diff --git a/general_concepts/colors/color_mixing.rst b/general_concepts/colors/color_mixing.rst index 5664d38b2..1da09cab0 100644 --- a/general_concepts/colors/color_mixing.rst +++ b/general_concepts/colors/color_mixing.rst @@ -1,151 +1,151 @@ .. meta:: :description: Color Mixing in a digital media. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Emmet O'Neil :license: GNU free documentation license 1.3 or later. .. index:: Color, Color Mixing, Glossing, Scumbling, Hatching, Dithering, Halftone, Smudge .. _color_mixing: .. _mixing_colors: ============= Mixing Colors ============= Much like physical media, there are many ways to mix colors together in Krita. Traditional painters and illustrators often use techniques like **glazing**, **scumbling**, and **hatching** to mix colors directly on their canvas, on top of mixing colors together on a **palette** or even within the hairs of their **brush**. With a little bit of practice and know-how, and thanks to the variety of powerful tools in Krita, we can mimic all of these mixing techniques in digital painting. In both traditional and digital painting, mixing techniques can be divided into *two major categories*: let's call them **"on-canvas"** and **"off-canvas"**. On-Canvas Mixing ---------------- On-canvas mixing techniques are ones where multiple colors are combined directly on the canvas as the artist paints. This takes a few forms, including **layering semi-transparent color** on top of another color, using **texture** to change how a color is perceived, or even in the interaction between two areas of wet paint in traditional media. Bottom line: on-canvas mixing happens right on the canvas and is a great tool for artistic exploration and "happy accidents". Glazing ~~~~~~~ .. image:: /images/en/color_category/Color_gloss.gif :align: center In traditional painting, **glazing** is overlaying many different semi-transparent layers to create on-canvas color mixtures. Likewise, in digital painting we can also use glazing to mix colors directly on our canvas. This is one of the most fundamental and commonly used mixing techniques in digital painting. We first lay down a semi-transparent layer on top of another color that we intend to mix with. Then, we pick the **resultant color** with :kbd:`Ctrl` + |mouseleft| (this can be configured in the canvas input settings), and paint with that. Depending on our brush's **opacity setting**, each time we glaze one color over another we will get a color that is somewhere between those two colors, often leading to a nice mixture. We can mix even more easily with glazing when we set our brush's **flow** to a lower setting. Subtly different than opacity, :ref:`flow ` is transparency per dab instead of stroke, and so it gives us softer strokes without giving up control. Furthermore, we can combine glazing with various **blending modes** to achieve different, interesting effects. For example, glazing with the **multiply** blending mode to create nice shadows: .. image:: /images/en/color_category/Color_gloss_example_1.png :align: center Staring with line art and base colors. .. image:: /images/en/color_category/Color_gloss_example_2.png :align: center Using a semi-transparent brush that's set to multiply, we can add colored layers to suggest shadows and mid-tones. The multiply blending mode will darken and interact with each base color differently. .. image:: /images/en/color_category/Color_gloss_example_3.png :align: center Then, using a brush with low flow (~0.30), we can pick the resulting colors and lay down more layers. Not only does this help you define the different planes and forms that are so crucial for creating a sense of depth and three-dimensionality, it also gives quite a nice, painterly effect! .. image:: /images/en/color_category/Color_gloss_example_4.png :align: center Continue with a lower opacity and flow to create even smoother gradients. Make your **edges** as sharp or smooth as your subject matter and art style demands! Smudging ~~~~~~~~ .. image:: /images/en/color_category/Color_mix.gif :align: center **Smudge mixing** is done with the :ref:`color_smudge_brush_engine`, a special brush engine that allows you to mix your current brush color with the color(s) under the brush. It's a very powerful type of brush that gives a lovely painterly effect. *Performance wise, it's a bit more demanding and slower than the regular pixel brush.* If you *remove all paint from a smudge brush*, you get a simple-yet-powerful smudge effect: .. image:: /images/en/color_category/Color_smudge.gif :align: center Different smudge brushes have different effects, so be sure to try them all out! Scumbling ~~~~~~~~~ **Scumbling** is similar to glazing, except instead of having a semi-opaque layer, we use layers of **textured** or **patterned** paint. .. image:: /images/en/color_category/Color_scumble2.gif :align: center Like most painting programs, Krita allows you to pick a :ref:`option_brush_tip`, which can be used to create a textured effect like that of scumbling. .. image:: /images/en/color_category/Color_scumble.gif :align: center Krita's brush engines also allow you to use :ref:`option_texture`. This allows you to create interesting and stylized screentone-like effects. With glazing can get you pretty far when it comes to *defining planes and forms*, scumbling is the best method to *create texture and to break up big pasty flats* in your painting. Off-Canvas Mixing ----------------- -**Off-canvas** mixing has basically always been a core tool for artists everywhere; when we think of the stereotypical artist we might imagine someone with a few **brushes** in one hand and a wooden **palette** in the other. Whether it's oils, watercolor, or other traditional media, for the artist to have absolute control over their colors it's crucial to have some kind of palette, plate, jar, or other **off-canvas area** to mix colors together. While it's easy to overlook this in digital painting (where selecting fresh new colors without mixing at all is both easy and free*), Krita has a few very useful and unique features for off-canvas mixing. +**Off-canvas** mixing has basically always been a core tool for artists everywhere; when we think of the stereotypical artist we might imagine someone with a few **brushes** in one hand and a wooden **palette** in the other. Whether it's oils, watercolor, or other traditional media, for the artist to have absolute control over their colors it's crucial to have some kind of palette, plate, jar, or other **off-canvas area** to mix colors together. While it's easy to overlook this in digital painting (where selecting fresh new colors without mixing at all is both easy and free), Krita has a few very useful and unique features for off-canvas mixing. Color Picker Blending ~~~~~~~~~~~~~~~~~~~~~ .. versionadded:: 4.1 Krita, like almost every art and graphics program, has a :ref:`color_picker_tool` which allows you to very quickly sample a color from any pixel on your canvas. While this tool may seem relatively simple and humble, it is also one of the most important and commonly used tools in the digital artist's toolbox - perhaps only second to the brush! In fact, the color picker tool is at the very heart of mixing colors, and is often used in combination with on-canvas techniques like glazing and scumbling to produce smooth blends of color. And still, there is more to this little tool than meets the eye! Not only can you configure Krita's color picker to sample from the average color of a **radius** of pixels, Krita's Color Picker also has a unique **blending** feature: a powerful and intuitive tool for off-canvas color mixing! .. image:: /images/en/color_category/Krita_cpb_mixing.gif :align: center The Color Picker Blending feature changes the way that picking colors has traditionally worked for decades; instead of completely replacing your current brush color with the newly sampled color, *blending allows you to quickly "soak up" some portion of the sampled color*, which is then mixed with your current brush color. -You can use Color Picker Blending much like a physical paint brush in traditional media. If you were to dip your paint brush into a pool of *blue* paint, and then immediately dip again into a pool of *red* paint and paint a stoke across your canvas, the stoke wouldn't be pure red - it would be some combination of blue and red which would mix to create an intermediate purple color. Which shade of purple would depend on the ratio of paints that mix together within the hairs of your brush, and this is essentially what the Color Picker's "blend" option controls: what percentage of sampled color is mixed together with your current brush color! +You can use Color Picker Blending much like a physical paint brush in traditional media. If you were to dip your paint brush into a pool of *blue* paint, and then immediately dip again into a pool of *red* paint and paint a stroke across your canvas, the stoke wouldn't be pure red - it would be some combination of blue and red which would mix to create an intermediate purple color. Which shade of purple would depend on the ratio of paints that mix together within the hairs of your brush, and this is essentially what the Color Picker's "blend" option controls: what percentage of sampled color is mixed together with your current brush color! -Not only does Krita's Color Picker Blending feel even more like mixing paints, it is also completely off-canvas and independent of opacity, flow, shape, and other brush settings. Furthermore, unlike most on-canvas mixing techniques, Color Picker Blending works regardless of the location of colors on your canvas - enabling your to mix with colors at any position, on any layer, or even in different documents! Quickly mix lighting colors with local colors, mix the ambient sky color into shadows, create atmospheric depth, mix from a preselected palette of colors in another layer/document, etc. +Not only does Krita's Color Picker Blending feel even more like mixing paints, it is also completely off-canvas and independent of opacity, flow, shape, and other brush settings. Furthermore, unlike most on-canvas mixing techniques, Color Picker Blending works regardless of the location of colors on your canvas - enabling you to mix with colors at any position, on any layer, or even in different documents! Quickly mix lighting colors with local colors, mix the ambient sky color into shadows, create atmospheric depth, mix from a preselected palette of colors in another layer/document, etc. To use Color Picker Blending, simply set the "blend" option in the **Tool Options Docker** while the Color Picker Tool is active; setting blend to 100% will cause your Color Picker to work in the traditional way (completely replacing your brush color with the picked color), setting to around 50% will give you a half-way mix between colors, and setting to a lower value will create more subtle shifts in colors each click. Of course, blending affects both your dedicated Color Picker Tool as well as the :kbd:`Ctrl +` |mouseleft| shortcut. .. note:: - Clicking and dragging the Color Picker around the canvas currently causes it to sample many times as it switches pixels. You can use this trait to quickly soak up more color by "dipping" your color picker into a color and swirling it around. This can be pretty satisfying! However, this also means that some care must be taken to prevent from accidentally picking up more color than you want. It's pretty easy to click a single pixel only one time using a **mouse**, but when