Krita

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Krita 数字绘画入门

这是翻译自一个国外网友写于2013年的《Getting started with Krita》教程，这个教程的特点是：并没有介绍太多软件的工具使用方法或技巧，而重点是能从中了解到国外数字绘画高手的“工作流程”，对于初学者很有启发作用。注意新版本 Krita 的某些操作也许有所不同。

第一章 黑白肖像：设置和建模

原文： http://www.davidrevoy.com/article185/tutorial-getting-started-with-krita-1-3-bw-portrait

2013年8月28日

这节教程练习的结果

"Krita 数字绘画入门"是一个由三个章节组成的系列教程。本教程使用的是2013年发布的 Krita 2.7 版 + 我的笔刷套装 my brushkit V3 第三版。这套笔刷已经被添加到 Krita 2.8 版的默认笔刷中了。如果您使用的是更新的版本（例如 2.9.7 版），您就已经拥有了本教程用到的所有一切工具。本教程在2015年9月进行了部分更新。教程中的屏幕截图也许会与您的新版本 Krita 界面有所不同，希望这对您影响不大。

希望您能通过学习这个系列教程而有所收获。本教程的目的是，分享我对数字绘画的激情，以及帮助新人从必要的技术方面更快地上手：描绘一个故事、分享美妙的画作、表达一种艺术的灵魂，等等……

My first tutorial will be a simple but rewarding one. 'Simple' because I'll write it as a step by step with all details to paint a symmetrical portrait, but without explaining the complex stuff underneath about theory ; and 'rewarding' because we will get a result quickly. It can be an ideal time investment if you have a first free afternoon to paint and want to learn basics of Krita while having fun.

我的第一个教程将是简单明了但很有益的一个。“简单明了”，因为本教程是一个一步接一步描绘所有细节而形成一个对称画作的过程，但不涉及其中复杂的理论解释。“有益”，因为您如果跟着一步步操作，我们将很快得到一个绘画成品。这很值得您花一个下午的时间来学习 Krita 的基础操作，并且能收获到快乐。

现在，开始画画吧！

注意 1：操作过程别忘了经常保存您的文档，建议保存为“Krita 文档”（kra）文件格式。 注意 2：在本教程中可以点击图片放大观看。

1. On Krita first startup go to File menu on top, then 'New'. A dialog will pop-up, select in it the tab on left "Custom Document"(1) and create a new canvas with Width and Height to 4000 (2) and set resolution to 300ppi (3) , as on the screenshot. Skip other field as Name or Image description , and press 'Create' (4).


2. Maximize Krita Windows. Zoom your empty canvas to the 50% view (1) ( using '+' on keyboard or the mouse wheel ) . Take the crop tool (2) , and crop the visible canvas on your screen letting a border all around.


3. Click the little color square on the toolbar (1) ( the one under for the background color) step the value down to 216 (2) ( Hex: #D8D8D8 ) , then accept with the OK button (3) . Now press 'Backspace' over your canvas (4) , to fill this one with the grey background color.


4. Lock your layer (1) and rename it ( double click on it ) to 'Bg' (2). Create a new empty "Paint layer" above (3) . Let the default name 'Layer 2'


5. Select the Freehand tool (1) and the default brush preset 'Bristtle_hairy' (2). On the 'advanced color selector' docker, select a dark mid-grey value (3) , and adjust the size with pressing shift+dragging the brush on the canvas to got a mid brush (4) ( check around 40px , on top 'size' slider )


6. Activate the shortcut on the top tool bar to the horizontal mirror mode.


7. Start to draw on canvas large axes, with direct and simple line strokes. Shape the head, simple lines for the eyes , mouth, and nose, same for ears. 'E' key on the keyboard will switch your brush to erase instead of paint. Pressing it again will restore the behavior to paint. You can correct your stroke to get proportion you like. To delete all , in case you are not happy , press 'Delete' on the keyboard.


