Digital Painting With Krita : Intermediate Level

1. Introduction: assalum aleikum. My name is Redeem Attack in I Am an entrepreneur and also on Akademik lecturer in computer graphic disciplines. I teach digital painting three D and two d animation Web design motion graph, e game development and other computer graphic related topics. Rita is a graphic application comparable to photo shop. But unlike Photoshopped, Krista is an open source project so anyone can use creator without having to pay anything for the suffer license Critter was built from the ground up as a digital painting suffer first in mine. There is why, if you want to create drawing or illustration, create a will make you feel right at home. These scores is the continuation off the basic course digital painting with creator basic level. If you never use critter before then, I strongly suggest that you take the basic course first before taking this one so you can follow the lessons. We don't any problem. We will cover a lot of things in this course. First, we will focus on at once selection techniques. We will learn how to modify selection, learn about different selection operations, have to transform existing selection, learn to create selection using contiguous selection to and how to extract selection from color and from layer. Next we will cover and by Elia Sing and how to use the Field to. Then we move on to different image transformation and distortion techniques available in Creator. We're focused on how to utilize the free tons from tool, how to do perspective, distortion and warped distortion. Then we will cover how to do cage information and then learn how to distort image using liquefy tools. After that, we're going to learn about mosques in Quetta. We will cover how to make use the Transform Mosque and then how to use the Transparency Mosque. After that, we move on to Grady in feature, we will learn how to create different types off Grady in color and then use those colors using the Grady in tool. After that, we move on to salable image creation. We will cover how to use the wraparound mode in creator, and after that you see it to create seamless repeating texture. We will also cover other techniques off terrible images, which is using cloned brush and also using manual patching. Next, you will learn how to use the pattern feature in creator to create and to feel area quickly with riveting images. And finally, we will cover different matters off applying filter in creator After we cover all of these features, we didn't move on to actually use these features in an actual illustration project. Unlike before we are going to create a stylized illustration, which is this super pineapple illustration. We are going to start from finding the references, then sketching out the initial idea and then keep refining it. After that, we will start adding color to the illustration. Next, we will cover how to use Clo layer to create dynamic, symmetrical drawing. After that, we will use the terrible image tactic and pattern feature to add texture to the environment . Then we will use pattern also on the pineapples body. Next, we will use Grady into add shading study environment. After that, we will cover how to create transparent texture from any image you can find on the Internet . This is important because we are going to use transparent textures to create stylized shading for most off the objects in illustration basically for the pineapple and then after that for shedding the toaster. Finally, we will add small line details to make the image more readable and then at some visual effects to make it looks more interesting. This is the final project result that we will be creating in this course. I know that this project has a very specific style and that you may prefer different style . But the techniques you will learn while doing this project is indispensable if you really want to bring your scale to the next level. So doing now leverage your creator skill further so you can create our talk better and faster. See, on the other side was Salam alaikum. 2. Modifying Selection: in this lesson video we're going to discuss on how to manipulate our selection. There are two ways that we can do toe ed or to reduce selection region. First is by using the modifier key and second, using the tool option action Moder. Let's see how we can do this using the modifier key force, for example, let's say we have a rectangular selection like this, and we want to add additional selection reagent to this election. To do this, we can hold Schiff and then drag like this notice by holding Schiff. When we create a new selection, the resulting selection will not replace the previous election. Instead, it will add to it. Now. This shift modifier key also works on other selection tools, not just the rectangular selection tool. For example, we can use it on the elliptical selection tool, polygonal selection tool and also the outline selection tool. Okay, now, how about producing the Selection region to reduce the selection region? We can use the out modifier key, so let's try this with the rectangular selection tool again. Hold out and Greg, like this noticed the resulting selection region is now reduced by the new rectangular selection region. This asked with a shift modifier key. We can use the alky also for the other selection tools. Okay, now, beside adding and subtracting selection, we can also intersect selection from the existing selection. Intersecting means that the final selection will be the result off the offer lapping region . To do this, we can hold both the Schiff and the out modifier keys together. For example, if we use the elliptical selection tool ho Chief, and then out together and create a selection region like these noticed, the offer lapping region will be the result off the selection process. Until this point, you might be wondering, How can we combine this? Add and subtract modifier keys with proportion, constrain and centrepoint and moving selection action just toe fresh up our memory. Remember that in a basic level section, we discussed on how to create perfect square and put a fixed circle selection. For example, if we want to create a perfect square, we drag like this and while dragging, we can hold Schiff Or, if you want to move the selection, we can write like this. Then, while dragging called the out key so we can move this selection around. Essentially, we use shift in all keys also for these. Well, we know that if we hold the shift key before clicking and dragging, that will be adding selection. But if we hold the shift key while dragging to create the selection that will be used for proportion, constrain, and to combine both actions, we can use, release and hold method. For example, if we have a selection like this, and then we want to add a new selection in here, but in a shape off a perfect square, what we can do is to hold Schiff first, then drag. This is so we are in a selection mode. And then, while dragging in holding the mouse, released the shift key and impressive again. The second shift key press will be registered for the size, proportion, constrain, which makes you the perfect square. Then this direct to make necessary size changes and then release the mouse. You can do this also with the other modifier case and with the other selection tools. Okay, Now you might be thinking, Hey, we d those serious off holding, dragging, releasing and hold again. Then release the mouse. Really not that convenient Is there a better way to Rudy's? Well, there is. Which we're going to discuss now. The next method off modifying selection, which I use more often, is by using the action moder odious. We need to access the tool options. Doctor, for example, let's pick the outline selection tool in a previous section. We already assign Z letter key for this outline selection toe. So you can just press Z now on orders. If we open the tool option Docker, we can see the text action in here. And we have this for Aikens. This is the place. This one is intersect. This is Ed. And the last one is so track by default, every selection tools will use the replace action. That is why when we create selection and then create another one, the previous selection will be gone, replaced by a new one. Now what we night use intersect in here? When I create a new selection, it will not replace it, instead intersecting it. If we just add in here, it will add to the previous election. And if we soup track in here, it will reduce the previous existing selection. Okay, now, what's so great about Preta is that these selection actions already have a default shortcuts. Well, all except the Intersect Action. Okay, so the replace action shortcut is are the at action is a In the subtract action is s. I repeat, are is four replaced selection action motor, which is the default A is for reading selection action mode. And then finally, as for a subtracting selection action mode using our A and s short cuts to control selection action mode is great because all of these keys are near our left hand position. Off course, If you are a left handed person, this might not be a good thing, but at least it is easier than using the previous, complicated modifier kiss combo. But there is one caveat I need to mention You need to be careful when using the soup track action mode. Why, For example, if you have no selection like this and a new pick the outline selection tool or any other selection tools in creator and then press s to use the soup track action mode notice when I draw selection like these, the resulting selection raging is inverted. Basically, Now this area is actually not selected while this outer area is selected, you can see the marching ends at the campus border. If this ever happened to you, you can easily fix this issue by pressing control. Schiff, I to invert the selection are by going to the select menu and to invert selection in here. Okay, but it is always better to prevent this from happening at all. So whenever you finished doing soup, track selection always change the selection action mode back to replace by pressing our or to add mode by pressing a. Now here is my personal tape. I personally only use a shortcut and almost never used the R shortcut, because after creating a selection, I usually just use our custom short car que to clear the selection. So to recap, essentially for selection, I mainly only use pre shortcuts a for reading and use these as the default mode. As for a subtracting, but after using soup track, I usually referred it back toe add action mode by pressing a and the less one is Q, which is our custom shortcut for clearing out selection 3. Selection operations: in this lesson video. We're going to discuss additional selection operations now. You need to know I typically don't use these features that often, especially not in my workflow, but you may find them handy in your own workflow or in your certain scenarios. If you have a selection, let's say a circular selection like this and then you want to grow it or shrink it by a certain amount off pixels. You can do that by going to the select menu up here and notice we have these two commands down here. Grow selection and sharing selection. Let's see the gross selection first. Let's type 20 by default. It used to speak so as the measurement unit and then click the OK button in here you can see now the selection will become fatter because the border off the selection raging grows for 20 pixels. Okay, the shrink command is just like the grow command, but in reverse direction to access, shrink or grow selection commands. Besides the select menu, we can also right click toe open the selection complex jewel menu with Remember, we should be in a selection to Lou Mode now. If you are in a brush tool, for example. Right clicking will open up a pope appellate instead, which is not what we need. So just make sure we are in any off this selection tools and then right click in a transformed category, you will see it grow and assuring selection commence also, just like we see in a select menu. We want to pick sharing selection. Now let's type 20 for example, and then just click the OK button. As you can see the selection region become 20 pixels. Tyner the next election operation we're going to look at his feather. Feathering is a process off Eddings off opacity transition at the ages off the selection region to see this in action. For example, if we create a rectangular selection like these and induce a four grown color, for example, red and then hit she if Becks piece we can see the color will be filled until the selections borders at full capacity. No, let's create another selection in the side to see the difference Before we feel any color, let's write, leak and then transform into feather selection in here. You can also use the select menu if you want to, and then choose feather selection. Let's input 20 pixels and then hit. Okay, known orders. When we press shift back space, we can see now the borders half this opacity transition from fully opaque to transparent the next selection operation. We are going to discuss his border selection. Essentially, border selection will convert your current selection in tow a tin path selection surrounding the border off your initial selection. You can specify the with off this border line as you like. Let's see the example for this border feature. Create a circle or a selection like this. And then to convert this selection into a border selection, we can either use right click, transform an interest border selection or we can do this via the select menu. Also, let's input three picks. So and then press enter. We know have something like these. We can then feel this new selection using any methods that we won. For example, we can use the brush tool like this or with different color variations that you like. Okay, now, if you think heading border color like this takes too much steps, for example, if you only need to create border color from selection using a single color. There is a faster way to do this, and that will be using the stroke selection method. The stroke Selection Command and the Border Selection Command are almost similar. The big difference between the two is that stroke selection does not convert or create any new selection. It just draw a border and or feel color on the canvas, using the settings that we have specified. Let's just see this in action. Let's make the outline selection to and just draw simple random selection shaped like this . Now, before we continue, let's speak green for the foreground color and let's speak yellow for the background color . You will know later why we need to specify this colors first. Okay, Next, we can rightly transform and then choose stroke selection in here. Okay, Notice we get a lot more options here than what we have from the border selection Operation First is the type option. We can specify whether to use simple line or using our current brush setting toe the line stroke. How we would just speak line for now. Next is the line color. We can choose whether we want to use the active foreground color for the background color or custom color. If we choose custom color, we will be provided with a color selector. In here. I will pick foreground color because we already picked a green color for this before. Next is the stroke with Let's input 10 pixels in here. The larger the value, the ticker, the stroke result will be, and the less parameter is the feel option. What Phil means in here is the area that is formed by the selection. By default. It is said to none, meaning it will not add any field color. There are many options to choose from this list by now. You should understand foreground, big grown and custom color. But what is pain color in here? Well, essentially paying color option will use the same color we pick from the line color. Okay, for now, let's make the background color, which is yellow, as we already picked this color before. Then click OK button. Yes, you can see the selection is now filled with yellow color, and we have a green stroke or a border with 10 pixels size 4. Transforming selection: in this lesson video we're going to discuss on how to transform selection. Since version 4.2 Creator has the ability to transform selection just like how we can transform layers or mosques to transform selection. There are at least three methods that we can use first using simple move one method Second , using the 80th selection mode. With this mood, we can access more complex transformation sausages, rotation and scale, etcetera. And the third method is using vector editing tool to transform and to tweak the selection shape. Now, because we haven't discussed director anything yet in this video, we will only cover the first and the second method. The simple movement method can be accessed easily using any off the selection tools to show you how it is done in here, I have an image already opened. You can use any image you have if you want to follow along. So, for example, if we create a rectangular selection like this and we want to move the selection toe, other location simply move our mouse cursor to the selection border. You will see an arrow cursor with four directions like this in this condition. If we click and drag. We can move the selection to any location we like. Now remember, you need to be in selection two modes. Any off the selection tools will do. For example, we can be in elliptical selection tool, and it still works. Or we can be on the outlines selection tool and it still works also. But notice if we are not in a selection tool, for example, if we pick the move to in here, moving the selection like this will not move the selection, but we actually move the pixels inside the selection region. Okay, so there is a big difference between moving the selection and moving the image inside the selection. In this lesson, we are focusing on transforming the selection on Lee, not the image of the pixels inside the selection. The next method is using the edit selection mode. No, because in order to use the edit selection mode, we need to use the Global Selection Mosque. Let's discuss the global selection mosque first and then later the edit selection mode. So what is exactly Global Selection? Mosque Global Selection Mosque is a temporary mosque that will show up whenever we have a selection. If we clear the selection, it will be gone to see this global selection mosque. We can go to the select menu up here and then click on this show. Global selection mask option notice. If we have a selection, we can see the global selection mosque in here. If we clear the selection, the mosque that we see before is now gone. If we create a selection again, it will show up again. Okay, Now you might be wondering. So what is exactly a mosque? Well, we will discuss more in depth about mosque in later lesson. For now, we just need to know that this mosque stores the selection information. If we click on this global selection, mosque creator will display the mosque in red colored overly instead. Off marching ants line. It is just a way off telling us that we are now actually selecting the global selection mosque and not an ordinary layer. If we select an ordinary layer, the selection is now shown as marching ends line again. Okay, Now let's discuss on how to use the idiots direction Moder. If we create a selection, for example, by using the outlines selection tool like this for example, and we want to rotate the selection or Skelly or askew it, etcetera. We can go to the select menu up here and then choose edit selection in here off course, going toe the main you like this is not that convenient. There is a faster way to do this, but for this to work, you need to be in any off the selection tose mode. If you have other tools active, then this one walk. So again, make sure we have one off the selection tools active, then right, click and choose Edit selection in here. Notice that create a will automatically activate the global selection mosque, and we can see that our selection now surrounded by this transform handle to move the selection. We can move our mouse cursor inside the transform handle and then click and drag like this to rotate the selection. We can move our mouse cursor so it is located near one off the corner nodes, not touching it. Just move it close enough, and when we see a curve aero cursor like this, we can click and drag to rotate the selection. If we want to scale the selection, we can click and drag the white notes around the transform handle. We can do horizontal scale or vertical scale or both. Like these. We can also skew the selection by moving our most cursor toe one off the center nodes, not the corner notes, but the center nodes. Move it close enough, but not touching the node. You will see a double aero score, sir. Now we can click and recto skew the selection. Finally, we can also flip the selection vertically or horizontally by first right clicking and interest transforming. Here we can see there are several options. Mirror horizontally, mirror vertically and even option for reset transformations in here. If we select mirror horizontally, the selection is now flipped horizontally. Okay, now you might be wondering, what if we want to do snapping or constraints while performing the transformation, for example, scaling uniformly or rotating the selection in exact 45 degree etcetera. Well, we can do this using the modifier keys, but because the way we use this modifier keys will be the same with how we duly your transformation. Later, you can watch the upcoming lesson about the free transform tool okay, after you are done transforming the selection, you might be tempted to press enter. But if you do that, depending on what version off creator you are using, you might accidentally activate the vector selection editing mode. Now we are not going to discuss this feature yet. Essentially, after doing selection transformation, you don't need to press, enter or oppressed anything at all. Just go back to your ordinary layer and do what you need to do, for example, adding brush strokes like this, etcetera. 