Krita: Filters, Layers and Masks | Paul Gieske | Skillshare

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Krita: Filters, Layers and Masks

teacher avatar Paul Gieske, Digital Art Enthusiast

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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

15 Lessons (53m)
    • 1. Introduction

      1:26
    • 2. Filters Overview

      4:43
    • 3. Example: Blur

      1:42
    • 4. Example: Desaturate and Colorize

      3:49
    • 5. Example: Gradient Map

      1:21
    • 6. Example: Phong Bumpmap

      3:43
    • 7. Overview of Different Types of Layers

      3:28
    • 8. Example: Edge Detection

      2:29
    • 9. Example: Seamless Tiles

      7:44
    • 10. Masks: Transparency

      2:58
    • 11. Masks: Filter

      2:51
    • 12. Example: Ghost

      4:35
    • 13. Masks: Colorize

      3:43
    • 14. Masks: Transform

      2:13
    • 15. Course Conclusion

      6:39
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About This Class

This class is the 5th installment in my Krita series. In this class we will learn all about using Filters, Layers and Masks to add cool special effects to our digital works. Have a look at the roadmaps to get an idea of what to expect from the class as well as the course.

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Paul Gieske

Digital Art Enthusiast

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Transcripts

1. Introduction: Hello everybody and welcome to this section. In this section, we will be learning about theaters, layers and masks, filters, layers and mask are extremely useful and it's one of the main advantages that digital painting offers us above the more traditional painting. We can use the filters, layers, and mass to adjust all sorts of aspects of a painting. And we can provide cool special effects. In order to follow this section easily, you should ideally already have some knowledge of Krita. You can find this information in the first section of the course. We will also be making use of transform to blending and blending modes. In this section, we will start off with layer styles. Their styles are pretty straightforward and mimic some of the options available in Photoshop. Next, we will cover filters. With filters, we can provide all sorts of special effects. Then we move on to layers. We discuss clone layers, the outer layers, fire layers, and local selection. After that, we talk about masks. We will cover transparency masks, filter masks, colorized masks, and transform masks. As usual, there are lots of exercises and examples to guide the way. So don't hesitate and let get started. See you soon. Bye-bye. 2. Filters Overview: Hi everybody. In this lesson, we are going to learn about theaters where there's our special effect algorithms applied to a layer. We have a whole bunch of filters. Each filter applies a different special effect. Let's start with a single example to show the general principle. First of all, I select the layer two, which I want to apply the filter. Next, I go to filter blur. A window opens and a number of parameters appear. If I have pretty checked, I can immediately see the effect it has on the layer. I'm going to increase the blur by increasing the radius perimeter. As you can see, the amount of blur on the layer increases. Once I'm satisfied with the parameters, I can either click on OK. Or on create a filter mask. If I click on OK, the theatre is immediately applied and the original picture is overwritten. If I click on Create filter mask, it adds another layer. I can activate and deactivate this layer at we'll, this is useful because I can easily go back to the original and modify it. I can also adjust the parameters of the mask by right-clicking on the filter layer and selecting properties. I can apply the filter effect permanently by flattening the layer. As you can see, there are quite a lot of filters. A lot of those theatres are meant for very specific applications. I don't want to waste your time and my time by getting bogged down into detecting technical details of each theatre that would be kind of boring. Instead, I will give you a very brief rundown of the filtered categories so that you get the general gist of it. And then we're going to cover a handful examples to give us an intuitive grasp of some of the common uses of the filters. Then once you have a good understanding of the basics, you will be in a good position to look up the specifics of any filter you are interested in. You can find a brief summary of each filter online in the reference manual. Just go to creat a.org, click on learn, and then go to reference manual filters. So next, we will have a very brief rundown of the main filter categories, but just vertice, modify the color and contrast. These filters include, amongst others, to burn and dodge, which darken, enlighten. Author contrast. These saturate, which turns the color to black and white and invert, which inverts the colors. Artistic theaters apply a special transformation to the layer. Some interesting examples are oil paint, pixel eyes, and raindrops. Next, we have four different types of blur. And then we have some theatres which manipulate the color channels. For example, with color two alpha, we pick a color and then filtered converts that color to transparent. We also have edge detection theaters. Using this filter, we can identify the edges in a layer with height to nano map. We can convert a height map into a normal map. This can be very useful if you are interested in painting texture maps for 3D models. Emboss creates a series of highlights and shadows. This gives the layer 3D look. Next, we have the map