Krita: Sketching and Inking | Paul Gieske | Skillshare

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Krita: Sketching and Inking

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

13 Lessons (1h 26m)
    • 1. Introduction

      2:10
    • 2. Transform tool

      6:14
    • 3. Assistants

      4:39
    • 4. Exercise: Isometric Cube

      8:14
    • 5. Exercise: A Simple Landscape

      9:44
    • 6. Exercise: Figure in Perspective

      8:07
    • 7. Bezier Curves

      6:34
    • 8. Exercise: Bezier Curves

      5:12
    • 9. Inking with the Assisstent Tool

      1:53
    • 10. Stroke Smoothing

      4:20
    • 11. Final Exercise

      14:18
    • 12. Appendix A - Basic Forms

      8:19
    • 13. Appendix B - Foreshortening and Perspective

      6:03
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About This Class

Welcome to section 2 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 students who have a little prior knowledge of Krita. Have a look at Part 1 of this course to get a good grasp of the fundamentals.

This course focuses on teaching the Krita tools which help us with sketching and Inking. A number of exercises and examples are included.

We will cover the following topics:

  • Transformation tool
  • Assistants
  • Bezier curves
  • Stroke smoothing

Take a look at the roadmap to get an idea of the contents of the course.

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Paul Gieske

Digital Art Enthusiast

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Transcripts

1. Introduction: Hi there. How's it going? Welcome to this section in this section. We are going to talk about the tools which pretty provides us for sketching and thinking. So without further ado, let's talk about let's move on to the road map. First of all, we are going to talk about the transformed tool. The transform to is great for adjusting the proportions of your sketch without having to redraw the whole plane. After that, we will talk about the assistant to the assistant tour is one of my favorite tools in Crete . The tool is a very useful when it comes to drawing a pre dimensional forms and also useful when it comes to ink ink. We will use the assistant tool to work out the following examples on isometric box, a landscape and a figure drawn in perspective both from above and below. After that, we will be moving on to thinking, as you know, it takes a lot of practice to draw smooth lines. Luckily, critic comes with some shortcuts. We can use better curves and the assistant tool to help make inking a lot easier. Furthermore, Creature offers various options to stabilize the strokes. These options will also be explained. And finally we were put all the skills we have learned in this section together with this end of section example. Although this course is intended primarily as a creature course and not as a digital painting and sketching course, I've decided to add two small appendices to very briefly cover some fundamentals off sketching. If you are interested in that, then why not check those out? But if you already know that stuff, then just feel free to skip it. Anyway. I hope you enjoy this section of a good time. Bye bye. 2. Transform tool: Hello, everybody. In this video, we are going to learn more about the transformation to the transformation. Toe can be extremely useful, especially in a stretching phase. The two also has its uses in the later stages off drawing. But in this kitchen face, it's particularly useful because we can use it to resize, reposition and change the shape off the major features. Before we start adding detail and refining the drawing, let's get started to show you what I mean. Here we have a simple sketch of a sea serpent, which have done a while ago the sketches just about done, and we're almost ready to move on to the next phase. But I'm not quite satisfied with the major proportions. First of all, I'm going to press control are to make a rectangular selection. Next, I press control T to start the transformation to, As you know, the standard transformations are resize. Rotate pan etcetera. If you look in the two options Ducker, in addition to the standard transformations, I also have various options. The first option is perspective. With this option, I can adjust the four corners off the selection, the war option with the war option a great appears on the selection. I can click and drag the grid points, and it moves the sketch around in the options doctor. I can easily change the number of grid points I'm using, or I can draw my own grid points in this example. I want to stretch the head of the serpent up, but keep the jobs roughly the same. So first I'm going to draw a few points. Once I've placed my points, I can click off lock points. After that, I can't move the individual points one at a time. Or, if I hold down the control button, I can select multiple points simultaneously with multiple points selected. I can move my cursor around, and I pay attention to the symbol off the cursor. If I move the cursor of it, the I come changes. In this way, I can rotate the parts. Next we have the cage tool. The cage tour works in the same way as a warp to. The major difference is that while the walk toe works with a grid cage to works with an outline with a stage and then we can transform the shape of the outline. First we define the outline with at least three points. When I close the loop, we automatically get into the deform layer option. Just like with war, I can move or rotate one of more great points. If I want to adjust the points. I just click here in the options