size, Flow and Pressure Dependence

    • 6. Sensors and More Parameters

    • 7. Example: Cloud

    • 8. Example: Coin Brush

    • 9. 'Color' Parameters

    • 10. 'Texture' and 'Masked Brush' Parameters

    • 11. Example: 2 Textures

    • 12. Importing and Exporting Brushes

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About This Class

In this class we will learn to create customized brushes using the brush editor.

  • general overview of the editor
  • modifying the brush tip shape
  • link opacity, size and other parameters sensitive to inputs like pressure
  • overview of the various sensors
  • overview of the various parameters
  • import and export custom brushes

This class is part of a series on digital painting with Krita. Make sure you are up on the basics before starting this class!


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Paul Gieske

Digital Art Enthusiast


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1. Introduction: Hello everybody and welcome to this section. In this section we will be talking about how to make custom brushes in Krita, making custom chrome brushes and critic can be extremely useful for two reasons. First of all, we can draw a repeating details easily. For example, if we want to draw some hair, we don't want to draw every single strand of hair and we can use custom brushes to achieve this easily. Secondly, we can make some pretty awesome special effects using custom brushes. In order to follow this section easily, you should ideally already have some knowledge of Krita. Here is a summary of the roadmap of my course. Greta has a lot of brush engines available and each engine has a large number of parameters. It does not make sense to cover all of these parameters in detail. It makes more sense to get a general understanding of the fundamentals and to look up the specific meaning of each parameter as it comes up. In this section, I will not cover all the parameters in detail. Rather, I will give you an overview of the underlying principles. With this basic understanding and combined with a little bit of trial and error and experimentation, you will be able to create some awesome brushes. In this section, we will start with a general overview of the editor. Next, we will learn about modifying the brush tip shape. After that, we will learn about how to make opacity, size and other parameters sensitive to input like pressure, for example. We will get a brief overview of the various sensors and parameters. We will also learn about source and texture. And finally, we will learn about how to import and export custom brushes. So thanks for tuning in and I hope you will enjoy this section. See you soon in the first lesson. Bye-bye. 2. Overview of the Editor: Hi everybody. How's it going? In this lesson, I will give you a brief overview of the brush editor. In order to open a brush editor, we click on this icon here. We have a number of panels. First of all, at the top, we see an example of the current brush. On this panel, I see a number of parameters. These are parameters which I can change, thereby changing the properties of the brush. For example, I can turn to diameter with this parameter. If I change one of the parameters, I see a notification here reminding me that the brush has been changed. I can reload the original settings by clicking here. On this panel, I see a list of categories. Changing the category changes which parameters are displayed here. We will talk more about what the various parameters do later. Next, we have a panel on the left. We can select a brush, we want to modify it here. We can filter which branch brushes are displayed here by tag, or we can filter them by engine. So what is a brush engine anyway? A brush engine is an algorithm which translates the brush input to the stroke. In other words, it translates the movement of your stylus to the stroke which you see on your screen. Different engines are governed by different equations and functions, and they also have different parameters. The most popular and the most commonly used engine is the pixel engine. But some brushes also use a different engine. For example, the smudging brushes use the color smudge engine. I will not really talk about the differences between various engines. They are quite similar. So I'm going to cover the parameters of the pixel engine. If you need special instructions for one of the other engines, you will easily be able to find it in the Crito documentation online. This is a beginner's course, so I will not go in very big depth into all of the engines. Finally, we have a scratch pad on the right. Here. We can test our brush as we modify the parameters. Whatever ends up in this square will serve as our brush thumbnail. We can clear the scratchpad in various waves with the buttons below. And finally, we can save the changes. We can either overwrite the current brush. Be careful doing that because you might lose the brush. Or we can also save as a new brush. Oh yeah. And we can also rename the brush here. So that was the very basics. In the next lesson, we will learn about various brush perimeters. Thanks for watching. Bye bye. 3. Brush Tip Parameters: Hello everybody. What's up? In this lesson, we will talk about the parameters related to the brush tip. With these parameters, we can change