5. Contiguous Selection Tool: in this lesson video. In the next video, we're going to discuss on how to create selection based on pixel color information. There are three methods to do this in Crete. ER first is the contiguous selection tool. Second is the similar color selection tool and the less one is slack from color range Command. In this lesson video, we will focus on the contiguous selection tool first. And then in the next lesson video, we will discuss the other two methods. If you want to follow along right way, just open the file. I provide it for this lesson. The contiguous selection tool, which is this tool in here is a selection tool similar to the magic one tool in photo shop . We can see that it also has this magic want. Like I can just like what we see in photo shop before we can try the stool. First goto the tool options docker and make sure we set the fuzziness level in here to a low value. Let's just right. Click on it and then type five, then enter liveness toe values toe zero for now And make sure this limit Okura layer is off . Okay, Now If we click on a pixel in this yellow area, for example, we get a selection covering this yellow square. So essentially, the way these contiguous selection tool works is that if we click on a pixel in our canvas , Preta will create a selection on the pixel and then expand the selection to the neighboring pixels as long as they have similar color with the initial peaks, or that we have clicked. This fuzziness left in here controls how much Preta will consider the neighboring colors. Toby, similar or not, if you used for a shop before this fuzziness perimeter is just like the tolerance value in the magic one tool, basically the higher no fuzziness left for the more color considered to be similar. That's increasing the chance off larger selection radio, for example, while we still have five in the fuzziness value clicking on this science area, we were resulting on this small selection region. Now, if we right click again in the fuzziness input field in here and then type 15 for example than enter notice if we click again on this science color, we get larger selection reagent than before. Also, if we click again on the left year old square. Now the next square beside it gets elected also so in 15 fuzziness value Preta considers that this color is similar. With this color, the grow sharing selection value in here will add additional grow, ensuring command to the selective Region. It is like the selection operations we discussed in a previous lesson, but these will at them automatically after the contiguous selection created positive values , will grow the selection and negative values Well, sharing the selection. For example, if we set this to minus 20 and click on this square again, we get two squares selected just like before. But as you can see, we have 20 picks. Sortino, our selection region. Okay, lets reset this back to zero. The feathering value in here will add feathering effect with selection result. We have discussed about feathering in a previous lesson. So by now you should already have a clear idea off what this value will do. One off the most important option in the contiguous selection tool is this limit to current layer check box. If this is off, we can be in any lier and still be able to sample all off the feasible pixels in the canvas , even though they are exists on different layers, as we can see on layer one, we have the yellow to green squares in layer to we have a color gradation from science toe purple and at least three We have a small colored squares. Even we have the layer one active. We can still sample toe pick. So in this area or in this area Okay, notice if we turn on this check box now, we can only sample on the current active clear. If we try to sample this area, for example, Preta will just select this entire areas because at this layer these areas are actually empty. We can see this better if we hide these three layers below it. So this is what the tool. See if the limit to current layer check box is on. Okay, let me turn this layers back on. Now, when limit to current layer option is on, we can still assemble the speak cells. But we need to select the correctly your first. For example, to select this Grady and strip, we need to select layer to first, then click to sample the pixel color Okay. Now, what's so great about Preta? The writing is more advanced than for a shop is its layer encapsulation feature. We will use this feature a lot in our future projects because it is very convenient. What I mean about layer encapsulation is that if we have a group a year, no matter how complex the composition inside that group player from outside the group that grew player is considered as a single layer. For example, this layer three in here. This is actually a group the year we can expend and collapse to see what inside this group earlier each off these squares actually exists in its own lier. Okay, now notice if it's like a group a year while the limit took earlier. Check box is on and then we click to sample the pixel preta will treat this group layer as if it is a single layer. Therefore, we can select these color squares easily. We don't having to explain the group and select the layer one by one. If you want to do this in photo shop, for example, you will have to merge or flat on the layers first into a single layer which essentially break the composition and the irritability off this layers. Essentially in Crete, er it is much easier to work with complex composition, just like with the other selection tools. Contiguous selection tool. Also support selection action moods such as Ed Soup Track and Intersect, as we can see in a tool options Docker. In here we do have the action buttons. For example, If we choose the action mode and then click in here, then in here and so on, we accumulate the selection, Ragen. And if we select soup track in here, if we click on this area, the selection region will be reduced. Okay, We can also combine this with the other selection tools. Let's clear the selection. First, pick the rectangular selection tool press are or a to make sure that we are not in soup track mode and just create a selection like this. Okay, no notice. If we select the contiguous selection tool again and then press the Intersect action mode in here, then click on this area. We get the offer lapping region as the result. Okay, The last thing I want to mention is this empire alias ing option in here. We are going to discuss about this topic more in depth at leader lesson For now, just make sure that this option is always turned on. 6. Color Based Selection Tools: in this lesson video we are going to continue discussing the last two color based selection tools in creator force is the similar color selection tool, which is this tool in here. And second is the select from color. Arrange command that you can access from the select menu and then select from color range in here. If you want to follow along, just open the file I provided for the previous lesson. Okay, Now, before we begin exploring these tools, there is something I need to mention first. Remember that previously, when we cover the contiguous selection tool, this tool has an option called limit toe korin layer. If we turn this off, the contiguous selection tool will work across multiple layers. Well, unfortunately, this feature not available for both the similar color selection tool and select from color range command, at least not in my current version off Rita. When I record the video, essentially the similar color selection tool and select from color range command only work on a single layer, which is the current active layer. So in order for us to test these two tools thoroughly, we need to make these layers march into one to march layers into a single layer. We need to select the layers first. We can do this by clicking in here for control and click on this one and in this one. Or you can also click on the top one, Hope Schiff and click on the bottom one. Okay, after we have all off them selected, we can press control E to march them together. Or, if you forget the shortcut, you can also right click and to march in here. Now we can see the previous layers are now just a single pain layer. The similar color selection tool, which is this tool. It's almost like the contiguous selection tool. The main difference is that the similar color selection tool will not create selection on where we click and then expand it. Instead, it will scan the entire canvas to look for similar colors. So, for example, if we have this tool active and let's use a low fuzziness value for now, right click and type five, then enter. If weekly on this zero square notice, not only we get a selection in here, but they also get a selection in his square area because both off these squares actually have the same color. If we click again on this green square, for example, we get a selection reagent in here and also in here. Next is the select from color Range Command. No, honestly, I almost never had a need for this feature. But you may find it useful for your own project. To access it, we can go to the select menu and then click on this select from color range. In here, you will see a window like this at the top left area. We can specify what color you want to select. You can see that it is limited to suffer or specific colors and or brightness Rangers. This is the reason why I don't find this command, Toby That helpful? At least not in my workflow. If, for example, which is spreads in here and then click the select Button Preta Well, scandal earlier for pixels that have strong Rick Uhlir component in it and in select them. Now I don't know about you guys, but I think this square looks more red than this Green square. And yet somehow this one gets elected and this one is not so. You understand by now. Why? I don't use this feature as it is very limited and not working as expected. But based on my experience, Preta is always evolving rapidly. So I believe in the future. In shallow, we will see more and more advanced and useful features in this select from color range command. 7. Anti Aliasing And Fill Tool: in this lesson video. We're going to call for a general computer graphic term called Anti Elia Sing and how it will affect our artwork specifically when using the filter inside critter. Okay, if you open any selection tools such as the rectangular selection or the outlines selection tool or even the contiguous selection tool in the tool options Docker, you will see an option called Anti Elia sing. What Anti Ellie acing means is a process off. Heading semi transparent picks us at the border off images toe, give it more smoother looks and to avoid pixel Jay G's. Let me just give you a simple example. Help pick red color For now, if we use direct, angular selection tool, make sure the anti alias ing option Eastern Don and create a selection like these. Then press shift backspace to feel the selection with red color. Okay, next, turn off the anti alias ING option. Create a new selection beside the previews rectangle press shift back space again to feel the selection. If we zoom in closely, we won't see any difference us between the left one, which is anti earliest and the right one, which is a liest This is because l e acing artifacts are best seen on round or curved shapes. We can see them also on lines if the lines are filtered. If the lines are perfectly horizontal or vertical like this, we won't see any alias ing. Let's create a new layer and hide this layer. Now if we used the elliptical selection tool instead and turn on the Empire alias ING option in here, drag like these to create a selection, then feel the selection with red color to compare it with the A earliest version. Let's turn off the entirely Issing option in here. Create a circle selection at this area and then feel it again with red color. If we zoom in close enough, we can see the anti earliest version will have this nice, semi transparent peaks US toe help smooth out the circle or shape. While the circle at the right side has thes jagged pick sauce, making it looks more like a pixel are or retro style video games. This jig effect is what we call Ellie acing and a smoothing process or the algorithm that is being used to smooth out the L using which we can see at the left side is what we call anti alias ing. Now anti alias ing not only affects selection, but it also affect other things. For example, brushes let me create a new pain layer and hide this layer. For now, if we select our basic five brush and then just brushed like these, it is zoomed in. We can tell that this brush is anti earliest. Now, if we click on this brush setting button, or you can also access it using the F five shortcut. I know we haven't discussed about brush setting yet, but just bear with me for now. Make sure we are in a brush the perimeter category in here. Notice. We can see this anti alias option in here. If we turn this off, then do brush stroke again in a canvas, then zoom in as we can see the brush. No produce a liest or jagged result in computer graphic world. There are many methods that we can use to do anti Elia sing in general, the smoother or the better. The result is, the more expensive it is to perform. The term expensive means that it requires more processing time or steps toe calculated. This becomes a critical issue in real time computer graphics such as video games or spiritual reality, etcetera, for non real time computer graphic application such as, For our thesis, who use graphic software like Rita for a shop or gimp, etcetera. The main issue off anti alias ING is not in computer performance, but more towards on how it will affect the workflow and the result off our artwork. If you try to create a retro style or pixelated style artworks, then Elia sing is actually a must tow. Have you really don't want to have any anti alias sing in your work? Other than the scenarios, you can have anti alias ING options turned on all the time, which is the default in Preta. Okay, now the thing is with Preta is that unfortunately, not all tools in Crete er able to generate smooth anti alias ing result. For example, the field tool, which is this tool in here. You can also access it using the F letter key shortcut in other graphics software. It is also known as the backup tool or the flood tool. Let's see what this tool can do first and Then after that, we will discuss its limitation in term, off anti alias sing. Okay, so essentially the field tool will sample the pixel. We clicked and in detect the neighboring pixels that have similar color and then change the color off. The speaks us with the active color. For example, let's unhygienic our red rectangles layer before. If we just green color, for example, then click in here. We can see now the whole rectangular shape change in tow green. If we pick another color, for example, blue color and then click in here. This rectangle now change to blue. Okay, most off the settings we see in a tool. Options docker are identical with the selection tools, so I won't go over them again. There is one option at the top called fast mode. This is useful if you need to colorize lot off areas and you don't need any grow or shrink or feathering features. Notice. If this is on the grow shrinking and of feathering options are off. This will speed up the field process a bit excreta. We'll skip calculating grocery or feathering effects. Okay, no noticed that there are no anti alias ING option in here. Why? Because the field to doesn't support anti area sing If we on hide our circles layer, remember that the left circle is anti earliest. We can see these same my transparent peak sauce at its border. Now, if we feel this entire circle with blue color using the field toe all off the anti alias ing effects are now gone. Now the circle is pretty much a liest, just like the circle at the right side. Okay, now you might be thinking that having this alias artifacts is a bad thing. After all, they do look ugly when zoomed in. However, if you have a high resolution image like 300 GP I or above, no one will be able to see the JAG ease. Moreover, having earliest pick sauce in your high resolution image can actually help to bring details and sharpness in the printing result. Okay, so my final tip is this. If you want to create ordinary artworks, always create twice the size off your target size. What I mean ordinary is any styles other than retro or pixel style artwork because with twice off the target size, you can freely have both anti alias and a liest peak sauce. We don't any worries. The final result will always looks smooth. L using may actually help us to create consistent selection and we will discuss more in depth about these in the future lesson. 8. Free Transform Tool: in this lesson video we are going to discuss about the free transform tool. Previously in the basic section we already cover how to move layer using the move toe, which is this tool in here. Now we are going to focus on a more advanced tool, which is this toe called the transform tool. You can access the stool by a shortcut Control T if you want to. If you want to follow along, just download and open the file I provided for this lesson. Okay, If you use this transform tool and you don't have any selection, the tool will transform the entire layer. For example, we can select this layer and impress the tool I can we get these bounding box or control handles surrounding the whole pick sauce in that current layer, we can move our mouse cursor inside these transform handles and then click drag to move the layer around. Now, if we select the outline selection tool and create a selection like this, for example, and then activate the transform tool again, notice the transform handles only cover the selection Ragen, not the whole layer. And if we move this around, Onley disliked the pixels will be moved, not the holier. If you like the changes that you have made and want to commit, you can press enter. But if you change your mind and want to cancel the transformation, you can press the escape button. Okay, After pressing the escape key or the enter Key, you will notice that the transform bounding box is now gone. Now don't panic to get it back, you simply need to click anywhere on the canvass. The transform bounding box Porto handles will be feasible again. The transform tool in Creator actually consists off five different tools. We can see this in the tool options Docker. This is the free transform mode perspective. Mood. What mode? H mode. And finally, the last one is the liquefy mode. Let's discuss the first mode, which is the free transform mode. This is the default mode. If we use the transform tool in this mode, we can move around the image by dragging the inner area off the transform handles to rotate . We can move our mouse cursor so it is outside the transform handles we can see we get this rotation symbol in our mouse cursor. Just click and drag to rotate the image to do scaling, we can grab these square nodes, either the center ones for the corner ones and Leslie. The ages around the Transform boning box can be used to skew or sheer the image. And, as always, you can press enter to apply the changes or press escape key to cancel. Now a lot of time we will need to do transformation with certain constraints. We can do this with the help off the modifier keys. For example, when we drag to move on image and then hope Schiff, the image will move along horizontal line or a vertical line, whichever closest to the current image location. If we rotate the image and then hold Schiff, the rotation angle will snap toe 7.5 degree in cream. In this way, we can rotate the image precisely at 90 degree. For example, next, when we do scaling like these and then hope Schiff, we CanDo uniforms scaling, meaning the image with and height ratio will be maintained while scaling. We can also use the art modifier key toe, temporarily change the transform Centrepoint toe the corner location for a sharing. There are no modifier keys that we can use, at least not in a version off Preta that I am using. The less modifier key I want to cover is the control key. If you hold the control key and then drink around like this, Preta will apply three D rotation transformation on the image as we can see in here. Okay, guys. So these are the things we can do with the free transform tool mode. But beside controlling the tool of easily, we can also use the tool options parameters in here to control the transformation in a tool Options Docker, you will see the filter option. These filters are essentially different type off algorithms that we can use to transform the image when we apply the changes. Honestly, I couldn't really tell the difference between each off these filter options. And mostly I just used the default option provided bike Rita. Next is these buttons In here. These buttons are used to define the transform center or also known as the Beaver Point. If we click on the left top button in here, for example, we can see the pivot point cursor moved to the left off corner to make use off this pivot point, you need to have this button active notice when we wrote it. The image like this, for example, the center off rotation. It's not at the center anymore. Instead, it uses the top left corner as the pivot point. The radio buttons in here is used to display different parameters down here. If we set this to rotation, for example, we can see the X Y and Z angle values don't. Here we can type in the value by force right clicking on them, or we can click and drag like this to change the value. These two buttons are for flipping the image. This one is to flip the image horizontally, and this one is to flip the image vertically. And these two buttons are for rotating the image for 90 degree in Cremin. This button is to rotate the image 90 degree clockwise, and this one, too, wrote it 90 degree counterclockwise. Next is this button. We can use this button to show and to hide the original image in this ghost form or semi transparent, shallow style. The spider button in here is useful if you need to transform a group player. If this button is on, Rita will apply the transformation to each member off the group player, including Nested group. The Years. What I mean about nested group layer is if you have a group layer inside a group player and so on, the apply button will apply the transformation dislike. When we press the enter key and the reset button, we will reset the transformation back to the original image, just like when we press the escape key. 9. Perspective And Warp Distortion: in this lesson video, we are going to discuss about the prospective mode and a warp mode off the transform tool. If you want to follow along, just download the file I provided for the previous lesson. If it's like a layer or have a selection and then click on a transform tool in here, we can access the perspective. Transform tool mode in the tool options Docker. It is the second button after the free transform mode, the perspective, terms or mode. We let you this thought on image, using its handles beside the handles at the corners. If you make this handle close enough, you will see additional handle, which is the vanishing point handle. With this, you can specify the distortion based on the location off the vanishing point. Okay, To move the whole image, you can click drag inside the handles area, just like how the free transform mode works. But unlike the free transform mode, you cannot perform rotation in this perspective Mood. Now, if you look at the tool options docker. Most off these settings are similar with the free transform tool mode. Only the rotation radio button is disabled. Okay, so this is the perspective mode. Next is the work mode, which is this button beside the perspective mood. The way to work transform haute works is that it will add control points on the image, and if we move around this control points, the image will get distorted. Now Europe transform mode actually provide two methods off heading control points. We can use greed, or we can also use custom placed control points. But before we tried these two different methods first, let's discuss what these settings up here will do because you cannot change these settings while performing the rapist or shin, you need to set this first before doing any work distortion. If you try to change this while doing the work distortion, the process will break. Okay, so these two parameters will determine the behavior off how the control points will affect or distort the image. You can try experimenting these settings yourself, but I found the default settings work best for most situations. So I used default for the anchor strength and zero for the flexibility. Okay, now let's discuss the two methods off Europe mode. The first method, off or distortion is by using greed to use the great method. You just need to make sure that this first radio button is active, the one that has the work subdivide on it. Essentially, with this option, we use great off control notes to due to our distortion in a subdivide value, we can define how many control notes we want tohave. By default, it is set to three meaning will be using three control notes in column and three control notes in row, which makes a total off nine control nodes. We can increase the amount off control notes to the maximum off 30 subdivision. But just be aware that the more control notes you have, the harder it is to control and also the more processing power Creator will require to perform the warped distortion. The lowest value is two. But if it's at this to two, then the world mode is almost similar with the perspective mode we discussed earlier. Okay, the second method is by using custom placed control nodes. To do this, you need to choose the dro radio button in here, notice you won't see any control points. This is because you need to click on the image toe, add the control points yourself, for example, we can click in here, then in here, then in here and so on. After you are done placing the points, you can still move the points around to any location that you like. If you decide to redo everything and remove all off the points, you can do so by clicking on this clear points button in here. And if you are satisfied with the points placement, you can start distorting the image by clicking on this lock points button in here. Yes, you can see we can now move around the points, and the image will get distorted after you are done. Using either the great method or the custom points method, you can click, enter or quickly