stalker. In my experience, that case tool is usually a bit more intuitive to work within the warp tool. But the big disadvantage off the cage tool is that you cannot deformed anything in the middle off the cage with the walk to you would get more process control over a grid of points. Finally, we have the liquefied, too. This is like a de formacion brush. We can pick various deforming actions with these icons, for example, translate in large rotate, offset and erased information. We can set the size off the brush here at the amount parameter controls the strength off the brush. Then we can use the brush to deform the sketch like this, - and that's about all for the deformation to for now. Remember that this tour is particularly helpful in the sketching foods, but we can also use it to refine a picture in the later stages or to a play. Cool. Special effects. That's all for now. Thanks for watching and see you in the next video. Bye bye. 3. Assistants: Hello, everybody, Welcome in this video, I'm going to cover the assistant tool. The assistant tour is really cool and really have, for we can use it for all sorts of stuff. For now, I'm just going to talk about how it works. And in the next video, we're going to put to good use in a couple off sketching examples. I like to think off the assistant tool as a ruler to help us draw straight lines. But unlike a regular ruler, the assistant to comes with all sorts, off shapes and sizes. Let's get started to show you what I mean. First of all, we activate the assistant to in the two options Docker. I can pick between all sorts of shapes. Let's start with a ruler. I define a stock point and an end point to the line. Next I press be to use the brush tool down in the brush. Two options. I activate the assistant. The assistant is currently set to maximum. When I draw on the canvass, the assistant forces the pen onto the ruler line. If I said the assistant to to minimum, it's just the same as deactivating the assistant tool setting the assistant to to somewhere between minimum and maximum post the the pen the brush towards tour, but doesn't force it exactly on the rule. The ruler. Now let's get back to the assistant two options Doctor. We can add more than one assistant at the same time. For example, let's add Infinite Ruler. The infinite ruler is just like the ruler, but you can draw past the start and end of the ruler. I can move the assistance around using this button. I can also activate and deactivate them using the eyeball, and I can delete any assistant that I've heard. So in addition to Infinite Runar, we have parallel ruler. This is very useful with parallel, you know, you ruler, we can draw anywhere in the campus, not just where the Rule Aries and the assistant will make sure that the line is parallel to the ruler. If you have a lot of assistance active at the same time, it's important to make sure that snap single is activated with snap single. We make sure that the brush snaps to Onley one assistant at a time. If you don't have this activated than the stroke often jumps from one assistant to the other. As you can see, there are a lot more assistance available. We would talk about some of these assistance in the examples coming up. One more thing I'd like to mention before I go. The assistance will remain in the document when you save it. So once you have set up the document, you can save it, close it and open it again on the assistance will still be there. If you have set up a very complicated system of assistance and you want to import it into another document, you can use the save and load buttons in the assistant two options doctor. Well, that's often now I find the assistant to extremely useful for sketching. You can use it to easily draw in perspective grid lines, for example. We can also use the assistance to help us with line are too as mentioned in the next few examples. We are going to get some practical experience with this too. See you in the next video. Bye bye 4. Exercise: Isometric Cube: No, no. Everybody in this video, we are going to draw the isometric cube. So what is isometric exactly? Well, let's just keep it simple and say that isometric if the representation off a three dimensional object are a two dimensional plane, the height off the objects are drawn vertically. The legs and weeds are drawn on two lines at 30 degrees to the horizontal isometrics. Drawings do not take into account perspective. In other words, in isometric drawings, things do not appear smaller when they're further away, and they do not appear larger when they are closer. So let's get started. The first thing I do is I draw a line. I want to hold shift to constrain the anger off the line. I want to draw this line at 40 degrees. Let's use the measurement toe to make sure this is okay. Next, I draw another line at 30 degrees, but facing the other way after that, let's go to the assistant tool and let's pick parallel ruler. We want to place at this line vertically. We can use the edge of the canvas to make sure that the line is more or less vertical, and we can also use the two diagonal lines, which we drew earlier to put in two more assistance. If we don't place the line quite right, we can always adjust it by moving in these circles, and that's more of these lines out of the way so that they do not bother us in the future. Next, I'm going to sketching the science of the Cube, pick the right brush and Connor and make sure the assistant is set to maximum. It can be tricky to make sure that you draw along the right access. That's why it's a bad idea to have too many assistance active at the