painting with a **drawing tablet and pen** it can sometimes be desirable to use a slightly lower blend setting! + Clicking and dragging the Color Picker around the canvas currently causes it to sample many times as it switches pixels. You can use this trait to quickly soak up more color by "dipping" your color picker into color and swirling it around. This can be pretty satisfying! However, this also means that some care must be taken to prevent from accidentally picking up more color than you want. It's pretty easy to click a single pixel only one time using a **mouse**, but when painting with a **drawing tablet and pen** it can sometimes be desirable to use a slightly lower blend setting! The Digital Colors Mixer ~~~~~~~~~~~~~~~~~~~~~~~~ Somewhat hidden away in the **Dockers** menu (:menuselection:`Settings --> Dockers --> Digital Colors Mixer`), this can be a useful tool for off-canvas mixing. The Digital Colors Mixer looks a little bit like an audio mixing board that you'd see in a recording studio, but instead of mixing music it mixes colors! It contains 6 independent **color mixers** that mix your current brush color with any color of your choosing. .. image:: /images/en/color_category/Digi_colormixer.png :align: center By clicking the **color buttons** below each mixer you can choose a palette of colors to mix with. Above each mixer is a **color patch** that will produce a color that mixes some amount of your current brush color with the palette color. Colors towards the top of the mixer will deliver subtle changes to your current color, while colors towards the bottom will be much closer to the palette color of that channel. Other Tips ---------- Outside of making it easier to create smooth gradients, mixing has another benefit: It allows you to create a cohesive piece. Limiting the number of colors we use and then mixing tends to give a more cohesive palette, as we're not trying to do too much at once. This cohesive palette in turn means it will become easier to create a certain mood in an image. Sometimes, mixing in a little bit of accent color can also create unexpected results which in turn can be a little discovery for the audience to delight over as they discover the world of your image. What we can learn from this, is that the next time we select, say, gray, instead of reaching for a random or generic gray from the Advanced Color Selector, consider using one of Krita's many wonderful mixing tools to create an interesting and fitting gray from hues that are roughly complementary (opposite each other on the hue wheel). While on-canvas and off-canvas techniques are fundamentally different categories of mixing colors, they are not mutually exclusive. All of the mixing methods in this article have pros and cons; different tools can be useful for different situations, and combining various techniques can be extremely powerful and fun! Finally, mixing colors will often go far better in a :ref:`higher bit-depth like 16bit `, though it'll make the image take up much more working **memory** (RAM). Furthermore, using a :ref:`linear color space ` can often give far better mixtures than a **gamma-corrected** one, though doing sketches and line art is easier to do in a gamma-corrected space. diff --git a/general_concepts/colors/scene_linear_painting.rst b/general_concepts/colors/scene_linear_painting.rst index a599a9a12..f61c3e446 100644 --- a/general_concepts/colors/scene_linear_painting.rst +++ b/general_concepts/colors/scene_linear_painting.rst @@ -1,164 +1,164 @@ .. meta:: :description: Scene Linear painting in Krita .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. .. index:: Color, HDR, High Dynamic Range, Scene Linear, Scene Referred, Scene Linear Painting .. _scene_linear_painting: ===================== Scene Linear Painting ===================== Previously referred to as HDR painting and Scene Referred painting, Scene Linear Painting is doing digital painting in a peculiar type of colorspace. It is painting in a color space that is... 1. Linear - there’s no gamma encoding, or tone-mapping or whatever going on with the pixels you manipulate. (This is different from the pixels you see, but we’ll get to that later) 2. Floating Point - So 16bit or 32bit floating point per channel. These are the two important characteristics. The colorspace has a few more properties than this, such as the white point, or more importantly, the colorants that make up the gamut. But here’s the thing, those two could be anything, as long as the space is linear and the color depth is floating point. -So, *Scene Linear is not a single one colorspace, but a **TYPE** of colorspace*. You can have a scene linear space that uses the sRGB/rec 709 colorants, or one that uses adobeRGB, or maybe one that uses rec 2020, as long as it is *linear* and in a *floating point bit depth*. +So, *Scene Linear is not a single one colorspace, but a* **TYPE** *of colorspace*. You can have a scene linear space that uses the sRGB/rec 709 colorants, or one that uses adobeRGB, or maybe one that uses rec 2020, as long as it is *linear* and in a *floating point bit depth*. These two factors are for one reason: To make black and white arbitrary values. This might seem a bit weird. But when you are dealing with light-sources, you are dealing with a massive range of contrasts, and will have to decide afterwards which white and black you’d like to have. This is what the scene means in scene-linear, the relevant values are unique per scene, like a real world scene: a flowerfield lit by moonlight, a city in twilight or a sunny beach. You want to be able to put the right emphasis on the most important contrasting values, and being able to choose what is white and what is black is a very powerful tool here. After all, humans in the real world can see much more when they get used to the dark, or to the sun, so why not apply that to how we make our images? This is also why it needs to be Linear. Gamma and Tone-mapped color spaces are already choosing which contrast is the most important to you. But for that, they too need to choose what is white or black. Linear doesn’t make such assumptions, so much better for when you want to choose yourself. You will eventually want to stick your image through some tone-mapping or gamma correction, but only at the end after you have applied filters and mixed colors! In fact, there’s always a non-destructive sort of transform going on while you are working on your image which includes the tone-mapping. This is called a display or view transform, and they provide a sort of set of binoculars into the world of your image. Without it, your computer cannot show these colors properly; it doesn’t know how to interpret it properly, often making the image too dark. Providing such a transform and allowing you to configure it is the prime function of color management. -Between different view and display transforms, there’s also a difference in types. Some are really naive, others are more sophisticated, and some need to be used in a certain manner to work properly. The ICC color management can only give a certain type of view transforms, while OCIO color management in the lut docker can give much more complex transforms easily configurable and custom settings that can be shared between programs. +Between different view and display transforms, there’s also a difference in types. Some are really naive, others are more sophisticated, and some need to be used in a certain manner to work properly. The ICC color management can only give a certain type of view transforms, while OCIO color management in the LUT docker can give much more complex transforms easily configurable and custom settings that can be shared between programs. .. figure:: /images/en/color_category/Krita_scenelinear_cat_01.png :figwidth: 800 :align: center - Above, an example of the more naive transform provided by going from scene-linear sRGB to regular sRGB, and to the right a more sophisticated transform coming from the filmic blender ocio configuration. Look at the difference between the paws. Image by Wolthera van Hövell tot Westerflier, License: CC-BY-SA + Above, an example of the more naive transform provided by going from scene-linear sRGB to regular sRGB, and to the right a more sophisticated transform coming from the filmic blender OCIO configuration. Look at the difference between the paws. Image by Wolthera van Hövell tot Westerflier, License: CC-BY-SA Conversely, transforming and interpreting your image’s colors is the only thing OCIO can do, and it can do it with really complex transforms, really fast. It doesn’t understand what your image’s color space is originally, doesn’t understand what CMYK is, and there’s also no such thing as a OCIO color profile. Therefore you will need to switch to an ICC workflow if you wish to prepare for print. Yes, but what is the point? --------------------------- The point is making things easier in the long run: #. It is easier to keep saturated non-muddy colors in a linear space. #. The high bit depth makes it easier to get smoother color mixes. #. Filters are more powerful and give nicer results in this space. It is far more easy to get nice blurring and bokeh results. #. Simple Blending Modes like Multiply or Addition are suddenly black magic. This is because Scene-Linear is the closest you can get to the physical (as in, physics, not material) model of color where multiplying colors with one another is one of the main ways to calculate the effect of light. #. Combining painting with other image results such as photography and physically based rendering is much easier as they too work in such a type of colorspace. So you could use such images as a reference with little qualms, or make textures that play nice with such a renderer. So the advantages are prettier colors, cooler filter results, more control and easier interchange with other methods. Okay, but why isn’t this all the rage then? ------------------------------------------- Simply put, because while it’s easier in the long run, you will also have to drop tools and change habits... In particular, there are many tools in a digital painter’s toolbox that have **hard-coded assumptions about black and white**. A very simple but massive problem is one with **inversion**. Inverting colors is done code-wise by taking the color for white and subtracting the color you want to invert from it. It’s used in many blending modes. But often the color white is hardcoded in these filters. There’s currently no application out there that allows you to define the value range that inversion is done with, so inverting is useless. And that also means the filters and blending modes that use it, such as (but not limited to)... * Screen (invert+multiply+invert) * Overlay (screens values below midtone-value, in sRGB this would be middle gray) * Color-dodge (divides the lower color with an inversion of the top one) * Color-burn (inverts the lower color and then divides it by the top color) * Hardlight (A different way of doing overlay, including the inversion) * Softlight (Uses several inversions along the way) Conversely Multiply, Linear Dodge/Addition (they’re the same thing), Subtract, Divide, Darker (only compares colors’ channel values), Lighter (ditto), and Difference *are fine to use*, as long as the program you use doesn’t do weird clipping there. Another one is HSL, HSI and HSY algorithms. They too need to assume something about the top value to allow scaling to white. HSV doesn’t have this problem. So it’s best to use an HSV color selector. For the