all sorts of properties related to the tip of the brush. But before we get started, let's talk about the difference between a dad and a stroke. Adapt occurs when I briefly tap their pen on the graphics pad. This results in the imprint of a single brush tip. A stroke consists of many dabs. As I moved the stylus pan across the graphics pad, dabs are added. The combination of other dabs is what we call a stroke. So now that we have that out of the way, let's start by picking a simple brush, like basic 5. First of all, we can change the size of the brush here. And we can change the aspect ratio, T2. This is the ratio between the width and the height of the brush. Next we have fade. We fade. We can set how hard or soft the edge of the brush tip is going to the mass type. We see we have three options for setting the third default. Soft and Gaussian. For soft icon, set the curve myself. By modifying this line, I can add control points by clicking on the line. I can move them by clicking and dragging them. And I can remove them by dragging them out of the graph. Or I can use Gaussian where I can set the fade according to a Gauss Curve. I also have the choice between using a circular or square brush tip. Anti alias prevents the pixelization of the edge of the brush stroke. I can activate or deactivate that here. With angle, we can rotate the tip. Spikes allows us to increase the number of tips. Does the t_0 allows us to control what proportion of each dab is colored in. If I pick 50%, for example, then only half of each dad is covered. Which part of each dab is covered is determined by a noisy algorithm. With randomness, we can change how evenly distributed the color is across the dab. If randomness is 0%, the color is distributed evenly across the whole area of the tab. If randomness is more than 0%, some parts of the dab will receive more color than others. Spacing allows us to set the distance between the tabs. Usually we want to draw a smooth stroke, but sometimes it can be useful to increase the distance between the tabs. With Otto and precision, we set the quality of the stroke. More precision increases the quality of the stroke, but it's slower. If you have auto activated, the level of precision depends on a bra size. I usually don't touch these settings. Okay. We've seen we can change the shape of the brush tip from circuit to square. But we can also use a picture as a brush tip. If we click here, we see a number of pre-programmed examples. There are some interesting shapes and textures that we can choose from. You can imagine that smoke detector can come in handy. Using import stamp and clipboard. We can even create our own brush tip pictures. We will be walking through how to do this in the examples. Finally, we can also use taxed as a brush tip using this tab. That was often now, have fun playing around with your new knowledge and see you later. Bye-bye. 4. Example: Hair: Hi everybody. In this video, we are going to make a simple hair brush. We will be able to use this brush to draw things like this. We will start by picking a brush which will form the starting point of our hair brush. I pick B basic five as a starting point. I pick this brush because I like the way the size varies with pressure. Then we click on this icon up here to open the Editor. We want to keep this B basic five Bristol. I really don't want to overwrite it. So to be on the safe side, the first thing I'm going to do is save it as a new brush. We change the name and we pick an icon. I'm going to pick this one and then click on OK. Next, we reopen the brush editor and we go to the tip parameters. So we use this predefined tip. Let's use this one and let's test it. As you can see, the spacing is a little high, but let's change the spacing. And let's also increase the breast size. Alito. Let's update the icon. Once we've updated the icon, we can set it by saving it as a new brush. Again. This time we pick load, scratchpad, thumbnail. We don't want a new brush. So make sure that the name is exactly the same as before. And now the acid test, let's use this brush to try to draw some hair. As you can see, we can paint multiple strokes with it. Also the brush size becomes, and when I lift the stylus off the pad and the pressure decreases. This is because we picked BY basic five as a starting point. And our hair brush inherited this property. In the next video, we will learn how to set up such a pressure dependency ourselves. And here we have it. Hope you found this video useful. See you in the next video. Bye-bye. 5. Opacity, Size, Flow and Pressure Dependence: Hello everybody. In this lesson, we will study how to make Brush properties like for example, opacity dependent on the stylus inputs, for example, pressure. First of all, let's pick be airbrushed soft. And let's open the brush editor. Here we have the opacity parameters. We can set the maximum capacity up here. As you can see, the pen settings are enabled. This graph shows that when the pressure is low, the opacity is low. And when the pressure is high, the maximum capacity is used. And there is an exponential increase between the two. We can change this curve by moving the control points around. Remember, you can add a control point by clicking ones, and you can remove a control point by dragging them off the graph area. We also