supply button toe actually perform due up distortion on the image. But if you want to cancer, you can press the escape key or click on this preset button in here. 10. Cage Deformation: in this lesson video we're going to discuss about the cage the formation mode in the transform tool. If you want to follow along, just don't look. The file I provided for the free transform to lessen previously from the two previous Ressam's. We already know that the Transform tool has different type off modes. We already discussed the free mode, the perspective, mood and work mode. Now we are going to discuss the next mode, which is this button in here called Cage to use the cage mode force we need to add Control Points are also known as the anchor points surrounding the image. Please take note that the points should surround the image entirely. We should not leave any pixels behind. Now I'm going to give you a wrong example first and then learn how to fix it This way you will know what to do If this ever happened to you. Let's say we click in here than in here and so on until we close the loop notice. I deliberately leave out the speak sauce in the fishes. I glass OK after we close the loop. The catch mode now is ready to distort our image. We can see it automatically. Switch to this deformity Your option for us in this condition. We can wreck around the anchor points, for example around its tail. And the image will get this torta as we expect that. But notice if we distort the image near the eyeglasses area, the pixels we left outside will not follow along To fix this issue, you can just cancel by pressing this reset button. But if you do this, you don't need to redo the whole anchor points placement from scratch. A better way to solve this issue is by clicking these at edit anchor points. Option in here. As you can see, the deformation will Recep. Yet we still have our control points that we have placed before. In this condition. We can edit the position off the existing control points, and we can also click on an empty space like this, create a will. Continue aiding control points from the less creative control points to start distorting again. You can either close the loop by clicking on the first anchor point or by simply clicking the reform earlier option in here. If you do this, the anchor points will be closed or looped automatically. Okay, In a cage mode, we can select multiple nodes or anchor points by first holding the control key and just click on the points we want to select. If we want to un select an anchor point, we're holding the control key. Simply click again. That point will not be selected anymore. We can tell that an anchor point is selected or not by this red color. Okay, now you might be wondering what we want to select multiple anchor points like these. Well, because with these multiple points selected, we can move them, rotate them or even scale them together all at once. This will save us so much time than having to edit them each one by one. Let's see how we can move them first. To move them, we can simply move our mouse cursor inside the cage and just drag around. Okay, To rotate, we need to move our mouse cursor away from the cage area. This Imagine that this cage has a rectangular bounding box. We need to move the mouse cursor outside the bounding box. You can see the rotate cursor appear when the mouse is outside the bounding box. Now, if we click direct like this, this whole selected points will rotate. Okay, the last thing we can do is scaling to do scaling, dislike rotation. We need to bring the mouse cursor outside the bounding box and then hold the control key. You can see the scale cursor in a form off, up and down a row. If you drag it up like this, the selected points will skill up. And if we drag it down like these, the points were scale down. So by now you can see how powerful it is to use the kitsch information mode to deform or to distort our image. Up until now, you might be wondering what is the difference between cage and work? Then they both seem able to do the same thing. Well, there are at least two differences between these two modes. First is the anchor points place. Hman Cage can create anchor points outside the bounding box off the image, but they must form a loop. On the other hand, Warp can only at points inside the rectangular bounding box, but they are free, meaning they don't need to form a loop to see this clearly, let's create a new layer and hide this fish layer. Select the lips tool. Make sure the fill option is set to foreground color, and the outline option is said toe. No outline. Pick a color OPIC green for now, and just draw a circle like this. Change the color to black and let's draw a simple sleepy emoji. Okay, now, if we select the transform tool, noticed this bounding box. If we used the warp mode, you can only place control points inside this bounding box. Even though you cannot see it. Let's select warp in here and then just drawing here. If we click and hold in this location and indirect the point around, we can see that this point can never go outside the invisible rectangular bounding box. But we can place the point randomly without the need to form a loop. We can, for example, please one on each off the I and then three around the mouth. If we lock the points, we can start distorting the image like this. We can create a smiling emoji, for example. Then press enter. Now. If we use Cage, we can place the anchor points. We don't any bounding box restriction, but they need to cover the entire image and inform a loop. The second differences is the distortion. Behavior warp is more spiky and cage it's more rounded to show you what I mean. Let's create a new layer again and hide this green emoji like layer. Select the rectangle to make sure the feel option is set toe foreground color in the outline Option is said toe. No outline. Pick a color OPIC blue for now, and just draw a rectangle like these. Select the transform tool and change the mode toe warp. Make sure this is said toe the fault and changed the subject. Fight Value Toe six, for example. Now, if we direct these upper notes up like this, then hit enter, you can see it doesn't create smooth or around curve. Instead, it created this spiky curvature. Now this may not suit all needs, but for creating things like ocean waves. For example, this can be a perfect tool. If we undo and then select the cage mode. Let's please six at the top and just to at the bottom drink. This points up like this and then press enter. As we can see, Cage creates more smoother and rounder result, not spikey like warp nurse 11. Liquify Distortion: in this lesson video. We're going to discuss the rest Transform tool mode, which is the liquefy mode. If you want to follow along just like before, you can use this file I provided. Or you can also use your own image file if you want to insure. Liquefy is an image distortion feature that uses brush like tools instead off anchor points to distort the image. If you used photo shop before it is almost similar to the liquefy filter you see in photo shop, even the names are similar. To use this Fisher, make sure your layer is selected. You can also constrained this toe a selection. If you want to use the transform tool up here, then click on the liquefy mode, which is the right most button in a tool. Options docker At the left side, we can see that liquefy has different type off tools that we can use. This one is used for moving or dragging around the pixels in the image. As I said before, liquefy, use a brush like system. That is why we are seeing this round brush tip. Next is this one, which is used for scaling up and down the pixels. If we drag around at this mouth area, for example, we can see the mouth become bigger and bigger to scare the pixels down. We can hold the control key Now in liquefy moder holding the control key is the same s turning this refers option on we can see it is on when we hold the control key and it is off when we released the control key. So why holding the control key? If we drag around like this, the pixel size will get smaller and smaller. Okay, next is for rotation. If we click and wreck around the pixels will get the start up in rotational motion counterclockwise. But if we do this, we're holding the control key or by turning this re first option on the rotation, direction will go clockwise. Next piece off said no offset. It's almost like the move liquefy tool, but instead moving the pixels towards the direction off where we drag it, shift the pixels towards the right side off where we move our mouse cursor. Now, you're probably wondering, why would I need the stool? Isn't the move toward is enough? Well, think about this scenario. You have a drawing off water surface that you want to shift upwards, suffer or pick sauce. Let me reset it first. Just imagine that this upper part off the fish is a water surface. If you used to move toe, then you will need to do several strokes like this, which is tedious, with no guarantee that the results will be perfectly smooth. Now with the offset tool, You only need to do this with just a single stroke. Just direct from here at the right side, all the way to the left side. Okay, so you understand now how this tool can be helpful in certain condition. The last one is the under tool, which basically used for undoing or removing the liquefy effect created by these four other tools. The under tour. We'll try to put the pixels back to their original locations. Okay, Now you may notice that there are parameters at the right side. These parameters are contextual, meaning it correspond to each off the tools at the left side. So, for example, if it's just the move liquefy tool in here, this parameters belong to the move tour. If we select the scale liquefy to then this parameters we see in here are actually belong to the scale toe, not the move toe or the other tools in here. Let's discuss what these parameters do in general, as most off the tools have similar lease off perimeters. First is size. This is used to control the brush size. Personally, I prefer using the shortcut and that will be holding the shift key and then drag the mouse left or right, drink right to make the brush size bigger and wrecked laugh to make it smaller. Next is the amount of value this value controls how far the pixels will move when you drag . So it is like the strength off the brush. You can set this very high, but I suggest that you don't go over 0.5 value. If you have the moat up here, settle built up because in will up mode, you can do multiple strokes on the pink sauce to move them around. We don't any maximum restriction. Now, if you set this toe wash mode in here, create a will, use the amount value down here differently. Let me reset it again so we can see this better in Wash mode. The Amman Value in here is used to determine the total maximum value off how far pixels can travel from their original location. It's pixel can only go as far as this amount value, no matter how many times you stroke the brush. So generally speaking, in wash mode, you want tohave higher amount value than when you are in a built up mode. OK, now you might be wondering why in the world we want to use the wash moder, why don't we just use the build up mode all the times as it doesn't give us any maximum restriction? Well, even though we used the built up mode, we actually still have restriction to a certain degree. You see, the way liquefy works is like this. It will map the image and divided into a small, invisible greed off control points. And this great has limit. You can only push or scale or rotate the pixels so much from their original location before you experience performance issue at some Point Preta well leg and if you keep pushing it to heart, preta may even crash. Next is the floor value the flow value only available in the Wash moder and it basically determine the strength off the brush. We need this flow value because in wash mode, the amount value is used for the pixels. Maximum distortion. Next is spacing. To explain spacing, you need to understand how brush works in general computer application. We will discuss about brush spacing more in depth in the advance section, and I don't see any benefit off using high spacing value in the liquefy tool. So, for now, just used the default value as this is actually enough for most, if not all, situation when using the liquefy tool. 12. Transform Mask: in this lesson video we are going to discuss about Transform Mosque. If you want to follow long, just don't look. The file I provided for this lesson in this file we have three layers. A white background layer down here Above it, we have layer with an image off a safety vest. I drew this suffer years ago for again project. I believe it was back in 2015 and Leslie on 1/3 layer. We have this blue square image before we get into the detail off what is transformed mosque and how to use it for us. We need to understand the reason behind why we need to use the Transform Mosque. At this point, you should already know what Raster image is in essence, a raster image. It's just a great off picks us right now. When we move this great off pixels around, the software will just reassign new coordinates to each off the pick. So So really not much has changed compared to the original image. Essentially moving on image will not degrade the quality off it. No information will be lost in the process. But when you try to scale or rotate the image. This is where things start to get ugly. The image quality will degrade. At first, you may not see the difference, but if you zoom in close enough, or if you keep transforming the image, you will start to see the difference. So again, the default nature, off scale and rotation transformation are destructive to raster images. Okay, now for the case off Rita, Rita has a way to prevent this quality degradation as much as it can. I call this behavior as transformation memory. I don't know the exact name for this. This is just a name that I made up so I can refer to it easier in this lesson. Let's just see the example off this feature for us. We want to duplicate this squares clear so later we can have something to compare. The shortcut to duplicate a layer is control J, or if you forget the shortcut, you can also right click on the layer and then just duplicate layer or mosque in here. Let's side the original layer and make sure this new layer is like that. Activate the transform tool. Now let's wrote at this layer 45 degree clockwise press enter to apply it, click again to reactivate the handles and then scale it down the impressed Enter again or click. Please apply button to confirm the transformation. Okay, now notice even after we apply the transformation, suffer all times. If we click again on the layer, we still have this filter transformation handle, not straight. And if we look at a tool options docker in rotation parameters, we have this 45 degree value. If we change this back toe zero, the rotation will get reset. Also in the scale parameters. We can see that we have this non default values for your information, the default values for scale ISS one or 100%. If we change these values back to 100% then, as we can see the scale will get Recep essentially making our image return to its original state before the transformation happen. And all off these, we don't inequality degradation. We can see this if we unhygienic original layer and compare the two layers. Okay, so transformation memory is cool, but there is a caveat here. The information memory only works to a certain extent. If you do other things after the transformation like aiding brush strokes are creating a new layer, etcetera, or hit the reset button in here. The transformation memory. We'll get flushed. Let me give you an example. Dislike before, let's rotate this layer 45 degree clockwise, then hit Enter, click on it again and then scale it down and hit. Enter and let's click again. We can tell that critter is still using the transformation memory because we can see this filter transformation handle. Now if you do something else, like aiding brush stroke or clicking on the reset button in here, we just flushed the transformation Memory. Yes, we can see now the handles are straight and a scale values in here are all set 100% if we try to rotate this back 45 degree counterclockwise and then scale it up to about the size off the original image they impress, enter Click again and then press the reset button toe flush the transformation memory. Now, if we ian hide the original image layer and zoom in close enough, we can clearly see how destructive transformation is toe on image. To prevent transformation from destroying our image in Quetta, we can use a method called the Transform Mosque. Let's talk about what it's mosque first in Crete. Er mosque is a general term for additional information that can be attached to a layer. Mosque is almost like a layer, as you can hide it or show it, and also you can move it around in the layer stack. But what makes mosque different is that it cannot exist on its own. It needs apparent layer to exist. This is due to the fact that the nature off information contained in a mosque is just a complimentary toe. Ordinarily years. OK, so that this mosque in Quetta now what about transform mosque? In essence, transform? OSK is mosque that can hold transformation information such as movement, rotation, skill and even the formation. With this, we can have transformation on a layer we don't affecting the original image. Or, in other words, it allows us to do known destructive transformation to show you how it works. Let's hide all of these squares, clears and let's select this safety or vest image layer. Now, before we do any transformation using the transform tool we need to create the transform mask first to create it, we need to click on the carrot symbol in here beside the big plus button and then to transform mosque. In here, we can see Creator created a mosque in here. It looks like a layer, but it is indented to the right a bit, giving us official que that this is not an ordinary lier, but a mosque belong to this layer. Okay, now, well, this transform mosque is selected if we select the transform tool and do some transformations such as skill and rotate, for example, at the glands, we don't see anything different, right? But notice. If I click on this ice imbo, we can hide the mosque and a transformation inside. It will not take effect that's revealing our original layer. What's so unique about mosque is that it has some layers behaviors, for example. We can duplicate it and also move it around two other parent layer. So, for example, if we press control J to duplicate it, we know have to transform mosques. As we can see, the image will get smaller and has more rotations due to the transform effects are now doubled. We can also transfer this transform mosque, toe, other layer as easy as moving layer up and down. For example, let's unheard our square layer in here. Then select this transform mosque to move this mosque up here to this square layer we can regulate with our mouse or simply click this layer up button down here. Now, as we can see, the square lier get transformed, similar to how the safety vest layer get transformed. Okay, now, besides the free transform mode, the Transform Mosque can also contains information from perspective mode What mode, cage mood and liquefy mode. But you can only apply one type off the stools to a single transform mosque. So, for example, if after you do free transformation like this at this transform mosque and then you want to add perspective transformation on this layer, then you need to create a new transform mosque toe. Contain that okay, and one last thing that you need to consider when applying perspective. Warp cage and liquefied deformations. Using a transform mosque is the performance because, unlike the free transform mode, which is generally cheaper or less demanding on computation, using these other for two modes on a transform mosque will force critter toe, keep recalculating the transformation. We knew hide and unhurried, the layer or the mosque. Now don't get me wrong here. You can use this for modes on a transform mosque. You just need to avoid hiding and showing the mosque back and forth too often as this will slow down your workflow considerably. 13. Transparency Mask: in this lesson video we're going to discuss about Transparency Mosque. If you want to follow along, just download the file I provided for the previous lesson. We have talked about the definition off mosque in Crete a before. Essentially, it is an additional information that can be attached to a layer and one off. This additional information is transparency. Information. With Transparency Mosque, we can make certain parts, often image, become transparent. We don't destroying the original image. This is very useful to create known destructive image composition in Quetta. Let's see how we can do this. Let's say we want to add a transparency mosque on this west layer in here. First, make sure that the correct layer is currently active. Then click on this carrot button and then choose Transparency Mosque. Now we can see that critter just at this mosque to divest layer just like ordinary layer. We can rename musk player to any name we like by double clicking on its existing name. Let's rename this toe my mosque just, for example. Okay, so we just created a transparency mosque. But how do we actually use it? Well, a transparency mosque is actually just a grayscale raster image. That is why if we have a transparency mosque selected, we can only choose grayscale colors in a color selector. If you choose our of s layer, we can select all off the colors. But if we choose our Transparency mosque, we will get this grayscale color selector. Okay, Now the way this grayscale colors work in Transparency mosque is like this Black will be considered as fully transparent and white will be considered as fully opaque. Let me pick a solid brush preset notice. If I pick black color in here and just drew random strokes like this, the best image now looks like is being erased. If we be quite color instead, the best image will reveal in where we draw the strokes. Now what about great colors? Well, great colors will create semi transparent areas in the image as we can see in here essentially for great color spectrum, the more closer it is to black, the more transparent it will be vice versa. The more closer it is to white, the more OPIC it will be. Let's bring all off the image back to full capacity. To do that, we compress D to make the foreground color said to black and the background color, said White. And then press backspace toe. Feel the mosque with the background color, which is now white. That's making the image fully opaque. Now what I want to show you now is this. If we pick the airbrush precept or any other brushes that have smooth, fading brush tip just black for the color. Precise the brush size to about this size now because the airbrushed brush tape has gradation. If we drove some strokes around the vest like this, we get to cities. Nice transition from opaque to transparent. Basically, we can use any digital painting method that we have learned before on this mosque player. Okay, now you might be wondering, Can I see the mosque in its true form? Because it is actually just a grayscale image? Well, you can to do that, simply hold the R key and then click on the mosque layer. We can see this black stroke that we have created before using the air brush preset to get back to the ordinary. Few just hold the R key and click again on the mosque. And just like the Transform Mosque We can also move transparency mosque, toe other layer by clicking and dragging with our mouse or by using this up and down button in here. 14. Gradient Color: in this lesson video we're going to discuss about Grady in. By definition, Grady in is a transition off Colors in creator. We can create Grady in using the Grady in Tool, which is this tool in here now, because in order to use the Grady in Tool, we will need to use the Grady in color. Let's discuss the Grady in color first, and then later in the next lesson, we can start discussing the Grady in tool. Okay to pick or toe access. Grady in colors. We can click on this Grady in color button up here we can see by