 Let's start. It's the hour. So thank you for joining. And if you are on the LGM online channel here, please give your feedback on the LGM workshop channel. Up, it's here, this one. I will just go through a little bit of an introduction first. It's a set of slide that I made for the theoretical part. So first, this is a little tradition in my video. And sorry for my every French accent. I do my best. I try to think about my sentences. It's not that I'm dumb or something. I'm trying to speak the best I can in French. And it's very in English, sorry. And it's difficult. So I hope you will be able to understand me. And if there is a word that you can't understand, feel free to ask in the chat. And I will repeat or I will try to rephrase my sentence at this moment. So a bit of presentation about myself. I'm the author and drawer behind the Project Pepper and Carrot. It's an open source comic project. And if you are probably on the chat, you probably already know it. So I'm skipping this part. And I'm streaming and I'm broadcasting right now on this place in France. And it's really in the South. And yeah, that's a bit of shame because LGM was just here this year, the real event version. And that wasn't a big distance for me to go for once. And yeah, it will be the next time. So I see a lot of friendly name on the chat. That's very good. Thank you. About the limitation about this live stream, I'm changing a lot of things on my desktop to make this live stream. First, I disconnected my second screen. So I'm not really used to use a computer with one screen anymore. I probably have pop-up that will appear on this ghost screen. I still use my Intuos 4XXL, my big tablet. And yeah, as you can see about the font size, I try to boost the font size. And also this is a Quaid HD screen. So normally I have a lot of resolution. It's a 27 inch. And now I'm displaying it in 1080p. So yeah, for me, it's a very big pixel and blurry experience I have now. So this is not my optimal condition where I work usually. And of course, I have cats. So they will hear myself speaking alone at home. And sometimes they will try to reply. So you might hear them on the microphone or see them, the tail that crossed the screen like this. This is totally normal. So first, I want to thank all my patrons because if I can take the time to prepare this workshop and if I can take the time to make it and to record it, I wanted to say that thank you for all the person who sent money to me for making pepper and carrot and making all the extra tutorial and livestream that I do around. And also all this content will be under Creative Commons attribution license. And that's a bit hard because I had to find reference under Creative Commons zero or public domain to make some research. So everything that appeared on the screen is compatible with the license. So you can broadcast this on a classroom if you want or you can reuse it and sell it on a video stream platform. There is no problem. So dragons, dragons, dragons. Over the last six years, I admit that I don't draw very high fantasy dragons now. I'm more drawing cartoony dragons. And these are the ones that you can see on pepper and carrot right now. These are funny dragons with big high ball and sometimes very dramatic expression. And I very like, I think I really like this style about pepper and carrot. And I take a very, I enjoy my time doing that. But before that, I use it to be a more fantasy traditional artist. And this isn't a bit recent even. So you probably know the Cintel project. I did the art direction and the design for the creature. And today in this workshop, we will not learn to make a full scene with the ambience and all the dragon and a little human and everything. It would take too much time. I want to make the workshop duration one big hour after I finish this little introduction. So I will mostly draw her head of dragons and I will try to make a little environment around it. You'll see. I have a little idea about what I will do. So I wanted to make a little point about anatomy of animal before starting to paint a dragon because this is the groond, the base for starting such a painting. And first, you will probably see that we have wings like bats. We have a lot of common thing with reptile. The same aggressiveness and sometimes positioned than tigers, the type of neck of this type of big birds, scale of snakes, or sometimes scale of crocodile like this on the day, the teeth of dinosaurs. So yeah, it's pretty good to start with looking at this creature when you want to design a dragon because looking how this creature works will make your dragon more believable, your design more credible. So I made a little overlay here to just understand better the key things that we will try to reproduce. And for the bat style of wings, I'm not sure we will have time to make wings, but why not? Wings of bat are really like big ends. You have the thumb here and here you see you have the big fingers that works like a hand. So if you have already some fundamental about drawing hands, it's not that big and not that a problem. You just have to make a lot of big clothes between the finger like big webbing and it works. One of the things that I will insist during this workshop is to do a lot of triangle shape. Because if you see the reptilian reference here, you can see that even not on the creature, even on the empty space, we have triangle shape that draws a lot. And this is something that will be very common when we will draw and paint a dragon. We will try to design this type of pointy shapes. And just as a reminder, in art shapes, it's the two-dimensional