Digital Painting With Krita : Basic Level | Widhi Muttaqien | Skillshare

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Digital Painting With Krita : Basic Level

teacher avatar Widhi Muttaqien, CG expert & entrepreneur

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Conventions & disclaimer


    • 3.

      Raster vs Vector


    • 4.

      Color models


    • 5.

      Bits per channel


    • 6.

      Hexadecimal color codes


    • 7.

      Drawing tablet setup


    • 8.

      Krita peformance tips


    • 9.

      Working with documents


    • 10.

      UI introduction


    • 11.



    • 12.

      Freehand brush tool


    • 13.

      Selecting colors


    • 14.

      Picking & offsetting color


    • 15.

      Layer introduction


    • 16.

      Layer properties


    • 17.

      Alpha inheritance & group layer


    • 18.

      Opacity & blending mode


    • 19.

      Selection basics


    • 20.

      Customizing the UI


    • 21.

      Favorite brushes


    • 22.

      Custom shortcuts


    • 23.

      Basic shading concepts


    • 24.

      Basic shading methods


    • 25.

      Basic sketching & coloring


    • 26.

      Detailed shading method


    • 27.

      Highlight & texture


    • 28.

      The workflow


    • 29.

      Reference images


    • 30.



    • 31.

      Layer sorting & coloring


    • 32.

      Local shading


    • 33.

      Global shading


    • 34.



    • 35.

      Workflow flexibility


    • 36.

      Next step


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About This Class

[ There is an UPDATED VERSION of this course, you can access it here: ]

Krita is a graphic application comparable to Photoshop, Gimp, CorelPainter, etc. But unlike Photoshop, Krita is an open source project, so anyone can use Krita without having to pay anything for the software license. Krita was built from the ground up as a digital painting software first in mind. That is why if you want to create drawing or illustration, Krita will me make you feel right at home.

If you never use Krita before and you want to master it fast. Then this course is your best solution. It is designed for complete beginners, so no experience needed at all. Or, if you used Photoshop before and you want to move to Krita then this course is for you also. Because in this course I will mention a lot about Photoshop’s comparable features when explaining the features inside Krita.

We will cover a lot of things In this course. But we will start from zero, and that is the general computer graphic concepts such as the difference between raster and vector, color models, bit depth per channel, etc. Then I will explain how to make Krita runs smoother and how to set up drawing tablets for optimal result. So yes, you will need a drawing tablet to really gain the maximum benefits of using Krita and to gain benefits from this course.

After that, we will cover the basic features of Krita. From how to work with documents, how to customize the UI, how to navigate the canvas and then learn how to use the brush tool. Next, we will learn about how to work with color such as selecting color and picking color from the existing colors. After that, we will learn about layer and different properties of layer such as alpha inheritance, opacity, blending modes, group layer, etc. These layer features are essential to make crafting complex artwork much easier and manageable. Next we will discuss about selection. And after that we will learn how to customize Krita even further for faster digital painting workflow. We will then cover basic shading concepts and shading methods while doing a skull illustration project from start to finish. After the skull project we will learn more advanced techniques and strategy while we do a hands on project creating this tree on a hill illustration from sketch to the final artwork. I will teach you a very versatile non-destructive workflow that will allows you to create many different variations of artworks from a single artwork fast. This is very important in a fast paced production such as in the game industry for example.

So, join now and start creating masterpieces with Krita! See you on the other side.

