Digital painting with Krita 5 advanced level

1. Introduction: Epsilon. Welcome, I am medium attacking from Experts Academy. There are many projects and exercises in this course. The two major projects are creating an illustration of a deep-sea diver and digital painting of a cowboy cactus. You often see this illustration style in lot of children's storybooks. Essentially, this illustration utilize those patterns and textures to define the shapes of objects. The style of the second project is quite different. In this project, we will use a painterly style approach. Since both of these projects involve lot of advanced techniques. Before you get into the projects, of course, you will first learn the basic concepts and master all the techniques require step-by-step. As the macro overview, I divided this online course into eight chapters, apart from the introduction chapter. In the first chapter, you will learn about various transformation and distortion techniques, such as prospective, warp, cage, liquefy, mesh and so on. Then in chapter two, you will on our layer features, namely Layer Style, cloned layer by layer and fill layer. Next, in Chapter three, you will learn various techniques related to patterns and textures. You will use various pattern generators, such as multi-grade, screen tone, SEX, butter, and so on. Then learn to create seamless repeating images using the wraparound mode. Then in chapter four, we will discuss before washing techniques. Basically, they are techniques of utilizing photos or external images to speed up the illustration creation process. Chapter five will be our first big project chapter. Here, you will want to create an illustration of a deep-sea diver looking for treasures. Initial law, you will master all the process in detail from a to Z. In chapter six, you will learn the ins and outs of the brush system in greta from the types of brush engines, sensors to help to create your own brush presets and brush steps. With this, you will be able to create unique brush presets, such as creating C plans or anemone is on-the-fly, growing rope in a single stroke, producing a grass field in a matter of seconds using plants that you designed yourself and so on. In chapter seven, you will on Pinterest style growing techniques, or in other words, digital illustrations that look like they were created with a real brush. In this chapter, you will also learn various cheating techniques. These are techniques that can help you create illustrations even faster. In chapter eight, for the last chapter, you will utilize everything you have learned from the previous chapters to create a cowboy cactus illustration. Domain challenge of this project is to create a painterly style illustration as quickly as possible, but also be as flexible as possible so that it is still easy if we have to make revisions to the drawing in the future. Before you decide to join this course, I need to remind you that this course is not designed for complete beginners who have never use Krita before. The curriculum. And new scores is designed as the continuation of the basic level of course and intermediate level of course, which I have realized before. So just to be safe, I recommend that you take two basic and intermediate courses for us before taking this one. I hope this course can be beneficial for you. Sell unwelcome. 2. Course information: Before we start discussing lessons, there also for important things you need to know for us about the course. The first is the location where you can download the exercise files. You can find and download the files in the resources section of this video. In case there is an error or problem, you can also download the files from the following lean. Please pay attention to the capitalization of the letters because Ling is case-sensitive. For your convenience, I have combined and compress all the files into a single zip file. Once you download an uncompressed file, you all see that they have been sorted and named according to the name of the lesson videos. Next is the curriculum. I have structured the curriculum of the scores very carefully, less than us that you learn from one video. We will be the foundation for the next videos. That is why it is very important that you take this course in the order avoid learning by jumping around randomly. If you do that, at some point, you will get confused. Indeed, sometimes I repeat past lessons if I consider them important. But of course, there is no way I can repeat everything over and over again in every lesson. The next thing that I need to emphasize is that you need to practice this online course. It's not all about theory. In fact, most of the lessons are practical skills. If you really want to benefit from this course, then there is no other way but to do a lot of practice, at the very least, for each lesson video, try to practice it yourself at least once. For this online course, I recorded all the lessons using a PC with Windows ten operating system. So all the keyboard shortcuts you will see in the videos are for Windows. If you are using Linux, it shouldn't be a problem. S basically, Linux uses the same hardware and keyboard layout as Windows. What might become an issue is if you are using an Apple Mac computer, since the keyboard layout is slightly different from that of a PC, you should anticipate some differences also, keyboard shortcuts. At the very least, you may need to spend a bit more time looking for additional shortcut references on the Internet. In general, you'll need to swap the control key on my PC with the command key on your keyboard. By now, you probably already know that Greta is free and open-source. The official Krita website is crito.org. What I want to stress now is that you need to avoid downloading greta from other unknown sources. Because it could be that the software you download from other sources contains malware that can harm your computer. In terms of software version, when I started recording for this course, creator was available in version 5.1, 0.3, and then halfway version 5.1, 0.4 was released. So throughout this course, we'll be using create our version 5.1, 0.3 and also what Ocean 5.1, 0.4. This means that all the features, DUI and also software bugs and limitations are relevant to the two versions that I am using. If you find any differences in lucrative you are using, most likely this is due to the software updates. If the changes are not so extreme, I might make an update video after the effect that lesson video. But if the changes are too extreme, I may have to save them for later to be released as a new separate course. The last thing that I need to explain is regarding copyright issues. Throughout this course, I might show some images or even videos which are not. Mine, are created by me. I use discontents simply for reference or to help explain lessons. Even if I use them, intercourse projects or exercises, I already make sure that the contents are royalty free. I never claimed that these contents are mine nor were created by me. If I can find the name of the owner, I will place it on top of law corresponding content. But if I cannot, at least I will put the URL offer. I got the content from. 3. Custom UI and shortcuts: In this video, we will go over the UI layout in custom shortcuts that now we'll be using throughout this course. We have already covered the techniques in-depth in a basic level of course. So I am going to review them quickly in this video just to make sure we are on the same page when it comes to a UI layout and keyboard shortcuts. The first time you install an open Krita, this is probably what you will see. Two fully view the Crito UI. We need to open a document or create a new one throughout this course. Besides using a full HD document or solution, or 1920 by 1080 pixels, I will also often use the air for 300 ppi document preset in landscape mode, especially for the two major illustration projects. We have already discussed in detail all the parameters related to documents in a basic level, of course. So we won't go over them again in his video. Click the Create button to create the document. Once we have a document opened, we can see the complete uy of Corita. What you see now is the default UI layout. This is not the UI layout data we'll be using in your scores. If you want, you are free to use this default layout or perhaps your own layout. But if you want to match your UI layout exactly to the layout that I am going to use. You can follow these steps. First, click and drag the toolbox so that it is at the top. We want all the two ligands to be in one row. Then I prefer this at once color selector Booker to be on the left side to move rocker because it is currently stuck with another Docker. You need to click this button first, then you can drag it to the left side. Same thing with the tool options Docker. We want to move it to the left as well. Just below the advanced color selector. We can adjust the width and also the height of this broker if needed. Finally, I want to close this glass preset Docker as we can access it above via this button or by using the F6 shortcut. The less UI element I want to change is the type of the Urban Scholars selector. Currently, the center area is triangular. I prefer to use the square root type. To change it. You can click on this small icon, then click here and just use your preferred style. My favorite is the square one. Then click Okay to confirm. You can see the central area of the urban scholar select data is now square. Next, let's discuss the custom shortcuts. We all know that keyboard shortcuts are very useful for speeding up workflow. Throughout this course, we'll be using custom shortcuts lot. These are the ones that I have set up and explained in a beginner and intermediate level of courses just to refresh our memories. Let's say you have just installed Krita. I need to set up your own custom forecasts. I'm going to show you how to create just two of them in his video. For duress in Shallow, you'll be able to do them yourself. Force, I want to set the letter Z for the free-hand selection tool. Then secondly, I want to set the letter q for clearing the selection. The official name for this command is deselect. To configure a keyboard shortcuts. You can open the Settings menu, then configure Krita, unopened keyboard shortcuts category. Here, you can find specific commands by typing the name in the search field. Let's try typing freehand selection. Now the list is filtered to only show the free-hand selection tool command. Click in this area, then press the button that says none. Press the letter Z on your keyboard and press. Okay. Next photo, second shortcut. We can use the search field again by typing disliked. We can see that this command already has a default shortcut, which is Control Shift a. It is a bit troublesome to use this default shortcut because we have to press three keys at once while we will need to deselect command very often, we want a simple shortcut, but also don't want to delete the default shortcut. So you don't click here, but weakly in the alternate column area. Then click None button and press the letter Q on your keyboard. Click Okay to confirm. It is. So you create custom shortcuts in Krita. Again, this is the latest of custom shortcuts. They die, we'll be using throughout this course. In the future videos, I will probably only mentioned the letters of the shortcuts are only mentioned the command names. If you forget or get confused, just go back to this video and look at this list again. 4. Transform tool free mode: In this lesson video, we will discuss the transform tool. Previously in our basic and intermediate Krita courses, we discussed how to move Radius using the Move tool and also discussed the basics of the transform tool. Just to remind you, these two tools are similar. Abba glands on the shortcuts are similar. We can press T to activate the Move tool and Control T for transform tool. But as the name suggests, the Move tool or feature is only limited to move into layer or image inside the selection area. If you want to do a transformation that is more than just moving the image, such as doing a scale or rotation, then inevitably, you will have to use the transform tool. For this lesson. You can use the file I have provided. If you use the transform tool with no selection at all, it will work on all pixels in the active layer, e.g. we can select this layer and then press the transform tool icon. We will get a bounding box that surrounds the entire image on this layer. In this condition, we can click drag inside the bounding box area to change its location. Now, if we make a selection force, e.g. with the rectangular selection tool, then make the selection on just a portion of the available image. When we have T with the Transform tool again, you can see that the size of the bounding box becomes smaller than before. And if we click Greco again, our transformation now only affects the pixels inside the selection area. I am sure you already understand this concept. If you like to changes, you can press the Enter key on your keyboard to confirm, or you can press the Apply button in the Tool Options Docker. But if you change your mind, one to cancel the transformation, you can press the Escape key on your keyboard or press the reset button here. After you press the Escape or enter key, you may find that the bounding box disappears. You don't need to worry as long as the Transform tool is active, just click once on a canvas area, then the bounding box of the transform tool will reappear. Alright? You should know that the transform tool actually consists of six different modes. You can see this six modes in a tool options to occur. This mode is the default mode, which is named free. The second mode is called perspective. Then this is the warp mode. This is the cage mode. This is the liquefy mode, and the last one is the mesh mode. Let's discuss each of these modes one-by-one. Let's start with the first mode called free. As I mentioned earlier, this is the default mode of the transform tool. In this mode, apart from moving the image, you can also rotate it. To do that, we need to bring the mouse cursor closer to the control point area in a bounding box, but not touching it. And they will see a circular arrow symbol on a mouse cursor. In this condition, we can click drag to rotate the image. Okay? If we move our mouse cursor until it touches one of the lines in a bounding box, you will see the symbol change to two opposite arrows. In this condition, if we click drag, then we are assuming the image by share, I mean tilting or skewing the image. I can press Escape to cancel out the transformation. Then the last one is scaling. If we move our mouse cursor to one of those square control points in a bounding box and then click drag. We will scale the image. Alright? When changing the position, scale and rotation, you can utilize the Shift key to get more control over the transformation process. Where new click drag to change the position of the image. Pressing the shift key will constrain the image to move vertically or horizontally depending on which direction is closest to the mouse cursor position. If you perform rotation while holding down the Shift key, the rotation will snap for 7.5 degrees. With this, we can rotate the image by exactly 45 degrees or 90 degrees, e.g. and finally, if we hold down Shift while scaling the image proportions or the ratio between the width and height will always be fixed. This means that the image will not be stretched or squashed. Besides controlling it visually with the bounding box also provides various parameters of the transform tool in the tool options darker. This will be very useful if we need more detailed control our transformation process. First, let's discuss the filter parameter. Basically, this is to determine the algorithm used by Krita only affect the pixels when transforming the image. It will be too long to discuss in detail the mathematical differences of each of these algorithms. You can look up references online if you want to know more. In general, the default filter by cubic is suitable for almost all our needs. So you don't need to change it unless you are making pixel art work. In this case, you might want to use a filter code nearest neighbor. Next door radio buttons on the right side will determine what transformation and private torus will be displayed at the bottom. If we set this to position, we can set the x and y coordinates of the bounding box. The changes we make visually on a canvas will affect the value of radius two parameters, vice versa. The changes we make to these two parameters will also affect the location of the image on the canvas. Now, if we set this to share, then we can adjust dx tail and also the white tail. If we set this to scale, this parameter is the scale for the width are horizontal direction, and this is the scale for the height or vertical direction. Now of all these transformation types, the most unique one is rotate. Because apparently in Krita, the transformation for rotation is calculated in 3D. So the rotation that we have been doing with Juliano Canvas is actually just using the z-axis. If you want, you can try rotating using the y-axis as well as the X axis. You can also try this camera height parameter when using 3D rotation. This will change the perspective distortion of rotation. Personally, I find managing 3D rotation with this mode more difficult or troublesome when compared to the second mode called prospective. Especially e.g. if we want to apply a texture to the surface of an object, we will discuss this more in a future lesson. For now, let's finish discussing the parameters of the free mode. We can press the reset button to return everything to its initial state. We use these buttons to determine the location of the pivot point. The pivot point is the point that serves as the center of the transformation. If you notice in the center of the bounding box, there is a point that looks like a sniper of scope. This is what is called the pivot point. If we want to move it, hover the mouse cursor on top of it until the cursor turns into a pointing hand symbol, then you can click record to relocate it to another location. Now, if we try to rotate the image, we can see that the rotation is centered on the new pivot point location. If you want to read the new pivot point default location of the center, just press this button. You can also position to pivot, point to eight other points around the bounding box with these buttons. Now, you might be wondering, what is the benefit of this button. This button will be useful when we are using our scale transformation. The scale process is a bit different because by default, the center point of the transformation is the point opposite to the control point that we click drag. So if we click this one, this point will be the center of the scale. Likewise, if we click drag this one, then the center of the scale will be this point. But by activating this button, we will consistently use reactive pivot point location as the center of the scale. If you prefer a shortcut, you can use the alt key to activate this feature. So even if this button is off, scaling we're holding all, we will make the scale process always use the pivot point location as the reference. You can also use Shift and Alt together if you under scaling to be proportional. Alright? Finally, the four buttons at the bottom from Luke of the symbols, you might have guessed their functions. This is for mirroring the image horizontally. And this one is for mirroring the image vertically. Then we can use this button to rotate the image 90 degrees counterclockwise. While this button is for rotating it 90 degrees clockwise. 5. Perspective and Warp mode: In this video, we will continue our discussion on the transform tool. Now, we will focus on a Perspective mode and the mode. For this lesson, we will use the file from the previous lesson. In the intermediate level, of course, we actually already discussed anyone used this perspective mode. So let's just assume that this lesson is a refresher. As the name suggests, we use the perspective mode to create perspective distortion in the image. At first glance, the bounding box is similar to the free mode. However, the only thing that is the same as before is the click drag operation for a moving image. The essence of the prospective function lies in the four control points located at the corners. We can use these control points to distort the image. We can also utilize the points in the center of the line to move to corner points at once. You can see that by using the perspective mode, you can easily apply a texture to the surface of a wall, e.g. or create shadows on the ground as we did in the intermediate course or other similar tasks. What is unique about this mode is that if we position two control points close enough, then we will see a vanishing point colored in red. We can move this vanishing point to any location we want. If we bring this control point in closer also, then we will see two vanishing points at once. While the image is distorted, we can still scale and share with the help of the parameters in the tool options Docker. Well, we cannot do is rotation. Let's say we want to reduce the size of the image proportionally. First, we need to enable the scale parameter. Then turn on this chain icon so that the scale is uniform or proportional. Then move the mouse cursor to the width or height fields, and then spin the scroll wheel up or down until we get the size that we want. N as before, you can press the Apply button or press Enter on the keyboard to confirm. Otherwise, you can also press the reset button or the escape key on the keyboard to restore the image to its original state. The next mode is the warp mode. As with the perspective mode, this mode also distorts the image by utilizing control points. However, instead of having only four control points, we can set the warp mode to provide as many control points as needed. In the warp mode, these control points are called anchor points. Now, you should know that distortion mode can walk into different sub modes. The force is the grid mode, or what is called sub-divide. And the second is the custom sub mode, or what is called the Draw mode. But before we discuss these two modes, Let's first discuss the functions of these two parameters. If we move this point to the right, e.g. and we try to change these parameters. Each option here uses a slightly different algorithm to distribute the strength of the anchor points. In general, the default option is the most flexible, while the strongest option is the most rigid. Although the terms flexibles and rigid or not very precise, either unit or CD effect yourself to determine which algorithm is more suitable for your needs. For now, I will use the default algorithm. Then this flexibility parameter determines how much elasticity is applied to the image. E.g. if I move this anchor point to the left, now the image still looks normal. But if I increase this flexibility value gradually, at a certain point, the image will look like it is folded back. Generally, I never use a value above 0.2 for this flexibility parameter to avoid image from being folded back. For now, we can press the reset button to restore image to its original state. Next, let's discuss the grid or sub-divide sub mode. In this mode, we can determine the number of anchor points in image. The higher the sub-divide value, the greater the number of anchor points. And a more detailed we can get in distorting the image. But of course, we do consequence that there are more points that we need to fine tune. The second sub mode, custom or Bro, we're in this mode is active. We can position the anchor points freely. Just click on an image to add a new anchor point. Click drag on the existing anchor point to change its position. Repeat the process until the number and position of the anchor points suit your needs. After that, you can activate or lock the anchor points to the image by pressing the lock wins button. When this button says unlock points, in this condition, we can move the anchor points around to distort the image. If you want to rearrange the position of the anchor points, you need to press the unlock points button. Then just make the changes that you want. You can press block points button again. We want to go back to distorting the image. You can also delete all the anchor points you have created by pressing nuclear points button or simply switch back to the sub-divide mode. This will also automatically delete all the custom anchor points. We create a integral mode. Alright? At this point, you might be wondering, can we also do standard transformations such as move, rotate, and scale interval mode? The answer is yes. We can weather in the sub-divide mode or the Draw mode. If we need to move the image, just click drag within the Anchor Points area, but not touching any of the anchor points. Next, to perform rotation, you can hover the mouse over the area outside the anchor points until the cursor becomes a circular arrow symbol. Then click drag to rotate the image. And finally to scaling. Well, the cursor looks like a circular arrow. Hold down the Control key. This will make the curves look like an up and down arrows. If you click Greg and his condition, we are performing a scale. Now, it is important for you to know that scaling in warp mode, we are actually minimizing or enlarging the distance between the anchor points. This is different from the ordinary scale operation inside the free mode. You can see the effect better. Wellness scale is overly large or when it is too small. 6. Cage mode: In this lesson video, we will discuss the next term. So I'm tool mode called cage. To use the cage mode, the method is similar to how we use the Warp mode into drove sub mode. So we need to first add or refund anchor points around the image that we want to reform. You need to be careful though, because if there are pixels not enclosed by the anchor points, they will not be deformed. Just e.g. I. Deliberately left out the bottom part of this image. To stop deforming the image, you can click again on offer us anchor point. Or you can simply select the D form selection option here. Now, we can move the anchor points to deform the image. You can see that the pixels at the bottom area that we intentionally left out or not deformed. If you want to edit the anchor points again, simply in a body and edit anchor points option. However, you need to keep in mind that by doing this, older formations you made earlier will be lost. Also in Krita D add, edit anchor points mode. Can only add and reposition anchor points. There is no feature yet. Specific anchor points. At least this is the case in a version of greta that I am currently using. If you want to delete anchor points, you can only delete them all at once by pressing the Escape key on your keyboard. Next, this granularity parameter determines the deformation quality of blue pixels performed by each mode. But the value is inversely proportional. It means that the smaller the value, the better the quality of the pixels deformation with the consequence that the process becomes longer or more demanding on your computer's performance. Whereas a large value will result in a lower quality, less demanding on computer performance. Now, this granularity parameter is divided into two values, preview and real. The difference is that the preview value is used to determine the quality that we see directly on Canvas when we move the anchor points. Whereas the real value is the final quality when we press, Enter or press the Apply button. So generally, we want to preview value to be larger than the real value. In practice, you don't need to change these two values except when the image you want to do form is very complex and the result looks poor. You may want to erase this real value to a maximum of four. At this point, you might be wondering, how is the cage mode different from the previous warp mode? That is, where we use the draw sub mode. The first difference is that the anchor points of each mode must form a closed loop. As for the warp mode, you can place the anchor points anywhere freely. The second difference is that the distortion effect of the cage mode is more localized. It will not affect pixels outside the enclosed area formed by the anchor points. Whereas in a warp mode is more widespread or global, changes to an anchor point will more or less effect all pixels in an image. Just e.g. let's say we want to change the position of the arm so that it points slightly downwards. If we do this with the warp mode in a row sub mode, we can create anchor points in a middle of the hand area like this, e.g. we can try to lock the points and then drag the anchor points around. You can see that the head and rest of the body will try to follow along. We can try to localize the effect by pressing the unlock bonus button and then add anchor points to the head and body area. Then try turning on the lock points again. If you want to move several anchor points at once, you can hold down the Control key and click on the anchor points, the T12 slack. This rapid anchor points will appear in red. You can try rotating all these selected anchor points and also try to move them. But you can see for yourself, it is difficult to create a localized effect with the warp mode. Now, let's try this challenge with the cage mode. Makes sure all the pixels that we want to deform or inside the enclosed area formed by the anchor points and pixels that we don't want to deform or outside. Click again on a starting point or enable the selection option. Just like before, we can hold control to select multiple anchor points at once. Lived with two anchor points at the base of the unselected. After that, we can rotate all these anchor points or change their location. Yes, this area looks a bit messy, but in general, the result is much more workable then what we get from doo-wop mode, at least if we need a more localized effect. 7. Liquify mode: In this lesson video, we will discuss the next Transform Tool mode called Liquify. In short, liquify is an image distortion of feature that we can control as if we are using the brush tool. If you have used Photoshop before, this feature is similar to the liquify filter in Photoshop, there is probably why the name is also similar. To use this feature next year, the layer you want to add it is active. You can also limit your work area by first making a selection if you want. Make sure the transform tool is active. Then click on the liquefy mode whose symbol is similar to a water drop. On the left side. We can see that liquefy provides various types of sub tools. The first tool, which is called move, can be used to shift the pixels in the image. Let me click the reset button first. The next tool is scale. We can use it to make the pixels inflate a balloon filled with air. To reverse the effect, you can enable the reverse option here. Or if you prefer a shortcut, you can hold down the Control key while applying brushstroke. With this image will appear to be shrinking towards the center. Then the next tool is rotate, which we can use to rotate the pixels as if we are steering them. Just like before. We can add the reference option by holding down the control key to change the direction of rotation. Next door is offset, which we can use to shift pixels to the right side of the cursor moves in one direction. E.g. if I click drag from top to bottom, all pixels in a brushstroke area will be pushed to the left. If I click Gregg from bottom to top, then the pixels will be pushed to the right. You can also reverse the direction with a reverse option by using the Control key. At first glance, this tool is similar to the Move tool, but it is more suitable for shifting many pixels at once in an elongated area. The last tool is undo, whose function is to remove the distortion effect that we have created. Or in other words, return 0 pixels to their original state. Now, let's discuss the parameters on the right-hand side. The first thing that we need to realize about all these parameters is that they are contextual. This means that not all tools can have all the parameters active at the same time. E.g. all these tools have the mode parameter. But if we activate the undo tool below, the mode parameter is not available for this tool. What we're going to discuss first is the size parameter. Because this is the parameter that you will most likely change frequently. As the name suggests, the size parameter determines the size of the brush or circle that you see on the mouse cursor. The smaller the value, the smaller the area of this source that will be affected. And larger the value, the wider the area of pixels that will be affected. The shortcut to change the size value is similar to the freehand brush tool. So you can hold down the Shift key, then click the mouse to the right or left. You can also utilize the pen pressure to affect the size value by activating this button. Next is the amount parameter. This parameter is closely related to the mode parameter above. The amount parameter controls how far the pixels will move when we drag to brush on the image, you can set this value very high. But I recommend that you don't use a value of more than 0.1. That is, if you are using the built up mode here. Why? Because in built-up mode, you can apply brush strokes multiple times 2D image and a distortion effect will also be continuously edit. But if you set the mode parameter to wash, then Krita will use the amount of value here differently. E.g. I. Set this to one. Basically, now, this amount value determines the maximum distance the pixels can move from their original location. So in wash mode, we cannot keep adding distortion effects to the image. There is a maximum limit at which the pixels will no longer be able to move away from their original locations. There is y, generally, you should set them on value here. Smaller when we are in the built-up mode, and larger when we are in the wash mode. Now, because in wash mode, demand parameter is to determine the maximum distance the pixels can move. This mode needs an additional parameter to set how far or how fast the pixels move each time we make a brush stroke. That is the function of this flow parameter. So again, this flow parameter only appears when we are in watch mode. And its function is to determine the strength of each brushstroke that we make on the image. For now, I just use the built-up mode a nicely at the amount of value to 0.1. The last parameter is spacing. Basically, when we do brushstrokes on the image, creator does not continuously this toward every pixel in the image without pausing. Instead, Krita doves it at certain intervals. You can imagine the brush engine and Krita machine gun. This spacing value determines the time interval between bullets ejected by the machine gun. The smaller the value, the more bullets it spits out for a second. In contrast, the larger the value, the longer the interval between one bullet to the next. Therefore, the number of bullets fired per second will be less. E.g. if I use a value of 0.2 and make a brush stroke like this, you can see the effect has almost no pulses. But if I reset it and set the spacing to the maximum, which is three, e.g. then click drag again. You can see that there is a pulse or interval each time Krita applies to the distortion. 8. Mesh mode: In this lesson video, we will discuss the transform tool mode called mesh. At first glance, mesh more a similar to wrap mode or perspective mode. The difference is that the control points have Bezier handles. In the intermediate level course, we discuss vector, anything in depth. So you already know what bathes the handles are. Just to remind you, basically, handles are extended control arms attached to the main anchor points. We can use basically handles to adjust the curvature of the segments, connect up to the points. Apart from regular handles, we can also adjust the curvature, Berkeley dragging directly on a segment. This technique will also affect the Bezier handles attached to the segment automatically. In fact, you can click anywhere within the mesh area to affect the hand-offs and segments near the mouse cursor location. Then, similar to the previous mode, you can also perform rotation by clicking, dragging out. So like the mesh area. You can also scale by holding down the control key and click dragging up or down. At first glance, the mesh feature is similar to vector objects. Both mesh has an advantage over ordinary vectors is that the points can be branched. If we increase the column and row values to three, e.g. you will see branching points that have three handles. Some even have four handles. If you want to control multiple points at once, you can hold Control and just click on the points you want to slack, the selected points will appear blue. In this state, you can rotate all the selected points by click reading outside the mesh area. You can also scale the selected points by holding Control and click dragging up or down. Then if we want to move them, you can hold Shift and click drag outside the mesh area. Besides using these columns in row parameters, you can also utilize the Control and Alt keys on your keyboard to add, subtract, and even slide the row or column lines in a mesh. To do this, you need to hold down control. And at the same time. While in this condition, if we click or click on a segment, Krita will create a new line perpendicular to this segment. So you can add rows or columns using this technique, depending on which segment you click on. If you hold Control and Alt and then click Gregg or no point in the boundary area. You can move the entire line, connect up to the point. And finally, if you click and drag out a point on a border beyond the mesh area, Krita will erase the whole line. So again, Control Alt and click on a segment to create a new line. Control, click drag on the point in a border line. Those like the position of the line and Control Alt Click drag to the outside of the region to delete the line. Now, let's take a look at these three check boxes. The first one is to show or hide the base, the handles in the mesh. The second one is to determine the default behavior of the handles, whether they move symmetrically or not. When this option is on, moving one handle will automatically move the other handle on the same line. If this option is off, they're moving or handle will not affect the other handle. If you prefer to use shortcuts, you can hold down shift to reverse the condition of this option. So if this option is on holding Shift while clicking on or handle, the movement will not affect the other handles. But if this option is off, holding Shift and moving the handle will also move the neighboring handles. All right, in a current version of pre-taught in I am using, there is a slight bug that makes this less option not work. Increase our version of five beta, this picture walked in version 5.1, 0.3 that I am using now, it doesn't work anymore. But don't worry, because this feature is actually not that important. Basically, if you have two handles that are in extremal position like this, the segment line that is affected will not be broken. It seems that this feature is now active by default without us having to enable the option. So for now, you don't need to fiddle with this feature. Seems it has no effect. 9. Transform mask: In this lesson video, we will discuss the Tromso mask. You can use the file I provided or you can use your own file if you prefer. Before we discuss the transfer mask. For us, you need to realize that all the transformations and distortions that we do using the transform tool directly on an image or destructive, meaning the original information of the image may be lost or the quality may degrade. Indeed, Greta has a unique mechanism to preserve the original quality of the image. E.g. if we rotate and minimize this image, then click the Apply button and then we scale this out again and rotate the image again. Krita is able to restore the image quality to its original state. But this mechanism only works if we haven't performed any other operations on the layer or haven't saved and close the file. Just for another example, if I scale this image again and then rotated. But now I draw a few brush strokes on the image. At this moment, creator no longer preserves the initial state of the image, except for the one in the annual history. So if I try to enlarge the image again, you can see the image has been degraded from its original quality. For now, you can still undo it, tourist or the image to its original state. Now, if we want to transform or distort using the transform tool, but non-destructively, we can use the transform mask. We already know about masks from the basic and intermediate courses. Essentially, masks or additional information that we can attach to a layer. Whereas a transfer mask, he is a type of mask. You can hold transformation or distortion information from the transform tool. The way to use it is as follows. Force makes sure the layer we want to apply the transformation tool is active. Then press the small arrow button on the side of this plus button, Select and Mask. Now, when we want to use the transform tool, instead of selecting the layer, what we need to select now is the Tromso mask. In this condition, we can use the transform tool as usual. We can also perform the various distortion modes provided by the transform tool, e.g. we can apply perspective distortion to the image. Because we apply the transformation to the mask, the original image on this layer is not harmed. We can turn this mask on or off according to our needs. And like any other mask, we can move it from one layer to another. Currently, the perspective distortion has moved to this layer. If we drag it back with the mouse or with the down arrow button. Now the image on the first layer becomes distorted. Again. You can also duplicate the Tromso mask as you will duplicate the layer. And that is by right-clicking and selecting the duplicate layer or mask command. Or with the shortcut Control J. You can move the duplicate result to another layer if you want to delete the transfer of mass, it is also the same as deleting a layer mask in general, you can press the trash icon or you can also press the shortcut Shift Delete after we discussed the various features related to the thumb. So mask, we also need to know it drawbacks or limitations. The first drawback is that a transom mask can only accommodate one type of transformation or distortion. If e.g. you want to apply both worlds and cage two or layer, then you will need to create one term. So mask for the warp mode, another term, so mask for location mode. This applies to other modes as well. The last drawback you need to consider is the computer performance issue. As with other non-destructive techniques, thumb, so mask will put more burden on your computer performance compared to destructive techniques, especially if you use many trans so masks stacked on top of each other. And also use complex distortion modes, such as smashed a liquefy, just e.g. if we add a chromosome mask to this layer, then we apply the liquefy distortion. We can break some pixels around e.g. like this when we hide and try to unhide these terms. So mask. Sometimes creditor needs a few seconds to display defect again. So those are some considerations if you want to use a brown so mask on the layer. 10. Deform brush engine: In this lesson video, we will discuss distortion or deformation techniques using the brush tool. Besides using the transform tool, we can also perform this torsion similar to the liquefy feature using only the free hand Brush Tool for this crater provides three brush presets. By default, they are distort move this thought, grow and shrink. This thought move. Brush Preset allows us to track pixels around. This is like the move more into liquefy feature. Then we can use the distort grow to inflate the pixels as if they are a balloon filled with air. And finally, with the restored string, we can shrink the pixels as if they are being pulled towards the center. So both grow and shrink. I would like to scale mode, you know, liquefy feature. At this point, you might be wondering, what about the liquefy mode that spins the pixels around? Is this also available in the brush tool? The answer is yes. But we need to activate it manually through the settings inside the brush editor window. We can open the brush editor by pressing this button or by pressing F5 on your keyboard. We will discuss how to set the brush parameters more in-depth in a future chapter. For now, let's just focus on how the deformation brushes work. If we click on this button, it will open the brush presets list. You will see a pull down list called engine. If we click on it, we can see that Greta has different types of brush engines. The number is constantly changing from version to version. Integrated version 5.1, 0.3 that I am currently using. There are 16 types of brush engines that we can use. Now, if we select the D form engine, I will filter the list to only display the brush presets that use the deform engine. And as expected, the three brush presets we discussed earlier appear here. Now, if we select the default brush again, let's close this list to free up some space in a deform options category. In addition to the Move, grow enshrined is torsion modes. We can also see the other modes. Let's take a look at these modes. The swirl CCW mode is for rotating the pixels counterclockwise. While swear or C W is for rotating the pixels also, but in a clockwise direction. Then the rest are additional modes that we cannot find any liquefy transform tool mode. The force is the color deformation mode. This mode is similar to blurring, but by randomizing the position of the pixels. Then the lens zoom out mode is like duplicating the pixels and scaling them in multiple times. In contrast, the lens zoom in mode will duplicate the image and scale them out multiple times. So those are the various modes that the D form brush engine supports. You should keep in mind that although using this brush engine feels more instantaneous compared to using the liquefy feature, the final quality of the brush deformation is lower than what you can get from liquefy. The results of the brush method tend to look more blurry than the liquefy method. The second row vec is that since we can only apply it directly to the image, the brush deformation method does not support non-destructive workflow. Inevitably, the image quality will be degraded. 11. Layer styles: In this lesson video, we will learn about layer feature called Layer Style. What layer style? The first two are especially visual effects attached to layer, such as drop, shadow in Roseto, outer glow and so on. If you have used for osha Affinity Photo or GIMP before, the concept is exactly the same as the Layer Style in the software. To access this feature for us, makes sure the layer you want to use is selected. Then you can open the Layer menu. Choose Layer Style. Or a quicker method that I recommend is to right-click on the layer. Then select this option layer style. Crito will open a window called layer styles. You should note that in Crito version 5.1, 0.3, which I am currently using, some features of the layer style are still under development. E.g. we cannot use the Blending Options category yet. Likewise, there are some parameters in some of the styles. They're still don't work. In this lesson, we will only try to customize the drop shadow parameters because to discuss all the parameters of all the existing styles will be very time-consuming. At least understanding the work in concept, you have enough fundamentals to export the other styles on your own. So let's try activating the drop shadow style. You can see that the star image on the raster layer now has a shadow that falls towards the bottom right. Now, active reading an effect doesn't necessarily open the parameters of the effect. You need to click on the name of the drop shadow style force to open its parameters. We can set the type of the blending mode here. Then we can set the color virus box, e.g. let's make it a dark blue color. The opacity parameter is probably obvious. Basically, it is for adjusting the transparency of the shadow. Then we can set the light direction in this area. We can flip the direction horizontally, flip it vertically, or flip it horizontally and vertically at the same time. If you enable this Use Global Light option, then all other styles that use a global light source will also change according to the light direction we've said here. But if we turn off this option, then ruptured or style of this layer becomes independent from the settings of other styles in the same layer. Styles on other layers. Then this is for setting the distance of the shadow from the image object. The spread value is used to determine the area of the shadow that is sharp or not blurry. If it is zero, then the shadow gradually becomes blurred from the start. If it is 50 per cent, then the shadow will start to become blurry. Halfway of resistance value. If it is 100%, lineages of the shadow will be fully sharp. The size parameter determines how strong the blurring effect is supplied to the shadow. As for the parameters in this area, they are all still under development. So let's just skip them. This option also does not work properly. Originally. If we activate this option, the star image will disappear, but the drop shadow color will still be visible or right. We can enable multiple layer styles at the same time. If we want e.g. we can enable Bevel and Emboss, texture, stroke, and so on. Now let's turn off the stroke style and then we click Okay. If you notice layers that have styles will have an additional icon that says fx. You can press this icon to show or hide the layer styles. Pressing the fx icon is the same as opening Layer Styles window again. And then turning on or off the nipple effects checkbox. Alright. What is unique about layer styles is that you can copy, paste them from one layer to another. We can also apply styles to vector layers, e.g. we can right-click on this layer, then select copy layer style. If you notice this layer is actually a vector layer, we can right-click on this layer, then select Paste Layer Style. Now, this vector layer uses the same layer styles as this paint layer to edit the layer style of layer, just right-click on the layer and then select layer style again. For now, let's turn off the drop shadow style, and let's turn on the inner shadow style. Don't forget to click on the style name also to reveal the parameters. As you can see, all these parameters are similar to the drop shadow parameters. Do only difference is that the shadow effect is now applied inside the image area instead of outside it. This makes it look as if the starship is a hole that goes inside the surface or it makes it look as if the background layer is white paper that has been cut out to form a star symbol. The last thing that I want to show you is that the effects of this layer styles are dynamic and non-destructive. E.g. if I select this yellow star vector shape, then I rotate it with the Select Shapes tool. Or even edit the points with the Edit Shapes tool. All these changes automatically affect the layer style. Indeed, sometimes script that takes a few seconds to refresh or update. You can also e.g. use the brush tool and draw on this raster layer. The styles of the corresponding layer will change dynamically according to the condition of the image. 