have some handy presets curves we can use. I can also deactivate the pen settings entirely. Another opacity is not affected by any of the inputs. So if we draw, the maximum capacity is used regardless of the pressure. We can do the same with flow and sighs. I haven't spoken about flow yet. Suffice it to say that flow is like having a ballpoint pen. If your pen is almost out of ink and the lines are very pale, that means that the flow is very low. If your pen is completely full and a bit broken and IQ flows out very copiously, then the flow is high. In critter. This is achieved by making the individual dabs transparent. For low flow, we can set the flow of the pen here. And we can make them flow dependent on inputs like pressure by enabling the pen settings. Next, let's briefly look at the size. First, let's switch the brush. Brush to be basic five. Let's look at the strength variable. This shows the maximum size of the brush as a proportion of the tip size. Remember, we can set the tip size in the brush tip section. Here we see that the size of the brush depends on the pressure exponentially. If we push down very lightly, the brush is small. If we push down strongly, the brush size is large. We can tweak the shape of the pressure curve. Depending on this shape, the strokes will get a different feel to them. For example, a parabolic shape results in the stroke having thinner tails. While a linear shape results in more uniform lines. Or a shape like this results in strokes looking like this. Okay, that's all for now. We have learned that we can vary the opacity flow and size depending on the pressure. The capacitive flow and size are called parameters. While the pressure is called a sensor input. Other parameters are listed here. We will be talking about these parameters in the next video. Other sensor inputs which we can link our here. We will also be talking about these in the next video. See you in the next lesson. Bye-bye. 6. Sensors and More Parameters: Hi everybody. In the previous section, we learnt about the pressure sensor and we also learned about the parameters, opacity, size, and flow. As you can see, we have a lot more sensors and parameters. In this exercise, I will give a brief overview of the remaining sensors and we will talk about the remaining parameters under the heading general. So let's get started with sensors. If I activate speed like this, I link to sensor to the size of the brush. So when I draw slowly, the stroke becomes thin. And when I draw quickly, the stroke becomes fig. Or another example is time. When I activate Time, I can set the duration here. As you can see, the stroke path gets picker and Picker as time passes until it reaches the duration. I can also set whether the effect should repeat here. Pressure instance for pressure increase, it only registers when there is a pressure increase. Then we have these four sensors that x tilde, y tilde tilde, direction and tilt elevation. This all depends on the angle of the stylus. Usually you are holding the stylus vertically. If you hold it at an angle, it detects a certain tilt are fortunately, my graphics tablet does not support this. A lot of graphics tablets don't support this, so I just ignore this. I never use it. Drawing angle is the direction in which the stroke is currently being drawn. Rotation is the angle of the stylus. Rotation about its axis. Distance allows you to affect a brush over a distance. Fuzzy dab basically means the input is random. The random input is applied to each dab. Stroke also means random, but the random input is not applied to each individual tab, but it applied to each individual stroke. Then we have fade. Fade is a combination of distance and time. Perspective works in conjunction with the perspective assistant. It uses this perspective is system to determine how far or near the stroke is. Tangential. Pressure uses the pressure perpendicular to the axis of the stylus. And that was all for the censors. Depending on how advanced your tablet is, you will have access to and any or few of these sensors. But don't worry, you can really easily make do without too many sensors. It's more of a luxury to have access to many sensors. Next, let's talk about are amateurs. In addition to our past to low and size, we have a lot of parameters which we can link to the sensors. For example, ratio changes to width and the height of the tip depending on the sensor linked. Spacing, there is the space between the tabs. Mirror, mirrors, the brush tip. Softness or softens to brush depending on the input sensor. Sharpness sharpens the brush depending on the input sensor. We can vary the rotation of the brush tip using the rotation parameter. Scatter randomizes the location of each tab. The strength of the randomness depends on the input of the sensor. So that was a very quick summary of the parameters and the sensors. You can find an overview on the Crito website to just go to Click on Learn, click on brushes, brush settings. And then parameters give an overview of the various parameters. And sensors gives an overview of the various sensors. So we've learned a lot of theory today. It might all seem a little bit dry and abstract. Do worry. In the next couple of lessons, we will be covering a couple of examples to help us put this theory into practice. See you soon, bye-bye. 