theaters. Some useful filters here are gradient map, which maps the color of a gradient onto a layer depending on the lighters or fund map, which first assumes that image to be either a height map or a normal map, and then shines different colored lights onto it. Ty, or can also be useful in particular when working with seniors tiles. And finally, we have other filters. These include noise, which adds noise aesthetic to the image. Random pick, which adds a small random distortion to the edges of an image. And wave which distorts the image with a waveform. Okay, that's all for now. Be sure to join me in the next couple of lessons in which we will be walking through a couple of examples. Bye-bye. 3. Example: Blur: Hi everybody. In this example we are going to demonstrate the blur filter. We will apply the effect to this diamond. We start by duplicating the layer and moving the duplicated layer below the original. Next, we add a blurb theatre. Increasing the strength of the blur, we immediately see a glow effects appear. We can do the same with Gaussian Blur. Gaussian Blur is basically the same as blur, but it uses the bell curve to make a weighted blurring. Another kind of blur is the motion blur. This is simply a blur applied in a direction. You may have noticed that the Glo Ora is not a uniform color. This is because the duplicate does not have a uniform color. We can change the color of the globe by modifying the glow layer. First, let's make the top layer invisible, and let's undo the blur effect by pressing control zed. Next, we lock the alpha and plate over the diamond. Then we add the Burgtheater. The color has changed. That's all for now. Thanks for watching. Bye bye. 4. Example: Desaturate and Colorize: Hi everybody. In this example, I'm going to talk about the D saturate and HSV balanced filters. These filters are used to change the color of a layer. One useful application of this is during the construction and sketching phase. Typically, one would make it Construction layer to add the basics forms. One would have a sketch on top of that. One might also have some reference lines denoting the important proportions. I could draw all these layers in gray and vary the capacity of each layer to easily distinguish between them. Another approach would be to give each layer its own color. Once I've chosen a color for a layer, I might want to change it later. First of all, here I've drawn the reference lines in orange and the construction lines in gray. If I change my mind and want the reference lines in gray, instead, I can easily use the desaturate filter. Another option would be to use the HSV adjustment. Here I can shift the hue to the left or the right. And I can increase or decrease the saturation or the lightness. I convert orange to a bright red. If you do not know what hue saturation and value means. By the way, you can learn about this in one of the appendices in the section about coloring and painting. Next, let's change the color of the construction layer. As you can see, changing the Hue has no effect since we started with a grayscale layer, we need to check colorize first. I would draw a basic sketch in green and a detail sketch in black. A third option is to use color adjustment curves. In this case, I see a graph with input lightness on the horizontal axis and an output lightness on the vertical axis. This graph would take the value of the layer and map it according to the graph. So for example, I can increase the contrast like so. In this case, are the dark areas are mapped to black and other light areas are mapped to white. Intermediate areas are nabbed by this straight linear line between black and white. If I flatten the curve like so all the values are mapped to black. Or if I reverse the curve than the light parts are mapped to dark and dark parts are mapped to light. So in other words, it inverts the mh. I can also apply a curve to each RGB and eight channel individually. Or I can apply the curve to the lightness. In this case, for example, I remove all the red from the image. Or I can keep a constant red tint. Or I could invert the blue, for example. So that's all for now. See you in the next video. Bye-bye. 5. Example: Gradient Map: Hi everybody. In this video, we are going to demonstrate the use of the Gradient Map. And using gradient maps, we can map a color gradient onto an image depending on the darkness and the lightness of the original. For example, we start with this grayscale image. We add the theatre and we select a gradient. As you can see, the light parts become rent and a dark parts become yellow. You can pick an existing gradient here, or you can make a custom gradient using these stops. Unfortunately, in my version of Krita, it only works with two stops. This is a bit of a bug. In theory, we should be able to add a third color and in fact any number of colors to the intermediate parts. This bug has been reported, so hopefully it will be fixed in one of the later risk leases. But until then we would just have to be patient and make do with only being able to apply to Kellogg's with this filter. This filter is very useful in adding stylish color scheme to your image. Okay, that's all for now. Thank you. See you in the next video. Bye-bye. 6. Example: Phong Bumpmap: Hi everybody. In this video, we are going to demonstrate another cool filter, the bump map. A bump map theatre assumes layer is either a bump map or normal map and then simulate a light shining on it. So what is a bump map and a normal map? Bump map converts a typically grayscale image into a height map. The lightest areas correspond to the lowest parts. Who are the darkest area can correspond to the highest parts. When a