Krita - Getting Started | Paul Gieske | Skillshare

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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

17 Lessons (1h 14m)
    • 1. Introduction

      1:37
    • 2. Quickstart (for Krita 4.0)

      5:24
    • 3. Note: Krita Updates to version 4.0

      1:57
    • 4. Brushes (for Krita 3.3)

      4:28
    • 5. Brushes (for Krita 4.0)

      2:15
    • 6. Example: Wood

      3:15
    • 7. Customizing the User Interface

      2:42
    • 8. Layers

      3:13
    • 9. Basic Tools

      6:01
    • 10. Example: Face

      9:40
    • 11. 4 Tips to Improve Your Workflow

      2:32
    • 12. Exercise: Cactus

      5:26
    • 13. Example: Cloud

      5:30
    • 14. Exercise: Wood

      5:28
    • 15. Appendix: 8 tips drawing steady strokes

      5:10
    • 16. Appendix: 6 tips to stay motivated

      7:09
    • 17. Appendix: How to import the old brushes

      1:51
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About This Class

Welcome to section 1 of my course Essentials of Digital Illustrations with Krita.

Krita is a highly acclaimed digital painting software, and it is completely free and open source. Getting started in digital illustration without splurging on license fees has never been easier.

This section is targeted at the complete beginner, and covers taking the first steps in digital illustration. The course provides a strong introduction both into the Krita software, as well as into digital illustration in general. Take a look at the roadmap of section 1 to get an idea of the contents.

You can get the resources for this course on my website: https://paulgieskeblog.com/CourseDownloads.html

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We will learn:

  • To create basic doodles
  • Some commonly used brushes
  • Layers and basic tools
  • Construction and sketching
  • Coloring and shading
  • Lots of tips on drawing with a graphics tablet, increasing productivity, and keeping up the motivation

This is section 1 of the course. The following road map gives an overview of the course as a whole.