12. Clone layer: In this lesson video, we will discuss the cloned layer. Essentially with this feature, we can duplicate one layer into many layers, but the duplicate layers are still bound, are related to the original layer. This means that if you've changed the original layer, all of the duplicate layers will change automatically. We can vary the duplicate layers non-destructive free with the help of Thomson mask or other nondestructive methods. At this point, you might be wondering, what do we need this feature for? Indeed, if you are alone creating an illustration, this feature is not too important. But if you are working in a team or in a production process, e.g. making a video game or making an animated movie. You will see and appreciate the importance of this feature. Just e.g. what you are looking at wipe now is a screenshot of a mobile game called odd model. You can see lot of image elements that are used repeatedly. Sometimes the repetition is very obvious. Like this wooden platform, e.g. sometimes the repetition is sub-total. For instance, this grasp pattern is actually repeated. The same goes for these bushes. The one at the front is actually the same as the one at the back. Only Barker, sometimes the same element is made squash or stretch to make it look less uniform. Other times, they are flipped like the plant at the back. Technically, the image element is created only ones using a graphic software. Then in a game engine, the image is mapped as a texture on a polygon. We can duplicate the polygon and tweak the vertices to vary the shape. And we can also apply certain shaders to vary the color. With this technique, the time to develop the game can be shortened. In addition, the performance of the game can be improved because this will minimize the need for memory. It can also reduce the size of the file that the player needs to download. Another example is this game called Raman. You can see that the two elements of the fisherman's house at the back are actually the same. They are just made slightly different in size. This screenshot is also from the game ramen. If you pay attention, these columns or pillars are actually the same image, but with the size and color effects of variable. Apart from games, you can also find this duplication technique in the movie or animation industry. A good example is the movie series called Puffin rock. You can see that these flowers are actually the same image to three. To three. While this one is the flipped version with this flower, n is one removed so that they don't look too uniform. The point is, this duplication technique is commonly used in the professional world. And to simulate it, we can use the clone layer. Let's see how we can use the colon layer. In his file that I have prepared. There is one background layer, two layers, each containing a pillar image with a different design. We can hide the spirit to layer for us. Let's assume that now we want to create three layers from this pillar. One layer, we want to place them on the left side of the image as if they are lined up further away from our eyes. For this, we can select the layer we want to duplicate, which is pillar one. Then click on this small arrow button and then just clone the year. We have just created a new layer right above the original layer. Let's just change its name to C1. You can distinguish a colonial from other types of radius by its icon, which looks like two pieces of paper stacked on top of each other. The clone layer is unique, is that we cannot grow on it. To move it directly, we can only use the Move tool. If we want to transform or distorted with the transform tool, you need to apply a transform mask first. Once there is a ton So mask, then we can use the transform tool. Let's set the scale while holding down the Shift key and place it on the left side. Next to create the second and third pillars, we can simply duplicate this layer by pressing Control J. Move it so that it is below C1. Rename it to C2. Then select the mask, and then click. You've seen the transform tool make this layer of smaller n, position it so that it appears to be further away than the first one. Next, we can repeat the process to create the third pillar. Just duplicate this C2 layer, move it to the bottom, named this layer of C3. And we can set the scale and the position as well. Right? Now, even if we hide the original layer, the duplicate layer, auto clone layers will still be visible. Besides terms of mask, we can apply various other non-destructive techniques to do colonials. E.g. we want the two pillars to be covered in a fog or some air particles. The farther away they are, the more subtle we want them to look for these ions. To show you two different methods. Follow second pillar array of C2, we will use a Layer Style. So right-click on the layer, then choose Layer Style. David unopened a color overlay style parameters. Change the blending mode to normal. For the color. We want to sample this bright blue sky color. Click the color box, then click the button for color sampling, and then click on the area of this guy that we want to sample. Click Okay, change the opacity of strength TO about 25%. I think this is enough. For the second pillar. We want to try and explore a different technique. We will use a filter mask. So makes sure the layer is active, then create a new filter mask. We want to use a filter called the slope offset power. For your information, this filter is mainly used for color grading. Simply put, slope controls Dr. colors, offset controls the dark colors, and power controls the middle of colors, but in reverse. For now, we only want to utilize the offset parameter. We can click on this box and sample the color of the sky behind the pillar. The goal is to get the color or the hue value. Originally, the darkest shade or color is black. So starting from the black point slightly and drag it towards the color we've sampled earlier until you are satisfied with the appearance. Then click Okay, and click Okay again. Now, because the color layers are still connected to the original layer, if we edit the original layer, e.g. we draw some random brushstrokes. You can see all the Coronavirus change automatically. The last feature of the color layer that you need to know is set copied from. Let's say, we want to change the design of these pillars to match the design of the pillar two layer. We can do this easily by selecting all the clone layers that we want to change. Right-click on one of these layers, then choose Set copy from. Remember, this command only appear if we right-click on nuclear layer, then we can select the layers name that we want to reference from this list. Choose pillar of two and click Okay. And here is the result. You can see that even though the pillar resign has now changed to follow the pillar two layer all the transformations. Another non-destructive effects that we created earlier, arrow still preserved. 13. File layer: In this lesson video, we will discuss the file layer feature. In short, the function of the layer is very similar to that of the Cologne New Year. We use both to create multiple duplicate layers which are still related to the original image. What makes them different is that occluding ear works locally or only within the scope of a single document. Whereas layer works externally, or in other words, it references an image that exists in another file. This file layer feature will be very useful when we are working in a team. E.g. an artist is assigned to work on the background, another on a foreground, another own plants or trees, and so on. Each artist creates their own files. These files can be dynamically combined into the final composition utilizing five layers. When there are changes to the original files, they will be automatically reflected in the final composition file. To try out the fire layer of feature, we'll be using the file from the previous lesson. In addition, I will also use this file which contains an image of large rock with a bit of snow on some of its surface. Let's assume that we want to place this rock image into the first file. Open the file. For now, we can hide all these pillar layers. To create a file layer, just click on this small arrow button. Then choose for our layer. We can specify a name for the new layer, e.g. rock. Then press this folder button to open the file browser. Select the Crito file, did I prepared earlier? Now, you need to remember that besides the Crito file ordered of craft format, you can use any image file format supported by Krita reference photo layer. You can use Photoshop format files such as PSD and PSB. You can also use the file formats. You can even use vector images in SVG format. After we select the image file, click the Open button. The last step is to determine the scale of the image. We imported essays or do we auto scale it to fit the canvas area? Or do we adjust it based on its resolution or pixels per inch value? Either option is actually fine because later we can freely apply the scale using transform mask. So just click the OK button. And here is the result. We can tell a PHY layer by its icon that looks like two circulating arrows. Going forward. Although clone layer of features we discussed in a previous lesson, can we apply it to the file layer e.g. you can move it directly with the more full. And to use the transform tool, you need to apply a Tromso mask. First. You are afraid to use any transformation or dispersion mode. For instance, I use perspective distortion, forest fire layer. You can also duplicate it into multiple layers or apply a filter mask layer style if you want. Alright, now if we open the original file and then we make some changes to this file. Let's say some brushstrokes or perhaps just hide or unhide of certain layer. The changes will automatically be reflected in all of our layers. Deduce this file as the reference. But remember, you have to save the file first so that Krita can read the data. After we save it, we can go back to the main file. And as we expected, this bolder image no longer has snow on its top surfaces. 14. Fill layer: In this video, we will discuss the fill layer. Basically, fill layer is a dynamic layer there procedurally display's color, pattern or gradient. By procedural, it means that the process is done by the software and we, as users, only need to set the parameters to create a fillet here, the method is the same as we create other types of layers. You can click on this small arrow icon and then choose Fill layer. But before we continue, if you notice from the basic level, of course until now, we have covered all types of masks and layers, except for one Duffy layer. So after this lesson, we have officially covered auto mask and layer types in Krita. Alright, if we click on his fellow eruption, Krita will open a window called Fill Layer Properties. We can specify a name for the new layer in his field. But this is not too important because we can change the name leader in layers darker. Domain function of the fill layer lives in his list. Here we can specify the type of image generator or the program that will generate the major way. The color option is the simplest, as it will only fill the layer with one solid color. The gradient option, fill the layer with a gradient color. Then this is multi-grade. This is pattern. Then this screen tone. Next is SEX borrow. Unless one is simplex noise. A few versions ago, created only had three options for the fill layer, namely color, python, and simplex noise. Due to rapid development, there are now seven types of image generators that we can use. By the time you watch this video, there might be more added. In this lesson, we will only explore the color and gradient options. We will discuss the other image generators in the next chapter. For now, let's use a solid color and we can change the color e.g. to orange. Then click Okay. You can see that the icon of the fill layer has a symbol similar to a diamond. Just like a regular layer, you can adjust its blending mode and opacity. If you want to change or adjust the content again, you can right-click and select properties, or you can simply press F3 on your keyboard. E.g. we can change the color to something else, or we can change the file type to gradient. If you notice the contents of the General tab similar to the parameters in a gradient tool. Meanwhile, the parameters in a gradient color of stab are similar to those in a gradient editor. We have already covered both of them in-depth in the intermediate level. Of course, there is no need for us to repeat the lessons here. What is unique is this tab, which is called position. If you remember, dweller use the gradient tool is buckling, bragging canvas area. The point where we click Enter point where we released the mouse will be used as the reference for the gradient direction. Now, since we cannot use the gradient tool directly on a fillet here, instead of click bragging on it, we can type in new coordinate values of the starting point and the ending point. Let's say we want to have a diagonal gradation, the brands from the upper-left corner to the lower right corner. By default, these coordinate values use percentages. For each x value, the far left is zero, and the far right is 100. For the y-value, the top one is zero and the bottom one is 100. So we can set these coordinates to x zero and y zero, or the point at the top-left corner of the image. While the second coordinate, x 100, 100, point at the bottom right corner. Yes, this is not as convenient as using the gradient tool. Both at least Krita provides parameters to control the coordinates of the points and not just the degree of rotation value. We can click the Okay button to confirm. And here is the result. Because the content of the layer is procedural, or in other words, generated by software or a program. We cannot draw on this layer, like we draw on a regular painterly or its RGB channels are locked or controlled by the image generator. However, the alpha channel is not locked. We can edit it just like we added the transparency mask layer or global selection mask. If you remember the lessons in the intermediate level, of course, growing on the alpha channel can only be done with grayscale colors. Black will make it completely transparent. Gray will make it semi-transparent. And white will make it fully opaque. We have covered the transparency mask, filter layer and global selection mask in-depth before. So I am sure in shallow, you already understand how they work. Again, growing on a few layer is only useful for controlling the alpha channel or its transparency. And so we can only use grayscale colors. The last one is about transformation. Obviously, you cannot use the move tool ANOVA layer. If you tried to do so, only the alpha channel is affected. The RGB channel is not affected at all. Then if you want to use the transform tool, you need to add alternate. So mask first, only then use the transform tool on the mask. This is how you can perform transformations or distortions or no fill layer. So in terms of using the transform tool, the case is similar to the color layer by layer. 15. Multigrid: Starting from this video until the next few videos, we will discuss various features in Krita related to patterns and textures. In this video, we will discuss multi-grade, which is one of the image generators interfere layer. So to access it, we need to create a fillet or force. Then select the multi grid category. You may not be interested in the theory behind multi-grade, but to really understand its parameters, knowing the theory behind me, it could be helpful. In short, multi-grade, it's a multi-dimensional technique for generating Penrose tilings. It is the name of an algorithm created by a British mathematician and physicist Roger Penrose. Essentially, the algorithm is capable of generating repeating patterns, but not just based on square shapes like most repeating patterns. Penrose tilings utilize this reflection based symmetry as well as rotation based symmetry. The multi grid technique in greta creates Penrose tilings in multiple dimensions and the result is then projected onto a two-dimensional plane. The implementation of multi-grade Greta will always produce rhombus, rhombus shapes. In other words, for sight of shapes where each of the sides is exactly the same length. Now, let's discuss the parameters. The first parameter is the number of dimensions. If you notice, the dimension value is directly proportional to the number of branches in the center of the layer. If the value is three, then there will be three branching lines. If the value is four, there will be four branching lines. And if the value is five, there are five branching lines and so on. Next, we can think of the divisions parameter as the zoom level but inverted value. That is, if the value is large, we seem to be zooming way. And if the value is small, we seem to be zooming closer than the offset parameter is for shifting the pattern to the nearest tiling point. Imagine that we have a pattern in the center and there are many mirrors around it. If we shift this point to the side until this point becomes the center. This is what happens. As you can see, this was the center point before, and this point is not a center point. Simply put, we can use this parameter to toggle the type of the pattern variation. Alright. Next, in the line step, we can find parameters to control the line elements in a pattern. Width is for setting the thickness or the primary lines. In addition to the primary lines, we can also enable secondary lines are what is officially called connector lines. You can try each type of the connector lines yourself if you are interested in using them. The last one is for setting the thickness of the connector lines. Next, in the color step, we can customize the colors of the pattern. These two parameters are for the line scholars. This is what a primary lines and this is for the connector lines. Then we use this gradient ribbon to adjust the color of the rhombus. We can shift the position of the stops. We can create a new stop by clicking on these three bone area. We can change the color of the stops by double-clicking. And to delete a stop, we can just click, drag it out of the ribbon area. The last is the color of factors parameter group. Here we can adjust the color distribution of the gradient ribbon above. We can use the ratio parameter to rotate or a cycle the colors based on the shape of a rhombus, thin or sharp elongate, the thrombus is considered to have a small ratio value, whereas a rhombus that forms a perfect square is considered to have the largest ratio value. Now, by default, when the ratio is one, the rhombus with a large ratio value will be given the color on left. While the rhombus with a small ratio value will be given a color that is closer to the right. We can cycle this color distribution by changing the ratio parameter. Next, D intersect parameter determines the color of rhombus according to which direction of the plane is facing when it is not yet projected onto the two-dimensional plane. To see the effect, it is easier if we use a three-dimensional multi-grade e.g. you set the ratio value to zero and we set the intersect a value to positive two. This is the result. Then this index value determines the color distribution with respect to the center point of the image. When it is zero, the colors will be distributed evenly. If you set it to minus, then a second color will be more focused toward the center point of the image. Meanwhile, if we set it to a positive number, the colors on the left will be more focused towards the center area. Therefore, the car on the right will be pushed outwards. You can mix and match this color gradations and parameters to get unique color variations. So feel free to try them out yourself. A side note for this multi grid pattern is that out of many possible numbers for low-dimensional parameter, only the values of 34.6 are periodic. What periodic means is that we can tell them continuously. Indeed, the dimension value of four is not that important, as it's rectangular shape can be easily created using other tiling techniques for the remaining dimensional values, namely 57 and so on. They are all aperiodic. Or in other words, we cannot file a repeat them continuously. And if you notice, the larger the value, the more pattern becomes circle centered on a single midpoint. Alright? So the practical conclusion is that you can utilize patterns of dimensions 3.6 to create repeating patterns. Whereas for dimension values of seven or above, you can use them to create circle or flow patterns, e.g. a. Lobby or foyer floor, which usually has a circular design. 16. Screentone: We will continue discussing the image generator endothelial layer. In this video, we will focus on one called screen tone. To be able to perform zooming, we need to click the Okay button first. Then we reopen the properties window again by pressing f three on your keyboard. Essentially, screen tone will create a simple pattern consisting of two colors. In the screen tone type tab, we can set the shape of the pattern. In general, screen tone is divided into two types, dots and lines. The option we chose in a pattern parameter will determine the option that appears in a shape parameter. If we set these two dots, then these are the options, the appeal of inertia parameter. If we set these two lines, then this is what will appear in Russia placed. You can experiment with each of these options. But to save time. Here is the list of Python types that you can get from screen tone. The top row is the dots type, and the bottom row is the line style. You can get even more variations by utilizing the parameters on the other tabs, which we'll discuss in a moment. Alright? The interpolation parameter is useful for determining how to color changes from black to white. The linear option makes the change straightforward or in a straight line if we make a graph out of it. Meanwhile, the sinusoidal option, we are sloped slightly at the beginning and at the end. The effect is not very visible online pattern. But if we change this to dots and change the shape to ellipse, we can see the difference more clearly. The linear option has a smaller area border. Well, the sinusoidal option seems to be wider so that one shape can be touching another shape. Perhaps it will be more obvious if we increase the size, e.g. we can set the size to 20 pixels. We will discuss transformation in just a moment. So this is the sinusoidal option, and this is the linear option. The last one is the equalization parameter. Simply put, this parameter specifies an additional process to improve the quality of the anti aliasing. We have already discussed NYLS thing in the intermediate level. Of course, essentially anti aliasing is the technique of adding semi-transparent pixels to the borders of an image to soften it. The non option means that there will be no additional processing. This is the option that has the lightest impact on computer performance. Meanwhile, the further we move it to the right, the better the anti aliasing quality will be. But it also puts more burden on computer's performance. For now, let's just set this to the second option, which is function based. Alright. Next, inner transformation tab, we can access various features related to transformation for scaling or resizing the pattern. We can use two approaches. The resolution approach, or directly using the pixel size. With the resolution approach, there are three parameters that you should pay attention tool for us is how much the PPI or pixels per inch value you want to use. Then how many frequencies of the pattern in the horizontal or x-axis direction, and how many frequencies are in a vertical or y-axis direction. The chain icon is active. The x and y values will change simultaneously. The second approach, auto pixel-based approach, is more straightforward to adjust. Essentially, we can set the width and height of a single pattern in pixels, e.g. we can set this to ten pixels. Then these two parameters are for setting its position. This is for the x coordinate, and this is for the y-coordinate. The shear parameter can be used to tell, auto-scale your pattern image. Now, if you notice, it turns out that we have been using rotation value of 45 degrees. That is why if we set the shape option to diamond, we get a square instead. Meanwhile, if we select square, diamond shapes appear instead. All these shapes will become what they are named. If we set the rotation value to zero degrees. Alright? Then this is for flipping the pattern horizontally. This is for flipping vertically, and this is for flipping both direction simultaneously. The transformation option align to pixel grid is for snapping a pattern to the nearest pixel grid. This option we will reduce the anti aliasing effect is too strong on the pattern. Defect is not very visible where we've changed the position. But it will be very obvious if we perform a rotation, e.g. when this option is on, if we tried to increase the degree to one or two, no changes occur. If it is three, then there is a change. Value four and so on. There are no changes, again, value nine, there is a change, and so on. The conditions of these numbers depend on the shape of the pattern as well as its size. But if the snap option is off, every degree value will rotate the pattern despite the strong anti-aliasing effect. Then we can also specify how many cells are, how many units of pattern the snapping will occur. If e.g. we increase this value to five and try rotating it again. You can see that for every five squares, there will be an area that is forced to snap at the nearest pixel square. For now, let's just turn this option off the degree to zero again. At this point, you might be wondering, what is the function of the circle or checkboxes. We can enable these checkboxes if we need a wide range of values than what is available by default. The off condition is called range, and the condition is called full range. Just e.g. if I move this size value to derive the maximum value is 100 pixels. But if I enable this checkbox, now we can set the value to a maximum of 1,000 pixels. This is too big for our documents size. So I turn off this option and return the value to 100 pixels. Another example, currently, the shear parameter has a value range from minus two to positive two. If we enable this option, now we can set it as far as minus ten to positive ten. As you can see, we can produce unique patterns by combining these parameters. Let me return this to zero for us. Alright. The last step is post-processing step. We can adjust the color, transparency, and so on. We can change the foreground color to red, e.g. Oral change the background color to another color if you want. For this opacity sliders, you might have already guessed what they do. Next. We can invert the color with this check box. And what I think are the most unique parameters in this step, or the brightness and contrast. The roughness parameter sets the coverage ratio between the foreground and background colors. The higher the brightness value, the wider the background color area will be, which automatically narrows the foreground color area. Vice versa. The lower the brightness value, the narrower the background color area, and wider the foreground color area. Then if we decrease the contrast value, the ages of the foreground area will become more blurry. If you set it too low, then all the foreground areas will become blurry. If we set this to zero, the pattern disappears completely, making it useless. Generally, you want to set this at the high number between 100% and 98 per cent. 17. SeExpr and Simplex Noise: In this lesson video, we will use gas to image generators available in the forest is SEX bar. And the second is simplex noise. Sex powder is a programming language specifically made for generating various patterns and visual effects. Originally, SEX bottle was created by Disney animation to support the production of their animated movies. Since 2011, Disney decided to make it an open source project. If you open up the layer and select the extra X bar category, you will see that there are many patterns in this list. Since these patterns are basically pieces of codes, not pre-made images, creator will need some time to execute them. The time varies depending on the complexity of the effect and also the size of the document that needs to be filled with the pattern. If you notice, this list of pattern presets uses the same management techniques as the brush presets ingredients. We can use tags and also named filtering. We have already covered this type of preset management technique in-depth basic level. Of course, there is no need to go over it again here to customize the parameters of the pattern preset that you select in the script tab, we can open the Options tab. So again, what do you see? Any option tab depends on the pattern that you select, the New Script tab. This tab is divided into three sections. The top one is useful for managing the precept name, creating a new preset by duplicating the active preset of writing the changes we make to the preset file. And reload button can be used to reset all the settings to their initial state. Then in the second section, we can tweak the parameters associated with the pattern. It is impossible to discuss all of these parameters because each preset has its own set of parameters that are different from the others. It will be too long to review all of them one-by-one. So for this unit to try them out yourself, then at the bottom we can see or access the actual program or the codes. Notice that all the parameters you see in this section are actually variables defined inside the program. Just e.g. if I type here, dollar sign, myVar equal one semicolon, this is what happens. We've just created a new parameter called myVar. But this parameter doesn't do anything because we didn't connect it to any part of the program. Honestly, I have never studied this SEX per programming language in depth. And also discussing it will probably take more time than the duration of discrete or course. If you are interested in learning it, you can start by opening the documentation website or the following link. The next thing we want to discuss is simplex noise. Basically, this image generator will generate a noise in a grayscale color spectrum. We can use this to create smoke, e.g. or patterns of holes in the ground, rock textures as both services and so on. We can use the ratio of value to change the width and height of the pattern. This is for setting the width or the x-axis value. This is what offsetting the height on the y-axis value. If we set this to two, e.g. and we lowered the x ratio, we can get a pattern that looks similar to water surface. Then the custom said is useful for creating a consistent random pattern. It means if we input characters a, S df12 34, just e.g. Krita. We'll create a noise pattern based on this arrangement of letters and numbers. If we open credit on another computer and input the same characters as the seed a, S, df12 34. I noise pattern you get will be exactly the same as the one on the first computer. Of course, you are free to use any arrangement of characters, not necessarily a S df12 34. The point is, as long as swap input is the same, the noise result will also be exactly the same. Now, if you live this value blank, what actually happens behind the scenes is there uses a set of characters also, but they are randomized each time we create a new fill layer. And the last one is this looping option. Essentially, when this is on, Krita will create a seamless pattern. In other words, the pattern on the right side will match the pattern on the left side without any visible border. Same goes for the top border against the bottom border. Just to prove this, if we open a View menu and activates Rap Brown mode, this mode will repeat or document in all directions. Without the looping feature, we can clearly see the boundary lines of the document. But with looping enabled, the boundaries that were visible earlier now disappear. This feature is useful if we want to create a vector that is repeatable or payable. For instance, for 3D applications, games, or website backgrounds, etc. 18. Wrap Around Mode: In this lesson video, we will discuss a feature in Krita called the wraparound mode. As we already know, Corita is capable of creating a wide variety of residual patterns. However, there is always a special need to create custom patterns or textures. This is where the Rap Brown mode can be very useful. In a previous lesson video, we have seen how the red brown mode can make our document tile horizontally and vertically. However, the function of the red brown mode is not just limited for viewing purpose. When it is active, the Rap Brown mode can also affect how the garage doors Move tool work. In short, this mode is very important if we want to create payable images where the red is a pattern or texture. In this lesson, we will see the use of the wraparound mode in creating tile bot patterns. And in the next lesson, we will discuss creating textures. The basic idea of a parallel pattern is that we want to cover a large area with a small image by repeating it. Therefore, to get started, we don't need a large image size. Let's just make it 256 pixels by 256 pixels. Then click the Create button. Currently, the image looks big because the zoom level of the document is set to fit the screen size. Tourist set the zoom level back to 100%. You can press the number one key on your keyboard. Now, create a new pin layer. If you don't have one already, then use of solid brush preset. Just a brown color and activate the brush smoothing feature. If we try to create an H to H brush stroke like this, it is difficult to make the left side of the drawing matches the right side. Now, if we open the view menu and click on a wraparound mode option, or by pressing the shortcut Shift W. It looks like the document is infinitely wide. This is because Krita is repeating it. In this condition. We can draw on a canvas as soon as well. Interestingly, the line that we draw to the right will automatically appear from the left. The opposite also applies, and this also applies to the up and down directions. Right now, I am trying to create a simple, but the pattern, you can make other patterns if you like. Your short note that you can also use this technique with other tools. It is not limited to the brush tool. Once you are done, you can press Shift W to disable the Rap Brown mode. So here is our actual drawing with, is we can create a terrible image by utilizing the Rap Brown mode. Another advantage of using Rap Brown mode, if the ability to work with multiple layers and also transformations using the move tool. Just e.g. we can press insert to create a new paint layer on top of the previous pin layer enabled Rap Brown mode. Again. Now choose a green color and draw some leaves with the brush. Yes, this is not perfect, but this is enough for the purpose of explaining the lesson. Now, watch as I activate the Move tool and then move the layer that contains the leaves. The layer and all its repetitions move simultaneously. As usual, you can press Enter to confirm. I'll press Escape to cancel. Now, you need to remember that the styling feature only applies to the move tool. I'm not totally transform tool. If we tried to use the transform tool and read the image out of the canvas area. Instead of appearing from the other side, the image seems to be covered, are blocked by the outdoor area of the canvas. 19. Tileable texture: In this lesson video, we will discuss how to create textures or what is often referred to as seamless textures. Previously, we'll talk about how to create terrible patterns. In essence, both are images that can be tiled repeatedly. So we can assume that these two terms actually refer to the same thing. I deliberately differentiate the two for convenience in classifying their creation techniques. So for a thiol bolt pattern, we create it from scratch by drawing it. Whereas for a thiol ball texture, we start with a photo and then further processing. E.g. let's say we take a photo of this marble surface and we want to make it parable or seamless. Quick disclaimer, I didn't take the photo of this marble myself, but I download it from textures.com. You can see that this site actually provides payable are seamless versions of the marble photo that we're going to use. You might want to download the seamless version if you are in the process of working on a project to save time. But since our goal now is to learn new process or intentionally downloaded the original marble photo. It is not yet available. You may use this image file, or you may also download another file if you wish, of three open image file and Krita, generally available texture has the size ratio of one. Or in other words, it is perfectly square. For this, we can activate the crop tool. Make sure Doris, your parameter is one, and activate the lock icon on its right side. With this, the crop area we create will always be a perfect square. Denham press Enter to confirm. After that, we can activate the Rap Brown mode. You can see that currently the image is not perfectly seamless. We can still see the boundary lines between repetitions. Now, the key to making on texture tolerable is to remove or to blend is boundary lines. But before we proceed, sometimes we need to know the location of our actual canvas boundary. Well, in the wrap around mode, for this, we can utilize the grid feature or we can also use the ruler feature. You can open the view menu and then enabled or show grid option here. Or by pressing the shortcut Control Shift single code with the grid active, we can tell that this square area is the original canvas border. If you are annoyed by the lines, you can utilize the ruler of feature instead. Let's hide the grid first. Then in the View menu, you can enable this Show Rulers option. The intersection area of the horizontal ruler. And a vertical ruler indicates the origin or canvas area. Alright, then we need to duplicate this layer by pressing Control J. You will know later why we need to duplicate it. Then use the Move tool and drag this new layer until it's top-left corner is at the center of the original canvas area. It is okay if it is not exactly centered, then press Enter to confirm. Next, duplicate this layer again. On the little arrow total of three layers with their borders centered. We need these three layers because there are three methods that we are going to discuss. For now, let's hide the two layers above. The first method is to remove the pixels along the boundary lines. For this lecture, we showed the first layer as its function is to fill the holes we will create on the second layer and then use an eraser brush preset or any brush preset with the eraser mode enabled, makes sure we are working on a second layer and just erase the boundary lines that are clearly visible. We can press Shift W to temporarily disabled the web brown mode. Alright, so this is the result. If we hide the first layer, we can see that the second layer has holes in it. But the holes are not visible because we have the first layer. And if we press Shift W again, we can see that the texture is already tile ball. The second method is to cover the boundary lines by utilizing the clone brush preset. If you have used Photoshop before, you might be familiar with the clone stamp tool. Well, in Krita, there is no tool called the Clone Stamp tool. However, you can simulate its function using a brush preset called the Clone tool. Again, the name is tool, but this is actually a brush preset. As the name suggests, this brush preset serves to clone pixels from a certain location to where the mouse cursor is located. You can see that this brush preset has two graphs, tapes. The brush step that has an X symbol is the actual location of the mouse cursor. The second brush tip, which doesn't have an AC symbol, is the point where it copies the image. To use it, you don't need to have another layer. So we can hide all layers except the one we want to work on. Let's say we want to cover this area with the pixels from this area. Hold Control. Then click on the area we want to copy. Then hover the original brush tip to the location we want to cover, and then click drag to make some brush strokes. You can see that the area we swept will be covered by this N pixels and the second blast, the position. Just repeat this process until all the boundary lines disappear. So again, control click to define the copy location and click drag to apply the copied pixels onto the image. The last method is to manually patch with pieces of images from the original file or from other files that are of similar. The advantage of this method is that it can produce more varied texture elements. For now, we'll just use the original image or the image at the bottom layer. Create a selection. Then press control C to copy. Next, select the topmost layer, press Control V to paste to make the texture elements. Moreover, it, we can transform them using the transform tool. You can rotate, mural, scale or even distorted if necessary. Then position it so that it covers the boundary line that we want to remove. Press Enter to confirm. To tidy up further, we can use the borders using the eraser brush or other brush preset with the rest of mode on. So that is basically the process. We can keep repeating it until all the border lines are no longer visible. To recap, there are three methods that we can use in Krita. Do create a thiol bokeh texture, do erasing method, the covering method and patching method. 20. Applying patterns: In this lesson video and the next one, we will cover more about patterns. At this point, I am sure you already know what the pattern is. Essentially, a pattern is an image that is repeated over and over again. In Krita, we can access pattern by pressing this button. Then select the pattern preset we want to activate. As you can see, pattern presets management is similar to brush presets and gradient presets management. We can use tags. We can also use filter and so on. We have already discussed this inner basic level, of course. So there is no need to go over it again in this video. If you select a pattern such as this one, the pattern button at the top will automatically change its appearance to indicate the currently active pattern. So until this point, we can conclude that in Krita, there are three types of fields. The first is solid colors, the second is gradient, and less one is pattern. So how do we utilize pattern? Well, there are at least seven ways that we can utilize patterns in Krita. The first one is to use the Fill pattern command on layer. The second is using the field pattern command on a selection. Then by using the fill tool next, field parameter for a vector shape or raster primitive shape. Then as an image generator inside of the layer. And finally as a texture effect of the brush tool. Let's go through all of these one-by-one. If we select the pin layer, then open the Edit menu, you'll see an option called fill with pattern. If you click it, the entire layer will be filled with the currently active pattern. To click the layer again, we can perform undo or we can also press Delete. Now, if you make a selection first, let's say a circle. Then open the Edit menu again and use the fill with Python command. Only the selection area is filled with the active pattern that's unweighted. Again. Next, we can apply a pattern using the fill tool. This tool has a symbol that looks like a bucket in the Tool Options darker in the field width parameter, you can see three options. The first is the foreground color, the second is the background color. Unless one is the pattern. Within a pattern option is active, and then we click on an empty layer. The entire layer will be filled with the active pattern. But if we first create a selection, then click inside the selection area. The resulting pattern will only be inside the selection area. If the layer is not empty. Let's say there are lots of brushstrokes with various colors. Using the fill tool on a certain color will automatically fill the area covered by the color with the active pattern. Next, if you activate any of these six doors, that is from the rectangular tool to the freehand pen tool. In the tool options Docker, you'll see the parameter if you open a pull down list in addition to foreground and background options, which we have discussed before, there is also an option called pattern. With this, if you create a shape on a canvas, then that shape will be filled with the currently active pattern. Now, in theory, this also applies to vector objects, but unfortunately increase our version 5.1, 0.3 that I am currently using. Pattern fill feature for a vector objects is still not working properly. So we have to skip this one for now. The next example of utilizing pattern is by using a fill layer. For this, we need to create a new layer. We have covered all the image generators in this list except for one pattern. In the pattern tab, we can select the pattern preset that we want to use. Now, what is unique about the pattern image generator inside of the layer is its transformation of feature. We can adjust its rotation, perform various types of mirrors. We can also scale the pattern, position it, even apply shear to it. I actually don't need the fill layer for now, so I'll just hit Cancel button. Less method of utilizing pattern is as the texture for the brush tool. There will be a special chapter covering brush parameters in depth. For now, we will only focus on its pattern feature. If we use a solid brush preset and enroll some random strokes on Canvas, this is what we get as the default result. Now, if we open the brush editor or by pressing F5 on your keyboard in the texture category, you can see that there is an option for pattern. If we activate this option, then choose a pattern preset, e.g. this one, it is condition. We can try brewing some brush strokes again on Canvas. And here is the result. The opacity of the brush strokes. It's the only emitted by the pattern that we chose earlier. So those are the cellphone techniques that we can use to utilize patterns in Krita. In the next lesson, we will discuss how to create our own pattern presets. 21. Creating custom patterns: In this video, we will discuss how to create our own custom pattern preset. Currently, I have two files open. This is an empty file with a full HD size. Well, this is a file that contains a Powerball image. We have already discussed how to create it in the past lesson. Now, let's say we want to apply this tolerable image as a pattern in the empty file. For creating a pattern preset, you don't actually need to create it in a separate file. You can just create them directly in the same file. But it is best that you create them in a separate file. Why? Well, there are at least three reasons for this. For us. If we create them in a separate file, we can adjust the document size to fit the target size of the pattern. That way, we can utilize the wraparound mode, which is not possible if the document size is larger than the size of the pattern we want to create. The second reason is when we want to create a pattern, if the document size is larger than the proton area, we have to make a selection for us. This is not necessary if the document is already at the appropriate size. The last reason is to data management issue. It will be easier to find the data of the original pattern if it is stored in a separate file. Since the size of this document already matches the target size of the pattern, we don't need to create any selection. Then open the Python Window by pressing this button and open a custom pattern tab. If we click the Update button, only the leaves layer is being read by Krita. In order for the twig layer to be taken into account, we need to change these parameters to entire image. Now, all layers are taken into account by Krita. However, we don't want a background layer to be included. We need to first hide the background layer, which contains a solid white color. Now, if we click update again, the background area becomes transparent. So yes, you need to remember that the pattern feature in Quito supports transparency. Next, there are two options here. Use as pattern and add two predefined patterns. What is the difference? The difference is, if we press use S Patton Dennis custom pattern will become the active pattern temporarily. By temporarily, it means that as long as we haven't selected another pattern, or as long as we haven't closed Greta, then this pattern will always be active. We can even open another document and use the pattern in the document. E.g. I. Can create a circle with the pattern option as the field or use any other methods we have discussed before. Again, this pattern is temporary. If we choose another pattern, oracles Krita and open it again, the pattern will be gone. Now, if you intend to use this custom pattern over and over again, you need to save it permanently. This is the function of the second button. Add two predefined patterns. If we click on it, Krita will save the pattern. So file in the resource folder along with the other pattern presets. So we need to give the file name that will also be used as the name for the preset. Let's just name these, but it zero-one. If you notice the file format for a pattern preset is dark path. Once you have done that, you can press the Save button. Now, if we go to the patterns tab and scroll down this list, we can find our pattern preset named, but the zero-one. If you already know the exact name, you can utilize the search filter. You can type bed. And here is our pattern preset. Click this icon to clear the filter. Now, if you want to delete a pattern preset, you can manually delete the file from greatest resource folder. Or the easier way to do this is by selecting New Preset force. And in pressing this button. 