light is sharp Punnett, the slope of the bump map catches the light. A nano map, on the other hand, encodes the slope directly. The red, green, and blue values are used to define a direction for every pixel on a canvas, this direction corresponds to the normal of the slope at each point. But I won't bore you with technical details if you are interested in learning about bump maps and normal maps, this website explains it quite well. For now, we will limit ourselves to bump maps. So let's start with a white layer. Remember that transparency is ignored and won't influence how light or dark the pixels are. So transparency will have no effect on the bump map. So we don't draw on a transparent layer because that would cause different results. As we know, we can drop bombs onto this canvas. The darkest part will correspond to the tops of the pumps. So I will just draw something like this using an ambush. Now, we shine a light on it using the theatre. We can see the material properties like shininess, et cetera, over here. If you want to learn more about how different materials interact with different types of lighting, then you can look at my appendix in my section on coloring. And we can set the light properties over here. We can shine up to four lights, but they must be distant lights. We don't have the option to add point lights. For example. We can set the color of each light. We can also set the angles of the light source. Inclination is the angle above the, what I call horizon. So when it's 90 degrees, it's straight ahead and the light is shining straight down onto the layer y at 0 degrees, it's like a sunset. The light is coming in from the one of the sides of the layer. The Asimov determines the angle at which the light comes in, either from the top, bottom or one of the sides. And that's it. Congratulations. Now you are more or less proficient in using theaters. As mentioned, we haven't covered each vertex in detail, but I think we've got the gist of it. We will be covering some more filters in the remainder of this section, but not all of them. Remember, it's not necessary to know all the filters. I don't even know all the filters myself, but the more the merrier is what I always say. So every filter you now one more tool in your tool belt. So if you are interested in learning more theaters, please do. You can find a lot of information online and just by messing about with them. As for the remainder of this course though, we will be moving on to the next topic, namely special layers. See you soon. Bye-bye. 7. Overview of Different Types of Layers: Hi everybody. In this video we are going to talk about special layers. So let's just get started. Paint layer and group layer are not special. They're normal layers and we've already seen them. Next up is clone layer. The clone layer creates an exact copy of the current layer. I cannot draw on the Clone layer directly, but I can move the layer and apply filters to it. Any changes I make to the original layer is immediately applied to the Cologne layer. Flow layers can be useful for all sorts of purposes. For example, I can make a drop shadow like so. This drop shadow will update immediately as I changed the original layer. Or I can make the glow effect like we did in an earlier example. This time, if I change the original, the glow will automatically be updated. We can also make a grid of many clones by going to layers, split clones array. Now, I can make a two-by-two grid of clones. As you can see, preclosed layers have been added, even modify the original, Each of the preclosed immediately updates. Next we have vector layers. Vector layers we can add and modify vector shapes. We have discussed this in a previous section, namely intersection, getting an ink and so have a look at that. If you're interested. Then we have filter layers. A further layer is simply a filter. The filter is applied to all those layers which are both in the same group as a filter layer, as well as those layers which are below the filter layer in this column. Moving on, we have file layers. Layers, import external files. We cannot draw directly onto the file layer. But if we update the original file, then the vector will be updated in the descriptor file poo. After that, we have a bunch of masks. I will not be talking about masks in this lesson, but we will be talking about masks a little bit later on. And then finally, all the way at the bottom, we have local selection. Locus selection is a way of storing in the selection. Let's say we've spent a lot of time selecting an intricate and complicated area. Then if we want to paint another part of the painting and we don't want to lose the area we've selected. We can link this election to the current layer. In that case, when we jumped to another layer and remove the selection. And then if we move back to this layer, the selection reappears. That's all for now. Thanks for watching. See you in the next video. Bye-bye. 8. Example: Edge Detection: Hi everybody. In this lesson, we are going to demonstrate using filter layers to combine filters. We will also be demonstrating edge detection and color to alpha filters. We will be making a kind of stylish art like this. So let's get started. First of all, I start with a grayscale image. I go to Filters. Edge detection, edge detection. As you can see, white edges appear. The rest is colored black. We need to combine this filtered image with the original image somehow. So let's click on cancel four. Now, we add a duplicate to the original layer. And we select the layer in the foreground and apply the filter again. Okay? We want to do two things right now. First of all, we want to make the lines black. And