Meet Your Teacher

Teacher Profile Image

Widhi Muttaqien

CG expert & entrepreneur


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: Beginner

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1. Introduction: assalum aleikum. My name is weedy mood talkin. I am an entrepreneur and also on a karmic lecturer in computer graphic disciplines. I teach digital painting Treaty and to the animation Web design motion, graphic game development and other computer graphic related topics. Greta is a graphic application comparable to photo shop. But unlike Photoshopped, Preta is an open source project, so anyone can use creator without having to pay anything for the software license. Create Awas, built from the ground up as a digital painting, suffer first in mine. That is why, if you want to create growing or illustration critter, we make you feel right at home. If you never use creator before and you want to master it fast, then this course is your best solution. It is designed for complete beginners, so no experience needed at all. Or if you used photo shop before and you want to move toke Rita, then this course is for you also, because in this course I will mention a lot about four shops comparable features when explaining the features inside. Creator, we will call for a lot of things in this course, but we will start from zero and that is the general computer. Graphic concepts such as the difference between Raster and Vector color models bit that Porteno etcetera. Then I will explain how to make Rita runs smoother and how to set up growing tablets for optimal results. So, yes, you will need a drawing tablet to really gain the maximum benefits off using creator and to get benefits from the scores. After that, we will cover the basic features off Preta from how to work with documents, how to customize the you I how to navigate the canvas and then learn how to use the brush tool. Next, we will learn about how to work with color, such as selecting color and picking color from the existing colors. After that, we will learn about layer and different properties off lier such as alpha inheritance capacity blending modes, group layer, etcetera. These layer features are essential to make crafting complex artwork much easier and manageable. Next, we'll discuss about selection, and after that we learn how to customise creator even further for a faster digital painting workflow. We will then cover basic shading concepts and shedding methods while doing this skull illustration. Project from start to finish After the skull project, we learn more advanced techniques and strategy where we do this hence on project creating these three on a hill illustration From sketch to the final artwork, I will teach you a very versatile nondestructive workflow that will allows you to create many different variations off artworks from a single artwork fast. This is very important in a fast paced production such as in the game industry, for example, so doing now and start creating masterpieces with Preta. See, on the other side was Salamu Alaykum. 2. Conventions & disclaimer: welcome to the course before moving on. There are several things I need to mention and to make clear first first about the structure off the course. I have carefully craft of the curriculum so that everything is placed sequentially. Each lessons you take. In one, Leffall will become the foundation off the lessons on the next levels. Therefore, it is important that you take the course in order, step by step, not jumping around. If you take the course by jumping around, most likely you will get confused in some point because I usually will not repeat lessons, which already explained in the previous videos. The second thing I need to mention is that you need to practice for each video. Please try out the lesson yourself at least once. The course is not just about theories. Most off the lessons are practical skills. So again, you need to practice. If you really want this online course to benefit you, several conventions for discourse I'll be using PC computer. So every shortcut I mentioned in the video will be for PC users. For Mac users, mostly, you simply need to change the control keyboard shortcut took a man keyboard shortcut. OK? Throughout the course, I may display some images and videos. Some off them are not made by me, amusing them nearly as source off inspiration and as reference for all of us to study, because I think they are great artworks. Okay, if I can find the owner's name off the image, I will try to add credit for him or her on top off the image. Otherwise, I will display the image, as is if I don't specifically state that the image is made by me or has my water Marconi. It means those images belong to its respectful owners or our thesis. I do not claim those images or videos are made by me. Okay, let's move on to our first feed your lesson. 3. Raster vs Vector: in computer graphic rule. There are two types off graphic. Raster and vector. First, let's talk about roster. Russell graph E R. Images made off numerous small squares. When you see images like these, for example, it looks nice and smooth, but notice when we zoom in, we start to see the reality that this image is actually made off these small squares. These small squares are called pixels. The work pixel is actually came from the abbreviation off picture L. A. Men, each off the pixel has only one color applied to it. Because raster images are made off pixels, they are resolution dependent. What I mean by that? If we have an image off 100 by 600 pixels resolution, for example, it means it has 100 columns and 600 rose off total picks. US. High resolution images will have final detail because more color information can be contained by the image. But the file size will be bigger. Basically, the higher the resolution, the bigger the file size vector graphics are images made off points, curves connecting those points and color fields inside the area formed by those curves. These points and curves and color feels are stored as mathematical values, not a speaks or great data like Raster images do so as the result, and generally speaking, director images are smaller in fire size than the raster image version. Veta graphics are also resolution independent. I am using Adobe Illustrator Here Notice when we zoomed in tow. As far as we can go, we won't see any pick sauce. We can rece ice or scale vector graphics to any size we want without the race off. Losing any graphical information working in vector also give us more flexibility because we can always go back and change things around. For example, when we draw a circle like this in Illustrator, we can always select it and tweak the shape or recovery as we like. The shape is still alive and edit herbal. This is something that you cannot do in pure raster images. You might be wondering by now why not? We just use the vector for all off our graphics. Well, the answer is not all images best represented by vector graphics. Complex images like Photograph, due to the nature of it, is best represented in raster images. Also, because a vector graphics are basically a bunch off mathematical values. They need to be calculated and rendered in real time to be displayed on screen. Generally speaking, complex vector images will require more computing power than the roster counterpart. So to recap the pros and cons off roster graphic against a vector Graphic in term, off resolution roster is dependent and Vector is independent in term. Off the file size rector is the winner as generally smaller size than the roster in term, off flexibility or irritability. Vector graphics is better than raster for displaying for US or natural images. Roster is better than vectors and Leslie for computer processing, generally a vector, need more processing power than roster because there are advantages and disadvantages off using both off this graphic types and that you cannot force one graphic type toe handle every type off images. Therefore, there are two type off graphic software in this world. Raster based category a new factor based category In roster based category, there are Photoshopped, gimp, coral pain shop, affinity, photo, etcetera In vector based category, you can find adobe illustrator escape coral Droll, affinity, designer etcetera. Okay, so what about Preta? Well, critter is essentially a raster graphics software, but with some vector features Inside it, Soak Rita is more or less like Photoshopped or gimp or coral painter. The big difference between photo shop and creator is that for a shop at the core is image manipulations offer. With some digital painting capabilities, Crater is actually the other way around. At the core, it is a digital painting software, but with some image editing capabilities. So it it's more like coral Painter instead, or Photoshopped now in term, off a vector support, although for a shop, do support some vector editing features. But it is a very limited creators. Vector tools are actually way better or more advanced, compared toa Photoshopped. Off course. Creative director tools are not as sophisticated as the ones you can find in real vector software such as Adobe Illustrator or Escape, but they are more than enough for professional quality digital painting or illustration in general. That is why, in this course, we will cover how to utilize the vector tools in Quetta toe their maximum potentials. This will greatly help us in creating beautiful artworks faster. We will discuss create us vector tools not in the basic level, but later on more advanced section off this course 4. Color models: color is one off the most important aspects in creating beautiful art and design. There are so many colors and color variations exist in the world. For centuries, we as human, have tried so hard to uncover the secrets behind colors. Why is this so important for us? Because by knowing how colors actually work, we can later capture them, store in, digitize them, reproduce them or display them precisely. We need to simplify the colors to its basic components, which are called the key colors. Using the combination off these key colors, we can reproduce any color that you want. This is what we call the color model. So basically, color models are methods off describing colors, using a combination off key colors or using a set off perimeters. There are at least two types off color model that we need to know as an artist or designer . Like please color models and Pickman based color model light based color models use lights as the color producer. All devices that produce light use this color model, for example, our computer monitors, smartphone screens, televisions, projectors, etcetera. Okay. Now, unlike the light based colors, the pigment based color model use things are pains to produce color, everything that is printed or painted. Use this color model. Let's discuss the light based color models first and then later. The pigment color motto first is RGB. RTV is the Basie and true color model Off lights. RGB stands for red, green and blue. Using these three key collars, we can produce any color we like. If all off the colors red, green and blue all turn on to its maximum strength, the output color will be white. And if none off the RGB colors are turned on, then the output color will be black. So basically in RGB color model, black means off or no lights at all. To see this more clearly, we can use creator to simulate the RGB collars. If we click on his color box, Greta will display this foreground color selector window. Now, I know we haven't talked about this yet, but this is not the point off this lesson. So just bear with me for now. In here we have three inputs or, in other words, three channels for the base colors red, green and blue. The minimum value for each channel is zero, and the maximum value is 255. Now you might be wondering why are these values makes out at 255? Well, we will discuss about this more in depth in the next lesson. Okay, for now, if we input 255 which is the maximum value on the Red Channel and let me just copy paste this to the Green Channel and also to the Blue Channel. We have white color as the result. If we input zero at the red, then we have science color. If we bring back the red color to maximum and zero out the green color, we have this light purple color. If we zero out only the blue color then we have this year. Oh color. Essentially My point is, as I mentioned earlier, we can produce any color we like by combining different strength off these three main colors. Okay, so there is RGB color model now. Although RGB is the true color model off lights using RGB two p color is very intuitive. If we need to select certain color, we need to do a lot of guessing and try and error process There is why a new light based color model was introduced, called HSV HSV, which is stand for Hugh Situation and Value is a derivative color model from RGB color model, so it is like based color model also. But unlike RGB, which divides color into three main colors, such as, we use color characteristics instead to define the color output first is you in creator? The hue value is this circle called the color wheel. So yes, Hugh is measured in degree because it is actually a circle from zero degree toe 3 60 degree and because it is a circle zero degree is equals toe 3 60 degree in Crete. Or however, we cannot see the actual numerical value off you anywhere in here, at least not in a version I currently use when I record the video. Next is situation. Saturation controls how much color present as opposed toe grayscale colors. To control the situation, we can click and drag to left and right in this box. The most bright area is fully situated, so the situation value is at maximum at this right side and at the lowest or zero value at the left side. Now you may have triangle shape in here. Instead, off rectangle like these, that is OK, we are going toe Cover that in later video. Finally, the V or the value, which basically controls how much light emitted from the color. In other software, such as photo shop, it is not called V, but me for brightness. So in photo shop it is called HSB, not it as V. But essentially, we can just assume it is the same in creator. Moving this up and down, we'll change the value or the brightness up here is the minimum value. And don't. Here it's at the maximum value. Okay, so that is SV or HSB color model. The third color model is C M Y que color motto. Unlike the two color models we have discussed earlier, C M y que is pigment based color model. If you own a color printer, most likely you already familiar with C M y que because the in cat aegis off color printer are based on this color model. Long time ago, we used to think that the key colors off pigment or pains are red, blue and yellow because a lot of colors can be produced by mixing these three colors. Some are school, even still, teach these concepts until now. Although you can achieve a lot of color variations with red, blue and yellow pains, you cannot produce all of them. Scientists already discovered that big mons key colors are more likely to be C. M Y K C for science color M for magenta color. Why for Yellow Color and K Well, K is actually stand for key color. But because most off key collars are considered as black color in printing industry, we can safely assume that K is for black. We need black color because sigh in magenta and yellow colors, when mixed together, can only achieve brownish mud color. They can never achieve black color without a dedicated black ink. If we open creator and press control end who create a new document, we can see that Preta support many color models. One of them is Web or L. A B color model lab is not a common color model, but it has some function in graphic design field, mostly to make the color more pop out. You really shouldn't use slept color to publish your file as not many software or viewer supported would let me explain this real quick lab or L A B stands for lightness, a channel and be channel. The L or the lightness is identical with the brightness level we have in HSB color model. So basically it controls how bright and how dark the color will be. Okay, So what is a and B then? Well, they are not actually abbreviation. A channel controls how green versus how red the color will be. So the H n O is actually a spectrum off green color to red color. At the center, we have gray color. It ranges from positive to negative value where a great color is at zero value. Okay, the B channel is just like the A channel, but the color spectrum is from yellow to blue color. And just like the A channel, the zero value will also produce gray color. Okay, now, besides these color models, creator also support to other unique color models. They are why CRC V and X y Z. Unless you have a very specific need for them. You really shouldn't use this color models because they are rarely supported in other software outside critter But this for quick explanation. Y C R C B is almost identical toe left color model. So the why is for luminosity or the brightness. It is like L in Web color. Model CR is stands for chroma red, which controls how red versus how green the color is. It is like the A channel in lip color model. And finally, CB is stands for chroma blue, which basically controls how blue versus how yellow the color is. It is almost identical with the B channel in lab color model. Now why CRC B is mostly used by geopark compression algorithm. Behind the scene, but rarely used manually by artists is Toby Color. The less color model in Quetta is X Y Z. Now don't get confused. X Y Z is almost similar with RGB, but with slight differences. So why is exactly like grin? In RGB Z is almost like blue color in RGB and X is slightly almost like red color. In RGB, this color model is quite all invented in 1931. No days you almost never find any artists using this color model or any graphic software that support it beside critter 5. Bits per channel: as we mentioned earlier, Raster image is actually just agreed off. Small squares called pixel each big so will have to store at least three information. How much strength is for the red color? How much is for the green color and finally, how much is for the blue color? Different level off red, green and blue colors will determine the color off the pick, so these three types off information for each existing pixel are called channels. Basically, channel is just a block off data inside a Pixar toe hold the color components, so we have Red Channel, Green Channel and Blue Channel. Now, besides rare green and blue channels, we can also have Alpha Channel in our image. Essentially, Alpha Channel is additional channel, which is used for controlling the transparency off each off the pixel. You must be aware, though, that not all image file format support off a Geno PNG give anti G a fire performance are some off the examples that support off a channel. So using this file formats, we can have transparency because again, each pixel in that file can have for channels total, which consists off three channels for color or the RGB values and one channel for transparency or the offer channel. Okay, now we're going to discuss the nitty gritty off image for performance, and that will be the number off bits in each channel. If we have created open and impressed control, end or click this new document button, we can see there is a depth pulled only sin here that say's eight Pacino. If we click on the button, we can see a lot more options in here. We have 30 to be 16 bit integer and 16 bit float. Now you need to know that all standard images only use a beat per channel. This is the setting for common images you see in the Web or images you see in screen devices such as TV, mobile phones, tablets, etcetera. OK, so what is exactly be poor channel value means this number means that for each channel in the image will have eight bits memory slot. So we have eight slots for Red AIDS loss for green in eight sorts for blue. And if we have offer channel, then we have another eight sorts for it. Okay, Now, computers actually only know binary numbers, which are zero in one. So this eight slots will be filled in with a bunch off zero and one numbers, for example. It can be something like these. Now, these are just random digit numbers just to give you an example. Okay, What we can count with this set up is that if we have eight probable space and two probable values which are zero and one, how much is the total configurations that we can get from it? Well, that will be to power by eight equals toe, 256 variations. So with eight beats per channel, each channel can have 1 to 256 probable values. But if we start from zero instead off one, we can have zero. So 255 values for each channel. That is why, when we open the color selector in creator, each off the channels red, green and blue can only have maximum value off 255 because we start from zero. Also, if we have offer channel the level off, transparency can spread from zero as the lowest value, which means fully transparent toe 255 which means fully opaque. Okay, so for standard RGB file, each pixel will have eight plus eight. Plus eight bits equals total off 24 bits. But if we have offer channel in an image, each pixel will have additional eight bits information, so the total will be 30. Toby. It's although this seems not important at the moment. But trust me by knowing these will help you understand far settings better in other graphic applications. Because some graphic application has unique ways off showing image parameters, such as they ask you whether to save us 24 bits or 30 Toby it's or safe toe RGB plus off our etcetera. By now, you already understand that 24 bits image file equals two standard RGB file with no transparency and 32 bits. Image file equals two standard RGB file, but without for transparency. Okay, so now we know that standard images have eight beats per channel. But what about other bits per channel value, such as 16 are 32 beats per channel? Well, this type off images are mostly used to store more lighting information from the real world . Why? Well, this is kind off a long story, but I will try to make it as short as possible. You see, in the real world, lightness or brightness can range from zero toe, theoretically on infinite value. Zero means a pitch black dark situation where there are no lights at all. In his condition, we are caught on court, blind as we cannot see anything and infinite brightness, value is just a theory. As for us living in planet Earth, the brightest thing we can see is the sun. There is no men made light able to defeat the sun's brightness. Okay, now, if we need to capture this lightness information into an image because our standard image only have eight beats per channel, it may only capture a small portion off the real world lighting condition. We can, however, compress it like this. These kind of techniques are known as tone mapping. It is a very important techniques because our display devices such as computer monitor, TV, smartphone, screen, etcetera, even the our cities screen at the back off our digital cameras. They are all have a standard color space called S RGB. It is stands for standard RGB, which basically eight minutes for channel now, tone mapping is good only for displaying images in display devices. But if we want to reuse the image as a light source introducing, for example, or for further tweaking in post processing eight bit per channel images are too limiting. There is not much off the actual life. Information can be put in the image. That is why high range image formats was created to solve this problem. Several examples off high range images are etched dear. I open the X are high range PNG files camera profiles as federal essentially, these file formats able to store more than eight beats per channel now again, mostly, these file formats are useless if we only want to see them directly with our screen or display devices, because our display devices can only support eight beats per channel. Therefore, they won't be able to show the true form off high range images. So high range images are mostly not useful for common people. But they are very useful for graphic professionals. For example, as a light source is in three D software or in game engines, also in photography and in video post processing to give more flexibility in tweaking the exposure. Now Although Corita support high range images we are not going to use or discussed this in our course, we will be using standard eight beats per channel as this is what actually our monitors can display. 6. Hexadecimal color codes: When working with colors, you will often see people share colors using this hexi decimal codes, especially if you are doing Web design. Most likely, you already used this Hexi decimal codes to define colors in HTM l or N. C. S s cords. If we open creators foreground color selector again. We can see the Koran color in Hexi decimal value. Don't here Hexi decimal color code. Usually start with the hash mark or shop symbol like these. In this video, we're going to discuss the underlying structure off this hexi decimal color codes so later you can use them confidently and be able to change the color just by tweaking the numbers. Now, I need to warn you that this lesson might be a bit technical. So if you are not interested, feel free to skip ahead to the next lesson. Quick explanation. First, the sex A decimal codes can be divided into three groups, each with double digits. So the 1st 2 digits are actually for direct color channel. The 2nd 2 digits are for the Green Channel, and lastly, that two digits are for the Blue Channel. Okay, you might be wondering by now how come we have these numbers and letters all mixed up like this. Remember that in standard RGB eight beats per channel images, each channel will have eight digits. And in each digit we can only have two values which are zero and one. Now, if we divide these eight bits into left wing and right wing, we have four digits at laugh and four digits at right. Because we have four probable spaces and each with two possible values, we can calculate the maximum number off variations we can have and that will be to power by four equals toe 16 variations each. Okay, so each wing can have value between 1 to 16. But if we start from zero, we get zero so 15 value. The idea here is how can we write each off this wing with only one digit? Not for digits like this. As when we are using wineries and not using two digits like this as when we are using Desi more. The answer is by writing the value in Hexi Decimal. So what is actually Hexi decimal? Well, we all know about decimal, right? We count from one toe tree up until nine. Then after we reached 10. We actually doing a loop here we are back in zero, then 11 12 13 etcetera. Basically using decimal for each, then value. We are looping the counting order this behavior mostly because we as human half 10 fingers . Now, just imagine here for a second. Let's say you encounter on alien race that has 16 fingers instead off. Then how do you think the we'll call numbers using decimal system? Not likely. Big Chen's. They will use Hexi Decimal system Hex A decimal system loop the counting order Not when it reached the amount off 10 but when it reached 16. Now, if you grow this system, we can use only one digit to refer to the value off it off this wing. But wait, We still have a problem here. We don't have number symbols greater than nine. How can we symbolise number 10 11 12 until 15 in Hexi Decimal, then well, we can Hecate. We can use letters instead. So as decimal goes like this one toe tree for until we reach nine. After that we have 10 11 and so on. In Hexi Decimal, we have one toe tree up until nine we still have the same symbols here, but when we reach 10 we use letter a, then B for 11 and so on until F for 15 when we reach 16. Then we have been so then in Hexi. Decimal value is equal to the amount off 16 in decimal value. Okay, so by using the system at one digit space, we can have minimum value off zero, which is equal to the amount off. Zero also in decimal and the maximum value off F, which is equal with the amount off, 15 in decimal. So now, with only six digits, we can be fine. Any RGB colors that we like sometimes you will also encounter three digits color value or also known as Web safe colors. Please don't be confused with this court's, as basically they are noble values. So, for example, if we have 37 A. Like this very value for bees is actually 3377 a Doubletree double Stephan and Double A now will save color. It's a legacy off the old days standard when computers still have limited colors and also limited Ben with no days, they really not important at all. Several Hinz when working with Hexi Decimal Values. When all off the value zero either six digits like 000000 or just 000 using Web safe color . Former both off. This numbers mean black, as in RGB color model. No life means black if we have all of the value, said toe F, such as F f f or F f f f f f. This means that the color is why. Why is the strongest color as all off the RGB channels are set to its maximum values Next? We also can tell if the color is gray scale, and that is when each number off R G and B values are identical. So, for example, 12 12 12 like these poor for E for E for E or C C. C. All off these are grayscale color values. 