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Meet Your Teacher

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Paul Gieske

Digital Art Enthusiast

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Transcripts

1. Introduction: Hi there. Welcome to Section one off my course Essentials off Digital illustration with Trita. This section is targeted at the complete beginner, and it covers taking the first steps in digital illustration. By the end of this section, you will be able to create digital paintings like this in Creator Critter is a highly acclaimed digital illustration software, and it's completely free and open source. If you want to get started digital administration without splurging on the license speeds, then this is a great place to start. Here we have a road map of this section. In this section. We were starting learning to create basic doodles. Next, after learning about the basic brushes, we will learn to create a basic wood texture. After that, we will move on to learn about the basic tools and preto. This will enable us to reach the next level, and we will be able to draw something like this. Finally, I give some general practice and productivity tips, including advice on getting used to drawing with a graphics tablet. This will lead up to Level four in the road map, and we will be able to draw something like this so don't hesitate and start to learn. Digital illustration with creator Now 2. Quickstart (for Krita 4.0): I know everybody and welcome in this video we're going to jump right into sketching with Preta. Version 4.0, you can tell which version you have by clicking on help about Preta. We were quickly get an overview off the user interface, discuss some of the brushes and talk about the advantages off using a drawing pad over a mouse. Here we have an empty file. The first thing to do is to start a new document. Click on file New. We can choose from a variety off templates. Let's choose designed templates and pick the 1st 1 here was that with an empty canvas? Take a moment to look at what we have in the middle. We have the canvas where we will be drawing and painting. We also have a bunch of so called doctors open on the left. We have the tools Talker. This contains a list of the tools we can years on the right. We have some more doctors on the top. We have a color selector. Ducker knows we have three tabs here. These are actually three different doctors. Click on the tabs to inspect them. We have the advanced color selector the twos options and overview the tools Options Stalker is a very useful ducker, and we will be learning more about it later. Above the canvas, we have a toolbar. This toolbar gives some buttons and options related to the brush on the bottom. Right. We have two more duckers layers and brush presets. These doctors are pretty useful, and we will also be discussing these later. For now, let's click on the brush presets tab. First, make sure you have all selected in the drop down list. Here we have a list off the default brushes, which come with creative version 4.0. There are quite a lot off brushes. Don't worry. There's absolutely no need to be familiar with the more Let's narrow down this election and twos digital from the drop down list, this brush is called basic five size. Look at the bottom left to see the name off the brush in the two docker. Make sure the brush tour is selected, then draw on the canvas. It's a big black line we can use. One of the color picker is to change the color with which we draw. If you are on a graphics tablet, you will notice that the wits off the line is not constant. The width of the line depends on the pressure you used to push down on the tablet. This is extremely useful. Try it out yourself, pushed on lightly for a pin line or pushed down strongly for a PICC line. If you're using a mouse than the wits and the line is automatically set to maximum, I'm not saying that it's impossible to draw with a mouse. But this precious pressure sensitivity that comes with using a graphics tablet makes things much easier. I'm using a relatively cheap Wacom CT Air 471 At first, it's pretty difficult to draw steady lines like this, but practice makes perfect, and critter has stabilizers to help with this. Now let's pick another brush. Let's pick this one basic five size opacity. As we draw with this, we see that the brush has fire, has different characteristics. First of all, it's lighter in color. This is because it is partially transparent. The opacity is pressure dependent. Push down lightly to get a transparent line pushed out strongly to get on a PICC line. Now let's go back to the opaque brush, we can change the maximum size of the brush up here. If we change the breast size, the width of the line is much larger. A super handy shortcut is to hold down the left shift key and draw a horizontal line on the canvas. Try it yourself. Drawing to the left makes a size smaller and write to the Wright makes a size larger. We can also change the opacity of the paint here. Please note that changing the opacity and the breast side here is only temporary. Finally, let's have a quick look at organizing the brushes. We want to use the this brush more often so we can create a tag for it. Let's create a tag named favorite. Then let's go back to the brush and right click on it and click assigned to tags. Favorite. Congratulations. You have unlocked skill. Everyone you should now be able to create some do does increase out. Why not draw some dude? Oh, like this 3. Note: Krita Updates to version 4.0: Hi, everybody. As many of you know, Krista has recently updated to 4.0. That's really good news Banias for me because all of a sudden all the brushes have disappeared. So in fact, that sounds like a pretty big change. But really, it's not that big a change. But from a beginner's point of view, this can cause a pretty big confusion. Not to mention that I have recorded the videos so far in Virgin 3.3. It's not really feasible for me to re record them because I just simply don't have the time . So I decided just to add some update videos explaining the biggest changes. But the examples will remain the same. In other words, the examples are still using the old creature brushes. As for you, you have two options. The first option is to go and download the old critter version brush pack and follow this course using the Creator version 3.3 brushes. If you choose to use the old brush back, I have created a small appendix at the end of this section to show you exactly how to do that. Your second option is to use the equivalent brushes in Crete a 4.0. I have created a small video showing which brushes are equivalent to the ones in creative 3.3. Other than the brand new pressed