secondly, we want everything that's not aligned to become transparent so that we can see the original layer beneath it. We do this with filters. Unfortunately, I can't apply a filter to filter layer directly. So instead of that, I will use a new filter layer. First we create a group layer. Then we add a filter layer above it. We set this filter layer to invert. Next, we add another filter layer and we choose color to alpha. Make sure that you have white picked as a color which should be transformed to alpha. And there we have it. We could have also achieved the same result by flattening the filtered layer each time. But the advantage of this method is that we can still update the original drawing and we can adjust the parameters of the filters at any time. The downside of this, however, is that it takes up a lot, quite a lot of computational resources. So it might be a good idea to flatten the group layer once you're ready with it. Well, that's all from me for now. Thanks for watching and see you in the next lesson. Bye-bye. 9. Example: Seamless Tiles: Hi everybody. How's it going? In this video, we are going to demonstrate how to, first of all, create a seamless tile and then how to use a grid of clones to create a pattern like this. We will start with a square canvas. Just use one of the texture templates when creating a new document. Press W to go into wraparound mode and press Control a to select the whole canvas. This is not strictly necessary, but I like keeping track of where the canvas actually is. After that, we sketch out the location of the bricks. Because we are in wrap-around mode, it's super easy to make sure the bricks are seamless. After sketching out the location of the bricks, we color it in basic colors. Once we're done with that, we can add some shading and highlighting. We use screen and Multiply blend mode to pick the shading and highlighting colors. We use alpha inheritance as usual. If you don't know the stuff, you can learn all about it in the section on coloring. We also add some shadows to the cement layer. Now we have a basic brick. We want to add some texture to pick the brush texture big. To do this, I tap repeatedly on the bricks. I use control too often, pick a color in order to blend the results a bit. Finally, I add some texture to the cement to for that I use a chalk grainy. I also want to increase the contrast of the cement a bit. For that, I want to use an HSV adjustment filter. Then I darken it a bit more and I add some shading to each brick. When I'm done, I export the image to P and D. We've seen in the previous section how we can use similar styles in our custom brushes. Next, I'm going to show you how we can use a grid of clones to create a large area of tiles. First of all, we start with a new document. We important tire, which was saved as P and G. And we move to the middle. Then we go to layer split clones array. Here we can set the grid size, let's say Prebisch. The upset was set automatically based on the tile size. As you can see, when I click on apply, a new group layer appears with a grid of clones in it. We can adjust the offset like so. We can add clams in the other direction too. And we can also shift the clones on each row or column a bit. For example, shifting each row, we have something like this. If we want to tile the tiles along a diagonal line, we can adjust the angle. In this case, we can also set the corner to corner distance here. Setting these would automatically calculate the necessary x and y offset. This can be handy. For example, if you are creating isometric tiles. Once done, we click on OK. Remember that we can modify the tired anytime and all the clothes will follow suit. Once I'm satisfied, I can make a hardcopy by merging the group. And here we have a grid of seamless tiles. Thanks for watching. See you in the next lesson. Bye bye. 10. Masks: Transparency: Greater transparency mask. Hi everybody. In this video we are going to start learning about masks. The first mask we will learn is the transparency mask. So let's get started. Shall we? Here we have a house. It's not the best house I've ever driven. But for demonstration purposes, it will do this layer below. I've drawn the inside of the house. There's a little green guy waving at us through the window. Now, normally we'd be able to see the guy waving at us through the window, but the window is opaque. So let's make the layer transparent. This is obviously not going to work. Now we can see the guy, but obviously the walls have also become transparent and that's not what we want. How are we going to solve this? One thing we could do is cut out the glass using the selection tool painted to another layer, and then make that layer transparent. This is a perfectly acceptable way to do it. But we're not gonna do it like this though. We are going to do it in another way. We are going to use a transparency mask. We transparency masks. We can make only parts of a layer transparent. First, I will undo until we get back to where we were. Then, since I've already made the selection, we may as well, And this selection to the local selection. And then we add another layer painted completely white. And then move this election to the white layer and paint the selection completely black. This black and white layer will form our transparency mask. The white part remains completely opaque and the black parts become completely transparent. Right-click on the layer, convert to transparency mask. This transparency mask has been applied to the house layer. But I could easily apply the mask to any layer I want. In this example, I used black for the window and it became 100% transparent. I can also use the Cray