8. Block the shadows zone of your face , if you are not familiar with drawing or painting, this skill is relative to your capacity to abstract the 3D model of a face in your head , and know the volumes of it and guess the shadows cast by an abstract light source. If you begin, just try to paint the area under the eyebrows, and under the nose, volume for the hair, and for the neck. Again, use the eraser to enhance your modeling. Keep it simple : zone of light and zone of shadows.


9. Create a new paint layer, and bring it between your blocked shadows, and the background. Select the default 'Fill_block' brush and fill the part inside the silhouette with a brighter grey ( brighter than your sketch , but darker than your background ).


10. Select your layer with shadows, and 'merge it' with layer bellow with Ctrl+E , turn the opacity of the layer to 50%. Create a new 'paint layer'


11. Select the Bristles_hairy brush again. Select a mid grey color in the Advanced color selector and start to draw more shadows by glazing successive strokes. Try to be subtle, play with the pressure of your stylus and erase when necessary.


12. Create a new paint layer. Increase your grey color a bit , to reach the same grey value than your background ( or hold 'Control' to pick the color on the canvas ) and keep working on your modeling as you would do on a three dimensional plaster object.


13. Merge layer with the layer bellow, use Layer > Merge with Bellow layer ( or Ctrl+E ). Create a new paint layer. Draw the facial features ( eyes / mouth / nose ) on the top of our volumes. Use only tones already present on the canvas with your brush opacity diminished to 0.70 , picking value holding Control + click on the canvas. Create hard edges where you can , clean silhouette contour, increase the spike aspect of some shapes. This part is ideal to fix things. Take your time and keep the bigger brush size you can, reduce only if it's necessary .


14. Create a new paint layer. With white and same brush but now 0.50 opacity paint now only the glossy parts of the face, and the hair : or the more smooth or greasy part ( or the area receiving naturally more light in this lighting setup ). Be also subtle here too.


15. Create a new paint layer. Add some definition and details with a hard thin brush as the default brush preset 'Layout_Oval' and start to bring harder details to your drawing. Especially for glossy point or materials. You can add glossy reflective points of light with very bright values, almost or white. Shadows can be also creased a bit ; but I advice you to keep in a restricted range of values and avoid usage of darker tones. Also add some low opacity white around the silhouette to boost the contrast a bit.


At the end , the young fictive person I drew from imagination look a bit mystic in her attitude and simplistic in the design. I'll not add more accessories or design to gears on her to keep the tutorial method clean , but feel free to keep painting and follow your imagination... I advice you to keep doodling with a standard viewport , 50% and without zooming ; and train your painting skill within a "compressed value space" ( from white to grey ). It's easier than to manage a limited range of grey than dealing with full blacks to white to get started.

This first part of this tutorial end here. Next part we will colorize it ! Go to the next part now


Repeat it again till you'll feel more confident with the steps to replicate without this page. Create monsters, girls, men or robot head this way with focusing on giving the illusion of volumes and the modeling/shading. The fun is really here : creation. Feel free to have a watch to my other mirrored portrait black and white speedpaintings .

A question ? 

Want to share the link of your results ? 
discuss ? use the comments, I'll be around and participate too  :-)

第二章 上色：图层堆栈与混合模式

原文： http://www.davidrevoy.com/article186/tutorial-getting-started-with-krita-2-3-colorize 

04 september 2013

The result of this blog post tutorial exercise over the first part, click to enlarge 

"Getting started with Krita" is a tutorial series of three blog post and this one is the second. The tutorials were designed for Krita 2.7 in 2013 + my brushkit V3 . This brush were added in Krita's default brushes after Krita 2.8. Using a newer version of Krita ( eg. 2.9.7 ) you should have everything you need. I updated a bit the tutorial in september 2015. The screenshot are old and won't match your interface, but it's the best I can do at the moment to refresh this three post. My goal here is to share the passion I have for digital painting and help new talents to get faster rid of the technical aspect to do the essential : telling stories, sharing beautifull pictures, expressing an artistic soul, etc...