default. Preta already provide us with a lot of different Grady in colors. We can take the colors and also filter them using the spoon. Don't lease up here. Do it is taking system Works is similar to the brush presets taking system. We have discussed this already in the basic level section, so I won't go over it again. In this lesson in Crete, er, there are three types off Grady in Colors Special Grady in Stop based Grady in and Segment based Grady in. Let's discuss each off them one by one from all off these Grady in colors. There are two special Grady in colors, which located on top this one and this one. These two radiance are special because they are both used dynamic colors. If we click on the 1st 1 we can see its name up here, foreground to transparent. So essentially, this Grady in color will change based on the current foreground color. If we change the foreground color toe a red color, for example, then as you can see, the Grady in will change automatically. Now it uses red color toe a transparent color if we pick green color for the foreground color, the Grady in color or romantically change this as we expected. Now it uses green toe transparent colors. The next special Grady in Business. Second grade. Ian In the least, we can see the name off it up here for ground toe background. As the name implies, this Grady in color will use whatever colors we have in the foreground and in the background. If, for example, we change the background color to blue, we know half a transition off green color to blue color in his Grady in color. Okay, next, before we can discuss the stop based Grady in and a segment based Grady in Let's see how we can edit the existing radiance provided bike. Rita. Now we know that we can easily change the special Grady INTs, which are these two radiance simply by changing the foreground and order background colors . But what about the rest off the Grady in colors? Don't. Here. Well, to change any off these Grady in colors, we need to select it first and then click the edit button. Don't hear this will open up the custom, Grady. In window, we can click on this left color selector and then select this red color. For example. The previous Grady in color now has changed. Toe red tow, gray color. Grady in. If we click close in here, we can see that it looks like that this Grady in color has changed permanently. But they are not. Actually, they will stay like this as long as you haven't close critter. If you close and reopen creator, pull off. These Grady in colors will get reset to their initial colors. Okay, so what if we want to create custom Grady in and then safe it permanently? Can we do that. Yes, we can by creating our own Grady in color. To do that, we can click on this character button and you will notice that creature support two types off radiant color. Stop, Grady in and segmented Grady in. If you come from for a sharp background, you should already be familiar with the stop Grady in. If you come from gimp background, you should already be familiar with the segmental Grady in Let's Discuss about Stop Grady in So pick Stoff Grady in in here. Let Mary size this window so you guys can see it better. Let's name our Grady in color toe my Grady in one, just for example. At the right side, there is a button toe. Quickly flip the color stops Arrangement. Okay. No. When I say color stop, it means these triangles we've seen here each off the stop represent a color and a transparency level. We can wreck around the color stop to any location in the Grady in strip to change the color. We can select it first and then click on this color box. Let's speak dark brown color in here and then click. OK for these. Stop. Let's speak orange color. We can define the transparency off a stop by dragging this opacity value. We can see the checker patterns show up in this area, indicating that this story is transparent. I don't actually need transparent color stop for now, so let's bring this back up so fully opaque. Okay, now what if we need more color stops? Let's say we want to have a purple color in here. For example, toe add a color stop. We can click in the Grady in strip area or at this bottom part area. Notice it will create a new color stop for us if we want to remove a color stop. We can do that by right clicking on it. Or you can also drag it to the right or to the laugh all the way outside the window area. We can see that the color stopped. We drag before is now gone. Okay, guys. So that is the second Grady in color type called the Stop Grady in Let's click on this close button to close the window. If you create your own Grady in color like this, it will still be available even if you close and reopen Creator if you need to remove it, promote only you can do that by first selecting the Grady in and then click this fresh button in here. The third type off Grady in color, available in Creator is the segmental Grady in. To see this in action, let's create a new segment of Grady in by clicking on this carrot button and into segmental Grady in Let's Name this Grady in My Grady in two. At the glands we can see several things are different from the Stop Grady in. First of all, we have three notes in here. These two dark notes are the rial color nodes. This one is the left node, which is controlled by this color box in here and this opacity value in here. Let's speak a purple color for this left node. This dark node is the right node, which is controlled by this color box in here and this opacity value in here. Let's speak a red color for this, and the white one is the center node. Essentially, this center load doesn't have its own color. It only controls the center point off the transition. The spooled on lease controls the algorithm off the color transition. Lanier means that it will transform the color from left to right directly. We don't any easing function. If you want to see the difference, just try each off them and see which one suits you Better the less perimeter. Determine how the color will change from one to the other. RGB means that each r G and B values will transition directly to the target. RGB value the h s of the methods. We will move the color long the color wheel instead, the H as we clockwise will transform the color along the clock direction. Well, the edge as we counterclockwise will move the color the other way around. We can see that it generates a rainbow spectrum. This is because we have purple color as the starting point and red color as the target point. If we just clockwise the color transition, we'll go this way. If we just counterclockwise then the color transition, we'll go this way, thus passing all off these colors in the color wheel. Okay, let's turn this back to RGB. Okay, Now what if we want to add more color segments or to flip it around, etcetera, We can control the segments by right clicking on the Grady in strip toe flip the color we can right click in here and then to mirror segments from the pulled on lease to end more segments. There are two ways to do this. We can use the duplicate method or use the spirit method. If we right click and in just duplicate segment Crete A will create a new segment exactly like the one we have previously. From purple to red, we now have two segments This one and this one The active one will have darker bottom strip the colors and the opacity values. You see, don't here are contextual to the active segment that reaches up here. So, for example, if we pick this segment and then change the left color node toe green, for example, it will only affect this one. Not this one. If we have multiple segments like this, we can move around the black notes like this, but you won't be able to move the black notes at the right most and left most positions to remove a segment. We need to select the segment first and then right click and then just remove segment Okay . The second method off heading segment is by splitting the existing segment. To do that first, we need to move the middle White note to the location off where we want to split toe happen , for example. We want to split the segment at this location, then right click. Just split segment as we can see splitting segment. Well produced new segment, but the black note at the centre were used the previous existing color. One final tip I want to mention is copying and pasting color. For example, let's say we picked this right side segment and change the left color to orange. As the result, we get this step color change in its black node. Let's just say that we want the right color off the segment toe. Have the same orange color with the left color off the segment. This way, we have smooth color transition from end to end. You might be tempted toe open the color picker and copy paste the Hexi decimal color code in here. But there is a faster way to do this. No copy paste color quickly. Simply right. Click on the color bar. Remember, just right. Click not left clicking on it, then press control. See toe, copy the color to the memory. Then just the left segment. Right. Click on the right color, not the left color. Because in this segment, this black node is the right color, not the left color. Okay, so after right, clicking on the right color press control V to paste the color. Now we have a smooth color transition from end to end. Okay, guys. So this is how you create an edit. Radiant colors Inside Creator. In the next video, we will cover how to actually apply these Grady in colors on our drawing using the Grady in tool. 15. Gradient tool: in this lesson video. We are going to continue our discussion about Grady in previously, we cover different types off radiant colors. Now, in this lesson, we will cover how to use those colors on the canvas using the Grady in tool to access the Grady in tool. We can click on this button in here for the Grady in color. Let's speak a special Grady in color, which is foreground to background color and then pick yellow color for the foreground color and a green color for the background color. Okay, To use the Grady and tool, simply click drink like these on the canvas. The first point where we click our mouths will be used for the left color, which in our case, the foreground color and the location where we release our mouths will be used for the right color position, which in our case, is the background color. Okay, let me erase this whole layer. We can constrain Grady in feel by using selection, for example, if we used the outline selection tool and just draw some random selection shaped like this . If we switched O Grady in tool again and click drag like this for example, the Grady in colors will only feel the existing selection and not the entire layer. Okay, now let's discuss each off these parameters. Ingredient tool options. First is the re first button. Don't here. If this is on the Grady in colors will be flipped. So the first location where we click our mouths will be used for the background color, which is green in the location where we release the mouse will be used for the foreground color, which is currently set toe yellow. OK, let me turn this back off. Next is the ship option in here by default? It is said to Lanier, meaning it will create a straight line to distribute the color on the canvas. If we just radio, for example, it will produce a circular distribution. The left color in the Grady in will be used as the center color, and the right color in the Grady in will be used as the outer color. The linear is used to create double mirror version off the linear shape. So if we start from here to here, for example, it will also produce radiant colors that way, not just this way. This is a square shape. This is conical, and this is conical symmetric, and the less one is shaped. Now shaped is very interesting because, unlike the other ship types, it will create greedy in color by following the border off the active selection. It doesn't care. Were you click and drag your mouse. OK, next is repeat option in here to see this repeat option in action, you can only use the Lanier until the square ship type the strip. It option won't take effect if we have this conical or this conical symmetric or this shipped type. So let's speak Lanier for now to see the difference. If we have repeat option turned off if we click direct from this point to respond in everything before base point will be colored with the left nor color, and everything beyond this point will be colored with the right note color. Now notice. If you set these two forward, we get something like these. So instead, off feeling in the before and after area with the left and the right colors, Preta will create repetition off Grady in the alternating option is almost like the forward option, but it will flip the color order for to repeat ingredients, the less option in here and buy Alias. Fresh Hope doesn't really do anything, at least not in my version. Off Creator. When a record the video, this option may get removed or replaced in a future version off Rita, I cannot really tell. So we just have toe skip this one. For now, let's change this repeat option back to none and just to remove the selection and impressed delete to clear the layer. Okay, The last thing I want to mention in this lesson video is direction constrain. If you want to create a perfectly vertical or horizontal gradations, then you can use the shift key modifier. But you need to press the shift key while you are dragging the mouse. Not before. So, for example, we can click drag in here, and then we don't releasing the mouse press and hold the shift key. If we release the mouse, we can see the Grady in color. Direction is perfectly straight 16. Wrap Around Mode: in this lesson video. We're going toe coffer. How to create seamless repeating image or, in other words, fallible image. Now you might be wondering, Why do I need a tile herbal image? Well, there are many different usages off fallible image. For example, if you are Web designer, you may need to use it for were grown images. If you are working with really software for architectural, easily she ation or for game industry, for example, fallible in majors are crucial to texture three D models, especially for large sized models. If you are a graphic designer, you may need fallible in majors for product packaging design or for corporate I D. Or for other, different type off scenarios. In Creator, we can create repeating images easily, using a special interaction mode called wraparound mode. If you use for a shop before it is like the offset filter in for a shop but slightly more advanced, let's see how we can use these wraparound mode. We're going to divide this topic in tow to lessons first, creating scalable pattern, and then in the next video, we will go for a terrible texture. The idea off fallible image is to cover a large area with just a small sized image by repeating it again and again. So let's start with relatively small image press control end to create a new file input. 256 picks off for the with press tab and then 256 pixel. Also for the height. Click create. Now the image looks big, but this is because Preta scale it to fit the window. If we want to see the original size, we can press number one in a number head. Okay, now, if it was our blocking brush and recites the brush a bid, pick any color, help pick Brown for now and grow some strokes on the can. First like this, this line at the left side will not exactly connect with this line at the right side when we later tile this image. That is why we need the wraparound mode to access it. We can go to the view menu up here and activate this option. Wraparound motor. We can see that now. Greta, display our image as repeating tiles. And not only that, in this mode we can draw on the canvas as if it is an infinite image, so we can draw a line to any direction, and that line will become tile herbal automatically. If we go to the view menu again and turn off the wraparound mode, we can see our actual image again in here. From the simple example, you should understand by now how powerful this feature can be. Another advantage off using the wraparound mode is the ability to work with multiple layers and also transformation. For example, let's create a new layer on top off this layer. Make sure the wraparound mode is active. Let's pick a green color for now and just draw some random drawings like this. I know it doesn't look perfect, but this should be enough for the purpose off. This demo just assumed that these are lives. Okay, Now, if we want to move this leaves layer, we can do that easily by going to the move tool in here and just drag around the layer as we can see the move Tool works perfectly in the wraparound mode. Okay, guys. So that is how you use the wraparound mode for creating callable pattern. In the next video, we will cover how to create callable texture 17. Tileable texture: in this lesson video we're going to discuss about callable texture or also known as seamless texture. Previously, we discussed on how to create callable pattern. In essence, they are both fallible images, and some people may use these terms interchangeably. The big difference is available. Patterns are created from scratch by drawing them, while terrible textures are mostly taken from photograph. For example, let's say we took a picture off this marble surface and we want to turn this into a terrible image so we can use it for texture in purpose. No, honestly, I didn't took this picture myself. I just don't loaded it from textures dot com. You can see that in their website. They actually already provide a terrible version off this marble texture. You may want to download this version instead. If you are doing a real project for now because we actually want to learn how to create this kind off seamless texture, I intentionally don't loaded the original picture, which is this one, and just randomly crop it to a square ratio size. Now you don't have to crop it yourself because I already provide this file for you to download, so you can follow the lesson right away to create callable textures. There are at least three methods that you can do for us is by erasing the same areas. Second is by using the crone brush, and third is by patching it manually. Of course, there are more methods out there that you can use to make similares textures, but with these three methods, I believe you should already have a solid foundation to expand into experiment with different techniques yourself. In this video, we will focus on the force method and at later video we will discuss the rest off the methods. Let's see how it seems. Raising method works. If we turned on the wraparound mode, we can see that this image as very noticeable seems at the top or the bottom area. And for the left or the right area, it is surprisingly, already looks nice, But we can still spot the seam at Sephora areas like this, for example, and this one also, if you look close enough, okay, notice when in wraparound mode it is hard to see the original image border. If you want to see the original image border, you can make use off the grid to display to grade. We can press shift control, single quote or by going to the view menu show Great in here. Okay, so now we can see that this is the original image location. Now the idea is like this. We want to erase this seems and replace it with under laying seamless texture. So to do this, we need to duplicate the layer. First we can press control g to duplicate the leader. Now we have two identical layers. Next, we want to move this layer so that all off the same areas are at the center, off the image, not at its border. Remember, we want to move the second layer, not the first layer. We can Presti toe access the move tool, Or just by pressing this tool, Aiken in here and just drag like this to offset the image. Try to make this seems so. They are located at the center. Now this is actually enough. But if you want more position, we can type in into these positions. Input fields, the half values off the image with and the image height. I know that this image is 512 pixels with by 512 pixels high, so I can just click drag in here type 256 breast EB and type 256 again. Then press enter. Now, if you don't know the exact size off the image you are working with, you can check it by going to the image menu, then properties in here. You can see that the size is 512 by 512 picks us. Next, we can start erasing the seams, using either the razor brush or by using Transparency Mosque. If we want to have more flexibility later than we should, use the Transparency Mosque method. Instead, toe add a transparency mosque. We can click on this current button and then choose Transparency Mosque. Remember that in Transparency Mosque black is transparent, so let's speak black for the foreground color. We can do this quickly by using the shortcut, which is for before color. Induce a soft brush preset, such as our air brush preset. Adjust the brush size as needed, make the opacity around 30 to 50% and then just brush the same areas to make them transparent. I think we should hide the great for now so we can spot the same areas much better. Okay, If we make mistakes, just change the foreground color, toe white. If we already have default colors before we can simply press X to swap the foreground and the background colors. Now you may notice that we don't see any checker pattern. Although we make some parts off this image than sparing this is because we have the original layer beneath this layer. We can see if we hide the original layer. The checker pattern shows up. This is what the Slayer actually looks like. Okay, let me show this bottom layer again. After we finished, we can say if the image composition to dot craft file, which is the native create a file format. This is important for baker purpose, but to be able to use this image in external applications, you should also export the image Spn G or J Pick or any other common file formats. So let's export these s a PNG file. Go too far. Menu dentures, export. Pick a location you want to target? Make sure it is settle P and G and give this image a name. I'll name mine. Terrible texture. Underscore. Finish look p and G and just click the save button. Okay, guys. So that is how you create a terrible texture. Using the first method in the next video, we'll cover the second and the third methods. 