22. Texture effect with brush: In this video, we will discuss an alternative method of adding textures, which is by utilizing so for all types of brush presets. At this stage, I am sure you have already experimented with a lot of brush presets in Krita. We have also used brush presets to create textures in opus projects in a basic and intermediate courses. So let's just consider this lesson as a refresher on some of the brush presets. First, harder brush presets which fall into the texture category. If you open a brush presets window by pressing this icon or by pressing F6 on the keyboard, you can use the search filter by typing texture in a search field. But since Greta has given his category of special tag, we can just activate the PEG, which is called Textures. Now we can see all the brush presets belonged to the texture category, e.g. this is a brush preset that we have already used. Let me use another color for us, like purple. Then adjust the brush size a bit and make some random strokes on Canvas. We can see that this brush resembles a stone texture or other common rough surfaces. Now, if you look the behavior of the brush but are not quite happy with the brush tip. You can create here to Open Brush editor or by pressing F5 on your keyboard. In the abrupt steep category into a predefined tab, you can choose another brush tip provided by Krita. Let's just this one, e.g. then press F5 to close the window and we can try drawing some random strokes on the canvas. Now, the result look more like smoke or clouds. There are still many presets that we can try. For instance, Brush Preset can be used to create a crack effect on walls, rocks, or a soil. Then this one can be used to create muscles or flowers in a metal and so on. Next, we use this one in the skull illustration project. Essentially, we can use this brush to create organic spots such as on fruits, skins, coral, porous, and so on. Then we often use this brush to create lives and their shadows as well. Then you can use this brush to create bushes are of small plan types. Next, our new brush presets that fall under the category of charcoal and also chalk. For these categories, creditor does not provide any special tags. You can create your own tags if you wish. For now, we need to return this tag parameter to the all option. And to filter the brush presets by name, we can just type char in a search field. These are little brush presets that have the word charcoal, as well as chalk in their names. Feel free to try this brush presets on your canvas. You can see that they are fairly similar. There is the edges of the brush stroke. Slightly random. And inner areas sometimes has holds similar to when we draw with real charcoal or chalk. We can make use of this brush presets to create the impression of rough surfaces on the drawing. Do next category of brush presets is watercolor. To access them, we can also make use of the search filter. So click on this X symbol to clear the search field. Then type in water. And here are the brush presets, e.g. we can try this one. This brush preset feels quite natural. It's just that you need to press the pen on bit hard. Then we can try this one. This brush preset has strokes that resemble or wet watercolor. Then the one next to it is also similar. The difference is that it has a feature that simulates how the paint dries after being applied. Now, if you see a spinning arrow symbol, this indicates that the corresponding Brush Preset supports tilting. We can try this one. D orientation of the brush tip will change according to the tilting direction of the pen. Keep in mind that not all drawing tablet products support pen tilting. This brush preset is unique in that it also has the effect of watercolor drawing on paper. The brush preset next to it has a similar feature, but the behavior is slightly different. This one is thinner but can be overlaid continuously. Next, this brush preset looks like an airbrush that is slightly stock. So it makes random splashes of paint. This one also makes splashes on Canvas, but with slightly different behavior. Then this brush preset has an effect of overlaying water on the paper with very little paint mixed ten. This is a unique technique, often use watercolor painters in the real world. Then this one is similar to the previous one, but it is on a canvas instead of paper. Alright? Now, if you see a water drop symbol on the Brush Preset, this indicates that the Brush Preset has a smudge or bending feature similar to the blender blur brush presets that we regularly use. In other words, they will take into account the color of that already exists on Canvas during the coloring process. Uniquely, this brush preset makes us the colors on a canvas by producing tiny spots. Sorry, perhaps I need to provide a more contrasting color for us so that effect is more noticeable. You can try reactive wedding Brush Preset again. You can see how it makes us the colors by making random small spots. Then this brush preset is similar to the previous brush, but the graph step is a bit different. This one is more like puddles. Last category of brush presets is the dry brushes. To access them, we can also utilize the search filter, just type in dry. The brush presets in this category are among those that I often use when I want to achieve a painterly style. For the first example, we have one called dry roller. The strokes from this brush are similar to applying paint with rolling brush. Next is the bristles. This brush producers are quite strong and distinctive. Bristol effect. Next is the dry bristles, your order of all the dry brushes. This is the one I used list. But it might be useful when you want to create a rock or a tree trunk texture, e.g. the next one is dry brushing. This brush preset is perfect for creating fibrous or hair or even grass. Let's try the last one called texture decreases. This brush is unique because it is like a combination of dry bristles then dry brushing. You need there are still many Brush Preset that we have uncovered. But at least with this brief explanation, you will be more eager to try and experiment with the various bras presets provided by Krita for creating custom brushes. Initial law. We will discuss this in greater detail later in a dedicated chapter. 23. Photobashing workflows: After we have learned various techniques for creating patterns and textures, we also need to learn various techniques for applying them to illustrations. In general, the technique for applying affordable or other types of images onto an illustration is called photo bashing. So this technique is not limited to only patterns and textures, but applies to all types of images. In general, there are ponds of approaches that we can use to perform photo bashing to make it easier to understand. I have broken them down into three stages. They are Preprocessing, transformation, and application. In the pre-processing stage, we first prepare the image we want to use so that its condition is more suitable for what we require. In this case, we can divide it into three types of approaches. The first is without any pre-processing at all. In other words, we use the image as it is. The second is by utilizing various types of filters. The most common example is using a gradient map. Besides that, we can also use threshold. You saturate, invert levels, and so on. And left approach is to edit the image manually using the various Brush tools available in Krita. Now, the results of this first stage can vary. It can be regular color image without transparency or an image with only RGB channels. It can also be a color image with transparency or an RGB image plus an alpha channel. Then it can also be a grayscale image. Or it can also be a grayscale image plus an alpha channel. Finally, it can also be just one solid color plus an alpha channel, e.g. in a form of a silhouette and so on. Then, in the transformation stage, we apply various transformation techniques to the image produced by the first-stage. Essentially, we want the image to stick to the target surface using the transform tool. We have discussed all these techniques before, e.g. we can use prospective warp cage and so on. The left is the application stage. For this, we can divide it into three different approaches. The first approach is super imposing. Basically, it is the process of overlaying an image on top of another image. For this approach, we can play with the opacity level. Alternatively, you can also make use of the blending mode, e.g. using overlay, multiply screen, and so on. The second approach is to convert the image into a selection. For this, you can use the convert to selection mask command, or you can also use the select command. And less approach is to convert the image to transparency or alpha channel by using the Convert to transparency mask command. So here is a map that shows all the possible workflows in a photo bashing process. Technically, we have covered each of these items in depth before, both in this course or in the earlier courses. But we have never done it for obesity in specific workflow. What you need to keep in mind is that we can combine two techniques in each of these stages as needed. For instance, after reapply the researcher and filter, we can apply the Levels filter. And then we can still edit again with the brush tool manually. In fact, we can even reverse the order of the stages if we want. E.g. you can perform transformation for us before preprocessing and so on. Therefore, as you can imagine, there are so many possible combinations of workflows and it will take too much time to cover them all. In a following lesson videos, we will only cover three examples of the photo bashing workflow. Hopefully, with these examples, you will have enough foundation and insight to experiment further on your own. 24. Photobashing a wall texture: To practice the photo based in workflow that we discussed in a previous video. I have prepared a file that you can use right away. In his file, you can see many layers, but there are three layers that contain the main rowing objects. The force is dual layer, which contains a wall brewing object, then TV layer, unless one is the stone layer. In addition, you can also see that there are two hidden layers. This image, one layer contains a photo of our other wall. While an image to layer, you can see a photo of a rock formation. As a disclaimer, these three majors, the rocks, the wall, and the leaves inside the monitor screen are not made by me. I downloaded them from textures.com. You can use this website if you ever need to find photos for photo bashing purposes. In this video, we are willing to pay the photo in image one layer to the whole object on the right. As the first step, we need to make this image grayscale by using the receipt to read filter. Just use the default option and then click Okay to make the dark areas more black and white ones more white. We can utilize the Levels, filter. The black point to the right, and Reg Dwight pointing to the left. Under this light area looks completely white. Click Okay, to confirm. To make white area becomes transparent, we can utilize the gradient map filter because by default, Crito uses the foreground to transparent preset. This tab on the right is already transparent. For now. We don't want to stop on the left to be black, but rather dark brown. Dislike the shading color of the wall. So wild stuff is active. Select custom color. Then click on the color box and use this eyedropper icon to sample the dark brown color. But we make it a bit darker and slightly to the right. After that, we can still adjust how strong the drug is and how strong the light is by shifting the location of the stops. Then click Okay to confirm. This is the result. An image with a transparent area with the color that we need. Next, we can use the transform tool by pressing Control T. First, we can look at the image 180 degrees by holding down the Shift key. Press Enter to confirm. Then use the prospective mode. Move it closer to the wall force, then position the control points until they match the surface of the wall. Once that is done, we can press enter to keep this image from going outside the Alpha area of the wall layer, we can for a smooth layer so that they are close together. Then select both and press Control G, then activate the Alpha inheritance option. Sorry, There seems to be an area that is still not quite right. We can use the Transform tool again to fix it. Okay? If you don't like the excess area at the top, you can remove it manually with the brush tool and the eraser mode. You can also make a selection for us and then press Delete. The benefit of using this technique because the image is already basically transparent. We can, I think the Alpha Lock and easily change the color to another color. Let's say we want to make the impression that this texture is made of blood. We can select a red color. Then press Shift workspace. Or we can use green, e.g. to make the impression that the wall is mossy. Let me undo this first so that it returns to the brown color. For the final step, if you feel that the texture is too strong, you can easily reduce the effect using the opacity slider. So that is the first example of the photo bashing process. 25. Photobashing a TV screen: For the next photo bashing example, we are going to create a screen effect on his TV object. For us, we can create a new layer above the TV layer. But what we want to create now is not a normal pen layer, but rather Alfie layer. Then for the field type, we want to use screen tone. Choose the lines option for the pattern type. The transformation section, set the rotation to zero so that the lines are perfectly straight horizontally. Remember, we cannot run some of the layer directly using the transform tool. We need to add a transform mask or just convert the layer for us into a normal pen layer. For this, we can use the flattened layer command, or we can also use the convert to pin layer command. In our case, both commands are fine. Now, this layer has become a regular pen layer. We can tell this by the Layers icon that looks like any other pain layer. Next, we don't want to see the whole image. We won't be able to see the details anyway. So let's create the rectangular selection for us to define the area that we want to use. Then press Control C and then Control V. We can hide this layer for now just for backup purposes. Next, we can use the transform tool in prospective mode to run this Python image to the surface of the TV screen. Move this down first, then drag the control points to fit the shape of the screen. If necessary, you can zoom in to get a closer look at the control points position. Once you are done, press Enter to confirm. Now for the excess area, you can lower the opacity a bit so the image behind it is visible. Then create a selection with the Bezier selection tool. And then press Delete to remove it. Alright, for patterns that only consist of black and white colors, the most suitable blending mode WE can use is overlay. Why? Because if you screen, the white color will become too opaque, envelope the image. Well, the black we'll totally disappear. Likewise, if we use Multiply, black becomes overly opaque, worldwide disappears. But if we use overlay, as we discussed earlier, in the basic level, of course, dark colors will have a multiplier effect, while bright colors will have 0 screen effect. Both are equal in strength. So if you feel that the effect is too strong, you can simply adjust the opacity value. Next, we can group this layer together with the TV layer. For the layer that contains the original screen tone pattern, we can safely delete this. You don't need it anymore. So here is the final result. 26. Photobashing with transparency and selection 002: For the last exercise of photo bashing techniques, we are going to apply drop image in image two layer to draw object on the left. As before, we won't be using all the rural areas. So let's use the polygonal selection tool to define the area that we want to extract from the image. Then press Control C and Control V. We can hide the original layer for now. If previously we used several filters. I want to show you now that we can just use one filter, which is the gradient map. We use the single filter for converting the image into grayscale, inverting the color and adjust the contrast level. First, we need to change the color to white, then adjust its strength by sliding location of the stub. For the right stuff, we need to change it to solid black color. We can adjust the contrast again by dragging this top location. So this process is similar to using the D saturate, invert and levels filters on one goal. Now, if you are wondering why we flipped the color, this is because we are going to convert the image leader indoor selection or into an alpha channel. Meanwhile, in the conversion process, Y will be considered as solid, while black will be considered as transparent. So the color area that we want to keep must be converted to wipe. Next, follow safety. I duplicate this layer for us by pressing Control J. We keep this layer only for backup. Then press Control T for transform tool. For now, we are using the mesh mode. Remember in the mesh mode to move the image, we need to hold Shift and click black outside the bounding box. Then just adjust the control points and the handles make the top side of the image curved to match the shape of the object that we want to cover. Alright, I'll throw the transformation process. We are going to discuss two different techniques for applying the image. In the first technique, we want to convert it to an Alpha channel or rather a transparency mask. And in the second one, we are going to convert it to a selection to play it safe. We can duplicate the image. Again. We're Control J. So currently we have prepared a layer for each of the techniques. Let's take a look at the first technique. We're just using transparency for us, create a new layer above the stone layer. We will use this as a shading layer. So we need to change the blending mode to multiply. Next, move one of these layers, so it is below the new layer. Right-click, choose Convert, and then select Convert to transparency mask. Now, this layer has turned into a transparency mask and it's attached to this layer. We need to hide the layer above so that it doesn't walk our working area. Again, the transparency mask is no controlling the alpha or condition of this layer. We can try using the brush tool. Make sure layer is active, simple the base color, but make it darker. If we draw on this layer. This is what happens. Now. If we want this layer to also be limited by the Alpha or condition of the stone layer below it, we need to select these two layers, then press Control G to group them together, enable the Alpha inheritance option. To further adjust the strength of this layer. We can adjust its opacity, or we can change its color or manually erase part of it using the brush tool in eraser mode. You can also edit the transparency mask with the brush tool if you want. We have already covered the transparency mask in depth in a previous course, so there is no need to repeat the rest and in his video. Okay, next, we want to explore the photo bashing technique using selection. Let's hide this layer for us and create a new layer on top of it. Also change the blending mode to Multiply because we will use it as a shading layer. Then move to the second layer at the top that we had before so that it is inside the group layer. Now, to turn this layer into a selection, we can right-click on it and then choose Convert, then convert to selection mask. Now, this layer has turned into a selection mask, but it is attached to the group layer instead of this layer. In our case, it doesn't matter where this mask is attached to. We can even hide this mask. We have discussed the selection mask in-depth in a previous course. Essentially, even though we are on this layer, we can hold down the Control key and click on the thumbnail to extract a selection from it. And to make sure that this layer is also constrained by the alpha of the stone layer. We can enable the Alpha inheritance option. We can now use the brush tool again. Make sure the eraser mode is off, and then draw some brush strokes to add the shading color. You can see that we can easily ship the texture of the stone with the help of the selection. So those are three examples of photo bashing techniques that you can utilize to speed up the illustration process in Krita. As I mentioned earlier, there are so many combinations of techniques that make it impossible to cover them all. But athletes, these photographs in workflow map can give you some ideas of what techniques you may want to explore further. 27. Atlantic Treasure project preparation: In this chapter, we will create an illustration of a diver looking for treasurers at the bottom of the Atlantic Ocean. The style that we are going to use is very common in children's storybooks. Astonishingly, we will mostly rely on just two colors, the base color and shadow color. Only some of the surfaces will have additional highlight colors, such as metal or glass surfaces. What makes this style unique is that the shadow and highlight colors are internationally in up smoothly applied, both rather grainy texture, making it look like it was drawn with crayons, colored pencils, and other similar media. Now, when I started this project, I certainly didn't know what the end result would look like. I did not have the illustration that you see now. I can only see this image at the end of the project. You can see it now because of the video editing process. Because the end result is still an abstract imagination. Every time I start a project, I always collect a lot of references to help solidify the vision. I solely eliminate the images. Did I don't like until finally, there are only five images or a fever left. For this project. There are three majors, or rather two images in one book did I use as references? The first is this illustration created by Melanie Mencius. It can be consider that this image is the main inspiration for our project this time, I really liked blue shading technique used by Melanie. You can see how she utilizes wide variety of textures in her illustration. As for the mood or lighting, I am more influenced by this image. This illustration is part of a board game product called lost Atlantis, designed by MSSA Game Lab and published by our direct Entertainment Group. You can see that the majority of the color is blue except for focus areas that are yellow. Then, for the design of Lucy plans, I took a lot of inspiration from this book called Explorer's sea creatures, published by Campbell. I can only show you the front cover. But if you have the book, there are many variations of sea plants in it that you can use as references. Back to the illustration concept. I want to create an illustration that has two stories. Domain story, which is clearly visible, and a second story which is somewhat hidden. At first glance, we will see a happy ending story, or deep-sea diver finds a treasure in the ruins of loss continent of Atlantis. But with a close look at the image, you can see that there is a second story with a more tragic ending. The diver was so excited that he jumped and accidentally cut off his oxygen supply. So the one thing that had been his life's goal, finding a treasure worth the very thing that ended his life. But whether it's diverted, will survive or not, is left to the viewer imaginations. This is the sketch that I made for this project. After working on new projects in your previous courses, I am sure you can draw a sketch like this without needing any guidance. So to save time, I just skipped recording the sketching process. If you are curious about the document size, I use the A4 paper size preset with 300 people have a solution and landscape orientation. But then after I finished sketching, I cropped the image later using the crop tool. Next, you can see that I use different colors for the sketch, similar to those sketches from the strawberry house project in intermediate level course. And not only did I separate the sketch by color, I also used multiple layers. So if we look at the sketch layer, this is actually a group layer. Inside. You can see layer for the plants, layer for the treasure chest, layer for our character. And there is also a layer for the environment. 28. Main objects’ base colors: In this video, we will add these colors to the two main objects, the diverse character and a treasure chest. Let's talk with the diver character. Create a new layer above the background layer, then change the blending mode of the sketch group layer to multiply and reduce the opacity a bit to make it less distracting active with the paint layer again, for the base color process, I will use the Bayesian selection tool a lot. I have set the lateral C on your keyboard as the custom shortcut for a tool for recolor of the diverse primary. So we can choose orange. Then we can trace the area of the suit with the Bezier selection tool. All techniques I am using right now are already covered in depth in the intermediate level of quarters. So there is no need to repeat the details in his video. In essence, dual-use to base your selection tool is similar to the Bezier tool. The only difference is the result. The waves, your selection tool only creates a selection, not a drawing. In this process, we should already think about which elements will be on top and which will be on the button. As soon example, for the shoes, we can create them later on, a new layer under the suit layer. But for the gloves, we will create them leader on top of this layer. Once you are done, press Shift big space to fill in the color. Then disliked. I usually use the custom shortcut letter Q for the dislike command. Next, photograph area, we can create a new layer above that layer. Then we can trace the shape again, following the sketch. For recolor, let's just use brown. Then press backspace to fill the color. We can repeat the process for left-hand glove or a right-hand side. Next, for the shoes, we can create a new layer under the suit layer. Don't worry, if you end up with too many layers. We can merge them all later into earlier. We can use the same color as two gloves. Repeat this process for the shoes on the right. Then for rebel, we can use the layer on top. Choose a color that is close to black. At this point, I am sure you already understand the techniques. Solve speed up the video. Next photo helmet area, we can use the Elliptical selection tool. Click drag while holding shift so that we have a perfect circle. We can move the selection around again if necessary. If it is still not quite right, you can redo it again, or you can use the edit selection technique. We have covered the added stress and panic in-depth in intermediate level, of course, you can review, read chorus again, if there are still many techniques seem confusing at the moment. After that, we can go back out by turning off the show global selection mask option. Or I usually use a custom shortcut which is Shift G. I think this still needs to be shifted a little bit. Okay, for recolored off the helmet, I want to use the same shade of orange, but we move it a bit. Thorpe read, press, Shift, backspace, press Q, then press C. We can continue with tracking the neck. Fill it with the same color. For the base of the host. We can draw it on the layer below. As full color. We can match the buckle color. We can just pick it from the column history. For your cover area. We can use the Elliptical selection tool again. Then use the edit selection mode again, rotate and position it to match a sketch. Then press Shift G to exit. Make sure we are on top layer for the color. We are still trying to use shades of orange, but with a slight variation. For this round bolts, it will be faster if we utilize the solid brush preset. You should know that from the very start until now, I have only use a mouse and not a drawing tablet. This mainly helps to avoid variable Pen Pressure. Control. Click to pick the color of your helmet and make the color lighter. Then just keep clicking on a bolt locations based on a sketch. For eyeglass frame, we can just create a new layer to play it safe. Create a selection in the shape of a circle. Control-click to sample this gray color. But we make it a bit lighter and slightly towards blue. Fill it with Shift Backspace. Now to render the glass, makes sure one of those selection tools is active. Then right-click on the canvas. Just transform, then just shrink selection. Let's try 25 pixels first. It still doesn't look right. And do it. And try again with 27 pixels. I think this is just right, shifted slightly as necessary. Then just a blue color. It is slightly towards cyan, and then fill in the color photosphere area. There are no new techniques that we need to cover. So I'll just speed up the video. Next. For the oxygen hose, we can utilize the Bezier tool. But before that, we need to set the brush size so that it is as wide as loose sketch of the hose. Let's throw new value to 30 pixels. This should be enough. Create a new layer and position it below the helmet layer. Active with the Bezier tool, set the field parameter to not feel an outline to brush. This setting will make use of the brush size we set earlier for the color. We can make it similar to the gloves, but more towards the red color. Make sure the Bezier tool is active again. Then click here, click here, and so on. For now, let's make it connected. Press Enter to confirm. Next, to cut off the host, we can press C again, create a selection. Then press delete. The bottom one is the same. Alright, for the rest, I didn't use any new techniques, so I'll just speed up the video. Once you have done that, you can select all the layers. Then it is up to you. If you want to combine them all into one group, you can press Control G. But if you want to flatten them into a single layer, you can press Control E, or you press Control a to make the file size smaller. Rename the layer to BC or CB, which stands for color base. Then press Control G to wrap it inside a composition, grow and rename this group layer to divert. Next, we want to create the base color for the treasure chest. Create a new layer. Select a word, brown color. Then used to base your selection tool again. Entries reward area based on the sketch drawing. Then fill it with a color we chose earlier. For the metal area, we can create a new layer. Let's hide this layer temporarily. Then trace a silhouette of the metal area using the Bezier selection tool. Choose a gray color that is slightly yellow. Then press Shift big space. Next, we need to punch a hole in a metal surface so that the color underneath becomes visible. Create the selection false. Then press Delete. Just repeat the process until all the holes are formed. After that, we can show the wood layer again for rest. I don't think there are any new techniques that we need to discuss. So I'll just speed up the video for now. Basically, we need to determine whether the area we want to draw will be above or below the other images. Create a new layer if needed, to make the process easier. Then create a selection and fill the selection area with the color we choose. For the gold pile area, we can just create it with the Bezier selection tool, but it will be faster If we utilize a solid brush preset. The problem is that by default, the brush tip is a perfect circle. It will be better if it is an ellipse that stretches horizontally so that it better represents the shape of a coin. For this, we can press F5 or we can press this icon. In a brush tip category. In the auto tab, there is a parameter called ratio. If we reduce this, the shape of the brush tip will be more threatened. We can pass the brush on the right side. Once you are done, you can press F5 to close this window. Next, select the yellow color that more closely represents goal. Then drove some brushstrokes to form a pile of gold coins. For your information, I am still using a mouse, not a drawing tablet. Again, this is so that the brush tip size does not change. After that, press C. Make a selection following the metal border in front of it. Then press Delete. Next, we want to create the gemstones. We can create a new layer for gemstones in front. But for gemstones and the back, we can just use the existing layer at the bottom. Then S before you can merge all of these layers into a group per year or flatten them into one layer. I prefer to flatten them by pressing Control E, then rename it to CB, which stands for color base, press Control G, and rename the group layer to chest. So now we have to group layers test and driver that only contain the base scholars. 29. Background base colors: In this video, we will create the base colors for the background area. We can start by selecting the background layer. In this layer, we want to apply an ocean color using the gradient tool. We need to choose the color first. Use the left mouse button to change the foreground color to a light blue color. This will be the color at the top. Then use right-click to change the background color to a dark blue color. This will be the color of the button. Next, open the gradient window and activate the foreground to background preset. Make sure you can see the active gradient color on this button. Activate the gradient tool. And when you click and drag the mouse, press the Shift key to make the distribution direction vertically straight. Sorry, This seems to be too long. Let me repeat this again. Basically, I want a deep blue color to be visible in the background. Next, we will focus on a hails NSF or rough surface. We can create a new layer. And for the time being, let's hide the chest and over layers. If you look at the sketch layer, there is a hill visible in a distance. Use the selection tool. Make sure we are on a new layer. Create the shape of the hill. For color. Choose one, it looks like CSN. And for four color or the atmospheric depth effect, we will take care of that leader. Shift back space to fill in the color, then press Q to clear the selection. For a second. Here, we can use a separate layer, create a selection again using a Bayesian selection tool, then fill it with the same cyan color. Repeat this step for the next heels. Make sure each hail uses a separate layer. Okay? So this is the condition of our illustration so far. The last one is the rock floor area. We can imagine that the diver character is actually standing on the ruins of an ancient city that has disappeared into the ocean floor. Even though almost everything is covered with sand. Sometimes there are areas where the sinus lift that exposing the structure underneath. Next, we will focus on a large pillars at the back. We can start by creating a new layer. Use the rectangle tool. Make sure the field setting uses foreground color and no outline. It just so happens that the active color is still the color of the ruins floor, the same color we want to use for the pillars. Click drag to create a rectangle on the right side of this pillar. Now, there are many methods to make the spill or image symmetrical. In a previous course, we discussed the mirror tool and we also discussed the multi-branch tool. Now, I want to show you another technique for creating symmetrical image utilizing the color layer. So while this layer is active, create a new layer. Remember, we cannot directly use the transform tool or nuclear layer. We need to apply a mask first. Now that the layer has a Tromso mask, we can use the transform tool. Then in order for this layer to be mirrored using the point on left side, we need to click on his left arrow button. And also make sure this pivot point option is active. Now, if we move horizontally, we can see that the layer is mirrored using this side of the pivot point. Remember that these two layers are off simulator. If we select the original layer and we tried to do on this layer, the clone layer on the left will also change automatically. So in this situation, we can just focus on adjusting the shape on the right side used to base your selection tool. Inmates of silhouette of the top part of the pillar. Then press Delete for rest because the shape is vertically straight, we can just create a rectangular selection. Adjust the position again, then press Delete. You can see how the new year on left side updates automatically. Finally, for the top part that is slightly curved, we can utilize the Elliptical selection tool. Move the location of the selection area so that the ends of the pillars meet the boundaries of the elliptical shape. Then we can use the rectangular selection tool again, hold out while making the selection so that it is subtractive. Remember, it's the right side that matters, not the left one. Then press backspace. And here is the result. We can hide the sketch layer so we can see the pillow shaped more clearly. There are still some issues. You can keep refining the silhouette of this pillar until you are satisfied with the shape. Once you are done, you can select these two layers, then press Control E to merge them into one layer. After that, we can show the sketch layer again, reposition the pillar if necessary. Move the pillar layer. So already this below the second He layer from the back. For our next pillar, we can start by pressing Control J. This will create a duplicate of the existing pillar layer. Then use the transform tool, set the scale, position, and also rotation to better match the sketch image. Okay, for two pillars in front, these are much easier to create because they don't have the top parts visible. We can just use the Rectangle tool or use the selection tools. Make sure that we create them on a new layer behind the big hail. Alright, next, unlikely chess or dive layer, where we flatten the base color layers into one layer. For this background layers we've showed keep them as separate layers. This is to make the following processes easier, such as adding four color, placing plants and so on. So we can select all of them first, then press Control G and rename this group layer to Biji. Next, you can give this layer a more meaningful name so that they are easier to read or search for later. Just e.g. we can rename the bottom layer to see. Then follow layers. We can use the letter H from the word, He'll, for instance, William, this one H1. Next, photo, pillar layers. We can set the first letter to p of the word pillar named the second hill H2, then the top pillar to B3 and so on. For the ruins for linear, we can just call it f from the floor. Again, you may use your own naming convention. I may also change the names leader in the future. But at least for now, we can quickly figure out the functions of each layer just by looking at its name. 30. Shading the diver: In this video, we will add shading color to the diver character. We can start by creating a new paint layer above the base color layer. Rename it to SL, which stands for local shedding, set its blending mode to multiply and also enable the Alpha inheritance option to constrain its alpha condition to the CB layers alpha channel. For the shading process, we will mostly use look contiguous selection tool that references the CP layer. So right-click on a CB layer for us and use a color label, e.g. blue. We can see that now Gloria is colored blue. Then activate the contiguous selection tool. Let's just set this to add mode, because this is usually the mode we need most often. Then photograph parameter, we can set this to one pixel. Also, make sure that the NPV aliasing option is on. Last but not least, is the reference parameter. We do not want to use current layer or multiple layers, but instead, we use color label mode. Activate only the blue color to match the color of the CP layer that we set earlier. So even though we are active on the SLA, the contiguous store will keep referencing the CB layer. After that, we can hide the sketch layer above. Alright, for the shading process of the diver character, we will rely heavily on the brush tool. There are two brush presets that we'll use frequently. The first is the one called chalk grainy. This is for adding rough texture effect. The second is this brush preset called dry bristles. This is for adding a smooth airbrushed effect. You can experiment with other brush presets if you wish. E.g. you may use ones that look like watercolors, as we discussed in the last chapter. We can stop with glove and arm area. On the left side, I use letter w as a custom shortcut for a contiguous selection tool. Then click and click. Press B for the brush tool. Make sure that we use the first brush preset hold control, and click to sample the color of the suit. Now, for the light direction, generally, the light will come from the top right or the surface of the water. But we also want to make it as if the treasure is emitting light locally. I know it doesn't make sense. But let's just say that a beam of light coming from a surface and illuminates the treasurer. Because there are so many shiny objects, it reflects bright yellow light in all directions. Some of red light shines on a divertor, making the right side of the diverse body appear darker. That is why we tend to draw more brushstrokes on the right side. Then there is also a bit of shadow from above onto the helmet object. Press Q to disliked. Then press W and make a selection of Japan's area, including this small hole. Abnormal brush strokes with a stronger brush pressure towards the right. Okay. Repeat the process for the arm on the right. For this area, since most of the light will be blocked by the helmet, we can make almost all of it covered by the shading color. Then we can use the second brush preset, which is why bristles. This is for adding smoother variations of rotating texture. If it looks too much, you can press E for the eraser mode and just erase the excess brush strokes until we are satisfied with how it looks. Some actually, we are combining two types of brush presets by applying and also erasing to create an interesting looking texture. Next, we can select this area and apply some brush strokes to add shadows falling from the gloves. For the rest, there are no new techniques that we haven't covered before. So I'll just speed up the video. And here is the result of the shading process on the divertor. In the next video, we will focus on the chest or the treasure area. 31. Shading the treasure chest: In this video, we will add shading colors to the chest and the treasures inside it. I'll say initially, the process is similar to shedding process on a dive or character before we first need to create a new layer on top of the CP layer, rename it to S L, which stems for shedding, local or local shedding, enable Alpha inheritance and use multiply for blending mode. Now, we want the contiguous told to reference the CP layer in a chess player group, not the one in the diver layer group. So right-click on the layer and assign another color label, let's say green. Activate the contiguous tool and set this to only use the green color label and not the other colors. Make sure we're on the SLA you are. We can start with the metal surface. Press B for the brush tool, Control, click to sample the metal color. Then press C, create a selection on the left side of the chest. Press W, hold, Shift and Alt to activate the intersection mode. Then click on a metal area. Next, use the drive results preset to add the shading color. This repeat the process for all the metal areas on the chest. We can also use the same technique for Louisville or metals at the log part of the chest. Next, photo surface area of the pile, we can start with the same technique. That is, we can create a selection with the contiguous stall. Then we use the Brush tool to add the shading color. Make it so that almost all the gold area is covered, but with the bottom area slightly darker than the top one. Next, use the solid brush preset. You can see that the brush is still a bit flat, just like the last time we used it. Active with the eraser mode and create a shape similar to gold coins. It might be easier if we just use the mouse for this process. I am already used in a drawing tablet, so I'll just continue using it. Alright, for the gemstones, the technique is basically the same as the previous shading technique. We first need to create a selection and then apply the brush strokes. However, because the gemstones are naturally transparent or translucent, the dark and light areas are more irregular. For a few final touches on a gold coins, we can use the solid brush preset again, set it to a smaller size and create curved strokes to indicate the shadow areas formed by the coins piling up. We don't need lots of this effect just enough so that the viewers understand that this is a pile of coins for Bulaq direction. Just imagine that it is coming from the top center area. Alright, next, we want to add textures to the word area. We can utilize the pattern feature for race. For us, create the temporary layer above DSLR, then create the rectangular selection. Open the Python window, select the pattern preset that is similar to what grain. Then open the Edit menu, just the field with pattern command. Perhaps this pattern is too big for our purpose. Let's just make a small rectangular selection. Position it as necessary to get the pattern that we want to use. Then press control C to copy the image. Control V to paste it. Let's hide this layer for us. And for our new layer, we can press Control T to active with the transform tool. Use the prospective mode, position or control points so that they aligns with the front surface of the chest. Make it a bit wider. Then press Enter and press Q to clear the selection. For the other wooden surfaces. Due process is exactly the same. So we can show the layer containing a large pattern, again, create a selection of the area we want to capture. Press Control C and then Control V. Hide this layer for now, activate the transform tool and use the prospective mode position control points so that they are aligned to the edges of the woods surface on the left side. Then press Enter. We now have two layers for loop pattern. Select both layers, and then press Control E to merge them together. For the next one, I'll just speed up the video because the process is basically the same. Alright? We can delete this layer as you don't need it anymore. Before we move on, I think the color of the wood patterns still needs more contrast. We can fix this by using a filter called levels. The black point to the right and then move the white point to the left. Once you are done, press Okay to confirm. Next, to utilize this layer in the shading process, we are going to use the selection mask technique. So right-click on a layer, select Convert, then just convert to selection mask. Now it has become a selection mask that is attached to the chest group layer. We can just hide this mask. We have discussed the selection mask techniques in detail in intermediate level of quarters. You can review drafts and in headquarters again, if needed. To use the selection mask, we can extract a selection by holding Control and clicking on the thumbnail. Then we want to intersect the selection with all the wooden. Call it us enough CB layer. For this, we need to use the select similar tool. Make sure it is in a intersect mode, and also make sure it is operating in a color labeled mode. And the color is set to green, which matches the color of the CP layer. Then click on the brown area. And so here is the selection result. For the next step, we can apply brush strokes using the second Brush Preset control click to sample the brown color. Now, if dislikes and looks annoying, you can open a Select Menu. Turn off the display selection option. You can also use the shortcut Control H. So again, the selection still exists and it's active. It's just that it is hidden. Next, just add some brush strokes to apply the shading color. Apply more pressure to the areas that should look blocker. If it looks too much, you can use the eraser mode to reduce defects. Then remember, this reaction is actually still active. So we need to clear the selection by pressing Q. As a finishing touch, I want to add a long wooden veins. We can use the solid brush preset or you can also use this one. Choose a slightly darker brown color. Press W to use the add mode to play it safe, we can create a selection first, press V again, and then we can start growing new word veins. You can utilize the graph smoothing feature for this process if needed. Once it is done, you can press Q to disliked. We don't need this selection mask anymore so we can safely remove it. And here is the state of our illustration so far. 32. Outline and Highlight: In this video, we are going to add outlines and highlights to our illustration. We can stop with the diver character. Create new layer above DSLR. Name this layer oil from the word outline. Leave the blending mode abnormal, but in a bar for inheritance. As a guide, we can show the sketch layer. For our current illustration style, we use outlines only in certain areas just to strengthen the shape of the image that looks unclear because the area has a similar color. E.g. the fingers integral of area. The border between the top helmet and neck, defaults of the suit, et cetera. For this, I want to use a brush preset called inquiry G pen. To make the lines smoother. We've showed activate the brush smoothing feature. As usual, I am using weighted mode in terms of color. The strategy is that we assembled the darkest shading color. Then we make it even darker so that the line is visible. Then draw the line based on a sketch drawing. If you make a mistake, just undo it and start over again. I'm speeding up the video because there are no new techniques that we need to cover darker areas in a basic level, of course, we have already discussed how to use the Assistant tool. Now, we will utilize the Bezier curve tool. Click here, click drag here, and then click here, and then press Enter to smoothen or omega line look more like a hand drawing. We can use the brush tool again, activate the eraser mode and just erase some of the lines we made earlier. Besides using the brush tool, you can also erase some of the lines by making a selection for us using the Bezier selection tool. At this point, I think this bold shapes will look better if they use the same color as blue, your coverage area. For this, we can first hide the other layers except for the CP layer. Then use the contiguous selection tool. Make sure all the circular areas are selected. Symbol the metal color in your area. Make sure we are working on a CB layer. Fill the selection area using shift, backspace, shortcut, or manually with brush strokes. Alright, after that, we can continue adding the outlines on a diver suit. Next, we want to add highlight colors to divert character. We can create a new layer above DSLR. Let's name it H L or LH, which stands for local highlights. Enable the Alpha inheritance feature and use screen as the blending mode. Again, for this illustration, we will not create highlights on every surface. We will only add highlights on a metal area, the glass area, and perhaps a little bit on your belt area, since it is made of slightly glossy leather. We can start with a helmet area. Sample the color, make it a bit lighter. I am going to try using a different brush preset called Basic Six details. We don't eat brush smoothing for now. Press W and make a selection of the helmet area. Press B again and make some brush strokes on the top of the helmet. Assumed that the highlights appear due to derive source from above the water surface. Then we also create a brush strokes at the bottom as soon. But this one is due to light coming from the direction of the treasure. To soften the edges of the brush strokes, we can use a blender brush that mimics watercolor splashes, cold water or seawater pattern. You can see how the edges of the highlight colors become more subtle, but with a speckled effect. Then for the bottom of the helmet, we can use another brush preset, e.g. this one called dry roller. Then we refine it again. We do see a pattern blender brush. Next, we can select the circle or areas. Sorry, I want to send to grow value to zero for now. Okay. Press V again, sample the color, make it lighter. Let's use the driving source base app. The point is, you should not be afraid to experiment with the various blast presets provided by Corita. Sometimes we find unique and interesting brush effects that we didn't expect. I am speeding up the video because there are no new techniques, they don't need to explain. And here's the result after the outline and highlight process on a diver or character. Next, we will focus on the chest and a treasurer. Similar to before, we can create a new layer on top of the SLA. Name this OL from reward outline, enable Alpha inheritance and lift the bending mode abnormal. For us, we're going to add outlines to gemstone area. Just like before, I want to use a brush preset called a G pen. Make sure the brush size is at five pixels. Sampled light blue color. Make it lighter. Now to create a straight line, besides using the line tool manually, we can still be enough. We hadn't brush tool, but we press and hold letter V on your keyboard. Notice that when we press the letter V, the line tool will be activated temporarily. And when we released the latter, Vicki, the brush tool will be reactivated again. This technique is very useful when we have to go back and forth frequently between the brush tool and align tool. Similar to the line tool we are using this lateral technique. Creatable still detect the pain and pleasure. Provided the active Brush Preset support set, the thickness of the line we create will vary depending on how hard we press the pen. There are no new techniques did I need to explain? So I'll speed up the video again. After the gemstone area, we can move on to the metal area of the chest. Again, the function of b outlines in our current illustration style is to strengthen the shape of the objects so that they are easier to read by the viewer. Okay? After the outline process, we can proceed to highlight color. Similar to the hybrid process in a diver or character, we can create a new layer above DSLR. We can name this layer LH, which stands for local highlight your screen as the blending mode and enable the Alpha inheritance option. For the rest, I don't use any new techniques, so I'll just speed up the video to save time. Here is the state of our illustration. After reading the outlines and highlight colors to the diver character and the treasure chest. 