My second tutorial cover the steps necessary to bring a black and white artwork to the world of colors.


Contents : Part 1.  : black and white : setup and modeling Part 2.  : colorize : layer stack of blending mode ( you are here ) Part 3.  : finalising : render, post effect

Let's paint !

Note : I let you the care to save your document often during the process as on the part 1 . I advice the 'Krita document' ( *.kra ) files , but this time , why not using a different saving option? a feature in the menu "File > Save incremental version" is useful to keep track of your 'work in progress' steps. Press it, and check on your disk what this feature does.

Note 2: As usual, click on the pictures to enlarge them.


1. Open your artwork done on the first part. Set your zoom to 50% and center the artwork into your viewport. Don't forget to activate the mirror mode in the top toolbar.


2. Flatten all your layers Ctrl+Shift+E or in menu Layer > Flatten Image , name the result 'b&w' . Duplicate your 'b&w' layer, name it 'colorbase' and call the Hue/Saturation/Windows color filter by pressing Ctrl+U. Check the 'Colorize' box.


3. With the Hue and Saturation slider, search the main tone of your picture ( don't use the Lightness slider, keep it at 0 ) . Here I want a desaturated blue hue. Then press ok


4. Create a new 'paint layer' above, named 'color' with the blending mode HSY > Color . Take the 'Airbrush_pressure' brush preset. Do a first pass of tinting area of your artwork with pure colors and test around. Fun , right ? on a 'HSY color' blending mode layer, all the stroke affect only the Hue and saturation , not the value. So you can keep your value and paint color without destroying them.


5. Keep painting. Note : the color picker ( hold Control key plus click ) works fine on a Color type of layer , you can use it. Adjust when necessary by removing the color with 'E' the 'eraser mode' to reveal the base color underneath or enrich the range of colors in your artwork by using hue from the Advanced Color Selector. I often restrict myself to unsaturated tones because it's easier to saturate or enrich later. You can see on the screenshot my 'layer preview' ( a dialog who appear on the bottom right, it will appear also for you if you keep stylus over the layer name ). This preview will give you an idea of the painting work I do on it.


6. Create a new paint layer named 'glaze' and with the blending mode Arithmetic > 'multiply'. We will do now an almost similar pass than a traditional glazing with oil painting . Take again the "Airbrush_pressure" brush preset with mid opacity and glaze the colors, add red in the shade of the skin to flesh the model , make deeper the zone where the skin doesn't reflect light , and let see more the blood color under the skin. Crease also some deeper shade for the hair. Glaze the eyes as if you would perform a make-up on them. Resize your brush if necessary to perform more little details. I don't advice to zoom in. Glaze also the lips as if you were applying lipstick on them. Remember glazing will darken only the colors and so it's important to keep doing it steps by steps, low opacity strokes by low opacity strokes. Glaze the overall artwork till you reach a good aspect ; this include hairs, backgrounds, etc... ( Note : Glazing steps is good to add stain, tatoo, patterns but to keep this tutorial clean and generic, I'll keep my basic character ).


7. Create a new paint layer named 'vivid' and use the blending mode Mix > 'overlay' on it. With a dark airbrush at low opacity , vivid the shadows. It should increase the contrast in those areas, unify the local tones and add saturation. Do the same with a bright color to brighten zone and so, increase the intensity of the lighting. With white , do little and subtle corona of light around your higher values ; such as reflection on the lips, and on the eyes.


8. Create a new paint layer named 'texture' and use the blending mode Mix > 'overlay' on it also. With a dark grey and a variety of preset who do textures on the canvas as the 'Splat_texture2' or 'Sponge_texture' in the default brushes, we will add a soft texture to part of our artwork. For example, a bit of grain to the skin. Be subtle , the effect should not 'jump' into the eyes, but be a secondary thin effect. If your effect is too strong , erase it.