7. Drawing tablet setup: in this lesson video. We're going toe cover how we can set up our drawing tablet to fit our drawing style and our illustration workflow. Currently, I am using a very old model off welcome drawing tablet. Now I understand that not everyone used welcome tablet and so this video may not be suitable for everyone, but I will try to explain this in a generic way so that you should be able to follow. Even if you are using different growing terror product or brand before moving on some off, you might be wondering why is using pressure? Sensitive device is very important for graphic artists is to answer this question. Let me just show you how it is like drawing with only mouse versus using pressure sensitive tablet such as welcome. Currently, I am using my mouse. Let me pick this brush and do some strokes. We can sit with off. The straw is always uniform. Now I'm switching to my welcome pen and tablet. I noticed, and I can control the with off the brush strokes by applying different pressure on the pen . And not only the brush with the pen pressure can also control the opacity off the brush for these, we need different brush preset. For example, this one. If I do random strokes like these, we can see different opacity levels in the result, because I apply different pressure on the Penn when growing them. Another advantage off using growing tablet is, well, the pen shape. Our hands are likely be more familiar growing with a pen than with a mouse. Having something in a tip off the fingers allows us to have more control than something that we grab in our palm. So from this example, we can see big differences when working with a mouse versus working with a drawing tablet. If you use Welcome tablet, you can start adjusting it by opening the Welcome Tablet Properties application. No, this application should be included in the box along with your product. If somehow you don't have this application included in the product, you can always download it from Welcomes Office. Your website. If you are using different brands such as XP Penn, who you on our Microsoft surface, etcetera. I believe there is a software included also where you can adjust the settings. You can open that software and just watch and try to find similar settings. Like what I'm about to show you after you have it open in welcome tabla properties, you will see something like this. Let's discuss this area with three rows off panel force. The first row is where we have all off our welcome devices list that I have one blocked in my PC. Now, which is this in toast tree? I own this model for more than 10 years now and it's still working great. Even the pan ib or the plastic tip off the pen is still the original one for 10 years. It doesn't degrade or anything like that. So I guess my old welcome tablet is living proof off. Welcome. Tablets quality. Okay. Now, depending on your device, you will have different settings. Don't Here. Basically, this road depends on this. Grow up here. We can see these two components down here because up here I have selected this device. So in here we have least hierarchical structure in the u I. If, for example, I pick the function panel in here. Everything below this role will change. Now we are talking about this buttons in my tablet. But if I click the span. Everything don't Here is all about the span. Okay, I'm sure you'll get the idea. Let's speak the pen for now, as depend setting, it's more general than the tablet buttons. Okay, After selecting the pen in a patrol, we can specify the application if none are selected or if you haven't specify any application, this all other option will be applied. So using this row in here, we can have different tablet behaviors for different applications in our computer. If, for example, we want to create a profile for critter, you need to make sure that creator is opened first. So the welcome properties can detect it automatically. Notice if I click this add or a plus sign button in here. Creator will be leased up in here selected and click the OK button. As we can see, the EP are no listed as custom app in this role. Okay, Now, if I select this creature ab like this and make changes stone here all off, the changes later will only applicable or active when we are working inside Creator outside critter. The settings will not be used as welcome. Will use the settings we have in all other precept in here. Instead, let's discuss the settings for the pen at the pen tab. We can say that I set the field setting toe almost firm, the third from the right. This actually controls how sensitive Europe in to your pressure. If you want to go even further, you can click these customize button and we can see the kerf by default. The curve is straight. Basically, the harder you press, which is this way to the right, the higher the output, which is up here. Now. There are two things I want to change because I tend to use drawing pen lightly, meaning I don't want to press too hard on the pen just to get thick lines or OPIC brush strokes. Therefore, I direct this note to the left of it. With this To get full output result, I only need to press until maximum at 80 or 90% off the pressure level. Perhaps it is this setting that keep my pen nib still in good condition, even after more than 10 years off usage. Okay, Next, select this point and drag it slightly towards the bottom right area. You might be wondering now, Why am I doing this? Well, because with this curve, it will be harder to get high pressure that's making my line. Drawing looks better. I found this curve suitable with my hand cracked ray state. Feel free to try it out and make your own custom curve if you want. Oh, for DoubleClick distance setting. I said this at the center for the Sensitivity. I generally don't you spend tilting in my workflow so any off this setting will do. But I lived this setting at normal for the pen broker button. The upper one is Seto right mouse button, and the bottom one is set to the middle. Most button this way. We can never get the can first later. Easier using the bottom rocker button. This is my set up, but feel free to assign them to other settings if you want. Oh, next the racer setting. I don't typically use Eraser T on the pen because I find it too slow compared to pressing E in a keyboard to switch to eraser mode. So I left the settings, so it's the fault. Let's move on, Though mapping now for mapping off course, you always want tohave landscape in here, unless you have special monitor that can be tilted and you like walking in Port ST Mode. Next is the mode. There are two modes here, pen and mouse. You always want to use the pen mode for cabinet devices. If you use most mode, the pen will behave exactly like the mouse or a track pad, so there will be no absolute mapping between your tablet and your monitor. If you move your pen on the tablet surface and then lift it up and move again, the cursor will continue moving from where it left off before. No, this condition really is not ideal for growing in the pen moored. The distance ratio between the screen and the tablet will be consistent, and this will make our brain and hence muscle able to, according it better, and become accustomed to it much faster. So again, I recommend you to use the pen mode and not the mouse mode. OK, said the screen area and the tablet area toe full. But turn on this force proportion option. This will help also to improve our hand coordination. As you can see, I have a very old welcome tablet that has four by three size ratio because back then, like more than 10 years ago, most monitor screen has four by three resolution. Currently, my display is a modern, high resolution monitor, which has sixth in by nine size ratio, basically much wider than the old four by three standard monitors. Therefore, we can see some area off my tablet not being used, and that is totally fine. If you own newer release off drawing tablets, most off them are available in 16 by nine size ratio. So you shouldn't lose some off the tablet part like what I have here. Okay, guys, I think this is enough. We will call for more in depth about tablet buttons. Custom initiation in later section in shallow. 8. Krita peformance tips: Many people believe that critter is slow or leggy, so they prefer other graphic applications when they need to do illustration or a digital painting. I can assure you that this is a complete misconception. Rita is not slower than for a shop or gimp or any other graphic applications. You just need to know how to set up, create a correctly to get the maximum performance out off it. In these short tapes video, I'm going to explain several settings that will truly improve Preta's performance. If you open creator and impress, be toe goto the brush tool mode, or simply by clicking on this button in here in a tool option Docker, you will see an option called brush smoothing. Just make sure that this option is set toe none. Why? Because most off the time when we do sketching or coloring, we won't be needing this brush smoothing feature. Based on my experience, we will only need this feature when creating line artworks or any type off drawing, which requires long, smooth curves. We're not going toe cover different types off brush, moving yet in this lesson again, for now, just make sure it is said toe none. So we have the best performance possible from Greta when creating illustration. Okay, The second thing that we can do to make Rita runs faster is to select the appropriate graphics driver. To do this, we can go to the settings menu, configure creator and then open the display category. In here. You will see the render pulled on leased in here and by default. It is said toe auto Open GL. Now, you should choose either open G l or direct reedy, depending on your machines operating system. If you are using windows, then you should definitely just direct ready in here. But if you are using my CO s or line X than usual juice open GL in here after you change the dry further, you need to click the OK button down here and then close critter application and then re open it again. The less setting that we need to deal with is the internal pull value. You can access this setting by going to the settings menu and then choose configure critter and then open the performance category in here. In a general tab, you will see the internal pull value. We just defaulted to zero. Now this topic can be too complicated to discuss thoroughly. But let me try to explain this as briefly as possible. Internal pool is actually a temporary memory which creator can use to store and toe pull repeating data quickly. We can think off it like a working desk. If you are working with a very small desk, you may not be able to put all of your tools on top off the desk. Therefore, you need to place most off your tools elsewhere, such as at the floor or Cabinet or any other places. This will make working slow. Now, if you have gigantic desk where you have all of your tools on top of it scattered all over , it will be harder also to pick up the tools, as you may need to jump on the desk and walk across it just to get something tiny at the other age off the desk. This we also make working slow. Basically, what you need is working desk at a certain exact optimal size. Only then the desk will be useful to you. Okay, now, much like this working best analogy, we also need to set the internal pool at a certain value in order for it to work for you, not against you. So how can we calculate the proper pool size then? Well, it is actually very simple. The formula is like this. The image with multiply the image high, multiply the channel amount, multiply the bit there. For example, if we often use a resolution off 2000 pixel with by 1000 pixel height, and we always use off a channel or transparency, meaning we usually use for channels at total and then we also usually use eight feet per channel depth. For your information, eight beat is equals toe one bite small letter B is forbid and weak. Letter B is for bite, so just multiply all off them. 2000 multiplied by 1000 equals toe two million multiply again by four, equals toe eight million and then multiplied again with eight feet for one bite, which at the end, equals toe eight million bite or eight megabyte Mega is just another name for a 1,000,000. Okay, so just type eight in here. That's the measurement unit for this input field already set toe, MB or megabyte. To make things even more symbol because most off the time we use eight beats per channel. And we also use for channels at Poto which are red, green, blue and alfa. For quick calculation. This multiplied with and height and then multiply the result with four. Okay, Now, just like the graphic driver, you also need to reset critter in order for the setting to take effect. Okay, guys, after you do these three tips correctly in shallow, you will get smooth or responsive performance from critter. 9. Working with documents: in this lesson video. We are going to discuss how to start and work with documents in creator. When you first launch critter, you will see something like this. There is not much to do or to discuss, as there is no document opened at the moment. So to create a new document we can goto file and in just new in here. Or you can also use control and for a short cut. Or you can also click on this paper like I can up here into our area. Or, if you have nothing yet in a document few like this, you can simply click here. If you do any off those methods, the create new document window will open. We can see there are quite options we can or need to set in here. First of all, let's discuss the left area in here. Don't Here we can quickly start a document based on existing templates. We have any mission templates. We have comic templates, and we have common designed templates such as a tree paper, a four paper for by three screen templates, etcetera. Now these templates are more than just a size precept, but they are actually create a document files complete with layers, and it's graphic on then, for example, let's speak comic template and just European BD template, and then click the use this template button down here. Create a will create a new document based on a template file. And there you go. We have this document complete with comic panels, common toe European comics format. Now, if you are walking with a certainly out over and over again, you might want to save your custom document as a template so you can start your work faster . To do that, it is actually very simple. Just go to the fire menu and choose create template from image. A window will appear in here. You can give it a name. You can set this new template, Toby, part off any existing Templar group. Or you can also create a new group by clicking this at Group button by default, Creator will generate on image preview for your new template, but you also can use your own custom image for the precept brief you if you want. Oh, by clicking on his select button in here. I'm not going to save these as a template So I hit this cancel button now, and let's close this document to close a document. We can click this X button in here or go to found a new and just close in here. If we have multiple documents opened and we want to close them all, we can use this command close all or by using the shortcut in here. Control Schiff. W Okay, that's press control. End toe open the create new dark human window. Again, let's speak custom document so we can discuss each off the options More in depth in the Dimension tab, We have a preset in here. The preset in here essentially store All of the settings we have in this tab suggest the with the height and the resolution the color settings information don't here are not included in this preset. For example, if it's like a 3 200 peopie, I we get this numbers. If we select the texture 10 24 we get another settings like this. For now, let's change the with toe 1920 pixels. So make sure the unit in here is said to pick sauce, then change the height toe 10 80 pixels and for the resolution changing toe, 72 pp. I Phoebe I stands for big sauce for INGE. Essentially, it is the amount off pixels in one inch square. 72 is the standard for a screen resolution, although nowadays some modern screen devices have very high density pixel resolution. But we live this at suffering the to P P I. If you never have a need to print the image like, for example, the drawing you want to create will be published to the Web or to a game engine, which basically just another screen devices, then changing this value is not really that important. Okay, we can swap the values between the width and height using this button in here. This is landscape, and this is portrayed. This image size setting we use in here is actually a full HD video resolution. And because we're going to use this image setting throughout our course, that's safe. This as a size precept. To do that, we can name it in here full HD, for example, and then hit the safe button in here. Now, next time we create a document, we can click in here and choose our precept full HD okay for a color. We've talked about RGB channel and offer Channel and also the bit Depp for channel previously All off these settings are already correct. So we don't have to change anything. We do want to use already be and have offer channel in our document so that we can have transparency And it will be standard image file, not the high dynamic range image. So it be Pacino is already correct. OK, what we haven't discussed before is this profile of value in here. This is for choosing the I C C profile. If you don't know what I c c profile is i c c stands for International Color Consortium. Basically, it is a set off data explaining the characteristic off color both for input and for output off a certain device. So it is specific to a certain device. Now most screen monitor in the world use as RGB profile as already, Lee stands for standard RGB although there are suffer oh, variances off s RGB profile. But mostly they are similar. OK, so that is for screen devices. But for other devices like cameras, scanners and printers, they all have different type off color profiles. If you want to learn more in depth about each color profile supported by critter, you can click this color space browser. What this icy sea profile do is to make sure that the color reproduction in a multi devices workflow will be more consistent. For example, if we are working from camera to monitor screen and then toe printer or any other multi device scenario. But to really make use off this isis see profile, you need tohave your monitor. Kelly Britta using a calorie meter. Okay, now this will be to advance topic for our course, and this topic alone can be a course on its own. And also, if you only use a monitor screen for digital painting and the final output will be on squeals. Also, I C C profile is not that important. Throughout this course, we will be using the default Preta's Isis See profile, which is a sorry GBL version two. Okay, before you click the create button in here, let's discuss this tab called content. Essentially, this step controls what will be included in a new document. We can set the name off the document in here. We can set how many layers will be included by default, It is said toe two layers, one time sparing layer on top and one big room layer at the bottom, which will have this white collar and 100% capacity. Now. Mostly, you want tohave this white color as a background layer and not as canvas collar. Why? Well, because having the background color s layer will make it easier for us later to show and hide it. If you said it as canvas, the two layers your create will be both transparent layers. And when you need to show and hide the background, you need to go to the background color setting, which is very inconvenient. Next, you can add description in here. This might be useful to store additional information about the file. Maybe you want to add revision. Note to your team or to yourself. I live it blank for now. Okay, let's click the create button now. If you select an image from Creator or from any other graphic software, such as photo shop or gimp, for example, and then press control, see that image data will be stored in the memory off the operating system, which is in my case, we knows then now this memory where the operating system store copy data or image is called the clipboard. So again, I repeat, the term clip war is basically a temporary memory sort where the operating system stores copier data, for example, I have for a shop opening here. If I select the image like this and then press control, see or go to edit menu and to Skopje right now we actually have an image in a clipboard. Okay, if we go back Toke Rita impressed Control and to create a new document. We can see this create from creep What button? If we click on it, Critter will create a new document based on the size off the image in a clipboard. After we have the document opened the image. We copy it from Photoshopped before we'll be pasted into crater. And as we can see, the image has the exact dimension with our document. The last thing we are going to discuss in this lesson video is the file formats. The 90 file off Preta is the cross file, although creator also support complex image file format such as PSD and the file, etcetera it is always recommended that you save your work as dot craft file. This will ensure that all off the data and the features specific to creator such as different types off layer and animation etcetera are all still in tech. So to save the file, you can go too far menu and then click safe s. You can determine where to save the file up here. You can name the fire in here and in this pulled on lease, make sure we are using create a document which is essentially a dot crop file. Okay, if later you want to publish your file toe Internet, you can self the image toe, Jay pek or PNG, or give file formats. To do that, we can use the same state as command just like before. Or we can also use the export command in here. Okay, I believe we already cover all off the basics that we need to know about Image document in Creator. So let's move on to the next lesson. 