pack, there are no radically new changes in the new version of Creator, so the tutorials are still completely relevant. So sorry about the inconvenience. I would love to re record all my lessons, but I really don't have time for that. Good luck. And please enjoy the videos. My mind. 4. Brushes (for Krita 3.3): Hi there. In the previous lesson, we got an overview off the creature interface, and we learned about the brush preset Ducker. In this lesson, we will be taking a closer look at some of my favorite brushes. You have no doubt not. There are a huge number of brushes. There's no need to feel overwhelmed by then. You don't need to know them all. A lot of people use only a set of four or five brushes and create the most amazing works of art. Also, on the long run, we were getting more intuitive grasp about how that brushes work. We will understand a brush just by looking at the icon. In the meantime, feel free to experiment with the different brushes just for fun. It's absolutely not lessened necessary to understand all of them. In the meantime, let's have a look at the brushes we will be using in this cars. First up is a fierce circle brush in which we have seen in the previous left. It has a sharp edge of variable, it wit on a constant capacity. This makes it good for coloring large areas with a beautiful color. It can also be used to create Leinart. Next, have a look at the brush ink bullpen on a side note, the's brushes are raised in alphabetical corner. If we click here on details, it's a bit easier to find specific brushes. We can also use this text fear to search for a particular brush. Anyway, Let's put this pen amongst the favorites and try it out. The brush was designed to mimic a ballpoint pen. If we pushed down softly, the result is light, and if we increase the pressure, the result is dark. Also, the brush size changes, but just a little bit. If I increase the size of the brush, I can see a grainy texture. I use this brush typically for sketching another useful brushes. The ink deepened. 10. This is similar to feel circle. The difference is, is that the edges a bit softer and the line fit, which doesn't very much. This is also good for line art. Next up, we have bristles. Harry. This is a classic print paintbrush. The capacity varies and the brush has a strange shape. The brush is useful for laying down the basic light and sharing. We will speak more about that later on moving on. We have to your razors, the soft edge razor and the hard at your razor. I don't think I need to explain this in further detail. And last, but certainly not least, we have the airbrush pressure. The airbrush is typically quite transparent, with a very, very fuzzy edge. The airbrush is useful for shading and highlighting and for you making a one color blend where into the next. So this was a story off the brushes. Add them to your favorites tag. Remember, there are no hard and fast rules and using brushes, you might use them in a specific way. But there will be other people that use them in a different way, So feel free to experiment until you find your own style. So thanks for watching. In the next lesson I work, use an example to illustrate the power of using the brushes we have just learned. So your next time, bye for now, 5. Brushes (for Krita 4.0): Hi, everybody. In the previous lesson, we discussed my favorite brushes in Crete, version 3.3. We will be using these brushes throughout the examples off the 1st 3 sections in version 4.0. All of these brushes have disappeared. But don't worry. You have two options. You can either install the version three point free brushes alongside of the version for Russia's. I will show you how to do this in the appendix. Your other option is to use the version 4.0 equivalents. In this video, I will show you which brushes are equivalent to which they're not exactly the same, but they come pretty close. Okay, let's get started. First of all, let's look at feel circle. This brush is replaced by be basic five size. Next Inc Ballpoint does not have any obvious replacement that I can see. But, hey, I only use it for sketching anyway. So let's just replace it with C free large for B ink deepened 10 is a variable wits incline useful for Leinart. A suitable replacement for this is ink free Japan. Next we have bristles. Harry. We can replace bristles Harry with bristles for plays. Thankfully, we raise our hard and soft. Both still exist in Crete, a version 4.0, so we don't need to replace them. Also, the airbrush still exists, so I'd recommend using these brushes as replacements. If you prefer to use the version pre 0.3 brushes, you can still import the old brushes. Do this according to the instructions in the appendix of this section. Thanks for watching. Bye bye. 6. Example: Wood: Hi there. In this video, we're going to create this wooden surface. We're going to start by picking a color palette. I choose a brown for the base color. This is like the average color of the surface. Next I pick a shading color, and I paint a darker color here for reference. They also pick a highlight color. The highlight color should be lighter than the best color. After that, I'm going to the rectangle selection tool, and I create a square shape here. Next to go back to the brush to I hold down control the curse. It turns into a pit pat, which this pip it. I can pick my brush color. I picked the base color. I paint inside the selection, as you can see as the brush leaves a selected area, it does not paint, so it only paints within the selected area. Next, let's change the brush to bristles. Remember that this brush is transparent and the transparent. The transparency there is with the pressure. I'm gonna paint vertical strokes with a much larger brush. The result is not uniform. Vertical stripes appear in the base. Next I picked the highlights color and I repeat the process. You can try adjusting the capacity to experiment with the effects. Then I repeat again with the shedding color and so forth and self off. Next, let's pick a more detailed brush and let's become even darker. Color has had some vertical lines you could press controls Zet undo under and some horizontal lines. And there we have a pretty reasonable wooden surface. We're still going to refine this by adding more shading and detail. So but for now, it's a pretty good start, and it was pretty quick and easy to do. That's all, thanks to the flexibility we have at our fingertips. Congratulations. You have reached Level two. You can now paint basic textures. This example illustrates just one technique of how this brush convey used. There is never only one way to get a camp bell. There's always much for ways of doing things. The more you practice and the more different techniques