18. Clone brush and manual patching: in this lesson video. We are going to continue discussing the Taliban texture methods, which is using the clone brush and then using the manual pitching technique. Let's discuss the clone brush method first, and then after that, the manual pitching method. If you have the initial fire opened like this, you can turn on the wraparound mode again. We can see that we still have to seems visible like before to use the clone brush. We can either use it directly on the original layer, but if we do this and something goes wrong, we won't have any wake up. So just to play safe, let's do this on a duplicated layer. Let's duplicate the original layer by pressing control J. Okay, then go to the brush presets panel. Make sure the tag filter is set to all so we can see all of the brush presets. The clone brush precept has this unique Tom Nail off wouldn't rig. We can see the name off it Con tool. Just click on it, Press escape or the middle most button to close the brush presets panel notice the clone brush tool has to brush cursors, the one that has the X symbol is the original, or domain brush coarser, and the other one that doesn't have the X symbol is the throne sampler. When we drove brush strokes on a canvas domain, cursor will copy everything that the sampler cursor picks up. Okay, Now, to reposition the sampler cursor to any location we like, we can use the control modifier key. For example, we want to clone this Blackstone to dislocation. To do that, move the main cursor to the Blackstone location and then hold control and then click on it , then moved the main cursor to dislocation and just draw some brush strokes in here. You can see that we just clone the Blackstone toe. This location. With this method, we can clone anything to any location that we like. Okay, that's under suffer all times until we have our initial image back. Now the idea is like this, but you seem the clone brush. We want to cover these same areas with other parts off the image, less precise the brush of it. Then sample this area by holding control and then click and then just brush this seem areas . Just repeat the process until the seams are gone, and you like how the image looks okay. I think this is already looks nice. Let's move on to the less method, which is manual patching, basically manual patching. Issa process off copying and pasting parts off the image to cover the same areas in here. I already reset the image to its initial state and already turned on the wraparound moder for dispatching method. We don't actually need to duplicate the original layer because we won't do anything. Put this layer. So the workflow ghost like these, for example, we want to cover the same area with this area in here. Activate the outline selection tool and just create a selection around this area like so. Then press control. See toe. Copy it. Then press control V two pasted Notice that creator will place the image at the exact position off the original image birth on a new earlier. We can see this clearly if we heard the original image layer Now we don't need the selection anymore so we can clear it. Then Presti to use the move toe and just move the stretch to cover the seam. If the purchase covering too much or it introduced a new seam. You can erase part off dispatch using eraser brush. Okay, Using this manual pitching method is great, but we can still see repetition in the image because now this area in this area is pretty much identical. To solve this issue, we can rotate or flip the patch around you see in the Transform tool. But there is a caveat here in my current version Off Preta. When a record, the video, The Transform tool will not work on wraparound mode when the image moved over the border area. So in wraparound mode, the move tool works. But the transform tool it's not the work around, for this limitation is to use the transform tool only inside the image border. For example, we want toe patch. This same area with this area used the outline selection tool again. And just like this area control C and in Control V. Now, before we move, dispatch press control T toe access the transform tool. Rotate the patch like this. Now you don't want to move this across the border like this because the image will get clipped when we apply the transformation. So again, just stay inside the image border after finished, just hit. Enter then Presti to use the move tool because the move toe is supported in a wraparound mode, we can place this rotated patch safely on top off this same area. Okay, guys, sort it is how we do manual patching. You can actually make use off this method for others. And Aereo's not just for creating Talaba texture. Now, after learning these three methods, you might be wondering which method showed a use. Then seems raising crone brush for manual patching. Well, the answer is you can combine all of them for maximum result. Essentially, we want to kill all off the repetition, feeling on the image when that image is styled. 19. Pattern: in this video, we are going to discuss about pattern in Quetta. Previously, we learned how to create seamless, fallible images using different methods, but we only target them. Toby. Useful in other external software. In this lesson, we're going toe cover how we can actually use those salable images right inside Preta in Quetta. Besides solid color, we can feel raging and or selection with Grady in and also with pattern. So basically, we have three options for coloring. Using solid color, using Grady in and finally using pattern toe access patterns in creator, you can click on this button up here besides the Grady in button. Yes, you can see critter comes with a lot of different patterns. Disliked radiance and brush presets. Patterns can also be organized with tag and can be filtered with search. Because we already discussed this before in the brush presets lesson, we're not going to discuss this again. To save time, we are going to divide the lessons into two parts. First, we'll cover how to use patterns, and second, we will cover how to create our own custom pattern. Okay, No, let's discuss how to use pattern in Crete. Er, there are many scenarios where you can use patterns, for example, for filling in selection or layer for rafeal option. When creating roster, primitive shapes toe fill in vector shapes and finally, for reading texture inside brush presets. No, because currently we haven't yet discussed about the factor and creating custom brush. In this video, we will only cover the first and the second methods. Okay, for example, we want to fill this entire layer with a pattern. The first thing you need to do off course is to select which pattern you want to use. So click the field patterns button up here and in choose any pattern preset that you like. For example, I picked this one, then go to the edit menu. You will find a command on here called filled With Pattern. Click on it, and, as you can see, the layer now filled with the pattern we pick before essentially, patterns are repeating or tile images. That is why we need to discuss on how to create callable images first, before discussing pattern press the lead to clear the layer. We can use the same method to feel selections with pattern. So, for example, let's use the outlines selection tool and just draw some random selection shape like these , then go to the edit menu again and just fail with pattern. As you can see, the pattern now only feels the selection and not the entire layer. The next method off using pattern is when we create roster primitive shapes. This method works for rectangle tool, Elif Stool, Halligan Tool and Polly Line Tool. This method actually works also for this busy a tool, but we need to cover a vector editing first. Before we can use this tool, we will discuss this in the future lesson. Inshallah. Okay, So, for example, let's speak the lips tool in a tool. Options Docker. You will see two options. Feel an outline in a few pull don't lease. We can select pattern. This option will use the current active pattern, which is up here before to fill the shape for outline. We don't need any outline for now, so just set this toe. No outline. Now, if we click direct like these to create an elliptical shape, the shape is filled with pattern. The next thing we are going to discuss in this lesson is creating custom pattern we already create some terrible images before, so let's just use that for our custom pattern. Currently, I already opened our previous tile herbal pattern. So this is our working document, and this one is the terrible pattern we created before. Now, you don't really need to have multiple files open like this to your spat. Turn. I mean, you can do all of this within a single file if you want to, but I found that it is more convenient toe work with multiple files when working with pattern, because you don't need to do intricate selection just to update the pattern. Okay, So to define this image s pattern first you need to create a selection. Generally, you want to use rectangular selection for defining patterns. If you create small selection like this, then only the image inside the selection will be used for the pattern. What's so great about working with multiple files like this? Is that because we want the whole image as the pattern? We don't need to create manual selection, Just press control a toast, like all it is just faster and more precise this way. Then click the field patterns button again noticed There is a tab in here called Custom Pattern. Don't. Here you will find the update button. Click on it. Yes, you can see Preta just generated a pattern based on our selection. But we can only see the leaves. Where are the branches? Well, this is because up here, the source option is said toe current earlier. That is why it only picks up. This layer last changed this toe entire image and then click update again. Now we can see both the leaves and the branches. But we also see Dwight bedroom layer, depending on your need. If you don't want to include this white by grown color inside the pattern, you can just hide the layer and then press the update button again. Now we have transparent background. So yes, in Crete, er, pattern support transparency. Okay. Next to actually use this pattern as the active pattern, you need to press the use s pattern button in here. This image is now the active pattern. You can see the Tom Neal in here. You can use this active pattern in this file or even on another file. For example, let's go back to our main document. Create a selection like these, then go to edit menu and just feel with pattern. Okay, The last thing I want to discuss in this lesson is saving our pattern as pattern precept. To do that, we can go back to the custom pattern tab and click this button. Don't here had to pretty find pattern. If you do dis crackly notice if we go back to the pattern stab, we can find our custom pattern at the bottom off the lease. If we click on it, we can see the actual if I location off where creators say if this pattern in this condition or custom pattern will still be available, even if you close and reopen creator Now, if you don't need this pattern anymore and you want to remove it, make sure it is selected by clicking on it and just click this trash button down here. 20. Filter: in this lesson video we are going to discuss about filter. So what is exactly a filter? Inshore filter is a graphical operation that we can do on an image to alter its look. For example, with filter, we can make an image, become brighter or darker, or make an image toe, have stronger green color or stronger and color etcetera. If you go to the filter menu up here, you can see that there are so many filters in creator that we can use. We won't be discussing all of them. In this lesson, we will only discuss some off the commonly used filters. Later, you can explore these filters by yourself. In Crete er toe apply filter. We can use three different methods. For us, it's by applying directly on the image. This is a destructive approach, as the original image will be gone. Second is by using filter layer, and third is by using filter Mosque. These last two are known destructive methods. Let's discuss each off this methods one by one, while covering some off the common filters available in Creator. If you want to follow long, just open the file. I provided for this lesson this image is a project that I did almost 10 years ago for a client here in Indonesia, the original size off this image. It's actually quite large. So I scare it down considerably and also murdered some off the layers to reduce the complexity off it just enough to be used for the purpose off this lesson. As we can see, we have a layer in here for the sky, another layer named base where I put the three D rendering result. I created this building image using three DS max and finally, another layer of for the foreground trees. The first method to apply filters is to apply them directly on an image or a layer. To do this. First, we need to select layer. For example, let's speak this base layer, then go to the filter menu and into the filter that you want to use. For example, let's open the adjust category and just de saturate in here. Essentially, the saturate will make our image becomes grayscale. In here, we can pick the algorithm that we want to use for the situation process. We can see the image change instantly to reflect the changes we made in here. This is because the preview checkbooks don't here is set to on which is the default condition. Now, some filters are very computational intensive, so sometimes you may want to turn off this preview option to prevent creator from crashing . You will still get the result even if this is turned off after you click this OK button. Yes, you can see the image in this layer is now turned into a grayscale image. Okay, let's undo for now. And let's discuss another filter called color ballons. We can use this filter to tweak the color channels strength often image. The parameters are divided into three groups, shadows mid tones and highlights the shadows. Area controls the dark parts off the image. So, for example, if we want to change the dark colors in this layer, Toby a bit red. We can direct these slider towards red color and, for example, if we want to shift the highlight colors towards yellow, we can directly slider toe the left like this click OK. As we can see, we can get this interesting looking color style using the color balance filter. The next method off heading filter is by using the filter layer filter earlier is different from the previous method because it will affect us all off the layers below it. So basically it is ableto affect multiple layers at once to create a filter layer, we can click on the correct button down here and into filter layer. Once a filter layer is created, you don't need to define what type of filter you want to use. Notice if it just de saturate again like before. Not only it affects the base layer, but also the sky layer beneath the base layer, but it doesn't affect the three layer. This is because the filter layer is located in here above the base layer, but below the three layer, so again filter earlier will affect the layers below it, but not above it. Let's speak another filter for now, for example, each as V slash H S L adjustment. With this filter, we can tweak the colors, you seeing each every sliders. The huge slider up here can be used to cycle the colors. We can get pretty interesting color style with these. If we direct this all the way to the right or to the laugh, we can get orange sky and purple trees. This image now looks like a human settlement. In an alien world, the saturation slider controls how strong the color ease against how gray scale it is. Finally, the value or the lightness lighter controls how bright against how dark the image is. Let's set these value toe 10 for example. Then hit the okay button. Filter layer is nondestructive, meaning because it is actually layer we can show and hide it like any normal raster layer. We can also reposition the location off it along the layers stack. If we bring this down, it will only affect the sky. If we bring this to the top, it will affect the whole image. Now the foreground praise become purple. Also, we can rename the filter layer to any name we like by double clicking on its name. For example, we can name it Alien sky. If you want to access the HSV sliders again, you can simply rightly on that filter layer and into his property. In here, you can make any changes as needed in here and then click OK to commit or cancel to discard the changes. The last thing I want to mention about filter layer is that we can delete it like we can believe any other types off layer in creator. The less method off heading filter is by using filter mosque dislike. The direct filter approach filter mask method can only affect one layer at a time, but with the advantage of being known destructive, for example, let's speak our base layer again. Then, to create a filter mosque, we can click this carrot button in here and then just filter mosque just like the filter layer workflow. We no need to specify what filter we want to use in this filter mosque. Let's peak levels for now. The levels filter works like these in this history. Graham. We can see the amount off pixels in the image based on how bright or dark it is. We can see we have a lot of black color picks us because off this high spike in the black area, well, we have more uniformly distributed amount off pixels in the mid tone and the highlight zones. Now, if we direct the black note up, more pixels will be considered as black. That's making the image darker and also more contrasts in the shadow areas. Contrary, if we bring the white no to the left, more and more pixels will be considered or rendered as white, making the image brighter and more contrasts in the highlight zones. We can also shift the meat owns Toby darker or brighter, using the great node. Okay, now let's make this very, very dark by sliding the black node to the right. Then click. OK, no notice. If you click this up and down buttons, the filter must can jump and stick to other parent layer, and the parent layer will be the only one affected by it. Okay, Now the question is, can we assign a filter mosque toe affect multiple years, for example, We wanted to affect both the sky and the base layers. Can we do that? Well, the answer. Yes, you can, although you better off using filter layer and not filter mosque for this purpose. But if you still want to use filter mosque for this force, you need to put the base in the sky layers inside a group earlier and then attach the filter mosque to that group a year. So let's like both the base in the sky layers, press control G, then move the filter mosque so it is attached to the group player. As you can see now, both the sky and the base layers become dark, but the tree Lear is not again. If you want to do this, it is more convenient to use filter layer instead, so you don't need to create a group layer first. But at least with this example, now you know that you can also a patch filter mosque to a group of the year. 21. Project workflow: in this section. Starting from this lesson, we're going to create this pineapple illustration project by utilizing all off the things that we have learned previously from the earlier sections. No, I know that this illustration has a very specific style to it and that some off you may not be interested in this kind off style, and there is totally fine. But because in this project we also goingto kaffir suffer or critters features which we haven't discussed before, I strongly suggest that you try to follow this project or at least just watch each off the lessons from start to finish. Generally, the workflow, it's more or less the same with our previous tree on a hill project. What makes this project different issue, probably already noticed, is that we're not going to create shading using airbrush or a smear brush like we did before in the earlier projects. Instead, we will create more stylized shading using textures. Okay, so the overall workflow goes like this. The first step is to find references. The next step is sketching, Then the next step is layer sorting process. In our project, we will only have three composition layers. One is for the pineapple, another one for the toaster. And finally, the last one is for the big round. We will have additional layers later, but they are just complementary layers and not part off the three main competition layers. The next process is based coloring. In this process, we will add the base color for all off the objects in our illustration later, while in this process I will also teach you how to create dynamic, symmetrical drawing, using clone layer and transformation Mosque Next is shading again for the shading. We will be using pressure images and texture brushes, toe get the stylized look that we after we will use the same method for both loco shadows and cast the shadows. The next face is outlines. This is where we had line artworks or just line ornaments to the illustration. Finally, we will add some visual effects on illustration to make it looks more interesting for our project. We're going toe target, full HD resolution or 1920 pixels with by 10 80 pixels height. But remember when we talk about anti Elia sing in the earlier lesson, we will be using tools in Quetta that don't support entirely assing to compensate the alias in judges, we need to work on largely resolution than our target resolution. So for this project, we will use double with and double height size or 38 40 picks off by 2160 pixels. Image size. This is actually four times the size off full HD resolution, which is actually more than enough to compensate the Elia sing effects. 22. Custom shortcut and tablet keys: before we start the project in this lesson video, we're going to set up one custom keyboard shortcut and then set up the function keys or the express keys in a drawing tablet. We do this to get even more speed When doing illustration in Critter Force. Let's create the custom shortcut. We want to create a custom shortcut for the contiguous selection tool. We need to do this because we'll be using the stool a lot in our project. We have discussed how to create custom shortcut before, So I just explained this real quick. Go to the Settings menu, configure Creator and then find a keyboard shortcuts category type county in a search. Barter. This will filter the lease so we can find a contiguous tool easily click in here and then click on this non button in here and then press W key on the keyboard. Okay, we are done. Just click the OK button down here. Next, we want to add custom functions to the case in our drawing tablet. If you have a welcome device, just open the welcome Tablet Properties AB. If you own other brands, just open the app that comes with your product and try to find similar settings with what I'm about to show you. Now, if your tablet does not have any additional keys, don't worry. You can still use the keyboard shortcuts. I'll explain about this later, but having additional programmable keys in a tablet will certainly help a lot to speed up the drawing. Workflow. Okay, currently, we want to set the function buttons, not the pen. So click on the functions option in here. Next. Select Rita in the air. Police. We have discussed this before, but just in case you forget to make Rita appears in this lease. First, make sure the critter app is running and then click this plus button and discreet er from the pop up window. Okay, you can see that My old welcome tablet has lot off express keys that I can program right now. I only need to case this one and this one essentially what I want from these keys are like this. Whenever I press, this key creator should select the layer below the current layer and then activate the contiguous selection tool. And whenever I press this key creator showed, select the upper layer and activate the brush to. So for the upper key. Set these two keystrokes and impressed peach up button. Then press be letter key. Named is toe critter up layer, basically the keystrokes setting in Welcome tablet properties. It's like micro setting in gaming devices. OK, so that is why I could pitch up and be in there. Beach up is for selecting the upper layer, and B is for the brush tool. Next, we need to do this also with the lower key to a ski strokes for a speech down and then press w name this micro key precept as Rita Don't leer. Okay, now it disclosed the APP. Go back to critter now Let's try whether the keys are working or not. Press the bottom key and we can see create a select the layer below and activate the contiguous selection tool. And if I pressed the upper key Preta, select the upper layer and activate the brush tool so the table keys are working as we expected. If you don't have programmable keys in your tablet, then you can replace them with page down and pitch up to select the layers and then press W for contiguous tool or press be for the brush tool. OKay, 23. References and Sketching: in this lesson, video will start looking for references and then move on to sketching toe, get the initial ideas flowing. We have discussed thoroughly before on how to get references and how to place them in our canvas. For this project, I won't be placing reference images again in a canvas, but feel free to do so if you need to. Before having my initial idea, I sort the Web for inspiration. I stumbled upon this image off a pineapple character. I like this character design, so I decided to use this as the main character for the illustration. A superhero pineapple. But at that time, I still had no ideas about the story in the environment for the character I was thinking, adding a pen as his weapon, you know, pineapple pen, just like the viral music video back in 2016. But I regress from that idea and keep moving forward. Finally, I saw the school stylized kitchen illustration and started toe thing. What if the pineapple is a superhero who lives in a kitchen and always ready to help his gauges and you tense your friends whenever they are broken? So now our main character needs a tool because he likes to fix stuffs. He should have a screwdriver. After that, I searched many different stylized artworks for additional inspiration, and I found that the illustrations made by Melanie