10. UI introduction: in this lesson video. We're going to discuss the basics off, create US user interface. After we have a document opened by default, we will have something like this. If for some reason you're you, I is not like what I have here. Then you need to refer it back to the default by going to the workspace pull down list in here and then to their fault, let's just start with creators differently out. So we have exactly the same you I lay out to begin with. Okay. The top area is called the menu, which is pretty standard in almost all desktop software in the world. Usually it is start with the file menu at the laugh and ends up with the help menu and the right side below it. We have the toolbar area in this area. We can see common commands such as new file, open save and then undo and redo. We also have brushed settings for the currently selected brush. At the left side, we can see a bunch off tool icons. This is called the Toolbox. So again, this one is the toolbar. And this one is the toolbox within the toolbox. We can access different type off tools that create a has to offer. At the center, we can see the view We just the largest area off the y essentially view. It's like window where we can see our image documents. We can have multiple views in a single creep association. So, for example, if I click this create new document button in here and then just click the create button down here, we now have toe documents opened. We can switch between document views by clicking on it up here. Don't. Here we have the status bar where we can see the name off the active brush, the documents, settings and the size off it. And we also have this document zooms Rider. Now, if you don't see this status bar, you may need to go to the few menu and click on this check box show status bar in here at the right side, we can see so far. Oh, doctors advanced color selector, docker layers, docker and grass presets, Doctor. Now, in other software, this individual components might be called windows or panels or palate. But in creator, it is called Dockers. Okay, Now you may already notice that we do have a menu up here called Window. So what is the difference between Window and Docker Ben? To make things simple, The term window in creator is actually another session off critter. We can see this in action if we go to window menu up here and in just a new window. Now, we actually have two instance us off creator application running. So, yes, we can have multiple creator running at the same time. Okay. So that this window and the term Dockers in Crete us you why are essentially this individual you? I components that can be arranged as we like, and each off this component feature a specific task. Advanced color selector Docker, for example, is used to select colors layers. Docker is for many gin layers and brush presets. Docker is for accessing and taking brushes. There are many other doctors in creator and we will call for some off them eventually. Inshallah, we can customize, create us you I by simply hiding, showing and moving around the Dakar's. There are several ways to show and hide the Dockers. The quick way to show and hide the Dockers is by right clicking on the toolbar by doing their acquittal will display all off the Dockers available. The ones that have a check box means that it is currently active for showing. So, for example, we can hide the advanced color selector docker by clicking on its name in here to show it again. We can do the exacting because it is essentially a kogo function. So right click Again and interest Advanced color selector Again, we can see the doctor or show up again in here. Another way to hide the Dockers is to click. The close button exists on each off the doctor, for example. You can see in the advanced color selector darker. We have these small close button. If we click on it, the doctor will be closed to show it again. We can use the right click method on the toolbar like before. Or another. Alternative is to go to settings menu and then no cars and click on the advanced color selector option in here. Okay, Now doctors can be grouped and arrange like them like this. It can also be moved around to other area off the y. But in order to do that, the doctor needs to be undock. First, it needs to be in floating mode. This what makes Crete us you, I concept will be different from most software is that when you try to direct a doctor like this, it won't go into floating more automatically. Okay. To make it float, we can click this small button at the left side off the close button. As we can see this Advance color Selector Docker is now in floating mode. And in this mode, we can place this doctor on the top area, for example, or on the left Aereo or a bottom area, etcetera. Let's bring this back to the right top area like this. And this will make it group with this to other doctors. Okay, What I want to change now in the u I is removing these two doctors the brush preset and the brush preset history. I need to do this because I'm recording this video in 7 20 pixel resolution, which makes the U I feels too crowded also because thes brush presets docker in here is kind of redundant as we already have brush preset up here. So let's close this brush preset docker by clicking on the close button. And we also don't need to use the brush preset history, Doctor, as we are going to use new pope appellate later for quickly accessing brush presets. So let's close this one also, by clicking on the close button in here. Next we can adjust the size off the color selector docker by click and dragging this dotted line in here. Up and down. This is so we can be color easier later. Okay, Now, after we customize d y and we like what we have currently we can save the you. I lay out so we can easily load it later. You I layouts are called workspace in creator To save the workspace, you can click on this pull down lease up here. You can give the workspace a name in here, Then plate the safe button. I'll name mine weedy, but you can name yours with your own name or any custom name you like. Then click this safe button later or custom workspace name will show up in here in this list. This way we can switch between different work spaces easier. Okay, Now you main order stepped down here. We also have another precept manager for window layout, mostly unit This. If you are working with multiple windows off Preta, for example, if you have multi monitor set up, we are not going to use this because we'll be using only a single window throughout the course. But essentially it works like the workspace preset manager up here. 11. Navigation: in this lesson video. We're going toe cover. How to navigate around the canvas, such as planning, zooming and rotating the canvas in Crete. Er, there are many methods to navigate the can. First, you can use the you I buttons are using. The keyboard only are using the mouse with combination off keyboard modifier Key. Also, you can use the space bar key oriented navigation, which is legacy model from Photoshopped. This will be helpful for those off you come from Photoshopped background. If we use growing tablet, we can configure it to use any existing keyboard and mouse interaction. So essentially any navigation control using a drawing tablet. It's just a replacement off the original keyboard and mouse methods. But there is one method for navigation, which is unique to some growing tabla and that will be using the hand gesture. Some blowing tablets have hardware support for resuming by simply painting the tablet surface with two fingers or to rotate or to pen around with it. Unfortunately, by the time a record, this video creator is not fully supporting this input method yet. There are reports in forums that Preta do have partial support on this method such as Pinch to zoom is working, but can first rotation is not also currently, I don't have any drawing tablet that support hand gestures to test it myself, so we need to skip this method for now. Okay, To learn to navigate the canvas, we need some kind off image in our canvas. If we only have white color like these, it is really hard to spot any changes that happen on the canvas. So let's open image Goto file menu open and find any image you already have. Okay, if you have a file open like these, the term canvas is these visible. Return your area. Anything outside this can first area will be invisible, but you need to know that critter and most graphic software exists in the world able to store images outside the canvas area. If you say if the image in their native formats that support layers But if you export or safe the image in common file formats that do not support layers such as J. Peg or PNG etcetera, anything outside the canvas area will be discarded. Okay, The next important thing I need to point out is that can first navigation will not actually transform the image. What we are about to cover in this lesson, it's just navigation, not transformation. The image will not change at all. What we are doing is simply changing the way we see the canvas. Okay, First, let's see how we can zoom in and out the canvas to zoom using the you I buttons, we can click and rectus slider in here. If you have her on this area and then click, we can type in any zoom factor we want to use. Or you can click on this pulled only Spartan and choose any pretty find zoom factor value such as 100% in here. Another u I approach off zooming in and out is by using right click method. But in order to do this, you need to be in brush mood. So this make sure you have the brush tool active in here, or you can also use other brush related tools. Which are all of these tools in here. Okay, If we have one off the selector, the fieldwork click. We will see this. Cool Papa Peller. Okay, so this floating thing we're seeing here is called the Pope a pellet in a pop up help. We can drag this slider to zoom in and out off the canvas, and it's button in. Here is for quickly resetting the zoom factor back to 100%. Next. Still in you I category, we can use this zoom to to zoom in and out. So let's click on this tool. Well, this is active. If we do left click, it will zoom in to zoom out. You need to hold the control key on the keyboard. Noticed the mine, a symbol appear on the mouse cursor. And if we click the can first, we'll zoom out. Okay, Next, let's see how we can zoom with a keyboard to zoom in. We can press the plus symbols on a keyboard and to zoom out, we can press the minor symbol. If we want to reset the zoom to 100% we compress the number one key. You can also press number two if you want to zoom extent so we can see the whole campus and number three if you want to fit the with off the canvas to the view. Okay, Next, we can also zoom in and out using our mouths scroll wheel. So screw up to zoom in and scroll down to zoom out to open around the canvas Using the you I we can either use these horizontal track bar or the vertical track bar. We can also use the panto, which is this tool that has the hand symbol Okay, to pen around using the mouse, only you can click and drag using the middle most button if you have a standard mouse to access the middle, most button is to actually pressing the scroll. Leo not rotating it, but pressing it down. This method is perhaps the easiest and the fastest method to open around, using the mouse to rotate the canvas. Using the you I you can open the pope Appellate. Remember the Pope appellate can only be accessed if you are in one off the brush based tools right click to open the pope are palette notice we can see these large ring. We can click and wreck this node to rotate, to canvass to reset the rotation So our campus is back to its normal orientation. We can click on this small circle at the top if you want to rotate the canvas with keyboard keys only. You can press number six to rotate the can first clockwise and breast four to rotate the can first counterclockwise. If you want to reset the can first orientation, you can press the number five key. You can also hold the control key and then press closing and opening Brecher keys to rotate the can first. Next. For most interaction, we can hold the shift key and then click Drag with the middle Most button. If you are coming from Photoshopped, you may already be familiar with the space bar or Internet irrigation. Critter. Support these type off navigation also, but with a slight difference. And that is in creator The space bar. Navigation support can first rotation, so how can we use this method? First, you need to press and hold the space bar Key noticed by doing that, even if you are in brush to mode or in any other tool. Originally by holding the space bar, Key Creator will be in temporal pan tool mode as we can see the cursor change toe hand cursor, while in this mode we can click and drag our mouths to pen around. Okay, Next to zoom in and out. We can hold the space bar key again and then hold also the control key Notice we get this zoom mouse cursor, so zoom in and out any small we can click and drag with our mouths up and down up to zoom in and down to zoom out. Okay. Now to rotate the can. First, we can hold space bar and shift at the same time and then click drag with our mouths. Okay, now we can add snapping behavior by aiding the out modifier key. So to zoom in and out, but with a snap feature called Space Bar Control and Out Case Together and click drag with our mouths, we can see zooming motion is stepped so we can snap toe 100% easily with this method to rotate the can. First with snapping could space bar Schiff and all case together and then click drag with our mouths. We can see that with this method we can snap toe zero degree ordo they fall orientation easier. Okay, guys. So those are the methods we can use to navigate the canvas in creator. Now, you might be wondering which method should I use personally, I will stay away from any you. I base interaction because they are just too slow to perform. My suggestion is, if you are using photo shop, I mean, you are constantly moving back and forth between crater in photo shop or even Adobe Illustrator, for example. Then you might want to stick with the space bar based interaction because you already developed the muscle memory for this interaction, so why not just keep using it? But if you knew Toke Rita and never used photo shop before and you don't have any plan to use it, then I suggest you to use the middle mouse button based interaction for navigation because this is the fastest method with the least button combination to memorize. So again, just to recap Middle mouse button to open around shift and middle. Most button for rotating the campus and control middle mouse button or scroll wheel for zooming in and out. The don't side with the middle. Most based interaction is you don't have a snap functionality, but you can still use number five in the keyboard to reset the canvas rotation and number 12 and three toe control zoom quickly. The last technique off can first navigation we're going to discuss is mirroring again. This is just a navigation technique. So the image is not really flipped at all. It is just how we see the image that is being flipped. So to mirror the view, we can use the M letter key for the short cut two referred back to the original view. We can press em again. If you forget the shortcut, you can goto a view menu can first and then choose mirror of you in here. 12. Freehand brush tool: in this lesson, video will be covering the basics off FREEHAND Brush Tools in creator To access the free hand brush tool, we can click on this tool that has a brush Aiken on it are. You can also use the keyboard shortcut for the brush tool, which is B Okay, we can pick brush preset by clicking on this button up here or by pressing F six for shortcut. For example, Let's make this brush preset in here and just drove some random strokes on the campus. And let's pick this one. We can see this brush has different behavior from the previous brush. If you want to know the name off the brush, we can have our mouse cursor for about two seconds on any off the brush preset and create a will display the name and the larger thumbnail of it. If you select a brush, we can tell the name off currently selected brush by looking at this left bottom area at the status bar. Okay, if you open the brush precept panel in here or by pressing F six again, you can see that critter already shipped with so many default brush presets. If you go to the Internet, you can even find more brush presets that you condone. Look, not to mention you can also create your own brush presets. My point is, we need a way to manage this ubiquitous brush presets so that our growing war flow is optimum. If not, you will spend more time looking for brushes than actually using them. There are several methods to manage. Brush presets in Creator first by using search and filter second by using tags. And third, by assigning the brush tag to pop our palate. Let's see each off this methods. One by one, force is using the search and filter functionality. For example, if we want to search only pencil brush, we can open a brush panel by pressing F six. Then click in here and type pencil notice. Now, the brush presets panel only display brushes that has the word pencil in it, and the other brushes will be hidden. Another example. Let's say we want to display only brushes that can blend colors we can type in a search bar blend. Now we can only see all off the blend brushes. Okay. To clear the filter, we can click on this X button in here. Now we can see all off the brushes again, like before. The next technique off managing brush presets is by using pegs by default. The brush presets included in Creator already have takes associated to them. To see the tags, you can click on this poor down lease up here and into any text you want to see. For example, let's select this eraser tag. Now we can see only the brushes that are tag as eraser. Another example. Let's speak in. We can see the ing brush presets or another example We can select pixel art, etcetera. Now what if we want to create our own tag? Can we do that off course we can. Let's say we want to create a new tag called My Brushes 01 to do there. Click on this button. Type my brushes 01 then hit. Enter the panel. No filter. The brushes belonged to the My Brushes zero on tag, which currently empty. We just created a new tag, but we haven't assigned any brushes. Tow it, tow at brush presets to our new tag. First select all in here so we can see all off the brush is available in Creator. Let's speak these pencil for ourself and assign our custom tag to it. The brush precept can have more than one tech associated twit. So to assign a tag right click on it assigned to tag and to my brushes 01 Okay, lets at this brush preset airbrush soft. Tag it with my brush is 01 Then let's select intact this one. Also basic to opacity. You can try each off the brush presets, and if you like it, you can take it with our custom tag. Okay. After we have suffer a brush, presets staggered. If we click on this, pulled on lease again and into my brushes. 01 tag. All off the brushes we take before our no displayed in the brush presets panel. And once that we didn't tag will be hidden. Okay. Now, using tech is important not only to filter them in the brush presets panel, but also to use them in a pope. Appellate! If you right click to open the pope Appellate, these circles in here are actually for the brush presets. Toe ed brush presets into these circles. Creator use tag. So to taste the attack to our custom. My brushes. 01 tag. We can click in here and then choose my brushes. 01 Now we can see our selected brushes before show up in the pope. Appellate, After we learned how to manage brush presets, let's actually discuss on how to control sufferer aspects off the brush behavior. First is the brush size to change the size off the brush. Using the you I approach, you can use the top slider up here in Crete. Er, every sliders like this can be used to type in the value directly. Okay, So to manually type in a value, we can have her on top of it and then right click. Then we can type any value in here. For example 30 then enter. The brush is now 30 pixels size. Okay. We can also use the Pope appellate to control the brush size Just likely and change the size using the slider. If you don't see it is floating panel. You may need to click on this small arrow button down here, which is actually for showing or hiding the brush control panel. No, personally, I am not a big fan off any, um methods to change the brush size because we cannot see the changes right away against the drawing. If you want tohave pure keyboard approach, you can press the opening brecca T to make the brush smaller, and you can press the coursing brecca key to make the brush size bigger. My favorite method is using the mouse and keyboard combination. To do that, hold shift and then click and wreck with the mouse or your pen. If we move it to the laugh, the brush size will get smaller, and if we move it to the right, the brush size will get bigger. Okay, so that is how we can control the brush size. Next is capacity, capacity controls. How OPIC the brush stroke is against how transparent it is. We can control the opacity by using this opacity slider. Up here, 100% means the brush strokes will be fully opaque, 50% will be semi transparent and zero person is fully transparent, making the brush Toby completely useless. We can also control the opacity using the slider in a pope. Appellate. If you want to use keyboard shortcuts, you can use I and oh letter keys press I toe the Christie capacity by 10% detriment and press oh to increase the capacity by 10% in Cremin. Okay, the last brush control we are going to discuss in this lesson is erasing in creator. There is no dedicated tool for eraser. All brush types can be used as an eraser by turning on this eraser mode up here for keyboard shortcut, we can use the letter E key to total on or off the racer mood. Press E to change the brush mode to Eraser. Press again. Toe. Turn it back to normal brush mode. If you have so many strokes on the canvas and you want to remove all off them quickly, you can do this by simply pressing the delete button. If you are coming from other graphic software, you might be tempted to do select all command first and then press the lead well in Crete. Er, you can do that also, but really, you don't need to do any selection first. Just pressing the lead is enough 13. Selecting colors: in this lesson video we are going to discuss on how we can select colors inside critter in Crete. Er there are several ways we can do to, so I colors first. Perhaps the most noticeable color selector is the advanced color selector doctor at the right top area. To choose a color for us, you need to specify the hue wheel in here. Essentially, the Hugh really determine what is the base color you want to use. After you settle with the hue color, you can and move on to picking the situation and the value of it by default. Critter used this triangle shaped color selector. The idea is like this. The more you go towards this point, the more high saturated the color will get. The more you go to the spine, the blacker the color will be, and the more you go to responding, the white or the color will be okay. Using this triangle is actually enough for us to pick any color that we want. But if you come from for a shop, you might feel that this triangle is a bit too small to display all off the colors. You want to pick Alhamdulillah Preta comes with direct, angular style for a color selector. To change it, we can click on this button. We can see color selector Tom Neal in here. Click on it. And in Tuesday's Square one that looks more like Photoshopped color selector, click the OK button. As we can see, the advanced color selector has changed to rectangular style shape. Another way to access the setting is by going to the Settings menu and then configure creator in the color selector settings. We can see the same exact interface we saw before. Click cancel. For now, as we don't need to change anything, let's see what these three bars can do for us. When coloring or painting, we often need to slightly adjust the color toe a certain direction. The first bar can be used to offset the color slightly in the Julio. So, for example, if we have green color selected originally dragging this to the right, we'll make it rotate a bit clockwise and dragging these to the laugh. We make it rotate a bit counterclockwise. The second bar will officer color diagonally this way, and the less bar will offset the color diagonally also, but this way. Okay, So that is how you can select color using advanced color selector. Another way to select color is to click on one off these two active colors up here in Creator. As with any other graphic software, there are two types off active color. This is the foreground color, and this one is the very ground color. Now, as far as I know, this foreground big grown paradigm is the legacy concept from Photoshopped In photo shop, foreground color is used by the brush and a background color is used by the eraser. But really, the only color that matter is just the foreground color. Big grown color only used rarely for certain tasks and mostly only serves as a second color placeholder for quick switching between two colors. My point is the term foreground and were grown is actually inaccurate because these terms are generally used for describing the depth in competition while in practice they have nothing to do with the sorting. They are just color placeholders. Okay, So to select a foreground color, we can click on these small top left color box In here In this panel, we can see the same color wheel we see in here, although somehow it is flipped, we can city already be values in here. We have a lot of color presets or swatches at the right side that we can peek. The two boxes don't hear the left. One shows the selective color and write one shows the previously active color. With this, we can compare the color before and after the color selection. As with brushes, critter support library management also for colors we can see. If we click on this poor, dauntless button, we see a list off color swatches. Also, we can name the color in here. We can sample any color on the canvas by clicking on this button and then click on any area in a can first and don't. Here we can see the Hexi Decimal code off the currently is like the color. Let's click OK for now, we can select color for the background color the same way, but we need to click these small color box at the right bottom. Okay, Another way to select the ground color is by using the advanced color selector doctor we have discussed before. When you do click and wrecked on the wheel and clicking in this area. You actually picking color for the foreground color, not the background color. But if you click and direct the wheel using the right mouse button and click in this area also with the right mouse button, you are changing the background color, not the foreground color. So again left. Most button is for the foreground color and right mouse button is for the background color . Okay for this foreground and background colors, there are suffering useful keyboard shortcuts that we can use first is the letter key D. We make the colors back to their defaults, and that will be black for the foreground, color and white for a background color. Essentially, pressing D is the same as speaking on this small button up here. The next short cut is exploiter. Key X is used to swap colors between foreground and background color. Pressing X is equivalent to a pressing this small button up here, which looks like to a roe spender. If we already have preferred foreground color and background color, for example, let's speak orange for the foreground, color and blue for the background color. Okay, we can use thes colors toe quickly fill out on entire layer or just our selection. I know we haven't discussed about layer or selection year, but just bear with me for now. Let's see how we can fail the entire layer with the background color. Okay. To do that, we can press the backspace key. As we can see, the entire layer is now colored in blue. To feel the layer with foreground color, we can hold Schiff and then backspace. Now the layer is flooded with orange color. So again, use shift, backspace toe feel with foreground color and backspace to feel with big grown color. If you forget the short cuts, you can go to edit menu, and we can see both off the commands and the short cuts in here. 14. Picking & offsetting color: in this lesson video. We are going to discuss how we can be colors from the color history and from existing colors in the can. First, most off the time when we are growing or painting, we need to pick a certain color over and over again. This is because we probably already have certain color scheme for our artwork are we just need Toby color from the can first to blend colors, for example. First, let's see how the color history works in Quetta. If you sell a color using the advanced color selector, no matter how many times you change the color, Krista will not memorize them in a color history. But if you actually use the color on the canvas, for example, using the brush tool like these create a will store the color toe, the color history. You can see the color added in here. If we change the color toe this color, for example, and stroke again on the canvas, we can see another color edit on the color history. With this color history, we can quickly Slyke any previous color we have used before. You can also so a color history from the proper palette in here, so this color bars around the color wheel is actually the color history. Okay, Another way to select color from the color history is by pressing H in the keyboard. A small pop up will appear, showing the lease off colors we have used before in here. We can quickly select any color that we want to use. Okay, now we are going to learn how to be color from the canvas. The quickest way to be color when working with the brush tool is by holding the control key . Remember, you need to be in brush to mode for this to work notice by holding the control key. The mouse cursor change to this. I drop December while in this mode, if you clicked with the left mouse button, any color on a target cursor will be sampled as the foreground color. But if you press rightly, the color on the canvas will be sampled. Esther Bay Grown Color. Okay, this control key method is my perfect method because more than 90% off our time when working with creator will be using the brush tool. Another way to activate the color picking functionality is by using the color selector tool in here toe. Quickly switch to this tool. We can use the P letter key. Well, this is active. Clicking will sample the color on the canvas and use their color for the foreground color when painting most off the time we need to shift the color Toby brighter or darker. We need brighter color toe and highlights, and we need to shift the color toe a darker color When adding shadows to our growing in creator, there is a cool system and short cards. For doing this. You can press L to make the color lighter or brighter, and you can press K to make the color darker. What's so great about the system is that do a creator Tuesday offset colors for brighter and darker is exactly how I will choose them. For example, notice if we click in here in a color selector, move the cursor away. Then, if you press K, the color will be darker but also become a bit situated because it is slightly moved to the right. On the other hand, if we press l suffer all times, it will move slightly to the left, so it's slowly reducing the situation off it. This is a correct behavior off real world lighting. The more brighter the last situation off color you will have. Okay, so again, K toe pick darker color and l toe pick brighter color. 