things that you see here. And for the 3D object like this width and this, we speak more like form. It's a bit, yeah, we can say also 3D shape and 2D shape if you are more comfortable with it. But yeah, we will try to make good form that does good shapes. For the teeth, if we do draw teeth, you can see that the upper part on this T-rex go way more deeply than the lower part. So this is something good to keep in mind. And also that we have this type of cylinder here. Yes, you can see that this type of 3D shaped cylinder that define the axis for the jaw of the reptile. So this is the type of shape we will try also to rebuild. For the other part, yeah, this, of course, not going much more than a simple S for the neck. If we make more wave, it will look more like a snake and not be believable. And here you can find also this type of axis for the jaw and how also the skull is very flat. Not a lot of, not a big brain into this type of animal. You can see here very flat, you have eyes and directly flat. Flat here also. So that's all for speaking and slides and now we will start painting. So I have a Krita open here. I will put my webcam here into keep above other. Yeah, so I can focus this little button of Firefox. I will try to push it on the side. Checking if, yes, recording is happening in six minutes. It's good. So if you have questions before starting to paint, that's the time and I will reply them on LGM Workshop. You can see them here. So I will start to create a new file and I will try to be a bit slow at first so you can follow with your Krita at home. So I'm creating a custom file, custom document, empty. The dimension I will put a 2400 by 2400. It will be a square because you can see on my screen here that I have a square. So I will try to fill this part but feel free to take something more cinematic, more something wild if you want. For the resolution I keep this one RGB 8-byte and the default S RGB profile. And then I create the document. So I will just add up the zoom a bit with control and space and I'm thinking I can also display my keyboard shortcut. Good. So space, control, and then I can zoom. Yep. Yes, fonts are a bit too small but I will try to explain the... I can't make the font bigger now because I would need to restart all Krita and maybe all the desktop. So I will try to describe more when I open a menu but you must understand that I put the font very, very big. Compared to what I've used to work, it's like three times larger than my usual setup. So I usually have a lot of room here and here also some. So once we have a canvas like this, name it background, this is perfect. I'll try to fill it with a color because my monitor, this white is very too strong. It's like a light source that's coming to my eyes right now. So I will try to take not a blue, not a teal, but something in between like this. The default color selector of Krita is this one but I picked this one. Feel free, it works for both. It's just a personal preference. But yeah, I'm taking teal and I'm not taking full saturation. I am taking something that is more near to gray but it's a bit bright at the same time. Maybe this, I'm looking for a sort of a sky of a morning, maybe like that. And I will fill the background with it. Edit and fill with foreground color. I do it by shortcut usually but here I show the menu. And once I have this background, I will just go ahead and here on the layer click a new layer and I will name it by double clicking on the layer dragon. This is where we will have our dragon painting. And before going further, I'm going to save my document and I will just name it dragons and save. So for the dragon, we will use a speed painting technique because this is the purpose of the workshop. I'm looking a bit at the circular, where it takes in a chat window. Oh, good. So about speed painting, I will not spend time into drawing something and then filling with color. We will directly paint with shapes. It will save me a lot of time but it's not really intuitive. So if it's your first time you're drawing with shapes and a dragon is a bit too complex, you can try to make something more simple like a cylinder, a cube or something and these are good studies. And same if making things with color is a bit too complex for you, you can do this workshop also in black and white. It will ease a lot your task. So for the color, the base color of the dragon, I will not go to the association I have in mind that it's a green, it's a reptile, the lizard are green, no, it's not like that. I would pick a greenish color but a bit more teal and a dark, I would probably go like this, like 20% and very desaturated sort of green colors because I'm looking at the color of the shadow of a stone because these are big animals. I want the same color than the rhinoceros or the elephant color. Yeah, so you have to put a lot of thinking about your color head when you do this type of painting and I will pick this brush. This is the F dry roller. I will use only brush from the default Krita brush kit for this workshop. So you don't have to install anything. I made a little collection of brush here for the LGM but I will pick them one by one and explain every time. So this is a brush you have on your list and I will paint a lot with this one at first. So I will start to paint and to try to reproduce this cylinder we saw on the cheeks of the reptile. So I try to paint a face of the cylinder I try to paint to extrude it this way like a shape and then because it's not just a silhouette I will try to also put a light on it and I will pick just a little warmer so I go in like that to the yellow just a little