The colorization setting for our artworks is now done. The goal was to 'sketch' the colors of our artwork. Also, I kept the color choice simple on my example even if it's a bit boring and generic. But i think a tutorial example has to be generic to be enough open to any interpretation. The important is now about what you can do with it. Feel free to test make-up ; tatoo , blue skin , reptilian skin , colored hair , etc... etc.... more material , more lighting situation.

A bit more about the 3 pass, 'color' / 'multiply' / 'overlay' : There is an endless way to digitally colorize a black and white artwork. Here is just a 'cooking' proposition on how those three pass of layer blending mode 'color' / 'multiply' / 'overlay' can work together. They work better if you kept your black and white value bright as we did on the previous tutorial. If you practice them, they become predictable. I hope this visit inside the interface of the powerful options of Krita made you discover new aspect of this software. Options you probably ignored before. Repeat it again till you'll feel more confident with the steps to replicate without this page and express your color tastes with this tool and method.

Next part ( to be published ) we will learn the way to push the rendering to a higher definition and correct bugs. Our picture has many issue now , and don't offer many details. By the way, those issues and bugs can have a charm. A 'speed-painting' charm.


A question ? 

Want to share the link of your results ? 
discuss ? use the comments, I'll be around  :-)

第三章 细节和最终定稿：渲染及后期效果

原文： http://www.davidrevoy.com/article187/tutorial-getting-started-with-krita-3-3-details-and-final-touch 

05 september 2013

The result of this blog post tutorial exercise over the first part & second part, click to enlarge 

"Getting started with Krita" is a tutorial series of three blog post and this one is the third. The tutorials were designed for Krita 2.7 in 2013 + my brushkit V3 . This brush were added in Krita's default brushes after Krita 2.8. Using a newer version of Krita ( eg. 2.9.7 ) you should have everything you need. I updated a bit the tutorial in september 2015. I hope you'll learn something with this series. My goal here is to share the passion I have for digital painting and help new talents to get faster rid of the technical aspect to do the essential : telling stories, sharing beautifull pictures, expressing an artistic soul, etc...

My third and last tutorial of this series cover the last steps necessary to bring the artwork to a 'final'. We'll increase 'a bit' the details.

Part 1.  : black and white : setup and modeling Part 2.  : colorize : layer stack of blending mode Part 3.  : finalising : details, and final touch ( you are here )

Let's paint !

Info : I let you the care to save your document often during the process as on the part 1 and 2. By the way, do you know you can save your picture to the Open raster format (*.ora ) too and keep your layers and blending modes ? Open raster is slower to save, but offer a good advantage over the Krita document *.kra : you can open *.ora with Gimp or Mypaint ; if you need to edit your picture later in one of this software.

1. Open your artwork done on the second part. Set your zoom to 50% and center the artwork into your viewport. Don't forget to activate the mirror mode in the top toolbar as usual.


2. Flatten all your layers ( Ctrl+Shift+E ) , name the result 'base' . Then duplicate the layer above and name it 'paint'.


3. We want now to upscale our artwork to the double ( 200% ), to increase the resolution and get more room to add details. Go to the menu Image > Scale to new size (1) . Change the method for width to Percent (2) insert 200% . The lower number 'Height' should follow proportionally. For the interpolation , choose 'Lanczos3' , then press Ok . Let Krita compute...


4. The artwork should now appears much more bigger than it was before in the viewport, especially at 50% zoom of the viewport. It should be exactly the double. Keep painting at 50% viewport ; our brushes preset are sort-of optimized for this zoom. The artwork will now use more disk space and resource, but we will use smaller brushes so we wont notice a very big lag. We need this resolution to increase the details and be able to publish it. The minimal resolution to print an artwork is 300ppi. If you zoom out to 33% on a regular 96ppi screen, you should have an idea of the 'real' size of the artwork. If you want to pan your canvas ; hold Spacebar and drag with mouse.