and it would only become partially transparent like so. So what's the advantage of using a mask anyway? The main advantage is that now I can paint transparency straight onto the layer. I can easily paint all sorts of intricate patterns. And that was all for now. See you in the next video. Bye-bye. 11. Masks: Filter: Create a filter mask. Hi everybody. In this video we are going to talk about filter asks. Further, masks are just the same as transparency masks. So in other words, we create a grayscale image. The light parts correspond to the areas where the filter is applied. The dark parts correspond to the areas where the polluter is not applied. And in grey parts filter is only partially applied. As an example, I will create a burn and dodge mask. First of all, let's create a bird mask. The bird mask is basically black and in white is written burn on it. So the filter will be applied to the white parts. The Dutch mask is the same, a black background with Dodge written on it in white. When we apply the theaters and fiddle around with the parameters a bit, we get the following results. Dodging and burning, by the way, derive their names from photographic techniques whereby certain areas of the photographic film were given more or less exposure during the development of the photographs, doesn't burn, mimic these effects digitally. Another possible technique is to create, create a gradient like this first, and then apply a filter. For example, the pixelized Theatre. In that case, the top left corner would not have the filter applied, while the bottom right corner would apply the filter pulley. And in the gray zone there would be a transition between the filters. That was all for now. Thanks for watching. See you in the next example, my Bye. 12. Example: Ghost: Hi everybody. In this example, we're gonna create a ghost-like this using filters. We will start with this simple Cox. The first thing we do is create an ominous cloudy background. Let's add a white layer. We modify the airbrushed lit up by giving it a smoky tip. And let's tap this cleric texture onto the layer. We add a group layer and a filter layer. The filter should be a fun bump map. We set the ambient and specular components to 0, and we change the lighting parameters a bit. Finally, we pick an orange light on the so-called horizon on the bottom left of the canvas. Let's duplicate the original cloud and rename all these layers. We want to add another filter to the group, this to make the highlight layer transparent. Let's just adjust the color a bit. Next, I want to adjust the contrast of the background clouds. Something like this should be fine. I will add a little blood to the highlight layer. That's enough for the background. Let's move on to the ghost. First we make a clone layer. We lower the clone layer and add a blur filter, as well as an HSV adjustment. This is because I want to make the glow green. Now, let's rename these layers so that we can easily keep track of them. Next, let's add a transparency mask to be grossed. We use a gradient to make the top opaque and to make the bottom transparent. As you can see, the transparency mask immediately applies to both the original layer and the clone. This is not necessarily what I intended, so I will undo this. I will first flatten the clone layer to convert it to a paint layer. And then reapply the transparency mask. And let's make some final touch ups. We can easily modify the parameters until we're satisfied with the final result. And thanks for watching. Bye bye. 13. Masks: Colorize: Hi everybody, WhatsApp. The next mask we will talk about is the colorized mask. The colorized mask is a fast way to color in line art. This mask is new to create aversion 4.0. So let's say you spent a long time creating some beautiful liner to then the next step is to color it in. The person will do is add a colorized mask layer. We scribble in areas we want colored in. And when we're done, we click on the refresh button to coloring the areas. We can toggle the scribbles using this button, and we can toggle the colored in areas using this button. If I want to make change, I just add or remove some scribbles and I refresh the mask again. In addition to this mask, we also have the colorized mask editing tool. When using this tool, we can modify the colorized mask options. First of all, we have the update button, which is just exactly the same as this button here. And we have the Togo scribbles checkbox. And we have the toggled color areas checkbox. If I enable limit to layer bounds, only the part of the layer where strokes or scribbles occur will be colored in. Activate edge detection can be used in case your line art includes large solid areas. Gap close hint is used to avoid leaking proves small gaps between strokes. Cleanup will handle message strokes. And there we have a list of color areas used. I can make any of these transparent or I can remove the areas if I want to replace them with another color. Once done, we can convert the mask into a paint layer, and we can split the paint layer into multiple color Islands. This makes it super easy to shade and highlight the various Teller Islands. That's all for now. Thanks for watching. See you in the next lesson. Bye-bye. 14. Masks: Transform: Hello everybody. How's it going? In this video, we will finally talk about the transformation mask. Transformation masks apply a transformation to a layer. This transformation can then be activated and deactivated. One advantage of this is that we can easily apply the same transformation across multiple layers. For example, let's take the wall we drew earlier, and let's apply a perspective transformation to it. After applying the