33. Water surface and the pillars: Starting from this video, we will tidy up the background area. Then we will gradually tidy up the midground area and then the foreground area. For us, I want to add a bright light effect that seems to come from above the water surface. For this, we can create a new layer. Use the simplex noise image generator. Currently, we need a more squashed button. We can maximize the y value to two and we lower reacts value to about 0.5. Next, to be able to transform the image freely, we can convert it into a thin layer using the flattened layer command. Or we can also use the convert to pay layer command. To increase the contrast will first apply the Levels filter to this layer. I want the black color to dominate more than the white color. Then press Control T to make the image flatter. Press Enter to confirm. Make sure the layer is inside the BG Group layer above this C layer. Then create a new paint layer on top of it, set its blending mode to screen. Next, we want to turn this layer into a transparency mask for the layer above it. Right-click and choose Convert to transparency mask. Now, we already have a transparency mask, but it is applied to the group layer. We need to move it so that it is attached to the new layer above it. This way, anything that we put in this layer will always be limited visually by the transparency mask. For the color, we can use a bright blue color or cyan color. Then use the air brush preset and add subtle brushstrokes at the top area near the right side stronger than the left. You can also combine it with a dry bristles preset or other brush presets, if you like. If it looks too strong, we can reduce it using the eraser mode. After you are done, you can close the layer and use the flattened layer command to convert everything into a single failure. Next, we can add a dark color variation around lower part of this ocean background. Just create a new layer. And we can use this brush preset, sample the dark blue color, but make it even darker. Then mix some white brush strokes on this layer. Feel free to experiment with other brush presets if you want, until you are happy with how it looks. Once you are done, you can merge these three layers by pressing Control E and rename the layer to see. Next, we will add texture or shading colors to the pillar objects. For the texture. I have prepared an image file called medieval blocks 03. I download this image from poly heaven.com to open this file in Krita. This Click drag it from the file browser to the Crito window. Then select the open a new document option. I think we need to strengthen the black color. Likewise, Dwight also needs to be wider, so the leader becomes perfectly transparent. For this, we can apply the Levels filter via the menu auto press Control L for the shortcut. Select the black boy in far to the right and slide the white point slightly to the left. We can also adjust the center point if needed. Basically, we want a black brick lines to appear solid. Well, we make the other areas white. Next, we want to turn this image into a pattern. You should know that this image is provided by probably haven't dot com already in a seamless or pilot form. So we don't need to edit it again. Just open the Python window, then open-door custom Python tab. Press the Update button and press use S Patton. The image is now the active pattern. You can go back to the first document where our illustration is. Before we apply the pattern. I don't think these pillars need to be placed on a separate layer because they can all be placed behind this hill. So just like auto pillar layers. Then press Control E, Make sure this layer is behind the second heal. Then change its name to CB from the word color base. Then press Control G to put it into a group layer. After that, we can name the group pillars. Alright? To apply the texture, we can create a new layer. Use the rectangular selection tool to create a poll rectangular selection area like this. Then use the command fail with pattern. Next, we can make the white color transparent by utilizing the gradient map filter. Set the left stop to black for the time being. They'll stop on the right is already transparent, so we just click Okay to confirm. Before we continue, we can press Control J to duplicate the layer first. We will use this later for the second pillar. Alright, select this layer again. Press Control T for transform tool. Use the mesh mode. We can drag the points. Or if you want to move them all, hold, Shift, and click drag the image towards the products pillar. Next, we can position all these control points so that the texture orientation matches the pillar object. Also set the handles auto segments so that the texture is slightly curved upwards. This is to give the impression that the pillar is indeed cylindrical. Once that is done, you can enable Alpha inheritance to create additional shading on the left side of the pillar, we can use the texture type brush preset. It might be a good idea to create it on a new layer for us. We can merge them later if needed. Press D for default colors, enroll some brushstrokes on the left side of the pillar. Sorry, I want to use another brush preset instead. E.g. this one. I think this looks more interesting when compared to the previous one. We might as well apply this brush to all the pillars because they are all on the same layer. I am speeding up the video because there are no new techniques that we need to cover. You can hide the diver character temporarily so that it doesn't get in the way. After that, we can show the second texture layer again. You use the transform tool and activate the mesh mode. Then, similar to the previous process, we adjust the orientation and curvature of this brick texture to match the second pillar object. Alright, Next, we are not going to apply to brick texture to the third and the fourth pillars. And for the second texture, Let's make it more transparent. Then we can merge all these layers into one. Change the blending mode to Multiply. We want to shoot in color to be similar to the gray base color of the pillar. You should lock the Alpha first. Then reassemble the gray color. Make it a bit darker. Then press Shift big space to fill in the color. Next, we want to give the shadow area a group backlight or of Skylab effect. In previous projects, we usually use of separate layer for this effect. For these pillars, I will just utilize the existing shading layer used to drive roller brush presets. You can use any other if you prefer. Hold control and click on the navy blue color at the back, make it slightly lighter. Then rho, some brush strokes on the left border of the pillars. I am speeding up the video to save time. Once that is done, we can call this layer S L from the word shadow local. The rest step for these pillars gives ending the atmospheric perspective effect of essentially, the further away the pillars are, the more similar they are. Color should be to the background color. For this, we can just create a new paint layer. Name this layer of fog, enable the Alpha inheritance option. Then use the air brush preset, sample this dark blue color. Then make fairly strong or opaque brush strokes on a pillar at the very back. For the third pillar, we can reduce the intensity of the blue color. And for the second pillar, we add the blue color, just a little heads for the first pillar, we can just leave it clean. And this is the result so far. 34. Shading the hills: We will continue the illustration by tearing up the hill areas. But before that, if you notice, there is a small area of the hair visible at the right side behind a diverse character. At first glance, this area looks like a highlight color belonging to the diverse. We should avoid this condition. So we can select a diverse group layer, press T for the move tool, and shift it slightly to the right. Next, I also want to push the large halo objects or layer h three further to the left. Initially, as much as possible, we want to reduce the risk of people mistakenly interrupting our growing due to bad objects layout. Alright? Because we pushed this hill for enough, it leaves a blank area that we need to fix. Just use the rectangular selection tool to make a selection in this area. Sample the color of the sand, and fill the selection area. Then press C and make a slightly curved selection. Press Delete. Next, we can focus on the H1 layer or the hail at the back. We can hide the diver character first so that it doesn't interfere. Press Control Shift G for the quick clipping group command and change the blending mode of this new layer to multiply. Now, I want to try a brush preset called dry texture creases. Imagine that the light is coming from the top right. So we need to make the brush strokes more concentrated on the left side. Okay? Create another layer above it for the fall or atmospheric perspective effect. Symbol this blue color. And use the airbrush preset. Then just cover this hill until it looks dimmer. Next, we can rename this layer to fall. Then rename this layer to SL. Or, sorry. I'll just merge these two layers into one because it is unlikely that that will make changes to them again. Then named layer of CB. Before we continue, I think I want to reverse the naming order. So we renamed the bottom one to H4 and renamed the top one to one and so on. For the other hills, the process is basically the same. For us. We select the layer, then press Control Shift G. Change the new layers blending mode to multiply. Symbol the color of the sand, make it a bit darker. Use the dry texture quizzes, Brush Preset, and then apply the brush strokes. You can also use other brush preset if you wish. To reduce the shading effect, just use the eraser mode. Okay? Next, we want to add a grass area on top of this hill, create a new layer. We're going to show the sketch layer again if needed. Then I press the letter Z. This is the custom shortcut for the free hand selection tool, Greg, Greg, to go to grass shapes. Select a green color, slightly towards blue. And press Shift backspace to fill in the color. Press Q to clear the selection. And we enabled the Alpha inheritance option for this layer. Press V again for a brush tool. For now, I want to use this brush preset. As for shading the grass, you can just create a new layer on top of this layer. But for now, I want to apply it directly on the base color layer. So to limit the brush strokes, we need to enable Alpha Lock. So green color that is bluer and also darker. Feel free to experiment with other brush presets to achieve different kinds of textures. Once you are done, you can create another layer for the fog effect. You enable the Alpha inheritance option. Use the air brush preset and simple the ocean blue color at the back. Make some light strokes so that the fault is not as intense as the hill layer at the back. Then rename this layer to CB and this one to L, and then rename this layer to grass S photo group right here, we can change its name to H3. Again, this is because we want to reverse the naming order. Alright. For the next process, which is for the last two hills in front. There are no new techniques that I haven't explained before. I'm sure in shallow, you already understand them. So to save time, I'll just speed up the video. One thing that I want to emphasize again here, as I have said many times before, is that you shouldn't be afraid to experiment with different brush presets. For me, this is where the fun of rho income seen. Sometimes we make unintentional mistakes that actually make our province look more interesting. Or what Bob Ross used to call happy accidents. For the two hills in front, I decided not to apply the fog effect at all. I want them to be clearly visible. N here is the result after the shooting the hills. You can see that I have reversed the naming order of lugubrious so that the top one has the smallest number. In the bottom one has the largest number. 35. The floors: In this video, we are going to add texture to all the ground or floor surfaces. We will start with the stone floor area. I have prepared a file called road cobblestone meaningful 08. I downloaded this file from textures.com. Just click the file directly into Quito window and choose the opening new document option. As usual, we want to make the image more contrast. We can apply the Levels filter, make the blacks much stronger. The same goes for the whites. After that, we can apply the gradient map filter for the slope on the left, we want to change the color to a dark brown that looks like soil. We don't need to change the stop on the right because it is already transparent. Press Control a to select everything, and press control C to copy. Open our illustration document again. Select the floor layer and press Control V to paste. Then press Control T for transform tool. Rotate the image negative degrees, we're holding down Shift key, move it downwards, then press Enter to confirm. Next, active with the perspective mode. Make the bottom side wider. While the top side is narrower. Keep adjusting until you feel that the prospective effect looks fit. Press Enter to confirm. Alright. Select these two layers. Then press Control G to group them together and enable the Alpha inheritance option of the top layer. Next, we also want to add shading using texture brushes to this pleural surface. As usual, we can add a new layer, enable Alpha inheritance. And it's the multiply blending mode. For a brush preset. I want to use something similar to crayon or chalk, assemble the color of the stone and make it a bit darker. And then Bruce, some brushstrokes lightly around the treasure chest area and under the diver, and also around areas where there are likely to be shadows. Okay. Next, we want to make it look as if the gaps between rocks are filled with sin. Previously, we discussed the photo bashing technique with selection and transparency mask separately. Now I will show you how to make use both at once. The point is we create a transparency mask and then edit it with the help of selection. For us, we select the group layer, then we create a new transparency mask. Currently, the entire transparency maps contains a solid white color. As a result, the group play it look solid or opaque. We will gradually add black to this transparency mask, create a selection of the floor gaps we're holding control. And then clicking on the layer thumbnail, press D to activate the black color to hybrid selection border. We can press Control H, or we can go to the Select menu and disable the display selection option. So right now there is actually an active selection, but it is not visible. Then rho, some brushstrokes on the age of the floor area. Try to make the strokes a bit random. Again, we want it to look like some of the sand is trapped between rocks. If you think this is still not enough, you can clear the selection first. Remember, there is still an active selection. So I am pressing TO first to clear it. And let's add some brush strokes at the border of the stone floor area to make the transition look more natural. I think this is enough. We can tidy up glare composition by renaming this group player to floor. Rename this bottom one, those CB. This one becomes S L. And this one we change to grout. I think the color of this for gaps is taking too much attention. I don't want this floor to compete with the diver character and treasure chest. So let's reduce its opacity level a little. Next, we want to add textures to the surface of the sea floor. For this, I have also prepared a file called PROC round. I downloaded this file from the website, probably haven't dot com. As before, we can click drag to file to the Crito window, and then choose open a new document. If you see a gray scale profile selection window appears. This indicates that the file does not have normal RGB channels. Instead, it only has one channel that controls the gray color. In our case, either option is fine as we will adjust the contrast level again leader. But unlike before, for this file, we will only rely on a gradient map. Press D for us, or click this small icon to make sure the black color is active. Then apply the gradient map filter. Move the left stop to make the black areas stronger. The right stop is already transparent, so we can just click Okay. If we zoom in, we can see that the white color has done transparent. Next, press Control a to select everything, control C to copy. Then press control tab to open our illustration document again. Remember that the sea floor, if that layer H2, so just select the top layer inside this group here. Then press Control V to paste. Press Control T for transform tool. Make it wider. And also short-term. Press Enter to confirm. Now we can activate the perspective mode and make the bottom part much wider than the top part. Once you have done that, press Enter to confirm, to play it safe, we can create a new layer on top of it, change the blending mode to multiply and enable the Alpha inheritance option. We can hide this layer for us. Then hold Control and click on the thumbnail to extract the selection from the alpha channel. Press Control H to hide the selection area. Next, we can select a brush preset that looks like a crayon. For the color. We can sample the base color of the sand, but we make it more towards black. After that, we can apply some brush strokes. As always, you can experiment with other brush presets if you wish. For instance, using the air brush preset, or by combining it with the eraser mode. I'll skip the video to save time. When you are done, don't forget to clear the selection. The last step is to tidy up the layer composition because the function of the layer above layer is the same, which is what I'm shading. We can select these two layers and then merge them by pressing Control E, we can rename the layer back to S L S. For this layer, we can just discard it. And here is the condition of our illustration so far. 36. Stone elements: We will continue with the illustration project. Now, we will focus on creating elements in the foreground area. We can start by creating a new layer on top of the chest layer. Press C for a Bezier curve selection tool to dark gray color that still has shades of yellow. Create a selection that follows the shape of the stone on the far left. Then press shift back space. Next, we can create another layer of slightly different color. Perhaps we can make this one red or bluish. Click here, click drag, and so on. Then fill in the selection by pressing Shift backspace, choose the previous color. For the next 2 st due process is basically the same as before. For us, we need to create the selection, then fill in the color. Alright, next, we can combine these two layers. I think the stone color is still too dark to make it brighter. We can apply the HSV adjustment filter. Then set the lightness parameter slightly to the right. After that, we can group layer by pressing Control G, renamed regroup way up to F, G, which stands for Foreground. Next, photo-sharing or texturing process, we can combine four or Bayesian techniques with brush techniques. I have prepared an image file called metal bare zero to seven. I downloaded this file from textures.com. This image is actually a photo of metal surface. But because of its unique pattern, it may rule in thrusting if we use it as stone textures. As before, we can open this file as a new document and Krita, we are going to use the gradient mesh filter. Let's first determine your foreground color as it will be used as the default color of this top on the left. Then we can apply the gradient map filter. We can see that the color already matches the foreground color we chose earlier. We just need to shift to stop to the right to make the dark color is stronger. Then click OK. Next, create a rectangular selection to define the texture area that we want to capture. Press Control C, uncontrolled tab. Select this layer and press Control V. Change the blending mode to multiply that enable Alpha inheritance. Now the image becomes invisible, but there is okay. Press Control T, then drag the image so that it is on top of the stone area. We can adjust the scale and rotation until we are satisfied with how the texture looks. Once you are done, press Enter. For the next step, we can use the Brush tool under duress or mode and remove some of the areas that in theory are exposed to delights. So we can erase the top right area of the stone. For the texture we had spills over to the left area. We can just delete it. You can also add more brushstrokes if necessary. Next, to add variations to the texture, I want to use a brush preset that produces splatters are spots. For race. We can use the eraser mode and create brushstrokes. Particularly, I do transition area between dark and light. Then we can add a crayon type brush stroke to make it look more interesting. Okay, for our finishing touches, we can use this brush preset or maybe this one. Set it as an eraser. Make alone curve line that goes across the stone. You can keep adding more lines if you want. I added a total of three lines to the stone. Next, if you want to use the contiguous selection tool, don't forget that what we want to reference now is this layer. For us, assign a unique color label, e.g. red. And in the Tool Options Docker, we need to turn off all the color labels except for red. Now, we can go back to this layer and click on stone area on the left, those selected for the rest of the process. I don't think there are any new techniques that we need to cover. So I'm speeding up the video to save time. After you are done, you can rename the shading layer to S L and rename the layer below to CB. 37. Clam, jellyfish, and fish: In this video, we will add some ornaments in a background area. For us, we will create a large claim like objects and then behind it some kind of seaweed plant. This claim should be positioned below the third hale, all your age three. So create a new layer just below it. Then press C for a Bayesian selection tool. Create the clamped shapes selection using the sketch layer as to guide. Select a purple color. Then see if backspace to fill in the color. Block the alpha condition, then we want to create the vein lines are new column using this brush preset called in three G pen. A much lighter purple color and rho lines that seem to emit from the bottom center point to the outer or upper border. Something like this. Next, we want to add shading or texture. For us. We can use the chalk granting Brush Preset and set the color to a dark purple. Please note that I made all of these on a single layer. We can also combine the brush stroke effect with the dry bristles, please add. Currently, the vein lines become less visible. We can redraw them using a light purple color from the color history. Perhaps you should have made these lines as the last step or after the shading process. Alright, next, we can create a new layer. Move it so that it is below the Auckland New Year. On this layer, we are going to draw some seaweed. For this. We can just use the multi brush tool as we discussed in the earlier course. But I want to show you another method which is using a unique brush preset called textured hair. Enlarge the brush size, little n, select a green color. Create the brush stroke. As you can see at a glance, these Brush Preset looks similar to the multi brush tool. I don t think this seaweed needs initiating color because the size is just too small. But if you still want to add shading, you can enable the Alpha Lock force. Use a texturing Brush Preset such as this chalk type. Pick a darker green color and apply some random strokes in the lower area. After that, we can merge these two layers into one and change the name to on 01 from the word ornament. If you don't want to merge the two layers, there is fine. Also. Next, we want to create some jellyfish. Basically, the process is similar to how we create the other objects. In this illustration. For us, we need to create a new layer, use the Selection tool and create a selection that forms the body of a jellyfish. Then activate this brush preset called glyphs. Choose a blue color, shade, but very close to y, then create a brush stroke. Something like this. Press Control Shift. I will invert the selection area, use a solid type Brush Preset, and then make long and winding strokes to draw two tentacles. So here is the first jellyfish drawing. For a second and a third. The process is exactly the same. Only now I use the free hand selection tool to make it faster. Invert the selection. Then use the solid brass preset to dodo tentacles. Alright, to keep things tidy, we can rename this layer to on zero to. Lastly, we want to blow silhouettes of fish swimming on the left side of the background, create a new layer. Use the Selection tool. Didn't make a selection in the shape of a fish. Next, for the color, we can sample the darkest color of the ocean. Democrats safe space. Now, unlikely jellyfish for the fish, I'm just going to duplicate the layer to make the process faster. So press Control J to duplicate the layer. Next, press Control T for transform tool, you can adjust the position, rotation, and also the scale. You may also mirror it if needed. And you can also use the brush tool to manually edit the shape. So it looks different from the first one. I am skipping a video now because I am sure in shallow, you already understand the techniques. Once you are done, you can merge all the layers into one and then renamed layer 203. I think this fish are positioned too high up. We can lower it down and adjusted again until it looks good. I also think that the color is still too strong. Perhaps we should reduce the opacity to around 70%. 38. Seaweed: In this video, we are going to create some seaweed plants again, but this time in more detail as they are larger and theoretically closer to the viewer. For initial step, we are going to make the seaweed grades individually. Then we duplicate them and combine them into a clump and then place them into our illustration. First, we can create a new layer to serve as a temporary background. Press D for default colors, then press backspace to field layer with white, then create another layer on top of it. Used a solid brush presets are due on called Basic file size. Choose a green color that you like. Then rho brush stroke on the canvas like this. If you feel that your hand is not steady enough, you can make use of the brush smoothing feature. Make sure you smooth pressure option is on. Create several variations, as many as you need. Try to make some of them long and some of them short. Alright? After that, we can add a line or a vein in the middle of each blade. A lighter yellow Watercolor. Make the brush size smaller. Or, sorry, maybe we should draw the line leader. For now, let's make the borders of new grass blades wavy. For this, we can press Control T for active with the transform tool. Use the liquify mode and activate the move sub mode. Make the brush size smaller and read the pixels at the border area in a zigzag motion. Apply this to all the existing seaweed braids. I'm speeding up the video to save time. Once that is done, press Enter to confirm. Next, turn on the Alpha Lock option and reactivate the brush tool. Now we can start drawing the center line or the vein. Okay? After that, we want to add shading colors to the seaweed beds to prevent the color from covering the existing lines that we have created, we can use the multiply mode. So create a new layer and put these two layers into a group. Use the multiply blending mode and enable Alpha inheritance. Then use one of those shading brush presets. Choose a slightly darker green color and apply some brush strokes on the areas that are supposed to be covered by shadows. Next, we can merge everything into one layer by right-clicking on a group layer and inducing Merge Group, hide the white layer. Next, we can use the copy paste technique to assemble the seaweed blades. Press Control R to activate the rectangular selection tool. Make the selection. Then press Control C and then Control V. Press T for the move tool and position the new layer to the location that we want. Then select the bottom layer again and press Control R again. Make a selection on an X grass blade. Duplicate it again. Press T for the move tool. And now we press Control T for transform tool. Rotate them slightly to make it look like they're roots are attach and form a clump. Repeat this process until you get at least four or five blades clumped together. Then we can merge all these layers into one. Press Control T, and adjust the position and scale so that it looks like it is growing on top of the hill. Then we can reposition the layer so it is just below layer H1. Rename the layer to zero for or feel free to use another naming convention if you like, for creating the second clump. The process is exactly the same as the first one. So I'll just keep the video. Here is the result of creating the second column and the state of our illustration so far. 39. Anemones using custom brush: In this video, we will focus on creating anemone is using custom brush parameters. We will start by creating an anemone behind the treasure chest or rather behind for us here, we can start by creating a new layer beneath your H1. Later, we will set the brush to use a gradient from the foreground color to the background color. So let's select the colors for us. Use the left mouse button to select a dark blue color. This will be the foreground color. Then use the right mouse button to select a lighter cyan color, slightly toward green. This will be the background color. Next, open a gradient window and activate the foreground to background preset. You should see that the active gradient color is now rock blue, cyan. After that, make sure you use a solid brush preset or the one called basic A5 size. We can test the brush size for us. I think we did brush size of about 50 pixels. You can press the closing bracket key on your keyboard to increase the brush size. Then open the brush editor window. You can press F5 as the shortcut. To have the Brush Preset use gradient, you need to open the color section and in the source category, change the setting from plain color to gradient. For now, the Gradient option seems to have no effect. This is because we need to enable the mixed parameter. By default, the mixed parameter defects the pen pressure. So if we press the pen hard, the color becomes psi n. Otherwise, the color becomes blue. In our case, we want the color to change along the stroke distance, not based on a pen pressure. If you notice in the thumbnail at the top or if we try directly on the right panel, the color gradation already appears but is repeated. We don't want this repetition to happen. To avoid this, we can select the distance option and turn off this repeat checkbox. Now it no longer repeats. However, degradation distance is too short. We can try increasing the distance to 150 pixels. Now, we can see the color gradation from blue, cyan along the brush stroke. Last thing that we need to set is the brush size, dynamics. We do not want the brush strokes to become plenty of Putin. For this, we can go through the size category, then move the point on the left and just make the curve like this. Now the brush strokes or not to taper. And so it looks more like a hose hollow tube. Once you have satisfied, press F5 to close the brush editor window. Then start proving the anemone by first making the ones at the back. Then agreed, Julie, create the front ones. If you make a mistake, just undo it and try again. You can also use many yellows if necessary. I'll just make it all in one layer. After you are done, you can rename the layer to 206. Next, we are going to create an anemone on the right side of the divertor. For this, we need to open the F, G group layer, create a new layer at the topmost position. Whereas C and make a selection with the rounded shape. Select a red color slightly towards magenta there and press Shift, make space, rescue, and create another layer on top of it. Use the Bezier Selection Tool. Create a selection in the shape of a flower petal. Choose a lighter color than before, then fill in the color. Next, we can create another layer on top of it. Create a selection for the whole shape. Choose a dark color that is close to black, and then fill in the color. Alright. Select the first layer again. We need to enable the alpha lock because we want to apply shading on the same layer. We have created shadings like this so many times before. So I don't think I need to explain it again. Okay. Next, we are going to use the custom brush technique again to create the anemone. But now we want to use a different color. We can use orange for the background color to red for the foreground color. Activate the basic A5 size brush preset again. As long as you have unclosed Krita, all the brush settings we made earlier are still active, are available. Create a new layer on top. We can test the brush force by making some strokes. I think the gradient distance is not far enough. We can open the brush editor window again. In the next category. In a distance option, we can change the length value to 200 pixels. Let's try again. With this value. It looks like the orange color is two dominant. I want the orange top here. Just a little bit at the end. For this, we can open a gradient window, click Edit, and drag this left, stop more to the right so that the red color becomes more dominant. Then I also want to change the red color a little bit. Okay, let's try this brush preset again. I think this is already looking good. After the first stage, I want to add some shadows so that there is a sense of depth in your name only drawing. Just use the air brush presets. Since we want to add the shadow colors on the same layer, make sure we set the brush blending mode to multiply. And don't forget to activate the Alpha Lock option as well. Mix some white brush strokes in the lower area until it looks dark enough. Next, we can go back to using a solid brush preset. Turn off the Alpha Lock option, and we can continue to create anemone is on top of the previous ones. After that, we can just trim the bottom areas to make it look like the anemone is coming out of the hole. We can use the Bezier selection tool, make a selection on the access areas, then press Delete. If necessary. You can also patch the area. We have another brushstroke. Yes, you need eventually the whole enough orbital shapes are covered by the anemone is you might want to revise or resize DNA monies, but I'll just leave it at that. At least you already know the techniques to tidy up the layer composition. You may want to keep everything inside a group. This can be useful if you want to make changes later. Personally, I probably will not make any more revisions on this anemone. So I just merge everything into one layer and then rename the layer to 07. Finally, we want to create another name, Mooney, at the bottom-left area of the image. For this one, I want it to look like it is growing from between the shells of a dead claim. Since the whole process is similar to the previous one, how to speed up the video to save time. Essentially, for each part of the shell, we need to create a dedicated layer, then make a selection and fill in the selection area with a color. We can add shading colors or other details if needed. Next, 40 anemone part of the process is also similar to the previous one. What is different is the color and also the size. Because in theory, it is closer to our eyes. I use a brush size of about 90 pixels. As for color, I use a gradient of orange to y. And for the distance parameter, I change the length value to 300 pixels. Once you are done, you can merge all the layers into one, then give it a name. On 08. 40. Other ornaments: In this video, we will add more ornaments to our illustration. We are going to add large claim or dried plant, starfish and so on. Since most of the creation process of these ornaments does not use any new techniques, I will often speed up the video while providing comments when necessary. Except perhaps reader, we're making a dry plant. Since I use a slightly different technique, I will go into more detail about the process. Alright? The first thing we want to make a large claim in the foreground, at the bottom right corner. We want to create a different type of claim from the previous one. As usual, we can start by creating a new layer, then create a selection using the Bezier selection tool. Then fill the selection with an orange color. Use the air brush preset or other brush preset to add some purple colors. This is all that we have some color variation. Then add some crops in lines and also add white circles. Use, you know, detailing brush called Basic Six details. Next, create a new layer on top and make the clamps lip shape using a Bayesian selection tool. Fill in the selection with a cream color. It is close to white. For the whole area, we can create a new layer again, make the selection, then fill it with a dark purple color. On the lip layer, we can draw some dark colored vein lines using the detailing brush. And in the whole area, we can apply a darker color at the lower region to give the impression of depth. Then select your texture brush preset that has speckles effect. Choose a color close to white. Essentially, we want to make it look like there are stars inside the hole. Then we can go back to the ellipse layer again. And we can add shading colors or textures with the dry brush preset. You can also make use of the other texturing brushes. Finally, we can merge all the layers into one. Next, we want to create a plant that looks like a dry twig in the lower left area. I don't know the official name for this type of plant, so I'll just call it a dry plant. Although of course, we know that there are no dry plans underwater. For this, we can create a new layer at the bottom of the F G group. We will use this layer as a guide. A quarter circle shape, where we want to put the plant, then create a new layer above it where we will draw the branches. For this, we will use a solid brush preset or basic A5 size. Right now, Nebraska parameters are still modified because we set them earlier to make an amine is to return a brush to its default state. You can press this reset button. But for the creation of the dry plant, we still need a more stable brush size. So we can change the pressure curve of the pen, just like when we create the anemone. Essentially, we still want this brush preset to detect operon pleasure and control the brush size. But we need the sensor to be less extreme. The brush size to match the size of domain branch. And for the color, we can try using a color that we rarely used before. I think I'll drop red color. We look interesting. Then we can start by drawing the three main branches. Next, we can reduce the brush size a bit and start blowing the smaller ventures or twigs. Then reduce the brush size again. And now we can draw the smaller tweaks. So there is basically the process. Once you are done, you can still adjust the transformation if needed. I am trying to keep the plants from covering the treasure chest. After that, we can rename the layer on ten and just delete the guide layer. Next, we want to create two starfish on this hill and in one more on this rock. Let's start with the one on the rock for us. Create a new layer in E, F, G group. Since there is no skate for the starfish, I need to create one for us just for guidance. Approximately. This is what it will look like. Then create a new layer on top of it. And use the selection tool to create the starfish shaped for a color. We can use blue and fill the selection area. Once we have the silhouette and a base color, we can add the shading color of the texture. We are only going to use the same layer. So enabled the Alpha Lock option. Select one of the texture brushes and choose a darker version of the blue color. Create strokes on the border, but make it stronger on the bottom right side. Then use the solid brush preset to color that is close to y and add spots on top of the starfish body. For now, we don't need the brush smoothing feature. Ad spots from the center point and then along each of the hands. Alright, to add some contact shadows, you can use the texturing brush as usual. But this time I want to utilize the Layer Style feature. So right-click on the layer, like Layer Style. The negative with the drop shadow effect. Currently, the shadow is too far away, making the starfish look like it is floating. We can fix this by setting the distance value to just one pixel. After that, click the Okay button. For the other starfish, the process is exactly the same. The only difference is that we create them inside the BG layer. We use red color instead of blue. Since there are no new techniques that we need to cover, I'll just speed up the video. Okay, next, I want to create this stone and also this small claim or norman S For this one, we need to skip it because the illustration is already too crowded. After that, we will add some seaweed that are smaller in size. For all these ornaments, I will only use techniques that we already know. So I'll just speed up the video to save time. And here is the state of our illustration so far. 41. Shadows and fog: In this video, we will add shadows on objects due to light emitted from the treasure location. Then we will also find tune the fog or the atmospheric perspective effect. Before we get started, I want to make it clear that I tidied up the naming of the layers in this document of record. This is so later you can read the file more easily. First, I changed the way of numbering order for the foreground and background to be independent. Then I divided the ornaments into three types. For any more ornaments, such as starfish or fish, I call them clear from the word creature. For in intimate ornaments, I still call them on the word ornament. As for the ornaments, I call them blend, I have made the numbers behind the names sequentially based on layers position from top to bottom. The same applies to the background group layer. Again, the numbering is independent of the foreground group layer. That is, everything is start from number of 01 and then continues to increase the further down the layer goes. Alright. Now we want to add shadow effects from the life that seems to be emitted by the treasure. But before that, I got to thinking if this diverse character jumps, his ground point or the location of his shadow will be right here. It will be better if the ground plane or shady location is here aligned with the location of the treasure chest. So select the group layer, press T for the move tool and move it up a bit while holding down the Shift key. To accommodate the shadow, we need to create a new layer, place it at the bottom and changed its name to SD, which stands for shadow drop. Change the blending mode to multiply. Now, you need to remember that the blending mode only 0 for x, the layers below that are still in the same hierarchy level, or at least the descendant levels. So the multiply effect of layer inside the diaper a group will not affect the BG Group layer below it. But in our case, it doesn't matter because the shading style of our current illustration is looking more like a picture rather than an actual shading color. This is different from the shading techniques we use in our previous projects. Alright, choose a dark gray color, slightly blue ones. Then you can just create it directly with a texture brush and refine it further with the eraser mode. Or an easier method is to create a selection for us. We can make an elliptical shape for this, move, the selection slightly to the right side of the diver because in theory, the light source is coming from the treasure chest, which is located above and to the left. Use the texturing Brush Preset again and draw some rough strokes inside the selection area. To soften the edges. We can use the water, see a pattern blurring brush. After that to create another drop shadow, the technique is basically the same. E.g. we want to add drop shadows on these rocks because they are in the F to G group layer, we can create the layer inside that group below drops layer, change the blending mode to multiply and use a texture brush preset to draw the shadow. If it looks too much, you can use the eraser mode to erase it or use the water, see if pattern preset to blur it out. I'm speeding up the video because basically I'm just repeating the same technique. Next, we want to reinforce the full effect or the atmospheric perspective on large clam area at the back. Create a new layer on top of it, rename it to fall. Then Control click on acclaim layer thumbnail to extract a selection from its alpha channel. Use the air brush preset. Make sure the restaurant mode is off. Then assemble this ocean background color, but make it darker. If you are disturbed by the selection, you can press Control H to hide it, purse and make gradual light strokes on his claim area. It looks like a right, that blue color is more suitable for the lower area. After that, we also want to strengthen the fog effect on this hill or the edge three layer. Now, because inside this group layer, there is already a fog layer. We can just use that later. Don't forget that we still have an active selection. So make sure we clear the selection for us. Then we can add the four using the brush tool. Next, photo pillars, we can also select the formula you're inside the pillars group layer and draw some brush strokes here. I think the color is not dark enough. Alright? Lastly, we want to make the ornaments in the front or the foreground area darker. For this, we need to open the F, G group layer, create a new layer at the topmost location, changed its name to SG for shedding global or global shedding. Set the blending mode to multiply and enable Alpha inheritance. Then, while still using the active Air Brush Preset, we can apply brush strokes in the bottom right corner to make it darker. We can also do the same with the bottom left corner. Just imagine that there is a strong light coming from the treasure chest location. This causes all the surfaces opposite the direction of the light source to become darker. Extract the red, namely plan selection and add brushstrokes on its right side. The next threat of selection from rocks. But we don't want the brush strokes to cover DNA, money or clan in front of it. To avoid that, we can hold Control and Alt and just click on Layers thumbnail of the objects that we want to take out from the selection. After that, we can make some brush strokes to add the shadow colors. Again, makes sure we do this on surfaces opposite direction. So here is the condition of our illustration so far. 42. Lighting effects: In this video, we will add various lighting effects to our illustration. For us, we want to make the entire image darker, as in the case with the ocean floors in general. For this, we can create a new layer above the F to G group layer, rename it to SG, which stands for global shadow. Then change the blending mode to Multiply. Choose a blue color that has strong saturation, tends to be bright. Use the air brush preset and create strokes on the boundary of the image. We are trying to make the entire environment dark, except for the center area where the Treasury exists. Because this layer is at the root level or not inside of any group is multiply effect will influence all the layers below it. Okay, next, we want to give the gold in a treasure chest the yellow glow effect. For this, we can create another layer at the top most position changed its name to hCG, which stands for Global highlights. Because we want to make the image brighter. We showed you the screen blending mode. Then just a bright yellow or orange color. And then with the air brush preset makes some might strokes around the gold pile. After that, press C photo Bayesian selection tool. Make a selection like this. Then use the airbrush again, but activate the eraser mode and erase some of the colors. To create a stronger light effect that seems to be emitted by the gold. We can create the shape of blood volume using a selection. I use the add mode so that every time I create a new selection, it does not replace the existing selection. Instead, it will just add to it. Use the air brush preset again, makes sure the reps or mode is off. Then make some white strokes on the outer part. And as we go towards the center area of the pile, we apply stronger brush strokes. If you feel that the lines of the light shape are too sharp, you can use the water see Pattern Brush Preset to blur the edges. Next, we can focus on OneDrive or character force. I want to revise the highlight colors a bit. So make sure to highlight layer is active. Use the dry roller brush preset, but under duress or mode, and erase or reduce the highlight colors on top of the helmet. Then press W for the contiguous selection tool. Now, we want to use this blue layer as the reference. So we need to change the active color label to blue. Select the helmet glass area. Use the brush tool again. Essentially, now we want to erase or reduced to highlight effect on the helmet glass. Then turn off the eraser mode. Choose a yellow color. Then make some brushstrokes on left end of the glass to make it look like there is a reflection from the gold. Alright. Now we want to add global shadow effect to the diver character. We can create a new layer on top, rename it to SG from rewards global shadow. Then change the blending mode to multiply and enable Alpha inheritance. Use the air brush preset and choose a blue color similar to the global shading color we apply to the environment earlier. Make some light brushstrokes on right surface of the driver character. The point is, we want to work on all surfaces that are facing away from the light and all are blocked by other objects. Next, we want to add a skylight effect. We have discussed the concept of skylight or ambient light before. In intermediate level, of course, we can start by creating a new layer on top, then change its name to HPG, which stands for Global highlights. For now, I want to use color as the blending mode and enable Alpha inheritance. Choose a blue color with strong saturation. Use a texture brush presets suggests the dry roller. The areas that we want to add blue color are those inside shadows and tend to be facing upwards. We can use the contiguous selection tool for us to limit the editing area. You can see how the coloring effect is produced by the color blending mode. Basically, this blending mode will change the color of the layer underneath so that it matches the hue value of reactive color. Going further, there are no new techniques did I use swatches, speed up the video? And this is the result, auto-completion of our illustration so far. 43. Air bubbles: In this video, we are going to create air bubbles in the area we are too diverse. Hosts is cut off by his spear. Since this is the part of the diverse, we will create it in a diverse group layer, create a new layer at the very top inside this group. For now, let's name it bubble. We will use this layer leader for the outlines and highlights. Now to create the color fields, we can use a separate layer. Select the white color, and use the detailing or the solid brush preset to form the silhouette of the air bubbles. Basically, in this layer, we can really experiment with this shape of the bubbles. You can try out different shapes until you like the look of them. Once we are done, we can reduce the opacity a little bit and move this layer so that it is below the bubble layer. Alright, next activity, the bubble layer again. Currently I am still using the solid brush preset. Since we are going to create some sort of outline, we should use the brush smoothing feature. Then draw a line by following the silhouette that we created earlier on layer below. After that, we can draw circles for the highlights or specular effects. Just repeat this process for all the air bubbles. But for the small ones, we might not need to add outlines to them because they will not blow as obvious. As a finishing touch, we can reduce the density of the field colors to make them less uniform. So just the bottom layer. I am currently using the Air Brush Preset. Make sure the eraser mode is on. Then erase some of the lower part of the air bubble areas. We only need to do this on the larger bubbles. Once that is done, we can select these two layers and then press Control E to merge them into one. Lastly, we changed the name back to bubble. 