to try out, and the more you get a feel like for what each brush can do, the more you will be able to develop techniques of your own. So thanks for watching. Have a nice day and see you in the next lesson. But I 7. Customizing the User Interface: Hello, everybody. Previously we familiarized ourselves with the juicer interface. Next, we're going to learn a bit about how to modify the user interface without to our own tastes . We've seen that user interface consists of the canvas and the Dockers. In this lesson, we were learned how to add and remove duckers and how to move duckers around. First, let's add a docker. I pick click on settings Docker and I see a list of available doctors. I can check a ducker to add it. Here. I see that we've added a pallet docker, and I can uncheck the ducker to remove it again. Furthermore, I can move the duckers around, click and hold on the menu, bar off that ducker and drag it where you want it. If I drag the ducker above the canvas than the doctor floats, I can as a doc, the ducker, in the window by moving it to one of the window edges. The light blue rectangle shows aware that Dr will end up when they released the left mouse button. I have a particular away that I like to arrange duckers because I find it more convenient. You can arrange the doctors anyway you like. It's completely up to you to avoid confusion. I will now show you how I are inch my doctors. I like to have my to bar all the way on the right. Next I put my layers, doctor on the left. I put the brush presets below the layers and I put the advanced color selector and the color slider in the same place as a brush presets. I rarely used a specific color selector, so I'm going to close it. And the two options I put all the way at the bottom. Now I'm going to resize the doctors of it. I wanted 10 of us to be as biggest possible, so I d create the wits of the left and the right duckers. I also like to see as many layers as possible and one go. So I'm gonna make my layers doctor longer. I think that was pretty straightforward. Thanks for watching. In the next lesson, we will be talking about basic shapes. Bye. For now. 8. Layers: hi there. Today we are going to talk about layers. Many of you were already be familiar with layers. For those of you who aren't, we are going to run for the main characteristics today. As you know, I have put the layers ducker on the left. We have pre layers in this picture. Lay a pre is on top and layer one is on the bottom. I can make these invisible by clicking on the I. In this way I can see what is on each layer there. One is a white background. If I make it invisible, I see white and gray squares appear. These squares did not transparency hiking. Change the names of the layers by double clicking on the text. It's good practice to do this, so I can easily see which layer is what I can change the A pass ity of each layer up here I can raise and lower the level off the layer. By clicking on this arrow, I can lock and unlock the layer with this button. This can be useful if I don't want to accidentally modify the layer. Once unhappy rip it, I can add more layers by clicking On this plus button, you can see that there are all sorts of layer types. For now, let's only concern ourselves with paint layer and grew player paint Layer is just a ordinary layer. What we've been using so far Group layer, is to help us organize our layers into groups. I can add a group layer and add other layers to it. If I right click a layer, I see all sorts off options. Cut, copy paste and remove layers, I think speak for themselves. Marge with layer below is interesting when I apply this to layers on March together. That was a very quick rundown of layers. Layers are an extremely useful field feature. When it comes to graphical art, we can do all sorts of things with flair. For example, we can create a sketch which we can hide it any time we can organize our painting into different parts. For example, one layer for the had won fair layer for the arms and so far we can use blend layers to in hearts are painting. We will learn more about that later. We can also apply filters and transformations to our layers, but we will learn more about that in another day. But for now that summarised the key points that we learned in this lesson, we can insert and remove layers. We can change the order of the layers we can set the past year of the layers. We can large layers together. That's all for now. See you in the next video. Bye bye. 9. Basic Tools: Hi there. In this video, we're going to quickly run for creatures. Basic tools. Remember, there's no need to memorize all this stuff. For now, the go is merely to have an understanding of how to use these tools. So just sit back, relax and enjoy yourself. We will be getting some hands on experience in using these tools in the next exercise. In this video, we're going to talk about five things. Basic shapes, selection tours, the move tour, the transform tool, zooming, panning and rotating first off basic shapes. These can be pretty useful, especially for beginners. This can be seen US training Weir's for digital artists. More advanced artists will rarely or never use them, but as a beginner, we can use them to help us construct our drawings. Let's begin. We will be looking at line lips and rectangle in order to draw one of them to select a tool and click and drag on the canvas. Let's have a look at some handy shortcuts. We will look at shift control and art shift is constrained if we hold down shift as we draw it constraints the resulting shape in the case off the rectangles and ellipses. It keeps a racial off, the height and the lips equal, resulting in squares and circles. In the case of a line we constrained to a specific anger, so it's easy to draw a horizontal and vertical lives. If we hold down control, the shape resize is at the center. As for art, if we hold that art, we can reposition the shape like so Finally, let's have a look at a two options. Tucker. Here we can change the settings of the current tour. We can set the field and outlined color. For example, if we set the field to foreground color, it gets colored in. Incidentally, you can set the foreground and background color appear, and you can set a pattern here. Finally, you can also set some more advanced constraints Here, for example, if I want to constrain the wits, I click on this padlock. Next. Let's talk about the selection tools, the rectangle selection tool the lips to works in the same way as we make the selection. We can hold down shift control and art to affect the resulting shape on again. We also have a polygon selection tool and a free hand selection to, I think these speak for themselves. We have also got a color