15. Layer introduction: in this lesson video. We're going toe kaffir about lier. So what is exactly layer to making simple layers are like pieces off transparent papers stacking on top off each other in Crete. Er, we can manage layers in the layers Docker in here by default When we start a new document in Crete. Er we already given two layers one layer at the bottom, which is filled with solid white color and one layer above it, which is fully transparent. We can see if we click on the ice imbo at the first layer. We get to see this checker pattern. Now don't go panic. This checker pattern is just a way off Preta displaying transparency. This is just like how Photoshopped or gimp display transparency also by default. Okay, so if we click again on the ice Imbo in here we have our solid white color layer back again . One of the most important concept about layer is that they are staking on top off each other. Anything placed on top will block anything below it. For example, let's pick this layer two and then make sure we are in a brush to mode, pick a brush any brush will do and and let's speak a color. Al. Use orange color for now and just draw some random strokes on a canvas. Okay, now let's create a new layer. What's so great about Creator is that critter support different type off layers. If we click on this small carrot button, we can see least off different types off layer that creator support. They are very powerful, and we're going to cover all of them in time in shallow. But for now, we are going to focus on the most basic layer, which is the pain layer. Pain layer is essentially ordinary raster layer that you can find in photo shop or gimp now to create a pain layer. Because pain layer is the most common layer users want to create, we really don't need to click on a carrot button and then clicking here, although you can. But the faster way to do this is by simply clicking on this big plus symbol in here. Create a will. Assume you want to create a pain layer. Okay, so now we have three layers in our document toe pain on a new layer. You need to make sure that the layer is active toe activate layer. Just click on it and you will see a blue highlight on that layer, so make sure this sort layer is active and not the second layer. Let's pick blue color for now and just draw some random strokes. Notice. The blue color will always be placed on top off the orange color. This is due to the fact that the layer three we are working on is positions on top off the layer to where the orange strokes recite. Now we can reposition the layer, staking order by clicking and dragging. For example, if we direct this layer to tow the top and then release now, the orange colored strokes are on top off the blue one. Okay, dragging layer to manage their staking order may discourage you because you need to slightly move the mouse off to the side to see the target location. Another way to do this is by clicking these two buttons. Don't here this one to move the layer up and this one to move the layer down? Okay. Besides, for staking images, we can also use layer to move around images, rotating them, and also scale them in general. Computer graphic terms. All of these actions are known as transformation. So again, transformations are processes that in fourth, any off these three things. Moving, rotating and Skilling. We're going toe cover rotation and scaling in later in the lesson about transformation. For now, let's see how we can move. Layer around the move a layer you need to use the move tool in here or simply by pressing Tee Kian keyboard. We can select the layer in the layer panel and then click drag on the canvas to move the layer around. Now if you have this layer three selector, but when you direct to move the layer, the orange one moves instead. The school Be the tool setting, not set toe only move the current layer, but it detects the pixels. Layer beneath the mouse cursor and automatically pick that layer to change the toe setting . We can go to the tool options docker in here. Make sure the first option move. Current layer is active this way. Create a will only move the active layer, even though we are creaking and ragging on any empty pixels or any other pixels area belonged to the other layer. This second option ISS useful for certain scenarios, for example, where we need to move around a lot of small images distributed on multiple layers, and the less option in here is useful to move around a whole layer group. We will discuss Layer grouping in Suffer a lessons after these. For now, let's stick with the first option so our move tool will be more predictable. The last thing we are going toe kaffir in this video is naming our earlier naming. Our leaders is important, especially if we have a lot off layers and complex Nestor group layers in our competition to rename a layer simply double Klay on the latest name, change it toe blue, for example, then hit Enter. 16. Layer properties: in Creator Layer has many properties, and we can utilize these properties to make our work more organized and faster. If you want to follow along right away, just download and use the file I provided for this lesson for us is the feasibility off the layer to hide or to show a layer, we can click on these ice symbols at the left side, off each layer, click to hide and creek again to show the layer. Okay, next is locking. We can lock a layer by clicking on its padlock symbol in here. If this is on the layer is lock, meaning we cannot make any changes on this layer. We cannot move it nor edited, such as painting or erasing on this layer. Now you might be wondering, Why do we need to local layer? Well, when you are working on complex image composition, where you have a lot off layers in place, it is common toe accidentally pain on wrong layers or accidentally move them. Locking a layer were secured it layer from any accidental changes. Okay, this bottom in here is called alpha inheritance. Now, because to discuss our for inheritance thoroughly, we also need to discuss about group earlier. So we will cover this more in depth in the next lesson. Okay, for now, let's just move on. Tau Alpha, lock the offer lock option, which is this checker like symbol at the right side, Off each layer will look the transparency off layer from any changes. We can still pain and edit the colors inside it, but we won't be able to add more pixel area outside the existing pixel area. So essentially, this is different from the local layer at the left side, which will lock everything to see the difference. If we lock this layer and try to pain on this layer, the cursor already show no can do symbol. And if we try to draw a stroke, it will display this warning message that the layer is locked. Okay, But if we only look the offer, we can use the brush tool and let's say we want to use a red color and then pain on this layer. We can see we can only paint on existing pixels. We won't be able to draw on this transparent area. This offer lock is very useful when we need to do recovering or adding details to certain existing area. But we don't want to alter its feasible area. The less lier property we are going to discuss in this lesson is layer coloring. Sometimes when our composition become very complex, it will be very helpful to add color to our layers so we can spot an access them faster. To give layer a color. We can simply right click on the layer and then choose any off these colors. For example, let's big yellow color in here or let's speak another color. For example, red etcetera. If you want to clear the color, we can right click again and click on this X button. Another way to access Lee your properties is by going toe the layer properties window to access it. We can select layer and then click on this button. Don't here are by right clicking on a layer and into his properties. We can see the layers properties from this window, such as naming the layer picking color for it, turning the feasibility on or off, blocking the layer etcetera. But honestly, most off the time, he will never need toe open this window because you can access all of these options directly from the layer docker. There is one functionality that you can access from within this panel, which is these channels check boxes. With this, you can turn on or off certain channel off your layer, but it is very rare that you need this feature. 17. Alpha inheritance & group layer: previously, we discussed about Layer properties, but we haven't discussed about one particular earlier looking property, which is the Alfa inheritance. If you want to follow along right away, just open the file I provided for the previous lesson, which is this file. Okay, we can turn on or off our for inheritance by clicking on the symbol that looks like a small a letter or off a symbol. This property. If it is on, we'll make the transparency off the current layer to follow the transparency off the layers below it and not actually just one layer below it. But it will follow all of the feasible layers below it in the layer stack. To understand this more clearly in the fire I provided, you will see one layer that has a yellow circle and another layer with a green circle offer lapping the yellow circle. For now, just hide the white big grown layer, so we have mostly transparent area like this. Now let's create a new layer on top off the green circle layer. Pick a solid brush, press D to set the black color as the foreground color, and let's draw some black color strokes like this. OK, notice how this black pick sauce just block everything below it, including the transparent area. Now watch. We night on the hour for inheritance on by having the offer. Inheritance on the black pixels in this layer can only be fizzy Bo If there is a feasible pixels in the layers below it, If we hide the green circle layer, the black pick sauce on it area will be hidden also, If we hide the yellow circle layer, it will hide the black pixels on top off that yellow circle. Now, if we unhurt the white background layer, we can see all of the black pixel strokes become masebo. This is because this white background layer has solid. Why color failed the entire lier so again are far. Inheritance will make the current layers disability controlled by the feasibility off the layers below it. If you used for a shop before the offer, Inheritance concept in creator is almost similar with the clipping mask concept in photo shop. Okay, now what if we want to see the white Grolier but still want to constrain the black pain colors on Lee on these two circles? Well, we can do this by using the group lier. In fact, in most cases you need to create a group player to use offer inheritance properly. There are two ways to create group earlier, manually or automatically. First, to do this manually, we can click on this character button and then choose group player in here. Okay, so this new layer is not a pain layer, but a special layer called Group Lear. We can tell if this is a group layer by its Aiken. We can see it has this small folder. Aiken. While the pain layers have this pen and paper Aiken's we can rename a group player just like with any other layer. To put these three layers inside the new group layer, we need to select all off them first by clicking on this one, and then hope Schiff and click on this one. Then just direct them all and dropped them. When you see the target highlight blocking the layer like this not like these, but when it looks like these, I hope you can see this in the video. When you release the mouse, the three layers we direct before will be put inside the group player another way to insert this layers is by using these buttons. Let me under this first. Okay? So just like before, we need to select all off these three layers. We can click on this one, hold control, and then click on this one and this one also. Then just click this move A button and creator will put all of them inside the group earlier. Okay, so those are the manual methods, let me undo again a couple times. Okay. The automatic and faster way to encapsulate all off these three layers into a layer group is by using shortcut control G. But first, we need to make sure that this layers are selected. Then press control G. As you can see, we have a new group layer created by Creator automatically. And all off our layers are already inside it. If you forget the shortcut, you can also use right click method. Let me undo again. So, like all of these layers as always, then right click and then to group and in twos. Quick group in here. We now have these three layers inside a group just like before, After we have all of them encapsulated inside a group, as we can see by grouping these three layers and this top players are for inheritance is on the black color Strokes in this layer are only controlled by these two layers below it Inside the same group. The white background layer has no effect on this. Layers are for inheritance because this big role layer is outside off this group, therefore get ignored. This technique is very important when we need to create a non destructive digital painting which we are going toe coffer later in the project lessons. 18. Opacity & blending mode: in this video, we're going to talk about more layer properties, and that will be opacity and lending mode. If we look at the layer doctor up here, we can see we have a pulled on lease that say is normal and a slider called opacity. Let's talk about opacity first. If you want to follow long, just download the file I provided for this lesson. Capacity controls how opaque or how transparent layer is against the layers below it. As you can see in this file, I have three layers one big grown layer with solid gray color called BG, and one layer on top of it with a star shape and this colorful boxers. And finally, the top layer, which contained a grayscale boxers. Okay, now, if I select this layer and then dragged these opacity of value left and right, we can see layer will get more transparent as we direct the opacity, toe the left towards 0% and it will become more opaque as we direct the opacity slider to the right towards 100%. Now, Unit Wonder Stand that both opacity slider and the blending mode in here are contextual, meaning it shows the value off currently active layer. So if I make these layers opacity toe around 50%. Oh, yes. Besides dragging with your mouse cursor, you can also have where your mouse on top of it. We don't clicking and just scroll your mouse wheel. Or you can also input by typing the value directly. To do that, you need to, right click on it, then type 50 for example. Okay, now we have this layers opacity Seto 50% now notice if I select this layer below it. The Opacity slider shows 100%. If we select this layer again, it shows 50%. So again these values will change based on whichever layer is currently active. Let's change this back to 100%. This pulled on lease controls the blending mode off the active player. Okay, so what is exactly blending mode? Blending more is a mathematical algorithm, which controls how color blend between each other or, to be more precise between color in one layer with color on the layers below it. Blending mode is a general term in computer graphic. It is a term not only applicable to creator, but it exists in almost every computer graphics software in the world, at least every software which allows you to do image composition. If you open the layer properties window by right, clicking on a layer and into properties in here, we can see that we can control the blending in the properties panel. Also, just click Cancel for now. Okay, When we see the world normal in here, this simply means the layer used the default blending mode, which basically block everything below it. If I click on this blending mood pulled on lease, as we can see, Creator comes with so many blending modes and normal is just one of them. They are categorized in several sub leases in here. Now, obviously, we are not going to discuss all of them one by one in his video, that will be too long. Toke offer. We are only going to discuss the six most commonly used blending modes and they are normal . Multiply screen, overly color dodge and lighten. Okay, for dress off the blending modes, you can simply test them one by one to see which one you like best. Okay, if we used the move toe and move this layer so that the grayscale boxes blocking the star and or the colorful boxes in here, it will just block everything out. This is the normal behavior off a layer, which, basically ah, full OPEC image will block the feasibility off images below it. And we call this blaming mode as normal. Okay, now, what is the change? The normal blending mode to multiply. We name off this on top off this star image or these colorful strip. It darkens it. So now we know that multiply blending mode darkens images below it. What's unique about multiply blending mode is that what color will become pure, transparent black color, however, will become fully opaque. So to recap, multiply, blending mode will make everything below it. Fizzy bow but darker black will be fully opaque and white will be fully transparent, and other color spectrum will follow the pattern, Which is the darker the color, the more opaque it becomes. The brighter the color, the more transparent it becomes. Usually, we use multiply, blending mode, toe at shadows to our illustration. Now let's change. The blending mode at the screen screen is the opposite off. Multiply it light and everything below it, as you already noticing here how it affects color below it. Screen blending mode makes black color become fully transparent and why color become fully opaque? We use screen blending mode mainly for reading, glows or highlights toe on image. Next is overly blending mode, the overlay blending mode. It's like the multiply in the screen combined together, so dark colors will have a multiplying effect, which makes everything below it. Darker. Bright colors will have screen effect, which make everything below it. Writer. The unique effect off overly blaming mode is that a perfect 50% gray color will become fully transparent. As we can see in here, one strange behavior off awfully blaming mode that I found is that if the colors below it are pure R G B colors, what I mean by that pure red color pura blue color and pure a green color. The current layers color will become transparent no matter what color you have on it. Usually, I used awfully blending mode for adding texture to the illustration and also for additional color correction process. The last two blending modes I used a lot is lighten and color dodge both off. This blending modes are still one family with screen, meaning they all make images below them, become writer. But each off them has slightly different characteristics. I use lighten blending mode mainly for reading, fog effect or reading particles in the air. And I used colored dodge for reading strong glowing effects on the illustration. Okay, guys, I think we cover enough information about blending modes. I suggest that you play around with them. Just try to experiment with different, kind off, blending modes available and see what kind off artworks you can create by using them. 19. Selection basics: in this lesson video we're going to discuss about selection selection is very important, as we can use it for many different purposes. But essentially we use selection to constrain everything toe only certain parts off our image. Now, when I say anything, I mean it can be painting. It can be transformation or any image filter, etcetera. We will cover more about these techniques later in shallow. For now, let's see how we can create basic selection and how to manipulate it with shortcuts in creator. All off the selection tools are grouped in here. Mostly they have these best lines characteristic on their Aiken's. The first selection tool is rectangular selection tool. To access it, we can click on it, then click drag anywhere on the canvas to draw the selection. Okay, before moving forward, I want you to see the effect off selection to our working environment. If we select the brush tool and then draw some random strokes like these notice, we cannot pain outside the selection area. Okay, now, if it's like the rectangular selection tool again and click drag again on the canvas as we can see, the old selection region will be gone and we have a new selection as the replacement. If we select the brush tool again, let's say we use this blue color. Now, if we draw some strokes again, it will be constrained toe this new selection area. Okay. Now, when creating selection, we can use the modifier keys such as Schiff or Control, or the all key to have more control on the selection shape. For example, some time we want to create a perfect square selection. We can create square selection using the sheaf modifier key to do that when you click and drag to create a selection, do not release the mouse or your pen yet Well, in this condition, press and hold the shift key Notice the selection become a perfect square, meaning the width and the height of it half the same length. Okay, so what about the control in the out modified key? The control key will make the size changing happen on all direction. We'll show you what I mean. If we click direct like this, we don't releasing the mouse. Hope the control key Notice. Now when we move our mouths, the difference for the size changes. It's not at the corner anymore. Instead, it will use the center of it. Okay. Now we can combine Schiff and control Key together as needed. The less key modifier is out. We can use the all key to move the selection to a different location. For example, if I click direct like these, we don't releasing the mouse. Then impress and hope the all key. We can move the selection toe, other location. If we released the out key, we can still continue the selection creation process. I know this might be troublesome at first, but with a little practice, you should get the hang of it. Inshallah. Okay. Next is the elliptical selection tool. Well, essentially, this tool will create, circle or selection and dislike the rectangular selection tool. We can also use the modifier keys to control the selection creation process. We can use Schiff to make a perfect circle selection. We can use control to change the center off selection scale, and we can use all key to move around the selection after we have a selection sometime. We need to go back to normal mode where we can access everything again. Basically, we need to clear the selection to clear the selection we can use keyboard shortcut control . Schiff A. If you forget the shortcut, you can always go to the select menu up here. And you can see the the select command up here. The shortcut is control. Schiff. A Also, from this menu, we can see we have additional shortcuts to control selection, control A to select the whole campus. And we have control Schiff I to invert this election. Basically, invert selection will make the selected Ragen become un selected and vice versa. Make the UN select that region becomes selected. Let's see this command in action. Let's speak the elliptical selection tool and then click direct like these on the canvas. Well, we have selection like this. If we grow something with the brush tool, we can only grow inside the circle right now. Hold Schiff and control an impressed I letter key. The selection is no inverted. We can see the marching ends on the border off the canvas now. So this whole campus is now a selected except this inner area off this circle. So when we try to draw something with the brush tool, we can grow everywhere except inside the circle. if you want to invert it back, simply press shift control. I again. Okay, I'm sure you get the idea here. The less two tours were going toe cover in this lesson is the polygonal tool in the outline selection tool. The polygonal to which is this tool in here will create a polygonal selection by clicking and releasing the mouse to finish up the selection, you can either click again on the starting point or you can double click. And now we have a selection like this. Polygonal selection is suitable to select geometrical shapes that mostly consist off long line shapes like architectural or mechanical objects or rough stones, etcetera. Okay, finally, the outline selection tool. Now this outline selection tool is a bit different from the polygonal selection tool because instead off doing a serious off click and release action, we use click and wreck method. So after we select the tool click, then drag to draw the selection. When we released the most button, the selection creation process is finished and we have our selection as the result. Mostly, the outline selection tool is good for selecting organic forms that has many spikes and random curves such as three lives bushes, furry animals or humans, hair etcetera. In other graphic software, this outlines selection tool is also known as Last Source Selection tool. There is one technique off selection that you will see me doing a lot in this course, which involves combining the power off polygonal and the outline tools together in one go. To do this first, you need to be in the outline tool