7. Example: Cloud: Hi everybody. I hope you're doing well. In this video, we are going to cover another example. In this example, we are going to create a brush with which we can easily draw clouds like this. The first thing we do is create a predefined brush tip. After inspecting clouds in real life and on photos, I realized that clouds basically consists of spheres. So let's start by drawing a shape that will become the brush tip. We will use a brush tip to draw a bunch of fuzzy spheres or spots. And we select the spots. Then we press control C to copy the spots to the clipboard. Next we open the brush editor using the airbrushed as a basis. And then we save a New Brush Preset, naming it my brushes cloud. For the time being, we will use an empty thumbnail. We pick my brush, we go to presets. We choose clipboard. Now, we import a brush tip into the predefined section. We set the name to club tip. Once done, we set the background color to what's on the canvas. We modified the brush tip size and we add some rotation. We want each depth to have a random rotation. So select fuzzy dab. Let's test it. Repeatedly. Tap on the scratch pad to draw a cloud. And let's save the brush and set the new cognate up too. And here we have a brush with which we can easily draw a cloud by repeatedly tapping and using multiple dabs. So that's all for now. Thanks for watching. Bye bye. 8. Example: Coin Brush: Hello everybody. In this video, I'm going to show you how we can create a coin brush. Brush. We can draw a huge piles of gold Treasurer in mere moments. So let's get started. First of all, I sketch a single coin and color, something like this would do. Now we've created our brush tip shape and color. We are going to import this as a tip. First of all, we selected. Next, we create a new brush. I'm going to name it my brushes coin. Let's change the background of the scratch pad to gradient. Whoops. Let's change the background and foreground color quickly. Okay? And then let's import a new predefined prostate. This time we use Stamp, Stamp picks, what is currently selected. I'm also going to uncheck column mask. This will keep the original colors. So now let's test it. As you can see, it's not quite right. We have to make the white parts transparent. In order to do that, I'm going to first hide the background layer. And we are going to delete the previous predefined tip and import the current selection. Again. Much better. Now, let's decrease the size. As you can see, the spacing is far too small and far too regular. So the result looks like a worm or a snake. So let's increase the spacing. Next, I want to add a random variation on the size. So we link the size to fuzzy dab. Finally, we want to add a small rotation. The rotation to fuzzy dab as well. Now the whole brush has been turned upside down though. So we're going to change that in the rotation. And there we have it. Let's update the icon and save the brush. And let's try to paint some piles of treasure. Thanks for watching. Bye bye. 9. 'Color' Parameters: Hi everybody. What's up? In this section, we are going to talk about the parameters under the heading color. Let's start with source. With source, we can change what is drawn. First of all, we have playing color. This is used most of the time, and when we select this, the plain color is grown. Next we have gradient. I am going to explain gradient and little bit later in this video. If I pick uniform random, each dab gets a random color. And with total random, each pixel gets a random color. If I pit pattern, we paint a pattern onto the canvas. With locked pattern. The pattern is drawn but not seamlessly. The pattern gets shifted depending on the location of the dev. Next, we have some parameters sensitive to input. They are mostly pretty straightforward. First of all, let's demonstrate dark. And in this case I've linked darken to the pressure. If I push down lightly, stroke becomes lighter. If I pushed them strongly, the stroke becomes darker. We also have mics, we mix, we can mix two colors. In this case, I have a plain color selected as the source. If I pushed down softly, it colors background color in. If I push down strongly, it colors the foreground color. Remember, I can set the background color and the foreground color here. I can also link the input to gradient. Then if a push-down lightly, it colors in this car and it felt crushed down strongly. It colors in the other end of the gradient. Next we have Hugh. Here. The hue is linked to the pressure. Again. If we push them strongly, the shoe is shifted to the right. And if we push them lightly, the hue is shifted to the left. We've saturation. I can link the Saturation to a sensor. Input. Value is basically another word for lightness. So this parameter is very similar to the darkness certain. Okay, what's next? Next we have airbrushed with airbrushed, more and more Debs keep getting added to the stroke. Even when you're holding a stylus still, you can adjust the rate with which, at which the tabs are added. If I set the source to random, I can demonstrate this very clearly. As you can see, even though I hold the stylus still, more and more dabs are gradually being added. If I increase the rate, then the devs are added at a faster rate. Next we have rate. This is the same perimeter as we just use to set our airbrushed perimeter. Here we can link the red parameter to one of the inputs like pressure. Moving on, we have Painting mode. In Painting mode, we can have the choice between wash and build up. For wash mode. If I draw a long stroke and I overlap parts of the stroke, it does not count as two strokes on top of each other. But if I use the Europe and I overlap part of the stroke without picking up the stylus, then it counts as doubling up the stroke. This is not just true for the overlapping part of the stroke, but for each and every day. So effectively, the wash stroke is significantly more transparent and then the build-up strokes. So that was all for now. See you in the next video. Bye-bye. 10. 