selection to and a magic selection to the magic selection to is just like the color selection tour, but only selects one region at a time. I can add or remove from the current selection. I can replace a selection to make a new selection. Add add to the current current selection. Subtract removes from the current selection. The short kids for these are our A s, respectively. This could be very useful when selecting complex shapes. For example, I can use a free hand selection toe to select a shape like this. I can do it in multiple steps using, subtract and add to correct the area that I've selected. Next. Let's talk about the move to the move to is very simple. We use it to move our current selection around. We can influence which layers it affects in the tools diagram. Next, we have the transform tool no, also transforming. We can't resize, we can rotate and we can share as a resize. I can you shift to constrain emotion, or I can use art to resize the selection around the center instead of around the top left corner. We can also change the center of rotation and the center of re sizing by moving this symbol as we look at the two options we see we have a lot more parameters, but we won't talk about this for now. That's a story for another day. Finally, let's talk about zooming, panning and rotating to zoom in an ant. Just press control and space. Andhra vertical line to rotate your canvas press shift and space and draw a circle. Depend. Just hold down space and draw around. So thanks for watching. We have learned a lot. That's all for now. Bye bye. 10. Example: Face: Hi, everybody and welcome back. So far, we've learned quite a lot. Things may seem a little abstract right now, so it's time to take what we learned and making it more concrete by getting some hands on experience. So we're going to work out an example. I will guide you printer steps to create the following face. There's no need to create a to recreate an exact copy of what I've grown here. But try to copy my steps to create something similar. Tried to get the gist of it. Broadly speaking, we can split this into three parts. Part one is construction, where we draw the basic shapes but to its sketching and put frias coloring most objects that we might want to draw look like pretty complex and irregular shapes. But if you look more closely USC that most shapes can be broken down into MARTA parts simple shapes. So that means when we draw something, we can construct a complicated shape from multiple simple shapes. Anybody can draw simple shapes. It's just knowing the right proportions to put them back together again. Advanced artists usually don't bother deconstructing what they're drawing into simple shapes because they're so good at it, they can do it with their minds, I But for the rest of us mere marketers, it's useful. Teoh create every other shapes were drawing from, not for simple shapes. The cool thing about digital painting is that we can create a separate layer for drawing simple shapes, and we can use the transform and other tools to adjust and move the shapes. So let me show you what I mean. First, before we're going to select ink pen to first, I'm gonna make a Greek group layer called construction and add a layer named Crater. Honestly, I draw circle. I'm going to hold shift to make sure we don't end up with the lips. Next. For ease of reference, our split the circle into quarters using a horizontal and vertical line. The horizontal line would typically be where the eyebrows are. I also draw the jawline as a next step. I create a later named features. First, I'm going to add an eye socket using the selection tool, I mm. Move it and, um, copy and past it and move it to the other side of the first hold shift to make sure that the suck. It moves only horizontally. Let's merge these layers and let's chance the placement of the eyes a little bit using the move toe. Let's place the location and the wits of the nose now the location and the size of the years on the hairline. So now we have a basic form and rubbish proportion setting. Let's move on to the sketching phase. First of all, let's create a new group named Sketch and let's add a paint layer to the group. Let's decrease the opacity of the construction group. Select the Brush Alexe getting with and starts getting based on a construction. The good thinking about sketching as you can be as terrible at it as you like. So this is only a sketch, so we're going to refine it later. Nevertheless, if the sketch becomes too wild and unrecognizable, you might want to limit the mess you're creating using controls ed on using a soft, edgy razor, and when we're done with the sketch, we move on to the coloring phase. First, let's pick a skin color a light orange. I had another group layer called color, and for now I'm gonna place his group below the sketch group coloring can be further subdivided into more faces. For now, let's keep it simple and talk about blocking and shading and highlighting. Blocking is just coloring in with the basic colors went coloring this end. I don't need to worry about the eyes or the hairline because we will covered this later. Remember that the fear circle brush size depends on the pressure. So when I'm, uh, coloring in delicate edges, I just press down lightly. When I'm feeling in large areas, I can push down strongly on the breast becomes big. Next, a color in the ice with another layer. An alternative way to block is to use a selection toe. Remember, I can use, add and subtract Teoh. Make a selection, a very complicated selection. If you mess up, you can press controls that and in this way, mark out the area where his hair is. Then when you block in, you can color in the whole thing in one go without worrying about the borders. Finally, let's add some shading and lighting. For now, we were used a simplified but effective approach to shading and lighting. We will learn more about shading and lighting in the next section, we use a bristle brush. We picked this first section. We picked the skin color and making a little bit darker. That's used light strokes. We have to make sure we don't paint over the ages. This is tricky and time consuming, so here's a little trick that makes a huge difference. Just click here to luckily, Alfa that looks the transparent of art of part of the layer. So now we can paint without worrying about the edges. Next we pick a lighter color and at some highlighting, just as in shading, we use a transparent brush, and we pushed down lightly what you reach The next level. You have learned to use basic shape to create construction lines and shapes, to organize your drawing into layers, to add some basic coloring to use up a lock to make shading much easier. And you've learned how to use some basic shading and lighting by using the prisoners. Bruce. When we look at the painting we see, it still looks messy, though this is because of sketch layers still showing if I hide the sketch layer, it still looks messy. One solution is to replaced the sketch with Leinart here is a very simple example. This usually comes in after sketching and before coloring. Thinking is usually done with a variable wit. Sharp edge brush. Thinking can be quite tricky, though, so let's believe that for a future video, well, that's often Oh, so you in the next video, Bye bye. 11. 