bit warmer color. So I have now this part that is more bright and on the top also. We will start with a very basic lighting setup just a single point light and I want a very dim light on the top like that. So we have this type of cylinder that is a bit puffy on each side because this is the cheeks of the reptile. I'm showing you the shape I have in mind right now because it's not really described. This type of painting probably don't show it clearly. It's a bit hard to paint and explain at the same time but I'm just making a bit of shading but this part will not be visible. Now I will extend all of this because now with this cylinder I have also an axis, a direction here. So I'm extending this using the light color because this is a face that face the light coming from the top and I will just paint like a shape of a big arrow here. So I'm doing a socket already for the eyes because I will not paint geometrical shape very longer. This is just for you to get what is happening and as you can see I'm using control here to pick color when I want to keep the color of the light or the color of the shadow. I will draw a huge shadow here under the neck and we will plug the neck to something. So right now we are designing just shape and if your shape with this brush looks a bit... the edge is a bit dirty you can switch with pressing the E key on the keyboard here by pressing this button on the top toolbar and your brush will just switch for an eraser and you can then polish the silhouette of your... it's not a dragon right now it's more like just a simple lizard without highs and a bit square. And then we will start to pick color of our shadow I will start to crease here just a volume I will just soften here so I have like a socket for the highball I have also for the sort of a highbrow volume here so I'm just sculpting with a brush and I will try under the eyes to recover this shape that we lost a bit and also the eye socket shows now a little problem here we have too much room for a big brain that doesn't look like a big reptile so I need to flatten this a bit maybe this way so this process is trying to take the overall and I know that it's always a problem when we start drawing because young artists want to dive into detail draw eyes, draw horns, draw everything but here I'm trying to get the mass of the big shape working and speaking at the same time it's not evident so into this carved relief I will just put a little ball socket like this and I will crease it with a eye I will keep a white eyes right now and this will be the first detail I'm adding to this piece I'm trying to correct a bit the shading with direct painting one of the problem is and one of the drawbacks is you don't have a solid drawing to define your symmetry and your volume and your axis so there is a lot of correction to do on the fly but at the same time it's really quick so I will do another socket right now for the nostril maybe like that and I will crease a bit the shadow here and also the body was a bit tubular so if I want to paint without going outside I can lock here on the layer there is a little padlock to click on it and I can lock the shape and just paint like this to get a sort of gradient so now for the mouth we saw that on this volume at the center we had an axis and this is logical to respect it we need to open the jaw if he breathed, if he hit or if she, why not? I don't know why this dragon should be a male or female and we have a mouth that comes a bit like that these shapes here and like that is because we have usually the lower part of the mouth that is very thin and the higher part very large and this is because here we need to make a lot of room for breathing and here inside for the tongue for chewing, for everything so if you do a mouth that is go like this you will not get a good result so this is something also a pattern on our reference that is important to look at for the teeth I will draw teeth coming this way this way and this way I will zoom in a bit because it's very big on my screen but maybe on your it's so little and for the teeth that goes under I will try to go in between like that so now we have more like a dinosaur like a raptor or something and it's totally normal dragons and dinosaurs are a bit on the same family I would say so that one is not real of course so I'm still not designing any scale are you sure dragons have a tongue? we are sure of nothing about dragons I never saw one in real life one of the things that will make our dragon very dragonish like will be horn so there is not a lot of reptile with big horn like a you know like this you draw here, you plug two things and you put like a thing like that thing like that, thing like that and directly you get something that looks from a lizard or from a raptor to a dragon this and the wing of course I will just do an incremental saving save incremental version so I will get my dragons underscore 001.KLA so it's good to save some step by step and not overwrite the previous format but for this dragon if you remember the triangle shape pattern I will try to do this and this brush is not really good for triangle you see here the ending point is not good for that but with digital it's really hard to get good ending point for that you better go to press the eraser key to get this type of dynamic shape so doing the second horn or anything that require a bit of perspective is always a problem and I prefer to paint it without caring a lot about it at first and then I will press M to mirror my artwork so I can see now the perspective problem because we have this type of perspective right now I'm almost good but you