diff --git a/contributors_manual/krita_manual_readme.rst b/contributors_manual/krita_manual_readme.rst index 5f5d29bd0..6dccd76fa 100644 --- a/contributors_manual/krita_manual_readme.rst +++ b/contributors_manual/krita_manual_readme.rst @@ -1,295 +1,296 @@ .. meta:: :description: Contributor's Readme for the Krita Manual .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Micheal Abrahams :license: GNU free documentation license 1.3 or later. .. Website shorthands. Sphinx/reStructuredText prefers it if you use shorthands when repeating websites. .. _phabricator : https://phabricator.kde.org .. _Manual Project Workboard : https://phabricator.kde.org/project/view/135/ .. _repository : https://phabricator.kde.org/source/websites-docs-krita-org/ .. _bugzilla : https://bugs.kde.org/ .. _krita_manual_contributors_guide: =============================== Krita Manual Contribution Guide =============================== Welcome to our new documentation! We've moved from userbase.kde.org to docs.krita.org, then we moved from Mediawiki to Sphinx. This latter change is because Sphinx allows us to handle translations much better than mediawiki can. The manual will include: A reference manual for Krita This one is probably what everyone is expecting when they type in docs.krita.org. Dry, basic, 'what does this button do' type of information. General concept tutorials. We've found over the past two years that for certain types of users, a reference manual, even with some examples, just isn't enough. The manual should also provide fast and concise explanations for things, and provide a basic workflow for preparing an image for the web. We also have found that certain concepts, such as color management and layer handling are far more advanced in Krita than the average artist is used to. Krita is free and many of its users will not have formal training in digital artwork. So there is no pre-existing artist-focused knowledge on how to use color management or filter layers. In addition there are systems that are unique to Krita, for example the brush system, the transform masks, the alpha inheritance and the perspective assistants. Finally, there are users who aren't familiar with even standard painting workflows, and are not flexible enough to understand how to port a tutorial for Sai or Photoshop to Krita. A list of known tutorials and video tutorials Apparently, one of the great things about Krita's team is how we connect with artists and acknowledge that they're doing cool stuff. The same should count for tutorials, especially because there are ways of using Krita and ways of approaching painting that are unique and we should encourage people to share their knowledge. Contributor's Manual Krita is (free) open source software, which makes us effectively a community project, with dozens of volunteers pitching in to make it better. This, of course, requires we keep track of manuals and howto's for new volunteers to come in and help us. The various places we've done this have been rather spread out, and are often under maintained. The contributor's manual is an attempt to solidify all the information. It is therefore very technical in places. krita.org tutorials There have been a bunch of tutorials on the krita.org and the krita-foundation.tumblr.com, the former focusing on explaining how to use a new feature and the later stimulated by user request. FAQ This one is already online and a merger of the different FAQs that we had. It's currently being translated and we hope to keep this one the primary one to update. For first timers ---------------- Unlike Mediawiki, Sphinx works more like how we write code for Krita. First things first, you will want to talk to us! For this you can either go to the `IRC on krita.org (#krita on freenode.org) `_, or, more importantly, make an account at `identity.kde.org `_. The account you make at identity can be used to both access the forum as well as the `phabricator`_, where we organise Krita development. If you have no idea where to begin, make a Kde identity account and make a post on `the forum `_. Sphinx works by writing simple text files with reStructuredText mark up, and then it takes those text files and turns them into the manual. We keep track of changes in the manual by putting them into a version control system called :program:`Git`. .. _making_changes_sphinx: Making changes ~~~~~~~~~~~~~~ Because we use Git, there's only a few people who can put things into the version control system, so if you want to make changes you will need to put it up for review. If you are not familiar with Git ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ 1. Get the source text from the `repository`_. Save a copy of the text as it existed originally. 2. Modify it. 3. Tools to check whether your modifications work. You can use the `Online Sphinx Editor `_ to check if your changes don't break 4. Bundle up the items into a zip. Put all the files you changed into a zip file. This also includes the images if you're changing them. Try to keep the filenames the same, that's easier for us to copy over. 5. Upload the zip on phabricator. 1. First, go to phabricator.kde.org and log in with you identity account. 2. Go to the `Manual Project Workboard`_ and there create a new task. 3. Explain what you did and use drag and drop to move the zip file to the input textbox. That should upload it. We will also need the email address you associate with your kde identity account. 4. Then, if the changes are accepted, someone with commit access will unpack those files into the manual folder and push the differences using the mail address. If you are familiar with Git ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ 1. Get the source from the `repository`_ using :program:`Git` clone 2. Make changes 3. Build locally (optional) 4. Generate a git diff. Go to the source directory in your terminal and write ``git diff > ../mydiff.diff`` this will make a diff file in the folder above. 5. Create a review request on phabricator 1. Login into `phabricator`_ with your identity account. 2. Go to differential. 3. Upper-right --> "Star" menu --> Create Review Request. 4. Upload the diff you made, select the correct repository (``websites-docs-krita-org``, easier to find with ``Krita.org Documentation Website``, *make sure you do not select docs-kde-org!*). 5. Confirm the file is correct. 6. Then in the next screen: 1. Add in Title/Short Summary. 2. Tell us what you changed in the summary. 3. (Optional) put your email in the comment if you want attribution. 4. Phabricator has a system that automatically tags the review request with the Krita Manual team. General philosophy ------------------ This is for determining what is an appropriate writing style. A writing style, whether we consider its practical or aesthetic qualities, is usually underpinned by a goal or general philosophy. What do we want to achieve with the manual, and for whom is the manual meant? Demographics and target audience(s) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ We cannot talk about a demographic in the sense that we know all Krita users are 55 year old men. Krita is used by a hugely different amount of people, and we are actually kind of proud that we have such a varied userbase. Despite that, we know a couple of things about our users: * They are artists. This is explicitly the type of users that we target. * Therefore, we know they prefer pretty pictures. * They are visual. * They are trying to achieve pretty pictures. Therefore, the implicit goal of each page would be to get the feature used for pretty pictures. Other than that, we've observed the following groups: * High-school and college students trying out drawing software for illustrations. These usually have some previous experience with drawing software, like Painttool Sai or Photoshop, but need to be introduced to possibilities in :program:`Krita`. This group's strength is that they share a lot of information with each other like tips and tricks and tutorials. * Professionals, people who earn their money with digital drawing software. The strength of this group is that they have a lot of know-how and are willing to donate to improve the program. These come in two types: * Non technical professionals. These are people who do not really grasp the more mathematical bits of a piece of software, but have developed solid workflows over the years and work with software using their finely honed instincts. These tend to be illustrators, painters and people working with print. * Technical professionals. These are people who use :program:`Krita` as part of a pipeline, and care about the precise maths and pixel pushing. These tend to be people working in the games and VFX industry, but occasionally there's a scientist in there as well. * Adult and elderly hobbyists. This group doesn't know much about computers, and they always seem to get snagged on that one little step missing from a tutorial. Their strength as a group is that they adapt unconventional workflows from real life that the student wouldn't know about and the professional has no time for and create cool stuff with that, as well as that they have a tempering effect on the first group in the larger community. From these four groups... * there's only one that is technical. Which is why we need the concept pages, so that we can create a solid base to write our manual texts on top of. * three of them likely have previous experience with software and may need migration guides and be told how. * two of them need to know how to get Krita to cooperate with other software. * two of them have no clue what they are doing and may need to be guided through the most basic of steps. From that we can get the following rules: General Writing ~~~~~~~~~~~~~~~ Use American English if possible. We use American English in the manual, in accordance to Krita's UI being American English by default. Keep the language polite, but do not use academic language. As a community, we want to be welcoming to the users, so we try to avoid language that is unwelcoming. Swearing is already not condoned by KDE, but going to the far other end, an academic style where