44. Caustics and color transfer: In this video, we will add a caustic effect and then discuss an automatic color correction technique called color transfer. For us, let's focus on adding new caustic effects. In short, caustic is lighting effect caused by water surface repulse. When sunlight or otherwise sources pass through the wavy surface of water or liquid, the light rays get bent and scatter. This phenomenon is also known as refraction. There are many ways to create caustic effects in a 2D illustration. Probably the most realistic way is with photo bashing techniques. But in our case, we are going to utilize the SEX per image generator to create the caustic effects. So we need to create a fillet or false, then select SEX borrow for image generator. We can just use the forest preset for the size or the scale. It looks like the pattern is too big. We can try changing this value to three and then press Enter. Now it looks too small. Press F3, and let's try 1.5 instead. Seems to be enough. Next, so that we can dance on the pattern freely. We can convert this layer into an ordinary paint layer. You see, you know, flattened layer command. Next, we won't put turned black color into transparent. For this, we can use the gradient map filter, stopped by swapping the stops so that the town sperm one is on the left side. Then adjust the position of the stops so that the dark areas are visible enough but not too dominating. Alright, next, before we do the transformation, we show press Control J. To duplicate the layer. We can hide the original layer so that we can use the later, if needed. Press Control T and D major factor. Position it so that it is on the bottom surface between the test and a diver. Basically, we only want to use this layer for selection extraction. For accosting effect itself, we will need to create a new layer on top of it, renamed layer to cost stakes. Use the air brush preset and make sure that the eraser mode is off. Just like cyan color that is close to green. For layers blending mode, you can use screen or you may also use color dodge. Hey, if you want a stronger effect to extract a selection out of this pattern, hold control and click on the layer thumbnail. We can hide the layer for now and press Control H to hide the selection. Adjust the size of the brush, and make like brushstrokes. Something like this. After that, we can press Q to clear the selection. Next, we want to remove recap stick effect covering legs and the ornaments in the foreground. For this, we can hold Control and click on the thumbnail of your diverse group layer. If you don't see the selection, this is because we set the selection to be hidden earlier. Press Control H to show it again. Then press Delete. The same goes for the f, g layer. Hold control and click on the layer thumbnail, then press delete. So that is basically the process. We can repeat this for the other areas. Let's say we want to add knockoffs. The effect on the treasure chest. Move this layer to trace your area and rotate it slightly. Then Control click to extract a selection from the alpha channel. Then Control H to hide the selection. In the next layer, we can apply some brush strokes using the airbrush preset. If defect looks too strong, we can just use the eraser mode to reduce it. Next, for caustic effects attached to the second hill, we can duplicate the pattern from the original layer. Now we don't want to make it too flat. Something like this should be enough. Then we can use the Warp mode and pull this control plane up a bit so that the image is curved. Once that is done, we can hide the layer and also the selection back to glucose, the next layer. Here, we can use the air brush presets again to apply the color. Okay? Since there are no new techniques to cover, I'll just speed up the video to save time. The last technique that we want to cover in this illustration project is Scholar transfer. Basically color terms to our case of filter that will analyze an external image file, create a color of skin from the image, and then apply it to the current image or reactive free. You can access it through this filter's menu, then collars. And here is the filter color of transfer. You need to remember that this filter can only be applied destructively. We cannot use it as a filter mask or a filter layer. Therefore, there are at least two approaches that we can take to apply the filter. The first approach is that we flatten everything into a single layer. Or the second approach is to duplicate all the layers first and then we flatten them. This is the original layers inside the document can be preserved. Now, for the second approach provides a quick solution, which is the new layer from visible command. You can access this command by right-clicking on the layer at the top. Then select this new layer from visible command. And this is the result. Crito has just created a new layer called residual, which is the result of duplicating and flattening all the layers in the document provided that the layers are not hidden. That is why if we hide or show this layer, nothing seems to change. This is because the image on this layer is exactly the same as the composition of layers below it. In this condition, we can safely apply the color terms for a filter to the image in the new layer. As you can see, this filter doesn't have many parameters, except for a button to open the file browser. We can't use the image file that we want to use as a reference. As I mentioned earlier, in terms of color, we want to use this second reference image. You can also experiment with other image files if you wish. Click Open and then click the OK button. And here is the result. If you feel that the effect is too strong, N12 display more colors from the original version. Simply adjust the opacity value of this layer. It's up to you whether you want to use just the original version or just the color transfer version, or something in-between. 45. Brush engines: Starting from this video and the next few videos, we will discuss in-depth the various parameters related to brushes. As we discussed before, the brush settings in greta not only affect the free hand brush tool, but also affect various other drawing tools. That is, if we enable the brush option in the Tool Options blocker, the first thing that we need to know about the brass parameter is its score or formulation, and that is the brush engines are essentially the brush Indians or domain programs in charge of controlling the behavior of the brush. There are many types of brush engines in Greta. To see the list of them, you need to open the brush editor. You can do that by clicking on this icon or by pressing F5 on your keyboard. If you notice, there is a small arrow button on the top left side of the screen. If you click on it, Krita will display a list of brush presets. And above you can see a pull down list that says engine. This is where you can see the list of all the brush engines available in Krita. By the time I recorded this video, integrated version five, Greta had a thin brush engines available, while previously in Greece or version four, there were only 15 brush Indians. It is possible that in future version the number will increase again, or it may also decrease depending on the developers decision. You will need to know that the function of this pull-down list is actually for filtering. If we select colors much, then analysts below, Krita will only display brush presets that are based on a color smudge brush engine. If we select Sketch e.g. then all we see in a list or a brush presets that use this sketch, brush engine, etc. Now, the list of parameters that you see here is actually determined by the type of brush engine. Or in other words, the brush presets of leucine bras engine should have the same set of parameters, although they might not all be activated, are used in the same way. For instance, if we filter the list of brush presets to show only the spray brush engine. Each of these brush presets should have the same list of parameters as they all use the same brush engine, which is spray. However, if you look closely, this first Brush Preset has the parameters spray, shape and rotation turned on while airbrush and rate are turned off. Meanwhile, if we are active with this brush preset, we can see that spreadsheet and rotation are off, but airbrush and red are on. So again, the brush engine determines the list of methods available here. However, it is the Brush Preset that determines which parameters are used and which are not. From this explanation. You can imagine that there are so many types of brush parameters in Krita. If we take into account all the brush engines that exist, it will be too time-consuming and probably too boring to go through all of them one-by-one. Our approach to learning them is that we will only discuss the most common and widely used brush engine, which is called pixel. You can see that almost 90% or 80 per cent of the brush presets in Krita use the pixel brush engine. This brush engine also has the most parameters when compared to greet us other brush engines. So if you have mastered the parameters in the pixel brush engine, chances are you will be able to understand similar parameters. Another brush engines, or at least you will be able to find out their functions foster. Even if the brush engine is important for mothers software, e.g. the my paint brush engine was not initially created in Krita, but it is an adaptation of brush engine inside another graphic software called my paint. The purpose of this brush engine is to make it easier for people who are used to using my paint to migrate to Krita. You can see that this brush engine has almost as many parameters as we see in a pixel brush engine, but you don't need to be confused. Most of these parameters only differ in name. E.g. this logarithmic radius and hardness parameters are also present in a pixel brush engine. Logarithmic radius is basically another name for the remainder of size that we already know and use. And hardness parameter into my paint brush engine is basically the same as the fade perimeter in a pixel brush engine. Less than it down into x plane is parameter grouping. You can see that the pixel brush engine separates its parameters into four groups, namely general, color, texture, and mask brush. Then we can split the brush parameters in Krita into two types. Some that have checkboxes on their left side and some that do not. If a parameter has a checkbox indicates that it is optional, you are free to use it or not to use it. Meanwhile, the parameters, they don't have a check box on the left side indicate that they are permanent or mandatory. They need to exist in order for the brush to work. 46. Size, Opacity, and Flow: In this video and the next, we will cover some of the basic brush parameters. Indeed, we covered most of them in the earlier course, but not totally. So. Think of this lesson as a refresher as we also learn new things that we might have missed before. Make sure you use the freehand brush tool and choose a solid brush preset order one that is called BUC F5 size. The first parameter we want to discuss is size. We already know that we can use this parameter to adjust how big or how small brush step is. Besides using the slider on the toolbar, you can also set the size using the open bracket key and close bracket key on your keyboard. Or what I use most often is to hold down the Shift key and then click Gregg to left or right. If you press F5 to open the brush editor window, to access the brush size, you need to be in a general parameter group. In Nebraska perimeter category. Basically the size slider in your toolbar. We'll set this diameter value. That is, if the active brush tip is off the output type. But if reactive brush tip is of the predefined type, then a parameter that will be affected is the same as the one on the toolbar, which is size. So again, the brush size setting on a toolbar will automatically control the size, value or diameter value depending on the type of brush tip used. We will discuss more on Brush steps in later lessons. Next is the opacity parameter. We already know that this brush parameter controls the transparency of the brush. If you prefer to use a shortcut, you can press the letter I and letter 0 to set the brush opacity. If you are in a brush editor, just go to your positive parameter category. Here is to slider to adjust it. So this parameter and a slider on the toolbar are connected. Now we know that the basic A5 size brush preset has a dynamic size, meaning that the brush size changes based on the pen pressure. Meanwhile, the opacity is static. If we want the opacity of this brush preset to be dynamic, we can enable this option, enable pen settings. You can see the tree that provides lots of ways to dynamically control the brush parameters. The default option pressure, We will cost the pen pressure to control the opacity level of this brush preset. For now, let's turn this option off. Now, if you notice under the opacity parameter, there is another parameter called flow. We have already discussed the difference in the earlier course. Just to remind you again, both the opacity and flow parameters will affect the transparency of the brush. The difference is that opacity affects the stroke for the entire brushstroke at once, whereas flow of x, h of the Debs. So what is the difference between stroke and Deb? If you make long line like this, this single line is the brush stroke or just stroke for short. Although at first glance of stroke looks smooth and continuous, what actually happens is that Crito creates it by firing lot of brush steps onto the canvas. Each brass table stamped onto the canvas is what is called a dab. The brush stroke looks smooth and continuous because there are a large amount of labs and also they are very close to each other. Again, we can conclude that a stroke consists of many depths. In order to see the depths, we need to widen the spacing between them. But before that, we first turn off this size parameter so that the size of the brush is fixed, making it easier to read. To widen the distance between depths, we can open a branch state parameter, then spacing section, turn off this auto option and increase the value. You should know that this spacing value is relative. If we set the value to one, then each deb will be created right after the previous depth. H nu depths border will be attached next to the border of the previous step. If the spacing value is 0.5, then each step will overlap. In the middle of the day before and after it. In this condition, we can clearly see the difference between opacity and flow. If we reduce the opacity value, can try drawing a brush stroke. You can see that the entire stroke becomes semi transparent. But if we restored the opacity to the maximum, and now we reduce the flow instead, then make another brushstroke. This is what happens. Instead of applying transparency to the entire stroke, each of these steps will become semi-transparent. So we can see overlapping areas that have thicker color. To set the flow value other than through the brush editor, you can actually also set it in the toolbar area. You can do that by pressing this small arrow button. Then set the flow value using the slider. If you press the plus button on the right side of the flow of slider. Now, it is the flow parameter that is displayed on a toolbar replacing the opacity slider. Some artists prefer to use flow, but I personally prefer to use opacity. So I change the slider above vector opacity. To keep this video from getting too long, we will continue discussing the other basic brush parameters in the next video. 47. Other basic brush parameters: In this video, we will continue our discussion on a basic brush parameters. We're going to cover the reload original preset command, then pattern scale, alpha lock and blending mode. If we open the brush editor and make some changes to the brush parameters, that displays an exclamation mark symbol at the top. Also, you will see a small pen icon on New Brush Preset thumbnail. These let us know that the current reactive Brush Preset has been modified. Or in other words, its parameters have been changed from their original state. You need to know that as long as you have one close Krita, your changes will always be preserved. Even if you switch from one brush preset to another critter. Remember us all the parameters in the associated Brush Preset. This happens because by default, the option below tempo rarely safe to x two presets is on. You should never turn this option off. Because if it is off, every time you switch brush presets, the parameters will always be reset. Now, if you do, I'll reset all the parameters to their original state. You can use the reload original preset command, that is by pressing this button. Or if you are on the main UI, you can press this button on the toolbar. The next brush parameter we want to discuss is the pattern of scale. Specifically for each parameter, we have not discussed it before in either a beginner or intermediate level courses. To access the pattern scale viral toolbar, you can press this small arrow button then just directly as pattern scale of slider around. But you need to keep in mind that the bathroom scale only applies if reactive Brush Preset uses pattern. If you press F5 to Open Brush editor and try to select some brush presets. You can see that not all of them used to the pattern parameter. Even this chalk brush preset, e.g. which looks like it has a pattern, doesn't actually use pattern. But if we select this screen phone regular brush preset, e.g. this brush preset actually uses the pattern parameter. This is the type of brush preset for which we can set the pattern scale value apart from the toolbar. If you are in the brush editor, you can set the pattern scale value by opening the Options tab and then just adjusting the scale slider. The larger scale value, the larger the size of the pattern. At this point, you might be wondering, then what is the function of the pool on lease on white side? The function of this podium list is to set the range of values that the rider can reach. Any X1 condition. The slider on the left can reach values 0-2. If receptors to x2, then the value range of the slider can be 0-4. And if we set this to expand, the value range can be 0-20. So there is the function of the pattern scale parameter. We already know about layer feature called Alpha Lock. Basically, if this is on, the Alpha condition of the layer will be protected. But we haven't discussed yet is that we can also apply the Alpha Lock feature at the brush level. We can do that simply by turning on this icon. Unlike the alpha lock that exists in layers darker, this alpha lock effect is global. This means that if it is active, creator will implement the Alpha Lock feature to all layers when we are using the brush tool, it doesn't matter whether the actual layer has the Alpha Lock option active. So again, in this condition, no matter which layer we are on, we can only draw the brushstrokes, only area where there is already an existing image. We cannot create brushstrokes on an empty area or areas that have zero alpha channel value. The last feature I want to cover is bending mode. We have already discussed many more in-depth in the earlier course. Essentially, in a normal condition, the brushstrokes will cover or replace the existing image of the same year. But if we use bending mode rather than a normal mode, the color of the brush strokes we create will be mixed with the preexisting image using various types of algorithms. For instance, in multiply mode, the existing colors will be made darker. With the screen mode, the existing colors will be made lighter, and so on. Now, if you are in a brush editor to change the blending mode, simply open the blending mode parameter category. Then select which blending mode you want to use. From this list. We can tell which blending mode is currently active by the name displayed above. 48. Brush tip basics: In this lesson video, we will discuss the various parameters related to the brush tip. If you open a brush editor, then open Nebraska category, you can see that in Krita, brush tips can be divided into three types, auto, predefined and text. But before we start discussing them, make sure you use the basic A5 size brush preset and turn off the size option for us so that we can see the strokes and ordered EPS clearly. Alright, let's discuss the text type for us as it has the fewest parameters. Basically, this type uses text as the brush step. We can select the font type here. Then we can type the text in this field. E.g. I. Can type sample. Then this is for spacing or the distance between the depths. And what I think is unique is this option. If this is on instead of the whole tax credit aspects, the depths, letter by letter, there are very few cases where we may need this feature. Just e.g. you can create a calming effect of sleeping character. For us, you need to change the text to random collection of small Z's. Z's. Then make a wavy brush strokes from the top towards the mouth of a character who is asleep. Again, this is just an example. Perhaps you have many other creative ideas for mechanicals off this brush tip. The next one that we are going to discuss is the auto type. Basically, Quito generates this brush the procedurally. In other words, through programming. The advantage of being procedural is that there are many parameters that we can tweak to adjust the brush tip shape. The first thing we need to discuss is the shape parameter. Krita provides two shapes, circle and square. For now, let's activate the circle option. Next, we already know the function of diameter, which is to determine the size. Meanwhile, the ratio parameter is to set the proportion value, which when its width and height, essentially the lower the value, the flatter the brush tip will be. We have also used this ratio parameter before in a strawberry house project in intermediate level course. Next, the fade perimeter is closely related to the mosque type parameter on the left. Essentially, we use these two parameters to blur the edges of the brush step. If you want to blur the brush tip differently between vertical and horizontal, then you need to turn off this chain icon. So now we can adjust each a value independently. Let me maximize the two values for us and turn the chain icon back on. Now, if you use the soft option, instead of using sliders, the radio opacity of the brush tip is not controlled by this curve. This is to center point of the brush tip. And this is the outer border. We can tell from the curve that area towards the border has less and less opacity. If we make the curve wavy, perhaps we show enlarge to slice for us so we can see it more clearly. You can see the wave effect that we made in Nebraska, the preview. We can also test drive new brush in a scratch pad area on right. Keep in mind that these sophomore is more demanding on a computer performance gender default option. But the most demanding of all is the third option, Gaussian. At first glance, this option is similar to the default option, as it uses horizontal and vertical feet sliders. But behind the scenes, crater processes it differently. If the ship type is a circle, the difference is less noticeable. But if we change this shape to square, and then we'll drag these sliders to zero. This is the default option, and this is the Gaussian option. We can see the difference more clearly. The Gaussian shape looks smoother. But again, with the consequence of more burden on your computer. For now, I'll just use the default mode and return both fades to their maximum values. Next, we can use this angle parameter to rotate the brush tape. Then this is for flipping the brush tip horizontally. This is vertically, and this is both vertically and horizontally. The spikes parameter is for adjusting the number of sides. You can create a hexagonal shape with this option if you want. Next randomness parameter, we will create random dots on the brush tip area. And then the density parameter will adjust the density of the dots. So with these two parameters, we can create a brush tip that appears to have texture. Alright? The spacing parameter determines the distance between the depths. We covered the concept in a previous lesson. What I haven't explained yet is the auto mode. In auto mode, we'll use a slightly different algorithm in calculating the distance between depths. Simply put, with the auto mode, the smaller the brush tip size, the further apart they are, the larger the brush tip size, the closer the distance will be. E.g. even though I increase this to maximum of ten, if the brush size is large, such as 200 pixels, the depths, we will still be close to each other. But as we reduce the brush size, let's say ten pixels, the distance between the depths will become farther and farther. Next is the anti-alias option. We discussed anti alias in depth in the previous course. Essentially, this option will make the edges of the brush tip smoother by adding semi-transparent pixels. And left is the precision parameter. Simply put, this parameter determines the quality of resulting brush tip. The higher the value, the better the quality, but also more demanding on your computer performance. Vice-versa, lower the value, lower-quality, but less demanding for computer performance. Generally, if you are making an outline or blind are growing, you'd want this value to be f psi S5. But if you are making large brush strokes, it is okay to set it to one. Essentially, this is the function of the auto option. With this option, create automatically changes the precision value depending on the brush size. Brush size is small, the value will be increased to five. We're not. Brush size is enlarge, the precision value is gradually reduced to ease the burden on the system. 49. Creating brush tips: We are continuing our discussion on Brush steps. We will discuss the last type of brush tip which is predefined and also learn how to create it. Basically, this type of brush tip, it's an image file. It is not procedural like the auto types. So you need to create or provide the image for us if we want to have a custom predefined brush tip. Before we learn how to create a custom one, we need to first discuss its basic features. If you notice this brush, the place has to take feature as well as a search filter. This is similar to how we manage Brush Preset and gradients or other assets in Krita. We already discussed this in a basic level. Of course. There is no need to go over it again in this lesson. Then, in terms of parameters, you can also see a lot of similarities with the auto type brush step. This is for adjusting the size. This is for setting the rotation. This is for setting the spacing, and this is for precision parameter. We will discuss this brush mode parameter in depth in the upcoming lesson. Two parameters that are unique to the predefined type of brush settings option and is reset button. The function of the preserve Brush Settings option is to keep the settings we make here to be global or affect all the other brush steps. E.g. if we set the size to 100 pixels, then we choose another brush. Size value will always remain at 100 pixels. But if you turn off this option, every time you select a brush step, size setting always get reset based on a default value of each brush step. Now, this reset button only applies if we change the brush settings from their original state. We'll preserve Brush Settings option is off. If the preserved brush settings option is on, then pressing this button will have no effect. Alright? Now, if you look at the brush they placed, there are abrupt steps that do not have an alpha channel. And those that do have an alpha channel. You can see the checkered pattern in the background. If the brush tip has an Alpha channel, for robust steps, they do not have an alpha channel. We cannot change their brush mode. They can only use the Alpha Mask Mode. So from these examples, we can conclude that if you want to have more options in controlling the brush tip, you should use an image that has an Alpha channel. We will see in examples of this in a moment, we're learning to create custom brush steps. To create custom brush tips, there are three ways we can go about it. The first is to import method. Essentially, we are bringing in external files into Krita to be used as Brush steps. You can input raster images in PNG format and vector images in SVG format. In fact, you can also utilize various files from other software, such as ABR, which is Photoshop's format, and various types of brush files from GIMP. But you should keep in mind that especially for the ABR and GIF formats, although Crito supports almost all of their features, there are still some advanced features that are not yet supported by Krita. This may change in future versions. Excreta continues to develop. The next method is clipboard. Basically, Krita will use the image in a clipboard or the image copied into the memory to be used as a brush step. Now, what is unique about this method is that the image doesn't have to be in the same document or even inside the decree, the application. You can also make use of images in other graphics software. Just to prove this, we can open the windows Paint app or any other rowing software on your computer. Let's say we draw a shape of a flower using a red color and then using an orange color for the center. Then create a selection. And this is important. You need to copy it by pressing Control C. Now, let's go back to Krita. Press this Clipboard button. We can see the flower image that we drew in paint is now ready to be converted into a brush tip. We can set the name here. We can also set the default spacing value. Now, you need to remember that if your image does not have transparency, then you do not want to activate these series of alpha option because this entire white box will be used as the shape of the brush tip. Then if the Create Mask from color option is active, Krita will ignore the color information in this image. All colors will be converted into gray scale. And then the transparency of the brush step will be taken from the greyscale color is. So y will be transparent, black will be opaque, and the other gray colors will be converted accordingly. Let's try surfing this brush tip using the name 001 so that it will be positioned on top of list. You may already know absolutely, it's in Krita are sorted alphabetically and numbers usually come for us before letters. Click, Save. And here is the brush tip. We can press F5 to return to the Create menu. Why? And we can try to New Brush step using different colors. So there is how we can use the clipboard method. The list method is stamp. This method is the most advanced as it can detect multiple layers provided they are not hidden. However, the drawback is that because it has to read the layer stack, you can only create it inside the Crito application. You cannot utilize images from other applications. E.g. create a three polygonal if images in three separate layers like this. To make a brush tip from this leaf images, we need to make a selection for us. If we don't provide a selection, then the entire document will be used as the brush tip area. Of course, the shape will not be ideal and will be too demanding on your computer's performance due to the excessive size. So active with the rectangular selection tool force hold Shift to make the selection perfectly square. Please note that you don't have to make the brush a perfectly square. It will work fine with any other size, ratio, or proportion. It's just that leader. The cursor position will always be in the middle of the brush tip. So if the shape is to stretch or elongated, they're ruby adept area located far from the cursor point. Then this is also important. If we want to create a brush tip that has an Alpha channel, make sure you hide to add background layer. Because otherwise it will also be taken into account by Krita when creating the brush tip. Once you are done, press F5 again and then opened up predefine tab and press this button for the name. We can give it the same name as before, which is 001. We will see what happens if we do that. Now, if we want to preserve the green color on abrupt step, you must turn off this option, Create Mask from color. Because remember, this option we will convert the image to grayscale and used to grayscale level as the alpha value off the brush tip. And since the color is not respected by Krita, what will determine the brush tip opacity is no longer the greyscale color, but the original alpha channel condition of the image. That is why this option is not applicable, because right now, creator has no other choice but to utilize the alpha channel. If we click Save, greta will give a warning that the name is already being used by another brush step, which is the brush that we created earlier from the pain application. If we click yes, the old brush tip would be deleted and replaced by this new brush tip. You can see that this brush step is different from the previous one because we can access the various options in reverse mode section. Since this video is already quite long, we will cover the different types of brush modes in the next lesson video. 50. Brush tip modes: In this video, we will focus on the different types of brush modes that exists in a predefined brush tip. To be able to understand this brush modes better, we need to create a brush tip that has all the grayscale colors as well as other colors. For this, I have prepared a file that you can use right away. In this file, you can see two strips or two rectangles. They are contained gradation of colors. One is a gradient from black to white, and the other one contains blue, red, and green colors. We want to turn both of them into a single brush tip. But before that, I need to first select the foreground color so that it is not black or white. E.g. this purple color. And I also need to choose a gradient preset. E.g. this one, which looks like the color of fire. You can actually select colors are gradients. While opening the brush editor, I needed to do it at the beginning because my monitor screen was set to 720 pixels for recording this video. Okay, to turn this to color strips into brass table, just like before, we can hide the background layer. Then create a selection. Press F5 to open the brush editor and inner predefined tab. Press the stamp button named this new brush the zeros zero to make sure both of these options are off. Then click the Save button. Now we have converted the image into brass tape. If we select the brush step, we can see that we can access all types of the brush modes from the pull-down list. Alright? The first mode I want to discuss is color image. Basically, this mode we'll use the colors of the original brush tip image SDR, including the alpha channel condition. You can adjust its size, rotation, and also the spacing, but you cannot change the color. So the foreground color, which is currently purple, has no effect at all, only appearance of the brush tip. We can still very new color with the color parameter, but we will discuss this later time. Next is the alpha mask mode. This is the only brush mode that can be used by brands steps. They do not have an alpha channel of cell initially, the image contained in the brush tip will be converted into a gray scale. And then the darkness level of grit scale colors will be used to determine the opacity. The active foreground color will be applied evenly across the brush tip area. So the variation that exists in Nebraska is due to its opacity. Because of this behavior, the active foreground color can only truly be produced in the area where lubricity of color is solid black. Again, this is how most Brush steps in Krita work, and even most Brush steps in other graphic software walk. The next mode is the rightness map. This mode will also turn Nebraska image into grayscale, similar to the alpha mask mode. However, it will still utilize the original alpha channel condition. And what is unique is that instead of focusing the foreground color on the black point, this mode focus on a mid gray color. So black will remain black. White will remain white, but the middle gray color will turn into the active foreground color. We can further adjust where the gray mid point that will become the foreground color. If we slide this neutral point value to the right, then the mid point of the foreground color will be pushed toward white. If we push this to the left, then the mid point will be pushed closer to black. We can use this slider to make the color darker or lighter. And we can use this slider to determine the level of contrast. To quickly return the settings back to the default, simply press this risk adjustment button. The last mode is the gradient map. This mode is very similar to how the gradient map filter works. We have covered this filter in-depth in the intermediate level, of course. You can also use it for overseeing process. Basically, the brush tip image will be converted into gray scale. Then the black color will be mapped to the leftmost gradient color. And what color will be mapped to the rightmost gradient color. Please note that the gradient we're referring to here is the currently active gradient preset. To further adjust the behavior of the smooth, we can use these three parameters. Let's turn off this auto option for us. If we move the neutral point to the right, then the color on the left stop will be more dominant. Vice versa. If we move this to the left, then the color on the right stock will become more dominant. Next, these two parameters have the same function as the previous mode. This is for adjusting the brightness, and this is for adjusting the contrast. 51. Brush Sensors basics: In this lesson video, we will discuss the various Brush sensors available in Krita. For now. To make our brush settings uniform, make sure you use the basic file size brush preset. And also make sure that this brush preset is in its default state. Choose a color other than black, such as green. Then press F5 to open a brush editor. If you notice, almost all brush parameters have enabled pen settings option. And if this option is on there, you can choose the method you want to use to control the current parameter from this list. These are what we call the sensors in Krita. Essentially, they are methods to dynamically control the brush parameters to make it easier for us to discuss the sensors. I have grouped them into five categories. Dr. Pen, pressure sensors, space and time sensors till end rotation sensors, random sensors, and spatial sensors. But before we get into this, we need to learn the basic parameters and hold of sensor curve works. Let's take the most basic example first, the size parameter. Currently, the size of the brush, is controlled by the pressure sensor. Basically, the brush size will change depending on how hard you press the brewing pen. Now, we can see the mapping of the pen pressure of strength against the brush size in this curve. If our opening pressure is weak or non-existent, then the brush size would be zero. If our open procedure is at maximum, then the brush size will reach 100%. You can change the shape of the curve manually by moving the points. To add a new point, just click drag on a curve line and to delete a point, just drag it out of lookup box area decides setting it manually. You can also make use of the curve presets available above. The default curve precept is this one. If you want to adjust the overall size effect, you can use the strength slider above. Increasingly slider is like lowering all the points on the curve. One thing that I need to emphasize here is the option called Share curve across all settings. When this is on, the curve, becomes global or will be applied uniformly to all sensors. So no matter where we are at the moment, changing the shape of the curve will affect both sensors. You need to be careful when this option is off because you can be in a certain sensor when adjusting the curve. Although the sensor is not active, instead, it is another sensor that actives and controls the brush parameter. Of course, the curve, you said, will have no effect because each sensor has an independent curve. So again, if in the future lessons you see me changing the curve of a sensor, but it is not active. There will not be a problem as long as this option is active. Okay? The less basic parameter that I want to cover is the curves calculation mode. This option only applies when you have two or more sensors active at once. In the default mode order multiply mode, creator. We will combine all the strengths of reactive sensors to control the corresponding brush parameter. In our case, it is the size. There are many other modes besides multiply, but this is generally all that you need. Alright? Now we are going to discuss the first type of sensor, and it is the pen pressure. We already know the function of the pressure sensor. What might become a question right now? Is this pressure in sensor? So what is the difference between the pressure and the pressure sensors? Pressure reads the pen pressure as it is throughout the stroke. Pressure in, however, only detects when there is additional pressure from the previous pressure. In other words, the pen pressure will appear to be constantly increasing. Or athletes, it remains static. It will never weaken or be reduced. If we try the pressure sensor on the size parameter growing along stroke, while very independent Bridger along the way, we'll make the stroke thickness or depth size vary. But if we use the procedure in sensor, rowing along stroke with the same technique will only result in a stroke thickness that gets bigger and bigger. After it reaches a certain size, it will never be smaller than its size. So again, this behavior is suitable if you want to make a comment, shape, e.g. shooting star, or an engraving, ornaments shaped, they're constantly gets bigger. Next, we will discuss the types of sensors related to space and time. The force is the time sensor. Basically, the sensor uses do duration value to control the change in the brush parameter. Let's just use a straight curve for now. If we set this to 1 s, e.g. then the brush size will grow larger within 1 s. Because the repeat option, it's active when brush size reaches 100%, it will shrink back to 0% and so on repeatedly. The next sense that it is almost similar to time is distance. The difference is that instead of using time, the distance sensor controls the brush parameter by measuring how far the brush, the prevalence in pixels. We have discussed the sensor before in the Atlantic treasure project. That is, when we made the anemone ornament, e.g. if we set this to 200 pixels, within 200 pixels, the brush tip will reach 100% size. Just like before. If the repeat option is active, when it's isolate just 100%, it will shrink back to 0%. The next sensor is fade. The sensor is almost similar to distance. The difference is that fade will take into account the size of the brush tip. For instance, if we set this length to 100 pixels and make along brush stroke, this stroke reaches its maximum size at this point. But if we change the brush size to 30 pixels, e.g. and then make another brush stroke. You can see that it finishes faster than before, even though we didn't change blank value. Alright, in order to see clearly the next sensor, which is speed, we need to set the brush size to be quite large, say 300 pixels. And as the name suggests, speed will measure the speed of the pen movement. If we move the pen very slowly, the brush will get smaller. But if we move it quickly, the brush size will increase. So those are the first two categories of brush sensors. In the next video, we will discuss the other three categories. 52. Brush Sensors advanced: In this video, we will continue our discussion on brush sensors. We have previously discussed the first and second categories. Now we will discuss the other three categories. Force, we will discuss sensors related to Penn tilting and rotation. To see the effect more clearly, we can select the Auto brush tip ends at the ship type two square. Then load ratio value to zero point to change to Demeter value to 100 pixels. Then turn off the size parameter. For now, we will focus on the rotation brush prime matter. Okay? The first sensor of this category is x tilde. Makes sure that the other sensors are off. Technically, what tilde means in general is where new pen and I'm drawing pad form an angle less than 90 degrees. You should note that not all drawing tablet products support this feature or are able to detect them tilting. Then for the x tilde sensor, this is the type of tilting that occurs site-to-site or in the right and left direction. Since we are in rotation, brush parameter, tilting the pen to the right and left will affect the rotation of the brush tip. Then for the y tilde sensor, this is almost the same as x tilde. The only difference is the direction as it detects the forward and backward tilting directions. Next is the direction sensor. This one does not care about how much angle degree is formed by the pen. It only detects the direction in which the pen is Delta, where the loop pattern is still two towards the front, right, back, or left, etc. Then the tilde elevation sensor is the opposite. Does not care about which direction the pen is tilting. It only cares about the amount of angle formed by the pen against the drawing pad. Next is the rotation sensor. Unfortunately, the drawing pen product Did I am currently using, does not support this type of sensor. In short, the sensor reads the local rotation of the pen. Or in other words, when a pen is twisted in place. The last one is the drawing angle. This is a very unique and very useful sensor. Essentially, it detects the direction of where the pen is moving. To see the effect more clearly, we can change the brush size to 30 pixels. For the ratio, we can change it to 0.3. And four the angle, let's change it to 90 degrees. We don't do rotation parameter. The brush stroke will look like this. Now, if we set the rotation parameter to use the drawing angle sensor, the orientation of the brush tip always follows the direction of where the cursor is moving. Next, you can use this option if you want the rotation to only follow the force or the initial brush direction. Then the fan corners option will smooth the transition of the brush step rotation based on this threshold value of 30 degrees. Simply put, if the stroke turns sharper than 30 degrees, the firm corner effect will be applied. To see the difference, we need to make an extra zigzag motion. You can see that there are noticeable gaps between the depths in a sharp cornering areas. Now, if we activate the firm corner option and try to make another of zigzag stroke, the gaps disappear or at least are much reduced. The last one is this angle offset parameter. You can use this if you want to add or reduce the amount of angle from the original angle value in brush the parameter. So those are some of the sensors related to Penn tilting in rotation. The next category, if stem cells that can generate random values, they are fuzzy, Deb and false is true. So we can conclude that the word fuzzy in Khrushchev's term means random. To try to sensors, it might be a good idea to reset the brush settings first and turn off the size option. Now, we want to focus on changing the color. For this, we can enable the hue parameter. Basically, the hue parameter will create color variations in the brush. If we associate this with the fuzzy depth sensor and make sure the other sensors or off. If we draw along brushstroke, you can see that each step has the color that is randomly picked. Now, if we turn on the stroke instead and just turn off the other sensors, Krita will also generate random color, but it is applied for a stroke. Not. So every time we draw a brush stroke, the stroke will have random color with the color of each step inside the stroke stays consistent. Lifts category is the special sensors. The first sensor in this category is tangential pressure. In short, this is a special sensor that exists only in airbrush shaped growing pains. An example of this drawing pen is this product released by webcam. If you notice, these type of pen has a special scroll wheel on it. This is the input device that will control the tangential pressure sensor. Unfortunately, I don't have a product such as this that I can show you. The left sensor is prospective. The sensor works in conjunction with the Assistant tool, specifically the prospective type, e.g. we can reset this brush first. Then in a size parameter, we can change the sensor to prospective. You can see that the curve saves far and near. The Forum value will match zero per cent output. Engineer value will produce 100 per cent output. To see an example of this, let's just use a straight line curve. Then press F5 to return to Decretum in uy. Activate the Assistant tool, then create a prospective type of cyst, an object on a canvas, e.g. like. So. After that, press B to return to the brush tool, then make sure the snap two ERP systems option is active. Now, if we try to create lines along this prospective guide, the thickness of the line automatically decreases as it gets further away. So that is the explanation of various bluffs themselves supported by Greta. 