same time. After that, we are going to pick the measurement to We want the Cube to be 500 pixels wide, so we use the measurement to to mark out the corners at 500 pixels and then we draw in the remaining edges. When we're done with that, we want to clean up the inside corners with the razor. We should make the background invisible so that it doesn't interfere with the selection tool. We use the continuous selection to to select the front face, the front face with color in dark gray, the side face we color in light of gray on the top face we color in an even lighter gray. Next is time to add a circular hole, a circle projected to one off the ice. Airplanes becomes any lips, so let's use the lips assistance to to draw on a lips off the right proportions. We make the major diameter from the two corners off the one of the faces of the Cube, and we make the minor diameter from the remaining two corners. Now that's ad in the new layer and draw in the lips. When we're done, we are going to resize it. Use the transformation to you. Shift to keep the wits and the hydration. Constant use ought to resize about the center of the object and shrink it to the right size . Then use the continuous selection tool to select a circle, and we are going to be up the selection up with a radiant. We want to set the top part of the Grady in to be dark because it's in the shadow on the bottom part will be light because that's being lit up by the end by the surrounding lighting. And there we have it. Thanks for watching. See you in the next time by 5. Exercise: A Simple Landscape: Hi, everybody, In this lesson, we are going to make the following sketch. This sketch is a good example of the use of perspective. When we look at the clouds, we see that the class get smaller the further away they are in this video. I don't really want to talk too much about the principle of perspective, though. As I mentioned, this course is intended as a creature course, not a drawing stroke painting course. Nevertheless, the concept off drawing in perspective is super interesting, and using a little bit of perspective can go a long way to improve your sketching skills. So therefore, I decided to add a little appendix to this section, covering the basics, getting techniques, including perspective. If you are interested, why not check out that appendix or if you already know all that stuff that just feel free to skip it? But anyway, for now, let's get started drawing the horizon. First of all, I just use a single line to draw the horizon, and then I sketched in a single cloud. After that, I had a vanishing point. In this case, the vanishing point can be anywhere on the horizon for convenience sake, I'm going to draw it, really. I'm going to set it reasonably far away from the cloud, And I also want to add a vertical guide and a horizontal guide. Now that's add another layer. I switch on the assistant and I draw a line representing the height of the cloud. I use the vanishing point to draw to perspective grid lines. These grid lines will be our guide to the cloud heights. When they're further away, I add another layer, and I make the grid lines transparent. On the new layer, I draw vertical line quite close to the horizon. I add another layer and repeat this for each vertical line I draw. I get a rough idea of how they told the clouds at that distance to the horizon should be. Once I've done drawing enough vertical lines, I go back to each layer in turn, and I drove to horizontal lines. - I'm just going to go quickly back in and drop the two horizontal lines for the top cloud, too. And now we're finished drawing in our perspective. Druid. We can deactivate the assistance. We can now sketch in the clouds based on the vertical distances we've met out. It's important to keep the wit to hydration off each cloud roughly the same. We also want to keep the distance between the clubs roughly consistent. Make sure you keep track off which layer you drawn. You don't want to accidentally draw on the same layer as one of the perspective grid lines . It's easy. It's easier to vary the opacity off the layers that you are not working out this way. It's easier to keep track off which layer your drawing on. I fear that the spacing between these clouds is a little too consistent. Nature is highly irregular. So let's move these clubs around a little to make things look a little bit more natural. But don't make too big changes because the whole point off drawing with a perspective, greed will be lost. Let's also do some touch ups with the razor. Now. I'm reasonably satisfied with the locations, so I delete the layers containing the perspective grid and I marched the remaining layers. The whole thing looks a little flat to me, so I'm just going to add in a little bit of death. I'm just going to sketch in some shading on the clouds to make them look a little bit more three dimensional. This is only going to be a concept sketch, so I don't really so I'm not going to really pay too much attention to the details. As a next step, I'm going to draw a pier getting out into the sea. For that, I'm going to use a vanishing point. Here is the general shape off the pier. Here's are usually made of planks, drawing the planks in perspective. The planks closest to us would seem wider, and the planks further away would seem narrower. In Crete, we can use the perspective assistant to measure how the with varies. Next, I'm going to draw the poles holding up the pier. The bulls closest to us seem bigger, so I'm going to draw two lines to help me judge the perceived wit of the polls. I'm going to use the same