see this point should be here to be aligned it's not perfect so for this I will use the transformation tool I'm doing a quick selection you see here I selected this selection tool with a shortcut and I press CTRL T and I'm just playing with right click liquefy so I can just adapt the shape a bit I can press mirror again M key on the keyboard so I get another fake point of view and I can try to align better this is a painting usually I will take extra care I will draw the line on another layer but we will try to give quick on this one because there is still a lot of things to do so yep I'm taking back my brush B key to be sure to not be in transform mode and now I will lock this layer because I don't want to paint over the edge of this horn I will pick just maybe a very greyish brown like that I just want to get this dry nail horn things material and right now all the material looks very dual and this is normal, this is something that I usually do because it's really easier to make the things more saturated later and more shiny, more contrasted than to do the reverse I have more struggle myself, maybe other artist not about making something very contrasted and very saturated suddenly well-balanced so I will continue to add some features for our dragon one of the classic one this type of webbing of here, so it's not here because here all will be here this creature needs to listen to the environment and to make this we can expect this creature to suddenly listen to everything happening around it and also it makes a good decoration there is so much of things you can play with this decoration once you have this verusiraptor base shape you can go very crazy the only thing is just keep pointy stuff to keep a language because if suddenly you go with circle there is already a big circle here and a sort of circle here it will be hard to identify it as aggressive maybe creature or dominant creature when we draw dragons except when I do with pepper and carrot then I can make funny creature but if you want to make a fantasy dragon a bit more aggressive look like wild creature you can also decide to make an expression very wise it works really well with dragons so I'm shading here and I have also the other side but for the other side I want to just paint with a layer under so I can just paint what I want behind it this is very convenient and I will keep it just as a shape like that I will see with the mirror maybe this is better I'm going background like that and then we will start to take care of the scale and a bit of texture because right now we have just big shape but it doesn't look really good I will flat the dragon over this layer and rename dragons like that and my shapes here are a bit like feels a bit like potatoes I feel so when I do it I go side incremental I will take a zoom back I will draw with control R a big selection around my creature and I press control T and go to liquefy this is pretty intensive I'm doing the live streaming at the same time there is the webcam, there is the recording in background so Krita is usually very butter smooth for this so I'm just going a bit pointy like this you see and liquefy is very good for this you can push a little bit your design into the direction you prefer than what it was before I deselect and before going further on the detail I think I have the time because I'm pretty quick finally I'm on the schedule of what I want to do to do some environment so I will be lazy about the environment can they also sing? yeah and I do the lazy things to just not get a head cut like this to get the dragon going outside of the water so this is very convenient to hide a big part of the dragon I will plug on the back some start of the wing here I will not draw them I can probably center it a little bit on my piece to get a little bit more room so I press the T key to get the move tool so right now it's still very dual it's still just our shape just mod led and we will add some lighting effect later but I need to get the environment before getting the light correctly so yeah wings and I still keep the same brush for all of that that's one of the defaults, one of the very good ones it has a subtle texture if you paint with it you see there is a little paper texture like a painting with gouache maybe? so I will just erase a bit the base of our dragon like this just to be sure that this shape is also like in a perspective plan I will just draw on the background it's time for incremental save each big step for me dual is pronunciate dual not dual ah dual like this thank you if you want to attract my attention on the chat feel free to quote my nickname divad like this so you will see the sentence will be in yellow and it will be easier for me to catch it I will pick this brush for making the background dry Bristol it's also a Krita for default resource brushes so you can find it on all Krita install it directly so G dry Bristol if you can't read the name it's a really expressive stroke it's very good for making backgrounds and you get a lot of tiny detail for free so I will just pick my color with control and just go picking a darker tone here maybe this is a bit too dark and I want to just go like that will reduce the opacity and I want to make a gradient like that maybe lower if I erase the background there is alpha it's totally normal but I won't just disappear like on a lake with some mist on the background this is also very convenient a lot of things I will create a new layer just because I want this type of shape some ripple in the water I will go back to 100 opacity because this looks really better and because I want spiky stroke I