neither writer nor reader is acknowledged might give the idea that the text is far more complex than necessary, and thus scare away users. Avoid using gifs (open for debate) The reason is that people with epilepsy may be affected by fast moving images. Similarly, gifs can sometimes carry too much of the burden of explanation. If you can't help but use gifs, at the least notify the reader of this in the introduction of the page. Keep it translation compatible This consists of using svg for infographics, and using the appropriate markup for given text. Regarding photos and paintings ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ * I would like to discourage photos and traditional paintings in the manual if they are not illustrating a concept. The reason is that it is very silly and a little dishonest to show Rembrand's work inside the Krita GUI, when we have so many modern works that were made in Krita. All of the pepper&carrot artwork was made in Krita and the original files are available, so when you do not have an image handy, start there. Photos should be avoided because Krita is a painting program. Too many photos can give the impression Krita is trying to be a solution for photo retouching, which really isn't the focus. * Of course, we still want to show certain concepts in play in photos and master paintings, such as glossing or indirect light. In this case, add a caption that mentions the name of the painting or the painter, or mention it's a photograph. * Photos can still be used for photobashing and the like, but only if it's obviously used in the context of photobashing. Regarding images in general ~~~~~~~~~~~~~~~~~~~~~~~~~~~ * Avoid text in the images and use the caption instead. You can do this with the figure directive. * If you do need to use text, make either an SVG, so the text inside can be manipulated easier, or try to minimize the amount of text. * Try to make your images high quality/cute. Let's give people the idea that they are using a program for drawing! * Remember that the manual is licensed under GDPL 1.3, so images submitted will be licensed under that. In the case of CC-By-Sa/CC-By ensure that the file gets attributed appropriately through a figure caption. Needless to say, don't submit images that cannot be licensed under either license. Protocol -------- So here we line out all the boring workflows. Tagging and Branches ~~~~~~~~~~~~~~~~~~~~ Adding and removing text will be done in the ``draft`` branch. Proofreading results for old pages will be considered as bugfixes and thus will go into the ``master`` branch and merged into the ``draft`` branch as necessary. Before the ``draft`` branch is merged for a given release: -* the master branch will be tagged with the old version. + +* The master branch will be tagged with the old version. * The draft branch is first double checked that it has updated version number and updated epub cover. The ``draft`` branch will not be merged until the day before a release to keep the pages in tact for long enough. Each release will have a version of the epub uploaded as part of the release process. .. Where do we get the POT files from? Even the translated versions? Removing Pages ~~~~~~~~~~~~~~ If a feature is removed in a certain version, the corresponding pages. 1. Will first be marked deprecated. This can be done as so:: .. deprecated:: version number Text to indicate what the user should do without this feature. 2. Will be linked on a page called 'deprecated' 3. If the next version rolls around all the pages linked in the deprecated section will be removed. Adding Pages ~~~~~~~~~~~~ 1. Ensure that it is located in the right place. 2. Follow the :ref:`krita_markup_conventions` to ensure the page is formatted correctly. 3. Add the page to the TOC. 4. If the feature is new, add in versionadded:: .. versionadded:: version number optional something or the other. As with images, don't add text that you do not have permission to add. This means that text is either written by you, or you have permission to port it from the original author. The manual is GDPL 1.3+ so the text will be relicensed under that. Changing Pages ~~~~~~~~~~~~~~ If you fully rewrite a page, as opposed to proofreading it, the resulting page should be reviewed. If you change a page because a feature has changed, and you have commit access, the change can be pushed without review (unless you feel more comfortable with a review), but you should add:: .. versionchanged:: version number This and that changed. In all cases, check if you want to add yourself to the author field in the metadata section on top. Using deprecated, versionadded and versionchanged with the version number allows us to easily search the manual for these terms with grep: .. code:: bash grep -d recurse versionadded * --exclude-dir={_build,locale} Faulty pages ~~~~~~~~~~~~ If a page slips through the cracks, either... * Make a review request per the :ref:`making_changes_sphinx` section. * Make a task at the `Manual Project Workboard`_. * Make a bug at `bugzilla`_ under the project Krita in the section 'documentation'. Proofreading ~~~~~~~~~~~~ There's two types of proofreading that needs to be done. The most important one is **reviewing changes people make**. You can do this on phabricator in two ways: 1. Reviewing patches in differential. Reviewing patches is done in differential. Patch reviewing is usually done by programmers to find mistakes in each other's code, but because programming code is text based just like regular text, we can use patch reviewing to check against typos as well! A patch, or diff, is an amount of changes done in a document (added, removed) put into a machine readable file. When someone submits a review request (on system like gitlab or github this is a merge or pull request), people who maintain the original files will have to look them over and can make comments about things needing to change. This allows them to comment on things like typos, over-complicated writing but also things that are incorrect. After a patch has been accepted it can be pushed into the version control system. 2. Auditing changes in the manual. Auditing changes happens after the fact. You can audit a change by going to the commit message (from the repository page, go to history and then click on an entry), where you will be able to make comments on the changes made. In both cases, the interface consists of the difference being shown, with on the left the old version, and on the right the new version. Lines that have been added will be marked in green while lines that have been removed will be marked with red. You can click a line to add an 'inline' comment. Usually, when reviewing you go over the whole set of changes making comments where needed. To submit the inline comments, go to the bottom here you can add a general comment. When you submit the general comment all the inline comments will be submitted along side of it. The second major way the manual needs to be proofread is **over the whole file**. Many of the pages have only been checked for correctness but not for style and grammar. For this you will need to follow the :ref:`making_changes_sphinx` section, so that you can have full access to the pages and edit them. Translating ~~~~~~~~~~~ Translation of the manual is handled by the `KDE locatization community `_. To join the translation effort, go to the localization site, select the list of `translation teams `_, select the language you wish to translate for, and follow the instructions on the team page to get in contact with fellow translators. The localisation team has access to the PO files for this manual, which is a file type used by translation programs like POEdit and Lokalize. A translation team is able to work together on translating these files and uploading them to the translations SVN. A special script will then take the translations from the SVN and bring them to the manual section to be incorporated on a daily basis. Finished translations also need to be added to the build script to show up online. Translator teams which are confident in the state of their translation should contact the main Krita team via the kimageshop mailinglist(kimageshop@kde.org), or foundation@krita.org, to accomplish this. Other ----- For restructured text conventions, check :ref:`krita_markup_conventions` . diff --git a/reference_manual/brushes/brush_engines/bristle_engine.rst b/reference_manual/brushes/brush_engines/bristle_engine.rst index dc80fea26..797004c48 100644 --- a/reference_manual/brushes/brush_engines/bristle_engine.rst +++ b/reference_manual/brushes/brush_engines/bristle_engine.rst @@ -1,109 +1,113 @@ .. meta:: :description: The Bristle Brush Engine manual page. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Raghavendra Kamath - Scott Petrovic - ValerieVK :license: GNU free documentation license 1.3 or later. .. index:: Brush Engine, Hairy Brush Engine, Bristle Brush Engine, Sumi-e .. _bristle_brush_engine: ==================== Bristle Brush Engine ==================== .. image:: /images/icons/bristlebrush.svg A brush intended to mimic real-life brushes by drawing the trails of their lines or bristles. Brush Tip --------- Simply put: * The brush tip defines the areas with bristles in them. * Lower opacity areas have lower-opacity bristles. With this brush, this may give the illusion that lower-opacity areas have fewer bristles. * The :ref:`option_size` and :ref:`option_rotation` dynamics affect the brush tip, not the bristles. You can: * Use different shapes for different effects.Be aware that complex brush shapes will draw more slowly though, while the effects aren't always visible (since in the end, you're passing over an area with a certain number of bristles). * To decrease bristle density, you can also just use an autobrush and decrease the brush tip's density, or increase its randomness. .. image:: /images/en/Krita-tutorial7-B.I.1.png Bristle Options --------------- The core of this particular brush-engine. Scale - Think of it as pressing down on a brush to make the bristles further apart. + Think of it as pressing down on a brush to make the bristles further apart. + * Larger values basically give you larger brushes and larger bristle spacing. For example, a value of 4 will multiply your base brush size by 4, but the bristles will be 4 times more spaced apart. * Use smaller values if you want a "dense" brush, i.e. you don't want to see so many bristles within the center. * Negative values have the same effect as corresponding positive values: -1.00 will look like 1.00, etc. Random Offset Adds a jaggy look to the trailing lines. + * At 0.00, all the bristles basically remain completely parallel. * At other values, the bristles are offset randomly. Large values will increase the brush size a bit because of the bristles spreading around, but not by much. * Negative values have the same effect as corresponding positive values. Shear Shear introduces an angle to your brush, as though you're drawing with an oval brush (or the side of a round brush). Density This controls the density of bristles. Scale takes a number of bristles and expands or compresses them into a denser area, whereas density takes a fixed area and determines the number of bristles in it. See the difference? .. image:: /images/en/Krita-tutorial7-B.I.2-1.png Mouse Pressure This one maps "Scale" to mouse speed, thus simulating pressure with a graphics tablet! + * Rather, it uses the "distance between two events" to determine scale. Faster drawing, larger distances. * This doesn't influence the "pressure" input for anything else (size, opacity, rotation etc.) so you still have to map those independently to something else. Threshold This is a tablet feature. When you turn this on, only bristles that are able to "touch the canvas" will be painted. Connect Hairs The bristles get connected. See for yourself. Anti-Aliasing This will decrease the jaggy-ness of the lines. Composite Bristles This "composes the bristle colors within one dab," but explains that the effect is "probably subtle." .. image:: /images/en/Krita-tutorial7-B.I.2-2.png Ink Depletion ------------- This simulated ink depletion over drawing time. The value dictates how long it will take. The curve dictates the speed. Opacity The brush will go transparent to simulate ink-depletion. Saturation The brush will be desaturated to simulate ink-depletion. .. image:: /images/en/Krita-tutorial7-B.I.3-1.png Soak Ink The brush will pick up colors from other brushes. You don't need to have Ink depletion checked to activate this option, you just have to check Soak Ink. What this does is cause the bristles of the brush to take on the colors of the first area they touch. Since the Bristle brush is made up of independent bristles, you can basically take on several colors at the same time. .. note:: * It will only take colors in the unscaled area of the brush, so if you're using a brush with 4.00 scale for example, it will only take the colors in the 1/4 area closest to the center. * When the source is transparent, the bristles take black color. .. image:: /images/en/Krita-tutorial7-B.I.3-2.png .. warning:: Be aware that this feature is a bit buggy though. It's Supposed to take the color from the current layer, but some buggy behavior causes it to often use the last layer you've painted on (with a non-Bristle brush?) as source. To avoid these weird behaviors, stick to just one layer, or paint something on the current active layer first with another brush (such as a Pixel brush). Weighted saturation. Works by modifying the saturation with the following: + * Pressure weight * Bristle length weight * Bristle ink amount weight * Ink depletion curve weight diff --git a/reference_manual/brushes/brush_engines/color_smudge_engine.rst b/reference_manual/brushes/brush_engines/color_smudge_engine.rst index 0cab68688..9ed4139c9 100644 --- a/reference_manual/brushes/brush_engines/color_smudge_engine.rst +++ b/reference_manual/brushes/brush_engines/color_smudge_engine.rst @@ -1,355 +1,364 @@ .. meta:: :description: The Color Smudge Brush Engine manual page. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Raghavendra Kamath - Scott Petrovic - ValerieVK :license: GNU free documentation license 1.3 or later. .. index:: Brush Engine, Color Smudge Brush Engine, Color Mixing, Smudge .. _color_smudge_brush_engine: ========================= Color Smudge Brush Engine ========================= .. image:: /images/icons/colorsmudge.svg The Color Smudge Brush is a brush engine that allows you to mix colors by smearing or dulling. A very powerful brush engine to the painter. Options ------- * :ref:`option_brush_tip` * :ref:`blending_modes` * :ref:`option_opacity_n_flow` * :ref:`option_size` * :ref:`option_spacing` * :ref:`option_mirror` * :ref:`option_softness` * :ref:`option_rotation` * :ref:`option_scatter` * :ref:`option_gradient` * :ref:`option_airbrush` * :ref:`option_texture` Options Unique to the Color Smudge Brush ---------------------------------------- .. _option_color_rate: Color Rate ~~~~~~~~~~ How much of the foreground color is added to the smudging mix. Works together with :ref:`option_smudge_length` and :ref:`option_smudge_radius` .. image:: /images/en/Krita_2_9_brushengine_colorrate_04.png .. _option_smudge_length: Smudge Length ~~~~~~~~~~~~~ Affects smudging and allows you to set it to Sensors. There's two major types: .. image:: /images/en/Krita_2.9_brush_engine_smudge_length_03.png Smearing Great for making brushes that have a very impasto oil feel to them. Dulling Named so because it dulls strong colors. Using an arithmetic blending type, Dulling is great for more smooth type of painting. .. image:: /images/en/Krita_2.9_brushengine_smudge_length_01.png Strength Affects how much the smudge length takes from the previous dab it's sampling. This means that smudge-length at 1.0 will never decrease, but smudge-lengths under that will decrease based on spacing and opacity/flow. .. image:: /images/en/Krita_2.9_brushengine_smudge_length_02.png .. _option_smudge_radius: Smudge Radius ~~~~~~~~~~~~~ The Smudge Radius allows you to sample a larger radius when using smudge-length in Dulling mode. The slider is percentage of the brush-size. You can have it modified with Sensors. .. image:: /images/en/Krita_2.9_brushengine_smudge_radius_01.png Overlay ~~~~~~~ Overlay is a toggle that determine whether or not the smudge brush will sample all layers (overlay on), or only the current one. Tutorial: Color Smudge Brushes ------------------------------ I recommend at least skimming over the first part to get an idea of what does what. Overview and settings ~~~~~~~~~~~~~~~~~~~~~ Overview: Smearing and Dulling ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ The Color Smudge Brush offers 2 modes, accessible from the Smudge Rate section: + * Smearing: This mode mixes colors by smudging ("smearing") the area underneath. * Dulling: In his mode, the brush "picks up" the color underneath it, mixes it with its own color, then paints with it. .. image:: /images/en/Krita-tutorial5-I.1.png Smudge Length ^^^^^^^^^^^^^ To better demonstrate the smudge function, I turned the color rate function off. .. image:: /images/en/Krita-tutorial5-I.2.png Common behaviors: + * Unchecking the smudge rate function sets smudge rate to 1.00 (not 0.00) * Opacity: Below 0.50, there is practically no smudging left: keep opacity over 0.50. Differences: + * Spacing with Smearing: the lower the spacing, the smoother the effect, so for smearing with a round brush you may prefer a value of 0.05 or less. Spacing affects the length of the smudge trail, but to a much lesser extent. The "strength" of the effect remains more or less the same however. * Spacing with Dulling: the lower the spacing, the stronger the effect: lowering the spacing too much can make the dulling effect too strong (it picks up a color and never lets go of it). The length of the effect is also affected. * Both Smearing and Dulling have a "smudge trail", but in the case of Dulling, the brush shape is preserved. Instead the trail determines how fast the color it picked up is dropped off. The other settings should be pretty obvious from the pictures, so I'll spare you some walls of text. Color Rate, Gradient and Blending modes ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ .. image:: /images/en/Krita-tutorial5-I.3.png Again, most of the settings behaviors should be obvious from the pictures. Just remember to keep Opacity over 0.50. Brush tips ^^^^^^^^^^ The Color Smudge Brush has all the same brush tip options as the Pixel Brush! .. image:: /images/en/Krita-tutorial5-I.4.png Just remember that the smudge effects are weaker when a brush tip's opacity is lower, so for low-opacity brush tips, increase the opacity and smudge/color rates. Scatter and other shape dynamics ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ The Color Smudge Brush shares the following dynamics with the Pixel Brush: Opacity, Size, Spacing, Rotation, and Scatter. However, because of the Smudge effects, the outcome will be different from the Pixel Brush. In particular, the Scatter option becomes much more significant. .. image:: /images/en/Krita-tutorial5-I.5-1.png A few things to note: * Scattering is proportional to the brush size. It's fine to use a scattering of 5.00 for a tiny round brush, but for bigger brushes, you may want to get it down to 0.50 or less. * You may notice the lines with the Smearing option. Those are caused by the fact that it picked up the hard lines of the rectangle. * For scattering, the brush picks up colors within a certain distance, not the color directly under the paintbrush: .. image:: /images/en/Krita-tutorial5-I.5-2.png Other color behaviors: Gradient, Blending modes, Overlay mode ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Gradient """""""" Gradient is equivalent to the Source -> Gradient and Color -> Mix for the Pixel brush: the color will vary between the colors of the gradient. .. image:: /images/en/Krita-tutorial5-I.6-1.png You can either: * Leave the default Foreground -> Background gradient setting, and just change the foreground and background colors * Select a more specific gradient * Or make custom gradients. Blending Modes """""""""""""" Blending Modes work just like with the Pixel Brush. The color used though is the color from Color