blending modes that use HSY, there’s always the issue that they tend to be hardcoded to sRGB/Rec709 values, but are otherwise fine (and they give actually far more correct results in a linear space). So these are not a good idea to use with wide-gamut colorspaces, and due to the assumption about black and white, not with scene linear painting. The following blending modes use them: * Color * Luminosity * Saturation * Darker Color (uses luminosity to determine the color) * Lighter Color (Ditto) So that is the blending modes. Many filters suffer from similar issues, and in many applications, filters aren’t adjusted to work with arbitrary whites. Speaking of filters, when using the transform tool, you should also avoid using lanczos3, it’ll give a weird black halo to sharp contrasts in scene-linear. The bilinear interpolation filter will work just fine in this case. The second big problem is that **black doesn’t work quite the same**. If you have mixed pigments before, you will know that black can quite easily overpower the other colors, so you should only add the tiniest amount of it to a mixture. White in contrast gets dirtied quite easily. In a Scene Linear Color space, this is flipped. White is now more overpowering and black gets washed out super quickly. This relates to the additive nature of digital color theory, that becomes more obvious when working in linear. This makes sketching a bit different, after all, it’s really difficult to make marks now. To get around this, you can do the following: * Sketch on a mid-gray background. This is recommended anyway, as it serves as a neutral backdrop. For a linear space, 18% or 22% gray would be a good neutral. * Make a special brush that is more opaque than the regular sketching brushes you use. * Or conversely, sketch with white instead. * For painting, block out the shapes with a big opaque brush before you start doing your mixing. Overall, this is something that will take a little while getting used to, but you will get used to it soon enough. Finally, there’s the **issue of size**. -16 bit float per channel images are big. 32 bit float per channel images are bigger. This means that they will eat RAM and that painting and filtering will be slower. This is something that will fix itself over the years, but not many people have such a high-end pc yet, so it can be a blocker. +16 bit float per channel images are big. 32 bit float per channel images are bigger. This means that they will eat RAM and that painting and filtering will be slower. This is something that will fix itself over the years, but not many people have such a high-end PC yet, so it can be a blocker. So the issues are tools, expectations and size. In Summary ~~~~~~~~~~ Scene Linear Painting is painting an image in a color space that is linear and has a floating point bit depth. This does not assume anything about the values of black and white, so you can only use tools that don’t assume anything about the values of black and white. It has the advantage of having nicer filter results and better color mixtures as well as better interoperability with other scene-linear output. -To be able to view such an image you use a view transform, also called a display conversion. Which means that if you wish to finalise your image for the web, you make a copy of the image that goes through a display conversion or view transform that then gets saved to png or jpeg or tiff. +To be able to view such an image you use a view transform, also called a display conversion. Which means that if you wish to finalize your image for the web, you make a copy of the image that goes through a display conversion or view transform that then gets saved to png or jpeg or tiff. Getting to actual painting -------------------------- Now we’ve covered the theory, let us look at a workflow for painting scene linear. Setting up the Canvas ~~~~~~~~~~~~~~~~~~~~~ Select either a 16bit or 32bit image. By default Krita will select a linear sRGB profile. This is fine. Then, download an OCIO config. I will use `Filmic Blender `_ here because it is quite simple to set up. Extract the downloaded zip somewhere you can find it back. Open the LUT docker, turn on OCIO, select ‘OCIO’ and set the path to the downloaded OCIO config. Set the view to ‘Filmic log encoding’ and the look to ‘Base Contrast’. And now you can start painting! Keep in mind everything mentioned above. Not all filters and not all blending modes work. This will improve in the future. Other than that, everything else is the same. Picking really bright colors ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Picking regular colors is easy, but how do we pick the really bright colors? There are three ways of getting access to the really bright colors in Krita: #. By lowering the exposure in the LUT docker. This will increase the visible range of colors in the color selectors. You can even hotkey the exposure in the canvas input settings. #. Or simply by opening the internal color selector by double clicking the dual color button and typing in values higher than 1 into the field. #. And finally by picking a really bright color from an image that has such values. Then paint. It’s recommended to make a bunch of swatches in the corner, at the least, until Krita’s new palette docker allows you to save the values properly. Lighting based workflow ~~~~~~~~~~~~~~~~~~~~~~~ So, we have our typical value based workflow, where we only paint the grays of the image so that we can focus on the values of the image. We can do something similar with Scene Linear Painting. Where with the value based workflow you paint the image as if it were a grayscale of what you intended to paint, with a lighting based workflow you paint as if all the objects are white. The effect of the color of an object can be determined by multiplying its base color with the color of the light. So you could paint objects as if they were white, paint the colors on a separate layer and just use the multiply blending mode to get the right colors. .. figure:: /images/en/color_category/Krita_scenelinear_cat_02.png :align: center :figwidth: 800 The leftmost image is both the lighting based one and the color layer separate, the middle with the two layers multiplied and the right a luminosity based view. This cat is a nice example as it demonstrates why having textures and lighting separate could be interesting.) You can even combine this with a value based workflow by opening a new view and setting the component to luminosity. That way you can see both the grayscale as well as the lighting based version of the image next to one another. The keen minded will notice that a lighting based workflow kind of resembles the idea of a light-pass and a color pas in 3d rendering. And indeed, it is basically the same, so you can use lighting passes from 3d renders here, just save them as EXR and import them as a layer. One of the examples where scene linear painting simplifies combining methods. Finishing up ~~~~~~~~~~~~ -When you are done, you will want to apply the view transform you have been using to the image (at the least, if you want to post the end result on the internet)... This is called LUT baking and not possible yet in Krita. Therefore you will have to save out your image in EXR and open it in either Blender or Natron. Then, in Blender it is enough to just use the same ocio config, select the right values and save the result as a png. +When you are done, you will want to apply the view transform you have been using to the image (at the least, if you want to post the end result on the internet)... This is called LUT baking and not possible yet in Krita. Therefore you will have to save out your image in EXR and open it in either Blender or Natron. Then, in Blender it is enough to just use the same OCIO config, select the right values and save the result as a png. You can even use some of Blender’s or Natron’s filters at this stage, and when working with others, you would save out in EXR so that others can use those. diff --git a/general_concepts/colors/viewing_conditions.rst b/general_concepts/colors/viewing_conditions.rst index 975f577a3..d0127c8c4 100644 --- a/general_concepts/colors/viewing_conditions.rst +++ b/general_concepts/colors/viewing_conditions.rst @@ -1,93 +1,93 @@ .. meta:: :description: What are viewing conditions. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. .. index:: Viewing Conditions, Metamerism, Color .. _viewing_conditions: ================== Viewing Conditions ================== We mentioned viewing conditions before, but what does this have to do with 'white points'? A lot actually, rather, white points describe a type of viewing condition. So, usually what we mean by viewing conditions is the lighting and decoration of the room that you are viewing the image in. Our eyes try to make sense of both the colors that you are looking at actively (the colors of the image) and the colors you aren't looking at actively (the colors of the room), which means that both sets of colors affect how the image looks. .. figure:: /images/en/color_category/Meisje_met_de_parel_viewing.png :figwidth: 800 :align: center **Left**: Let's ruin Vermeer by putting a bright purple background that asks for more attention than the famous painting itself. **Center**: a much more neutral backdrop that an interior decorator would hate but brings out the colors. **Right**: The approximate color that this painting is displayed against in real life in the Maurits House, at the least, last time I was there. Original image from wikipedia commons. This is for example, the reason why museum exhibitioners can get really angry at the interior decorators when the walls of the museum are painted bright red or blue, because this will drastically change the way how the painting's colors look. (Which, if we are talking about a painter known for their colors like Vermeer, could result in a really bad experience). .. figure:: /images/en/color_category/Krita_example_metamerism.png :figwidth: 500 :align: center Lighting is the other component of the viewing condition which can have dramatic effects. Lighting in particular affects the way how all colors look. For example, if you were to paint an image of sunflowers and poppies, print that out, and shine a bright yellow light on it, the sunflowers would become indistinguishable from the white background, and the poppies would look orange. This is called `metamerism `_, and it's generally something you want to avoid in your color management pipeline. An example where metamerism could become a problem is when you start matching colors from different sources together. .. figure:: /images/en/color_category/White_point_mix_up_ex1_01.svg :figwidth: 500 :align: center For example, if you are designing a print for a red t-shirt that's not bright red, but not super greyish red either. And you want to make sure the colors of the print match the color of the t-shirt, so you make a dummy background layer that is approximately that red, as correctly as you can observe it, and paint on layers above that dummy layer. When you are done, you hide this dummy layer and sent the image with a transparent background to the press. .. figure:: /images/en/color_category/White_point_mixup_ex1_02.png :figwidth: 300 :align: center But when you get the t-shirt from the printer, you notice that all your colors look off, mismatched, and maybe too yellowish (and when did that T-Shirt become purple?). This is where white points come in. You probably observed the t-shirt in a white room where there were