Matthew have a very inspiring style. Now I'm not trying to copy her style 100%. I will only try to use her shedding style, which is mainly using ranch textures. But we are not going to create smooth lines in our illustration. We will use heart polygonal ages instead, after I gathered enough references and already had a solid idea off what I want to draw. Oh, I can then move on to the next face, which is sketching honestly before doing any sketching in computer. I usually do sketching, using a real pencil and paper, but I don't think I need to show you guys this process, as it is very basic and straightforward. Now, unlike the previous project in this project, I'll be using multiple layers in a sketching face. This is so I can have more flexibility to move things around. Let's create a new file and, as I explained before, will be using 38 40 peaks or by 2160 pixels image size. Now, if you have different target image size and you want to quickly double the number, for example, we can go back toe full HD resolution like these two double do with value. We can type in here, multiply symbol or the stars imbo, and then press two for a stab. And then we can do the same with the height value type multiply symbol, then to then press step again. As we can see, Preta can help us to the simple mathematics calculation inside the input fields, and the rest is just the same with what we usually have. Click the create button down here and we have a blank document to work with. Now I'm going to switch to my welcome tablet. So from now on you may see the mouse cursor jumping directly to certain location. Also, from now on, I will be speeding up some parts off the video because I don't see any benefits for you guys to watch all of them in the real speed. Let's start drawing the main character first for this. We need are sketching brush. Let's draw the round shape for the body for this you can also use the lips tool. And then we started with the transform tool. If you want to. Next, we need to grow the hair. I think I need to move this down a bit. The hair is actually the pineapple topped crown. Next, I want to draw the eye cover because the pineapple is a superhero. He has to hide his identity. Yeah, I know it doesn't make sense for a fruit to hide its identity, but we are making imaginative story here, so try not to make sense of it too much. Okay? There is one interesting fact about pineapple. Do you know that almost all countries in the world call it a Nanna's? It's like 50 different languages in the world. Call it a Nanna's. Even in my country, Indonesia and a neighboring country, Malaysia. It is called Nana's, which is pretty close, right, But somehow, in English, it is called pineapple. I'm just curious how in the world they came up with that name in the first place. Anyway, I'm skipping the video now. Until this point, I think the pineapple body is just too straight, which makes it toe generate. So let's pick the outlines selection tool and select the body excluding the legs. Press control T to use the free transform tool and rotated, albeit clock. Weiss like this. Let me speed up the video again. I'm creating a new layer for reading more rough sketches off the surrounding this will be the toaster, and in this area we will have the special ER or kitchen utensil goes next. Let's rename this layer toe pineapple. Next, let's create a new layer for the environment and just name it E N V. Move it down. So it is behind the pineapple a year now for environment. Mostly, they are just lines and to create lines, we can do this in several ways. First off course, by using the line tool, we can click and wrecked like this. And while dragging, we can hold Schiff to make it straight horizontally. Let's do that again for the kitchen top age. Okay, Another method off creating line that you can perform right inside the brush tool is by using the V letter key shortcut. So if you have the brush tool active and then you hold a V, remember, not just press and release, but you need to press and hold the V letter key notice. We can be in a line tool mode temporarily. Well, in this condition, we can drag to create a line and while dragging, we can also called Schiff toe Get a perfect horizontal line. Okay, next for the window. It will be way easier to create the window using the rectangle tool. So activate the rectangle tool and make sure no fio is said toe not filled. And the outline is said toe brush. With this, we can draw the windows frame quickly and also the month in bar. Okay, guys, I think we don't have anything new to discuss, so I just skip the video. This is the final sketch. After about 15 minutes off sketching, yes, you can see I divided the sketch into several layers the pineapple layer, the toaster layer, the utensils lier and finally, the environment lier. And then I group all off them a named the group player sketch. In the next video, we will stop sorting the composition layers and do some base coloring 24. Layer sorting: in this video, we will continue our pineapple illustration project after the sketch is done, we're now going to design or plan our composition group. The years and after death create based colors for the environment. Okay, so previously you have created this sketch group player. Let's just collapse it. Next. Let's create a new group player as we can see Greta inside the new group layer inside the sketch group earlier. This is not what we want. So click this move a button to take out the new group player from the sketch group player. Let's rename this group player toe envy for environment. Then let's create a new group player again. Move this up again. This is for the toaster. So let's rename this to poster and let's add another group a year again for the pineapple rename Ito pineapple. So now we have pineapple group player, toaster, group player, environment group player and finally, the sketch group player. Okay, now we actually want tohave the sketch layer on top. This is so we can use the schedule a year s guidance when we do coloring or shading. We can do this because aside from the pencil strokes the sketch group layer is actually transparent, so make sure the sketch group layer is selected and then keep hitting the move up button until it is on top off everything. And that said, the layer sorting face is done. We are now moving to the base coloring face. The first composition layer we are going to work on is the environment. So let's like the environment group layer and create a new raster layer notice it is automatically created inside the environment group player. Okay, now we want to create the background sky, which will be feasible in the window area for creating the sky. We can use radian for smack shirt. The Grady in color is said toe for grown toe background precept, and let's speak a color for the foreground color. The outside sky is at night, so it should be dark. Let's speak another color for the background color. This one should be even darker, almost black. I think I want to reverse the foreground color. Okay, I believe we already have nice colors here for our Grady in Let's create the sky. Now zoom out a bit, create a rectangular selection like so bigger Grady in tool. Now we want to direct from bottom to top. But remember who used the shift modifier key while dragging. So the Grady in color orientation is perfectly vertical, clear of the selection and rename this layer to sky. Next, let's create the wall for these. Create a new raster layer, rename it to wall. Let's find a nice color for the wall. I think it should be a beach or a cream color. Okay, use the rectangle selection again. Make sure it is said to replace mode for this press are for shortcut. Click direct like these. Okay, no press s toe. Activate the soup track mode and then click Drag like this. This will cut or reduced the previous election press shift back space to fill the selection with the active foreground color. Now we have a wall. Next we want to create the window, creating under roster or pain layer. Rename this layer to window. Use the rectangle selection again. Press are so we are now in a selection. Replace mode, not the soup track mode. Then click drag from the spine like so press s Togo to the soup track mode and then click Drag like. So now press A to use the ed selection mode and click drag like this to create the month in bar. So now we have something like this. Let's speak dark, brownish color for the window. Try to find color or similar toward color, then press shift backspace again. Now we have this nice looking window. We can hide the sketch layer to see what's going on in the environment group player for the next several based coloring processes. How will need to speed up the video? Because we are doing exactly the same thing over and over again. Currently I am creating the world tile. Now I am creating the tabletop area. This less layer that I am working on is for the utensils. I am creating two selections with the rectangular selection tool using the ad mode. Then for the utensils heads. I am using the polygonal selection tool. Okay, guys, we know half the initial colors for the environment group player. Later, we will also add texture and shading toe this environment, so we need to separate the base colors from the other graphic elements. To do that, select all off these layers. Press control G toe, Group them all into a single group player and then renamed group Player Toe. Be for based colors. We can see we know half a group inside a group in our competition now because we won't be able to see this layer one anymore as it is blocked by the environment. Color above it. Let's just delete it. We are done. Now let's move on to the next video. 25. Base coloring: in this lesson video. We'll continue our pineapple illustration project. We want to add base colors, toe the rest off the composition layers. Let's stop with the toaster. So click on the toaster group player. Create a new pain layer. Rename this to body. Let's zoom in a bit. I am using the polygonal selection tool. Click in here, then in here and so on. Okay for the toaster. I think I want to use a reddish color. Try not to use bright red color or high situated red color because those colors will compete too much for attention. We want the center off. Attention, Toby at the main character. The pineapple, not the toaster. Okay, press shift, backspace. Next, we need to add color for the holes, so create a new pain layer and rename it to host Dress off. The process is the same, so I'll speed up the video. I am creating a new layer for a lever, create a selection, speak a dark red color and then filled the selection. Okay, Next, we need to select all of these layers, press control G and then rename the new group Layer Toby, which is for base color and just collapse the layer. Next, we want to add base color for the pineapple character, so pick the Pineapple Group player. Create a new pain layer. Let's start with the Rhone body, so rename this layer to body. Zoom in a bit. And just like before, I am using the polygonal selection tool again to trace the body shape, as we have covered earlier. You can also use the outline selection tool and then hold control while creating the selection toe. Access the polygonal tool for this round body. You can also use the live stool and then, after that, use the transform tool to distort the shape toe. Follow the sketch. Okay. Next, let's speak a yellow color and impress Schiff backspace to fill the selection with their color. Next, let's add the hair or the crown top, so create a new pain layer again. Rename this to here and use the polygonal selection tool again to trace and create the selection. Until the stage, you might be wondering Hey, weedy, Can we create smooth lines instead? Off this polygonal shapes where my answer is. Of course we can. But we will discuss that later in a vector section off this course serious. So just bear with me for now and try to make use all of the things that we have learned so far to their maximum potential. Okay, let's speak a green color for the crown Schiff backspace, fulfill in the color. Next, let's add the base color for the I cover. There is no new techniques to discuss, so I'm speeding up the video again for now. Okay, Next, we want to create the limbs in the ice together in a single layer. I'm doing this because the ice and limbs will have mostly similar colors for the eyes used the elliptical selection tool. Pick up your black color and then fill the selection. Next, create a smaller circle for the speculator. Pick a white collar and fill in the circle or selection. Now we want to copy this. I decide to do that. We can create a selection, for example, or rectangular selection like this. Then press control, see, and then control V notice. Creature will create a new layer Presti to use the move toe and move it to disposition. Okay, now we have two layers to march. These two layers first select this one and this one also. What? Click and then choose march. Let's rename this layer back toe limbs face for the mouth. Create a circle or a selection and pick a black color, but slightly towards the red color. Okay, guys. So this is what we have so far. We can hide the sketch layer to see the colors only for the screwdriver. We're going to cover this in the next lesson video, because we are going to use a new technique called The Lonely Year. 26. Clone layer: in this lesson video. We will learn how to use the clone layer in creator toe. Add base color on the screwdriver in illustration. Previous three. We created the base color for environment, the toaster and the pineapple body. But we have fun. Create any based color for the school driver. Now you might be asking, Do I really need to use a clone layer to create the base color for the screwdriver? The answer is no. You actually don't need to use chrome layer for the scenario. You can simply trace the screwdriver using the outline for the polygonal selection tool and fill it with color, just like how we did with the body, the hair or any other parts off the illustration. It just that I find this to be the perfect opportunity to show you how to use the cronly year. Okay, the first thing we need to do is to make the screwdriver a sketch orientation, Toby. Perfectly vertical. We need to do this because we want to mirror or to make it symmetrical now because we already have the sketch drawing in a schedule a year. Let's just pick that existing sketch using the outline selection to control, see Toe Copy and in control V To paste it, we can see a new layer created bike Rita Press Control T and try to make it straight as best as we can. I think this is already straight enough, so press enter. Next. Let's hide all off the schedule years except straight screwdriver schedule a year. Let's hide the toaster base color also, so it doesn't get in the way. Next. We want to put the screwdriver based color inside the Pineapple Group player, so create a new layer and we want this layer Toby located behind body layer. So just press this down buttons several times. Let's create the initial shape by using the rectangular selection tool and just drag like this. Find a bright Greek color press shift back space to fill the color. Next, we want to add the grip. For that, just create a rectangular selection again like these. Let's speak a strong red color for the grip because it is one off the main focal object in illustration, and then feel the selection. Okay, now, from this point forward, we want to work on on lead 1/2 side off it so used to rectangular selection tool again and select half off the screwdriver ship and then press delete. Let's hide the sketch for now. Next, we want to create a cold layer out off this layer. To do that, make sure we have delay your selected first. Then click this carrot button and choose crone layer. What just happened is that crater created a new clone layer from this layer. You can see that layers. Aiken is different. ACL. Only a year has this double paper symbol as its I can. Now. If you want to transform this clone layer, such as rotation or scale, you cannot do this directly. You need to add a transform mosque on it to be able to do that. Okay, so let's add a transform mosque. And while the Transform mosque is active, we can press control T to use the free transform tool. We can see the freedoms home tool handles appear now. Next, we want to flip the layer, but the center off the transformation should be at this point at the right side. The easiest way to do this is by clicking this button in here. Yes, you can see the transform center relocated to the right side, Then click this button flip selection horizontally. So now we have symmetrical shape. Let's break the apply button. Don't here now? What's so great about the set up? If it's like the original layer, which is named Layer 25 currently and use our eraser brush and we raise some parts off the original layer just for example, the changes will reflect on a clone layer at the right side. In conclusion, we can create symmetrical object easier. Using this clone layer set up, let me undo, suffer or times, and let's turn on our sketch layer again. Let's walk on the tea party off the screwdriver. Let's create a selection like these. Pick our previous light gray color and feel the selection. You sing the shift. Backspace Shortcut. Oops, sorry. In the version off Preta that amusing, you cannot do color feel if you have the active brush Seto a razor you need to select a Nani razor brush force. You can press B and in right leak and pick any Nani razor brush from the pope. Appellate. I know this is annoying, and I really hope this behavior get fixed in a future version off Preta. So fill the selection. As you can see, the right side, which is this clone layer will get updated automatically. Next. We want to fix the grip area used the elliptical selection tool. Remember that we can hold out to move the selection around, release and impress Delete. Next. We want to make the bottom part off. The grip becomes round. For this we still be using the elliptical selection tool. But we won't be needing the selection region Toby inside the Rhone area. Instead, we want to create the selection outside off this round area. To do this as we discussed earlier, we can make use off the soup track mode in soup track mode. If we don't have any initial selection and then create a selection, for example, this political selection when we release. As you can see, the whole canvas area becomes selected. But the inner area off this elliptical shape is not selected. Okay, so in this condition we can go back to our brush tool and select the racer brush, make sure the opacity is set to 100% and just erased this part like these. So now we have a screwdriver grip rounded at the bottom for the upper grip area. Let's speak the elliptical selection tool again, but this time we don't want to use the soup track mode, so press are this will activate the replace selection. Moder. Create an elliptical selection like this. Speak our previous red color and fill in the selection. Okay, sorry, guys have made a mistake again. I shouldn't be in the brush eraser mode to do color fear. Okay, sometimes you may see this white line when you have flip close layer. No need to worry. This is just a graphical bleach, and it will not affect your actual artwork. If you zoom in or out, it will usually be gone now because we don't need this temporary schedule your anymore. Let's just remove the Slayer and let's show all of the other schedule years. Could only we have the screwdriver separated into two differently years? That's march these two layers by selecting both off them first. Then press control e to march them into a single layer renamed layer toe screwdriver, press control T toe access, the free transform tool and just wrote it and move this layer so it fits the original sketch again. A. Some ancient earlier. You actually don't need to create cruel layer for his screwdriver because we won't be able to see the right side off the grip anyway. But it is a good opportunity for us to learn about clone Layer. Okay, guys. So now we have all off the base colors finished. Let's move on to the next lesson where we will add pattern into the illustration. 27. Environment textures: in this lesson video. We're going tohave textures to re environment. In this face. We were used to different techniques that we have learned in the previous section. For us, we will use a fallible texture for the kitchen table top. To make things easier, we will reuse the marble texture that we have created previously. After that, as the second technique, we will create a custom pattern toe. Cover the wall tile in here. Okay, so let's start with the teacher and tabletop. Open the salable texture file that we have created before to make this image as the active pattern, just as we discussed earlier. So, like all of them opened the pattern editor panel, too, is custom pattern and then Creek update. Then toe assigned this image as the active pattern we need to click this use s pattern button. We can see the pretence. Tom Neal now resembles our texture image. Now we can go back to our main document for the tax. Jeter. Let's create a new layer on top off the base dollar layer. Remember that this be layer is for the base colors. Let's zoom out a bit. Go to the edit menu and then just fill with pattern in here press control t and wrote it this a bit like So we do this to reduce the visible repetition in the pattern, then press enter. Next, use the rectangular selection to and click dreck like these control C and in control V clear the selection. We don't need this layer anymore, so let's just remove it. For now. Let's hide the pineapple layer and a toaster layer and a schedule you're also we can see The repetition is slightly tilted because we wrote it the texture before now, to apply this texture onto the tabletop area. First, make sure the texture layer is selected, then press control T, or you can also click this free transform tool I can up here. Okay, now in the free transform mode, select this rotation radio button. This way we can access the rotation parameters. Don't hear drag the X rotation value until the texture is more or less aligned with the kitchen table. Top area. You need to use your imagination a bit because there is no exact rule for this transformation we can hit. Apply for now just to see whether the textures perspective already looks good or not. Click again and move it to the tabletop location. That's scale these, so it covers the whole tabletop area. Okay, I think we have a nice perspective distortion on the texture already to constrain the feasibility off the texture, we need to select the base color layer and then activate the contiguous selection tool. If you remember how we set up the express keys in our drawing tabler. If you have the express keys, then this is a good time to use them. Pressing the up button will select the upper layer and activate the brush to and pressing the down button. We'll select the lower layer and activate the contiguous selection tool. So essentially you can simply press the don't express ski tow. Have the base color layer selected and the contiguous selection tool active. Now at this stage, if it's like the pixel in this area, Preta doesn't care whether Reese texture layer is active or not. If I click like this, it will create a selection based on this based color layer, which just this purple area. This is due to this option limit. The Koran layer is active Next we want to add the dark purple color into the selection region. We can do that by first pressing A. This will activate the ad action mode, then click on a dark purple region. Let's turn on the texture layer now if we have an active selection like these, and we have this layer active, if we go to the carrot button, don't here and into Transparency Mosque Preta will create a new transparency mosque for the texture layer, using the active selection as the white pick sauce inside the mosque. We don't need the selection anymore, so let's remove it. Let's rename this layer toe tabletop and reduce the opacity toe 30% but I think this still looks too bright. Let's reduce the brightness off this layer by going to the theater menu and in just a just then it as V adjustment produce the lightness value. Toby, about this value, I think minus 40 is a good round