mode. Then you need to hold the control modifier key. If you do this, we can click direct to create outlined type selection, and we can do click and release to create polygonal selection. So, for example, we can create a cotton candy or a simple three ships election easily in one go with this method. Just do suffer a quick release like this, then click direct to draw the lives in this area. Because it is more convenient to use this technique. I honestly almost never used the polygonal selection tool again unless the selection that I need to make our only consists off straight lines 20. Customizing the UI: in this lesson video We are going to tweak writ us. You I So it fits more with our digital painting. Workflow. This is one off the key ingredients for speed illustration creation. Now don't get me wrong here. I don't want to force you to exactly follow my you I preferences. You can have your own. You I lay out and your own keyboard shortcuts later. But for now, to make things less confusing, just copy exactly what I'm about to do. So we have the same starting point. At least with this lesson, you will have some experience off tweaking the layout. Okay, First, let's speak the default workspace. To do that, we can click in here and in just default. Okay, The status bar down here. It's not really useful for us. And it's taking some space in our you I I rather have a horizontal space for the toolbox. Then, for this status bar, we also won't be using these zoom slider to zoom in and out off the campus to hide the status bar. We can open a few menu. We can see show status bar in here, click on it to hide it now we don't see any state This bar don't here anymore. Next, I won't be using these scroll bars to open around the canvas. So let's just hide them little death. Go to the settings menu, configure Corita and then just the display section in here. You will find this option height. We know scroll bars. Turn this option on and then click the OK button. Next, we want to direct this toolbox toe the top area. To do that, we can press and hold on this bar in here Brightness toe the top until we see the highlight Pre few like this, then released to confirm We want tohave smaller Aikens and also only one role. To do that, we need to right click on any off the tool we can see the eye concise option in here. Let's speak 12 by 12 size, which is the smallest one at the top. Now you don't really need to use these small I concise is especially if you have high resolution monitor. I do this because I am using HD Resolution 7 20 pixel hype for this video recording. With these smaller Aikens, we can have more room for the campus view. Okay, Next direct. These dots handle up like this. So we have only one Rome for all of the tools up here. Okay. Next, we need to move the advance color selector and also the tool options to the left. To do that first, we need to click this button toe undock the docker. Direct this until we see the highlight at the left side and then release. Next click on this undock Button off the tool options, doctor. Then move this doctor So it is below the color selector. Doctor, direct these knots handle so we can see all of the buttons at the tool options doctor. Then move. These dots handle up and down until the color selector areas is at its optimum size. Personally, I never need the overview Docker. So I just close this docker by clicking in here for a brush precept and brush history Disclose both off them. Finally, we will never need to use the Channel. Docker in photo shop Channel panel is important as we can do a lot of things in the panel. Unfortunately, by the time a record a video Caritas Channel Docker still has a very limited functionality So let's just close it for now, Okay? After we have our custom, you I set up like this. We should save this layout as a workspace precept to do that, click on workspace. Priests, at least up here. Give it a name. I'll name it. Just we d. So later. I can tell that this one it's my personal you, Wiley. Our You can name it with your own name for any name you like. Then click the save button. So now notice when we scroll this list, we have our custom preset listed in here. 21. Favorite brushes: in this lesson video. We are going to continue customizing creator so we have more faster workflow when doing digital painting or illustration. In general, we have already tweaked to you I in a previous lesson. Now, in this lesson, we are going to focus on brush assignment. Our digital painting workflow is quite simple. We only need six main brushes each for a specific task in our work floor, we need one brush for sketching, one solid brush for filling out areas or making silhouette. One brush for aiding shades and highlights another brush for smearing or smudging colors. Next, we need one brush for blurring or mixing color. And finally, we need one brush for any details. These are the six main brushes we are going to use, but beside these brushes we can also add one additional brush dedicated for erasing. Now you can skip the razor brush if you want to, because in Quetta, all brushes can act as an eraser. But I found out that in sketching face, it is more convenient to have a dedicated eraser brush. Why? Well, because changing the pencil brush toe eraser will result on eraser that is too small in size. You have to do brush sizing back and forth if you don't have a dedicated eraser brush. Basically, this eraser brush will say if you turn off times, especially in sketching face. So with the razor brush at Toto, we have seven favorite brushes. Let's bake each off these brushes one by one. Okay, so first for sketching, we need a pencil brush. You can pick any pencil brush you like. Personally, I like this one pencil for soft. So I will take this brush with attack name to do that right. Click on it to assign toe tag. And then in the new tech input field type the name you want to use. I just named this production. You can use any name you like, as long as you are consistent with that tag name. Next, we need a brush for filling out color or making silhouette for this brush. We need the size off it, Toby. Controllable by the pen pressure. But the opacity off it should be fixed. Essentially, we want the opacity, Toby. Always solid or 100% opaque. If we brought Quito's brush precept, we can see the stroke preview in a brush Aiken like this one actually fade out to transparent when we lose in the pressure on the pen. So this is not what we need. This one is always solid. But as we can see, so does the size. The size won't change no matter how we press our pen. Now this brush is what we need. We can see the transparency is fixed, but the size off it is dynamic. So let's take this one with our previous take before, on that will be production. Remember to take all of the brushes we want to use with the same name. Otherwise, it will be useless. Okay, Next, we need a brush for reading shadows and highlights. Now this brush is the opposite. Off the previous brush, we wanted to have the size fixed, but the transparency off it is dynamic. You can use this brush, but personally, I like how this airbrush soft behaves. So for now, let's pick this airbrush for our shading brush. Take it again with the production tag. Next, we need a brush for smearing colors in Greta brushes that can make scholars can be seen in their Aiken's. They all have these water droplets symbol with these brushes here. Day makes color but also produced color. We only need something to makes existing colors. We don't adding any new color into the mix. My favorite brush for this task is this brush called blender smear. So let's take this brush with production. Take also. Okay, then we need a brush for blurring colors. This is useful for mixing colors. We don't need to dreck around the pixels for this task. I personally like this brush called blender blur. Less tag is also with production tag. Okay, next, we need a brush for detailing. Now. In most cases, we want the pen pressure toe control only one factor in our brush, either the size of it or the opacity off it. Rarely, we wonder. Pen pressure toe controls two things at the same time, but this detail brush is an exception. This brush should have both the size and the opacity dynamic. Keeping up with a pen pressure level and this basic five size opacity is just what we are looking for. So let's take this one with our production tag. Finally, for Eraser, let's speak this brush and take it with our production tag. Okay, Now make sure we are in a brush to mode right click to open up the pope appellate and change the tag in here to production. By doing that now, the Pope appellate will only display the brushes that are tagged with the production tag. So now we can see our seven favorite brushes that we have picked before accessible in the pope. Appellate. If for some reason you see a brush that is not supposed to be in here, it means you may have mistakenly attacked the wrong brush to remove it from the pope. Appellate, You need toe untech it in the brush preset panel. So to do that, you can click on the brush that you want to remove. Then open the brush preset again. The brush we already be selected or highlighted What? Click on it removed from other tag, then choose production. Now, I don't actually need to remove this brush, so I'll just hit the escape key 22. Custom shortcuts: in this lesson video. We're going to continue customizing Creator. We have already tweaked the U I and pick favorite brushes in the previous lesson. Now, in this lesson, we're going to focus, creating custom keyboard shortcuts. Rita has so many tools, but most off them do not have any short cuts associated with them. Now, when working with a drawing tablet, if you are a right handed person, mostly your right hand will be in this position and your left hand will be in this position . So basically you're left hen are lean towards the left side off the keyboard. So that is why when picking key letters for our custom shortcut, it is always a good idea toe. Find the ones that are positioned at the left site off the keyboard, near the position off our left hand. Of course, if you are left handed person, you might want the other way around. But you understand the concept here. Basically, we are aiming for a speed workflow for us. We want to change the diesel. I command toe pula, turkey. Why? Because pressing control Schiff A is not that convenient. And we will use a lot of selection and the selection in our workflow. To create a custom shortcut, you need to goto settings, menu, configure critter, and then select these keyboard shortcuts. Step in here in the search box up here, type D Select Preta will filter out the shortcut least known here we can see by default in the settle control shift A to change the shortcut. Just click on it, then click on this. None button down here. Then hit the cue letter key in the keyboard. Notice we get this warning dialog window Essentially this window. Inform us that there is another tool already using the Qula turkey shortcut, which is the multi brush tool. But honestly, you will rarely use multi brush tool for any really illustration work. So it is way more important that we use the Qula turkey shortcut for something that we use more frequently, like the selection. So to come from the changes dis click this reassign button in here and now we have a que letter key for clearing selection. Okay, next finding outlined selection tool and a sign the letter z for it. Okay, guys, Essentially. And that is how you assigned custom keyboard shortcuts Toe Creator Now, if you already have your own custom shortcuts that you like, you can save the keyboard shortcuts scheme toe a file so later you can copy the settings toe, other computer to save the setting or the skin. You can click on this new button in here. They named this to your own name or any name you like all named this weedy, just for example. Now we have it in a skinless in here, so safe it toe on external file. You can click on this safe load button in here and choose safe custom shortcut. You can see if the file to any location and name the file to any name you like. I really don't need to do it now, So I just hit the cancel button to load a custom shortcut. You can simply click the safe float button again like before, but then you need to click on this load custom shortcut buttons in here and find a file. I'm sure you get the idea. If for some reason you want to revert back all of the keyboard settings toe the default, you can press the delete button in here to delete the custom scheme and then to create a default skim in here. I won't do that now. Yes. I actually want to use the custom shortcuts. 23. Basic shading concepts: Although this course is specific about Preta and not about how toe pain in general are, we will still need to explain some off the basic concepts about light and shadow. In this lesson. This is because the concepts will correlate with the methods will be using in our next digital painting project. For this lesson, I provided a critter file so you can experiment right away with the concepts we will discuss in this lesson. The first thing we are going to discuss is the light direction. If we on height this group player and hide the rest off the group players, we will see something like this at the glands. What we see or how our brain perceive to be exact, is that this large circle is a sphere and all of these small ones are holes at the surface off the big sphere. The question is, why do eating like that? If they expand the group and hide this bottom layer, we can see that these small circles are no more than just rotated version off the big circle. This is what's so unique about light direction. Most light sources are coming from top natural light sources such as the sun or the moon are most off the time. Located above our head. Men made lights are also mostly located at the top area. We usually place limbs at the ceilings, and rarely we place them on the floor. Due to his habit, our brain are accustomed to see highlights at the top off objects and dark shadows at the bottom off them. Flipping this custom behavior on the objects inside our growing, we're resulting our brain to think that they are holes instead off three D shapes. Knowing this concept is important because when you create an illustration, our viewers will mostly expect to have the light sources at the top area. So it's that means that we cannot add light sources from the bottom area. Of course not. You can add light sources anywhere you like. It is just a good habit that if you add light sources other than the top area, you can help the few hours to understand that by drawing or showing those light sources. So again, to recap, light direction in shading is important as essentially, it defines the depth direction off a surface. The second concept we're going to discuss is how color values define how we perceive dep. We can see this in the second group player. The circle looks like a deeper hole than this one, and this one looks like deeper than this one. While what I have actually done is just different year, the opacity off each off these circles layer. This one is set to 100% this 1 60% and the less one has 20% opacity. The question is, why do our brain thing that darker color means deeper? Well, the arms are is in the real world. When a light way hit a surface, it will bounce off. It will keep bouncing off until it lost its energy. It is harder for a light way to reach the end off the whole or the preface ISS, as it will lose its energy before it gets there. That is why the deeper the hole, the darker it will get. Knowing this basic concept is important, so we can convey the depth off a surface appropriately to the viewers through the use off color level variations. Another aspect off shadow is its smoothness or a sharpness. If we on height this group and hide the other groups. We can see toe bombs on this large sphere. The upper bomb is actually made from the lower bump. I just copy it and then at a blur effect with notice how they both suggest different form. The upper one suggests that there is a lump in here with slopes around it, while the bottom one suggests that there is the high extrusion on the surface with steep chasm around it. So from this example, we can see the shop shading or, in other words, different contrasting color levels that collide each other. We don't any gradation well suggest our brain to think that there is a steep depth changes in the surface, while smart shading, or Grady in off different color levels will suggest our brain to think that there is a sloping surface in that location. In this less examples, we can see that from the same circle shaped by only leveraging the shading colors, we can convey a shape off humanoid face, a shape off a cone and a shape off a coin like objects. So the conclusion off this lesson is that shading place on important role to define the shape off objects inside illustration. Essentially, we need to understand that when we do shading, we are actually manipulating. Are few hours brains toe? Think in certain ways in the real world, the ship off objects will dictate how the shadows fall on those objects. In digital painting, however, we actually do the other way around. We orchestrate or design the shadow colors to dictate or to convey the shape off objects. So think off these three concepts that we have learned as our tools or our weapons to create different form off shapes inside an illustration. First, use light direction to dictate the direction on the surface, whether be inward or outward. Second, use darker Rashid's to dictate dep and third use shading. Smoothness do show slopes and shading sharpness to show steep surfaces. I know that it is easier to say it, then done to apply them and to really master them, you will need a lot off practices, especially if you are very new to digital painting or two painting in general. 24. Basic shading methods: in this lesson video. We're going toe. Cover different methods off, adding shedding colors toe a flat base color. First, let's create a circular selection. Total debt. Click on a circle selection tool in here. Click direct to create the selection and while dragging, hold Schiff to make a perfect circle. Okay, now pick a light gray color, then hold shift and then bake space toe. Feel the selection region with the light gray color we pick before now we have this flat colored circle to clear the selection. We can press Q letter key. Remember that you have changed the shortcut for clearing selection toa que letter key in a previous video. Okay, so basically, our job here is to make the circle to look like a sphere by ending shedding to it. So how can we do that? Well, there are at least two methods to do this. The first method is by using large soft brush, and the second method is by using hard H brush. But then we used to blur brush to blend the colors. Let's see how we can share this fear using the first method, but before we can do initiating works, the first step to shading is to determine the light sources. Complex illustrations may have multiple light sources. When we add shading, we need to consider all off these light sources for this first step. Vittorio, let's just use one simple light source. Imagine that we have light source at the top left area off our sphere. So this area will be bright and this area will be dark. Okay. The first method is to use soft, large, transparent brush to shake this fear region. To do that, make sure the brush tool is active. And let's speak these air brush brush preset. Next, change the brush size Toby, about the size off the sphere area. We can do this by holding shift and then click Drag to the left and to the right side. Okay. Next, select darker color by pressing K letter key three times. Remember, K is for darker color and l is for brighter color Now if we just brushed away like this, we will have the shading colors all over the place. We only want to have the shedding color on the existing circle area. Not everywhere. So in order to do this, let me undo first we need to turn on the off are locked in here. Okay, Now, with this turned on, if we draw some brush strokes, they will only affect the pixels colors. But maintain the existing pixels. Opacity. Okay, let me undo this again. Now, to turn this fact circle to looks like a sphere, do some strokes like these around like these several times from inside to outside, the airbrush brass will produce stroke thickness or opacity based on how hard we put pressure on the pen. Remember, the light source is at the top left area. So this means that the right bottom area should be dark. Now, if you are very new to digital painting, this is a very good practice to start with. If you failed at your first attempt, just feel the circle with a light gray color like before and just try and try again. Until you like the result. The more you practice, the more you get the hang off it. Okay. Now to Ed Highlight, let's pick our original based color first by pressing control key and click on this area, we can pick brighter color against our base color directly from the color picker in here or by pressing L keyboard shortcut several times, then make the brush size smaller. Now beside holding, shift and click drag like before. We can also use the bracket keys for changing the brush size. So press the opening record key several times and then just draw a stroke, make the brush size smaller again and then grow again and so on. We should have this nice fear growing. It's always if you feel at the first try, just undo and try again. Practices will make you better and better at it. Now let's explore another method off shading, which just using the salad brush and a blur brush tool. This time, we will also going to explore different Method off Layer organization, which just basically using a dedicated layer for shedding. This way, we have more flexibility to tweak it further. Let's hide this layer. Create a newly year. Okay, now let's create another circle. But this time we are going to use the Ellipse tool instead off the selection tool. So click on the stool in a tool options. Make sure the feel option is said toe for grown color and the outline option is said toe. No outline in the color picker. Make sure we said the color toe a light gray color. Then click drag and hold shift when reading it to create a perfect circle and we have a flat grey circle for a shading. We're going to create it on a separate layer on top off this layer, so create a new layer. Let's just rename these two layers first so we don't get confused. Leader Re namely stop One toe shedding pressed ebb and this one toe base. Okay, we need to constrain these top players Capacity toe this layers opacity in Quetta we can do this if both off this layers are inside. The same group to do is quickly for select this one. Hold control or a shift and then click on this one. So now both off them are selected. Then press control G, as we can see now, both off this layers are inside a group. To make this shedding layer constraint to this base layer, simply turn on the offer inheritance button in here. In this way, when we drove something in a shading layer, it will only appear when it is on top off the circle in the base layer. Okay, guys. So this is a different approach, which is a nondestructive way off adding shading toe a base color growing. Now we're going to actually create the shading collars. Previously, we used air brush, brush, preset toe at shedding color. Now we are going to use this solid or afraid brush precept called basic five size changed the size to be about as big as the base circle, but the Christie opacity to about 20%. Hold control. Click inside the circle area to sample the existing based color. Then press K three times to get way darker color from the original based color. Then create a round brush strokes like this and fill the entire right bottom area. Do that again. But now we start from this around area towards the dark side and then again and at another one we know have multiple flip colorations like this to blend all off these colors together we can use the blender, blur brush preset, make the brush size bigger toe more or less this ice and then just stroke like these to blend in the colors. Okay. Now, sometimes we want to move or shift colors from one to the other location. We cannot do this with the blender blood brush, but we can do this using these brush preset called the blender smear brush. Using this brush is like having our hand or finger to move around with pains. Okay, guys. So those are the two methods that we can use to add changing? Of course, there are other methods that we haven't covered yet, but I believe these two methods are great starting points. 