incandescent lamps shining, because as a true artist, you started your work in the middle of the night, as that is when the best art is made. However, incandescent lamps have a black body temperature of roughly 2300-2800K, which makes them give a yellowish light, officially called White Point A. Your computer screen on the other hand, has a black body temperature of 6500K, also known as D65. Which is a far more blueish color of light than the lamps you are hanging. What's worse, Printers print on the basis of using a white point of D50, the color of white paper under direct sunlight. .. figure:: /images/en/color_category/White_point_mix_up_ex1_03.svg :figwidth: 500 :align: center So, by eye-balling your t-shirt's color during the evening, you took its red color as transformed by the yellowish light. Had you made your observation in diffuse sunlight of an overcast (which is also roughly D65), or made it in direct sunlight light and painted your picture with a profile set to D50, the color would have been much closer, and thus your design would not be as yellowish. .. figure:: /images/en/color_category/White_point_mixup_ex1_03.png :figwidth: 500 :align: center Applying a white balance filter will sort of match the colors to the tone as in the middle, but you would have had a much better design had you designed against the actual color to begin with. Now, you could technically quickly fix this by using a white balancing filter, like the ones in G'MIC, but because this error is caught at the end of the production process, you basically limited your use of possible colors when you were designing, which is a pity. Another example where metamerism messes things up is with screen projections. We have a presentation where we mark one type of item with red, another with yellow and yet another with purple. On a computer the differences between the colors are very obvious. .. figure:: /images/en/color_category/Krita_metamerism_presentation.svg :figwidth: 800 :align: center However, when we start projecting, the lights of the room aren't dimmed, which means that the tone scale of the colors becomes crunched, and yellow becomes near indistinguishable from white. Furthermore, because the light in the room is slightly yellowish, the purple is transformed into red, making it indistinguishable from the red. Meaning that the graphic is difficult to read. In both cases, you can use Krita's color management a little to help you, but mostly, you just need to be ''aware'' of it, as Krita can hardly fix that you are looking at colors at night, or the fact that the presentation hall owner refuses to turn off the lights. -That said, unless you have a display profile that uses LUTs, such as an OCIO lut or a cLUT icc profile, white point won't matter much when choosing a working space, due to weirdness in the icc v4 workflow which always converts matrix profiles with relative colorimetric, meaning the white points are matched up. +That said, unless you have a display profile that uses LUTs, such as an OCIO LUT or a cLUT icc profile, white point won't matter much when choosing a working space, due to weirdness in the icc v4 workflow which always converts matrix profiles with relative colorimetric, meaning the white points are matched up. diff --git a/general_concepts/projection/axonometric.rst b/general_concepts/projection/axonometric.rst index e94aad742..8bdb7a805 100644 --- a/general_concepts/projection/axonometric.rst +++ b/general_concepts/projection/axonometric.rst @@ -1,164 +1,164 @@ .. meta:: :description: Axonometric projection. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. This is a continuation of :ref:`the orthographic and oblique tutorial `, be sure to check it out if you get confused! .. index:: Projection, Axonometric, Dimetric, Isometric .. _projection_axonometric: Axonometric =========== So, the logic of adding the top is still similar to that of the side. .. image:: /images/en/category_projection/projection-cube_07.svg :align: center Not very interesting. But it gets much more interesting when we use a side projection: .. image:: /images/en/category_projection/projection-cube_08.svg :align: center Because our cube is red on both front-sides, and blue on both left and right side, we can just use copies, this simplifies the method for cubes a lot. We call this form of axonometric projection 'dimetric' as it deforms two parallel lines equally. Isometric is sorta like dimetric where we have the same angle between all main lines: .. image:: /images/en/category_projection/projection-cube_09.svg :align: center True isometric is done with a 90-54.736=35.264° angle from ground plane: .. image:: /images/en/category_projection/projection-cube_10.svg :align: center (as you can see, it doesn't line up perfectly, because Inkscape, while more designed for making these kinds of diagrams than Krita, doesn't have tools to manipulate the line's angle in degrees) This is a bit of an awkward angle, and on top of that, it doesn't line up with pixels sensibly, so for videogames an angle of 30° from the ground plane is used. .. image:: /images/en/category_projection/projection-cube_11.svg :align: center Alright, so, let's make an isometric out of our boy then. We make a new document, and add a vector layer. On the vector layer, we select the straight line tool, start a line and then hold :kbd:`Shift` to make it snap to angles. This'll allow us to make a 30° setup like above: .. image:: /images/en/category_projection/projection_image_15.png :align: center We then import some of the frames from the animation via :menuselection:`Layers --> Import/Export --> Import layer`. Then crop it by setting the crop tool to :guilabel:`Layer`, and use :menuselection:`Filters --> Colors --> Color to alpha` to remove any background. I also set the layers to 50% opacity. We then align the vectors to them: .. image:: /images/en/category_projection/projection_image_16.png :align: center .. tip:: To resize a vector but keep its angle, you just select it with the shape handling tool (the white arrow) drag on the corners of the bounding box to start moving them, and then press :kbd:`Shift` to constrain the ratio. This'll allow you to keep the angle. The lower image is 'the back seen from the front', we'll be using this to determine where the ear should go. Now, we obviously have too little space, so select the crop tool, select :guilabel:`Image` and tick :guilabel:`Grow` and do the following: .. image:: /images/en/category_projection/projection_image_17.png :align: center Grow is a more practical way of resizing the canvas in width and height immediately. Then we align the other heads and transform them by using the transform tool options: .. image:: /images/en/category_projection/projection_image_18.png :align: center (330° here is 360°-30°) Our rectangle we'll be working in slowly becomes visible. Now, this is a bit of a difficult angle to work at, so we go to :menuselection:`Image --> Rotate --> Rotate Image` and fill in 30° clockwise: .. image:: /images/en/category_projection/projection_image_19.png :align: center .. image:: /images/en/category_projection/projection_image_20.png :align: center (of course, we could've just rotated the left two images 30°, this is mostly to be less confusing compared to the cube) So, we do some cropping, some cleanup and add two parallel assistants like we did with the orthographic: .. image:: /images/en/category_projection/projection_image_21.png :align: center So the idea here is that you draw parallel lines from both sides to find points in the drawing area. You can use the previews of the assistants for this to keep things clean, but I drew the lines anyway for your convenience. .. image:: /images/en/category_projection/projection_image_22.png :align: center The best is to make a few sampling points, like with the eyebrows here, and then draw the eyebrow over it. .. image:: /images/en/category_projection/projection_image_23.png :align: center Alternative axonometric with the transform tool ----------------------------------------------- Now, there's an alternative way of getting there that doesn't require as much space. We open our orthographic with :guilabel:`Open existing Document as Untitled Document` so that we don't save over it. Our game-safe isometric has its angle at two pixels horizontal is one pixel vertical. So, we shear the ortho graphics with transform masks to -.5/+.5 pixels (this is proportional) .. image:: /images/en/category_projection/projection_image_24.png :align: center Use the grid to setup two parallel rulers that represent both diagonals (you can snap them with the :kbd:`Shift + S`): .. image:: /images/en/category_projection/projection_image_25.png :align: center Add the top view as well: .. image:: /images/en/category_projection/projection_image_26.png :align: center if you do this for all slices, you get something like this: .. image:: /images/en/category_projection/projection_image_27.png :align: center Using the parallel rulers, you can then figure out the position of a point in 3d-ish space: .. image:: /images/en/category_projection/projection_image_28.png :align: center As you can see, this version both looks more 3d as well as more creepy. That's because there are less steps involved as the previous version -- We're deriving our image directly from the orthographic view -- so there are less errors involved. -The creepiness is because we've had the tiniest bit of stylisation in our side view, so the eyes come out HUGE. This is because when we stylise the side view of an eye, we tend to draw it not perfectly from the side, but rather slightly at an angle. If you look carefully at the turntable, the same problem crops up there as well. +The creepiness is because we've had the tiniest bit of stylisation in our side view, so the eyes come out HUGE. This is because when we stylize the side view of an eye, we tend to draw it not perfectly from the side, but rather slightly at an angle. If you look carefully at the turntable, the same problem crops up there as well. -Generally, stylised stuff tends to fall apart in 3d view, and you might need to make some choices on how to make it work. +Generally, stylized stuff tends to fall apart in 3d view, and you might need to make some choices on how to make it work. For example, we can just easily fix the side view (because we used transform masks, this is easy.) .. image:: /images/en/category_projection/projection_image_29.png :align: center And then generate a new drawing from that… .. image:: /images/en/category_projection/projection_animation_02.gif :align: center Compare to the old one and you should be able to see that the new result’s eyes are much less creepy: .. image:: /images/en/category_projection/projection_image_30.png :align: center It still feels very squashed compared to the regular parallel projection above, and it might be an idea to not just skew but also stretch the orthos a bit. Let's continue with perspective projection in the next one! diff --git a/reference_manual/dockers/animation_curve.rst b/reference_manual/dockers/animation_curve.rst index 2f0619180..6d9959e14 100644 --- a/reference_manual/dockers/animation_curve.rst +++ b/reference_manual/dockers/animation_curve.rst @@ -1,71 +1,71 @@ .. meta:: :description: Overview of the animation curves docker. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. .. index:: Animation, ! Animation Curves, Interpolation, Tweening .. _animation_curves_docker: ======================= Animation Curves Docker ======================= The Animation Curve docker allows you to edit tweened sections by means of interpolation curves. As of this time of writing, it can only edit opacity. -The idea is that sometimes what you want to animate can be expressed as a value. This allows the computer to do maths on the values, and automate tasks, like interpolation, also known as 'Tweening'. Because these are values, like percentage opacity, and animation happens over time, that means we can visualise the way the values are interpolated as a curve graph, and also edit the graph that way. +The idea is that sometimes what you want to animate can be expressed as a value. This allows the computer to do maths on the values, and automate tasks, like interpolation, also known as 'Tweening'. Because these are values, like percentage opacity, and animation happens over time, that means we can visualize the way the values are interpolated as a curve graph, and also edit the graph that way. But, when you first open this docker, there's no curves visible! You will first need to add opacity keyframes to the active animation layer. You can do this by using the animation docker and selection :guilabel:`Add new keyframe`. .. image:: /images/en/Animation_curves_1.png Opacity should create a bright red curve line in the docker. On the left, in the layer list, you will see that the active layer has an outline of its properties: A red :guilabel:`Opacity` has appeared. Pressing the red dot will hide the current curve, which'll be more useful in the future when more properties can be animated. .. image:: /images/en/Animation_curves_2.png If you select a dot of the curve, you can move it around to shift its place in the time-line or its value. On the top, you can select the method of smoothing: Hold Value This keeps the value the same until there's a new keyframe. Linear Interpolation (Default) This gives a straight interpolation between two values. Custom interpolation This allows you to set the section after the keyframe node as one that can be modified. |mouseleft| +dragging on the node allows you to drag out a handler node for adjusting the curving. So, for example, making a 100% opacity keyframe on frame 0 and a 0% opacity one on frame 24 gives the following result: .. image:: /images/en/Ghost_linear.gif If we select frame 12 and press :guilabel:`Add New Keyframe` a new opacity keyframe will be added on that spot. We can set this frame to 100% and set frame 0 to 0% for this effect. .. image:: /images/en/Ghost_linear_in-out.gif Now, if we want easing in, we select the node on frame 0 and press the :guilabel:`Custom Interpolation` button at the top. This will enable custom interpolation on the curve between frames 0 and 12. Doing the same on frame 12 will enable custom interpolation between frames 12 and 24. Drag from the node to add a handle, which in turn you can use to get the following effects: .. image:: /images/en/Ghost_ease_in-out.gif .. image:: /images/en/Animation_curves_3.png The above shows an ease-in curve. And convex/concave examples: .. image:: /images/en/Ghost_concave_in-out.gif .. image:: /images/en/Animation_curves_4.png .. image:: /images/en/Ghost_convex_int-out.gif .. image:: /images/en/Animation_curves_5.png As you may be able to tell, there's quite a different 'texture', so to speak, to each of these animations, despite the difference being only in the curves. Indeed, a good animator can get quite some tricks out of interpolation curves, and as we develop Krita, we hope to add more properties for you to animate this way. .. note:: Opacity has currently 255 as maximum in the curve editor, as that's how opacity is stored internally diff --git a/reference_manual/filters.rst b/reference_manual/filters.rst index e30e876e9..b3a1286d8 100644 --- a/reference_manual/filters.rst +++ b/reference_manual/filters.rst @@ -1,19 +1,19 @@ .. _filters: ======= Filters ======= -Filters are little scripts or operations you can run on your drawing. You can visualise them as real-world camera filters that can make a photo darker or blurrier. Or perhaps like a coffee filter, where only water and coffee gets through, and the ground coffee stays behind. +Filters are little scripts or operations you can run on your drawing. You can visualize them as real-world camera filters that can make a photo darker or blurrier. Or perhaps like a coffee filter, where only water and coffee gets through, and the ground coffee stays behind. Filters are unique to digital painting in terms of complexity, and their part of the painting pipeline. Some artists only use filters to adjust their colors a little. Others, using Filter Layers and Filter Masks use them to dynamically update a part of an image to be filtered. This way, they can keep the original underneath without changing the original image. This is a part of a technique called 'non-destructive' editing. Filters can be accessed via the :guilabel:`Filters` menu. Krita has two types of filters: Internal and G'MIC filters. Internal filters are often multithreaded, and can thus be used with the filter brush or the adjustment filters. .. toctree:: :maxdepth: 1 :glob: filters/* diff --git a/reference_manual/filters/wavelet_decompose.rst b/reference_manual/filters/wavelet_decompose.rst index 82bc26469..4b4e4b5c3 100644 --- a/reference_manual/filters/wavelet_decompose.rst +++ b/reference_manual/filters/wavelet_decompose.rst @@ -1,27 +1,27 @@ .. meta:: :description: Overview of the wavelet decompose in Krita. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Scott Petrovic :license: GNU free documentation license 1.3 or later. .. index:: ! Wavelet Decompose .. _wavelet_decompose: ================= Wavelet Decompose ================= Wavelet decompose uses wavelet scales to turn the current layer into a set of layers with each holding a different type of pattern that is visible within the image. This is used in texture and pattern making to remove unwanted noise quickly from a texture. You can find it under :menuselection:`Layers`. When you select it, it will ask for the amount of wavelet scales. More scales, more different layers. Press :guilabel:`OK`, and it will generate a group layer containing the layers with their proper blending modes: .. image:: /images/en/Wavelet_decompose.png :align: center -Adjust a given layer with middle gray to neutralise it, and merge everything with the :guilabel:`Grain Merge` blending mode to merge it into the end image properly. +Adjust a given layer with middle gray to neutralize it, and merge everything with the :guilabel:`Grain Merge` blending mode to merge it into the end image properly. diff --git a/tutorials/common_workflows.rst b/tutorials/common_workflows.rst index a2bd36770..bbdb6192b 100644 --- a/tutorials/common_workflows.rst +++ b/tutorials/common_workflows.rst @@ -1,210 +1,210 @@ .. meta:: :description lang=en: Common workflows used in Krita .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Vancemoss - Raghavendra Kamath :license: GNU free documentation license 1.3 or later. .. _common_wokflows: ================ Common Workflows ================ Krita's main goal is to help artists create a digital painting from scratch. Krita is used by comic artists, matte painters, texture artists, and illustrators around the world. This section explains some common workflow that artists use in Krita. When you open a new document in Krita for the first time, you can start painting instantly. The brush tool is selected by default and you just have to paint on the canvas. However, let us look at what artists do in Krita. Below are some of the common workflows used in Krita: Speed Painting and Conceptualizing ---------------------------------- Some artists work only on the digital medium, sketching and visualizing concepts in Krita from scratch. As the name suggests a technique of painting done within a matter of hours to quickly visualize the basic scene, character, look and feel of the environment or to denote the general mood and overall concept is called a **speed painting**. Finishing and finer details are not the main goals of this type of painting, but the representation of form value and layout is the main goal. Some artists set a time limit to complete the painting while some paint casually. Speed painting then can be taken forward by adding finer details and polish to create a final piece. Generally, artists first block in the composition by adding patches and blobs of flat colors, defining the silhouette, etc. Krita has some efficient brushes for this situation, for example, the brush under **Block Tag** like Block fuzzy, Block basic, layout_block, etc. After the composition and a basic layout has been laid out the artists add as many details as possible in the given limited time, this requires a decent knowledge of forms, value perspective and proportions of the objects. Below is an example of speed paint done by `David Revoy `_ in an hours time. .. image:: /images/en/Pepper-speedpaint-deevad.jpg :alt: speedpaint of pepper and carrot by deevad (David Revoy) :width: 800 Artwork by David Revoy, license : `CC-BY `_ You can view the recorded speed painting demo for the above image `on Youtube `_. Colorizing Line Art ------------------- Often an artist, for example, a comic book colorist will need to take a pencil sketch or other line art of some sort and use Krita to paint underneath it. This can be either an image created digitally or something that was done outside the computer and has been scanned. Preparing the line art ^^^^^^^^^^^^^^^^^^^^^^ If your images have a white or other single-tone background, you can use either of the following methods to prepare the art for coloring: Place the line art at the top of the layer stack and set its layer blending mode to :guilabel:`Multiply` If you want to clean the line art a bit you can press :kbd:`Ctrl + L` or go to :menuselection:`Filters --> Adjust --> Levels` .. image:: /images/en/Levels-filter.png :alt: level filter dialog You can clean the unwanted greys by moving the white triangle in the input levels section to left and darken the black by moving the black triangle to right. If you draw in blue pencils and then ink your line art you may need to remove the blue lines first to do that go to :menuselection:`Filters --> Adjust --> Color adjustment` curves or press shortcut :kbd:`Ctrl + M`. .. image:: /images/en/common-workflows/Color-adjustment-cw.png :alt: remove blue lines from image step 1 Now select **Red** from the drop-down, click on the top right node on the graph and slide it all the way down. Or you can click on the top right node and enter **0** in the input field. Repeat this step for **Green** too. .. image:: /images/en/common-workflows/Color-adjustment-02.png :alt: removing blue lines from scan step 2 Now the whole drawing will have a blue overlay, zoom in and check if the blue pencil lines are still visible slightly. If you still see them, then go to **Blue** Channel in the color adjustment and shift the top right node towards left a bit, Or enter a value around 190 (one that removes the remaining rough lines) in the input box. .. image:: /images/en/common-workflows/Color-adjustment-03.png :alt: remove blue lines from scans step 3 Now apply the color adjustment filter, yes we still have lots of blue on the artwork. Be patient and move on to the next step. Go to :menuselection:`Filters --> Adjust --> Desaturate` or press :kbd:`Ctrl + Shift + U`. Now select :guilabel:`Max` from the list. .. image:: /images/en/common-workflows/Color-adjustment-04.png :alt: remove blue lines from scans step 4 .. hint:: It is good to use non-photo-blue pencils to create the blue lines as those are easy to remove. If you are drawing digitally in blue lines use #A4DDED color as this is closer to non-photo-blue color. You can learn more about doing a sketch from blue sketch to digital painting `here in a tutorial by David Revoy `_. After you have a clean black and white line art you may need to erase the white color and keep only black line art, to achieve that go to :menuselection:`Filters --> Color --> Color to Alpha`. Use the dialog box to turn all the white areas of the image transparent. The Color Picker is set to White by default. If you have imported scanned art and need to select another color for the paper color then you would do it here. .. image:: /images/en/Color-to-alpha.png :alt: color to alpha dialog box This will convert the white color in your line art to alpha i.e. it will make the white transparent leaving only the line art. Your line art can be in grey-scale color space, this is a unique feature in Krita which allows you to keep a layer in a color-space independent from the image. Laying in Flat Colors ^^^^^^^^^^^^^^^^^^^^^ There are many ways to color a line art in Krita, but generally, these three are common among the artists. 