rate. Color Blending modes with the smudge brush are even harder to predict than with the pixel brush, so I'll leave you to experiment on your own. Overlay Mode """""""""""" By default, the Color Smudge Brush only takes information from the layer it is on. However, if you want it to take color information from All the layers, you can turn on the Overlay mode. Be aware though, that it does so by "picking up" bits of the layer underneath, which may mess up your drawing if you later make changes to the layer underneath. Use cases: Smudging and blending ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ This part describes use cases with color rate off. I won't explain the settings for dynamics in detail, as you can find the explanations in the Pixel Brush tutorial. Smudging effects ^^^^^^^^^^^^^^^^ For simple smudging: -# Pick the Color Smudge Brush. You can use either Smearing or Dulling. +* Pick the Color Smudge Brush. You can use either Smearing or Dulling. -# Turn off Color Rate +* Turn off Color Rate -# Smudge away +* Smudge away .. image:: /images/en/Krita-tutorial5-II.2.png When using lower opacity brush tips, remember to "compensate" for the less visible effects by increasing both Smudge Rate and Opacity, if necessary to maximum. Some settings for Smearing """""""""""""""""""""""""" * For smoother smearing, decrease spacing. Remember that spacing is proportional to brush tip size. For a small round brush, 0.10 spacing is fine, but for mid-sized and large brushes, decrease spacing to 0.05 or less. Some settings for Dulling """"""""""""""""""""""""" * Lowering the spacing will also make the smudging effect stronger, so find a right balance. 0.10 for most mid-sized round brushes should be fine. * Unlike Smearing, Dulling preserves the brush shape and size, so it won't "fade off" in size like Smearing brushes do. You can mimic that effect though with a simple size fade dynamic. Textured blending ^^^^^^^^^^^^^^^^^ In this case, what I refer to as "Blending" here is simply using one of the following two dynamics: + * Rotation set to Distance or Fuzzy * And/or Scatter: * For most mid-sized brushes you will probably want to lower the scatter rate to 0.50 or lower. Higher settings are okay for tiny brushes. * Note that Scatter picks colors within a certain distance, not the color directly under the brush (see :ref:`option_brush_tip`) * Optional: Pile on size and other dynamics and vary brush tips In fact, the Color Smudge brush is not a blur brush, so smudging is not a very good method of "smooth" blending. To blend smoothly, you'll have better luck with: * Building up the transition by painting with intermediate values, described later * Or using the "blur with feathered selection" method that I'll briefly mention at the end of this tutorial. I've tried to achieve smooth blending with Color Smudge brush by adding rotation and scatter dynamics, but honestly they looked like crap. However, the Color Smudge brush is very good at "textured blending": .. image:: /images/en/Krita-tutorial5-II.3.png Basically you can paint first and add textured transitions after. Use cases: Coloring ~~~~~~~~~~~~~~~~~~~ For this last section, Color Rate is on. Layer options ^^^^^^^^^^^^^ Before we get started, notice that you have several possibilities for your set up: + * Shading on the same layer * Shading on a separate layer, possibly making use of alpha-inheritance. The brush blends with the transparency of the layer it's on. This means: * If the area underneath is more of less uniform, the output is actually similar as if shading on the same layer * But if the area underneath is not uniform, then you'll get fewer color variations. * Shading on a separate layer, using Overlay mode. Use this only if you're fairly sure you don't need to adjust the layer below, or the colors may become a mess. .. image:: /images/en/Krita-tutorial5-III.1-1.png Issue with transparency """"""""""""""""""""""" The Color Smudge Brush blends with transparency. What this means is that when you start a new, transparent layer and "paint" on this layer, you will nearly always get less than full opacity. Basically: * It may look great when you're coloring on a blank canvas * But it won't look so great when you add something underneath .. image:: /images/en/Krita-tutorial5-III.1-2.png The solution is pretty simple though: * Make sure you have the area underneath colored in first: * With tinting, you already have the color underneath colored, so that's done * For painting, roughly color in the background layer first * Or color in the shape on a new layer and make use of alpha-inheritance * For the last solution, use colors that contrast highly with what you're using for best effect. For example, shade in the darkest shadow area first, or the lightest highlights, and use the color smudge brush for the contrasting color. .. image:: /images/en/Krita-tutorial5-III.1-3.png Soft-shading ~~~~~~~~~~~~ Suppose you want more or less smooth color transitions. You can either: + * Color Rate as low as 0.10 for round brushes, higher with non fully opaque brush tips. * Or set the Smudge Rate as low as 0.10 instead. * Or a combination of the two. Please try yourself for the output you like best. * Optional: turn on Rotation for smoother blending * Optional: turn on Scatter for certain effects * Optional: fiddle with Size and Opacity dynamics as necessary. .. image:: /images/en/Krita-tutorial5-III.2-1.png This remains, in fact, a so-so way of making smooth transitions. It's best to build up intermediate values instead. Here: + * I first passed over the blue area three times with a red color. I select 3 shades. * I color picked each of these values with Ctrl+click, then used them in succession .. image:: /images/en/Krita-tutorial5-III.2-2.png Painting: thick oil style ~~~~~~~~~~~~~~~~~~~~~~~~~ Many of the included color smudge brush presets produce a thick oil paint-like effect. This is mainly achieved with the Smearing mode on. Basically: + * Smearing mode with high smudge and color rates -** Both at 0.50 are fine for normal round brushes or fully opaque predefined brushes -** Up to 1.00 each for brushes with less density or non fully-opaque predefined brushes + * Both at 0.50 are fine for normal round brushes or fully opaque predefined brushes + * Up to 1.00 each for brushes with less density or non fully-opaque predefined brushes * Add Size/Rotation/Scatter dynamics as needed. When you do this, increase smudge and color rates to compensate for increased color mixing. .. image:: /images/en/Krita-tutorial5-III.3-1.png One thing I really like to do is to set different foreground and background colors, then turn on Gradient -> Fuzzy. Alternatively, just paint with different colors in succession (bottom-right example). .. image:: /images/en/Krita-tutorial5-III.3-2.png Here's some final random stuff. With pixel brushes, you can get all sorts of frill designs by using elongated brushes and setting the dynamics to rotation. You won't get that with Color Smudge Brushes. Instead you'll get something that looks more like... yarn. Which is cool too. Here, I just used oval brushes and rotation -> distance. .. image:: /images/en/Krita-tutorial5-III.3-3.png Painting: Digital watercolor style ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ When I say "digital watercolor", it refers to a style often seen online, i.e. a soft, smooth shading style rather than realistic watercolor. For this you mostly need the Dulling mode. A few things: + * Contrary to the Smearing mode, you may want to lower opacity for normal round brushes to get a smoother effect, to 0.70 for example. * Vary the brush tip fade value as well. * When using Scatter or other dynamics, you can choose to set smudge and color values to high or low values, for different outcomes. .. image:: /images/en/Krita-tutorial5-III.4.png Blurring ~~~~~~~~ You can: * Paint then smudge, for mostly texture transitions * Or build up transitions by using intermediate color values If you want even smoother effects, well, just use Blur. Gaussian blur to be exact. .. image:: /images/en/Krita-tutorial5-III.5.png And there you go. That last little trick concludes this tutorial. diff --git a/reference_manual/brushes/brush_engines/spray_brush_engine.rst b/reference_manual/brushes/brush_engines/spray_brush_engine.rst index 75ee9785e..a3ba6bfd7 100644 --- a/reference_manual/brushes/brush_engines/spray_brush_engine.rst +++ b/reference_manual/brushes/brush_engines/spray_brush_engine.rst @@ -1,121 +1,121 @@ .. meta:: :description: The Spray Brush Engine manual page. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Scott Petrovic :license: GNU free documentation license 1.3 or later. .. index:: Brush Engine, Airbrush, Spray Brush Engine .. _spray_brush_engine: ================== Spray Brush Engine ================== .. image:: /images/icons/spraybrush.svg A brush that can spray particles around in its brush area. Options ------- * :ref:`option_spray_area` * :ref:`option_spray_shape` * :ref:`option_brush_tip` (Used as particle if spray shape is not active) * :ref:`option_opacity_n_flow` * :ref:`option_size` * :ref:`blending_modes` * :ref:`option_shape_dyna` * :ref:`option_color_spray` * :ref:`option_rotation` * :ref:`option_airbrush` .. _option_spray_area: Spray Area ---------- The area in which the particles are sprayed. Diameter The size of the area. Aspect Ratio It's aspect ratio: 1.0 is fully circular. Angle The angle of the spray size: works nice with aspect ratios other than 1.0. Scale Scales the diameter up. Spacing Increases the spacing of the diameter's spray. Particles ~~~~~~~~~ Count Use a specified amount of particles. Density Use a % amount of particles. Jitter Movement Jitters the spray area around for extra randomness. Gaussian Distribution Focuses the particles to paint in the center instead of evenly random over the spray area. .. _option_spray_shape: Spray Shape ----------- If activated, this will generate a special particle. If not, the brush-tip will be the particle. Shape Can be... * Ellipse * Rectangle * Anti-aliased Pixel * Pixel * Image Width & Height Decides the width and height of the particle. Proportional Locks Width & Height