vanishing point is before. As for the distance between the Poles, I would just put one Paul every two planks. - I'm just going to quickly go over the edges off the pier again. Next, I'm going to add the constructions off two figures standing on the pier, watching something As I said, this is just a concept phase, so I won't be too perfectionist. And as a final touch, I just draw a setting sun over here and there we have it. That's pretty much it for the concept. I'm going to stop here. Thanks for watching. I hope you found this example useful. So you in the next video. Bye bye. 6. Exercise: Figure in Perspective: everybody in this lesson, I'm going to demonstrate how we can sketch a person in perspective using the assistant toe in Crete. Up. I'm going to draw the figure both from above, like so and from below, like so. First of all, I activate the assistant to I had a vanishing point below the campus, and I add a horizontal ruler. Next I had the mirror and I moved the vanishing point so that it is in line with the mirror . I draw a box like so this is what a rectangle would look like in perspective. Which the top? Why there and the button narrower. After that, I first removed the two assistance and, at a perspective, creed. Perspective. Grid shows how things get smaller as they are further away from the viewer. As you look at the perspective cred, you see that the grid has eight horizontal lines. The distance between these lines would be equal in real space, but in perspective, the distance decreases, the further we get away from the viewer. So I'm just going to mark the eight lines here for future reference. Remember that the fourth line marks the middle, so this corresponds roughly to the top off the hips in the human figure. If you don't know too much about the proportions of the human figure, it's easy to Google. Search it. In fact, before trying to draw something in perspective. It's probably better to try to draw it without taking into account perspective, to get familiar with the various proportions off the figure. Next, I'm going to add another layer and name it construction. To avoid future confusion, I will rename the current layer to perspective in the construction layer. I'm just going to sketch in the basic forms. The head takes up roughly 1/3 off the shoulder to shoulder distance. Next I take the next. I drove the shoulders, the torso and the hips the whole time. I bear in mind how wide the boxes were. Android, the knees come in roughly 1/4 from the bottom, and the feet and the ankles are stretched in all the way below, the elbows coming above the hips and the hands below the hips. After the construction is complete, I make the perspective box invisible. I had a layer name sketch. I decrease the opacity off the construction layer now that I look at it a bit closer. I've month really satisfied. Let's try to fix it using the transform tool. Let's use the walk to first. I'm going to add some points and I'm going to adjust in these a little bit. Also, I think the whole thing is a little bit of wide. Let's make the bigger a little bit narrower. Okay, lets docks Kitchen With this technique, we've gotten the proportions about right, but it still takes an effort to imagine happens. Look from above. Ideally, you'd use reference photographs for this section. Next, let's try to draw someone from below. It's the same general process. First of all, I'm going to drop draw that bounding box using the horizontal ruler and a vanishing point. But this time from above, next use of perspective grid to mark out the main proportions. Then add the basic farms in the construction phase and then sketching the figure. Well, that covers it for this lesson. See you in the next lesson. Bye bye. 7. Bezier Curves: Preta. Busier curves. Hello, everybody. As you know, growing nice and smooth lines can be tricky thing to do. It requires a lot of practice and perseverance. So in the next few lessons we will be discussing various shortcuts. In this lesson, we would talk about the so called busier curbs. These curves are easy to draw and to place accurately. We will draw the curves, and after drawing the curves, we can always adjust them as we like. There are a couple off disadvantages off using busier curves, though first of all the lines end up looking a little synthetic, and secondly, it's not easy to vary the line thickness off the busier curves. If you end up really enjoying using busier curves, then Creator is not the program for that. For that, you'd better use Vector illustration. Program. One beautiful example of a vector graphics program that's free and open source is escape. I love using escape as much as I love creator, so check it out if you are interested in vector graphics. And if you have time, of course. But for now, let's get started using better curves in critter. First of all, let's add a sector layer. You can also add busier curves to a paint layer, but then you won't be able to adjust it later. If we draw on the vector layer, we will be able to adjust the curve after it's drawn. Next, pick the busier curve tool with this, too. I can draw a Siris of lines. You can end the line by pressing shift and click, or you can close the line to create a loop. Once I've drawn the shape, I can select it using the selection tool. Here we have all sorts of options. First of all, I can resize, rotate and share the object. If I look into the tool options doctor, I see that I can set the center of rotation in the geometry panel. But more interestingly, I can set the line type thickness and color in the next panel. In the Fear panel, I can set