25. Basic sketching & coloring: starting from this lesson, we're going toe cover more fundamental techniques off digital painting. And the best way to do that is to actually practice them directly by drawing something. So for that reason, we're going to draw this skull illustration from sketching, toe shading and finally detailing, I choose this skull object because it only has one surface or one based color. But the shape of it is complex enough for us to practice the shading techniques. In later project, which is the three illustration project, we will cover more complex drawing that consists off more than one base color. Okay, now, when I record the video, I actually have no idea what the final result we look like. I only have this abstract image in my head that I want to draw. So you actually see this image ahead off me? Okay. In business and video, we will call for how to create sketches and then prepare the layers for a nondestructive digital painting workflow. And then we will add base color using simple selection method, then add shading using our previous basic method and using a more advanced, detailed shading method with the help off selection Next we will cover how to add highlights and finally, how to add details and textures to our growing. There are a lot of things to cover. That is why this skull growing project will spend across multiple lesson videos. Okay, before moving on, starting from this lesson, you may see my most cursor jumping around from one place to another place directly. We don't any moving transition, and also you will see a lot of jittering when I stop and explaining something. This is because I will mostly use my drawing tablet instead off my mouse. If you see the cursor stop perfectly. Usually it is because I left the pen very high or I switch to my mouse or I passed the video in a video editing process. It may be harder now toe follow the most cursor location, but I will try to give a clue to you by moving around the pan first before doing anything with the pen. Okay, let's start sketching out a skull drawing. I am using the pencil brush from our production brass set. Make sure the foreground color is set to black. For this, we can simply press D in the keyboard okay, lets start drawing this large ellipse. OId shape will be the pride of Born. This will be the chick born. We are creating a simple stylus skull that only has four teeth. Let's create the eyebrows. It should looks angry. Of course, a real skull cannot show any emotion as unit muscles for that. But again, we are not trying to create realistic skull in this lesson. Our speed up the video for now, as we will only use the same basic technique throughout the process. I cut out some off the pride of bone because I think it was just too big now compared to the face your structure. Okay, now let's be named the sketch layer toe sketch and renamed the Bottom Layer Toe BG for background. And when coloring, it is better to have more mutual color. Why it's not good as it is the brightest color that we can get. If we have white for the background color, it will influence us so that we tend to pick brighter color. Also for our illustration, let's speak more grace color and then hit Schiff backspace toe feel the background layer with that great color. Okay, now for coloring. Let's create a new layer below the sketch layer but above the big ground layer. Let's name this will be, which is actually stands for based color are usually named based color layers with just be better key. Now let's reduce the sketch capacity to 20%. We can just right click in here and then Type 20 then enter the sketch. Drawing now looks very sub toe, but we can still see and use it for guidance to create the base color. Let's use the outline selection tool. Remember, we already changed the shortcut toe Z letter key. Draw the rage in with the selection tool. We can hold the control key so we can access both the outline selection tool and a polygonal selection tool at the same time. After we have the selection created, let's speak a light brown color and impress shift backspace again toe. Fill the selection with that color rescue to remove the selection. Now I just realized that the big grown color is competing too much with our skull base color, so let's riff ice the color first, pick our previous background color and then slide it down to get much darker color and then she if backspace again. Okay, now let's lock the layer to make sure nothing will happen to it. Okay, For a shedding, we won't be adding shading colors directly on the B layer as this will make it harder for us later if you need to make any changes or revisions. We want to create a dedicated layer for shading located above this layer now, because later we will use offer inheritance for the shading layer. But we don't want the shading layer to inherit from the background layer. We need to wrap the base color layer and a shading layer together in a group player. Previously, we learned how to use Control G for creating group player, but with this method, we need to create our shading layer manually. Let me undo these first. The faster way to do this is by using the quick clipping group command or by pressing control shift G or, if you forget the shortcut, you can right click group and then quit clipping group in here notice. By doing these, we created a new group layer. Our current layer is already placed inside it, but the difference from the previous method is that we have a new layer above our current layer which already has are for inheritance option turned on. So all we need to do now is just changing the blending mode to multiply and then renamed the layer toe s for shading. Remember, our previous lesson multiply will make colors below with darker which is perfect for reading shadow colors to our drawing. And let's rename the group lier toe skull. So again we have a group player named Skull which is on top off the big lonelier and later in this s or a shading layer, we will add the shading colors before doing any shading. As always, we need to define where the light sources will be. We can imagine that we have one light source on top straight at this position, but at second thought, this will be to dough. I think we should have a light source more or less to the right at this point. Okay. Now, to share with skull with basic shading, we can use the techniques we discussed earlier. Let's use the heart brush and blur method for these. Go to the brush to mode, pick the existing color, then press K once toe pick darker version off the color. Speak a heart h brush but don't use 100% Opacity. Produced the opacity by pressing I several times until we have 20% opacity again. We need to imagine that the light source is at the top right area and just shade like this . I'll speed up the video for now. After we have applied one layer, let's apply another layer on top of it and another one and so on. Okay, now let's use the blur tool and just blur out all off the heart ages. So now we have a basic or initial shading where we can add more detailed shedding on top of it. Okay, guys, in the next lesson, we will continue our skull drawing and at more details on it. 26. Detailed shading method: in this lesson video. We are going to continue drawing our skull object. We need to add detailed shading on several areas off our skull object. And for this purpose, we are not going to use the previous basic shading techniques. Instead, we'll be using selection and soft brush technique. Okay, Now, before we continue, I need to show you a very important setting. That will say, if you turn off times later down the road, just click on this brush setting button and make sure this option temporarily safe. Tweaks to presets is on. If this is off when you move back and forth between brush presets, the brush size, we always be reset to its brush preset default size. For example, If I changed the brush size off this air brush preset like this, Okay, now the other brush preset, for example, this basic brush and then go back to our airbrush precept again. Notice the brush size is reset to this size again. This is because the size was saved to this airbrush precept bike. Rita, when this precept waas created, this is very annoying. When you are in a fast paced drawing session because you need to keep changing the brush size again and again. So just opened the brush setting window again and make sure that the setting is on this way . For example, when we change the brush size off the air, brush preset and then pick another brush and then go back to our airbrush precept again. The previous brush size will still be there. Essentially create a will. Remember the brush size for each off the brush precept as long as you don't close creator application. Okay, let's start shedding from this area. Zoom in a bit. We need to pick darker color from the existing color. You can pick darker color freely in the color picker or the color history. But if you just open the file and you need to pick the base color, just turn off the shading layer. Hold control and click on this area toe. Pick the base color. Okay, now press K twice to shift the color toe much darker version from the original base color. Turn back the shading layer on. Now we will use the airbrush precept, but we need to reduce it's opacity all the way to 50%. By pressing I several times. This is so we have more subtle brush strokes. Next press Z toe access the outline selection tool. Then hold control and start creating selection like this until this point and just close the selection. Now press be toe go to brush tool. Make sure we are indeed you see in the airbrush precept. Then do several brush strokes like this Try to make the right part darker. Okay, press Q to clear the selection. And as we can see, we have created more complex shading with the help off selection. This right part is sharp and the left part is blurred. Now, this method is not perfect. Notice if we hide the sketch earlier, we have this. Jagger are harsh shedding lines like this. If you like this style, then it is totally fine. But if you are aiming for a more off painterly style, you should smart out these lines using our blender smear brush. Just drag several strokes along the lines, so smooth them out. Next. If we turn the sketch layer back on, we can see we actually have this special bone that holds the job. One I don't know the exact name for this I believe it is part off the temporal bone, but anyway, we can reduce the shadow in this bone area by oppressing Z again, select the bone area and now use the airbrush precept again. But this time, turn on the racer mode. You can do that by pressing this button up here or simply by pressing the E shortcut, and then use the blur brush to blur out the an area off this bone. So as you can see by combining selection and different brush presets and brush eraser mode , you can create complex shading to convey any object shapes you can imagine. Let's continue with the eyebrows in the eye areas. Our speed up the video now, as mostly the techniques will be using, are the same techniques over and over again. I am using the outlines selection tool again, using the airbrush precept again, and just do several strokes. Try to make the upper color darker. Use the smear brush again to smooth out the shading lines, then use the blood brush to blur out the bottom areas. For the eyes, the same process is applied. Use selection, then use the airbrush precept smear or blur brush and so on. Okay, guys, this is what we have so far. In the next lesson, we will add highlights and more detailed elements such as texture, cracks and dense. 27. Highlight & texture: in this lesson video. We're going to continue drawing our skull object. We're going to add highlights and texture details to our growing. To create highlights. We need to create another layer above the shedding layer renamed the Layer Toe H, which is stands for highlights. Turn on the offer inheritance, So everything we put in this layer will not be feasible. Outside the base color layers visibility for highlight layer. We need to use screen blending mode. Remember that screen blending mode will not block the colors below it. Instead, it will make them brighter. The rest off the techniques are fairly similar with the shading techniques. So, for example, we want to add highlights at the top area off the eyebrow. Create a selection like these press be for brush tool and let's speak the base color. But then let's press L to shift the color to a brighter color, then drew a stroke like this and another one at the center area so that the center area is a bit brighter, the same process for the right eyebrow. Create selection, use airbrush precept and stroke away at another stroke at the center area to make it brighter Let's add another one on top off the head area. We can then use the Blur. Brush Tobler out the top area for the eyebrow. We actually want tohave sharp lines, so we use the blender smear brush instead. Okay, guys, because the rest off the process is fairly similar, I will speed up the video. For now, - there are many ways to add Test your details. The simplest way to do this is to add them right inside the base color layer. But when adding texture to the base color earlier, we don't want to alter its visible areas, so make sure that the artful lock is turned on okay for texture. Ring critter actually provide abundant brushes for adding texture, but you may notice that none off them are included in our favorite brushes. This is because we only want to include the most common brushes in our pop appellate, while brushes for texture are too specialized and not used very often, Soto access them. We can directly open the brush precept panel up here, make sure the tag is said toe all so we can see all off the brush is available in Crete. I think we can use this brush for texture in the skull are perhaps this one. Let's pick this one instead. Next, for the color, we can pick from the existing color, or you can also pick directly in the color picker. Let's speak a more brownish color for the structure, and let's reduce the brush capacity to 30% and just draw some spots like these here and there. Another technique off adding details is by using selection and soft brush method, just like how we add the detailed shadings. But before we do that, I noticed that the bottom area need more rock earning. Make sure the shading layer is selected. This is what's so great about non destructive workflow is that we can easily and quickly make changes on any elements off the drawing, whether it be the base color or the shading or the highlights. Okay, no, that is done. We can start creating cracks in our skull drawing because cracks are relatively small, we can get away by creating them inside the base color layer. We don't additional highlight color press z Togo to the outline selection mode and create the crack shape after that used the airbrush precept. Speak of the color from the existing color and just brush away like this. Try to avoid uniform color level and try to make the lower area darker to give the illusion off depth. Okay, we can add more crack as we like. For example, let's add another one on the stop area. Same process like before. Create selection and add dark color with the airbrush preset. Okay, now let's create dents and scratches or scars on the skull for this purpose. I want to show you a different approach because the dense area is larger than the cracks we need to show shading and highlight colors on it. Remember our lesson about light direction. We need to flip the light direction to create a sense off concave ity in the surface. Let's speak the shading layer. We want to create some kind off deep scar from here to here. Press Z for the selection tool and let's create the selection. Okay, let's use the airbrush preset again and at our color inside the selection. But for this area, we want to focus heading the color on Lee on the top part off it. Next, activate the highlight layer right now we went toe ed brighter color. We can pick directly from the color picker our picket first from the existing color and impress L. For now, I just pick the color directly and then at color only at the lower part off the selection area. The scratch already looking good. But I want to make the sites off it more pronounce. So let me fix this Using the similar technique we've been using over and over again. Now what if we don't want any texture spots inside the scratch Order Dense area. Well again because we are using layers, we can easily fix this by force hiding the highlight in the shading layer. Pick the original color off the base color earlier Use ah, heart h brush and make sure the opacity is at 100% a new high, the highlight and a shading layers again. Make sure we are walking on the base color earlier and just brush away the spots we want to remove. Our drawing is almost complete, I said, almost because there are still several areas that I want to fix and fine tune. There are no new techniques to discuss, so I just speed up the video force. I'm fixing the left skull area. Then I am adding more shadows on a cheekbones. The eyebrows still look to flat, so I'm adding more shadows at the bottom part off them for the eye sockets. The shading still looks so sharp. So I am ending some kind off before area around them to make them look more solid. And the last final touch is this bone again. Okay, guys. So this is our final result. A stylized skull drawing. 28. The workflow: in this section we're going toe cover the workflow off, creating more complex illustrations By doing this three on a hill drawing project. In this current lesson, we'll cover the micro overview off what we are going to do in this project. There are at least two differences off this project compared to the previous skull Project Force we know have different colorations to work with. And second, we have multi composition layers which are a big round and amid grown, although there are on any objects in the background yet. But we will still discuss the possibilities towards that. Okay, so the overall process goes like this. The first face is finding reference images or photos and then place them in our canvas. Next is sketching. Sketching process is where we draw a rough drawing with pencil brush tool to block out initial ideas. This is where the actual drawing take place. The next process is lee or sorting. This is where we determine which objects in a drawing belong to each composition group. Commonly, there are three composition groups were grown meat grown in foreground, but you can freely and or reduce this composition groups as needed. The next process is based coloring. In this process, we will add the base color for all of the objects in our illustration. The next process is heading local shading or also known as Indian occlusion Pass. For these, we create another dedicated layer positioned above the base color earlier. This is where we had sapped O shea does on corners or crevices and also on contact surfaces . Next is global shading or just shading. For short, we can create a new dedicated layer for knees or just use the existing local shading layer in his face. We will add more out of the shadows and also cast a potatoes cast. The shadows are shadows that are being cast out from one object onto another object. The next face is highlights. This is the process where we add highlight or a spectacular colors on glassy surfaces. We need to create a new dedicated layer for this highlight colors. The next process is aiding details or textures. Now, for this process, you can create a new layer, or you can also simply reuse the base color layer. In this process, we can add color variations, textures, grounds, scratch US small bombs and holes etcetera. And that said, our basic digital painting workflow. You can add more and more layers to add details in colors to the illustration as you like, But this workflow will be enough as the foundation for us to develop further to create any type off illustrations we can think off in the next lesson. We are going to start our three on a clear illustration by placing reference images in a canvas. 29. Reference images: in this section, we will start our illustration project. The first step off our illustration workflow is to find reference images. I am sure that you already know how to sort images on the Web. So I will focus this lesson on how to insert reference images and how to manage them inside critter for reference. I already collected some images that I like from the Web, more or less. The illustration I want to create is like this image in here. But the top area off the cliff is filled with grass. So for the top area off the cliff, it should be more like this image and this image in here we can see that some off the aggressors are growing inside the crevices ofrece Brockie, cliff for the three. I like how this bone side three looks. It actually has a large fruit, but it is covered by this green Mosses or small grasses. But for me, the three bar is too plain for the three bark. I write the tree bark at this bone side three much better. And also the leaves characteristic for the cliff. I like the characteristic off this rock formation. Okay, so after we have all of the images. For the reference, we can bring all of them. Toke Rita using a special tool called the Reference Images Tool, which is this tool that looks like a pin click on it and an open the tool options doctor, you will see several option in here. To add a reference image, simply click this plus button, just the image you want to add and then click the open button. We can see that the image is now placed in our document, but it is blocking our can first, most off the time we want to place the reference images outside the canvas area. We can do this while in the reference images stool active by clicking on the image notice, we have these control notes to scale the reference image. By dragging this handles, we can scale the image to any size that we like. Now, notice aside, direct this note at the side. The scaling off the image will not get distorted or, in other words, it always keep its original proportion. This is due to the option in the tool options Docker, which is this keep aspect ratio to move around the reference image. We can simply move our mouths on top of it and then drag it. We can place these at the side like this, for example. Okay, now I actually want to draw the three and the clear facing this way to the right. Not this way, So I need to flip this image horizontally. To do that, we can right click on the image, transform and then mirror her recently. If you need more reference in ages simply at them again by clicking on this plus button, then toast the image you want to add and then click open. If you want to remove on image, simply click on the image and impress delete on the keyboard. Okay, now, remember, all this time I am using the reference image tool in here. If you use other tools, such as the select Tool or the Move tool, you won't be able to select any reference image, and you won't be able to access the reference image functionalities in a tool. Options doctor Also so again, make sure you are in the Reference image tool mode. Several other features available for reference image are controlling opacity and situation . Sometimes we want to trace from a reference image. Of course, you won't be able to do this. If the reference image is solid, we can reduce the opacity off it by for selecting the reference image and then in the tool options, Doctor, we can drag this opacity slider to the left. Around 20% will do. Now we can go to the brush tool, pick a pencil brush or any brush that you like, then start raising the reference just for example, our speed up the video for now. Okay, After finished, we can quickly toggle the feasibility off all reference images on or off by going to the few menu and click these shore difference images option. Let me turn this back on and go back to the reference images to mode and turn this opacity all the way to 100%. Okay, we can also control the situation off a reference image. If this is all the way to the laugh, the image will become great skill. Sometimes you need to do this when you only care about the value and you don't want to get distracted by the colors. Max is the safe location. There are two modes for this in bed and ling in bed means that the images you brought in as reference images will be saved inside the create a file. So this way your creator saved fire size will become larger, but you can safely transfer and bring the create a file anywhere we don't having to bring. The reference image falls externally. On the other hand, linking means that the reference image data will not be included inside the Create a file. This way, your creator file will be smaller in size. But if you need to transfer your work toe another computer, for example, you need to bring in both the Creator files and the reference image files together. Okay, so that is the difference between embedding and linking. The last thing we are going toe coffer in this lesson is saving and loading reference lee out. Let's say you already have several images for reference, and you want to save the layout so later you can load this reference in majors in another creature file. We can do that by clicking on this safe button in here, which is actually named export reference images said. Then you can just the location and name the file in here to any name you like, and then click the save button in another. Create a file. You can then load the layout by clicking on this load reference images, Set button and then pick the file Yousef before okay, guys are. We will put all of the reference images and then lay them out nicely. I will speed up the video as this may be a bit boring toe watch. In a normal speed, we are no done. In the next lesson, we will start sketching our three illustration. 30. Sketching: in this lesson video. We're going to start sketching out a three on a Hill illustration project. Previously, we already at reference images to our document. We can see them. If we drag around the canvas for our project. We're going to contain the illustration inside a circle. Why? Well, to be honest, so it doesn't take too long to finish because we're going to focus on the techniques. So there is not much value for you to see me repeating the same thing over and over again. Okay, that zoom in a bit to create the circle. First, we need a new pain layer. We named a new layer toe frame. Next, just the elliptical selection tool and then click direct from here while we are dragging Hold the shift key to make a perfect circular shape. Now, if you reach the end, but the circle is not at the center. Just hold out and write the selection to the left or to the right. We haven't discussed about the linemen year. So for now, let's just eyeball it then release the mouse. Okay. For this circle, we actually won the center Toby avoid in the outer area. Toby filled with color. Basically, we need to invert the selection. We can do that by pressing control Chief I. Now this outer area is selected while the area inside the circle it's not. Let's speak a dark gray color, then press shift, backspace toe. Fill the selection with that gray color. So now we have some kind off circular window where we can put our growing rescue toe on select all now for this friendlier. We don't want anything to happen to this layer, such as brush strokes or any other accidental changes. So for this layer, let's turn on the local layer icon in here. This way, nothing will happen to it. Next. We're going to create rough skating in this layer two. For this purpose. Let's pick our pencil brush. And for the first rough sketching face, I will use blue for the color. Okay, in this area, we will create the three around the middle area. We will draw the cliff ground and aggressive us. And finally, at the bottom, we will draw the rocky cliff, so let's begin sketching. This will be the tree canopy or the leaves. This will be the tree trunk and ranges and this will be the ground or the grasses. And at the age off this grown, we will be able to see the rocky cliff. Okay? No, I think the ground needs to be lower. Let's use our eraser brush. If we have the ground lower, we can have more room for our three. Let's at more details and let's start with the three first. We're going to create the three like this bonsai reference photo here. But we are trying to create a realistic style for our illustration. Instead, we will create a more stylized version off the three. Essentially, I want to create a more exacting style. So I will use mostly straight lines. I hope by doing this gives stronger characteristic on the three. Okay, I will speed up the video for now, as there is no new technique that we can discuss. This will be the left branch for the bark details. I want to add several lines pattern just like the bark in a reference photo. But I want to make them twisted toe. Give it more stylized. Look, I am adding a three not in here. The shape should be polygon. Oh, and has stylized suero pattern. The routes should also have twisted bark pattern just like the trunk. Okay, the tree is done, and I am working on the grass is now for the Rock Cliff. I'm trying to copy the pattern from the bottom reference photo. - After we are done, let's create a new layer on top off the current blue skates layer. Essentially, in this new layer, we are going to create more refined sketching, using black color to set the foreground color to black. We can simply press D as we can see. The foreground color is now set to black. Let's start tracing and refining the previous blue color sketch our speed up the video for now for this final sketching, you can create these to be as detailed as you want, especially if later you want to overlay your sketch on top off the final illustration. I know many artists like to do this, as this technique can give more artistic and Hendro and feeling to the final illustration. Okay, guys, So here is the final sketch. I am sorry that I have to fast forward the video because I made several mistakes when recording and this mistakes might get you confused. Essentially, I did suffer all tweaks on the final sketch. As you can see, the H off the strong at the center is moved down a bit. Also, the age off the right brains is moved down and to the left slightly, and I also fix some off the branch details at the laugh. Let's rename the previous blue sketch layer toe sketch Ralph and renamed the final Black Sketch layer toe sketch final. Okay, in the next lesson, we're going to prepare the layers and start adding the base colors. 