to be the same. Texture - Allows you to pick an image for the image shape. + Allows you to pick an image for the :guilabel:`Image shape`. .. _option_shape_dyna: Shape Dynamics -------------- Random Size Randomizes the particle size between 1x1 px and the given size of the particle in brush-tip or spray shape. Fixed Rotation Gives a fixed rotation to the particle to work from. Randomized Rotation Randomizes the rotation. Follow Cursor Weight How much the pressure affects the rotation of the particles. At 1.0 and high pressure it'll seem as if the particles are exploding from the middle. Angle Weight How much the spray area angle affects the particle angle. .. _option_color_spray: Color Options ------------- Random HSV Randomize the HSV with the strength of the sliders. The higher, the more the color will deviate from the foreground color, with the direction indicating clock or counter clockwise. Random Opacity Randomizes the opacity. Color Per Particle Has the color options be per particle instead of area. Sample Input Layer. Will use the underlying layer as reference for the colors instead of the foreground color. Fill Background Fills the area before drawing the particles with the background color. Mix with background color. Gives the particle a random color between foreground/input/random HSV and the background color. diff --git a/reference_manual/krita_4_preset_bundle.rst b/reference_manual/krita_4_preset_bundle.rst index be16e14fc..4e87a4364 100644 --- a/reference_manual/krita_4_preset_bundle.rst +++ b/reference_manual/krita_4_preset_bundle.rst @@ -1,174 +1,175 @@ .. meta:: :description: Overview of the Krita 4.0 preset bundle. .. metadata-placeholder :authors: - David Revoy - Scott Petrovic - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. .. index:: Resources .. _krita_4_preset_bundle: ============================== Krita 4 Preset Bundle Overview ============================== .. image:: /images/en/Krita4_0_brushes.jpg Krita comes with a large collection of brush presets. This collection was designed with many considerations: * Help the beginner and the advanced user with brushes that are ready-to-use. * Propose tools for the various ways Krita is used: Comic inking and coloring, Digital Painting, Mate Painting, Pixel Art, 3D texturing. * Show a sample of what the brush engines can do. This page illustrates and describes the included default brush presets in Krita 4. Erasers ------- * The large one is for removing large portions of a layer (eg. a full character) * The small one is designed to use when drawing thin lines or inking. It has a very specific shape so you will notice with the square shape of your cursor you are in eraser-mode. * The soft one is used to erase or fade out the part of a drawing with various levels of opacity. .. image:: /images/en/Krita4_a-brush-family.png Basics ------ The basic brush family all use a basic circle for the brush tip with variation on opacity, flow or size. They are named Basic because this type of brush are the fundamental stones of every digital painting program. These brushes will work fast since they use simple properties. .. image:: /images/en/Krita4_b-brush-family.jpg Pencils ------- These presets tends to emulate the effect of pencil on paper. They all have a thin brush that uses a paper-texture. Some focus on being realistic to help with correcting a pencil scan. Some focus more on showing the effects on your computer monitor. The two last (Tilted/Quick Shade) assist the artist to obtain specific effects; like quickly shading a large area of the drawing without having to manually crosshatch a lot of lines. .. image:: /images/en/Krita4_c-brush-family.jpg Inking ------ For the black & white illustrator or the comic artist. The Inking brushes help you produce line-art and high contrast illustrations. * Ink Precision: A thin line designed to take notes or draw tiny lines or details. * Ink Fineliner: A preset with a regular width to trace panels, technical details, or buildings. * Ink GPen: A preset with a dynamic on size to ink smoothly. * Ink Pen Rough: A preset for inking with a focus on having a realistic ink line with irregularities (texture of the paper, fiber of paper absorption). * Ink Brush Rough: A brush for inking with also a focus on getting the delicate paper texture appearing at low pressure, as if the brush slightly touch paper. * Ink Sumi-e : A brush with abilities at revealing the thin texture of each bristles, making the line highly expressive. .. image:: /images/en/Krita4_d-brush-family.jpg Markers ------- A small category with presets simulating a marker with a slight digital feeling to them. .. image:: /images/en/Krita4_e-brush-family.jpg Dry Painting ------------ The Dry Painting category is full set of brushes that appear like bristles. They do not interact with the color already on the canvas; that's why they are called "dry". They work as if you were painting on a dry artwork: the color replace, or overlay/glaze over the previous painting stroke. This brush emulate techniques that dry quickly as tempera or acrylics. .. image:: /images/en/Krita4_f-brush-family.jpg Dry Painting Textured --------------------- Almost the same family as the previous one, except this brush presets lay down a textured effect. They simulate this painting effects you can obtain with very thick painting on a brush caressing a canvas with a fabric texture. They help to build painterly background or add life in the last bright touch of colors. .. image:: /images/en/Krita4_g-brush-family.jpg Chalk, Pastel and Charcoal -------------------------- Still part of the dry family. These brushes focus on adding texture to the result. The type of texture you would obtain by using a dry tool such as chalk, charcoal or pastel and rubbing a textured paper. .. image:: /images/en/Krita4_h-brush-family.jpg Wet painting ------------ This family of brushes are wet in a sense they all interact with the color on the canvas. It triggers the feeling of having a wet artwork and mixing color at the same time. The category has variations with bristle effects or simple rounded brushes. .. image:: /images/en/Krita4_i-brush-family.jpg Watercolors ----------- Simulating real watercolors is highly complex. These brushes only partially simulate the watercolor texture. Don't expect crazy pigment diffusion because these brushes are not able to do that. These brushes are good at simulating a fringe caused by the pigments and various effects. .. image:: /images/en/Krita4_j-brush-family.jpg Blender ------- These brushes don't paint any colors. They interact with the color you already have on the canvas. Don't expect them to have any effect on a white page. All these presets give a different result with how they smudge or smear. It helps to blend colors, blur details, or add style on a painting. Smearing pixels can help with creating smoke and many other effects. .. image:: /images/en/Krita4_k-brush-family.jpg Adjustments ----------- -This family of airbrushes have variations on the blending modes. Different blending modes will give different results depending on the effect you are trying to achieve. +This family of airbrushes have variations on the blending modes. Different blending modes will give different results depending on the effect you are trying to achieve. + * Color - Can help to re-color or desaturate a part of your artwork. It changes only the hue and saturation, not the value, of the pixels. * Dodge - Will assist you in creating effects such as neon or fire. * Lighten - Brightens only the area with the selected color: a good brush to paint depth of field (sfumato) and fog. * Multiply - Darkens all the time. A good brush to create a quick vignette effect around an artwork, or to manage big part in shadow. * Overlay - Burn helps to boost the contrast and overlay a color on some areas. .. image:: /images/en/Krita4_l-brush-family.jpg Shapes ------ Painting with ready-made shapes can help concept artists create happy-accidents and stimulate imagination. The Shape Fill tool is a bit specific: you can draw a silhouette of a shape and Krita fills it in real time. Painting shapes over an area help fill it with random details. This is useful before painting over with more specific objects. .. image:: /images/en/Krita4_t-brush-family.jpg Pixel ----- You might believe this section is specific to pixel-artist, but in many situations dealing with specific pixels are needed to make corrections and adjustments even on normal paintings. A thin 1px brush can be used to trace guidelines. A brush with aliasing is also perfect to fix the color island created by the Coloring-mask feature. .. image:: /images/en/Krita4_u-brush-family.jpg Experimental ------------ When categorizing brushes, there is always a special or miscellaneous category. In this family of brushes you'll find the clone brush along with brushes to move, grow, or shrink specific areas. .. image:: /images/en/Krita4_v-brush-family.jpg Normal Map ---------- Useful for 3D programs and texture artists. If your tablet supports tilting and rotation this brush will allow you to paint on your normal map using your brush rotation and orientation. You can "sculpt" your details in the texture with the different colors. Each color will map to an angle that is used for 3D lighting. It works well on pen-tablet display (tablet with a screen) as you can better sync the rotation and tilting of your stylus with the part of the normal map you want to paint. .. image:: /images/en/Krita4_w-brush-family.jpg Filters ------- Krita can apply many of its filters on a brush thanks to the filter brush engine. The result is usually not efficient and slow, but a good demo of the ability of Krita. .. image:: /images/en/Krita4_x-brush-family.jpg Textures -------- Adding textures is not only useful for the 3D artist or video-game artist: in many artworks you'll save a lot of time by using brushes with random patterns. .. image:: /images/en/Krita4_y-brush-family.jpg Stamps ------ The stamps are bit similar to the texture category. Stamps often paint a pattern that is easier to recognize than if you tried to paint it manually. The results appear more as decorations than for normal painting methods. . .. image:: /images/en/Krita4_z-brush-family.jpg diff --git a/reference_manual/resource_management/resource_workspace.rst b/reference_manual/resource_management/resource_workspace.rst index 07524a517..f4fdae7e9 100644 --- a/reference_manual/resource_management/resource_workspace.rst +++ b/reference_manual/resource_management/resource_workspace.rst @@ -1,41 +1,41 @@ .. meta:: :description: Managing workspaces and sessions in Krita. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Scott Petrovic :license: GNU free documentation license 1.3 or later. .. index:: Resources, ! Workspaces, ! Window Layouts, ! Sessions .. _resource_workspaces: ========== Workspaces ========== Workspaces are basically saved configurations of dockers. Each workspace saves how the dockers are grouped and where they are placed on the screen. They allow you to easily move between workflows without having to manual reconfigure your setup each time. They can be as simple or as complex as you want. Workspaces can only be accessed via the toolbar or :menuselection:`Window --> Workspaces` There's no docker for them. You can save workspaces, in which your current configuration is saved. You can also import them (from a \*.kws file), or delete them (which black lists them). Workspaces can technically be tagged, but outside of the resource manager this is not possible. Window Layouts -------------- When you work with multiple screens, a single window with a single workspace won't be enough. For multi monitor setups we instead can use sessions. Window layouts allow us to store multiple windows, their positions and the monitor they were on. You can access Window Layouts from the workspace dropdown in the toolbar. Primary Workspace Follows Focus This treats the workspace in the first window as the 'primary' workspace, and when you switch focus, it will switch the secondary windows to that primary workspace. This is useful when the secondary workspace is a very sparse workspace with few dockers, and the primary is one with a lot of different dockers. Show Active Image In All Windows - This will synchronise the currently viewed image in all windows. Without it, different windows can open seperate views for an image via :menuselection:`Window --> New View --> document.kra`. + This will synchronise the currently viewed image in all windows. Without it, different windows can open separate views for an image via :menuselection:`Window --> New View --> document.kra`. Sessions -------- Sessions allow Krita to store the images and windows opened. You can tell Krita to automatically save current or recover previous sessions if so configured in the :ref:`misc_settings`. You can access sessions from :menuselection:`File --> Sessions`. diff --git a/reference_manual/tools/gradient_edit.rst b/reference_manual/tools/gradient_edit.rst index 922eb665c..7b591449b 100644 --- a/reference_manual/tools/gradient_edit.rst +++ b/reference_manual/tools/gradient_edit.rst @@ -1,25 +1,25 @@ .. meta:: :description: Krita's vector gradient editing tool reference. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Scott Petrovic :license: GNU free documentation license 1.3 or later. .. index:: Tools, Gradient .. _gradient_edit_tool: ===================== Gradient Editing Tool ===================== |toolgradientedit| .. deprecated:: 4.0 - This tool has been removed in Krita 4.0, and it's functionality has been folded into the :ref:`shape_selection_tool`. + This tool has been removed in Krita 4.0, and its functionality has been folded into the :ref:`shape_selection_tool`. This tool allows you to edit the gradient on canvas, but it only works for vector layers. If you have a vector shape selected, and draw a line over the canvas, you will be able to see the nodes, and the stops in the gradient. Move around the nodes to move the gradient itself. Select the stops to change their colour in the tool options docker, or to move their position in the on canvas gradient. You can select preset gradient in the tool docker to change the active shape's gradient to use those stops. diff --git a/tutorials/flat-coloring.rst b/tutorials/flat-coloring.rst index 8db32540b..64db4ea0c 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 lineart colored in with flat colors. So no shading just yet. We’ll be going through some techniques for preparing the lineart, and we’ll be using the layer docker to put each colour on a separate layer, so we can easily access each colour when we add shading. .. note:: This tutorial is adapted from this `tutorial `_ by the original author. Understanding Layers -------------------- To fill lineart 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 colour 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 lineart 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 lineart (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 colour in our drawing is prepare our lineart. There’s several methods of doing so, each with varying qualities. The Multiply Blending Mode -------------------------- So, typically, to get a black and white lineart usable for colouring, you can set the blending mode of the lineart 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 lineart 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 lineart 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. .. list-table:: :header-rows: 1 * - - Pink - Pink (normalised) - Blue - Blue (normalised) - Normalised, 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 coloured lines by softening the look of the lines while keeping nice contrast. Disadvantages """"""""""""" Not actually transparent. Is a little funny with coloured 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 lineart 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 seperate layer. +And you should now have the line art on a separate layer. Advantages """""""""" Actual transparency. Disadvantages """"""""""""" Doesn't work when the lineart is coloured. Using Masks ----------- This is a simpler variation of the above. 1. Make a filled layer underneath the lineart layer. .. image:: /images/en/flat-coloring/Krita_filling_lineart_mask_1.png 2. Convert the lineart 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 lineart is coloured already. We can still get faster. Using Color to Alpha -------------------- By far the fastest way to get transparent lineart. 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 lineart. .. image:: /images/en/flat-coloring/Krita_filling_lineart_color_to_alpha.png Advantages """""""""" Actual transparency. Works with coloured line art as well, because it removes the white specifically. Disadvantages """"""""""""" -You'll have to lock the layer transparency or seperate out the alpha via the right-click menu if you want to easily color it. +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. Colouring the image =================== Much like preparing the line art, there's many different ways of colouring 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 lineart to make it more smooth when zoomed out) In Krita you have the grow-shrink option. Setting that to say… 2 expands the colour two pixels. Threshold decides when the fill-tool should consider a different colour pixel to be a border. And the feathering adds a extra soft border to the fill. Now, if you click on a gapless-part of the image with your preferred colour…(Remember to set the opacity to 1.0!) Depending on your lineart, 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 recognising 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 lineart 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 lineart 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. 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 your 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 colorise 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 aking the lineart 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 colorise mask Then, when you are done, split the layers via :menuselection:`Layers --> Split --> Split Layer`. There's 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 lineart. Really quick to get the base work done. Can auto-close gaps. Disadvantages """"""""""""" No anti aliasing of it’s 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 lineart is better than a badly shaded one, so keep practising to get the best out of these techniques! diff --git a/user_manual/loading_saving_brushes.rst b/user_manual/loading_saving_brushes.rst index 0ff6e6222..74a36f283 100644 --- a/user_manual/loading_saving_brushes.rst +++ b/user_manual/loading_saving_brushes.rst @@ -1,485 +1,485 @@ .. meta:: :description: Detailed guide on the brush settings dialog in Krita as well as how to make your own brushes and how to share them. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Raghavendra Kamath - Scott Petrovic :license: GNU free documentation license 1.3 or later. .. index:: Brush Settings .. _loading_saving_brushes: ========================== Loading and Saving Brushes ========================== In the real world, when painting or drawing, you don't just use one tool. You use pencils, erasers, paintbrushes, different types of paint, inks, crayons, etc. All these have different ways of making marks. In a digital program like Krita you have something similar. We call this a brush engine. And much like how cars have different engines that give different feels when driving, or how pencils make distinctly different marks than rollerball pens, different brush engines have totally different feels. The brush engines have a lot of different settings as well. So, you can save those settings into presets. Unlike Photoshop, Krita makes a difference between brush-tips and brush-presets. Tips are only a stamp of sorts, while the preset uses a tip and many other settings to create the full brush. The Brush settings dropdown --------------------------- To start, the Brush Settings Editor panel can be accessed in the toolbar, between the Blending Modes button on the right and the Patterns button on the left. Alternately, you can use the function key :kbd:`F5` to open it. When you open Brush Settings Editor panel you will see something like this: Tour of the brush settings dropdown ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .. image:: /images/en/Krita_4_0_Brush_Settings_Layout.svg :width: 800 The brush settings drop down is divided into six areas, Section A - General Information ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ This contains the **Preset Icon**, **Live Brush Preview**, the **Preset Name**, the **Engine** name, and several buttons for saving, renaming, and reloading. Krita's brush settings are stored into the metadata of a 200x200 png (the KPP file), where the image in the png file becomes the preset icon. This icon is used everywhere in Krita, and is useful for differentiating brushes in ways that the live preview cannot. The live preview shows a stroke of the current brush as a little s-curve wiggle, with the pressure being non-existent on the left, and increasing to full pressure as it goes to the right. It can thus show the effect of the Pressure, Drawing Angle, Distance, Fade and Fuzzy Dab sensors, but none of the others. For some brush engines it cannot show anything. For the color smudge, filter brush and clone tool, it shows an alternating line pattern because these brush engines use the pixels already on canvas to change their effect. After the preset name, there's a button for **renaming** the brush. This will save the brush as a new brush and blacklist the previous name. Engine '''''' The engine of a brush is the underlying programming that generates the stroke from a brush. What that means is that different brush engines have different options and different results. You can see this as the difference between using crayons, pencils and inks, but because computers are maths devices, most of our brush engines produce different things in a more mathematical way. For most artists the mathematical nature doesn't matter as much as the different textures and marks each brush engine, and each brush engine has its own distinct flavor and use, and can be further customized by modifying the options. Reloading ''''''''' If you change a preset, an icon will appear behind the engine name. This is the :guilabel:`reload` button. You can use it to revert to the original brush settings. Saving a preset '''''''''''''''' On the right, there's :guilabel:`Save New Brush Preset` and :guilabel:`Overwrite Brush`. Overwrite Brush This will only enable if there are any changes. Pressing this will override the current preset with the new settings, keeping the name and the icon intact. It will always make a timestamped back up in the resources folder. Save New Brush Preset Will take the current preset and all its changes and save it as a new preset. If no change was made, you will be making a copy of the current preset. Save new preset will call up the following window, with a mini scratch pad, and all sorts of options to change the preset icon: .. image:: /images/en/Krita_4_0_Save_New_Brush_Preset_Dialog.png The image on the left is a mini scratchpad, you can draw on it with the current brush, allowing small modifications on the fly. Brush Name The Name of your brush. This is also used for the KPP file. If there's already a brush with that name, it will effectively overwrite it. Load Existing Thumbnail This will load the existing thumbnail inside the preset. Load scratch pad thumbnail This will load the dashed area from the big scratch pad (Section C) into the thumbnail area. Load Image With this you can choose an image from disk to load as a thumbnail. Load from Icon Library This opens up the icon library. Clear Thumbnail This will make the mini scratch pad white. The Icon Library '''''''''''''''' To make making presets icons faster, Krita got an icon library. .. image:: /images/en/Krita_4_0_Preset_Icon_Library_Dialog.png It allows you to select tool icons, and an optional small emblem. When you press OK it will load the resulting combination into the mini scratch pad and you can draw in the stroke. If you go to your resources folder, there's a folder there called "preset\_icons", and in this folder there are "tool\_icons" and "emblem\_icons". You can add semi-transparent pngs here and Krita will load those into the icon library as well so you can customize your icons even more! At the top right of the icon library, there are three sliders. They allow you to adjust the tool icon. The top two are the same Hue and Saturation as in HSL adjustment, ad the lowest slider is a super simple levels filter. This is done this way because the levels filter allows maintaining the darkest shadows and brightest highlights on a tool icon, making it much better for quick adjustments. If you're done with everything, you can press save in the Save New Preset dialog and Krita will save the new brush. Section B - The Preset Chooser ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ The preset chooser is much the same as the preset docker and the preset dropdown on :kbd:`F6`. It's unique in that it allows you to filter by engine and this is also where you can create brushes for an engine from scratch. It is by default collapsed, so you will need to press the arrow at the top left of the brush engine to show it. The top drop down is set to “all” by default, which means it shows all engines. It then shows a tag section where you can select the tags, the preset list and the search bar. Underneath that there's a plus icon, which when pressed gives you the full list of Krita's engines. Selecting an engine from the list will for that engine. The trashcan icon does the same as it does in the preset docker: delete , or rather, blacklist a preset so it won't show up in the list. Section C - The Scratch pad ^^^^^^^^^^^^^^^^^^^^^^^^^^^ When you tweak your brushes, you want to be able to check what each setting does. That's why, to the right of the settings drop down, there is a scratch pad. It is by default collapsed, so you will have to press the arrow at the top right of the brush settings to show it. When saving a new preset, you can choose to get the icon from the scratch pad, this will load the dash area into the mini scratch pad of the Save New Preset dialog. The scratch pad has five buttons underneath it. These are in order for: #. Showing the current brush image #. Adding a gradient to the scratch pad (useful for smudge brushes) #. Filling with the background color #. Clearing everything on the scratch pad. Section D - The Options List ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ The options, as stated above, are different per brush engine. These represent the different parameters, toggles and knobs that you can turn to make a brush preset unique. For a couple of options, the main things to change are sliders and check boxes, but for a lot of them, they use curves instead. Some options can be toggled, as noted by the little check boxes next to them, but others, like flow and opacity are so fundamental to how the brush works, that they are always on. The little padlock icon next to the options is for locking the brush. This has its own page. Section E - Option Configuration Widget ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Where section D is the list of options, section E is the widget where you can change things. Using sensor curves ''''''''''''''''''' One of the big important things that make art unique to the artist who created it is the style of the strokes. Strokes are different because they differ in speed, rotation, direction, and the amount of pressure put onto the stylus. Because these are so important, we would want to customize how these values are understood in detail. The best way to do this is to use curves. Curves show up with the size widget for example. With an inking brush, we want to have size mapped to pressure. Just toggling the size option in the option list will do that. However, different people have different wrists and thus will press differently on their stylus. Someone who presses softly tends to find it easy to make thin strokes, but very difficult to make thick strokes. Conversely, someone who presses hard on their stylus naturally will have a hard time making thin strokes, but easily makes thick ones. Such a situation can be improved by using the curves to map pressure to output thinner lines or thicker ones. The brush settings curves even have quick curve buttons for these at the top. Someone who has a hard time making small strokes should try the second to last concave button, while someone who has a hard time making thick strokes should try the third button, the S shape. Underneath the curve widget there are two more options: Share Curves across all settings This is for the list of sensors. Toggling this will make all the sensors use the same curve. Unchecked, all checked sensors will have separate curves. Curves Calculation Mode This indicates how the multiple values of the sensor curves are used. The curves always go from 0 to 1.0, so if one curve outputs 0.5 and the other 0.7, then... Multiply Will multiply the two values, 0.5\*0.7 = 0.35 Addition Will add the two to a maximum of 1.0, so 0.5+0.7 = 1.2, which is then capped at 1.0. Maximum Will compare the two and pick the largest. So in the case of 0.5 and 0.7, the result is 0.7. Minimum Will compare the two and pick the smallest. So in the case of 0.5 and 0.7, the result is 0.5. Difference Will subtract the smallest value from the largest, so 0.7-0.5 = 0.2 It's maybe better to see with the following example: .. image:: /images/en/Krita_4_0_brush_curve_calculation_mode.png The first two are regular, the rest with different multiplication types. #. Is a brush with size set to the distance sensor. #. Is a brush with the size set to the fade sensor. #. The size is calculated from the fade and distance sensors multiplied. #. The size is calculated from the fade and distance sensors added to each other. Notice how thick it is. #. The size takes the maximum value from the values of the fade and distance sensors. #. The size takes the minimum value from the values of the face and distance sensors. #. The size is calculated by having the largest of the values subtracted with the smallest of the values. Section F - Miscellaneous options ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Temporarily Save Tweaks to Preset (Dirty Presets) This enables dirty presets. Dirty presets store the tweaks you make as long as this session of Krita is active. After that, the revert to default. Dirtied presets can be recognized by the icon in the top-left of the preset. .. figure:: /images/en/Krita_4_0_dirty_preset_icon.png :figwidth: 450 The icon in the top left of the first two presets indicate it is “Dirty”, meaning there are tweaks made to the preset. Eraser Switch Size This switches the brush to a separately stored size when using the :kbd:`E` key. Eraser Switch Opacity Same as above, but then with Eraser opacity. Instant Preview This allows you to toggle instant preview on the brush. The Instant Preview has a super-secret feature: when you press the instant preview label, and then right click it, it will show a threshold slider. This slider determines at what brush size instant preview is activated for the brush. This is useful because small brushes can be slower with instant preview, so the threshold ensures it only activates when necessary. The On-canvas brush settings ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ There are on-canvas brush settings. If you open up the pop-up palette, there should be an icon on the bottom-right. Press that to show the on-canvas brush settings. You will see several sliders here, to quickly make small changes. At the top it shows the currently active preset. Next to that is a settings button, click that to get a list of settings that can be shown and organized for the given brush engine. You can use the up and down arrows to order their position, and then left and right arrows to add or remove from the list. You can also drag and drop. Making a Brush Preset --------------------- Now, let's make a simple brush to test the waters with: Getting a default for the brush engine. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -First, open the settings with F5. +First, open the settings with :kbd:`F5`. Then, press the arrow on the upper left to open the preset chooser. There, press the “+” icon to get a list of engines. For this brush we're gonna make a pixel brush. Example: Making an inking brush ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #. Draw on the scratch pad to see what the current brush looks like. If done correctly, you should have a 5px wide brush that has pressure set to opacity. #. Let us turn off the opacity first. Click on the :ref:`opacity ` option in the right-hand list. The settings should now be changed to a big curve. This is the sensor curve. #. Uncheck the :guilabel:`enable pen settings` checkbox. #. Test on the scratch pad... there still seems to be something affecting opacity. This is due to the :ref:`flow ` option. #. Select the Flow option from the list on the right hand. Flow is like Opacity, except that Flow is per dab, and opacity is per stroke. #. Uncheck the :guilabel:`enable pen settings` checkbox here as well. Test again. #. Now you should be getting somewhere towards an inking brush. It is still too small however, and kinda grainy looking. Click :ref:`Brush Tip ` in the brush engine options. #. Here, the diameter is the size of the brush-tip. You can touch the slider change the size, or right-click it and type in a value. Set it to 25 and test again. It should be much better. #. Now to make the brush feel a bit softer, turn down the fade parameter to about 0.9. This'll give the *brush mask* a softer edge. #. If you test again, you'll notice the fade doesn't seem to have much effect. This has to do with the spacing of the dabs: The closer they are together, the harder the line is. By default, this is 0.1, which is a bit low. If you set it to 10 and test, you'll see what kind of effect spacing has. The :ref:`Auto ` checkbox changes the way the spacing is calculated, and Auto Spacing with a value of 0.8 is the best value for inking brushes. Don't forget that you can use right-click to type in a value. #. Now, when you test, the fade seems to have a normal effect... except on the really small sizes, which look pixelly. To get rid of that, check the anti-aliasing check box. If you test again, the lines should be much nicer now. Saving the new Brush ~~~~~~~~~~~~~~~~~~~~ -When you're satisfied, go to the upper left and select “save new -preset”. +When you're satisfied, go to the upper left and select :guilabel::`Save new +preset`. You will get the save preset dialog. Name the brush something like “My -Preset”. Then, select “Load from Icon Library” to get the icon library. -Choose a nice tool icon and press OK. +Preset”. Then, select :guilabel:`Load from Icon Library` to get the icon library. +Choose a nice tool icon and press :guilabel:`OK`. The icon will be loaded into the mini scratch pad on the left. Now doodle a nice stroke next to it. If you feel you messed up, just go back to the icon library to load a new icon. -Finally press “save”, and your brush should be done. +Finally press :guilabel:`Save`, and your brush should be done. You can further modify your inking brush by... Changing the amount of pressure you need to put on a brush to make it full size. To do this, select the :ref:`size ` option, and press the pressure sensor from the list next to the curve. The curve should look like a straight line. Now if you want a brush that gets big with little pressure, tick on the curve to make a point, and drag the point to the upper-left. The more the point is to the upper-left, the more extreme the effect. If you want instead a brush that you have to press really hard on to get to full size, drag the dot to the lower-right. Such a brush is useful for fine details. Don't forget to save the changes to your brush when done. Making the fine lines look even softer by using the flow option. To do this, select the flow option, and turn back on the enable pen settings check box. Now if you test this, it is indeed a bit softer, but maybe a bit too much. Click on the curve to make a dot, and drag that dot to the top-left, half-way the horizontal of the first square of the grid. Now, if you test, the thin lines are much softer, but the hard your press, the harder the brush becomes. Sharing Brushes --------------- Okay, so you've made a new brush and want to share it. There are several ways to share a brush preset. The recommended way to share brushes and presets is by using the resource bundle system. We have detailed instructions on how to use them on the :ref:`resource management page `. However, there are various old-fashioned ways of sharing brushes that can be useful when importing and loading very old packs: Sharing a single preset ~~~~~~~~~~~~~~~~~~~~~~~ There are three types of resources a single preset can take: #. A Paintoppreset file: This is the preset proper, with the icon and the curves stored inside. #. A Brush file: This is the brush tip. When using masked brushes, there's two of these. #. A Pattern file: this is when you are using textures. So when you have a brush that uses unique predefined tips for either brush tip or masked brush, or unique textures you will need to share those resources as well with the other person. To find those resources, go to :menuselection:`Settings --> Manage Resources --> Open Resource Folder`. There, the preset file will be inside paintoppresets, the brush tips inside brushes and the texture inside patterns. Importing a single KPP file. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Now, if you want to use the single preset, you should go to the preset chooser on :kbd:`F6` and press the folder icon there. This will give a file dialog. Navigate to the kpp file and open it to import it. If there are brush tips and patterns coming with the file, do the same with pattern via the pattern docker, and for the brush-tip go to the settings dropdown (:kbd:`F5`) and then go to the “brush-tip” option. There, select predefined brush, and then the “import” button to call up the file dialog. Sharing via ZIP (old-fashioned) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Sharing via ZIP should be replaced with resource bundles, but older brush packs are stored in zip files. Using a ZIP with the relevant files. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ #. Go to :menuselection:`Settings --> Manage Resources --> Open Resource Folder` to open the resource folder. #. Then, open up the zip file. #. Copy the brushes, paintoppresets and patterns folders from the zip file to the resource folder. You should get a prompt to merge the folders, agree to this. #. Restart Krita #. Enjoy your brushes! diff --git a/user_manual/oncanvas_brush_editor.rst b/user_manual/oncanvas_brush_editor.rst index 743c4a542..dff679304 100644 --- a/user_manual/oncanvas_brush_editor.rst +++ b/user_manual/oncanvas_brush_editor.rst @@ -1,41 +1,41 @@ .. meta:: :description: Using the oncanvas brush editor in Krita. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Scott Petrovic :license: GNU free documentation license 1.3 or later. .. index:: Brush Settings, Pop-up Palette .. _oncanvas_brush_editor: ====================== On-Canvas Brush Editor ====================== -Krita's brush editor is, as you may know, on F5. However, sometimes you +Krita's brush editor is, as you may know, on :kbd:`F5`. However, sometimes you just want to modify a single parameter quickly. Perhaps even in canvas-only mode. The on canvas brush editor or brush HUD allows you to do this. It's accessible from the pop-up palette, by ticking the lower-right arrow button. .. image:: /images/en/On_canvas_brush_editor.png You can change the amount of visible settings and their order by clicking the settings icon next to the brush name. .. image:: /images/en/On_canvas_brush_editor_2.png On the left are all unused settings, on the right are all used settings. You use the and buttons to move a setting between the two columns. The and buttons allow you to adjust the order of the used settings, for when you think flow is more important than size. .. image:: /images/en/On_canvas_brush_editor_3.png These set-ups are PER brush engine, so different brush engines can have different configurations.