53. Adding randomness: In this video, we will discuss various techniques to make the brush stroke results look more random. This is important because the most common problem when creating custom brushes is that they look too uniform. There are many methods that we can use, but we will only cover the most commonly used methods. To start, we can again use the basic A5 size brush preset. Choose a color other than black, such as this purple color, opponent brush editor. For now, we will use Crete as default brush. They're called Abominable Snowman. Before we start, perhaps we should change the size to 90 pixels. Then for row spacing, we need to turn off the auto option and set the value to one. Hopefully with the settings, we can see it more clearly. As you may notice, currently, they look too uniform. The first technique to make them look more random is to vary the scale. We've underbrush step to get bigger, sometimes smaller. And the other times for this, we can utilize the size parameter. Currently, you can indeed see variations in the brush size, but that is the result of the different pressure I applied to the pen or a stylus. It does not happen randomly. The point is now, in addition to the pressure sensor, we also need to enable the fuzzy depth sensor. So even if I apply a uniform pressure along the stroke, the resulting depths will always be randomized in size. But if you notice, the size sometimes becomes way too small. We don't want this to happen on the first Z depth curve. All brush sizes from 100% to 0% are possible or accommodated. Assume that we want the size to be randomized between a value of 100% to around 40% only. Remember, at the moment, the curve gives in a global state. To prevent the curve from affecting the pressure curve, we need to turn off this shear curve across all settings. Option first, let's make it straight and then drag left point to 40%. You can also type in a value here if we want to be more precise. You can see that now the pressure sensors have different curves. We can try making brushstrokes again. And here is the result so far. Even if we turn off the pressure sensor, the brush size will still be varied. You can turn on the pressure sensor again if you want. But for the sake of being able to see the rest of the settings, I am keeping the pressure sensor of. Okay, next, we want to add randomness to do rotation as well. So enabled the rotation parameter. Use the fuzzy depth sensor and turn off the pressure sensor. Now, the orientation of the depths is random or no longer uniform as before. However, even though they rotate, if you notice, the depths never flip or mirror vertically, not horizontally. To make the depths sometimes flip or mirror, we can enable the mirror parameter, as before, use the fuzzy depth sensor and turn off the other sensors. Here, we can set whether we want to enable mirroring only in horizontal direction, are only in the vertical direction or both. The next randomization technique is scatter. As usual, we need to activate the policy depth sensor and turn off the other sensors. Basically scatter. We randomize the depth location from its original point to see the difference. Let's lower this string value to zero. And we can temporarily turn off the size, mirror and rotation parameters. You can see that currently the location of each deb is exactly a new stroke, central line, or the line where the mouse cursor travels. We can also test this on a scratch pad. Now, if we activate only the y-axis and gradually increase the strength value, you can see that the position of today becomes more random perpendicular to the direction of the stroke. So we can conclude that the y-axis here is the direction perpendicular to the stroke bragging direction. As for the x-axis, you might have guessed it already. It is the direction that is parallel or in line with the direction of the stroke. If you turn on these two options, random effect will be stronger. For now, I just set the string at 60 per cent. And we can again enable the size mirror and rotation prime enters. At this point, the depth generated by the Brush Preset are already very random in terms of transformation. The next step is randomizing the color. There are many color related brush parameters that we can randomize. For now, we will only focus on two parameters, namely hue and value. For the hue parameter. We already mentioned this in a previous lesson. Basically, if we use a fallacy depth sensor on hue, then the color of each depth will be randomized. The thing is, we don't want the colors to be enough full rainbow spectrum like this. Let's say we only want it to be slightly shifted from the original or from the active foreground color. If you remember the lesson on color in the earlier course, we already know that hue is basically a color wheel. It rotates 0-360 degrees. If you look at this curve, its minimum value is minus 118 and its maximum value is positive 118. Or in other words, it will rotate and cover entire color spectrum to make the color closer to the original color unit to limit the range more towards the middle or zero degrees. So we can push this point up, maybe around -20 degrees. While this one is the opposite, we make it positive 20 degrees. So again, we just set the color, the affiliation totally between -20 degrees to positive 20 degrees. Now, the resulting color variations are still close to the original color, which is currently a purple color. If you are too lazy about Jeff seamless curve, as I explained earlier, you can just utilize these strings slider above. So we can just have the default curve as before. But then we lower string value TO both ten per cent. You can see that random colors are not too extreme as before. It's important to remember that the slider has a global effect. It will affect all sensors in his prime matter. As for the curve, we can make it local by disabling the shear curve option below. Since we are only using one sensor at the moment, it to be fine to rely on a strength slider right after heel. We also want to add randomness to do color value. Remember another name for a value is brightness. If we use a sensor on this parameter, you can see in a curve, the brightness can be increased by 100 per cent and can be decreased by -100%. That is why sometimes the color turns black. We can adjust the curve just like before. Ended is by bringing the points closer to the center. Or since there is only one sensor active, we can just use the string value above. For instance, we can reduce it to about 20 per cent. Currently, the spacing is still too far apart. Let's reduce the value to 0.1. And this is the result so far. Because the mode of this brush step is alpha mask. If we change the foreground color to another color or two settings we made earlier will still work. Just e.g. we can draw some bushes with this brush preset. Now, even though we have used many parameters to randomize the brush, the brush step consists of only a single image. In the next video, we will learn a more advanced technique to randomize the brush further by making Nebraska step consists of multiple images. 54. Animated brush tip: In this video, we will discuss the multi image brass tape or what is officially known as the RTD brush in greta. To create this type of brush tip for us, you need to prepare us for images arranged in separate layers. It is recommended that you create at least three images or more to minimize the repetitive fill of the brush strokes. To save time, I have prepared this file, which contains three different stone images spread across three overlapping layers. As a disclaimer, I did not create these images myself. I don't look at them from the website textures.com. Once you have stack the images like this, you need to crop them. These cropping process is necessary because when I was recording this video, creator version 5.1 point for the die was using always left a large, empty area. If I just use a selection, hopefully this bug only mutation has been fixed in a version you are using now to crop, to document. Besides using the crop tool, you can also use the trim command, more specifically frame to selection. To use it, we need to first create a selection that includes all the images we want to keep. We can just make it with the rectangular selection tool. But if we want to be more precise, we can hold Control and Shift and then click on each of the layers thumbnails. Alright, once we have of selection, but pulling the image menu, then select trim tool selection. We don't need a background layer this time, so we just deleted. As before, we can start with the basic A5 size brush preset. Then choose a color that is similar to rocks, e.g. this brown or orange color. Okay, press F5 to open the brush editor. For now, Let's turn off the size parameter. This is so that later we can see the depths more clearly than in the brush, the parameter. In a predefined tab. We can press the stamp button for rename. Just use 003 because we want to retain the color of these images. We need to turn off the Create Mask from color option. Then this is important. You need to change the regular option to any meter. This option will make your brush tip have multiple images taken from each layer in the document. Next, you need to specify the selection mode. What selection mode means is the method that will create a leader uses in choosing the image to be fired as a DAB. We'll select incremental. Then the images will be fired sequentially from the topmost layer to the bottom one. And after reaching the bottom layer image, it will loop back to the top layer and so on. If we choose random Corita, we'll select the image randomly. Then the interruption will detect the pressure of our pen when choosing the image. If the pressure is low, the layer on top will be selected. If we add more pressure, the harder it is, the lower image selection will be, then the angular option will use the direction of the pen movement in determining which image layer to use. Essentially, the angle of the pen movement will be mapped to the number of layers available. Let's say there are four layers. The first layer is for the East. The second follows salt tray for the West, for the North, et cetera. Whichever direction the pen moves, the layer with the closest angle will be used. An option and I find weird is this constant option. I don't understand why Krita provides this option for an unlimited brush. Because basically this option will only use the image on our first layer and ignore the other layers. It will be useless to create and animate the brush if only one layer is used in the end. Instead of using the constant option, we should've just create a regular brush step that only uses one image. I speculate or hope that perhaps in future versions there will be an additional parameter in the brush editor where we can directly select which image we want to fire as the depth. That is, if we use the constant option, but for now, their future does not exist. So this constant option is of no use. For now, let's just choose random option so that the results look less uniform. Then press Save. And here is the brush tip. At first glance, there is no difference from the other brush steps. But if you've selected the name, says any mental image. To be able to see the depth more clearly, we can resize it to 100 pixels. Turn off the auto option and set this to 0.9. This is the result of the brush strokes when using the color image mode. And here is an example where new seeing, lightness snap mode. You can see how reactive foreground color is mixed with the lightness or a value condition of the brush step. Now, if we want to make the brushes look more random, of course, you can combine this technique with the previous techniques, e.g. you see the depth sensor on size, mirror rotation, and so on. A little note on New Color random musician technique. In a version of credit it I'm using now, I can only apply the color randomization technique when new brush modes or lightness map and offer mask, I cannot apply it to the color image in Gradient map modes. Hopefully, in future version of Krita or the one you are using, this limitation will be fixed. 55. Creating custom brush preset: In this video, we will discuss how to create a custom brush preset. Please differentiate between the term Brush Preset and brush tip. Brush preset is what we'll see in this list when we press F6. Whereas a brush tip is what we see inside the brush editor. In a predefined tab. We have already discussed how to create a custom brush tip. What we want to discuss now is creating a custom brush preset. To create a new brush preset, you should always start from an existing brush preset whose behavior is more similar to the Brush Preset you want to create. Let's say we want to utilize the stone brush tip that we created earlier. So stamp brush. So for us, we can choose a stamp brush. We can start with this brush preset called Texture be. Go to the brush tip category. In a predefined tab. Choose the Brush Preset 003, which contains a raw image. Let's test it for us on a scratchpad. The color is too dark because we use black. Press F5 first. Just a cream color that is slightly gray or another color that is similar to rocks. Okay. Press F5 again. You don't actually need to close the brush editor window to pick a color. If your money, a lot of screen is large. Let's set the size to one-fifth. They picked sauce and the spacing to 0.7. For the brush mode parameter, we just leave it at the lightness map. Then we also want a mural variation active with the Z depth sensor. Turn off the other sensors and enabled horizontal and vertical options. Feel free to add more parameters if you want. For now, I think this is enough to save this as a New Brush Preset. We need to press this button. Remember, do not press this Overwrite button. This will override default, fresher, big brush preset. But before you press this button, I want you to take a look at the scratch pad area force. All this time. You might be wondering why is there a square at the top of the scratchpad area? Well, this is not an error or a bug, but this is a feature to create the thumbnail for the Brush Preset. Basically, the image you create inside your square can be used later. Thumbnail creation process. This is not mandatory as there are other methods that you can use to create the thumbnail. But just e.g. let's make a scribble like this. Usually what you want to add in this area is the preview or something that best represents the brush preset that you want to create. Next, you can press this safe New Brush Preset button. By default, the name field will follow the original brush preset name, which is pressure B plus the word copy after it. Since this is just e.g. we will name this zero-zero, my brush. The image in a square will be the thumbnail for our Brush Preset leader. We can draw some strokes here. We can clear the image with the button below. We can reopen the original thumbnail with this button. Previously, we created a scribble in a scratchpad inside the square area. This is the button to load the image. Now, if you have a thumbnail as an external image file, whether you create it using Krita or perhaps other software, you can use that file by pressing this button. Just make sure the image size is 200 by 200 pixels, or at least have a perfect square ratio. What is unique is this button. With this, we can utilize the tool icon library, and I've already exists in Krita. Since the nature of this brush is similar to a stem type, we can just use an icon that is similar to a stem. You can change the color, value and saturation of the icon using the sliders above. We can also add small icons or what is officially called the emblem icon to show the specific features that are Brush Preset has. If you don't need it, just click on the empty box in the upper left corner. Then click Okay. Please note that there is one limitation of the Icon Library feature. And that is it does not use any alpha channel. And so the image below the form of Scratchpad will get erased. But no problem, we can just draw a new one directly on top of it. If you are already happy with the look, you can click the Save button. Now, if you open your Brush Preset, we know we can see our custom brush preset at the top. So that is how you create a custom brush preset in Krita. 56. Deleting, exporting, and importing brushes: In this video, we will discuss various techniques for managing brush assets in Krita, namely how to delete, export and also import them. But before that, let's discuss various file formats associated with the brush tool. We already know that in Krita, brush assets are affected by three things, or rather three different types of files. The force is the brush preset. This file type is mandatory or required for our brush to work. Then the second one is the brush tip. Unlike the brush preset, the brush tip is optional. That is, it is only needed if we set the brush preset to use the predefined brush tip. If the Brush Preset only uses the text type or the auto type, then there is no need for an additional brush tip file. The file is pattern. Again, this is also optional, that is only if the Brush Preset uses pattern. Alright? In terms of our formats for our brush presets, Crito uses of Alpha Matte called the KP PI. There are other formats too, such as dot MIB, but they are not native to Krita. One interesting fact about the road KPB file is that it is actually just a regular dot PNG file. Essentially, it is a PNG file that has a size of 200 by 200 pixels. And the data contained in a file is just the thumbnail image of the brush preset. That is why you can change or rename KP PI extension to dot PNG without any problems. Krita utilize this D additional information slot, also known as the metadata Flu PNG file, to store the Brush Preset information. Information like the type of brush engine being used, which brush parameters are active, the sensors and your curves and so on. Including information pointing to the brush tip file into Python file. That is, if the Brush Preset uses them. Now for a brush tip, Crito can store it in two types of formats. Gbr format consists of only one image, and the GIF format, if it is, consists of multiple images, or in other words, if it is an animated brush tip. Originally, these two file formats were adapted from noggin graphic software. Then for patterns, Krita officially only supports the dot PNG image format. Although some pattern assets still use the dot format, which is a legacy format from Photoshop. In the future, it is likely that the dot PDF format will not be used anymore. Now, let's discuss how to delete a brush asset in Krita. To delete a brush asset, you first need to determine what type of assets you want to delete. If you want to delete a brush preset, you can open a Brush Preset window, then select the preset and press this trash button. For instance, I want to delete the custom brush preset that we created earlier. If what you want to delete is a pattern or a brush tip, the technique is basically similar to reopen the list, select the one you want to delete, then press the trash icon. Let's say I want to delete brush tip 00100 to. One thing you need to keep in mind is that deleting an asset by pressing the trash can icon is only temporary, not permanent. What I mean by this is that the files are actually still inside Khrushchev's resource folder. They are just being ignored and therefore not shown in the US, at least. To prove this, you can open the Settings menu, then select manage resources. You can filter what types of assets you want to see. E.g. we can choose brush tip because the second option is local resources shows custom brush steps are those that are not part of Corita's default brush steps. If we activate this showed limited resources option. You can see that the brush steps we deleted earlier are still here. They are still stored nicely in your computer, specifically in pre-task resource folder. If you want to restore or delete data set, you need to select it first, then press D underneath Resources button. The next question is, what if we want to delete an asset permanently? Well, to do that, after we delete the outset using the trash icon method, we also have to manually delete the file from the resource folder. To avoid deleting the wrong file, you need to carefully check the file names from this list. The ones we want to delete our 001 book, GPR and zeros, zero to two of GBR. Once we know the exact names. We can click the Open Source folder button. The file browser will open and we will be brought directly to greatest resource folder. This is the folder where Crito stores its resources. You should note that for Brush Preset assets, the files are stored in a pinch of presets folder. For brush States, they are stored in the brushes folder. As for the patterns assets, they are stored in the Patterns folder. Now, since we want to delete the brush step, what we need to open the brushes folder. We can see the two files that we want to delete here, which are 0010 GBR and zeros zero to the GBR. If you previously overwrite a brush step, you will find a file names have additional version numbers, e.g. after the name zero-zero one, you will find adult symbol and then the additional of Russia number 0002, then 00030004, and so on. The file with the largest number is the latest version. Make sure you select all the files and delete them by pressing the Delete key on your keyboard. After that, you can close Greta force and then reopen it. If you are working in a team, sometimes you need to share brush assets with your colleagues. You can just send KPB file directly. Again, you can find New Brush Preset files in the pain of presets folder. But remember this menu or method only works if the Brush Preset is not bound to any brush tip or pattern files, if it is associated with other assets, then you also need to send those files. Otherwise, the Brush Preset will not work properly. To help with the transfer process, creator provides an easy to use resource bundling feature. It is advisable that you use this feature instead of the manual method. For this, you can press the Create abundance button. The Create resource bundle window will open. You can give the bundle file name, provide a description, and so on. You can also give it a thumbnail image and also specify where the file will be saved. The file format of a resource bundle is bundle domain process of asset bundling lives in these two columns are lists. Delays on the left contains the various capital assets that exist on your computer. While the one on the right is the list of assets that will either be merged into the bundle of file. We can feel the real set type. Then select the asset, then press this right arrow button to include the asset in bundle. Just repeat the process until all the assets you want to transfer our list up on the right side. Once you have done that, press the Save button, you will find the bundle file in the folder you specified here. You can then send a file to your colleagues. Now to import a bundle file, simply open the Manage Resources window again. Then press the Import button, select the file, and then press the Open button. Krita will automatically move all the assets inside the bundle of file to the corresponding folders. So that is how you export and import assets in Greta. 57. Painterly style basics: Starting from this video and an XOR for all videos, we will discuss Pinterest style techniques or illustration styles that look like they were created with real paints and brushes. To start, you can compare these two images. The one on the left uses the shading technique, which we have covered many times in a basic and intermediate level courses. The color transition looks smooth because it relies heavily on the air brush preset, as well as the vendor blur preset. The image on the right, on the other hand, does not look as smooth and even seems more chaotic. However, it is exactly what makes this style Interesting. Please note that I never claimed that the style on the right or on the left is better. Dennis tile next to it. To seeing of style. It's a matter of personal preference. And too often it is driven by the demands of the job, not by ourselves. I am here simply to explain all the techniques available, at least the ones who did I know to broaden your horizons as much as possible as for which style you choose. I'll leave that up to you to create a painterly style effect. Many artists come up with a variety of different rules. It will be great if you can learn them all. However, for our convenience, there is only one rule that I think is the most important. And that is always use brush presets that mimic real-world brush stroke behaviors. In other words, you need to avoid using brass precepts. Who's brush tape has a generic shape like a circle. This applies to shedding, highlighting, and blending colors in general, you should avoid using the airbrush preset. Instead, you can do more incremental or gradual brush strokes. You're seeing other presets that are more brush like. You should also avoid the blender Blur Brush Preset. You can replace it with other bender brush presets that have fractures such as blender or texture or rather of Z, pattern, etc. Initially, you are free to use any brush presets as strong as the stroke results look natural. I understand that we cannot completely avoid using the airbrush or other presets with generic brush steps. But if you want to pursue a painterly style, try to use them only as the less resource, such as vendor is no other pre-set can create the effect that u1 quickly. Next, we are going to discuss the workflow. There are many different variations of digital painting workflows involved. Following videos, we will try out six different workflows from workflow we already know and use their new workflow that only uses a single layer, two workflows that are considered cheating. But before we discuss the workflows are new practical level. I need to first explain the general workflow or the basic concept. This concept actually applies to any type of style, but becomes especially important when we are trying to create a painterly style. The first step is to create a silhouette of the object that we want to draw. You can do this by using the base color, or we can also use the shadow color. The second stage is to determine the main boundary line between dark and light. If you previously use the base color, then in this stage you add the shadow color. But if you made a silhouette with a shadow color than what you add in this stage is the base color. This stage of determining the boundary line between life and rock is very important for the subsequent processes because it is this line that will determine how the viewer to see or understand the image you are creating. This shadow line that you create must fulfill three criteria. The first is that it must make sense. The position of the shadows must relate to the direction of the light sources. Is it physically possible or is it not? If you make the shading shapes incorrectly, this relate to people misunderstanding you're robbing. The second criterion is that the shadow lines must be easy to read. Imagine that you can only draw using two colors, light color and a dark color. In its condition, you need to make the best decision as to where you put two colors so that people understand the shapes quickly just by glazing on the drawing. The last criterion is that the shadow lines you create showed also look interesting. If they don't or it is difficult to make them look attractive, you might want to move the light source to another location. These three criteria are all important and must be taken into consideration if we want to create quality artwork. After the second stage, you have basically divide the image into two main areas, the light area and abrupt area. So in the third stage, you need to add details to either the light area or too dark area. Whichever you want to walk on, force lifts, awesome, that you want to add detail to do light areas. You can basically add more levels to highlight colors and textures, and so on. Fourth stage, you can then add more details to do dark areas. You can add more levels to the shadow colors. You can also add textures. And usually you add various effects in areas such as backlight, skylight, and reflected light. So that is the general workflow. We will see. More practical examples are technical workflows in the upcoming videos. 58. Multi layer workflow: In this video, we will cover the first workflow, which is using multiple layers. This is basically a workflow that we have used many times before since the basic level, of course, I'm sure you are familiar with this workflow. The only difference is that we are not going to rely on airbrush or vendor blur in creating transition between colors. Instead, we will try to rely on incremental brush strokes. Here is a brief explanation of the strategy did I normally use for your composition? Just to refresh our memories? Usually, I divide layers into four categories. The bottom one is two color layers category. I usually use the letter C from reward color to named layers in this category. If the color of the object is complex or has many variations, I divided again into two layers. There is the CP layer, which stands for color base, and there is the CLV layer for color variation. At this point, you may probably understand why I mostly reinforce the spelling or reorder of rewards. I don't use the words base color, but color base instead. This is because I want letter of c to stay in front. Solid layers are easier to recognize. Next is the shading category. I usually use letter S for the resource names. Players in his category. Namely use the multiply blending mode. If the shading color is complex, I divided again into two layers. The first one is DSLR from towards local shedding. Sometimes I also call this layer A0, which stands for ambient occlusion. Then the second one is the S D layer from rewards global shedding. Use this layer to accommodate shadows that are relatively large in size or the cover multiple objects at once. On top of the shading category, layers are usually at layers that belong to the highlight category. I use letter H for this category. Just like before, I sometimes divide this category into two layers. Layer HL for local highlights and hg for global highlights. The last layer category is for color correction. This is where I put the paint overlay layer. I usually just name it p or p, or we can use this layer to pitch up the image underneath. In this category, I also sometimes add a layer called V or VFX for official effects. And if I ever need to add layers, this is also where I add them. I must remind you that these are only guidelines, not something set in stone. You are afraid to subtract or add to the composition as needed. Because as we all know, every project has its own uniqueness and challenges. We can start by changing the color in the background layer, darker color. Then we can create a new paint layer. We're going to draw a simple egg-like shape object. So let's just use the ellipse tool. Make sure we set the field parameter to foreground color and no outline for the color of the egg. We want it to be unique, e.g. green. Click drag to create the egg shape. What we're making now is for base color. So name the layer C from the word color. You can also name it CB if you want. Press Control Shift G to create a group layer and also a new layer with offer inheritance enabled rename the new layer to S from the word shading insurance, the blending mode to Multiply. As usual, to create shading, we first need to determine where the light source is. Lips and light is coming from the top-left direction. For the shading color, you can choose to color with a certain nuance, such as green, similar to the base color, or other shades that are more in line with the environment. But one of the advantages of the multiply blending mode is that we can make use of neutral colors, or in other words, the gray color spectrum, e.g. here in the center, a little bit up. Don't forget to use a painterly style brush preset, e.g. this dry roller. And then create the initial line that separates light and dark. Then fill in the dark areas. Again, this is the stage where we determined the main boundary between light and dark. This is a very important stage to make or break the subsequent processes. The next step is to add details to dark areas and light areas. Since we are still on the shading layer, Let's just focus on areas force. Use a darker shade of gray and make gradual brush strokes with light pressure to make the color blend with the previous color. Feel free to experiment with different brush presets. Use the regular mode to add color and use the eraser mode when we want to reduce the color. Just repeat the process until you see the color blends. If you want to use a blender brush, you can utilize the blender textures of preset. Or you may also use the water of Z pattern preset if you want to blend the color with a bit of speckled texture. Sodas, pretty much product process goes how photograph areas, we can add details in the light areas. For this, we can create a new layer by pressing insert, changed its name to H for highlight, enable Alpha inheritance and use the screen blending mode. Let's try use the nucleus brush preset for now. Just like with the shading color, you can use certain shades of color if you want. But if you don't want to bother with color selection for now, you can just use a neutral or a grayscale color. E.g. at this point, makes some brush strokes in the area where you think the highlight should be. To make the colors blend, we can use two methods we used earlier for shading. It looks like we need more highlight colors at the top area. Reps, add more water and soften it again with the blender brush. Okay. One of the techniques for adding detail to Brock areas is to apply light effects such as backlight, skylight, and also reflected light. Since these are all light, we can do this in the highlight layer. We can also make a special layer for this. And we can even just make it right inside the shading layer. But of course, the results won't be as bright as the highlight layer. Let's assume that there is light blue or cyan light source at the back to do right off the egg object. Use the eraser mode when you want to reduce it. So that is the technique. And this is the results so far. Next question is, what if the object surface has many color variations or textures, e.g. for this, we can directly utilize the existing color layer, or we can also create a separate layer. E.g. if you want to use the base color layer directly, you need to make sure the L4 is locked, and also make sure that the brush is not in your eraser mode. Let's say we want to add a red color to the object surface. We can draw zigzag color ornament like this. Then imagine that this is a dinosaur egg that has a lot of spots all over its surface. Let's assume the spots are yellow. All we have to do is draw the circles on this layer. So there is, so you add color variations directly on the base color layer. Let me undo with force until all the color variations are gone. The second method is to use a new layer that we place above the base color layer. Let's name this CV from new word color variation. Enable all for inheritance. And just repeat the process as we did earlier. Broad red line. Then add the circles are the spots. You can see that the result or the effect is exactly the same as the previous one. The only difference is the layer structure. So this is the approach to creating a painterly style drawing. You see multiple layers. 59. Single layer workflow: In this video, we will discuss an alternative technique for creating a painterly style that relies on just one layer. This technique is actually very popular among many artists us, probably because they don't want to hassle of creating multiple layers and it can be quicker to get started. What you need to consider is this U of flexibility. Because everything is created on one layer, this technique is destructive. So it will be more difficult to make revisions. That is why I avoid using this technique on domain rowing. Objects can only use it on background or foreground objects or those that are less likely to change or be revised in the future. To try out the techniques, we will be creating a green egg shape again. If previously we use the base color for the silhouette shape. Now, we will try to start with the shadow color for us. So we choose a dark green color. Use the Ellipse tool. Make sure the layer is set to foreground and there is no outline. Then click drag on the canvas to create the shape. Next, we need to add lighter color area or the green base color of the object to be precise. Press B for the brush tool. For now, I am using the glazing brush preset. Then to lock the Alpha condition, you can activate the Alpha Lock on the layer, or you may also activate the Alpha Lock on the toolbar. The result is the same. Next, create a brush stroke while determining where domain shadow line will be, and then fill in the remaining area. To smoothen the color transition, we can apply like brushstrokes repeatedly. Once we have the boundary line between light and dark, we can start adding more details to the shadow or to the light areas. Let's start from the dark area. Sample the color and make it even darker. Then make a solid stroke in the right bottom area. Then agreed, Julie, make the color blending towards the top left. To make the blending process faster, we can make use of the blender texture, soft brush preset or water sea pattern. After the dark areas, we can focus on the light areas. We can use the glazing brush preset. Just pick up the color from the color history but make it brighter. Then apply some brush strokes in this area. Light, dark color again, and make rounder and smaller brush strokes in this area. As usual, we can use the blender texture, soft, underwater sea pattern to smooth out the transition. At this point, I believe you already understand the process of bending colors to achieve painterly style effects. Just like before, we want to add some sort of backlight effect at the edges of the dark area. We can use the chalk preset, a cyan or light blue color. It makes some light strokes in normal right border area. Now to reduce defects, remember that we're only using a single layer. Therefore, we cannot use the restroom mode. What we can do is to sample the closer scholar and leave some strokes to cover the color that we want to reduce. Just repeat this process until we are satisfied with the results. So indeed, this technique will require us to do color sampling more often. The toughest challenge of the one lawyer tetani, is when we have to create color variations in a drawing object. Just like before, we will create a zigzagging line and then some yellow spots. We can choose the red color first. There are many methods that we can use to change the color of an image that already has shading and highlights. If you remember, in the intermediate level, of course, we use the gradient map technique to change the gray scale shading color to another color. Now, since we are trying to create everything on one layer, we have to limit ourselves to using only the brush blending mode. Most artists usually use the color blending mode for this purpose. But you may also use overlay or a few other modes. Just as an example, if we use the color blending mode and make a zigzag throat like before. Here is the result. The red color did not over mix with the green, but I think it came out too bright and let that inner shadow areas. Let's undo it. And now we can try the overlay blending mode. As you can see, the overlay mode mixes the red with the green, resulting in more orange color. You can just keep adjusting it to suit your needs, such as using filters. Or you might see a red color to purple. So you end up with the red color you expect. But I found one type of blending mode more suitable for this task. And that is the color HSL. It is not a popular bending mode, so it is not visible in the list by default, you need to first open the HSL category and enable this color HSL option. Remember, pressing this checkbox does not automatically change the brush blending mode. It will only show the mood option in the list above. After that, we can activate it by clicking on it. Once the color HSL blending mode is active, we can try making those exact strokes. Again. You can see for yourself that the resulting color is closer to the original red color or the active foreground color. Personally, this is my favorite blending mode when it comes to changing the color for applying color variations to an image. That is, if I am restricted to only using one layer, we can continue adding the yellow spots. You can see how the yellow color darkens automatically inside the shadow areas. Now, the drawback of this method is that it will cover or override lighting effects that have strong colors, such as the backlight. This is inevitable in a destructive workflow. So unit of flips it every time you do a color revision. 60. Cheat methods basics: Starting from this video, we will discuss various painterly style techniques that fall into the category of quote-unquote cheating. What I mean by cheating is that we don't create every aspect of the illustration from scratch, but instead we utilize photos or other types of external immediates. This cheating techniques are important to master as they are actually used in the professional world and can help us speed up the work considerably. There are at least five approaches that we can take in your loss in photos or images inside for digital painting process, the first approach is to use all parts of the photo to be turned into the final image. We can call this technique paint over. The second approach is to use the photo as a texture or S and edit color variation to the drawing objects. This is basically what we did earlier in affordable housing chapter and also in the Atlantic treasure project. So for this second approach, we don't need to discuss it again. The third approach is to extract domain shadow line from New Photo and then we do dress of the detailing work manually. We have already discussed the importance of domains shadow line in determining the shape of a drawing object. The fourth approach is to use a photo as the color palette, or in other words, as a reference for color assembling dress. One is to use the photo to define a silhouettes of brewing objects, and then we do dress manually. This technique is generally applicable if the photo already has the background removed or has been converted into a vector format. In the upcoming videos, we will look at examples of each of these approaches in more detail. Except perhaps for the second approach, as we have already discussed and use the technique many times before in the past lessons. 61. Paint over technique: In this video, we will discuss the first approach or what we commonly call paint over or semiannually, we are making use of the entire part of the photo and turning it into a hand painted look. For practice, I have prepared a file containing an image of a yellow bell pepper. Just for a quick disclaimer, I did not take or creatives photo myself. I downloaded it from textures.com website. Alright, ES1, initial or preliminary step. We want to avoid the colors from looking to real estate and then also reduce the amount of detail. Press Control J to duplicate layer. We will work on a duplicate layer to play it safe. And also so that later we can compare the result with the original photo. There are many ways to modify colors in Krita. For now, we will use filter, select the adjusts category, and then select Color Balance. Let me arrange this window for us so you guys can see the preview better. Let's say we want to make the shadows AutoDock colors bluer. For the mid-tones, we can shift it a bit towards red and also towards yellow. And for the highlights area, we can shift it towards green. Okay, Next, to reduce the details of the image, we can make use of the various filters in a gimmick Filters window. One filter that is suitable for this purpose is sharp abstract. The default parameter settings seem to be good enough, so we just press. Okay. And here is the result. This is before the original photo, and this is after applying the color balance filter, a new shop abstract filter. As the final touch, we want to add a few more colors in this layer. Manually. Activate the Alpha Lock option, then use the air brush preset photoshop area on the right, we can add more red color. It seems that the red color is not dark enough. Then we can make the specular color to be more blue or cyan. We can also add some green. I'll essentially, we are applying additional color variations. The burnout present in the previous photo. Alright, before moving on, it's a good idea to save the file for us just for precaution. Next, we are going to apply various types of brushstrokes to this image. We can divide or categorized the plane of our brushes into five types. They are glazing, smearing, we're painting, line detailing, and dry brushing. All these techniques are common painting techniques used in real-world. So basically, we are trying to simulate the process digitally. There is no definite order to any of these processes, and you are also free to combine them according to your taste or needs. The first one is grazing. The grass precepts suitable for this process is the one called bristles for Blaze symbol the color. Then make some brushstrokes on image of Serrano chili. In this process, we want to strengthen or eliminate certain areas of the image. E.g. I. Want to strengthen the specular on the left are another example. I want to remove all the specular colors from this green stock area y because they make the image look too realistic. Something that we currently want to avoid. This concept also applies to the other areas. Everything that is difficult to paint by hand. In reality, we should just discard it. For the ages on the right side of the object, I want to add a stronger backlog effect. This is to make the image look more interesting. The next technique is smearing of essentially we use vendor presets such as vendor or texture or water sea pattern to make lines that look too sharp to be more chaotic. We have already done this technique in the previous lessons, so I'm sure you are already familiar with it. One thing that might deserve our attention in this video, as this is the first time we are discussing it, is we're painting. For this, we can use a brush preset called wet knife. At first glance, this preset, if similar to the blender presets. But the difference is that it has a coloring ability. So if we've set the foreground color to this dark color, e.g. making strokes in light-colored areas can ruin image. To use these three set properly, you need to diligently sample the color in the image. Then the last thing you should know about this brush preset is that it usurps the direction sensor. Basically, we can adjust the orientation of the brush tip by tilting the pen in a certain direction. Honestly, using this preset gives me a lot of satisfaction, especially if I want to give a painterly style effect. Now, for those of you whose drawing tablet does not support tilting, you can change the rotation parameter to use the drawing angle sensor instead. That will make the orientation of the brush tip always follow the direction of glucose or movement. Next up is line detailing. Basically, we use a raspberry set with a sharp tip, such as Inception brush rough. We use this to add small details or some kind of hedging to the image. E.g. adding veins are a small lines on stem area. Alternatively, we can also use this brush preset to draw additional specular lines. If it feels too much, we can use another brush preset to cover it up. Before moving onto the next step, I think I want to strengthen the backlight or the rim light effect on the right side using the blades in Brush Preset. Alright. The next brush type is dry brushing. For this, we can utilize the child preset. Essentially, we want to make it as if there are dry brush strokes applied to the image. This will make our drawing look more like a hand painting. But you need to be careful with this technique as it will make the surface of the object appear texture or rough, follow Gaussian surface part of the pepper. We should not use too much rough texture on it. So that is how the process goes. You can repeat all the brushstrokes techniques according to your liking. This is my final result. And this is the original image or photo. And here, if you want to compare the two together side-by-side. 62. Shading area extraction: In this video, we will discuss the next cheating technique, which is to extract shadow areas from photos. Technically, this is similar to the photo bashing technique that we discussed earlier. That is, we will make use of the gradient map filter. What is slightly different is that we will use it as shading, not as texture. And we will also briefly discuss some gimmick filters. They can simplify complex images. For this lesson, I have prepared a file with a photo of a three trunks inside it before. I did not create or take this photo myself. But I downloaded it from the website textures.com. To keep the original image as a backup, we can press control J twice, so we have to duplicate the layers. We can hide the top layer, while for the one below, we can rename it to see from the word color. We will use this layer as the base color or the silhouette. Activate the Alpha Lock option. Then choose a color for the tree trunk. Let's say this brown color. Next, we can reduce the opacity of this layer so that the original layer underneath is visible. Then press Z to manually activate the free-hand selection tool and make a selection we are inside of reward, will be visible. Light brown color. Then press Shift Space. After that, we can increase the opacity value again. So now we have the silhouette of the object using the base colors. What we want to create next is the shadow area. This is where we will need the photo image again. For the first step, we want to reduce the complexity of the image. We can open a Jimmy field for us window again. Previously, we use a filter called sharp abstract. Besides this filter, there are other filters that we can use to make an image. We have complex. For instance, you can use this posterize filter or a few browse to the latter of see. There is a filter called cut-out. And there is also a filter called cartoon for the curve to unfilter. The preview doesn't look very good at first glance. This is because by default it applies outlines similar to the line art effect in comics. If you turn off the outline effect, that is by zeroing or minimizing all the parameters, let's say age. The result will look cleaner. But I think this still looks too sharp. We can lower our sharpening parameter to around 100 and rise the smoothness value to five. You can also determine the number of colors that appear with this parameter. We can lower this to around six. Then click Okay. This is the result of the cartoon filter. Moving on, you can smooth the law color transitions in image with brush strokes. To make our work easier, we're going to first apply the sharp abstract filter. So reopened regime a filter window. And activate the shop abstract filter. Just use the default settings and click okay. For the rest, we can use all the techniques we discussed in pain over lesson. As financially, we want to make the border between the dark and light areas look more interesting and more like hand painting. Remember, what we are going to extract later is the dark area. We will turn the light areas into transparent. In this process, we only need to focus on hold. We share a border or dark area looks. We can ignore the shape of the highlight area, except for those that are in direct contact with the shadow area. How do you speed up the video? Because all the techniques are used are similar to the ones we covered in a previous lesson. Okay, there is still a lot we can improve on. But let's just say that this is already looking good. To extract the shadow area, we can apply the gradient map filter for stop color. On the left, we can change the color to 50% gray. We can adjust the position of the stub to determine how dark we want to go. We can also adjust the position of the time spent on stop on right to determine how far we want to remove the highlight area. Once that is done, we can press OK. Next, we can change the layers blending mode to multiply, rename it to S from the word shading. Then we can merge these two layers into a group layer. Enabled the Alpha inheritance option of the shading layer. At this point, we already have the border between dark and light colors. For the next step, It's up to you whether you want to add details to the light areas, the dark areas. Just e.g. we want to add a few more levels to the dock area. We need to lock the Alpha force. For this case, it will be faster if we use the air brush preset, chose a dark gray color that is close to black and mix some brushstrokes along the bottom area of the throne. So that is basically the process. You may continue working on this image by adding a backlight effect for reading highlight colors, or perhaps adding more color variations such as green to simulate Moss, et cetera. 