31. Layer sorting & coloring: in this lesson video. We are going to sort our three illustration into multiple layers based on their composition and then add colors to them. Okay, first less Divide our illustration in two main group leaders. Now our illustration actually has only two main competition elements for us is the big lonelier, which is in our case, consists only the sky color. Second, we have the meat grown lier where the three in the hill exists. Currently, we don't have any foreground elements, so we only need two main group clears. Let's create the first group earlier. Rename this group layer Tow N G, which stands for mid ground, and let's treat another group earlier and rename it Toe B G, which stands for a ground. Next, we need to move the layer one into the BG Group player. We can regular or simply hit this button in here, and let's rename this layer Toby, which is stands for base color. Now let's focus on the mid ground group layer where we have the three and the cliff growing . For these, we can have each color area Toby its own subgroup earlier, so the cliff will be one subgroup layer the grass will be another subgroup layer. The tree trunk will be another subgroup player also, and finally the leaves will be another group player. Essentially, we can have four subgroup layers, a total inside the mid ground group player. But if we follow this strategy, we will end up with too many layers to work with what I like to do with this need. Grown layer. It's just toe. Divide them into two subgroups. Layers. One subgroup earlier for the grasses and the leaves, and the second subgroup, lier for the tree trunk and the rock cliff. This is because the basic idea off having multiple layers for coloring is to avoid areas touching each other. If the color areas have reasonable distance from each other, then we can safely combine them into a single layer. Okay, so inside the mid ground crew clear, we will need to create two new group leaders. Let's rename this one toe grass and leaves, and let's create another group player. This group player should be at the same level with aggress group player, so let's click this up button and rename this layer toe strong or bark. Mostly we will have bar color, so let's just name it bark and cliff. Okay, now that we have the group layers over, set up correctly to start coloring, we need to add pain layers inside them. Click on the grass and leaves group earlier, and then create a new pain lier renamed Layer Toe. Be for this color. This is the layer where we want to put the color for our grass and leaves. So let's just do that now. Press Z, or you can click the outline selection tool up here. Create the selection by following the final sketch drawing. Because this grass grew player will be below the strong and the cliff layer, we can safely skip creating the selection details in the areas where they overlap with the strong and the cliff coloration. Let's select a color for Miss Grass. Our pick green color, which is slightly towards yellow for based colors. Try to avoid colors that are too close to black or white or full saturated color because it will be harder for us later toe color. Correct them. So try to use more subtle colors, which are located mainly at the center area. To fill the selection with the color. We just speak. We can press shift back space if nothing happened. This is because in Crete version for about one, about five that I'm using, there is a bug where you can only feel color. If you are not in the racer mode, I hope this bug already gone in your version off Preta. If not for the work around, we can go to brush mood and turn off eraser mode, or just select any normal brush that has the racer mode turn off by default. Now we can press, shift, backspace toe, feel the selection with the foreground color. Next for the lives. Let's pick a different green color and then create the selection and then fill the selection with the color. I'll speed up the video now, as there is no new technique we need to discuss after the grasses and the leaves colors are done. Next, we want to create a base color earlier. Also inside the Bark and Cliff group, earlier renamed is Toby. Also in this layer, we want to add the colors for the cliff and the tree trunk, the rest off the process a similar, so I'll just speed up the video again. - Okay , now we have the base colors for our mid ground group earlier just to recap. Currently, we have a frame layer at top. We have the final schedule, your showed and one hidden rough sketch lier. Then we have the meat Grolier, and finally we have the background layer which still consists off plain white color. Before we add the background, let's organize our sketch layers. First, we can just delete the rough sketch layer, and I think you should do that. But in my case, I want to save the layer so you guys can don't look the file later and be able to see the process. So for now, I will just select both off this layers and then press control G to group them together inside a group player. Unless just rename the group player to sketch. Let's add a sky color in the base color layer off the background. Group player. Let's speak of right science color. First press shift back space to fill the layer. Next, select more brighter color. Take the air brush preset and make the brush size bigger and just add several brush strokes at the upper area next let's speak darker color and add some darkening on the lower area. I think the color becomes too dark. Now let's speak a bright color again and add some right fog down here and then at some, also on this areas. Okay, guys, I think it looks better now. In the next lesson, we will start adding shading colors to our illustration. 32. Local shading: Let's continue our three on the Hill Project. This is what we have from the previous project. From now on, we don't actually need any off this difference photos anymore, as the illustration will have a stylized look if we need to hide them. As we discussed earlier, we can go to the few menu and then turn off the shore. Reference images option in here, but because you can don't look the previous file project that still contains these reference images, I will just remove them all to make the file size smaller. To do that, we can click on the difference images tool and just click on this. Clear all button. Now all off the reference images are gone. Okay. Next, we need to reduce the sketch opacity so it will not obstructing too much. When we had shading colors, select the sketch group earlier and right click in here type 20 and then enter. Now, as we can see, the stretch lines are now less noticeable, but we can still see them in this lesson video. We will focus on adding local shadings to our illustration. Now you might be wondering what ISS local shading well local shading is just my own term off describing small detail shadings on objects inside our growing in computer graphic term . This type off shedding is also known as a O, or ambient occlusion. They are soft, O shea does exist in crevices and corners and in areas where objects touching each other. You can see this effect clearly in overcast sky environment, where you have uniforms off lights coming from every directions. This type off life is called Indian life. So again, in other words, Indian light is a type off environment. Life which uniformly flood, fill the entire scene with certain brightness and color. Indian light makes outer surfaces uniformly lit. But in this condition, when light rays try to reach small holes or corners or crevices, etcetera, they will bounce around more and lose their energy. That is why we can see some toe shadows on these areas, and that is why also, it is named Ambien occlusion because they are essentially shadows that exists in areas are included from the Indian lighting. Now, in our workflow, we don't call this face as Indian occlusion because we also add different type off shadows into the mix. Essentially in local shedding face, we are adding small sized shadows. OK, so let's start adding loco shading on a tree trunk. For this, we need a new pain layer located on top off the base color layer inside the bark and cliff . Group player renamed the Layer Toe L for loco shading and turn on our for inheritance. So everything we draw in this layer will not go outside the base color region. And because this is for shadow color, we need to change the blending mode to multiply. Let's switch to outline selection tool. We want to create shadow in this area because it is like corner area. Were strong and root meet. Create selection like these. We also want to include the bottom areas as we can consider them also as contacting area press. Be to switch to brush, though, and make sure you use the airbrush preset. I am using only 50% opacity now and then press D to use black color Now for color. You can use color that much more with the base color, just like we did in a skull project previously. But I will just use black for all of the shadow colors to make things faster. And also because later we can easily change the color off the shadows to any color that we like non destructively just brushed like these and add more to make the contact parts darker than the far away parts. Clear the selection. Then we can smear the shadows or just blurry. I just blurt it for now. Next is this bark line. Now, just imagine if the light is coming from the top slightly to the right. Where do you think the shadows will be if this line is sinking into the surface? So let's create the selection like these, and then brush with Sorry, it should be the airbrush, not the blur brush. Essentially, we need to do this for the rest off the bark lines. Not of example. I think this bark line is more challenging than the previous one you can see in this area. The selection is not at the same side as the upper one. Use the airbrush recep again. Then use the smear brush to smooth out the shadows. Okay, guys, essentially the process will be similar for all off the back lines. So I just speed up the video For now, this is perhaps the most laborious process off all the processes in creating this illustration. If you need to know how long the three shading process took about 25 minutes to finish in the real speed. After we are done with the bark lines, let's move on to the Rock cliff. The whole process is basically the same with what we did before. Basically, we need to imagine where the light source is. Create selection and then at shading color with the airbrush precept, and then use either a blur or smear brush to smooth out the colors. For your information, the whole process off heading local shading to the rock cliff took about 10 minutes in real speed. Next we move on to ending local shadings for the grasses and leaves again, just like before. There are no new techniques to discuss here, so I'm spitting out this part. Also, the grasses and leaves. Local shedding process took about nine minutes to finish. Okay, guys, so this is what we have so far in the next video, we will add global shedding to our three illustration 33. Global shading: in this lesson video. We're going toe at global shading toe our illustration. Global shedding is just my own term for large sized shadows and also cast a che does or shadows that are being emitted by certain objects that fall unwto, other objects or areas OK for global shadings. You can create them in the same layer with the local shading, but I found that separating the two gives you more flexibility leader to tweak them further , For example, you can colorize the local shading and the global shading later with different colors, etcetera. So let's create a new layer on top off the local shading layer and let's rename it toe s for shading just like the local shading layer. It should has the inherit our far turned on and also use multiply blending mode. We need to add a shading layer also on the bark and clear group player. Okay, lets start creating large soft shadows on the tree trunk. Make sure the shading layer is selected. Select the airbrush precept for this. No, just imagine that there will be shadows from the leaves so the upper areas off the wrong should be darker. And for the middle area again. You need to remember that the light is coming from the top right direction. So we need to add Shea does on the left bottom area, off the three for the cliff, the grasses and leaves. The process is fairly similar, so I just speed up the video for now. Just remember to use the correct layer for this process after we have the global shading. Next, we want to add caster. Che does to our illustration. Now forecasters shadows. You can create these in a separate layer, or you can directly pain on a shading lier. For now, let's just use the existing shading layer for the castor Cheetos and let's start with the tree trunk Force press Z and try to create leaves shape on the tree trunk. Just imagine that the sunlight hit the tree trunk, but some off the lights got blocked by the leaves. Essentially, we need to create leaves silhouette for the shadow until the center area where the direct sunlight cannot touch the wrong anymore. Use the airbrush again and make the brush size bigger and this brush like these. Okay, now let's zoom in a bit and use our smear brush to smooth out these sharp shadows. Okay, guys, for dress off the process, it is basically the same. You create a selection off where delight, shoot Trevor and then use the airbrush precept toe. Add dark colors and finally use either the smear brush or the blur brush to tweak the shadows further. 34. Details: in this lesson video. We are going toe finalize our illustration by adding details, color variations and also textures. Now, before we do anything, if you remember our previous project, where we draw a scowl, we create a dedicated layer for reading highlight colors. Usually I add highlights before heading details. But because we don't have anything glassy or shiny in our growing, such as a metal or glass or oily surface, etcetera, I need to skip the highlight process. Now, if you do have glasses surfaces inside your growing or perhaps you want to exaggerate the glassy effects in your growing, you may want to add highlights. The process is similar with how we add highlights in a skull project. Before just to give you an example, we can create a new layer on top off the shading layer, renaming toe H for highlight, turn on our for inheritance and change the blending mode to screen. Just like before, we can create selection peak hour, airbrush precept whole control and click in here toe pick the color, then press L twice to select much brighter color and press I several times to turn down the brush capacity to 50% and just add several brushstrokes and make the center area brighter. Then we can clear the selection and smooth out the colors. It is just business as usual. So again, if you want to add highlights, that is how you do it for me. I won't be using any highlights in his three illustration, so I'll just delete this layer and move on toe detailing process. Previously, we had details directly on a base color earlier. Now we are going to explore a different way off doing it, which is basically using a dedicated layer for details. So inside our bark and cliff group player, let's create a new layer on top off the base color. Earlier. Rename it to de for details and let's turn on offer inheritance option for blending mode. We only need the default normal blending mode so we don't need to change anything. Okay, now let's say we want to add more sis in the three routes. We can pick the grace color from the color history if the color is still in there or we can hide these two layers so the real grass color is refilled. Ho control and click to sample the color turned the slayers back on okay. To create the masses we can use to different methods, depending on the style you want to achieve. The force method is by using selection, and the second method is by using special brushes. The first method is a san, actually the same with what we have been doing. Creative selection and then use the brush tool. Okay, The next method is using specialized brushes that use custom brush tips. We can try to find a brush that has most like shape. Let's speak this brush, for example, and just brush away like this. The brush D takes our pen pressure. If we press hard, it will use large brush size, and if you press lightly, it will use smaller brush size. I'll speed up the video. For now, I am adding more cesspool also on Oakley frocks. Now I am adding cracks on the rocks. The process is identical with how we add cracks in a skull project. Previously, let's add color variations on the grass and the leaves just like before force. Create a new layer on top off the base color. Earlier, rename it to D and turn on all for inheritance. Just leave the blending mode to normal. Okay, we want to add yellowish color on some area. Inside the grace coloration. We can simply use the airbrush precept toe colorize the area like this are. We can also use the selection tool first to create more unique shapes and in Colorado, with the airbrush preset and then blur the colors. I think I want to add another green color variation there. It's more towards the sign color. I am adding color variation also for the leaves area. We can use the detail layer to add textures. For example, let's speak a brush for reading texture to the grass area. We can use this brush or this brush, also less. Just use this one. Zoom in a bit and picked this color. I think this is too dark. We can reduce the brush capacity by hitting I letter key several times until we have 30% value. This should be enough. Let's speak yellowish color now. Okay for the leaves, we need to use different brush that looks more like leaves. I think this brush should do it. Let's make this darker in color. As you can see I am using a very low opacity around 10% and just brush like these several times. Essentially, the more we go to the light source direction, the brighter the color that we need to use for the rock cliff texture. Make sure we are incorrect layer, which is the D layer inside the bark and cliff group player. Let's speak a brush. I think this one will do the job and let's speak a dark gray color. I think this is too strong. Let's reduce the opacity toe 30%. And this ad subtitle Rock textures like this. Okay, you can add texture also to the bar area, but I think the bark area is already too crowded. This my personal taste. So I guess our three illustration is officially finished now. 35. Workflow flexibility: Until this point, we have learned a lot from the lessons and from the two illustration projects, which are the skull project and a tree on a hill project. Before we wrap up this section, I want to show you some off the benefits off using our known destructive war flow. The first benefit is the flexibility to re colored illustration. For example, let's say we want to make a winter version off this illustration. We can do re coloring by either targeting our base color layers or you can also have additional layer for that. For now, we'll go with just using our existing based color layer. Let's speak a snow color. It should be very near to white collar. Okay, now, if we just feel the layer using chef backspace shortcut, we can see we just break the coloration parameters that we have blocked. Everything in a big row layer lets a notice force for this to work properly. We need to turn on the awful lock in here so the editing process will be constrained to the current players offer. Now, if we just brush out like these, we can see the color won't go outside the existing region toe quickly colorize the whole layer. We CanDo shift backspace again like before. As you can see, the field color command will respect the Arthur lock option. Next, I want to riff ice the leaves color down here because usually snows built up on the top areas, off objects and not so much at the bottom areas. Let's speak a darker blue color but slightly towards the green color and just brush like these. Okay, now you may still see these greenish colors in here. This is because we have the detail layer on top off the based color layer, which is great. Next, we want to change the color off the tree trunk. Toby less saturated so it fits more with the new environment. The next benefit off our workflow is the ability to add custom details as needed. We don't need to redo the shading for this example. Let's try to add snows stacking on several areas around three. We can do this using the re coloring technique we discussed previously, which basically just using the base color layer. Let me just show you this real quick pick the previous snow color from the color history and just used the air brush preset toe at the snow color. Essentially, it is a re coloring technique. Okay, what I really want to discuss now is creating custom detail layer. Why doing in this? Well, if you look closely, our three has this grout or barker lines inside the local shading layer, which essentially block the base color layer. If we want to add snow, there is actually sit on top off the back lines. Then we need to create a new pain layer on top off the local shading layer. But because it will be below the global shading layer, it will still receive shadows, just as we expected it to be. Let's name this layer snow, because this layer is a custom detail year that contains only snow. Turn on alpha inheritance but lift the blending mode to normal. Next, we can use the airbrush precept to add the snow color like these, or we can use custom brush that looks more like a snow pile or snow spreads. Let's pick this one, for example, and just at the snow like this, as you can see, but using our workflow, we can easily create many different variations from a single artwork. Okay, guys. So this is what we have after tweaking our original illustration. The third example off our workflow benefits is that we can easily change the lighting in our illustration. Let's see, we want tohave additional light source coming from the left side off our three. We won't be drawing the light source to safe time. Just imagine that we have a campfire or other burning objects at the left side. We do this intentionally to create a back light for our three object. If you don't know what backlight is, back light is a special light source that we intentionally place on our areas toe. Help communicate our objects shape or a silhouette, or just adding mood to the illustration. For this, because backlight is actually like color, we need a layer with screen blending mode. If you previously created highlight layer, you can draw directly on that layer if you want to, but I usually separate basic highlights. Layer from other fizzle effect type lights such as back lights. So now I will create a new layer on top off the shading layer. Rename it toe V for official effect, turn on offer inheritance and changed the blending mode to screen. Next, let's speak strong orange color and at the color. Either using the air brush preset directly or by using selection first toe have greater control of it. Our speed up the video because you should already understand all off these techniques by now. - The next example is heading room lights. Rim lights are dislike back lights, but they are more general in where we add them. We can add dream lights to strengthen objects. Still where anywhere as we see fit now you might be wondering, will remain lights, make our objects look too fake or not realistic. The answer is yes, if you overdo it. But if you just use it at the right those, it will help you bring the main object in your blowing to focus. This is how professionals in photography and cinematography used dream lights and brake lights. The process off reading room lights is basically the same with heading back lights, and we also use the same the layer for this. So I'll just speed up the video for now. - Okay , guys, we finally finished reading fizzle effect lightings, which are the brake lights and room lights. This is before and these east after the next. And the less example is overlaying our initial sketch drawing on top off our final illustration. If you remember that previously we reduced the opacity off the sketch layer toe 20%. That is why the sketch lines are very subtle. Now you can play around with this value depending on your taste or your art style. For example, you can drag this all the way to zero if you like clean growing are you can go all the way to 100%. For example, if you like this kind off art style. Personally, I don't like having these lines at all, but for now I will go with 50%. This will make it looks more like a Children story books art style, but I think 40% will be better. Okay, guys. So this is the final result off our illustration variation. I hope you learn a lot from this lesson and starting to see why having a nondestructive workflow is a very beneficial and in certain cases it may be even crucio. For example, if you are creating a certain game asset and you need a lot off different variations off that asset quickly 36. Next step: congratulations. You have finally reached the end off this course. Although we have covered so much techniques and concepts in his course, this is actually just the beginning because we only just cover 20% off the total creators digital painting features. But you have seen and experience the possibilities with only 20% off the features. You already able to create illustrations like this skull object and this three illustration along with its alternative versions. Just imagine what kind of cool artworks you can create if you able to master the rest off the features. If you like to advance further, please join my Intermedia course on Creator, which is digital painting with Preta Intermediate level. In these intermediate level course, I will cover a lot off new, exciting features such as advanced selection modification, advance transformation and distortion, masking known destructive image manipulation and so much more. There are just too many to discuss in this short video, so join this course now and take your creative skill to the next level