the field off the shape. This can be either empty color, radiant or a pattern. Another handed trick is the shadow. By checking this button, I will automatically add a shadow Next. If I have more than one shape, I can use these. Arrange batons to align them or pick which shape should lie on top of the other. So these are the basic functions for each shape. Once the shape is created, I can edit it. In order to do that, I first need to have the shape selected. Then I click on this button. This is the path editing button. As you can see, a bunch of circles appear. These are called notes the notes to find the beginning and end point of each line section that select one of them and move it around. If we want curves instead of straight lines, I can move the cursor to the middle of a line segment. When the curse it turns into a pointing hand, I click and drag. Now let's click on one of the notes again. As you can see, there are now two direction notes. I can change these hand also, that the direction off the line changes. Okay, let's turn our attention to the buttons in the options Docker. First I click and drag to select to neighboring notes. If I click segment to line the two direction handles disappear and the segment between the two selected notes becomes a straight line. If I click segment to curve the direction Handles reappear the next two buttons to exactly the same, but its effect is applied only to each selected node, and it's not affected to each selected segment. If I click on this button, it breaks the closed shaped by removing the select selected segment. I could also break the closed loop at a node with this button. Once a shape is open, I can recreate the segment using this button or, if I have to and note selected, I can merge the two notes in the middle. Next, let's have a look at adding and removing notes. First of all, I have to neighboring notes selected. Then I can add a note between them, or I can remove the currently selected notes using this button. Finally, let's have a look at the different types of notes. These three buttons show that types of notes we have the first type is a turning point. This is a sharp point, with no particular relation between the two direction handles. Corner notes are displayed as circles. Next, we have the smooth note in this known, the two direction handles are always parallel. This will ensure that the line is always smooth. Smooth notes are displayed, a squares and next we have the symmetric node. In this note, the direction handles are parallel and they both have the same length as well. Symmetric notes are displayed as diamonds. Well, that was all for this lesson. This lesson was pretty heavy on the theory. So in the next lesson, we will be getting more experience applying this to an example. So you in the next lesson, bye for now. 8. Exercise: Bezier Curves: great at better curves. Example. In order to get acquainted with better curbs, we will work out a couple of examples here when making basic shapes. It's good to follow one rule of thumb. The less notes, the better. It can be tempting to add a lot of notes to get better control over your curve, but in practice, that only means that the curves get more complicated as another tip. One thing you might do is make a sketch first and then use the sketch to place the curves. So let's get started. Why not follow along with me during this example? First I add a vector layer. Next, I use the busier curve to to place seven notes like so and then I used the note editor tool . At the moment, all the segments connecting the nodes are straight lines. Let's elect them all and turn them all into curves so that the direction handles appear. Now I select the top two nodes. I want these notes to be symmetric, so I click here. This note. I wanted to be smooth, but not necessarily symmetric as well as this note. The remaining two points are corner points and that's the way I will keep them. Now let's do some fine tuning. After that, I select the shape. Let's increase the thickness off the line and said the color to red and there we have it. Next we were draw the suit of space like this. Why not pause the video here and try it yourself? Don't worry if you don't succeed, it's good practice anyway, and I'll show you my solution in a moment. So here comes a solution. Let's start by making a sketch. After that, I will add notes like So make these two notes smooth and let's refine it a bit until I'm satisfied with the result. Finally, I just want to demonstrate how I can place the two shapes using the selection tool. I can move the shapes around. First of all, I select them both. I want them to be roughly the same size, so I will use these alignment options to first position them on the same place, and then I can easily resize one of them. After that, I want to move the spade symbol. I can also use the arrow keys to do that, and then let's say I want the spades symbol in the background and the heart in the front. For that I can use these buttons and Fulla There we have it. 9. Inking with the Assisstent Tool: I've already mentioned using the assistant to for sketching. Now I'm going to show you how to use the same tool. But for inking, I would teach this by using an example off one of these clouds. Here I set a number off spline assistance. You can even use the mouse to set the assistance as opposed to the stylist and you can adjust until you're satisfied. I activate the brush tool and I changed the breast settings, ensuring that I enable the assistant and make sure its maximum. Now I can draw in the lines. The advantage of this system is that