63. Color sampling technique: In this video, we will discuss the next cheating technique, which is to use a photo to serve as a color palette. For this lesson, I have prepared a file containing landscape photo as a disclaimer. I don't know that this photo from the website pexels.com. To save time, we are not going to use the whole area of this photo. We will focus only on just part of it. We can create a selection on the right side area, press Control C, and then Control V. This will generate a new layer. One thing you need to know when sampling colors in photos is that most photos have complex color variations. Sometimes when we intend to sample a color, e.g. this dark color, another pixel that has lighter color gets picked up. Instead. To avoid this mistake we showed for us to reduce the complexity of the photo, e.g. we can apply the Gaussian blur filter. Depending on the size of the image, you can increase this radius value as needed. The point is, we want to make the colors in the image look more clustered together or more uniform. Besides applying the Gaussian blur filter, you can also use the Jimmy filters that we discussed earlier, such as posterize, cutout, cartoon, and my favorite of all sharp abstract. So this is the result. After reducing the details. The second step is to determine in what format or in what form we want to provide the color reference. There are at least three formats that we can use. Technically, we have discussed all of these three in detail in the previous Greta horses. So I'm going to go over them briefly in this video just as a refresher. The first method is to use a normal layer like this. The disadvantage of this method is that your reference layer may block the visibility of the layers you are working on. The second method is to turn the image into reference object. For this, we first select the entire image by holding Control. Then click on the layer thumbnail. After we have the selection press control C to perform a copy. Currently, we have pre-made stored in a system memory or the clipboard. We can activate the reference tool and then press this button, base reference image from system clipboard. Krita Mike asks you about the color profile. To play safe, just use the default sRGB option, which is the one at the top. As you can see, Crito just paste the image into memory to a new reference object. The advantage of this method compared to regular layer is that we can place it anywhere. If we try to place layer outside the canvas area, DNase will be covered. Whereas if we use reference, while the reference tool is active, we can move the reference image anywhere, even outside the canvas area, the image, we will still be visible. So this method is more suitable if you want to work on for cannabis area without any distractions. The third method is to use the pellet feature. For this, of course, we need to display the pellet Docker force, open the Settings menu Docker. Then to spell it, you can see that my pellet Docker is already attached to the F side. If you have the Docker faulting like this, just drag it and drop it to any area you want. Personally, I prefer to dock it to the left side, sometimes on top or other times below the color picker blocker. We have covered UI customization as well as the pellet feature in-depth in a basic level, of course. So I don't think I need to go over them again in this lesson video. Basically, to use the pellet, we need to assemble the colors first using the color sample tool, or just use the brush tool plus the control key. E.g. you can hold Control and click on a sky color. Then click on the empty swatch in the pellet. Then we can use a lighter sky color. Say this one. You may revise the color for us if you want to, then click on another empty swatch to register the color. Basically, in this process, for each drawing objects, we generally need to select at least two colors, the dark version and the light version, except for this than objects which appear to only have one color. Alright? So this is the resulting pellet. After we sample all the colors we need from the photo. To recap, there are at least three methods that we can use to make a color reference out of order or an image. Force is using a regular layer. The second one is by converting it into reference objects using reference tool. And the third is by utilizing the pellet Docker. Remember, you don't need to do all these methods at once are simultaneously. Just pick one of them that you like. Since the total duration of this video is getting too long, I decided to break it into two parts. So for the demo part where I actually use the color reference in digital painting process. You can see that in the next video. 64. Painting a landscape: As a follow up to the previous lesson video, where we prepare a color reference from a photo. In this video, we will use that color reference to create a simple landscape painting. You should note that in this small project, I will be using the one layer technique, meaning that for every object in a drawing, I will put the base color, shadows and highlights all on a single layer. Let's begin with the sky and the clouds. We can hide this layer for us. As this project is mainly for practicing, we will just focus on a small area on the left side of the canvas. Create a new layer. Use the rectangle tool. Make sure the field parameter is set to foreground color. For the initial step, we can fill it with a dark sky color. Click back onto Canvas above this size. Then to create a gradation from dark to light for the sky color. We can swap the foreground and background colors. Then click on the swatch that contains the sky color. So now we have both of those sky colors active. Next, we need to set the gradient to use a spacial preset foreground to background. Press Escape, then press G, or click on the Gradient Tool icon. Make sure the Alpha Lock is active. Then click drag and hold shift until approximately at the spine. And we have the sky color. To create the clouds. We can start by pressing Control Shift G. This will create a new group layer as well as layer with an active alpha inheritance option. There are lots of techniques for proving clouds. The approach we are going to take now is to grow rough shapes first and then smooth them out using the blur presets. Let's start with the texture big brush preset. Set the size. Simple Cloud-based scholar from reference. Or you can use the palette if you want. Create some brushstrokes on Canvas. For wrinkled shape, I want to create two separate box, one at the top and the other one at the bottom. Indeed, the texture of this brush is more like a stone or a wall, but that is okay for now. After that, we can choose a lighter cloud color. It looks like it's still not bright enough. Loves just pick white. Instead, we can assume that the sunlight is coming from the right side. These courses, the closed surface facing to the right to be bright. And the opposite called surface waves that are facing to the left become dark. We need to realize that clouds are different from solid objects. They are a collection of particles whose shape or volume can be very random. That is why the shading and highlights can also look very random. Alright, next, we can tweak the shape of the clouds with the blender pressures of preset to give the impression that the clouds are moving or bone by Duane. Also, to make the clouds look less like stones or wall textures. Once that is done, we can smooth and low clouds again using the vendor blood Brush Preset. It looks like the color is still not dark enough. We can use the Airbus preset to make some areas darker. If you notice, I made the clouds to smooth or soft. So as a finishing touch, I use the chalk brush to reduce the smoothness of the clouds. This bus reset also adds a dry brush feel to the Clouds. Use the eraser mode to reduce the access Cloud area. And use regular mode to add more clouds if needed. We can also strengthen the borders of the dark areas with this brush. This is the result so far, after adding the clouds. Next, we are going to create a curve plane. We need to create a new layer. For this, use the glazing brush preset. Apply some thrombotic strokes to define the silhouette area. You can see that I am using the shade or color first. Once the shape or the border of the plane is clear, we can fill in the rest of the area. After that, we can achieve with the Alpha inheritance to a slightly lighter color formula here. And just to play it safe, we can activate the Alpha Lock force. Basically, we are now defining domain boundary line between the dark and light areas. For the rest, we can select and apply the lighter, the color of the hill. From here, we can add more color variations to the light areas and also to the dark areas. We can utilize the chalk brush preset to add texture or a dry brush effect to the painting. Alright, next, we want to add some hills in distance, create a new layer. Then sample the color from reference. We can also pick it from new palette. For now, I am using the dry roller brush. Create the shape of the hills with strong pen pressure. Don't forget to enable the Alpha inheritance option. We can also create some hills on the left side. To tidy up the shape further, we can use the eraser mode. Do this until we are satisfied with the shape. To add a sense of depth or atmospheric perspective, we can utilize the Chalk Brush Preset, use the eraser mode, and use light pressure strokes to erase some areas of the hill that are theoretically further away. To add a fog effect at the bottom part of the hills, we can use dir Ross preset, sample the color of the clubs at the back and make some white brush strokes at the lower area of this distant hills. So this is the result after creating the plane and a distant hills. Finally, we can add some rocks to our painting, similar to drops in reference. We can start by creating a new layer on top of the plane layer. I want to use the glazing brush preset for now. Just like the workflow we discussed before, we can start by creating the silhouettes for us. I am currently using the shadow color of the stone, which looks very dark. This makes up for all variations of the rock shapes. Some big and some small, randomly. If you feel that you've added too many rocks, you can use the eraser mode to reduce or correct the shapes. Next, we can activate the Alpha Lock option. Select the light color version of rock, and make some brush strokes on a surface that is theoretically facing towards the light source. To add a texture effect, we can use the chalk brush preset again. So there is basically the process. For the rest are refined the plane layer by making the altar area a bit darker using the airbrush preset. Then I pick up the small holes in a plane layer and also make the shadows darker in the area where the objects are mounted. This is the final result. Indeed, the painting still looks a bit empty. If you want, you can add up our object, e.g. or perhaps a floating island, et cetera. Just use your imagination to expand painting. Since there are no new techniques, they don't need to explain by amending new video. Now, we may revisit this painting again after discussing the silhouette technique. 65. Silhouette technique: In this video, we will discuss the less cheating technique, which is to utilize an image or photo as a silhouette. To use this technique optimally, you should use images that have been cut out. Or in other words, the background area has been removed. E.g. these two images data is downloaded from a website, pixabay.com. We have this stuff's image file formats in depth in the earlier course, we already know that the popular image format they can contain an alpha channel is PNG. Of course, many other image formats support of our channel, but the PNG format is currently the most popular. In addition, you can also find many silhouette images provided in vector form, e.g. in the SVG format, you can also make use of this vector format in case the codon images or vector images that unit are not available, then there is no other way but to cut off the image yourself. Essentially, you need to create a selection of the background, area and unlimited. I am sure by now you already understand the techniques, so I don't think I need to explain them again. Now, utilizing a photo or a vector image as a silhouette is generally useful if we want to place it in overgrown area, such as objects that almost disappear inside the fog. Or it could also be for objects in the foreground area that look dark. Using a zero Athena midground area is usually not suitable because there are other pieces of information in the image that can be more useful to utilize. For instance, the texture, the shedding line, et cetera. Just e.g. we can open a landscape painting we created in a previous lesson. Let's also want to apply the silhouette of a fortress image to the background area of this painting. Just drag the image from the file browser window, then select, insert new layer. The size of this image is quite large. We can press Control T, then rector scale control point. We're holding down the Shift key so that the image is not distorted. Position it so that it is slightly above the heel on the left side. You can adjust the transformation again on the loo, like how it looks. Now, we want to fill this entire fortress image with the color of the distant hill. We can press B, then Control click to sample the hair color. Don't forget to enable the Alpha Lock option. Press shift back space to fill in the color. We can turn off the Alpha Lock again. You'll notice some areas look weird after the image becomes a silhouette. To fix this, we can use a solid brush preset and just erase the areas with the eraser mode. And to add more of the silhouette area, we can use the Brush regular mode. Do this process until you are completely satisfied with how the silhouette looks. We can add a ground area at the bottom of the fourth class by using the glazing brush preset. To add the full effect, we need to enable Alpha Lock. Again. Use the airbrush preset, select the color of the sky at the back, and make some light brush strokes at the bottom. This is actually enough for objects that are far away. But if you want to add a bit of shading or highlight effects, you can select the glazing brush preset, sample a color that is slightly brighter, blue to Hayes and make some strokes on the surface that in theory should look bright data. So that is the first example of using a silhouette in a painting. For the next example, we want to make use of this tower image. Click and drag the file into creatine. Then choose, Insert new layer. Press Control T, and adjust its size and position as needed. Basically, we want it to be in the center of the image behind the new year, but slightly above the planes curve. We can sample the darkest color, activate Alpha Lock, then press Shift backspace. Before we move on, I own verifies the zero, add just a little. I want to remove the detail on the left. I also want to remove the status on the right. We want to add small bumps at these two points. Make sure the alpha lock is off. If we want to add more areas to the silhouette to make it look like we're looking at the tower at a lower angle. We can make the ornament lines curve downwards. Essentially, we are trying to create prospective effect. Alright? I think the silhouette shape already looks good for recoloring. We already have a shadow color as the silhouette. What we need to add now is the lighter color. For this. I'm just going to use blue chalk preset. Make the color lighter about here. Don't forget to activate the Alpha Lock. It makes some brush strokes on the right area. And only areas that theoretically phase the light source. Okay, for smaller details, we can use the glazing brush preset darker color again. Make some strokes like zone or new lines that match the shape of the bumps on the silhouette. We can add this to the bottom area of the roof as well. To add more detail to the shadow area, we can use darker version of the previous dark color and make some brush strokes at the bottom area inside the roof. We can also add more details that are in line with the bumps and at the platform on life. Once you are done, you can use the airbrush preset symbol, this white sky color. And mix some white strokes at the lower part of the tower. And also on the far left side, NO far right side. This is for adding some atmospheric perspective effects on surfaces that are further away from the center of the corner. Here is the result from these two examples. I hope you can understand how we can use silhouettes to speed up the process of creating a digital painting. I need to remind you again that the closer the object is, the more details and color variations we need to add on top of the silhouette. So generally, if the object is located in the mid ground, apart from the silhouette, you will also want to make use of other information in a photo, such as the textures and shadows. In the next video, we will discuss a more advanced techniques to speed up the process of picking and applying silhouettes. 66. Symbol Library: In this video, we will discuss how to self silhouette images inside the library so the leader, we can access them easily. This is important, especially if you are working in the gaming industry and emission or comics, e.g. where you are expected to complete lots of drawings weekly. There are at least three ways that you can use to save and manage silhouette images. Forrest is the manual method, which is by collecting new files inside the folder. If you are working in a team, you might want to use a public folder. In other words, a folder there is shared across your teammates. The second method is to turn the silhouette image into a custom brush tip. So whenever we need it, we can open the brush editor and look for the silhouette university placed. Many artists do this technique so much so that if you open the brush tip list, you will see a hundreds of silhouette images there. We already discussed the technique of creating custom brush steps in a previous chapter. So there is no need to repeat the lesson here. What I really want to cover in depth in this video is less method. That is to convert the silhouette image into a vector and store it inside the symbol library. So what is a symbol library? In short, it is a spatial Docker and Krita, which provides a variety of ready-made vector images. To open a symbol library, it is basically the same as opening any other broker. You can open the Settings menu, then Docker's and inches symbol library. The Docker will appear at the bottom right. You are free to change the location of this darker, just like with any other blocker. At the top, you will find a pull down list of the laboratory categories. You need to know that each of these categories is actually a vector file in SVG format. We can select the file or the category in this list. And then to use the vector image, simply click drag it onto the canvas area. Since the symbol is a vector image, Krita will automatically create a vector layer to contain it. We have already covered vector graphics in intermediate level, of course, if you want to convert it into a layer or a regular raster image, we can right-click on the layer, select Convert, and then just convert to pin layer. Now, this layer just turned into a normal raster layer. Therefore, we can activate the Alpha Lock option and affiliate with a certain color. You can also grow on it with the brush tool. The next question is, how can we create our own symbol library? Unfortunately, increase our version 5.1 point for which I am currently using. There is no feature to create a custom symbol library. We have to rely on vector graphics software such as Inkscape. Yes, it's a bit weird. There is a feature in greater birth to fully utilize it, we need to rely on other software. Hopefully, this will get better in future versions. For now. In order to give you a total workflow, I need to opening scale. For those of you who don't know, Enscape is a free and open-source software which you can download from inkscape.org. Alright, Let's assume that we want to put this store image into the symbol library. Click drag the image into Inkscape window. If this Options window pops up, just use the default one, and then click Okay. The first step is to convert this image into a silhouette in vector format. For this, we can use a feature called Trace Bitmap. You can open the panel by pressing this arrow button. Then activate Trace Bitmap. It will appear as a new tab on the side of the existing panel. We can preview the result below. The Trace Bitmap feature can actually walk in Sephora modes. In our case, we only need one color output, so the single scan mode is sufficient. The only thing we need to set is the threshold value. You might be tempted to set this all the way to one, but this will cause everything to disappear. Just lower it by one step so that the value is 0.99. Then press Apply to have the image processed. The resulting vector will be placed exactly on top of the original raster image. We can safely delete the raster image as you don't need it anymore. When scaling a vector object in Inkscape, you need to hold control so that image ratio is locked. We can place this in the upper-left corner. Please note that it doesn't really matter where you place the vector object. It will convert into a symbol regardless of its location. We do this just so that it doesn't overlap with the next image. Open a file browser and click record the second image or the fourth rest image into Inkscape. I forgot to mention before that you can zoom in and out in Inkscape by holding Control and turn into mouse scroll wheel up and down. Or you can also press the plus and minus keys on your keyboard. For opening. It is similar to Krita. You can click using the middle mouse button. Currently, the threshold setting is still the same as before. So we can just press the Apply button, move the result to the site of bit so we can select and delete the original raster image. Make the vector objects smaller while holding down the control key. Okay? Before we continue, if you open Krita again, you will find that each image in a symbol library has a name, these names optional and not required. However, I still recommend you've seen them to make the silhouette library more organized. To give a name to a symbol for us, you need to apply the name to the object before it is converted into a symbol. For this unit will access the object properties panel in Inkscape. You can open the panel via the Object menu and then choose Object properties. Or you can also access it. You're seeing this arrow button. Then choose Object properties to avoid having too many tabs or panels open, Let's just close the other panels. If we select a vector object, we can see its properties in this panel. The symbol name, the only important parameter is the title of failed. Everything else is just optional. Let's name this one taller than this is important. You need to press the reset button below to confirm. Otherwise, the changes that we made will be discarded. Next, let's select this one. We can name it for, press just e.g. and then click the Save button. So now each of these vector objects has a unique title data. Once that is done, it's time to turn them into symbols. For this, we need to open a panel called symbol's. Select the total silhouette object. And then press this Plus button. Next, select the fourth rest silhouette, and then press the plus button again. Now, they are both already registered as symbols in use condition, it doesn't matter if you delete the drawing objects from the cannabis, because the whole point of symbols is that they act as blueprints. So they are actually safe within the document. Whenever we need to use them, we can just drag them out into the Canvas. After Lewis symbols are registered, we need to save the file in SVG format. You can name the file to anything e.g. example, SVG library. Alright, Next, to use the file in Krita, we can manually move the file to the symbols folder, which is located in the Crito resource folder. But it will be way easier if we utilize the input resources command instead. So in Krita, we can go to the Settings menu, then choose manage resources, and then press this import resources button. Browse to the folder where the file is located, and then select the file. Press the Open button. Creator will ask What we want to do with the vector file? Do we want to use it as the brush tip, absolute gradient or as a symbol library. Make sure you select the symbol library option. Then click Okay. After that, mechanically close. Now if we open this pull down lists again, the SVG file name that we imported earlier is already here. And if you click on it, we can see the two vector images with their names. This is the power image, and this is the fortress image. We can click and drag any of them onto the canvas. You can scale them or adjust their position. You can turn them into layers if you want. So they live so you can store and manage silhouette images in Krita buy you love seeing the symbol library with the help of Inkscape. 67. Cowboy cactus project preparation: Starting from this video until the last video, we will do the final project. We will create a digital painting or a painterly style illustration of a cowboy cactus spinning left so in the air, complete with a background of desert scenery and some rocky cliffs. The main reference for this project is actually this toy. Perhaps you have already seen it or even own one photo background. I was inspired by some photos that I don't know that from pexels.com. The first one is this photo of rock cliff. The majority of the colors in the painting will be based on this photo. More specifically, the colors of the rock, cliffs blends ground, and the color of mountains in the distance. However, for the clouds, I prefer the colors from this photo. Indeed, the two photos have different time settings. Usually a purple or pink sky color, a chorus at sunrise, whereas the time setting off the cliff photo is known. We will try to combine the two in this project. The next reference is this photo. I like the texture of the ground and the color also happens to match the first photo. Lastly, I will also use this photo for the silhouette of the large shrubs as a disclaimer. I don't know that this photo from textures.com, in terms of the document size, originally, I use the A4 paper preset 300 PPRF solution and landscape orientation. As usual, I always thought an illustration project by drawing a sketch. First. This project is no exception. However, I made it off record. The process is quite long, so I don't think it is suitable for less than video. The point is, I did a lot of trial and error in his process to find the most suitable design. Technically, there is nothing new in the sketching process. So in shallow, you won't have any problem creating your own sketch. I also provide the sketch file that you can use right away. That is, if you want to go straight to painting without the hassle of sketching first, one thing you will notice any sketch file is that I am using layers. I did this to make each drawing object easier to move or transform when needed. Once the sketch was completed, I cropped the document to better fit the size of the sketch. So in the end, the size of this illustration is slightly smaller than A4 size 300 DPI. 68. Thumbnailing: In this video, we will discuss the thumbnailing process. Many artists do this regularly before creating any illustration. So what exactly is thumbnailing? Thumbnailing is the process of creating a small version of the illustration to experiment with different color schemes. In this process, you can try different lighting scenarios, such as whether we want to create a scene or a night scene, or perhaps try different seasons, such as winter or summer, etc. Ideally, you should create at least three to six different thumbnails. Once you have determined which thumbnail is the best, you can then work with the larger size or the real size of the illustration. This thumbnailing process can be very useful to avoid you from coloring mistakes or failures from the very beginning. For this project will only show you how to create one thumbnail to save time. To make more thumbnails, you can just repeat the process. For the first step, we can use the reference tool. Click on this plus button to import the Cloud photo as a reference image. Set the position. I think we can just put this one on the left side next before we import a photo that supply the shop abstract filter force so that reader, we can sample the colors easier. Drag this photo into Krita, then select the opening new document option. Open a genomic Filters window, and select the shop abstract filter. Just use the default settings and then press Okay to confirm. After that, we can press Control a to select all, and press control C to copy. We can switch back to the sketch document again. Make sure the reference tool is active. Then press the second button to use the image, the nuclear pore. So new reference image. Select the sRGB option. Then click Okay. We can place these reference on right side L, adjust the size if needed. Alright. The reason it is called a thumbnail is because of its small size. We use it just for color experimentation. Using a large image size is not suitable for this process as it will take too long to work with and also will burn it on a computer unnecessarily. Doris starts the document. We can open the Image menu. Just scale image to new size. We can change the width value to 500 pixels. Since the chain icon is active, changing the width value will automatically change the height value. Also, click Okay. And this is the result, as you can see, resizing an image or a document. And Krita will also resize the reference images inside it automatically. From here, you should save the document using a different name, e.g. thumbnail 001, the CRA. Next, we can flatten this entire sketch image in those single layer. To do this, we can right-click on one of the layers and interests prep an image. Once it becomes a single layer, we can change the blending mode to multiply all the white colors in a layer, becomes transparent, then create a new layer below it. Let's rename the one above to sketch so it is easier to identify. For the other layers, we can give them names later. Alright. The first step is to sample the beef sky color from the photo on the right. The process is the same as the color of sampling technique we discussed in a previous chapter. We can sample the blue color of real pro sky, but I want to make it a bit lighter. Swap the foreground and background colors. You can also press the letter X on your keyboard for swapping the colors than simple, the light blue color. Now we have both sky colors, dark and light active as foreground and background colors. Open the gradient window and select the foreground to background preset. Press Escape, and inactivate the gradient tool. Click drag from top to bottom while holding shift until it is approximately at the horizon line. Next, let's create a new layer for the clouds. We want to sample the color from the photo on the left. Plus b. I am currently using the glazing brush preset hold control, and click on the light area of the cloud. The hue value of this club color is very red. We want the color to shift slightly towards blue, just like the photo on the right. So Greg, do you point until it is roughly in the middle between the two colors? And let's make it slightly wide. Then we can start adding some brush strokes are new canvas following the sketch, drawing. After that, for the dark color, we know that the sky is in the blue area. So we shift the hue slightly towards blue and make the color a bit darker. We can test the color on the canvas. It looks like it's still not dark enough. After we have the color, right, we can apply the color to the other clouds. I think the clouds already looked good. But now I feel that the color of the sky at the bottom area is not yellow enough. So select the sky layer again. Simple lives, orange in sky color. Then use the air brush preset to make the bottom area look more yellow or orange. Next, create another layer above the cloud layer. We will create a horizon line on this layer. Sample the blue color of the distant mountain. You can adjust it again if you want. I am using the glazing brush preset again and then make the brush strokes on the Canvas. Next, create a new layer. Now, we want to grow or Rocky Hill at the bag, sample the color of this mountain. Let's try it for us and see how it turns out locally off or condition. And use a lighter color. Mix, some grass strokes on the left side of the hill to simulate light coming from the left direction. So this is the result so far. At this point, I am sure you already understand the workflow. Again, the technique is similar to how we created the landscape and the tower in a previous chapter. Essentially, we build the composition from back to front by keep adding new layers on top of the previous ones. As for the colors, we can just sample them from the reference photo. Since I don't have any new techniques to show you, I'll just speed up the video. After experimenting with the floor color alternatives, this is the color scheme that I chose. In the end. I have saved this file as thumbnail zero-zero toward the crown in case you need it. For your convenience. I have also given each layer a name to utilize this thumbnail image in other documents, you can just import the dot class file as the reference image. You don't have to bother converting it into another format. However, if you plan to use software other than Krita, we know that not many major browsers or graphics software support the dark craft file format to play it safe, we can export this document first into a PNG file. To do that, simply open a file menu. Choose Export. You can name the file thumbnail dot PNG, e.g. and just turn off all these options. Then click the OK button. 69. Base colors: Starting from this video, we will stop working on a convoy cactus illustration at the original document size. In terms of process, the steps are similar to when we create the thumbnail. So we will start from the back and then gradually move on to the layers in front. As the first step, we need to import the thumbnail image that we have created before as reference image. You can import the Crito file or the thumbnail 002 dot craft file if you want to. Or you can also import the PNG version of it. Placed this reference image at the side of the canvas area so that it doesn't get in the way. We will use this reference image for color of sampling. Next, we can select all layers except the background layer. Then press Control G to combine them all into a new group layer, rename it to sketch. Now, if you want, you can also flatten this group right here into a single pill layer. That is by right-clicking and selecting merge group. But I'm going to leave it like this for now. Just in case you want to see the sketch layer composition. Once we have the group, change the groups blending mode to Multiply and reduce the opacity a bit. Alright, on the background layer, we can create the sky. Again. The method is similar to what we have done before. Sample the color of the sky above, then swap the colors. Next, simple the lite version of the sky color and set the gradient to use the foreground to background preset. Use the gradient tool. Then click drag while holding shift from the horizon line upwards. We dragged it upside down because we didn't swap the colors. Next, change the layer name to sky. After that is done, press insert to create a new layer. Name, this layer of clouds. Presby, and use the glazing brush preset, sampled light coat color, and make the brush strokes by following the sketch. You will notice that I make a circular motion. We're making no bluff strokes. This is to give the clouds are lumpy or blobby effects. We also add clouds in your area below or close to the horizon line. To create a sharper point, a cloud shape. Just use the eraser mode and remove the areas that we don't want. Next, sample, a dark cloud color and make brushstrokes on a surface area that is theoretically facing to the right. Just imagine that the sun is on the left side of the image. Even though it is not visible. After that, we can hide the sketch layer. To make the cloud colors blend. We can use the blender brush preset. You can see that I didn't use any new techniques here. They are all techniques that we have covered and used many times before. So I am speeding up the video for now. You can also make use of the regular vendor blur if you undo clouds to look smoother. To create the horizon line and area around it, we can start by creating a new layer, the horizon color from the thumbnail. To make it faster, we can start with the rectangular selection. Then press Shift backspace, rename the layer to horizon, then block the alpha channel. Use the airbrush preset symbol, the color of the clouds. Set the rough size as needed, and make the brush strokes so that the horizon line looks more subtle. Okay, for the wrist than rock cliff, we can create a new layer. Name this layer rock three. Press C for the waves Yaakov selection tool and make a selection to shape the silhouette of the cliff object. You can also prove it directly with the brush tool if you want. As usual, photo color, we can sample it from the thumbnail image. Then press Shift backspace, press Q first to clear the selection and enable Alpha Lock. Sample the bright version of the color. Activate the grid zig Brush Preset and make some strokes. They tend to be stronger on the left side. Just follow the guidelines in a sketch. You can also use other brush preset if you one. After that, hide the sketch layer. We want to further tidy up the colors on this layer. Remember, we are currently using the single layer painting technique for this cliff. So to erase a certain color, you do not want to use the eraser mode. Instead, you can sample the apple seed color and make the brush strokes to cover the area that we want to reduce. As I explained earlier, the main boundary line between dark and light is very important in determining the viewers perception of the drawing. This concept becomes even more important with this than objects that have limited colors. Next, we are going to focus on it too. Rocky cliffs that are close to the main character. Now, unlike before, for these two clips, we're not going to use the warm layer technique. We will separate the base color layer from the shadow layer. We will even separate the shaders into two types, global and local. For now, we are going to create the silhouette of the object using the base color. We will add the shadow colors leader. As usual, we need a new layer. Let's just name this layer drop to use the Bezier curve selection tool and make the silhouette of the rock following new sketch drawing. Once you have done that, sample, the color of the rock. Press backspace to fill in the color for the hollow area. Just make another selection and then press delete. And this is the result so far from here to the n of the base color process. In shallow law, you are already familiar with all the processes and techniques. So I'll just speed up the video to save time. The point is, we start by creating a new layer. Then create the silhouette shape with the selection tool. Sample the color from the reference, then a fill in the color. If you want to add color variations to the same layer, make sure you turn on the Alpha Lock option. Or you can also create a separate layer for this. For a cowboy character, the process is basically the same. We will also separate the base color layer from the shadow layer. In fact, because this character is the main focus of the illustration, I split some of the elements in those separate layers. With this, it will be easier when leader, we need to create selections such as during the shading and highlights process. So the body and hence R1 layer, the glasses are a separate layer. And we have this also on another layer. If you want, you can also split it into more separated parts, e.g. the left-hand, the body, the right hand, and even the mouth, each on a separate layer. The more we split up the drawing, the easier it is when leader, we need to make selections. But of course, with the consequence of a larger file size and a more complex layer composition. This is the result after the silhouette or the base coloring process. Indeed, we have not yet given color to the foliage and also the rope. This is because we will be using different techniques which need more detailed explanations. 70. Global shadows: In this video, we will add global shadows to the illustration. We can create a new layer above the cactus group layer, rename it to SG, which stands for Global Shadow. Set the blending mode to Multiply and reduce the opacity totally about 40 per cent. We can show the sketch layer for guidance, hold control, and click on rock one thumbnail to extract the selection. To make it less distracting, we can hide the selection by pressing Control H. I will be using the glazing brush preset for this shadow creation process. Now, for a color, you can just use black. But since the sky is blue while the clouds are paying, I want to use a blue color. There is slightly purple. Chose a strong color saturation, and value around a central point. Then we can make some brushstrokes with strong pressure in the area that will be covered by the shadow. Once rock one is complete, we can move on to rock to remember, we still have a selection, but it is hidden. So press Q for us to dislike. Then hold Control and click on the thumbnail of the rock layer. You can see the selection if you press Control H, but let's just hide it again so it doesn't get in the way. From now on. I probably want to explain this selection technique again. Basically, if you see my brush strokes, area becomes limited or two strokes won't go out of a certain area. Even though the layer is not inherit alpha state, chances are there is because there is an active selection, but hidden neuron cliff on the left is almost completely covered by shadow. This is because its surface is theoretically facing to derive side or away from the light source. Once you get to the bottom, you can press Q to clear the selection. Then proceed to cast a shadow on the ground area. We want to make the shadow on the ground seem to fall or be emitted from a large rock cliff on the left side. But out of view. If you think the shadow area is too much, you can erase it using the eraser mode. You can also make use of selection if necessary. Okay, Next, we will add global shadow to the cowboy character. Hold control and click on layer thumbnail. So currently there is actually a selection from the null character. We just set it to be hidden so it doesn't get in the way. Then create brushstrokes on the right side of the character. As always, in this process, you need to play with your imagination. Where do you think the shadow will fall if the light comes from the top-left direction. Before you can activate the eraser mode, if you want to erase excessive shadow areas. And this is how the shadow looks. If we hide the sketch. Once we have determined where the boundary line should be, we can refine it further. There are no new techniques did I need to explain for this process? Basically, I use the glazing brush preset to add or subtract the shadow area. Then I also used the vendor capture soft brush preset to smooth it out. Sometimes, I also utilize selection to limit the area that I want to edit. Indeed, the results are still not very polished. We will work on the details, again leader when adding local shadows for drawing objects. As the final step of the globe overshadow process, we want to create a shadow of the cowboy character that falls onto the ground. We can show the sketch again, use the basic of selection tool and make the shadow shape following the sketch image. Then press Shift backspace to fill the selection area. Boc is how the shadow looks without the sketch lines. To avoid it from looking too sharp, we can use the glazing grasp reset again to add some random strokes on the edges. You can also reduce them with the eraser mode if needed. So here is the result so far. 71. Bushes custom brush: In this video, we will create a custom brush for those small bushes or aggressors in the illustration. To make it easier, we should create it in a separate document. Create a new file. We don't need a large image size for this. I think 500 pixels by 500 pixels is enough. Create a new paint layer. Choose the Brush Preset that can create sharp or point the strokes, e.g. In cellphone Brush Preset. Now for the color, because later we will utilize the lightness map mode. The foreground color will be applied at the 50% gray level. So we need to choose 50% gray as the base color. We can just approximate it in the color picker. But if you want to be more precise, you can open a foreground color window, use the HSV color model, and enter 50 per cent in the value field. After that, we can draw some brush strokes from strong to weak pressure to make the author ends pointy. Try to form grass blades that gather at the center point. Once it looks dense enough, you can create a new layer. Use another brush preset, such as the chalk preset. We want to give more thickness to the Bush while adding a hand painted style to it. You can use eraser mode to erase or trim the excess strokes. And you can also use other brush presets, such as glazing to give it more variety. Once we complete the first Bush, we can repeat the process to create two other bushes. We do this because later we will use the anemia thick brush feature. Essentially, we want to create a brush tip consisting of three different images that will be fired onto the canvas randomly. Since the process is exactly the same as the previous one, I'll just speed up the video. Indeed, making our custom brush like this is quite laborious and time consuming. But when it is done, it can help you speed up the painting woeful considerably. And not only you can use it in this one project, but also in many other projects to come. After all three variations have been created. Currently, each variation consists of two separate layers. We should just merge each of these two layers so that Indian one variation only consists of one layer. After that, press T for the move tool and position each layer so that the buttons are the basis, are aligned at the same level and also so they are centered horizontally. To create a custom brush preset, you don't actually need to name the layers. But since I'm going to provide this document for you to download, I need to tidy up the layers names for us. Alright, if you remember the lesson on custom brass tapes, the lightness map mode, we will make use of the black color to add shading effects to the brush tip. This feature can save us time from creating the shading manually. We can apply this now by enabling the Alpha Lock option. Then use the air brush preset tools, the bay color, set the brush size accordingly, index some light strokes so that the lower area of rubbish becomes darker. Repeat this process for all of the layers. Once you have done that, you can use caught the background layer. Next, hold down control and shift and click on each thumbnail of all layers. This will create a selection that includes all the images in each layer. Next, Open Image menu. Then choose Trim to selection. We have just crop the image according to the active selection condition. Before continuing, I want to save this file for us and name it brush desert graphs dot CRA. Now we will convert these images into custom brush tip. We have covered this process in detail before, so I'll just go through it quickly in this video. Open the brush editor in a predefined tab. Click the step button. Name this desert grass to make sure it will be on the top of the list. Thus, both zeros, zero numbers in front of your name. Then turn off the mask from color option. This will preserve the transparency condition. Then make sure the style parameter is an emitter and the selection mode is set to random. After you confirm, you will see the brush tip appears at the top of the list. To set the other brass parameters, we can stop with the preset that best matches the behavior we need. E.g. let's just this grass precept. There are still many things we need to improve from this brush preset. For us. Of course, we need to change the brush tip to do what we just created. This is the current state of the brush. Make sure we use the lightness map brush mode so that we can utilize the foreground color in this brush reader. Next, we want the mirror parameter to be active. Use the fuzzy depth sensor only, an integral only the horizontal option. This is because if we enable a vertical option, the result with sometimes become upside down. Then we also want a slight variation in rotation. Use the fuzzy depth sensor and turn off the others. We want the value range to be from a minimum of minus five degrees and a maximum of positive five progress. For some reason, Krita rotates the brush tip upside down, but no problem. We can just change the default rotation value to 180 degrees. For spacing, we can set this to 0.6. Next to create color variations, perhaps we've showed first, choose a color other than black. Let's say this green color. With this, we can see the lightness map color effect on the brush tip. Currently, the color still looks uniform. We can add variation to the hue value, use the fuzzy depth sensor. But the effect should not be too strong that it makes rainbow colors reduce destroying value to around 10%. There seems to be enough. Then we also want some variation in the color value. Use the fuzzy depth sensor again. By default, the effect is too strong. Let's reduce the string value to around 10%. Now, the variation becomes the week. Let's try 20 per cent. Feel free to experiment further with the other brass parameters. If you are satisfied with the brush behavior, you can save it as the New Brush Preset by pressing the safe New Brush Preset button. We can call this stamp grass desert. Clear the thumbnail image for us. Then select the stamp icon and click Okay, create some strokes of Debs at the bottom left corner for a preview. Click the Save button. And now if we open the brush presets list, we can see that our Brush Preset is already listed here. Since the video is already quite long, we will apply this custom brush preset to our illustration in the next video. 