1. Paint blocks of color directly with block brushes. 2. Fill with Flood fill Tool. 3. Use one of the G'MIC colorize comics filters. Blocking with brush """"""""""""""""""" The first is the more traditional method of taking a shape brush or using the geometric tools to lay in color. This would be similar to using an analog marker or brush on paper. There are various block brushes in Krita, you can select **Block** Tag from the drop-down in the brush presets docker and use the brushes listed there. Add a layer underneath your line art layer and start painting with the brush. If you want to correct any area you can press :kbd:`E` and convert the same brush into an eraser. You can also use a layer each for different colors for more flexibility. Filling with Flood Fill tool """""""""""""""""""""""""""" -The second method is to use the Flood fill tool to fill large parts of your line art quickly. This method generally requires closed gaps in the line art. To begin with this method place your line art on a separate layer. Then activate the flood fill tool and set the grow selection to 2px, uncheck limit to current layer if previously checked. +The second method is to use the Flood fill tool to fill large parts of your line art quickly. This method generally requires closed gaps in the line art. To begin with this method place your line art on a separate layer. Then activate the flood fill tool and set the :guilabel:`Grow selection` to 2px, uncheck :guilabel:`Limit to current layer` if previously checked. .. image:: /images/en/common-workflows/Floodfill-krita.png :alt: flood fill in krita Choose a color from color selector and just click on the area you want to fill the color. As we have expanded the fill with grow selection the color will be filled slightly underneath the line art thus giving us a clean fill. GMIC Colorize [Interactive] """"""""""""""""""""""""""" The third method is to use take advantage of the integrated G'Mic filters. These are powerful filters that can dramatically improve your workflow and cut you down on your production time. To begin coloring with the G'MIC colorize interactive, go to :menuselection:`Filters --> G'MIC`. Choose :menuselection:`Filters --> G'MIC --> Black & white --> Colorize[interactive]` from the list of filters. Then select Line art for :menuselection:`Input type, Image + Colors (2 Layers)` for output type, set the view resolution according to your need. If you have any specific color palette to use for coloring add the path for it in an additional color palette. The example of the filter window with the required inputs is shown below. .. image:: /images/en/common-workflows/GMIC-colorize-interactive-krita.png :alt: G'MIC window in Krita Press **Apply** to begin the coloring, this will open a color selector **palette** window and a window showing your line art. Choose the color from the palette and click on the areas that need to be filled with color like the example shown below. .. image:: /images/en/common-workflows/Krita-GMIC-colorize-interactive.png :alt: G'MIC colorize interactive window If you feel that the dots are a bit distracting you can press :kbd:`Tab` to reduce the size or hide the dots. to zoom out you can press :kbd:`Ctrl + ↓` and :kbd:`Ctrl + ↑` vice versa. Panning is done by |mousemiddle| + drag. Press :kbd:`Spacebar` to generate the colors. If you want to replace a color select the color by |mousemiddle| and pressing :kbd:`R` then you can select an alternate color from the palette. Once you have finished adding the desired flat colors you can press :kbd:`Enter` to apply the filter. Then don't forget to press **Ok** in the G'MIC dialog box. The flats colors will be placed on a separate layer. You can check `this `_ tutorial by David Revoy to know more about this technique. GMIC Colorize [comics] """""""""""""""""""""" Krita provides one more option to prepare flat colors through G'MIC colorize comics filter. This technique needs some preparations before you run the G'MIC filter. This layer extrapolates the color spots that you input below the line art You have to create two layers below the line art, one for the color spots indicating which color you need to be filled in the region and one for the final extrapolated output of the filter. Mark some colors spots in the layer beneath the line art. The layer setup can be seen in the image below. .. image:: /images/en/common-workflows/Colorize-krita.png :alt: G'MIC colorize comics layer setup The colors spots are marked in red in the image Now go to :menuselection:`Filters --> G'MIC --> Black & white --> Colorize[comics]`. In the G'MIC dialog box, select all for input and inplace (default) for output, select :guilabel:`Lineart + color spots + extrapolated layers` for both input and output layers on the right-hand side. Smoothness is for filling gap tolerance and details the default is 0.5 you can adjust it according to your line art. .. image:: /images/en/common-workflows/Colorise-comics-setting.png :alt: Colorize Interactive dialog and settings Press **Apply** and **Ok** to apply and exit the G'MIC dialog. You'll now have flat colors beneath you line art. More details about this technique can be found in the tutorial `at Timothée Giet's blog `_. Painting -------- Starting from chaos ^^^^^^^^^^^^^^^^^^^ Here, you start by making a mess through random shapes and texture, then taking inspirations from the resulting chaos you can form various concepts. It is kind of like making things from clouds or finding recognizable shapes of things in abstract and random textures. Many concept artists work with this technique. You can use brushes like the shape brush, or the spray brush to paint a lot of different shapes, and from the resulting noise, you let your brain pick out shapes and compositions. .. image:: /images/en/common-workflows/Chaos2.jpg :alt: Starting a painting from chaotic sketch You then refine these shapes to look more like shapes you think they look, and paint them over with a normal paintbrush. This method is best done in a painting environment. Starting from a value based underground ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ This method finds its origins in old oil-painting practice: You first make an under-painting and then paint over it with color, having the dark underground shine through. With Krita you can use blending modes for this purpose. Choosing the color blending mode on a layer on top allows you to change the colors of the image without changing the relative luminosity. This is useful, because humans are much more sensitive to tonal differences than the difference in saturation and hue. This'll allow you to work in greyscale before going into color for the polishing phase. You can find more about this technique `here `_. Preparing Tiles and Textures ---------------------------- Many artists use Krita to create textures for 3d assets used for games animation etc. Krita has many texture template for you to choose and get started with creating textures. These templates have common sizes, bit depth and color profiles that are used for texturing workflow. Krita also has a real-time seamless tile mode to help texture artist prepare tiles and texture easily and check if it is seamless on the fly. The tiled mode is called wrap-around mode, to activate this mode you have press :kbd:`W`. No when you paint the canvas is tiled in real-time allowing you to create seamless pattern and texture, it is also easy to prepare interlocking patterns and motifs in this mode. Creating Pixel Art ------------------ Krita can also be used to create a high definition pixel painting. The pixel art look can be achieved by using Index color filter layer and overlaying dithering patterns. The general layer stack arrangement is as shown below. .. image:: /images/en/common-workflows/Layer-docker-pixelart.png :alt: Layer stack setup for pixel art The index color filter maps specific user-selected colors to the grey scale value of the artwork. You can see the example below, the strip below the black and white gradient has an index color applied to it so that the black and white gradient gets the color selected to different values. .. image:: /images/en/common-workflows/Gradient-pixelart.png :alt: color mapping in index color to greyscale You can choose the required colors and ramps in the index color filter dialog as shown below. .. image:: /images/en/common-workflows/Index-color-filter.png :alt: index color filter dialog Dithering can be used to enhance the look of the art and to ease the banding occurred by the index color filter. Krita has a variety of dithering patterns by default, these can be found in pattern docker. You can use these patterns as fill layer, then set the blend mode to **overlay** and adjust the opacity according to your liking. Generally, an opacity range of 10% - 25% is ideal. Paint the artwork in grey-scale and add an index color filter layer at the top then add the dithering pattern fill layer below the index color filter but above the artwork layer, as shown in the layer stack arrangement above. You can paint or adjust the artwork at any stage as we have added the index color filter as a filter layer. You can add different groups for different colors and add different dithering patterns for each group. Below is an example painted with this layer arrangement. .. image:: /images/en/common-workflows/Kiki-pixel-art.png :alt: Pixel art done in Krita diff --git a/tutorials/flat-coloring.rst b/tutorials/flat-coloring.rst index e3a9b606b..2e1350ae8 100644 --- a/tutorials/flat-coloring.rst +++ b/tutorials/flat-coloring.rst @@ -1,329 +1,329 @@ .. meta:: :description lang=en: Common workflows used in Krita .