will erase just to get more dynamic stroke like that maybe it's just a bit of fun to always go to the economy of stroke because it's safe time at the same time it looks good and for the sky this is misty but maybe not so much I think I can manage to make a quick background so I will pick this color I will keep this new layer it's still good to erase a bit I will probably paint some big cloud I have some slowdown but this is normal it's not because of Rary of Krita I'm really used on this computer to get very amazing performance but with the screen recording and everything it's a bit normal but this big brush it's perfect for this type of big stroke in background so I will model quickly on it something that looks like I don't know clouds distant clouds of the morning maybe this way I see that on the dragon I painted accidentally a part so I have to clean that it's something that happens really often so I will pick the dragon layer press the E key to erase and erase this part I just do a save incremental and read the chat looks like we've reached the full capacity of the stream server record blown beyond 100 thank you very much for watching sorry if you have some slowdown on your side I will try to put the screen record later somewhere you can replay and thank you big time for Anim Tim Timoti and Elisa and Cedric who do an amazing job at the technique behind this event and will also keep doing things with free and open source software with this GC server and not relying on service like Twitch or YouTube this is a very beautiful effort they are doing so this is cool so where I was on this background I want to make a light source now so the light source I will just flatten this into the background I don't need a lot of layer just my object, just the background and I want to make the sun rising maybe do you sometimes use the texture stamps for water ripple? yes I do it's what Marc is speaking about this stamp here stamp water and it works really well but more when you have a little river or when you have an ocean, a sea maybe I will use it, I will keep it you will see I have a little idea and this is a good suggestion, I will just assign to tag and put it in my LGM 2020 here, so I have it here for that I need to add a light source to my background so I will just quick save just a regular save I will pick a very saturated color like this, it's dark and saturated it's like a very dark red and I'm picking this brush adjust dodge and this adjust dodge is part also of the Krita default resource, I will not repeat it every time this workshop is always default and I will just paint just a bit of the sky like this very lightly because I don't want to overdo it but I want to get sort of the light coming from the morning I think this type of red will give a good contrast with the green of our creature, so I don't want to overdo it I will just pick a bit and I will try to make something just so I can use the little stem texture like that, I will pick the brush the one texture red and I will paint on this background maybe a little sun, like that I need to go into the bright value a lot very rich white almost let's make a little sun like this in the background, I will have to adapt the lighting on the dragon but it's perfect for a rim light it's a very thin light and this is very good for showing later I will take this stamp that is part of the Krita default and I will use it to make this type of tiny reflection here quickly like that it's a bit too much detail, this is a background you see that this type of noise here, a lot of detail and this type of detail because it's a speed painting piece if I have to keep this detail I would have to detail everything like this twice so what I will do is I will take a blender it's a brush that blend a bit the detail and I will blur it a bit like that it works for some sort of speed painting maybe here I could have done it manually quicker ok so for the rim light before I have to adjust the dragons we have a problem with the lighting there is no texture yet, there is a lot of things empty Diva, do you sometimes use the texture water for repair? ok, beautiful light, thank you Roman I will adapt the our dragon because now we have an environment and this environment is a bit bluish with a bit of red inside sorry, so I have to adapt it and I will use color balance for this, it's CTRL B and this is this dialog but with the big font you probably see something happening I want to go to a bit more cyan maybe on the shadow, no where I'm more red my shadow will go slightly more to the red here and slightly more to the blue maybe the mid tones going slightly to the cyan and I will just check with preview before and after and this contrast of color I prefer I will also press CTRL M to get the color adjustment curve and I will try to fix a bit the contrast here it will be tricky because I just want a little push not something big but just like that so the value pops a little bit more and then I will start to paint the rim light so for the rim light I have to uncheck the color to alpha I'm picking here this pencil sorry for going too fast I'm trying to make it in the time for the replay and I will pick this Chacoal pencil medium brush and I will pick directly the color of the sun and I will try to not overdo it it's very subtle so I will zoom so you can see what I'm doing I will collect the little form here that face this light source and because this is backward I mean it's behind the model there is not a lot of shapes that catch this type of things but because this is high value so when I speak high value it's not the mathematical value or the software