I can focus on getting the line wits right while the path is set precisely by the assistance. The disadvantage of the system, however, is that it's quite a hassle to set up all the assistance. When we're done, we can delete these assistance. Another thing I did not explain yet is that you can deactivate this option. Snap to single when this is deactivated, the brush will be able to jump from assistant to assistant. So in this way I can draw one continuous line. Be careful, though, when this is deactivated, the brush is liable to make a messy jump from one assistant to the next. Well, that covers it for this lesson. See you in the next lesson. Bye bye. 10. Stroke Smoothing: critter lines, moving the options to use the busier curve and assistance to draw steady strokes. A pretty good. But in the long run, it's probably time saving to draw the strokes directly with the stylus. So to help us with that critter offers use off various moving options. In this video, I will explain how to use thes. First of all, I activate the brush tool in the two options dialog. I have forced moving options. No smoothing obviously does not smooth stroke at all. Each tremor in my hand will be picked up by the line. Next we have basics moving. With basics moving, we take a moving average off the stroke. In other words, it takes the location of the past few pictures and calculates the average. This results in a much smoother line. Next, we have waited, smoothing weightings. Moving is just like basics moving, but we can adjust the parameters ourselves. The first parameter we can set his distance. This is the distance over which on average, is taken. So if you set this very high, the line will be very smooth but very unresponsive. And if you set this low the line we're not peace moved. So when you said the parameter high, it's better to draw quite slowly to keep control off the stroke. The parameter stroke ending controls the extent to which create that tries to complete the stroke after you leave the stylus. Since the drawn line consists of an average of a number of points, the stroke is always lagging slightly behind the stylist import. If the stroke ending is set very high, Creature will fill up the distance between the end of the stroke and whether let's stylist was last touching a pad. Then we have the smooth pressure option. If this is active, the pressure in put off the stylist will also be smoothed in addition to the location of the stroke. Finally, we have scalable distance. If this is active, the distance over which the average is taken were depend on the zoom level. If this option is deactivated, the distant will be a constant number of pixels, irrespective off how far zoomed in we are. So in other words, if we zoom out, the apparent averaging distance will be much smaller relative to what we see. Which brings us to the stabilizer. Stabilizer includes the parameter distance, which works the same as the weighted average. It also has the pretty cool parameter called delay. Delay creates a dead zone in the cursor. If the cursor is in the dead zone, nothing happens. That means I can draw one long stroke because I want to sweat off my brow and think about where to draw next. It does. It means I can draw sharp corners like so finish line is the same a stroke ending. But you only have the option to activate it or deactivate it. And finally, stabilized sensors is just like smooth pressure when it's activated. Also, the pressure input ISS moved out as well as other inputs which may or may not be inputs in a brush like speed and tilt. But we will be learning about that later on. As far smoothing goes, that's often out. Thanks for watching and see you in the next video. Bye bye 11. Final Exercise: everybody. In this end of section project, we are going to draw the following prison cell. We will be using the theory we learned in this section. Feel free to follow along or draw something similar using the same techniques. First of all, let's draw a square. Next, I use the measurement tool to mark out four lines. At 45 degrees, we have a length of 260 pixels. Just look at the bottom right corner off the two options doctor. To see the measures under that, we add five perspective grids. That's four perspective grades representing the walls and one great representing the floor . We can link the corners off the prospective bridge together, not the small excess. These excess represent the finishing points off the four perspective grids. Let's make sure the excess end up in the middle of the floor. Let's use the front great to draw in bars and let's draw in the bed, too. Next, let's draw this window. I will reserve this space for the loo and here I make a space for poster. I also draw a very rough sketch off the prisoner sitting on the bed. I am also drawing in some guiding lines for the bricks. Next, I remove these perspective grids, but I might be needing them again in the future. So before I remove them, I will. I will save them. Okay, let's draw in the corners of the cell and add a bit of detail to the window. Let's give the front wall some death and drawing the front bars. I will use that your razor to to do a little cleaning up. Remember, you can always press the E button to toggle between the razor mode and brush mode. Okay, lets see what's next. Let's add another layer. I'm going to very roughly draw in the poster contents Onda Lou, and let's refine our poor prisoner to the head. The arms, the legs. Let's take another shot of this poster. It's quite hard to draw upside down, so let's rotate the canvas. I'm drawing it a little too big, but that's a