4 Tips to Improve Your Workflow: Hi, everybody in this video, I'm going to pro for Crete, up many tips at you. These tips are helpful at improving workflow and increasing productivity. First of all, if you look up here, you see the button set your razor mode. Pressing. This button keeps the properties of the current brush, but it sets it to your race mode. This is useful because I can use a shortcake E to switch between drawing and erasing without constantly having to toggle between a brush and a number and a new razor for the next tip. I call your attention to these buttons here when activating one of them. A duplicate mirror image off everything you draw is created. This is only useful if you're drawing something symmetrical. But if you are, it saves a lot of time because they only have to draw half of the image. And when you're drawing Leinart and coloring in, it can potentially save a lot of time. If you would like a canvas to be a little bitter, just pressed step to talk a full screen mode. This is only useful if you know a lot of keyboard shortcuts. Speaking of the final minute tip. Here are a list of shortcuts you can use. No need to memorize them. I just use them. Keep these cheats seats around and look them up as you use them. Those which you use most often you will remember. So as a start, wanted to use the brush recess tool. The color picker. The pen did zoom if at any time you forget a shortcut and you don't have my cheats sheet at hand, you can look it up by clicking on settings. Configure critter, keyboard, shortcut and then search Using this more. You can also add your own key about keyboard shortcuts in the same way. Well, that's all for now. Hope you found this video useful. See you in the next video. Bye bye. 12. Exercise: Cactus: Hi, everybody. Welcome In this exercise, we're going to draw this cactus to get the most out of this exercise. I recommend that to try this exercise first before looking at my solution. Use it to us. You. We have learned in this section then have a look at my solution to see if you have done it in the same way. Don't worry if you have done it in a completely different way, there's more than one way to skin a cat. So pause a video now to try to exercise yourself. The first is the first step is to draw the basic shapes and proportions. Add the mirror to I draw a rectangle and at a horizontal rectangle Oh, I'm going to copy one of the vertical rectangles and move it downwards into the middle. Okay, then I copy the rectangle again and move it upwards. I'm gonna stretch the top pregnant rectangle in the vertical direction. After that, I'm going to add some circles to the free tops off the characters. I use art in shift to position the circles in the right place. This gives us the basic shape of detectives. Next. I'm just gonna merge these layers that's evaluate the basic shapes and proportions. I'm going to adjust the proportions a little bit, using the move and transform to until I'm satisfied. Next, I make the construction layer transparent. Since I have such a simple shape, I'm actually going to skip the sketching face and I'm going to draw Inc. Which I'm still terrible that But oh well, here goes nothing. Some tips. I can make my life a little easier by switching on the weighted smoothing. I would not talk about this right now. I would talk about this in the next section. For now, let's just say that this helps the line to be smoother. Most know to make my life just a little easier. I'm going to switch to full screen mode by present Tab that's tried to draw the line in one straight long line. I don't worry too much about overshoot. I can erase that later. As for the curve, it parts and zoom in a bit more. There are some more tricks that will happens. Draw some better, Leinart, but I will leave that for the next section. When I'm finished during the outline, I'm going to draw a color layer. I will use the fear tool to color Detectives Kareen notice that when I do this, there's a small line that's not quite field in. I can fix this by slightly increasing the gross selection parameter. Next, I looked at Al for a liar and I shading highlight just as I did for the face. - And that brings us to the end of this exercise. Hope yet fund. So you in the next exercise. Bye bye. 13. Example: Cloud: Hi, everybody. In this example, we're going to learn a technique to draw a cloud like this. First of all, let's analyze the basic shapes of the cloud. The cloud has a flat bottom and the rest of the cloud consists of circles. We're going to keep this in mind in the construction phase. But first, let's add a background. I'm going to do this using the Grady in tool. The gradient tool is a tool which we haven't seen yet, so I'm quickly going to describe it. Before we get started, we can easily drug radiance by selecting a color and clicking and dragging the canvas on the left. We have the great and editor by default. It set to foreground to transparent. Other options include for granted, background and all sorts of preset radiance. We can add a custom Grady int by clicking on add down here. For now, I'm going to set the caretti int editor to foreground to background, and I'm going to set the background color to Sion and I'm gonna send off brush color to deeper good blue, a selected background layer rename it background, and I draw a line from top to bottom I hold on shift to ensure that the line remains vertigo. Next, I'm going to create a construction there. Remember, we have a straight bottom, so I'm just going to draw a straight line here on I draw a bunch off circles and ellipses which will later become the fluffy part of the cloud. This shape is quite simple. So again, I'm going to ship skip the sketching phase and I'm going to start painting. When I draw the bottom straight line, I want daily. I want to draw it in one line. So I zoom out on a rotating tell us I quickly, accurately and smoothly draw the line. It takes me a few times. Get it right. Press controls that to undo any lines you don't like. Next I draws a circle part of the line. There's no way I'm going to be able to draw them exactly, So I'm just gonna get the gist of