number for the lightness value. I know this is a destructive approach, but I don't think I will need to adjust this layer anymore after this, so it should be fine if you want. Oh, you can use the filter mask method instead. Okay, guys. So now we have the texture finished for the tabletop area. Next, we are going to create the callable image for the wall tile manually from scratch. First, we need to plan on the size off the pattern that we want to create at this area. To do this, we can use the rectangular selection to create a selection covering the world title region . We can see the height value at a tool. Options Docker is around 880 picks us. Let's say we want to fit four tiles along the vertical direction, meaning we need to divide 880 value by four. But we are going to create four tiles for pattern. So this way we only need to divide these value by 2 880 pixels, divided by two that will be equals toe 440 pixels. Okay, so let's create a new file. Change the with value toe 440 by steb. Then type 440. Also click the create button. So now we have a blank document to walk with. Let's speak a sigh in color for the base color shift backspace toe feel in the color. Next, we want to create four tile shapes. To do that first, we need to know where is the center area. So go to the few menu and turn on the grid and also turn on the wraparound mode. Now we can tell that this vertical gray line is the center line. Up until this point, this will be the center point off the image. Okay, now activate the rectangular selection tool and then pick a brighter science color. Create a rectangular selection like these and feel in the bright cyan color. And just do these three more times a speed up the video for now for this style off illustration. We actually don't want the tiles Toby to tidy. We want to add some variation to make it more interesting. Next, create a new layer where we can add changing in highlight. And let's cite the great for now, as we donated anymore. Now toe pick a color for the shaded area for speak the earlier based color from the color history, then make it darker. Remember, we are creating a background here, so try to avoid too much contrasts on the color use the polygonal tool and create a selection at the bottom, right side off the tile. And just repeat this process three times. I'm speeding up the video again. As always, try to add some variation to make them less repetitive. Now I am adding the highlight colors using the same technique, but with brighter Asai in color. Okay, now we have the title image finished. Next, we want to assign this image as the active pattern. The process is similar with the previous process. Control A to select all open the pattern any terror custom pattern and then press update we can seek. Rita Onley detected this layer. This is because we need to set the source option up here. Toe entire image. Greta already update the image. So just press use s pattern button. Don't. Here we can see now our tile image already becomes the active pattern. Now let's go back to our working document for the world tile. We need to create a new layer inside the environment group player. So click on the envy group layer and create a new pain layer. Create a large rectangular selection reagent like these go to edit menu and then just feel with pattern. We have the pattern now, but as you can see, the top area is clipped, so fit this pattern easily to the original wall tile region. We can reduce the opacity to around 50% then Presti to use them off to click direct to move it. But hold the shift key so it moves in a perfect vertical motion. Try to fit the pattern so that the top area is at the mortar joints and not sleeping any off the tile pieces. Okay, set the opacity back to 100%. Press the don't express key until we have the base color selected notice. It will automatically select the contiguous selection tool. So if I click in here, it was like the wall tile region. We can go back up by pressing the up express key until we are at the pattern layer again and then create a transparency mosque for this layer. We know half a nice pattern for the world tile. Let's rename the layer toe wall tile. Okay, until the stage. We have least wall tile layer. And we also have this table top player now because both off these layers are actually textures. Let's select both off this layers press control G to make them both wrapped inside a group player and rename this group player T for texture. Okay, so now we have the texture layer up here and we have the base color layer. Don't here before we finish this lesson at this stage, I just realized that this utensils color is just through right. We can see it is competing too much for attention with the main character. We need to recover it toe more Subtitle color The good thing about the world four that we are using now is that it is non destructive. We can go back to the base color group player and find a utensil slayer. Now you need to be very careful here. If you choose a solid brush preset, for example, and then pick a darker gray color for the new color and ed brush strokes like these, you can see it will just Spain's anywhere in the layer. Well, some off the color are blocked by the wall tile texture above this layer, but basically we don't want to do this. So let me under this first what we want to do is to lock the transparency off this layer first. So now if we grow like this with the brush to the brush, strokes will stay inside the existing pixels. And if you only need to fill it with the same color, you can just press shift back space and it is done. Okay, I think I like the utensils color better now as it is more sub toe compared to the previous color. Let's move on to the next lesson where we start getting shading colors into the illustration. 28. Pineapple pattern: in this lesson video. We are going toe a patent toe the pineapples body. Until this stage, this is what we have so far. Now, if we expend environment group player, we can see we already have these organized players. We have all of the base color layers inside the B group a year, and we have the texture layers inside the tea group a year. OK, but if we open the Pineapple Group player, we can see that all of these based color layers are all exists in the main group a year. Let's first organize these layers, select all off these layers and then press control G so all of them are now wrap inside a new subgroup layer. We can rename this brew player Toby for base color. Next, we need to create a new group layer where we will put the tax. Terror known as Creator created the new group layer inside the big group layer, which is not what we want. Let's put the layer on top off the big group player, and I renamed group player to T for texture. OK, next we want to create simple tile that looks like a diamond shaped pattern. So dead dislike how we did the world tile. First, we need to play the size off the pattern we can use the rectangular selection tool again, or control are for the shortcut and click. Direct like these were looking at the tool options docker values. Based on these values, we should have about 180 pixels with it by 180 pixels. High pattern size. So let's create a new file and change the way to 180 peak sauce. Press tab and then change the high to 180 pixels. Also click create to create the diamond shape. It will be harder if we create it directly like this. It's way easier if we just create a rectangular shape and then later we rotate the pattern when we apply it to the pineapples body. Let's pick the color from the pineapples body first, so we have something to start with and then change the color Toby More greenish and darker . Go back to our pattern file. Well, we have the green color as the active for grown color press control A to select all. Now we want to tell creator to create stroke color along the selection Ragen. To do that, we can go to the edit menu and you will see a command called stroke selection. Just click on it and we will see the stroke selection window opened in a type option. We can select the type off stroke that we want to create between a simple line or current brush. If we just current brush, Quetta will use the settings from the active brush preset that we have currently. For now, we just need a simple line for the line color. We have several options in here. Of course, we should use the foreground color because we already picked this green color as the foreground color next for with Off the line. I think I want to use 20 pixels for now. Let's just see what happened for the feel color. We want to have a transparent feel at the center, so we should leave this value to none and just click the OK button in here. So now we have something like this. Next, go to the few menu and activate the wraparound mode. I just want to check whether the lines are too thick or too thin when applied as repeating pattern later. Okay, I think it looks perfect. Let's turn off the wraparound mode again to register this image s pattern just as we have done before. Opened the pattern window and choose custom pattern Click update to see the preview in here and then click use s pattern button in here. We can see the pattern. Tom Neal up here updated. Let's go back to our main document. Let's create a new layer inside our texture group player and let's create a rectangular selection where we can feel in the pattern. Go to edit menu and then just fill with pattern in here. So now we have something like this. Now we need to rotate the pattern so the diamond shape is facing this direction, lined with the heads orientation, press control, T. So we get these free transform handles, rotated and just try to find the best position for it. I'm trying to make the mouth not crossed by any pattern lines press enter to apply the transformation. So this is what we have so far. Next, we want to make the center area off the patent to botch a bit toe. Give it more three dimensional look. To do that, we can use the liquefy transform mode and just the grocery tool in here. We're going to use this to make the center area bigger. Make the brush size bigger by holding shift and then click drag and just click drag like these. Then press enter to apply the changes we can see. We know half this barging pattern in the center area. Okay, now the constraint of his ability off the pattern we are going to use Transparency Mosque. For these. We can press the express down key, so we have this base color layer selected, and we have the contiguous selection active. Click on this stop had area, press a tow, activate the selection mode and then click on the lower had area. So we know half both the lower and the upper head area selected. Now let's go back to our texture layer, and while this layer is active, create a transparency mosque as we can see if we have a selection. Crete A will use that active selection as the reference to generate the new Transparency Mosque. Let's clear the selection and check if there is anything that we need to fix. I think this is already looks nice. Let's rename the layer toe body because this is the pattern for the body. Finally, we can play around with the opacity off it. If you want to make it less obvious, I think I will go with 50% for now. And there you have it. The pattern for the pineapples body. 29. Shading the environment: in this lesson video. We are going to add shading put environment the way we had shedding toe. This illustration is a bit different from how we had shading in the previous three. On a hair illustration. Project in this project will use Grady in and in texture brush to create a stylized looking shading. Let's expand environment Group player and create a new group layer inside it. Rename Ito S, which is for shading. Then, inside this group player, create a new pin layer. Now we are going to focus on the kitchen table top area. We want to create a bit off color bleeding effect. Essentially, the purple color from the table will bones off and affect the world tile. Vice versa. The sign. Color from the wall tile. We'll also bounce off and affect the tabletop, so let's create a rectangular selection. Pick the color from the world title, but make it a bit darker. We want to create a color gradation, so click on a Grady in tool. Make sure the Grady in color is set toe foreground to transparent, then click drag inside. The selection region were holding shift, so we have straight Grady in color like this. To constrain the Grady in color, we can go to the base color layer, use the contiguous selection tool and click on this area. Go back to our previous layer and then create a transparency mosque. Let's rename this layer toe tabletop. Next, we want to create the same color gradation also for the wall tile. So let's start with creating a new layer renamed the layer toe wall tile. Pick the purple color from the tabletop and make it a bit darker. And just like before, let's create a rectangular selection. Use the Grady in tool and wrecked like this while holding Schiff. Next, let's pick the world tire agen from the base color layer and then create a transparency mosque. Okay, now notice that both off the Grady in colors do not really create shading color. They just block everything below it. This is because the S Group players blending mode is still set to normal. If we want to make all off the layers inside this shading group layer to darken everything below it, then we need to change this group layers blending mode to multiply. Now they are working, as expected, as shading colors. We can control the strength by adjusting the layers opacity. I'm going to use 60% opacity for each off these layers. I think this looks better now we have done shading with airbrush. We also have done shading with heart H brush plus the blur brush. Then we also just use Grady in for shedding. Now we're going to explore yet another method off shading, which is using a textured brush. So let's start by picking a brush Precept. As we can see, Creator provides a lot off textured brushes by default. I think I want to go with this one because this one has a grand style feels to it now. Off course, you can pick any off this texture brushes that you like. If you already pick a brush that you like and you are going to use that a lot, you may want to take that brush. So it shows in the pope. Appellate, we have discussed this before. Basically, we just need to right click on a brush preset and then just assigned toe tag and into the tech we use for the Pope. Appellate. In my case, it is the production tag. So Now, if we are in a brush tool and then right click the texture brush is available in the pope. Appellate. Okay, Next, let's create a new layer. This will be the layer for the windows shadow, so let's rename this layer to window and let's zoom in a bit. I want to use a bluish color for the window. Cast out shadows. Currently, I'm just using my mouse. There will be no pen pressure control on the brush strokes. Therefore, I think I need to reduce the opacity down. We can press letter. I shortcut several times until we get 30% value. Change the brush size a bit and just drag like this long the windows border. Make the brush size even smaller and do another stroke along the windows border, just like before. Next. We want to constrain the feasibility off these pastures. Brush shading colors. We can use the same Transparency Mosque method we used before. Go to the base color layer, use the contiguous selection tool and pick Chris Ragen. Go back up to the window shading layer and create a transparency mosque. It doesn't look that great. Now it looks more like dirt than a cast a shadow. This is because the border is not well defined as a cast a shadow. Let's fix this. Use the polygonal lasso tool and create a selection like these. Now we need to feel the selection with black color. Why Black color? Well, this is because we are working on a transparency mosque, not an ordinary layer. So black color will be translated as fully transparent in the parent layer. Okay, so press D and impress. She makes space, So fill the selection with black color. Next, we are going to do the same thing with the bottom area. But we will use direct, angular selection tool, then shift back space again. Finally for the window shade. Oh, let's reduce the opacity down toe. I think 40% will be OK. The window is part off the background element, so we should make it looks more softer. Okay, Next for the utensils, shadows create a new pain layer renamed the Slayer to you 10 CEOs and for the rest off the process, it is exactly like how we did the window area. So I'm speeding up the video now I am using dark blue color and Ed brush strokes along the utensils. Ages go to the base color layer to extract the selection. Go back up and create a transparency mosque. Fix the Transparency Mosque by ending black color feels essentially. We are trying to mimic a cast that shadow shape, and finally we can reduce the layers opacity to make it looks more sub toe. We know half the shading completed for the background element. In the next video, we're going to add shading toe the main character using transparent textures. 30. Creating transparent texture: in this lesson video. We are going to learn how to create transparent textures. We need to cover this topic first before moving on with our pineapple project, because we will use this technique a lot for the rest off the project. Now you might be wondering what is exactly transparent texture? Well, basically, it is just my own term off calling textures that use transparency as the big round. Instead, off topic pixels. I have suffered examples off transparent textures that you can download as you can see. Besides the existing texture pick sauce, the surrounding Baghran pixels are actually transparent. This type off texture images can give us more flexibility compared to non transparent texture. For example, we can recover them easily or use them as a base for offer inheritance or convert them easily into selection and use them as Transparency Mosque. Essentially, we can do a lot more things with them compared to non transparent textures. If you are serious in digital illustration, especially if you like stylized textured illustrations like the pineapple project that we are currently working on, then it is very recommended that you create library off this transparent textures. This way you can create illustration much faster as you can just pull out textures that you like from your library whenever you need them. Okay, so how can we create these transparent textures then, to create transparent textures from any images, you can follow this simple workflow. The first step is finding the image. Second, we need to turn the image into a grayscale image. Third, we need to fix the level so that the majority off the color is white and the texture area that you want to use its black next turned white color into transparent. For this process, we can use to alternative methods first, by using an image filter called Color Toe Alfa or Second, we're converting the image into a transparency mosque. If you just the Transparency Mosque method, then we need to invert the color first. After that, we can convert the image into Transparency Mosque and then later apply apparent layer to it . Let's see how this workflow inaction step by step. First, let's find an image for the step. You can find images online or shoot your own picture with a camera. As I mentioned before, my first go to place for textures is testers dot com. But feel free to use any sources in the Web and pick any image that you like. Just make sure that the image is a royalty free image. I already pick an image that I like, which is this one and already don't let the image next. We need to open the image in creator and, in turn, the color into gray scale. To do that, we can go to the filter menu and then just decision rate. There are several methods that we can choose in here. I just this one the minimum method, because it gives the most contrast result compared to the other methods. Okay, now the idea is like this. We need to make the areas that should be transparent become pure white in the areas that should be opaque, become black. In order to Rudy's, we can use the level adjustment filter. We've talked about this filter before. Essentially, the level adjustment filter released all of the pixels in the image based on their values or brightness. This list off pixels is also known as history Graham. As we can see, this image has most off the pixels at the center area of the MIT Tones area. No pixels at the what level and very little in the black level. To make this area white, we need to bring down the white level node, which is this node notice. As I move this white note to the left, more and more pixels become white. I think I'm going to put this just below this valley next to make this stop areas black. We need to direct the black note to the right notice. More and more pixels become black. As I drag this to the right. Just find the best spot for these. I think I will put this just below this hill. You can also play around with the meat on or the great note, which is this note at the center. But for our case, I'm already happy with the result. So let's just click OK to apply the filter next. I actually don't need these details. Don't Here we can fix this easily. Using the brush tool, I am using the air brush preset and white color for these and just remove the black colors that I don't need vice versa. If you do need to have more black colors. You can also use the brush toe, but with black color to fix it. Currently, I am already happy with how doubly colors appear in the image, so are just under the black brush strokes. Next to turn this grayscale image into a transparent texture, we can either use the filter method for the Transparency Mosque method. Are safe the file for now so I can go back to the state again later. Let's see how we can do this. Using the first method, go to the filter menu to sculler and into Sculler Tau alpha. Essentially, what this filter does is it's simple of color and then make that color transparent by default. It is already said toe white, as we can see in here, so we don't really need to change anything. But just in case you have a different image that is not properly turned into a grayscale image, and you want to pick another color as the transparent color first, you may want to turn off the preview button in here. Then you can click on this color box. You can choose any color that you like from the color selector or from the color swatches in here, but most often you would want to sample the color from the image directly. It is just easier this way to do so. You can click on this eyedropper button and then click on the image were the color that you want to turn into a transparent exists again. We don't need to do this now, but at least you know how to do it if you need to use other colors besides white for this process. Next, I want to cover the threshold of value. Don't hear. My advice is not to change this value at all and just lift this to it's default, which is 100. Why? Well, because if you lower the threshold at some point you will start seeing what color not being transparent. And if you rice the threshold, you will start getting like colors become transparent. So again, mostly if you already level out the image correctly before the default value off 100 is already perfect. To apply the filter, we can click the OK button. After we have this nice, transparent texture, you can safe the image as a PNG file by going to the file menu, then either goto export or Safe s option to speak NGS the file type and put any name you want. Then, after clicking safe in the PNG image safe option, make sure you have the store off a channel or transparency option turned on. Okay, no, let's discuss the other method off creating transparent Tisha. I just re opened the file they have saved before. Basically, this is what we have after we fix the level off the image. So to use the second method first, make sure the layer is selected. Then you want to invert the color to invert the color. You can simply press control I or if you forget the shortcut, you can also access it from the filter menu up here. Adjust and into invert. In here, you can see the shortcut is control. I okay, Next we need to right click on the layer, just convert and then just transparency Mosque. The image now converted into a transparency mosque as we discussed earlier in Transparency Mosque black means transparent and white means opaque. We can see that creeper automatically create apparent layer for a transparency mosque. We cannot see any peak sauce because it is now just on empty layer. Now, if you select a brush preset and in a color any color that you like and in pain on the Slayer, the pixels opacity will be constrained by the Transparency Mosque. If you only want to add plain black color Desprez d and then shift backspace. Okay, Now you might be wondering, why would we want to use the second method? It is longer to execute as it requires more steps. Well, my answer is this. If you are building a library off transparent textures, then most likely you would want to use the first method, not the second method. But if, for example, you already have a layer that you want to use for the color. And you just need a transparency mosque for that layer generated from an image, you generally want to use the second method. So it all depends on the situation you are at. But anyway, if you already have something like this and you want to safe, this s a PNG file. Perhaps you want to save this image also in your library, simply go to the far menu and safeties or export this Spn G just like how we did before. The envy format does not support layers. Soak Rita will threaten the transparency mask automatically to transparent image. Okay, now, what if we want to do this manually? I mean, what if we want to turn this layer and it's Transparency Mosque into a single, transparent layer right inside critter without having to safe it toe a PNG file? We can do that by right clicking on the parent layer and then just flattened layer. Remember, it is threatened earlier, not threatened. Image as we can see, we know half a single transparent layer. Okay, guys. So that is how you create transparent textures in creator. In the next lesson video, we will cover how to actually use these transparent textures inside an illustration. 