cake. I will use the transform tool to fit it onto the poster and, using that perspective transform. We'll also put the poster in perspective, which is an added bonus, and work out the bed in a bit more detail. I'm also going to draw a little pick under the bed, the means of escape. I don't want to make it too obvious. I'm just going to draw it very subtly. So this guy is gonna pull a little bit of a Shawshank Redemption anyway. I'm just going to very subtly depict the bottom off the hole in the wall behind the poster . And finally, let's draw a small pile off rub off, hidden behind the loo. Okay, that's my concept Sketch. Let's take a step back, blink a couple of times, maybe go out and make a tea or coffee. And when I come back, I'm going to evaluate whether or not I'm satisfied with this concept. It's, Ah, definitely good enough. The floor is a bit bear, but that's not necessarily a bad thing. And remember, I can always add more details later. So for now I'm going to get started thinking to demonstrate I will first use busier curves a bit. I'm just gonna add a vector layer, and I'm going to sort these layers out into folders and let's create these busier curves. Now that I'm looking at this pile of rubbish of rubble, I think it actually looks a bit like a pile of something else. Let's just quickly erased that I wouldn't necessarily used the better curves myself. If I wanted to create some vector art, I'd probably use escape. But if you are feeling frustrated, the busier curves makes a good alternative. Let's increase the wit, and that's and then let's control C and control V eight and let's shrink the copy and coloring it in black. The other should be a porcelain color like this, and let's draw this pipe, Okay. Next, I'm going to show you how you can use assistance for inkling. First of all, I'm going to draw a number of rulers now , remember how the vanishing point off all the walls was in the middle of the floor? Let's just load the perspective grid to find it back. Let's put the vanishing point here. That would give us an easy way to thinking all the bars not only the front bus but also the poster and the window walls, and we can also add a vertical and parallel ruler. In fact, I was a bit stupid before, Instead of drawing all those rulers for the walls, I could have done exactly the same thing with just east to parallel rulers, one vertical and one horizontal and one vanishing point. Oh, well, okay, let's do some more. You're raising and refining for the remaining lines. We switch to brush moving. That's throwing some cracks. As it can see, the resolution is quite poor. If I zoom in enough, I can easily see individual pixels. I actually like it like this, but if you want to increase the resolution, you can go to the menu bar and then image and then scale image to new size. But I'm gonna keep it like this. You will notice that I'm not drawing the feet of the bed in a proper way. This is called artistic license. You don't have to draw everything super realistic. You can experiment with deliberately breaking rules. And then let's draw the prisoner and let's draw the poster real quick. The poster is quite small, so I don't really want to put too much effort into it. This is good enough for the concept, but if I wanted to deliver this as a final result, I'd really need to pay a little bit more attention to the poster. But for now, I would just add some more details here and there and call it a day. - That's all. For now. Thanks for watching. In the next section, we will be learning about coloring topics like blending, shaded, highlighting and blending modes. I'll be seeing you there Bye for now. 12. Appendix A - Basic Forms: hi there. As I mentioned when creating this course, I didn't really intend to create a drawing and painting fundamentals course, but this is, Ah course on getting to know Trita. However, for the sake of this course, it's probably a pretty useful to get to know some basic drink techniques. As we learn in this video, I'm going to briefly talk about one very useful sketching technique. Basic forms. Basically any object can be simplified down to basic forms. In the previous section, I limited thes basic forms to the very simple shapes provided by critter like circle, rectangle and line. In reality, the basic forms are three dimensional, so we speak off forms instead of shapes. Some examples off basic forms are box tube sphere. A bucks are to Boyd is an irregular shape. It is a simple rectangle, extruded a long aproned direction. We could typically see three sides off a Cuban, depending on the orientation of the Q Boyd. With respect to the light sources, the surfaces would each have a different level of shading. If there was a light source over the top surface, the tough surface would be fully in light, so I'm gonna leave it white. The front surface would be slightly lit up, but would also be a bit in the shade. So I'm going to shade it in and decide surface would be even darker. A straight tube is called a cylinder. A cylinder is an extruded circle. When we look at a cylinder from an anger, the top looks like any lips, and at the bottom we have another ellipse. When it comes to shading, let's say the light sources slightly above and in the forefront, then duh top and the front would catch the night and this region would be in shadow. The sphere is a simple circle. Depending on where the light source is, the circle is shaded in different ways. Typically, the light source would be a bit above and in the foreground that would result in shading like so. It is a good idea to practice these forms and various