Transcripts
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