Digital painting with Krita 5 advanced level | Widhi Muttaqien | Skillshare
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Digital painting with Krita 5 advanced level

teacher avatar Widhi Muttaqien, CG expert & entrepreneur

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      3:51

    • 2.

      Course information

      4:37

    • 3.

      Custom UI and shortcuts

      5:19

    • 4.

      Transform tool free mode

      10:32

    • 5.

      Perspective and Warp mode

      7:25

    • 6.

      Cage mode

      5:34

    • 7.

      Liquify mode

      6:48

    • 8.

      Mesh mode

      5:00

    • 9.

      Transform mask

      5:18

    • 10.

      Deform brush engine

      3:57

    • 11.

      Layer styles

      6:23

    • 12.

      Clone layer

      8:46

    • 13.

      File layer

      4:00

    • 14.

      Fill layer

      6:17

    • 15.

      Multigrid

      7:01

    • 16.

      Screentone

      9:06

    • 17.

      SeExpr and Simplex Noise

      6:12

    • 18.

      Wrap Around Mode

      4:39

    • 19.

      Tileable texture

      8:02

    • 20.

      Applying patterns

      5:35

    • 21.

      Creating custom patterns

      4:24

    • 22.

      Texture effect with brush

      8:39

    • 23.

      Photobashing workflows

      4:19

    • 24.

      Photobashing a wall texture

      4:38

    • 25.

      Photobashing a TV screen

      3:13

    • 26.

      Photobashing with transparency and selection 002

      6:20

    • 27.

      Atlantic Treasure project preparation

      4:25

    • 28.

      Main objects’ base colors

      14:11

    • 29.

      Background base colors

      8:43

    • 30.

      Shading the diver

      6:46

    • 31.

      Shading the treasure chest

      10:41

    • 32.

      Outline and Highlight

      12:47

    • 33.

      Water surface and the pillars

      11:27

    • 34.

      Shading the hills

      7:08

    • 35.

      The floors

      9:23

    • 36.

      Stone elements

      6:30

    • 37.

      Clam, jellyfish, and fish

      6:36

    • 38.

      Seaweed

      5:45

    • 39.

      Anemones using custom brush

      9:52

    • 40.

      Other ornaments

      10:25

    • 41.

      Shadows and fog

      9:05

    • 42.

      Lighting effects

      6:56

    • 43.

      Air bubbles

      3:28

    • 44.

      Caustics and color transfer

      8:43

    • 45.

      Brush engines

      5:59

    • 46.

      Size, Opacity, and Flow

      6:04

    • 47.

      Other basic brush parameters

      5:31

    • 48.

      Brush tip basics

      7:33

    • 49.

      Creating brush tips

      9:09

    • 50.

      Brush tip modes

      5:40

    • 51.

      Brush Sensors basics

      7:49

    • 52.

      Brush Sensors advanced

      7:18

    • 53.

      Adding randomness

      9:26

    • 54.

      Animated brush tip

      6:16

    • 55.

      Creating custom brush preset

      5:08

    • 56.

      Deleting, exporting, and importing brushes

      8:40

    • 57.

      Painterly style basics

      5:54

    • 58.

      Multi layer workflow

      11:08

    • 59.

      Single layer workflow

      7:59

    • 60.

      Cheat methods basics

      2:01

    • 61.

      Paint over technique

      8:59

    • 62.

      Shading area extraction

      6:32

    • 63.

      Color sampling technique

      5:51

    • 64.

      Painting a landscape

      10:59

    • 65.

      Silhouette technique

      9:24

    • 66.

      Symbol Library

      9:38

    • 67.

      Cowboy cactus project preparation

      2:36

    • 68.

      Thumbnailing

      10:34

    • 69.

      Base colors

      11:50

    • 70.

      Global shadows

      6:05

    • 71.

      Bushes custom brush

      8:29

    • 72.

      Adding foliage

      5:33

    • 73.

      Rope custom brush

      7:51

    • 74.

      Creating the lasso rope

      5:19

    • 75.

      Finalizing the background

      4:37

    • 76.

      The cliffs shading and highlight

      14:06

    • 77.

      Light effects on the cliffs

      4:20

    • 78.

      Finalizing the foliage

      8:35

    • 79.

      The ground texture

      3:19

    • 80.

      Cowboy cactus shading

      8:25

    • 81.

      Cowboy cactus details and highlights

      10:06

    • 82.

      Light effects and Filters

      6:39

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About This Class

Krita is a graphics application that is comparable to Photoshop. But, unlike Photoshop, Krita is free and open source. So you can download and use it without having to pay anything. Another thing that makes Krita different from Photoshop is that Krita focuses more on digital painting. So you will find many digital painting or drawing features in Krita that are not available in Photoshop. If you need software to draw or create illustrations, then Krita will make you feel right at home.

If you want to master Krita quickly and easily, then -in sha Allah- this online course is the best solution for you. However, you should be aware that this online course is designed as a continuation of the previously released basic and intermediate Krita courses. So to be on the safe side, make sure you take those courses first before taking this one.

 

What will you learn?

As a macro overview, I have divided this online course into 8 chapters, apart from the introductory chapter. In the first chapter, you will learn about various transformation and distortion techniques. Such as "Perspective", "Warp", "Cage", "Liquify", "Mesh", and so on. Then, in chapter two, you will learn advanced layer features, namely "layer style", "clone layer", "file layer", and "fill layer". Next, in chapter 3, you will learn various techniques related to pattern and texture creation. You will use various pattern generators such as "multigrid", "Screentone', "SeExpr", and so on. Then learn to create repeating patterns using the "wrap around mode". Then, in chapter four, we will discuss the "Photobashing" technique. It is basically a technique of utilizing photos or external images to speed up the illustration process. Chapter 5 is the first big project chapter. Here you will learn to create an illustration of a deep-sea diver looking for treasure. You will learn the process in detail, from A to Z. In chapter 6, you will learn the ins and outs of the brush system in Krita. From the types of brush engines, sensors, to how to create your own brush presets and brush tips. With these, you will be able to create unique brush presets, such as creating sea plants or anemones on the fly, creating a rope in one stroke, creating a grass field in seconds, using plants that you design yourself, and so on. In chapter 7, you will learn painterly style drawing techniques, or digital illustrations that look like they were created with real brushes. In this chapter, you will also learn various "cheating" techniques. They are techniques that can help you create illustrations even faster. In chapter 8 or the last chapter, you will utilize everything you learned from the previous chapters to create an illustration of a cowboy cactus. The main challenge of this project is to create a painterly style illustration as quickly as possible. But also as flexible as possible, so that it's still easy if we have to make future revisions to the drawing.

So join now! And upgrade your Krita skills to the fullest potential.

Meet Your Teacher

Teacher Profile Image

Widhi Muttaqien

CG expert & entrepreneur

Teacher

Widhi is an entrepreneur in creative industry. He has master degree in information technology and business management from Bina Nusantara University. Beside doing business he is also a lecturer in computer graphic related disciplines in President University Indonesia and Lasalle College International.

In his more than 20 years of experience in the CG industry he finished hundreds of projects with clients from all over the globe. He has been producing thousands of CG images and animations. His deep passion with computer graphic leads him to dive into 3D visualization, animation, game development, video and motion graphic.

See full profile

Level: Advanced

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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