72. Adding foliage: In this video, we will add plans to our cowboy cactus illustration. We will start with the large shrubs using the silhouette technique. And after that, we will add a small bushes or aggressors using the custom brush preset we created in a previous lesson. As I mentioned earlier, we are going to use this photo for the large shrub. Again, I did not create this image, but I do know that from textures.com. Just click drag the image into greta and then select, Insert a new layer for the color profile. It doesn't matter which option you use because we will be only using this image as a silhouette. For us. Let's focus on the closest sharp, which is the one on the right side. Use the transform tool to adjust the scale and its position. Press Control J to duplicate layer. Place this one at the center behind rock to heal and then just adjust it as needed. Next, select the first layer and then press Control J again to duplicate it, use the transform tool to place it on the left area of the image, right in front of the rock to heal. You can mirror the photo horizontally if needed. Alright, after that, we can merge all these layers into one by pressing Control E, activate the Alpha Lock option, and then sample the color of the plant in reference. Then press Shift big space to fill in the color. Now for the plant at the back, we need to delete part of it to make it look like it is behind the rock cliff. We can extract the selection from the rock to layer, use the brush tool. Then with the ribs are mode, we can erase the area of the plant that is theoretically invisible. Do the same for the plan on the left side, because it is supposed to be behind rock one year after extracting the selection of the rock wall layer, we can delete the lower part that should be invisible. Name this layer bushes. Simply praise just to differentiate it from the next plane type that we are going to create, which is smaller in size. Move this layer so that it is below the global shadow. If there is a part of the global shadow covering the wrong area of the shrub land. We can use the same technique as before. That is, for us, we extract a selection from layer active with the SG layer and just remove the global shadow that we don't want. N here is the result so far. To add small bushes to our illustration for us, makes sure to desert grass brush preset that we created earlier is active. Let's first create the ones near drop poor area. Create a new layer. Sample the color of this bush, but make it greener and a bit lighter. To use this brush preset, we need to apply it from back to front. Meaning we have to create the furthest bushes first and then gradually create the closer ones. And don't forget to change the brush size while doing this. The closer the bushes are to the viewers, the larger the brush size, the mutual use. For the distant bushes. Due to atmospheric perspective, we want the colors to be more uniform. I will Alpha Lock. Use the air brush preset emits some light strokes for the color becomes more uniform. Okay, next, let's create a new layer. Again. We want to add small bushes to the area in front of block one. Active with the desert Grass Brush Preset. Sample the color of this bush, but shift the color to make it greener and also lighter. Then start creating new brush strokes on the upper area for us. As before, we need to start with the least ambitious for us and then gradually make the ones that are more in front. Again. Don't forget to increase the brush size to add a prospective effect. Next, for the bushes on the left side, the process is basically the same. Use a small brush size first, then slowly overlay the bushes in front of it while increasing the brush size. Because this brush preset uses a lot of fuzzy depth or randomization techniques, there is a chance that you might not be satisfied with the initial stroke. If that happens, simply undo it and Roto Brush stroke again until you are happy with the result. And here is the state of our illustration. After adding the foliage. Indeed, for the big shrubs, We haven't put initiating yet. We will work on that later in the upcoming videos. 73. Rope custom brush: In this video and the next one, we will focus on a lesser rope. To make the process easier, we are going to create a custom brush preset for the rope. Just as before, it is better that we create a new brush tip in a separate document. Just set the image size 200 pixels by 200 pixels. After we have new document, create a new paint layer. In this layer, we want to create a capsule shape using the rectangle tool. Because later we will be using lightness map mode. We need to set the base color to 50% gray. To create the capsule shape, we need to increase this wrong value to a large number, such as 50 pixels, then create the shape on the canvas. More or less like so. Press Control T for the transform tool and that's tilted or a shear rate. Press Enter to confirm. After that, we can use the air brush preset and lock the alpha channel. Choose a dark color that is close to black and mix some light strokes on the left side and also on the right side. Next, we can create a new layer for now, just to play safe. Create a rectangular selection. Sample the dark color in a border, and then press Shift backspace, move this layer to the bottom to make the shape look more organic, we can use a solid brush preset and add curves to the top and bottom corners. Also make the border on the right side a bit curved. It is okay if it looks a bit messy because this area will eventually be covered by the next Deb. Okay, Next, we can hold Control and Shift and click on your thumbnails of these two layers. Then use the trim tool selection command. Hide the background New Year. We don't need it for the brush tip. You can combine these two layers. Once that is done, open the brush editor. Before setting the brush tip, we can start with the brush preset. Brush tips orientation follows the direction of the most movement, e.g. this dry roller, a preset. After that, we can create the brush tip by pressing the button. Name this zero-zero row. For the style option, we choose irregular. This is because we only need a single image, rough step. Then click the Save button. If we test this brush, we can see that it has a texture. We don't need it. So in a texture category, turn off the two parameters, pattern and strength. Then furrowed brows, step size, we can try to set it to about 30 pixels. For spacing, we can set this to 0.5. Now, this brush is already starting to look like a rope. But I think it will be better if we set this to 0.6 instead. You can see the preview above. For our brush, we don't want the size to be dynamic, and we also want the opacity and the flow to be static. Let's try the brush again. I've changed my mind. Let's try setting the size to 20 pixels and the spacing to 0.4. Alright? I think this looks better. At first glance, it looks like a real rope. If you are satisfied with the brush characteristics, you can save it by pressing the safe New Brush Preset button. Let's name it robe. But we can add letter Z in front so that it will appear at the bottom of the brush presets list, just so it is easier to find than clear the thumbnail image. Select the roller image again from the icon library. In make a brush stroke at the bottom-left area for the preview. Let's save it for now. We may change the parameters again after we prove it directly on Canvas, back to our main document. To safely test the rope Brush Preset, we need to create a new layer. Position it above the ASD layer, make sure the brush preset is currently active. Then select a purple color roughly in the center, like so. And we can start doodling on a canvas. This rope already looks good. It's just that the size is too small. Let's try changing it to 40 pixels. I wonder if stands for there to be bigger so that it is clearly visible from afar, at least compared to our illustration scale. Let's try it at 90 pixels. I think life and rock distance is just about right. The problem is that the rope now becomes to take. Also, if you notice when those strokes take a sharp turn, the brush steps or the depths look broken. They are not transitioning smoothly. So those are the two things that we need to improve on the rope brush preset. Press F5, the size of 90 pixels is just right. To reduce the width or the thickness, we will need to use the mask brass feature. But before that, let's fix the rotation for us to meet the brass tapes or depths in the corners look smoother when turning. We need to reduce the threshold value for this firm corners though both 30 degrees. You can see that the corner depths now look better than before. Next, let's focus on the mask brush feature. We haven't discussed this parameter before. Basically, this feature will allow us to use to brush steps at once. It is called a mask because by default, the second brush step works like a transparency mask. For the first or domain brush step. You can see that cellphone pixel size is too small. Let's try increasing the value. I think 30 pixels is enough for our needs. But if you notice the opacity of the brush changes depending on the pen pressure. Also, the h or the border of the brush tip looks too blurry to make the border a sharper. Just increase this hardness value to around 0.9. Then to adjust the opacity. Remember, the opacity or the flow parameters above are for domain brush tip. For the second brush step, we have to set them in the section below of the nib open Settings option in the Opacity parameter and turn off the flow parameter also. Alright, let's test drive the brush again. It looks like everything is good to update the brass parameters so they are permanently saved into the preset. We can press this button, overwrite brass presets, then click the Save button. 74. Creating the lasso rope: Now that we have the custom brush to create the lasso rope, in this video, we will use it in our cowboy cactus illustration. Makes sure we are currently working on the new layer that we created earlier to road less so on Canvas, there are athletes. Two methods we can use. The force method is that we draw it directly using the free hand Brush Tool. For this method, you should enable the brush smoothing feature. I usually use the weighted mode, just e.g. I. Can draw a circle shape for the spinning Lysol. Then row another long stroke and build the right hand. Finally, another circle or stroke. Once you have something like this, you can tidy up again using the brush or the selection tools. So that was the first approach. Yes, it does require a stable hand to be able to do it. That is why the brush smoothing feature can help blood. The second method is the one that I personally feel more comfortable with. Basically, we'd road rope with the help of the Bezier tool or rather primitive growing tools, e.g. for a circle or lasso on top, it will be easier if we use the ellipse tool. The important thing is that we've set the field parameter to nap field, and we set the outline parameter to brush. With this, the outline will be drawn based on reactive brush parameter. Let's create a circle or ellipse directly on Canvas. Try to make the shape as close as possible to those sketch drawing. To adjust it further, we can press Control T for transform tool. Then press Enter to confirm. For the remaining rope, we can use the Bezier curve tool to play it safe. We can create it on a new layer below the previous circle or lasso row player, active with the Bezier curve tool and make a curve following the sketch image. We have already covered vector graphics in detail in the intermediate level of course. So we won't go over it again in this course. Press enter, and this is the result. Last one is the circle Rope on the right hand. Just create a new layer below the previous one. Click drag again, and so on. Then Enter to confirm. I think this one is too far down because it is on a separate layer. We can adjust it easily using the Move tool or the transform tool. Alright, the basic shape is done. Next, we can finalize the silhouette with several improvements. We can stop at the node where the circle uracil is connected to the long rope that goes down. Use the solid brush preset for the one called Basic Six details. Sample the color of rope. Didn't make a circle or a shape that looks like a naught. And then also a circle in the center. Then sample the drug group color, a simple shading. If you want. You may also use selection for this process. I just draw this manually because this area is actually small, so it's not very noticeable. Plus we will apply the blur filter later on. Next for the rope close to the hand, make sure we are on the correct layer. Extract the cactus character of selection. Use a solid brush preset. Makes sure the eraser mode is on and just erase the area close to the upper motor off his hand. Then also the area near here, stomach. Unless one is beloved right-hand. Next, sure. We're on the correct layer. After that, we can clear the selection. You can use the Bezier curve selection tool, create a shape that follows the folds on the hand according to the sketch image. Then press delete, active the second layer, and press Delete again. The area on the left side is the same nickel selection for us using the Bezier curve selection tool. And then press Delete. Just keep trimming or tweaking drop shape until you are satisfied with how it looks. Haven't ruler the base colors for the root. Growing objects are complete. Indeed, there is still no shading yet the complies with the light direction. We will add that leader. For now, we can merge all these layers into one by pressing Control E and then change the name to rope. 75. Finalizing the background: In this video, we will tidy up the background area. By now, we can say that our illustration has all the base colors and also most of the boundaries between light and dark areas. Now we move on to adding more details for the light and dark areas. To keep the order more organized. We will start from the back and gradually move to the front. That is why we finalize the backroom area for us. Basically, the bare ground is wet sky, the clouds, and it is done broccoli if are located. For us, we can select all the layers below until the rock three layer, then press Control G to group them all. Let's name this group layer BG from Nevada background. Alright? So like the sky layer, we want to add more color variations to the sky. Use the air brush preset, simple, the sky color in the opera area. But we make it even darker and make some strokes in the upper right corner. This will strengthen impression that the sun is on the left side of the image. Then sample the lighter color as well. But make it more white. And just make some white brush strokes in the lower-left corner. Next, for the clouds, we first select the layer, then enable the Alpha Lock option. Just like before, we can sample the dark cloud color. Then we make it a bit darker. And just make some light strokes on a surface fits into what drives side. Next, we want to add a back light effect to the clouds. For this, I want to use the N7 Brush Preset. Select an orange color. There is very close to y. Then make small curve brushstrokes on right border of the clouds within Iraq area. We have discussed what make life is in your earlier course. So Insha'Allah, you already understand what it does. Once we have rough strokes like this, we can refund left side with another brush. Let's say with the glazing brush preset. After that, we can use the vendor burpees said, essentially, we want the right border to be sharp, but the left border that goes in to be more blurry. And finally, I use the glazing preset again to produce the effect. Remember, we are using one little technique in his fault layer. So don't use the eraser mode, but sample the dark cloud color and apply strokes to cover the light colors that we want to produce. After that, we want to add a skyline effect at the Rockhill area. Select the rock tree layer. Then select the sky blue color around this point. You can see that this layer has its alpha lock condition still active mix some might brush strokes on the right side of the rock. You can use the glazing brush preset. Or we can also use the airbrush preset if you want a smoother result. For the left side, I also added some brush strokes in a color of blue sky close to the horizon to give it a fog effect. You can keep refining the colors until you are happy with them. For now, I consider this background area complete, or it may improve it again here and there of record using the techniques that we already know. 76. The cliffs shading and highlight: In this video, we will add shading and highlight colors to the two closest rock cliffs. To make it more organized, we can first select the rock to layer up to the grass one layer, then group them all together to differentiate it from the previous group. Let's name it mg from reward midground, we will start adding shading color to the rock to cliff, but we will use the same shading layer for both rock cliffs. So create a new layer above the rock, one layer and name this layer S L from rewards block overshadow. Use the multiply blending mode and enable the Alpha inheritance option. For this shading process, we will use a slightly different strategy compared to the previous project. That is, to determine the strength of the shading colors. We're not going to utilize the transparency level. Instead, we will utilize the difference in the value. And we only use grayscale colors. For this technique to work well, we need to set the opacity value of the layer to a low number, such as 30%. Then to make it easier to choose colors leader, we will rely on the pellet Docker. If you don't have it opened yet, you can go to the Settings menu, then Docker, and then to spell it. Next, we can just use a pellet provided by Krita called default. If you notice in the second row of this pellet, leftmost swatch is 50% gray. Swatch from the right is 20% gray. I am showing this because we will be using the 50% gray for the lighter shadow color. And we will use the 20% gray for the darker shadow color. You are free to use other levels of gray, but I will be using these two gray values as the starting points. E.g. we can start with 50% gray color. Use the glazing brush preset. You can display the sketch layer if you need guidance. Well, we want to do now is to emphasize the lines in your sketch by creating the shadow areas around them. We thicken them in a certain direction depending on where within the shadow will fall. If you are confused about which direction to draw the shadow, just use the ambient occlusion theory that we discussed in a previous two courses. Basically, we add shadow colors on surfaces that form holes, crevices, corners, or were objects intersect. Indeed, this concept is just a guidance so you can modify it as needed. As long as the location of the shadows make sense and looks interesting, you can put zeros in any area that you want. So this is how it looks. If we hide the sketch drawing. Next, we will add an even darker color, which is 20% gray. For this process, I want to use a sharper brush tip, e.g. this cell phone preset, the strategy is from the previous shadow brush strokes. We need to determine this a portion of it, or just pick one side of the area that we want to strengthen the darkness. The purpose of applying these brush strokes is to build up the base for the next process, which is blurring. If you remember the previous basic exercise where we add the shading on an object? Well, we are applying all the techniques from that exercise in his project. You can show the sketch layer again if needed. Once that is done, it is time to smooth out the colors. For this step, we can make use of the blender brushes, e.g. or this one, or this, or this one. Alternatively, you can also use the glazing preset if you want. For now, I will first use the blender or a texture soft preset. The strategy is that we need to look for a sharp shadow line, then make some strokes there to soften the color transition. Now, for a corner areas are areas that are supposed to look sharp. You don't want to add brushstrokes there. If you smooth out all those sharp lines blindly. Then this will make all the rock surfaces low grounded. In the earlier course, we talked about how different shedding smoothness can give different surface perceptions. N here is the result of the details shading process on Radcliffe number two. Next, we can move on total highlighting stage. But before that, it looks like we will need this reference image anymore. So active with the reference tool. Then click this trash icon that says all press B to return to the brush tool. To contain the highlight color, we can create a new layer, rename it HL, which stands for highlight local, enable Alpha inheritance and lower the opacity to 30%, similar to the condition of local shading layer. The sheer variety, I use blue chalk brush preset for now. Unlike the shading process, where we've stopped with 50% gray, because the effect of highlight is the reverse of shading. We are going to start with 20% gray. Sorry, I forgot to change the blending mode to screen. Okay. We can add brushstrokes in the area where we think the light effect is stronger. Indeed, the highlight color is almost invisible. This is quite natural for non-blacks, these surfaces, such as rocks. But if you keep adding the highlight colors to the image, the overall effect will accumulate. So you will notice the difference. After that, we can rise to the color level to 50% gray. We can use a smaller brush size and apply the brush strokes to the lightest areas, only. Foremost surfaces that are inside the global shadow area. I don't think I want to add 50% gray highlight colors there, but feel free to add them if you want to. So that's pretty much how it goes. After rock two is finished, we can now focus on rock one. But before we get into the detail shading and highlighting process, I want to revise the global shadow in Rogue One area a little. Make sure you are only S D layer. Remember, the original color of the global shadow is actually propel to be able to sample the color. It is not enough to just press Control and click because this method will take the color that is visible on the screen or the result of the layer composition. In our case, what we need to press Control and Alt, and then we click on a color area. With this technique, the color but Khrushchev samples is the original pixel color in a current layer, not the color as a result of the composition. Next, we also need to remember that this layer does not use alpha inheritance to keep the brush strokes from leaking out of rock one layer. We need to make the selection for us by subtracting it from rope one layer. Or you can also extract it from the empty group layer. Alright? I am using glazing brush preset for us and we can press Control H to hide the selection. Process is exactly the same as the process of adding new global shadow before. Use the regular brush mode to add the shadow area and use the eraser mode to reduce it. I want to shadow from the boulder on top-left to fall onto the surface below. I am trying to make it look more of sunken inward. Okay? Once the global shadow is complete, we can start adding more detailed shadings. Make sure we are on the SLA year. We can start with 50% gray color. Use the glazing brush preset just like before. In some brushstrokes on areas that theoretically look darker. From here onwards, the technique is exactly the same as the one we applied to the rock to Cliff earlier to save time, I'm speeding up the video. After a blind detail, shading and highlights to the total cliffs. This is what our cardboard cactus illustration looks like. 77. Light effects on the cliffs: In this video, we will apply light effects to the rock, to Cliff as well as Rogue One cliff. The light effects report to hear our sky color reflect that light and also a fog. We can start by creating a new layer on top of DHL layer. You can name this layer CSR from rewards, color, and this guy and reflect that light, enable Alpha inheritance. Now the key to the right, if x is in layers blending mode, which we set to color for the brush, we will be using the Air Brush Preset. We start with the sky color effect. Sample the sky blue color, then maximize the saturation. After that. Next sunlight brush strokes in the shadow areas try to make the blue color stronger on surfaces that are facing upwards towards the sky. Next, we are going to add reflect the colors that are emitted from the ground. For this, we choose a red color, slightly orange. We need to apply this color to rock surfaces that are facing downward or at least near underground location. If necessary, you can create a selection for us. Then make the brush strokes inside the selection area. You may notice that the color is reading out. This is because I temporarily turned off the Alpha inheritance of those years or layer, two smooth or sharp color boundaries. You can make use of the blender blur presets. Then we can go back to the air brush preset and make some more light strokes on the other areas of broccoli. If next, we move on to the rope one cliff area, no process is basically the same. We look for surfaces that are theoretically facing down oracles to the ground. And then we add brush strokes to make them look more red. Alright. Next, we want to add a fourth effect, create a new layer above the CFS or linear, then changed its name to fog, enable Alpha inheritance. Now, for the fog effect or atmospheric perspective, my favorite blending mode is lightened. You can also experiment with other blending modes. If you like, sample a light blue sky color that is close to the horizon, then using airbrush preset, make light brushstrokes on the edges of the Radcliffe silhouettes. After that, we also want some fog at the bottom of the cliff. We can sample this pink color in the sky to make the color only cover drug book Live, we can extract a selection from the rope one layer, but then we invert it by pressing Control Shift I. Perhaps we show hide the brand new layer for us. Okay, next, we add a form using the same color at the bottom of the rock, one cliff. So this is how our illustration looks so far. 78. Finalizing the foliage: In this video, we will finalize all the plants in the illustration. For us, we will focus on the large syrups. Previously, we combine these three plans into a single layer. Well, I changed my mind. Now. I want to separate them again, soda, each of them is located according to its depth. Let's hide all the small pens force. Then use the freehand selection tool. Make a selection on a sharp bend at the back. Sorry, the selection in my Krita is currently hidden. If this happens to you, just press Control H to show it again. Then press Control X to cut it. Select the rock to layer, then press Control V to paste. We want this new layer to be below rock too. You can see that Krita automatically named the new layer with the same name as the original layer. Next, we can go back to the tourists layer above, create a selection around new syrup on the left. Press Control X, select drop two layer, then press Control V. Alright, now let's work on the back most shut up for us. Make sure we're on the correct layer. And also make sure that the alpha lock is active. We can sample the original shrub color but make it darker. You can use a brush that looks like leaves if you want. But I am using chalk brush preset for this so that it has a stronger hand painting impression. Basically, we want more color variations in a shrub. After that, we can focus on the shrub on left. Make sure we're on the correct layer. If you notice, right now, there is a shared or covering the plant. After I checked, it turns out that this is not from the global shadow, but from the local shadow. To remove it, just extract the selection problem with shrub layer. Make sure the layer is active. And then press Delete. Select the shrub layer again. It makes some rough strokes to add color variations. Next, we can focus on new shrub. On the right side. You can see that this shrub is also covered in shadows, but this one is from the global shadow layer. To fix this, simply extract a selection from the shrub layer, select the layer, then press Delete. Go back to the shrub layer, make sure the Alpha Lock is on. Then apply a brush strokes to add some color variations. ***** right side darker to simulate the shadow from the sunlight. We can also choose a lighter green color and create a highlight color effect on this blend. This will give it more detail compared to the other shops that are further away. I think this is enough. Next, we will focus on a small bushes or aggressors. Currently, the small bushes consists of two layers with the name grass. We can move this grass to layer, so it is behind rope one layer. I think that at first glance, the color already looks good. We only need to improve it this later. First, we can delete this area so that it looks like some of the bushes are behind rock. Then these graphs at the back is currently not covered by the global shadow. We can extract a selection from grass to layer, then select the S D layer, hold Control and Alt, and then click on new drug area to sample the purple color. Then we can use the glazing brush preset to cover this bush. Again, this is to make it look like it is covered by the shadow from the cliff. Now, this area looks a bit weird because it seems as if the small Bush is glowing. We can try to fix this by selecting the large shrub layer, use the airbrush preset. Then sample the dark green color, and then make some strokes so that part of the shrub becomes darker. Next, we will focus on global shadows that fall, although small bushes in front select the S D layer force. We don't want to global shadow to cover the entire graphs area on the right side of the character. Use the Brush Preset in seven or another preset that has a pointy tip. Then with the eraser mode, we can remove some of the shadow colors from this small bush area. Basically, we want it to look like the shadow is falling between a grass blades, thus creating a perception of lab in the illustration. Alright. Well we are still on the SDN layer. If you notice, there is a global shadow covering the full area on the right. I want to reduce the shadow effect by using the airbrush present. Make sure it is in user mode and apply some white brush strokes to remove the shadow in lower area of draw cliff. Okay. Next, we want to add some context shadows under a small bushes. We will still be using the airbrush preset. It is just that we want to make lubricity flatter. So in Nebraska tip section, produce the ratio value and there it is, roughly down to 0.4. This should be enough. For layer. We can just use the existing SLA, but let's create a new layer. Under aggressive one layer, we can give it the same name, SL, and make sure it is also using the Multiply bending mode. The reason I am using a separate layer is that I want to control the shadows on this layer using the opacity variation rather than the color Roughness. I also wanted to give the shadows a bit of a green ones. Again, you can just use an existing SLA or if you want. The important thing is that you need to apply more pressure to the layer. Opacity level is only 30 per cent. Then we can use the chalk brush preset to erase some of residual areas that we don't want. Finally, before we move on to the next step, I want to tidy up the global shadow border area. I am using the chalk brush preset to erase or to add shadows. This Brush Preset can help lot in adding more texture and also give the impression of hand painting. So this is how our illustration looks so far. 79. The ground texture: In this video, we are going to work on the details of the foreground area in front. For this, we don't want to grow it manually, like Bro cliffs, we are going to use a cheating technique, which is using a photo photo ground texture. We will use the desert photo I showed earlier which I downloaded from pexels.com. Just click Record is photo into Krita. Then select open a new document. We only need the bottom area. So use the rectangular selection tool and create a selection above this size. Then press control C to copy, press Control Tab to go back to our main document, select drop one layer, then press Control V to paste the image. Press Control T to active with the transform tool and just adjust the transformation for the image fits nicely on the ground area. After that, press Enter to confirm currently, the ground texture looks too detailed or to real estate. As in the previous examples, we can apply one of the gimmick filters suggests the sharp abstract water. You can also use other filters like cartoon or a posterize if you want. Basically, with these filters, we want to reduce the complexity of the photo. Next to remove the excess if area, we can extract a selection from Brooklyn layer. Then press Control Shift I to invert the selection. Then you can press Delete, or you can also delete it manually with the brush tool. After that, use the air brush preset. And while in the eraser mode, we can erase the top part of the texture so that the transition from the opaque to transparent area looks smoother. Next, we can use the paint over technique on a texture image to make it look more like a hand drawing. E.g. we can use the vendor textured soft reset and make long strokes there, follow the pattern in image. This will smooth out the details that are too small. We can also use the glazing brush preset to pitch up colors are parts that we don't want to see, such as these black spots. Just repeat this process until you are satisfied with how it looks. Once you are done, you can rename the layer to CV from the words color variation. And you can only use the opacity of the layer. Probably around 70% is enough. And this is how our illustration looks so far. 80. Cowboy cactus shading: In this video and the next one, we will finalize our cardboard cactus character. For now, we will focus on fixing the color of the hat and then add more details. Shadows are local shading. We can start by opening the ketose group right here. For your information earlier of record, I slightly improve the global shedding in the hip area and also the shadow border in front. There were no new techniques that are used. I don't think it's too important to explain the process. If you notice the colors of the head parts look very different. I want to color on the bottom part to look more similar to the top part. For this, we can select the top layer, press W for a contiguous selection tool. Make sure the tool is set to the active layer mode. And at the gross value is set to zero. Click here to select only the bottom part of the head. Then press Control X to cut and press Control V to paste. Then we can sample the color of the Top Hat, make it a bit darker. Then press Shift backspace to replace the color. So now the colors look more uniform. You can combine these two layers again later if you want. But for now, I think I want to keep them separate and give them different names. E.g. we can name this one hat b with b from the bottom, while this one is t with t from the world's top. Alright, next, photo detail, shading or the local shading process. We will use the same approach as we draw cliff layers. Essentially, we are going to use a shading layer with a low opacity value, then we will use only two base colors, which are 50% gray and doing the process and gray. To make the two colors blend, we can use the blender blur brush presets. We can create a new layer named layer F cell from the words look over shedding, enable the Alpha inheritance option, and change the blending mode to multiply S worry opacity, we can lower this to around 40%. This is so that the cactus will have more contrasting colors if compared to the rock cliffs. To start, we can activate the glazing brush preset, use a gray color of 50 per cent. Let's focus on a top hat for us. To make the process easier, we can extract a selection from layer. Type the selection by pressing Control H. Make some brush strokes on the right area to darken it. Then use 20% gray and make derived agents even darker. For this area, it looks like we don't need to smooth out any further. Next, for the bottom part of the head, we can, for us, perhaps q and n extract a new selection from the bottom layer. Just like before, we'll start with 50% gray. Make rather large strokes. Like so. Then select 20% gray and make more brushstrokes in a smaller area closer to the center and the lower age. After that, we can make use of the blender texture, soft brush preset to soften the color transition even more. That is basically how the process goes. Again, this is similar to the previous shedding processes. Next, we want to focus on the eyeglass area. Press Q, then extract the selection from layer. Since the surface is flat, we can just use 20% gray. Then make some strokes at the edges of the eyeglasses. The goal is to give the impression that the eyeglasses have thickness. Remember, the main light source is on the top left. So what we need to darken or the surfaces that are facing the bottom right direction. We also add shading to the top of the whole area. If you need to remove any excess colors, you can do so using the eraser mode. Next, we will focus on a green body area. Press Q to de-select their needs track of selection from the cactus body layer. So currently there is actually a selection. However, if you notice disruption goes through the glasses area as well as the half area to fix this, hold Control and Alt, and then click on the thumbnails of the glasses and her prayers. So now only the green body area is selected. Press Control H again, to hide the selection. For the next process, the technique is exactly the same as the previous local shading technique on your head and also the trochlea three years, we use 50 per cent wafers to create white brush strokes and then use 20% gray to make smaller brushstrokes are in a tighter area. To help with the shading process, we can utilize the selection technique. Once that is done, we can use the blurring brush preset to further soften the color transitions. Since we have covered all the appendix before, I am speeding up the video to save time. This is the condition of our illustration so far. After adding local shading to the cardboard characters, character. 81. Cowboy cactus details and highlights: In this video, we will go through the process of adding details through cowboy cactus. We will add stripes as well as spikes in green skin area. After that, we will add highlight colors. Let's start by drawing the stripes active with the sketch layer for guidance. Use the basic six details brush preset. It looks like the size is not big enough. Brush size of 16 to 17 pixels seems more suitable for is process. Let me undo this first. We can start with the hand on the left side. To keep the line from going outside the green skin area, we can extract a selection from this layer, hold Control and then click on the thumbnails of the glasses and about them had layers. We should use the brush smoothing feature for this process. And we can start with 50% gray color, then draw a line following the sketch drawing, and so on. For areas that are already darker or have 20% gray color, to make lines visible, we have to use an even darker shade of gray, such as 15 per cent. For what areas, we can again use 50% gray. And for some very dark areas, we might need to use solid black color so that the lines are visible. Alright, those stripes look more refined or have more depth, we need to add highlight colors. Let's first create a new layer above SL. Name it H L from the words highlight local, change the blending mode to screen and set the opacity value, but only around 40 per cent, similar to DSLR. Next, use of 50% gray color and draw lines, longer brown stripes. Imagenet, the light is coming from the top-left direction we are using. The highlights will be if these lines formed holes that go into the surface. If you notice, mostly I added the highlight scholar of the stripes only in the light areas. In the shadowed areas, I did not add any highlights, even if I edit them, I use very light pen pleasures. Next, we want to add highlights on the hat, glasses and a little bit on the mouth. We can start with the top hat. Use the chalk brush preset and set the color to 25% gray. Sorry, I forgot to enable Alpha inheritance earlier. Create strokes in the area where you think the light will appear the strongest. Extract the bottom head layer selection. Apply a bit of highlight color to the top left edges of the head and just remove any excess highlight colors. The eyeglasses area. The process is basically the same. Extract a selection from layer of force, use a 50% gray color. Since this is the glossy object, we can set the color of very close to white creates some rough strokes in the opposite location of the previous shading area. For the whole or neglect same region, we can use the contiguous selection tool. Make sure we are on eyeglasses layer, hold out and click and drag less area. Then we can continue applying the brush strokes. Finally, for the dark places, we can select only this parts. Then use the glazing brush preset and sample the light blue sky color. We use the sky color because we want to add a sky reflection effect on eyeglasses. Okay. Next is the mouth area. We can use a 50% gray color. And make light brush strokes at the bottom of the mouth. For the shadow, we can select DSLR and apply brush strokes at the upper area of it. Next, we want to add spike details all over the cactus body. For this, we can create a new layer above the HLA-DR, then changed its name to B0, which stands for paint over. We can show the sketch layer to see where those spikes should be. We can start with the spikes. On the left hand. We're going to use the single layer technique for this. Sample, the dark color force, create the silhouette. I don't think the glazing brush preset is suitable. Let's change it to six details for us and sample the closest dark color. After that simple, the light version of blue-green color, it makes some strokes to form light area. If the silhouette is too wide, we can remove it using the eraser mode. So that is basically how the process goes. We can first take a look at the location of the spikes in a sketch drawing. Then draw the silhouette of the spike with a dark green color. And then add a light color at the location where the light is coming from. To prevent a global shadow color from interfering with the color of sampling process, you can temporarily hide bilayer. There are no new techniques to cover. I'll just speed up the video. Lastly, we want to continue adding the highlight colors to the green skin area of law cactus. Extract the selection from nobody layer, but we subtract it using the glasses handle hub areas. Also, we want to subtract them off area from the selection. For this, we can use the contiguous selection tool, hold Alt and click on the mouth area. Alright, let's go back to the HLA-DR. Use the brush tool with the chalk preset. Perhaps 50% is too light plus juice, 40%. Then make light brushstrokes in the area that is theoretically the brightest spot. If you've seen the brush border is too rough, you can use the vendor brush preset to smooth it out. To remove highlight colors that bleed into the dark stripe variants, we can use the glazing brush preset. And using the eraser mode, we can just erase the areas that cover the dark stripes. So here is the result so far. 82. Light effects and Filters: In this video, we will apply like effects through a cowboy character. Then finalize the last ropes, and finally adjust the brightness of the image using a filter. For us, we will add a skylight effect in the shadow area of recovered work at those character, we can create a new layer above the layer. Name this layer CSR from rewards, color, sky, reflection. Change the Blending Mode to Color and then enable the Alpha inheritance. Activate the Air Brush Preset. Choose a blue color with maximum saturation, and mix some light strokes in the shadow areas. Finally, surfaces on your head or on a body areas that are facing upwards or at least surfaces there do not face downwards. For the ones that are facing downwards, we are going to apply reflect the colors or color of bones of off the ground. For that, we can use a red color that is slightly orange. Mix some brush strokes on the lower part of this hen, and also at the lower part of the head. And then on surfaces that are close to the ground. We can hide the Rope layer temporarily if it is distracting. Next, we will add shading to the left so rope, create a new layer above the row player, rename it to S L, then combine both layers into a group layer. Just rename the group layer to rope again. To make it uniform with the other shadow layers, we can set the blending mode to multiply, lower the opacity to around 40 per cent, enable the Alpha inheritance option. Then use the glazing brush presets. Choose a gray color and mix some rough strokes in the area where you think the shadow from the sunlight will be. I think this is not dark enough. Let's just use when the proofs and gray, since there are no new techniques, they don't need to explain. I will speed up the video for now. In the area where the rope with the cactus hen, we can use black to make it look darker. We can also revise the local shedding of lactose so that the rope does not look floating. Alright. Next, we want to add a motion blur effect to drop. For this inside the rope group above DSLR, add a new filter layer, choose Gaussian Blur. Let me close this for us so we can see the preview better. Unlock these two parameters so we can adjust each value independently. For the strength of the horizontal radius, we want the value to be larger, Let's say 60 pixels. As for the vertical one, we can just set it to around ten pixels. At first glance, the Bohr effect already looks good. The problem is that all areas of the rope look blurry. In our case, we want to talk the area where the rope is spinning to have the maximum blur. But as we go down, the line, number in fact fades away. Let's click Okay for us. Now, remember the lesson about filter layer. We can control its strength by applying different grayscale colors. White will make the filter at maximum strength. And black goo McNeil fact disappear. So just use the air brush presets. Choose the black color. For all the areas below, we can just set them to be solid black. Whereas for the roof area just under the spinning left. So on the other hand, we can make the color of grades, will it change from white to black? Approximately like this. As the last step of creating the illustration, we want to adjust the brightness of the image, especially in a central area. For this, we can create a new layer above the rope group layer, then use Levels filter to make the window looks smaller, inner covered the image. We can click, Okay, for now. After that, we can press F3 to open the filter window again, then move towards stop on right, towards the left, a little to run 222, and then click Okay. Currently all areas of the image become lighter. We only want to make the center area brighter, which is the area around the cowboy cactus. I think the sky was already bright enough before. Use the airbrush preset. I seem to have forgotten to turn off the bluffs smoothing option since throwing the stripes on new cactus body. Because we want to remove the filter effect, we need to use black color. Then make some brush strokes in the sky area, as well as other areas that we want to darken again. Vice versa. If you want to keep it bright, just use the white color. Alright? So this is before, and this is after adding the Levels filter. Feel free to use other filters. Everyone. Personally, I am already happy with the result, so I declare this illustration complete.