angles and with various life sources . Some other forms that are useful to practice at various angles are the cone and the three dimensional ellipse. But that's just practice. The re ago, in the end, is not to only draw basic forms, but ideally, I imagine you want to draw something cool, so I'm going to show you how to use the basic forms to draw a house like this. Remember, we're still just in a sketch face, so it really doesn't need to be perfect. The main rule of thumb is to go from a very general shape and then add detail and add detail and refine it and refine it until you're satisfied. So let's start with the very basic forms of this house. They are a box and a pyramid. The pyramid would be the roof. Next, I want to add a little more detail. Let's say I want at a chimney adore on a couple of windows. The chimney is simply another box, and the doors and windows are rectangles on the surfaces of the main box. At this stage, I could see if I'm satisfied with the general form or not. If not, I can make adjustments, or I can just delete everything and start from scratch. Either way, I haven't lost too much work. If I'm not satisfied now and I continue working out more and more details, there's a chance that I will not be satisfied and I will have lost a lot of time and effort . But on the other hand, my general philosophy is that that's still not a waste of effort, because in this way I've still learned a lot and gained a lot of experience and learned why it doesn't work and you never know. You might have these so called happy little accidents, and you get a really happy result by pure luck. But anyway, I digress. So once you've set up the general shape, you dive into more details. Start giving the chimney a more specific shape. Bear in mind that this small appendix, by no means covers everything there is to know about sketching basic forms. There is still a lot you can learn, for example, taking into account different types of light sources, taking into account different materials like shiny matters and glass drawing textures, drink, gesture, etcetera. But that's way beyond the scope of this little appendix. So if I've raised her appetite, there are a lot of sources out there where you can learn more. But that's off from me. For now. In the next appendix, I'm going to talk briefly about foreshortening and perspective. See you in the next lesson. Bye For now, 13. Appendix B - Foreshortening and Perspective: Hi, everybody in this video, I'm going to talk very briefly about four Shortening and perspective. These concepts are important when it comes to drawing three dimensional forms. Let's consider a cylinder. When I look at it from the exact side, the cylinder will appear to be a rectangle. If I were to pick up the cylinder and rotated slowly towards myself, I'd start to see the top. The top would slowly appear, as in the lips. The side off the cylinder would appear to get shorter and shorter because I'm looking at it at an angle. This is what's called foreshortening. If I would look at the cylinder from the exact top, the side would disappear entirely. The cylinder would appear to be an exact circle, because I can only see the top. Notice that if I start looking at the cylinder from the top and then rotated back slowly, then it's the top circle that becomes shorter and shorter. Getting squashed into any lips and a side of the cylinder becomes longer until we can only see the side of the cylinder on the top Circle disappears entirely, so let's apply this to the arm off a figure first, I were draw part of the figure using the basic shapes. Basically speaking the arm off. A figure consists of two cylinders. Whips. The proportions are a bit off. I'm gonna use the transform tool to fix this. Okay, where were we? When the arm is stretched to the side, we see the arm at its full length. If the figure rotates the arm slightly towards us, these cylinders would appear to shorten. And if the figure rotates her arms so that it's pointing directly at us, we wouldn't see the arm at all because it would be behind the hand. Okay, I think that's pretty straightforward. Next, we would talk very briefly about perspective. Very, very briefly. So very simply put, perspective is married the effect that things look smaller when they are further away. Just try it. Close one eye and hold your finger right up to the open one. You will see that your finger appears to be bigger than the things you can see in the background. If you hold your finger just right. It might even appear bigger than a distant mountain, for example. So, for example, if I draw a cylinder at anger but from above, and assuming that the top is much closer to me than the base than the base is narrower because it is further away from the viewer. Taking this into account is important when you're drawing landscape, but it is also useful when getting a certain effective cross. For example, if I draw buildings from below, I can exaggerate the perspective a bit to make the buildings look even bigger and make them look very imposing. Or if you draw a innocent child from above, it makes it look more innocent and more vulnerable. By exaggerating the perspective in this section, I have a couple of examples off how we can use the tools in Crete to help us to draw things in perspective. There is a lot more to learn perspective. You can learn about drawing perspective with two vanishing points or free or even more. But I'm not going to go into it right now. If you are interested, there is a lot of resource is out there to help you practice, but for me, that's all for now. See you later. Bye bye