transformation, I want to add some graffiti. I draw this on top of the wall and then apply another perspective transformation on the graffiti layer. This needs a lot of fiddling around until I get the proportions right. And it's hard to place the graffiti exactly where I wanted. So an alternative option is to use a transform layer. In this case, I first apply the mask and then apply the transform. I can make the mask visible and invisible like so now, I temporarily make the mask invisible. In other words, I temporarily deactivate the mask and I draw the graffiti straight onto the wall exactly where I want it. Once done, I can move the mask to affect only the graffiti layer. Or I can move it here to affect all the layers within this group. So that was it. Now you should be familiar with layers and masks to thanks for watching. That brings us to the end of this course. And I hope it was helpful and entertaining. Bye-bye. 15. Course Conclusion: Hi there. If you are watching this video, you probably made it all the way through the course. Good job. You've learned quite a lot about Krita, almost everything. There are still a handful of topics that I have not covered. These are features that I rarely use, but you might find them useful. So in this final video, I will give a brief rundown of some of those topics which may be useful to you. I will leave it to you to decide for yourself which of these topics is worth studying more closely. So fasten your seatbelts and here we go. Number one, grids and guides. I can open a grid and guide Docker here. I can set the grid properties. And I can also add guides. In order to set guides. First, I display the rulers and drag the guides onto the canvas. You can also check out these menu options for similar results. Number to snap settings. Using Snap Settings, I can precisely move and copy selections. Number three, One thing I forgot to mention, using the transformed tour, holding the Control key down, rotates the object in three-dimensional space. Pretty cool. Number for printing considerations. Many of you will want to consider printing your digital art. Unfortunately, this is not so simple. Who knew that mixing red, green, and blue light turns out to be not quite the same as mixing cyan, yellow, and magenta ink. For this, the following tools come in handy. Self proving gives a preview of what the image looks like using the CY MK counter space. Combined with soft proofing, we also include an out of gamuts warning. This will show all the areas where the color is being clipped. You can also set the soft proofing preview under Settings configured Krita color management, soft proofing. Number five, smart patch tool. This is a new tool, critter 4.0. We can use it to easily and seamlessly delete foreground objects. Number six, saving and loading Docker layouts. We can save the current layout. We can load other layered to, for example, defaults or minimal or animation. Number seven, macros. If you have an action you repeat often than macros match, save you a lot of time. Recording, editing and playing macros can be super useful. This actually is buggy in my version of Krita. Hopefully, future versions of Krita will fix this. Number eight, normal maps. If you are interested in creating textures are pretty monads. You should definitely check this out. First of all, there's the height to normal map theatre. And there is also a tangent, normal brush. More Brush Indians. Speaking of brush engines, you should check out some of the other brush engines too. As you know, different brush engines are governed by different algorithms. Luckily, the perimeters are generally pretty similar. For example, the wet brush, it uses a different algorithm, but the parameters are the same. Another interesting engine is the transform engine. We can use these three pre-programmed brushes or that always the perimeters to create a custom transform brush. Also pretty cool is the third brush engine. With this, we can paint the utter affects directly onto a layer. How cool is that? Number ten, document information? You can set the document information here. There. You can set the title, subject, description, etc. Yes, that's right. Finally, the document won't be called unnamed anymore. And finally, number 11, animation. This is one elephant or a topic that I have neglected in this course. Creator has a capability to do frame-by-frame animation. The reason I did not cover it is simply because I hate frame by frame animation. And just kidding, I think frame-by-frame animation is awesome. But I, for one, don't have the talent or patient and made like that. I need tweens. So I never use critter for animating. If you're interested in learning to animate, I'd recommend Open tunes. Open terms is a really good open source animation software. I won't be covering any of these topics in any further details than that. By now, you should easily be able to find any kind of information you need online if you are working on one of these topics or another topic and you've gotten stuck, then feel free to let me know in the comments and hopefully I will be able to point you in the right direction. That's all from me for now. It's time to say goodbye. I hope you enjoyed following this course as much as I enjoyed making it. And I hope you found that useful. But above all, I hope you go on to draw some amazing digital art. Thanks for watching and see you next time. Bye-bye. And that's all from me for now. Thanks for watching. It's time to say goodbye. I hope you enjoyed taking this course as much as I enjoyed making it. And above all, I hope you go on to make some beautiful digital artworks. Thanks for watching and see you next time. Bye-bye.