it. More important is that the line is smooth and quite round. It doesn't have to follow the construction lines. Exactly. Shoe finished. Next. I want to color in the cloud. I'm going to use the continuous selection tour. First of all, I'm going to make all the other layers invisible. Undergrads shrinks Election I want to increase the growth feel by one or two picks. Ups. That's where there's not going to be any gap between the selection and the lines. Next I add a new layer. I make sure the layer is below the incline. I change the background color to a blue gray and I changed the foreground color to a light blue grey No. One a draw The Grady int within the selection Only the selected part gets build up by the Grady int as a final step I'm gonna take my airbrush and I'm going to set the color very light I'm going to add some spots around on my cloud Then I light in the color even more and I decrease the size of my brush and I dress the more spokes as a final step I'm gonna blurt out we have a color in between and I'm going to lightly brush over the final effect. Until I get something like this. Try it out. It takes a bit of practicing and getting used to, but that's often out. So you in the next lesson. My by 14. Exercise: Wood: hi, everybody, for today's exercise, we are going back to our would example. We're going to use the techniques we have learned to add some highlighting, shading and some details. Once again, I recommend that you try to exercise herself before looking at the solution. Let before you start. I would give you one hint. Use the airbrush to tidy up shading and highlighting. So pause the video. I'm about to start with the solution. The first thing I do is use a color selector to select the wooden square. Remember that I can add and remove from the selector. Now I'm going to add all these parts. Next I add another layer and name and details. We've already drawn some details on the layer below. Ideally, we should have drawn these lines on a new layer. But for now, let's just continue drawing details. But any details we draw from now on will be on the detail air. I'm going to draw some a rounded corners. We can also flesh out the lines a little bit, trying to make the wits of the lines a little bit variable. Next, we add, is shading and highlighting layer. Let's use the British brush to add some shading in the top right corner of each plank. We don't want effective it too obvious. So remember to push down lightly to ensure that the strokes remained transparent. Remember to use controls that quite a lot when you're not satisfied with the stroke. But don't be too perfectionist and don't paint too much attention to details. The general effect. It's more important than individual pixels. Let's add some highlighting in the bottom corner. It's a good idea to Zuma, often to get a rough idea of the general effect. When were more or less done, we can. Smoothing out the shading and highlighting with a hair brush, we used the color picker to pick an intermediate color straight from the canvas. This is known as blending, and this is a very common method in digital painting. We don't want to lose too much off the underwear underlying wood grain texture, so be sure to keep their a Pestillo by pushing down lightly. You can also decrease the opacity of the airbrush. After that, let's go back to the details layer and fix up these lines. I'm going to draw some small cracks in the plants, but drinks quickly. Lines like these, and I'm going to add a small highlight to each of these cracks. It's easiest to do this on a layer below the cracks. - And there we have it. Good up. You have reached level for in the road map. Thanks for watching. In the next lesson, I will be giving some general tips on how to stay motivated. I live in now. 15. Appendix: 8 tips drawing steady strokes: Hi, everybody. When I started group drawing with the graphics tablet, it was just crazy. It was really hard to get used to it and it was really tiring to try to coordinate my hand motion with the cursor. It was pretty depressing, but finally I got the hang of it. So finally I decided to make a quick video on eight tips on how to get used to drawing with a tablet tip number one. Hold the pen properly. It was only after getting frustrated with the tablet that I started paying attention to this, and it's suddenly made a huge difference. Tip number two What's your pastor, for example? I have a tendency to look so closely into the monitor, almost as though looking closely at the monitor were increased that I, courtesy of the pen, keep your back straight and keep yourselves fled to the ground tip number Pre modify that tablet settings. First of all, what worked for me is putting the tracking tablet to absolute and not relative. I don't know if it's good advice for everyone, but when I switched from relative to absolute, I suddenly improved. Also as a beginner, you might want to change the sensitivity of your tablet. It's tough when a small movement causes a large movement on the off the cursor. If possible, change the sensitivity of your tablet. You can always set it back later. Zoom in when working on fine details and Zuma, when you're drawing a long, flowy lines, draw the lines. In one study stroke, I find that drawing lines from left to right and up two down is much easier than drawing it than the other way around. That's why I rotate the canvas and I mirror the canvas to favor this motion. Tip number five Automatically lines moving. Use the artists moving and stabilising functions in creator. You can find them in the tools option Docker Spoiler alert. We will be learning more about this in the next section. Tip number six does their curves. You have no time to practice. Drunks move lines in that case as their curves. That might be just what you need, but your curves are a great way off drawing smooth lines, and you can do it with the mouse. Spoiler alert will be learning more about better cars in the next lesson. Tip number seven practice practice practice if you want to improve quickly than try some of these exercises. But be warned, these exercises can be extremely boring, but they are a good way to improve quickly. First of all, try using the stylist to replace a mouse. You might die of frustration, but if you can survive for a few days to using the stylist, do you do your daily chores? You will come out on the other side with much better stylist control or another exercise. Try drawing a circle and then drove over it exactly in another color. Do this over and over again. The more you practice, the better you get or another exercise. Write a sentence or a paragraph. Try to keep your handwriting as need as possible. Did number eight. My absolute favorite tip is don't care. Who cares about drawing smooth lines anyway? Remember the less self trick critical you are, the more fun you have on the more fun you have, the more you practice and the more you practice, the better you get. So don't be hard on yourself. Just try to enjoy the art of digital painting as much as possible. 