5. Now a little part outdated, coming from 2013. We don't do it this way in 2015. So don't pay attention too much to this screenshot under, this dialog don't exist anymore. In this step, we will add our favorite brushes to the 'stylus/mouse right-click' palette. Yes, the little palette ring poping-up over the canvas as in 'step 6 (2)' screenshot. The new 2015 way to add brushes to this 'Palette' is much more simplier : in your brush preset docker, right click on the brush you like , and assign them to the tag group 'Favorite Presets'. Done.


6. Ok, our right-click on the canvas "Palette" (2) is setup now, we fed it with 'Favorite Presets' we like. Press Tab to hide all the docker around, and enjoy a larger view port. Press tab again at any moment to exit this mode. Other tool can be found on canvas. The history color pop-up with 'H' key (3) show a color history palette. The color selector with Shift+i (4) can offer more comfort ( because more room, size is bigger than in the right-click palette ) to switch color.

7. If you are not comfortable with using Shift+i ( I'll understand ) go to Settings > Configure shortcut (1) and in the search field enter the keyword 'show' (2) then in 'show color selector' enter the custom shortcut 'C' ( reasign if necessary ) , press OK to accept (4).


8. Now, you can start a long painting session with all this tools, fullscreen. Here I'll spend around 4 hours on detailing. Paint to sharpen the edges, smooth the surfaces and bring a whole new level of details and ease for your (future potential) spectator to understand volumes and the materials. Use the 'Bristles_hairy' brush with blending mode 'normal' / 'addition' / 'glazing' if you want to darken or brighten the detail. You can paint directly on your 'paint' layer. It's a long step , reviewing zone by zone to adjust or correct and to increase the details. As most of the colors are around , use only the Ctrl+Click color pick on canvas to pick your needed color. Zoom out from time to time to see the overall and turn off and on the visibility of your details layer, to see if you are not destroying the zone instead of making it looking better. In case of accident, you can still remove the details with a soft eraser. That's why I keep two layers, because working on a zone doesn't always result as an improvement, and I have to keep a security to go back at a earlier step. The detailing step is the longest of all the process ; but one of the most relaxing  :-)


9. While detailing, I changed the eyes expression a bit ; to test, but I didn't liked it, I also found the whole shading of the face a bit flat, and decided to continue to work on shading it zone by zone, and rework the volumes. I also tested glossy hairs, then erased half the effect to make it more subtle, because it was definitely too artificial. Details is really a part of test and corrections, to improve the artwork. You can even dive to zoom 100% to solve little light as a reflect in the eyes. Here I use 'Airbrush_pressure" with low size to add subtle lines. Also, keep constantly an eye on the overall by zooming out.


10. When you'll start to really have some credibility into your lighting and volumes, you may start to feel a certain discomfort in front of the piece. That's because of a too symmetric drawing. It's too artificial. Time to start to break it ...


11. To break symmetry , easy enough , just unactivated the mirror icons and fix the eyes with brush manually ; for making the two eyeballs react to the same reflection of a light source ( you see it? the white in the eyes are now not symmetrical and react to a source of light coming from left of the model ) and paint subtle change here and there. Then also sign your artwork. You can now save your final result in a lossless flat format such as *.png and flatten the picture if you want.


Note: [Jpeg/internet export] If you want to share your result on internet ; I advice going first into File > Create copy from your current image , then scale down your image with Image > Scale to new size and turn the width to a much lower resolution ; for example 720px large. Press ok and save it as JPG with a quality a bit above 90%. Then why not share your image to the world? Ok, probably not this time if it's your first try :-) Maybe soon on the Krita forum art gallery ? http://forum.kde.org/viewforum.php?f=276

This third and last part of this tutorial end here... 

click to enlarge

All along those 3 past weeks and tutorials I shared with you a path and some of my 'cooking receipt' to make picture. Feel free to experiment around and develop your own ; -there is endless way to make a picture- . I hope this tutorial was a good way to "get started" and make you discover some of the feature of Krita you needed to start to draw and paint with comfort. Keep painting !

Stay tuned for the next series !

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