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. .. _flat_coloring: ============= Flat Coloring ============= So you've got a cool black on white drawing, and now you want to color it! The thing we’ll aim for in this tutorial is to get your line art colored in with flat colors. So no shading just yet. We’ll be going through some techniques for preparing the line art, and we’ll be using the layer docker to put each color on a separate layer, so we can easily access each color when we add shading. .. note:: This tutorial is adapted from this `tutorial `_ by the original author. Understanding Layers -------------------- To fill line art comfortably, it's best to take advantage of the layerstack. The layer stack is pretty awesome, and it's one of those features that make digital art super-convenient. In traditional art, it is not uncommon to first draw the full background before drawing the subject. Or to first draw a line art and then color it in. Computers have a similar way of working. In programming, if you tell a computer to draw a red circle, and then afterwards tell it to draw a smaller yellow circle, you will see the small yellow circle overlap the red circle. Switch the commands around, and you will not see the yellow circle at all: it was drawn before the red circle and thus ‘behind’ it. This is referred to as the “drawing order”. So like the traditional artist, the computer will first draw the images that are behind everything, and layer the subject and foreground on top of it. The layer docker is a way for you to control the drawing order of multiple images, so for example, you can have your line art drawn later than your colors, meaning that the lines will be drawn over the colors, making it easier to make it neat! Other things that a layer stack can do are blending the colors of different layers differently with blending modes, using a filter in the layer stack, or using a mask that allows you to make parts transparent. .. tip:: Programmers talk about transparency as ''Alpha'', which is because the 'a' symbol is used to present transparency in the algorithms for painting one color on top of another. Usually when you see the word ''Alpha'' in a graphics program, just think of it as affecting the transparency. Preparing your line art ----------------------- Put the new layer underneath the layer containing the line art (drag and drop or use the up/down arrows for that), and draw on it. .. image:: /images/en/flat-coloring/Krita_filling_lineart14.png :alt: layer structure for flatting in krita …And notice nothing happening. This is because the white isn’t transparent. You wouldn’t really want it to either, how else would you make convincing highlights? So what we first need to do to color in our drawing is prepare our line art. There’s several methods of doing so, each with varying qualities. The Multiply Blending Mode -------------------------- So, typically, to get a black and white line art usable for coloring, you can set the blending mode of the line art layer to Multiply. You do this by selecting the layer and going to the drop-down that says **Normal** and setting that to **Multiply**. .. image:: /images/en/flat-coloring/Krita_filling_lineart1.png :alt: blend mode setup of line art flat coloring And then you should be able to see your colors! Multiply is not a perfect solution however. For example, if through some image editing magic I make the line art blue, it results into this: .. image:: /images/en/flat-coloring/Krita_filling_lineart2.png :alt: effects of multiply blend mode This is because multiply literally multiplies the colors. So it uses maths! -What it first does is take the values of the RGB channels, then divides them by the max (because we're in 8bit, this is 255), a process we call normalising. Then it multiplies the normalised values. Finally, it takes the result and multiplies it with 255 again to get the result values. +What it first does is take the values of the RGB channels, then divides them by the max (because we're in 8bit, this is 255), a process we call normalising. Then it multiplies the normalized values. Finally, it takes the result and multiplies it with 255 again to get the result values. .. list-table:: :header-rows: 1 * - - Pink - - Pink (normalised) + - Pink (normalized) - Blue - - Blue (normalised) - - Normalised, multiplied + - Blue (normalized) + - Normalized, multiplied - Result * - Red - 222 - 0.8705 - 92 - 0.3607 - 0.3139 - 80 * - Green - 144 - 0.5647 - 176 - 0.6902 - 0.3897 - 99 * - Blue - 123 - 0.4823 - 215 - 0.8431 - 0.4066 - 103 This isn't completely undesirable, and a lot of artists use this effect to add a little richness to their colors. Advantages """""""""" Easy, can work to your benefit even with colored lines by softening the look of the lines while keeping nice contrast. Disadvantages """"""""""""" Not actually transparent. Is a little funny with colored lines. Using Selections ---------------- The second method is one where we'll make it actually transparent. In other programs this would be done via the channel docker, but Krita doesn't do custom channels, instead it uses Selection Masks to store custom selections. 1. Duplicate your line art layer. 2. Convert the duplicate to a selection mask. |mouseright| the layer, then :menuselection:`Convert --> to Selection Mask`. .. image:: /images/en/flat-coloring/Krita_filling_lineart_selection_1.png 3. Invert the selection mask. :menuselection:`Select --> Invert Selection`. 4. Make a new layer, and do :menuselection:`Edit --> Fill with Foreground Color`. .. image:: /images/en/flat-coloring/Krita_filling_lineart_selection_2.png And you should now have the line art on a separate layer. Advantages """""""""" Actual transparency. Disadvantages """"""""""""" Doesn't work when the line art is colored. Using Masks ----------- This is a simpler variation of the above. 1. Make a filled layer underneath the line art layer. .. image:: /images/en/flat-coloring/Krita_filling_lineart_mask_1.png 2. Convert the line art layer to a transparency mask |mouseright| the layer, then :menuselection:`Convert --> to Transparency Mask`. .. image:: /images/en/flat-coloring/Krita_filling_lineart_mask_2.png 3. Invert the transparency mask by going to :menuselection:`Filter --> Adjust --> Invert` .. image:: /images/en/flat-coloring/Krita_filling_lineart_mask_3.png Advantages """""""""" Actual transparency. You can also very easily doodle a pattern on the filled layer where the mask is on without affecting the transparency. Disadvantages """"""""""""" Doesn't work when the line art is colored already. We can still get faster. Using Color to Alpha -------------------- By far the fastest way to get transparent line art. 1. Select the line art layer and apply the color to alpha filter. :menuselection:`Filter --> Colors --> Color to Alpha`. The default values should be sufficient for line art. .. image:: /images/en/flat-coloring/Krita_filling_lineart_color_to_alpha.png Advantages """""""""" Actual transparency. Works with colored line art as well, because it removes the white specifically. Disadvantages """"""""""""" You'll have to lock the layer transparency or separate out the alpha via the right-click menu if you want to easily color it. Coloring the image ================== Much like preparing the line art, there are many different ways of coloring a layer. You could for example fill in everything by hand, but while that is very precise it also takes a lot of work. Let's take a look at the other options, shall we? Fill Tool --------- .. image:: /images/icons/fill_tool.svg :alt: fill-tool icon In most cases the fill-tool can’t deal with the anti-aliasing (the soft edge in your line art to make it more smooth when zoomed out) In Krita you have the grow-shrink option. Setting that to say… 2 expands the color two pixels. Threshold decides when the fill-tool should consider a different color pixel to be a border. And the feathering adds an extra soft border to the fill. Now, if you click on a gapless-part of the image with your preferred color… (Remember to set the opacity to 1.0!) Depending on your line art, you can do flats pretty quickly. But setting the threshold low can result in little artifacts around where lines meet: .. image:: /images/en/flat-coloring/Krita_filling_lineart7.png :alt: colors filled with fill tool However, setting the threshold high can end with the fill not recognizing some of the lighter lines. Besides these little artifacts can be removed with the brush easily. Advantages """""""""" Pretty darn quick depending on the available settings. Disadvantages """"""""""""" Again, not great with gaps or details. And it works best with aliased line art. Selections ---------- Selections work using the selection tools. .. image:: /images/en/flat-coloring/Krita_filling_lineart15.png :alt: selecting with selection tools for filling color For example with the :ref:`bezier_curve_selection_tool` you can easily select a curved area, and the with :kbd:`Shift` + |mouseleft| (not |mouseleft| + :kbd:`Shift`, there's a difference!) you can easily add to an existing selection. .. image:: /images/en/flat-coloring/Krita_filling_lineart16.png :alt: selection mask in Krita You can also edit the selection if you have :menuselection:`Select --> Show Global Selection Mask` turned on. Then you can select the global selection mask, and paint on it. (Above with the alternative selection mode, activated in the lower-left corner of the stats bar) When done, select the color you want to fill it with and press :kbd:`Shift` + `backspace`. .. image:: /images/en/flat-coloring/Krita_filling_lineart17.png :alt: filling color in selection You can save selections in selection masks by |mouseright| a layer, and then going to :menuselection:`Add --> Local Selection`. You first need to deactivate a selection by pressing the circle before adding a new selection. This can serve as an alternative way to split out different parts of the image, which is good for more painterly pieces: .. image:: /images/en/flat-coloring/Krita_filling_lineart18.png :alt: result of coloring made with the help of selection tools Advantages """""""""" A bit more precise than filling. Disadvantages """"""""""""" Previewing your color isn't as easy. Geometric tools --------------- So you have a tool for making rectangles or circles. And in the case of Krita, a tool for bezier curves. Select the path tool (|path tool|), and set the tool options to fill=foreground and outline=none. Make sure that your opacity is set to 1.00 (fully opaque). .. |path tool| image:: /images/icons/bezier_curve.svg By clicking and holding, you can influence how curvy a line draw with the path tool is going to be. Letting go of the mouse button confirms the action, and then you’re free to draw the next point. .. image:: /images/en/flat-coloring/Krita_filling_lineart8.png :alt: filling color in line art using path tool You can also erase with a geometric tool. Just press :kbd:`E` or the eraser button. .. image:: /images/en/flat-coloring/Krita_filling_lineart9.png :alt: erasing with path tool Advantages """""""""" Quicker than using the brush or selections. Also decent with line art that contains gaps. Disadvantages """"""""""""" Fiddly details aren’t easy to fill in with this. So I recommend skipping those and filling them in later with a brush. Colorize Mask ------------- -So, this is a bit of an odd one. In the original tutorial, you'll see I'm suggesting using G'Mic, but that was a few years ago, and g'mic is a little unstable on windows. Therefore, the Krita developers have been attempting to make an internal tool doing the same. +So, this is a bit of an odd one. In the original tutorial, you'll see I'm suggesting using G'Mic, but that was a few years ago, and G'Mic is a little unstable on windows. Therefore, the Krita developers have been attempting to make an internal tool doing the same. It is disabled in 3.1, but if you use 4.0 or later, it is in the toolbox. Check the Colorize Mask for more information. So it works like this: 1. Select the colorize mask tool. 2. Tick the layer you're using. 