16. Appendix: 6 tips to stay motivated: you reach the end of this section, you have covered the basics off a digital illustration or with Preta, digital illustration can seem simultaneously be an extremely rewarding and extremely frustrating experience. The main thing that frustrated me when I started was a peeling off, a very slow progress. I saw other people creating the most amazing works, and I couldn't even hold my pen study. I felt like I would never learn and was on the point of brewing. My drawing tablet await more than alarms, but I stuck with it and I broke through the frustration barrier. Now don't get me wrong, I'm still terrible. But the difference is that now I don't feel frustrated, but I enjoy painting even when I draw terrible stuff. Painting no longer drains my energy, but I actually get energy from painting, which is a great feeling, and hopefully you will get there, too. So I put together a list of six tips to stay motivated. If you find digital painting more of a child than an enjoyable hobby, then hopefully these six tips will help you draw breakthrough the frustration barrier. But before I start, let's just take a moment to thank you for watching. If you're interested, why not check out the remaining sections of this course in the sections? We will be leveling up a lot more. We will be learning some more advanced techniques in sketching, inking and coloring. Tip number one. Make sketching accessible. Just because you're stuck to the computer on digital art doesn't mean you can't practice on paper, too. When I practice on paper, I use a simple pen and a sketchbook. Why? Because I have them. It's so relaxing, not have to stress out about what kind of special pens are inks or papers I should use. I just use whatever I have at hand. And anyway, I'm only practicing. So I just keep a text book in my bag and a pen in my pocket, and then I can practice anywhere I am, whether, unlike commute to work, standing in line at the baker, lying on the beach in my holiday, I can practice. Tip number two is be terrible. Be sloppy. Don't be a perfectionist. Why not? Well, that allows you to draw much more, and it doesn't cut into your enthusiasm. You learn much more by drawing 100 terrible pictures than drawing one perfect picture so long as they're still just practicing. There's no point in getting every detail right anyway. Just try something out. If you don't like it, try something again next time. That's the trip Tip number. Fruit. Keep all your work. Don't throw anything away. Even if it is terrible, just put it away and have a look at it again. Letter. In a week or more, you can keep all your paper sketches and all your electron ICS catches. What I do is a store almost sketchbooks in a single file, depending on which are interested in. You might have a couple of sketchbooks. Maybe one dedicated Teoh poses memory, one dedicated to clouds or one dedicated to anything you like. And these Elektronik sketchbooks are used layers as pages having one file. I can store the very sketches on layers in this way I can easily flip through on one I've worked on. If it happens that something which I thought was terrible turned out to be pretty good when I looked at it with a fresh perspective. Tip number, far work on a personal project. A great way to keep up the motivation and to learn a lot is to work on a personal project. It's gonna be like drawing a small comic or drawing a Christmas card for your little brother, for example. One thing I did is I made a board game for my wife. This was when I was learning escape. So not only did I learn a lot about escape, I also got a lot of brownie points for making a personalized gift for my wife. So don't forget, though, that in this case, tape number two might be good to ignore. We don't want to not be perfectionistic enough. If you give a gift to somebody and you only have fast it, you might not get a good feeling. So do your best. Tip number five. Don't compare yourself to other artists. You'll be envious. There are a lot of great artists out there, and it can be easy to feel inadequate when we compare ourselves to them. But just remember that those artists also started from the start to at one point, and they've just put in a lot of time and practice, and there's no reason to think that you won't reach their level. Did number six. Learn some more specific techniques and add them to your two books. For example, I've already shown you specific technique on how to draw a wooden surface, a specific technique and how to draw cloud and a specific technique on how to said and highlight, as in front of saying, there's more than one way to skin a cat. So one thing you can do is learn some more specific techniques for example, how to draw a glowing something or how to draw water. The more techniques you learnt like there's the more tools you have in your to BART and the more you learn to understand the underlying principles off digital painting, we will be learning a lot more techniques in the remaining sections of this course. But there's no need to stop there. There's a lot of other places where you can learn more techniques. One of my favorite places is interest. Just make up Pinterest account and you will find a lot of tutorials on painting. Bye for now, 17. Appendix: How to import the old brushes: Hi, guys. Welcome to this appendix about importing brushes. As you know, Preta has updated to create a version 4.0 recently, which would be great. But all of a sudden all the brushes have disappeared. This is no big deal, really. But especially for beginners, it can be pretty confusing. So if you want to switch back to the old brushes you are using, this appendix will show you how so. Let's get started. First of all, we want to find the old brushes. We go to the website share that created that or and we search for the brush back over here and then I click on download. Now let's go back to Creator. I want to import this bundle into critter. So I go to settings, manage. Resource is and then I click on import bundles. I find the file I just downloaded and I add it here We have two pains. I want to move the 3.3 brushes from the right pain to the left paint. Activate them. So I just selected and I click on the left facing arrow. If you like, you can deactivate the 4.0 brushes by moving it from the left pane to the right pain. Now we have the brushes which were deport in 3.3 loaded into our workspace.