value it's just mean it's lighter and darker and we have artwork that is pretty dark value it really catch the high and that's what I want it's not for example detail all the horn of the dragon for the texture but just suggest there is a texture by how the light boons on it and maybe we have here itself just a little reflection and yeah I will try to keep it subtle I think it's the key for a good dream light is to not overdo it so I thank you for the comments Divan I would like to see how you add some sub-surface catering in the year oh that's a good request so sub-surface catering and yes this artwork is totally valid because I would probably skip this part sub-surface catering is when you have some light that goes through a material but this material show a bit of it and basically the face behind here is in full light and here you get a little bit of light and what happens very often there is some blood inside the material because it's a living creature here we will see some red happy ring and some high saturation at the same time and this is a good job for this brush this is the adjust overlay burn it's a part of the of the Krita default and I will pick just a very saturated dark and oops maybe over the mid because I want to brighten and I will go like this but it's I need to push it a bit more so there is always a little bit of cooking things here this is too dark I don't have the result I want maybe I will try with the color dodge adjust dodge a bit more violent but maybe it's because I'm doing red over green so you see you get usually an effect a bit like that that appear and yeah this is more or less accurate like that and you get also tiny detail that you can see through so I have little burn and little stuff that can appear that make some lovely details for the texturing of our dragons I will use a ready-made texture for Krita this is this one the texture reptile one and it's a texture that if you can if you take with a bright color you directly get all this scale for free that's something that is interesting for me so I will just build another layer I will put it into something a bit more subtle like the soft light SVG blending mode and I will try to leave a little bit of texture so my texture pattern here is really too small it adds a lot of detail and I do not really like that so I will go to the pattern I will scroll down to the pattern here on the brush editor and I will go to the option and just boost the scale like it was 0.50 and I want maybe 0.19 and with this brush now I have larger scale that fits more the scale of my artwork that was a not expected pun and so this is not really good scale but as you know you get them for free somewhere you can't expect them to be a rapid perfectly around your surface what I will do now to make them integrate a little bit better is to reduce the opacity that's why I put them on a layer we keep this detail very subtly it's not a waffle we don't need to see all the crease and I will pick this blending brush just to break a bit so it's smudging a bit the texture every part where I see it's too much I smudge so yeah we keep it really subtle like this I'm not even sure it's visible on the stream but good enough for speed painting I mean for a full illustration I would paint them one by one I know that I'm enough crazy for that so I'm merging time to drink a bit of water and I will read also Marc for the subsurface scattering would you not use a filter that multiplies the color maybe, maybe I'm sure that if you do a selection and you press the adjustment curve you can get a very good one effect and maybe with the slider and with the curve have more control I'm gonna ask can you show zoomed so yeah the piece zoomed you can see it's still a lot of random stroke I will try to before going further and maybe I will still paint during 15 minutes I will not take more than that I will try to add some interest in the background because the background now is not really how I like so we have too much density of detail here and here nothing I have to fill the void, maybe this is a bad thing about my artwork so I'm picking the herb, this one, stamp grass and I'm creating a new layer you can you can hear that I'm not used to speak during one hour my voice quickly go totally weird and I will just paint this type of grass on the background it has a bit of depth I like that maybe I will also do it on this ground but for that I will probably use a regular brush and because this type of mist is not far away we will get some color a bit this is too much saturated so it's very hard for the stroke to look convincing going outside of the water unless you just press the eraser and just cut here it looks more like a plane it is going out of the water we can also shape them for pointiness like that, yeah picking this color, maybe I will do another herbs layer above the dragon and this is a good tip if you have a floor background middle ground and foreground make some overlaps like here there is always more depth to this type of thing we still have to get in mind that it's a 2D surface and yeah on a 2D surface we have to some of doing tips and tricks to get the illusion of this is a 3D scene so I'm shading a bit some grass here that catch some rim light good, good good good maybe sub surface scattering also for the grass maybe some ripple effect down the grass if you can go crazy with details maybe I will not get the time here to focus on that but I want to add a foreground and for the foreground I think I will go very lazy I will just pick black I will just press shift to make this grass brush very big and I will just put some very big grass