3. Paint the colors you want to use on the colorize mask 4. Click update to see the results: .. image:: /images/en/flat-coloring/Krita_filling_lineart10.png :alt: coloring with colorize mask When you are satisfied, |mouseright| the colorize mask, and go to :menuselection:`Convert --> Paint Layer`. This will turn the colorize mask to a generic paint layer. Then, you can fix the last issues by making the line art semi-transparent and painting the flaws away with a pixel art brush. .. image:: /images/en/flat-coloring/Krita_filling_lineart11.png :alt: result from the colorize mask Then, when you are done, split the layers via :menuselection:`Layer --> Split --> Split Layer`. There are a few options you can choose, but the following should be fine: .. image:: /images/en/flat-coloring/Krita_filling_lineart12.png :alt: slitting colors into islands Finally, press **Ok** and you should get the following. Each color patch it on a different layer, named by the palette in the menu and alpha locked, so you can start painting right away! .. image:: /images/en/flat-coloring/Krita_filling_lineart13.png :alt: resulting color islands from split layers Advantages """""""""" Works with anti-aliased line art. Really quick to get the base work done. Can auto-close gaps. Disadvantages """"""""""""" No anti-aliasing of its own. You have to choose between getting details right or the gaps auto-closed. Conclusion ---------- I hope this has given you a good idea of how to fill in flats using the various techniques, as well as getting a hand of different Krita features. Remember that a good flat filled line art is better than a badly shaded one, so keep practicing to get the best out of these techniques! diff --git a/tutorials/inking.rst b/tutorials/inking.rst index aef052b6a..005cae6f9 100644 --- a/tutorials/inking.rst +++ b/tutorials/inking.rst @@ -1,157 +1,157 @@ .. meta:: :description lang=en: tips and tricks for inking in Krita .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. .. _inking: ====== Inking ====== -The first thing to realise about inking is that unlike anatomy, perspective, composition or color theory, you cannot compensate for lack of practice with study or reasoning. This is because all the magic in drawing lines happens from your shoulder to your fingers, very little of it happens in your head, and your lines improve with practice. +The first thing to realize about inking is that unlike anatomy, perspective, composition or color theory, you cannot compensate for lack of practice with study or reasoning. This is because all the magic in drawing lines happens from your shoulder to your fingers, very little of it happens in your head, and your lines improve with practice. On the other hand, this can be a blessing. You don’t need to worry about whether you are smart enough, or are creative enough to be a good inker. Just dedicated. Doubtlessly, inking is the Hufflepuff of drawing disciplines. That said, there are a few tips to make life easy: Pose ---- Notice how I mentioned up there that the magic happens between your shoulders and fingers? A bit weird, not? But perhaps, you have heard of people talking about adopting a different pose for drawing. You can in fact, make different strokes depending on which muscles and joints you use to make the movement: The Fingers, the wrist and lower-arm muscles, the elbow and upper-arm muscles or the shoulder and back muscles. .. image:: /images/en/inking/Stroke_fingers.gif :alt: finger movement .. image:: /images/en/inking/Stroke_wrist.gif :alt: wrist movement Generally, the lower down the arm the easier it is to make precise strokes, but also the less durable the joints are for long term use. We tend to start off using our fingers and wrist a lot during drawing, because it’s easier to be precise this way. But it’s difficult to make long strokes, and furthermore, your fingers and wrist get tired far quicker. .. image:: /images/en/inking/Stroke_arm.gif :alt: arm movement .. image:: /images/en/inking/Stroke_shoulder.gif :alt: stroke shoulder movement Your shoulders and elbows on the other hand are actually quite good at handling stress, and if you use your whole hand you will be able to make long strokes far more easily. People who do calligraphy need shoulder based strokes to make those lovely flourishes (personally, I can recommend improving your handwriting as a way to improve inking), and train their arms so they can do both big and small strokes with the full arm. To control pressure in this state effectively, you should press your pinky against the tablet surface as you make your stroke. This will allow you to precisely judge how far the pen is removed from the tablet surface while leaving the position up to your shoulders. The pressure should then be put by your elbow. So, there are not any secret rules to inking, but if there is one, it would be the following: *The longer your stroke, the more of your arms you need to use to make the stroke*. Stroke smoothing ---------------- So, if the above is the secret to drawing long strokes, that would be why people having been inking lovely drawings for years without any smoothing? Then, surely, it is decadence to use something like stroke smoothing, a short-cut for the lazy? .. figure:: /images/en/inking/Stroke_rigger.gif :alt: rigger brush demonstration Example of how a rigger brush can smooth the original movement (here in red) Not really. To both, actually. Inkers have had a real-life tool that made it easier to ink, it’s called a rigger-brush, which is a brush with very long hairs. Due to this length it sorta smooths out shakiness, and thus a favoured brush when inking at three in the morning. With some tablet brands, the position events being sent aren’t very precise, which is why we having basic smoothing to apply the tiniest bit of smoothing on tablet strokes. On the other hand, doing too much smoothing during the whole drawing can make your strokes very mechanical in the worst way. Having no jitter or tiny bumps removes certain humanity from your drawings, and it can make it impossible to represent fabric properly. Therefore, it’s wise to train your inking hand, yet not to be too hard on yourself and refuse to use smoothing at all, as we all get tired, cold or have a bad day once in a while. Stabilizer set to 50 or so should provide a little comfort while keeping the little irregularities. Bezier curves and other tools ----------------------------- So, you may have heard of a French curve. If not, it’s a piece of plastic representing a stencil. These curves are used to make perfectly smooth curves on the basis of a sketch. In digital painting, we don’t have the luxury of being able to use two hands, so you can’t hold a ruler with one hand and adjust it while inking with the other. For this purpose, we have instead Bezier curves, which can be made with the :ref:`path_selection_tool`. You can even make these on a vector layer, so they can be modified on the fly. The downside of these is that they cannot have line-variation, making them a bit robotic. You can also make small bezier curves with the :ref:`assistant_tool`, amongst the other tools there. -Then, in the freehand brush tool options, you can tick **Assistants** and start a line that snaps to this assistant. +Then, in the freehand brush tool options, you can tick :guilabel:`Snap to Assistants` and start a line that snaps to this assistant. Presets ------- So here are some things to consider with the brush-presets that you use: Anti-aliasing versus jagged pixels """""""""""""""""""""""""""""""""" A starting inker might be inclined to always want to use anti-aliased brushes, after all, they look so smooth on the screen. However, while these look good on screen, they might become fuzzy when printing them. Therefore, Krita comes with two default types. Anti-aliased brushes like ink_brush_25 and slightly aliased brushes like ink_tilt, with the latter giving better print results. If you are trying to prepare for both, it might be an idea to consider making the inking page 600dpi and the color page 300dpi, so that the inking page has a higher resolution and the ‘jaggies’ aren’t as visible. You can turn any pixel brush into an aliased brush, by going :kbd:`F5` and ticking **Sharpness**. Texture """"""" Do you make smooth ‘wet’ strokes? Or do you make textured ones? For the longest time, smooth strokes were preferred, as that would be less of a headache when entering the coloring phase. Within Krita there are several methods to color these easily, the colorize mask being the prime example, so textured becomes a viable option even for the lazy amongst us. .. figure:: /images/en/inking/Inking_patterned.png :alt: type of strokes Left: No texture, Center: Textured, Right: Predefined Brush tip Pressure curve """""""""""""" Of course, the nicest lines are made with pressure sensitivity, so they dynamically change from thick to thin. However, different types of curves on the pressure give different results. The typical example is a slightly concave line to create a brush that more easily makes thin lines. .. figure:: /images/en/inking/Ink_gpen.png :alt: pressure curve for ink gpen Ink_Gpen_25 is a good example of a brush with a concave pressure curve. This curve makes it easier to make thin lines. .. figure:: /images/en/inking/Ink_convex.png :alt: convex inking brush conversely, here's a convex brush. The strokes are much rounder .. figure:: /images/en/inking/Ink_fill_circle.png :alt: ink fill circle Fill_circle combines both into an s-curve, this allows for very dynamic brush strokes .. figure:: /images/en/inking/Ink_speed.png :alt: inverse convex to speed parameter Pressure isn't the only thing you can do interesting things with, adding an inverse convex curve to speed can add a nice touch to your strokes Preparing sketches for inking ----------------------------- So, you have a sketch and you wish to start inking it. Assuming you’ve scanned it in, or drew it, you can try the following things to make it easier to ink. Opacity down to 10% """"""""""""""""""" Put a white (just press :kbd:`Backspace`) layer underneath the sketch. Turn down the opacity of the sketch to a really low number and put a layer above it for inking. Make the sketch colored """"""""""""""""""""""" Put a layer filled with a color you like between the inking and sketch layer. Then set that layer to ‘screen’ or ‘addition’, this will turn all the black lines into the color! If you have a transparent background, or put this layer into a group, be sure to tick the alpha-inherit symbol! Make the sketch colored, alternative version """""""""""""""""""""""""""""""""""""""""""" Or, right-click the layer, go to layer properties, and untick ‘blue’. This works easier with a single layer sketch, while the above works best with multi-layer sketches. Super-thin lines ---------------- If you are interested in super-thin lines, it might be better to make your ink at double or even triple the size you usually work at, and, only use an aliased pixel brush. Then, when the ink is finished, use the fill tool to fill in flats on a separate layer, split the layer via :menuselection:`Layer --> Split --> Layer Split`, and then resize to the original size. .. image:: /images/en/inking/Inking_aliasresize.png :alt: aliased resize This might be a little of an odd way of working, but it does make drawing thin lines trivial, and it's cheaper to buy RAM so you can make HUGE images than to spent hours on trying to color the thin lines precisely, especially as colorize mask will not be able to deal with thin anti-aliased lines very well. .. tip:: David Revoy made a set of his own inking tips for Krita and explains them in this `youtube video `_.