'Texture' and 'Masked Brush' Parameters: Hello everybody. In this section we will talk about the texture and must brush perimeters. Both of these sets of parameters are typically used to draw texture. So let's start with the texture section. First of all, we have the option to include a pattern here. If we activate this, we can choose all sorts of seamless patterns and we can load a pattern using this button. In the next example, I will show you how we can make our own seamless pattern. Not that all of the patterns are grayscale. The grayscale translates to opaqueness and transparency. For now, I'm going to pick this pattern to use it to demonstrate the options here. Having picked a pattern as c, I can print it on a canvas. Clicking on options, we have a number of options. Keep your eye up here to see how the options effect of stroke. First of all, we can choose between multiply and subtract. If we choose multiply, the transparency is multiplied by the value. So in other words, the light parts of the texture become opaque while the dark parts of the texture remain transparent. We choose subtract, then we subtract the texture value from the transparency. So in other words, the dark parts become opaque and a light parts remain transparent. This can be a little confusing as a rule of thumb, it's easier to remember that multiply looks like an inverted version of the pattern was subtract, continues to look like the pattern. Also as a rule of thumb, remember, multiply has a softer feel and subtract has a harsher figure. We've scale, we can set the pattern size, we can make it bigger or smaller. We can also set the brightness and contrast of the pattern using these two sliders. Then we have cut-off with cut-off, The first thing we do is set a grayscale range using these two handles. Any part falling within this range will be handled as usual, and any part falling out of this range will be removed. The way in which it removes depends on if we are using multiplier and if we're using cut off the brush or cutoff the pattern. So let's give a small summary. First of all, if we're using Multiply, if I set the cutoff to brush and then, then the parts falling out of the range gets cut off and they become fully transparent. If I set the cutoff to pattern, then the parts falling out of the range get cut off and become fully opaque. Next, if we're using subtract, then it's vice versa. If I set the cut off to brush than the parts falling out of the range get cut off and become fully opaque. If I set the cutoff to pattern than the parts falling out of the range get cut-off, and become fully transparent. Does that sound complicated to you? Well, if it does, you're not alone. So I find it best to forget everything I just said. And when you're making a new brush with a texture, just figuring out these parameters using trial and error. Anyway, moving on with offset, we can shift the location of the pattern. And we can also invert a pattern using this button. Finally, we can set the strength of the pattern here. We can link the strength to sensor inputs like for example, pressure. Okay, that was all about the texture parameters. Next, let's talk about the mask brush parameters. Mass brush sets the parameters of a second brush, the original brush and brush, and then combined, we can set the usual parameters for the second brush. So let's have a quick look. We can see that we can set brush tip size, opacity, flow, ratio, mirror, rotation, and scatter in the usual way. Additionally, under brush tip, you can set the blending mode. Here. The blending mode determines how the two brushes are combined. So as a quick example, I can take the circular shape of the basic brush five and combine it with this texture. This feature is new to create a 4.0. This feature is often used as an alternative way to paint textures. Well, that's all for now. In our next video, we will cover an example using a predefined pattern, as well as creating a seamless pattern of our own. See you in the next video. Bye-bye. 11. Example: 2 Textures: Hi everybody. We're going to use texture brushes to create these two examples. In the first example, let's pick this brush as a starting point F resource for glaze. We go to pattern and we want to pick an interesting pattern. Let's pick this one reptile scheme. Next, I want to make a strength independent of the pressure. So I deactivated pen settings here. I also want to make the opacity independent of the pen settings. So I deactivate the pen, this pen settings to I keep the shape of the brush tip as it is. So let's try it out. As you can see, the brush is very slow, but it will