31. Shading the pineapple: in this lesson video. We are going to add shading toe the pineapple, using transparent textures to make things easier are well used, transparent textures that I have created off the record you can don't look these textures, or you can use your own textures if you want to. The techniques that I use to create these transparent textures are exactly the same with what we have discussed in a previous lesson to create the shading for the pineapple. Let's open the Pineapple Group earlier. And just like how we had shading to the environment. Lier. Let's select the Pineapple Group player and then create a new group of the year rename Ito S for shedding. Next. We need to change the blending mode to multiply this way. Everything we put in this group player will be treated toe have multiplied, blending murder, and so it will darken everything below it. Next, let's open the first transparent textures that I provide for this project. I think I want to use this part off the texture for the pineapple body, used the outlines selection tool and create a selection like this Press control. See toe, copy the image. Go back to our main document and impressed control V to paste the image. The texture should be placed inside the shading group player. We can wreck this manually, or we can use the layer down button in here so that the texture is inside the shading group player. Next, while the layer is selected, press control T and reposition this texture so that it covers the right bottom part off the pineapples body. I think the texture is too transparent. To make it stronger or more opaque, we can just duplicate the layer by pressing control J. Next, we need to add another texture for the pope area. Let's go back to the texture document. I think I want to use this part off the texture just like before. Select this area with the outline selection Tool control, See toe copy. Then go back to our main document and press control. V. Use the free transform tool again to reposition it so it is at the top area off the head. You can scale it up and down if you need to. Okay, notice. We have this excessive texture that overlaps the bottom area. Let's remove it by force, selecting it and then hit the lead. Next, we want to march all off the slayers into a single layer. To do that, select this layers first, then press control e to march them. Next, the constrained these textures inside the pineapples body region. We can use the down express button as we discussed earlier, or dis click directly on this based color layer. Then press W for a just click on the contiguous selection to click on the top area, then hold shift and then click on this area also, So now we have both areas belonged to the head selected. Select the texture layer again, and while this layer is active, create a transparency mosque. Next, we want to re color the shadow because, as you can see, the texture now use black color, which is making it look more like burnt or a small color. We want to change the texture color so it makes us more with the body color. To do that first, we need to look the transparency off the layer. This way, any brush strokes we apply in this layer will stay inside the existing picks US press B and right click and choose the air brush preset, called out and pick the existing color. Then shift the color slightly towards green and make it a bit darker and then just brushed like these. If you want to make the right area even darker, we can select a darker color and just apply the color with the brush tool. Next, we want to collapse this layer, but I think I want to add more textures at this area. Let's speak our texture brush and let's deactivate the awful lock turned on the opacity toe both 30% and just at some brush strokes on where we want to add additional shading. Make the brush size smaller and just at more shading around the bottom part off the hair area. Next, we want to frighten layer. What frightened means is that the Transparency Mosque will be gone, but the effect off it will be applied to the parent layer. To do that right, click on the parent layer and then to fatten layer. Remember, it is not flatten image, but frighten layer OK, no, let's rename this layer to body. Next. Let's at picture shading on the hair for hair. We're going to use the second transparent texture that I have provided used the outlines selection tool and let's like this region control. See, go back to our main document, then control V press control T and position this texture so it covers the hair region. You can also scale the texture as needed. And just like before, I go to the base color layer and use the contiguous selection tool and select the hair agen . Go back up and create a transparency mosque. And also just like before. We want to use doctrine color instead off black for the hair shading. So select this layer and turn on the alpha lock. Use the airbrush preset and pick the base color. Change it so it is darker and just apply the color like this. I think we need brighter green color at the left side. OK, essentially, we are repeating the same technique we did before for the body area. Next, I want to discuss a different method off tweaking the texture shading if we showed the sketch layer again. As you can see, we actually have this offer lapping shapes on the hair and the texture. Shading is not really following these shapes. We can fix this by editing the Transparency Mosque. Let's zoom this a bit. Select the Transparency Mosque for now. Let's use the polygonal selection tool. We want to clean out the left area off the hair shape from shading textures. Create selection like this. Then we need to fill this area with black. Why black? Well, remember, we are in Transparency Mosque. So black is transparent and white. Isso pick press d, then shift backspace. Okay, now I will do this for the rest Off the hair shapes. I'm speeding up the video s niece gets store a very live toe watch in normal speed. Okay, We can hide the schedule a year to see the full result. I think the result is a bit too sharp. Let's add some transition on the hair shading to do this, let's use our texture brush again, but decrease the size of it and also decrease the opacity. We need to use white color for this. If you already have the default colors, you can simply press X shortcut to swap the color. As you can see, the texture gets bleed out a bit. It's OK. We'll fix this later. Next. I want to add more darker colors on the corner areas. For this, we can use the texture layer, but the activate the offer lock option. This way we can add more texture on any area. Pick even darker green color. We can also use selection toe. Help us localize the brush strokes. Okay, I think it looks good now to fix this bleed out problem. We can go back to the base color layer, use the contiguous selection tool again and create selection Ragen off the hair. But here is the trick. We actually want to invert the selection so press shift control. I select the Transparency Mosque again, and we want to fill this area with black press D for before color and then shift back space . So now we have clean texture results. Next, I want to flatten this layer also, just to reduce the amount off memory needed to work with this illustration. Unless renamed this layer toe hair for dress off the pineapples, shading textures, I won't be using any new techniques, so I'm speeding up the video Now. The last thing we need to do in this lesson video is to add cast a shadow from the pineapple to the kitchen table top because later we will create cast shadow. Also for the toaster. Let's create a new dedicated group player for all. Cast shadows this below the toaster group player and rename it Toe G For global shading. Change the blend mode to multiply again. We will use this group layer to contain both the Pinal focused shadow and a toast or cast shido. Let's create a new pain layer in here. We want to create the basic shape on the sill Web for the shadow, used the elliptical selection tool and create a circular selection like these. We can move the selection if we need to fill it with the color for the legs shadow. Let's use the polygonal selection tool, creates selection for the left leg and then fill it with a color. Also, then we need to do the same thing with the right leg. You can use any color to fill the shadow silhouette. It doesn't really matter, as we just needed temporarily to produce Transparency Mosque. Next, I want to add shadow shape for hair. I'm not sure whether the hair area will be feasible leader, but let's just create it anyway. okay, I don't think we need to create any shadow shape for the screwdriver. As in theory, it will be blocked by the body and the hair object. After we have a shadow silhouette, we know move on to ending the texture. The process is the same like before. I think I want to use the structure for the cast shadow. Let's select this region. Copy and then paste the image to our main document. Use the free transform tool to reposition the texture so it covers the Shiro shape. Okay, let's duplicate the layer by pressing control J to make it even stronger and do another free transform to feed the texture. Basically, I want to make stronger texture at the far right side off the shadow ship. Okay, now let's combine these two layers together. Next, we want to extract selection from this shadow silhouette layer and then use it as a transparency mosque for the texture layer. To do this, we can hold control and then click on the layer stump. Neil. After we have the selection, we actually don't need the Slayer anymore. We can hide the Slayer for now, select the Slayer and create a Transparency Mosque for this layer that's recovered the shadow texture with a bluish color. The process is similar with what we have done again and again previously, so I'm speeding up the video for now. Next, we need to slightly blur out the borders off the shadow silhouette. For this, we need to select the Transparency Mosque and use our texture brush. Use a low opacity level and use black color by pressing D. I think I need to make it smaller and just add some brush strokes around the borders. The last step that we need to do is to reduce the opacity off the shadow layer. I think 50% should do it. Okay, let's threaten the layer and renamed layer toe pineapple. Okay, guys, I think we are done now. In the next video, we'll add shedding texture also on the toaster 32. Shading the toaster: in this lesson video. We're going to continue our project. We're going to add shading textures on the toaster and at a shadow and finally at a smoke coming out off the toaster. Now for all of these, basically, we will use the same techniques as before, except perhaps for the smoke, which we will use Grady and instead off solid color. Let's begin with shading the toaster, expand the toaster group player, create a group player and rename Ito S for shedding. It's always shedding. Layers should have multiplied, blending moder for the texture. Let's open this Grinch pressure file. Use the rectangular selection tool and select the part We want to use control. See open our main document and then control V. We can see that this new layer is actually outside the shedding group player, so just make sure it is inside the shedding group player Press control T to use the free transform tool, place the texture so it is at the front area off the toaster. Open the base color layer and extract the selection. Create the Transparency Mosque. Look, the off off the layer big the original base color and hit shift backspace. Okay, Now we want to use this texture on Lee for the front area off the toaster Hotel. Which side is the front and which side is the other side? We can turn on the sketch layer. Let's zoom in a bit. Use the polygonal selection tool and create a selection on the area outside. Off the front side, Select the Transparency Mosque again and impressed D and then shift back space to fill the selection with black color. Let's flat on the layer and renamed the layer toe front for the site area. Essentially, the process is similar, so I'm speeding up the video now. The only difference is the color for the site area. I am recovering a texture with a darker or a color than what we have in front area. Also, I am making the bottom area even darker to simulate a bit off contact shadow flattened layer and rename it toe side, then finally reduced the opacity off the shadow group player to make the shading texture less obvious. Okay, next, we want to create the cash shadow for the toaster. For this, we will be using the same global Shedding Crewe player that we have created before for the pineapple. So open the global group player and for the rest off the process, we will basically use the same technique. That's how we did the cast shadow for the pineapple. So I'm speeding up this section also to save us some time. Basically, we need to create the silhouette first. Copy paste the texture, reposition the texture so that it covers the sealer area and so on. After it is done, I frightened the layer and renamed the Layer Toe toaster, and finally, we can remove the temporary silhouette layer. The last thing we are going to create in this lesson is the smoke for the smoke. We're not going to create a new group player, but writer, we will use the existing toaster group player. Let's create a new pain layer. This is where we create the silhouette for the smoke shape. For the smoke shape. I'll be using this basic brush, and currently I'm just using my mouse. Let's pick a color. Any color will do as the shadow shape is just for temporary use. Onley make the brush size to about the size clicking here. Change the brush size a bit and clicking here and just do this process until we get the smoke shape that we like for controlling the brush size on the fly, you can use the clothes in the open bracket keys on the keyboard. Okay, next, we need to remove the parts that shouldn't be 50 bow. We can use the polygonal selection tool and create a selection like these. Don't press delete. Next. Let's get a texture for our smoke. Select this area and impressed control. See, go back to our main document and paste the texture, the position, the texture. Using the free transform tool. Okay, now hold control and click on the silhouette lier scam Neil to extract the selection and use it to create the Transparency Mosque for the texture layer. So now we have something like this. Next, I want to make the upper part. For each small group area becomes more transparent. We can use the texture, brush preset, use black color, introduced the opacity little and just add some brush strokes so that the upper areas look like fading out. Now let's add some randomness to the smoke shape. For these, we can use to say matters, but with white color. Okay, After we have the shape right, let's change the color off the smoke. Turn on the Alfa lock and make sure the texture layer is like that. Now we're going to use Grady in tow, colorize the smoke instead off just solid color for Grady in color. We can create our own Grady in color, as we discussed already in the earlier lesson. But I kind off like this Grady and preset. So let's just use this one and click direct from here to here. And there you go. You can adjust the color further, using brush if you want to, but I actually like the color. And so I just call this one Finished. Let's wrap this up by flattening the layer and renamed the layer toe smoke. We can safely delete the temporary shadow she a player. So this is what we have so far, and this is if we hide the schedule a year 33. Finalizing: in this lesson video. We're going toe. Finalize our super pineapple illustration project. We're going to add simple line artworks on the illustration to strengthen the visual language of it. Basically, we will add a face when a toaster and then faces on the U 10 CEOs. Then we will add some line artworks also on the pineapples items, which is the screwdriver any I cover. Let's start with the toasters face. Let's zoom in a bit and let's turn on the sketch layer. There are many ways to create line artworks, and we will discuss that more in depth. In an exception off this course, serious. Let's just focus and make use the things that we have already learned. Let's create a new paint layer on top off the smoke layer and use the polygonal selection tool to trace the mouth shape. Now, ideally, for this type off work, I would use a vector toe, get much smoother and cleaner shape. We will cover a vector editing later. In an exception off this course, serious fill the selection with black color, and we have the mouth next for the I. Let's just use the same technique. Could he have selection like bees and then fill it with black color again to create left. I create a new layer first and because we still have a selection active Desprez s shift back space to fill the new layer with black color. If we move this layer, we can see we actually have two off this guy shapes. Let's flip this I force. And let's rotate this a bit so that it follows the original sketch. I think the left eye is too tilted less a justice again uniting. I need to make this smaller horizontally. Okay, it looks better now. If we hide the schedule a year, we can still see the toaster face. Next. We need to organize the layers because, as we can see currently, we have two layers for the face. Let's combine these layers and then rename it toe. Oh, I usually just use letter O for anything that are like art work related. Oh, it's actually stands for outline. You can name your layer with any name you like, as long as you are consistent with the convention. Next, let's create the face is also for the U 10 CEOs. Create a new layer. Sorry This is not supposed to be inside the shading group player, but it should be above it for their own eyes. Let's use the elliptical selection tool and fill it with black color. Use the free transform to toe adjusted control J to duplicate the layer and move it to the left side and adjust it again if needed for the mouth will use polygonal selection tool again and fill it with black color. Just like before. Okay, now for the right utensil, so we will use a different method for this. We will be using the brush tool with this brush preset and just draw the eye carefully while controlling the stroke thickness with the pen pressure. As you can see, I did a pretty decent job here, but let's redo this again and try to make it even better this time. So carefully draw like this and again. Okay, if you are still not satisfied with the result, we can always fix it with the razor tool for the selection tools to arrest the parts that you don't like. Okay, for the butter mouth, let's just draw it like this. Okay, now this race is is to contrast for a background l. A men. So let's fix this. First combined the layers into a layer renamed the layer toe. All introduced the opacity toe. I think 30% will do so now. Even we don't the schedule a year. We can still see the utensil faces. Next. Let's move on to aiding details on the pineapples items. Let's create a new layer. Make sure it is above the shading group. Player force. We're going to focus on the right side. Off the I cover. We're going to use the brush technique like we used before for the right utensil. Essentially will be using this brush preset. Pick the existing dark blue color and make it even darker and create lines like these and another one in here and so on. Basically, I want to bring up more clarity into the drawing. Okay, next, let's focus on the screwdriver. Yes, you may already aware we hardly see the screwdrivers toe part because the color is almost similar with wall behind it, we need to add more details that can suggest a metallic surface. Press D, then press X to get white color. Okay now, while in brush mode, if we press and hold of the letter. Key Creator will switch the to temporarily toe the line tool, so Hope V and wreck from here to here. Well, dragging our open pressure will dictate the thickness off the brush stroke, which is kind of cool. This is possible only if we have to brush preset that support variable brush size. Next, I need to strengthen the dark color. Also, we can pick this color and make it even darker and just do the same line strokes at the right side. I think we need to add more article lines at the left side. Okay, I think it's better. Now. Let's rename this layer toe all just like the rest. So this is what we have so far we don't the sketch, and this is how it looks with the sketch layer turned on. Next, less at some visual effects to our illustration, we will keep this very simple force. We will have some darkening on the border off the illustration, and second, we add more yellowish thin around the fire at the toaster. Let's create a new layer on top off the Pineapple Group player and change the blending mode to multiply. Let's speak a dark purple color and in a Grady in color panel, pick foreground to transparent precept. Use the Grady in tool and click drag from here to here and also at the bottom left corner area. From here to here, this simple technique can make our main character looks like in a sport light. I think we need to add more darkening at the border areas. Use the brush toe and pick the air Brush preset. We even darker color introduced the opacity toe around 50%. Make the brush size way be governor and just stroke the area. You want it to be darker. I think we need more bluish color. Just my personal taste. Okay, let's rename this layer. Tow em for multiply next, create another layer and change the color to yellow a bit towards orange. Oh, yes. Almost forget. We need to change the blending mode off the steyr toe color because basically we want to alter the color that exists beneath this layer. Just to give you a demonstration, we can see the color now turns into yellow. We don't affecting the values or the contrasts. Let me under these I am using the airbrush precept toe at yellowish color around the fire inside the toaster. Okay, I think we are finished here. That's renamed Layer Toe C for color. So this is the final result off our project. You may notice that I add additional details off the record, but not with something that we haven't already covered before. This is with the sketch turned on, if you like this kind off style.