have to do. I just use the brush to shade and highlight as I usually do. And I also use the brush to do some light blending. I'm also going to use overlay to increase the contrast and give the highlighted part a bit of a yellowish tint. For this, I use the airbrushed, not the texture brush. And there we have it. As an extra example, we are going to create our own seems pattern First. We will create some basic pebbles. The first thing we do is create a new document. We pick another template. This time, we picked a textured template. I don't want to do anything to elaborate. So I'm going to pick a relatively small resolution, 256 by 256. Okay? We have a square canvas. This is going to become a tile. If I press W, the square is copied on all sides. This is called wraparound mode. And in this mode we can easily draw seamlessly. In normal view, I start getting in the pebbles. When I reach the edges of the tile, I go back to wrap around mode. After sketching, I do some inking. Remember to adjust stabilizers settings. Inking is not easy. I still have now got the hang of it as you can see, but are using controls that and switching to the eraser often I eventually get there. As usual, use wraparound mode to handle the edges. Once we create a new layer below the ink and we use the selection tool to color in the pebbles. Remember, we learned about the selection tool in the first section. Next, I'll zoom in a little and touch things up a bit. I'm also going to add some shading and highlighting. And there we have our Siemens pattern. It's not perfect, but it will do for now. Let's save it and export it. The next step is to create a new brush with this as a pattern, we create a new test Canvas. And we save a new brush using the airbrushed as a starting point. To load the pattern, we click on this folder icon. It's a bit too dark, but we can change the brightness in the options menu. I'm just experimenting a bit with these parameters. I decrease the scarce so that the pebbles becomes smaller. I want the opacity to be constant. So I remove the capacitive pressure relationship, and I also remove this direct pressure relationship. In other words, now the strength of the pattern is constant. I'm going to fiddle around with the parameters a bit more. As you change these parameters, you can see the preview up here. When we are more or less finished, we can update the icon and save it again. And let's try it out. Use this brush to highlight and bland. As a final touch-up. There's one thing bothering me about this. Detector is always tangential to the screen. The texture is flat. One would think that the texture would be a wrapped around a sphere. So the texture close to the edge of the sphere would be placing away from the viewer. So I'm going to use the transformation tool to adjust this. I picked a large selected area to leave big boundary. I pick liquefy. I pick scale. I make sure the group layer is selected to make sure I'm warping the right layers. And I apply the transformation. And here we have the texture looks much more as though it wrapped around the sphere. Again. Thanks for watching. See you in the next video. Bye-bye. 12. Importing and Exporting Brushes: Hello everybody. In this video we are going to cover how to import and export brushes. In this way, you can easily share the brushes you've made with your friends and family, or you can make them available online. You can also import brushes which somebody else has made. When it comes to sharing brushes, there's three pieces of data that we need to remember. Brush Preset. This is all the parameters of the brush. Brush. This is actually the brush tip shaped pattern. If your brush uses a pattern, Make sure you include this pattern too. So where can I find all this information? Just go to settings, manage resources, and then click on open resource folder. You will find your imported and custom brush tip shapes. Here. In the brush folder. You will find all your custom and imported brush presets here. And you will find all your imported and custom patterns here. In order to share these, just find the appropriate files here and share them with whoever is interested. If you want to import preset, that's easy too. As an example, we were searched for a preset online. We just search for Krita preset download. And we find this by David revoir. David revoir is one of the Crito Genesis. Download and decompress the file. As you can see, the resource files are here in the pre different folders, patterns, presets, and brush tip shapes. We can import these brushes one by one using this button. We only need to import the preset file, which is a dot file. If you want to import all of the brushes at once, we can do this just by copying them straight to the resource folder. Another approach in importing and exporting brushes is to make use of bundles. Just go to settings, manage resources, then create a new bundle. We can add a name, description and an icon, et cetera, et cetera, by editing the bundle. Then under Type, we select brush presets. We scroll down to all my presets and we add them to my bundle like so. We also add my brush tip shapes and we add my patterns. We can also add gradients, pellets, and workspace layouts. And with that, we reach the end of this section. Thanks for watching. See you in the next section. Bye-bye.