as if it was in front of the camera like this, but because it's in front of the camera it doesn't have also the focus point on it I will just blur that going to filter, blur, blur and just going to increase this by I don't know 15px maybe more, 20px in foreground yep, looks good it has to be the opacity so it doesn't go it doesn't steal the focal point and hey I still have a little bit of time and maybe now this artwork oh, there is a question of noir, hi David what version of Krita are you using right now? yeah, it's a 4, 3, 0, beta and there is a git tag it's a beta one, it's one that is probably 5 days ago and I will probably get time to push this artwork to something that I prefer because now it's a bit of a fantasy regular artwork, but I would like to push it into the world of pepper and carrot for a reason and yeah, it will take only 5 or 10 minutes so I'm doing it I will probably make a surprise here so maybe it's time for also naming layer, like grass up like grass down, dragon nice surprise and foreground so I usually only name my layers only in demonstration I do that it's because there is a very beautiful feature in Krita if you press the R key on the keyboard you have this cursor and you can pick directly the layer so that you see I'm picking the background and I'm picking the dragons and I'm picking the foreground it's very convenient so naming layers it's good when you share your artwork with an audience or with a company or for collaboration but when I do speed painting for myself I usually keep the layer 1 layer 1 push is more often pronounced push push ok, thank you, will you have it in a pepper and carrot comic like the other creator you made in live stream yes, but maybe not for the next episode but I need to make maybe these dragons these groomed dragons if I can push it because right now it's still a bit too fantasy so I have a little idea in back of my mind I want to make a little guy sitting here on the nose because we have a lot of direction here that will lead to this point and I have this focal point and I think it would balance well to get something happening here also on the piece so maybe because you know that I love the cat so maybe a little cat like that so I start the shape, the silhouette of the deepest shadow I have for this creature, this little cat and I try to shape this text a little bit more time because I'm trying to shape now a silhouette that I would recognize maybe as carrot I would like to get the something that would annoy this wonderful dragon like that, like the tail going down that would make this dragon directly more friendly and I will lock the alpha and probably start to shape the shape of this little carrot so what can it do what can it do oh yeah water, I have my little idea about it also, so rim light I will probably before doing accessories try to to get my cartoony character here, I'm picking this pencil because I'm entering a bit into detail I will really keep it simple maybe like that not really very much accurate it's more like a fun detail and I want to make him, so no this is not this is something to fish I think it's a very good spot when you can have a dragon friend you can go on a lake like this I would very very like I have to do again maybe like that and maybe with the V key I will do something like this I make him watch here yeah like that and this string maybe little highlight on it so it looks a bit better I don't know, these dragons for me and not painting on dragon if I'm not on the dragon layer I wanted to say that this dragon for me looks like more like an Asian dragon for a reason now I can make him look like this to these little carrots maybe the white eyes was a bit too aggressive maybe this way it looks better I have also a bit of texture that can appear on the dragon here and yeah maybe I have so much little idea to start speed painting and on a hard work I always want to go very very adding details adding storytelling adding why this creature does this why this that's because I love comics I love also storytelling and discovering maybe late in my life drawing only to tell stories that's probably one of the problems when I stopped my career as a book cover artist or something I was doing just too much illustration and it was hard to do a lot of illustration that just they tell a story but not as much as I wanted yeah sorry for this little desegration yeah this is the stereotypical Chinese hat I'm sorry about that but it looks good because now we can recognize that this is like a rice lake it's like fishing this little guy has a hat he looks way more sympathetic so I'm very happy the dragon should stare at carrot yeah thank you thank you for coming thank you for the little heart so yeah right now maybe I will just finish the piece because it's more than one hour than I do this and if you have a question about Krita feel free to tell them on the LGM workshop I'll be replying them now and maybe helping if you have something you can't do I would be happy to help about that so yeah feel free to ask your question you also should know that on this channel right now you are probably all the developer and contributor of Krita or a big part of them so yeah Niva, do you sell your work art? I have a red bubble shop on my website so if you go to my website davidrevois.com you can find the red bubble shop for some goodies thank you a lot for the tips I'm doing a little basket because I want to show that this tiny carrot or little cat had some fishing already and Raman told something that is great is maybe this is a tiny bit too contrasted I want something like that but not contrasted like bright yep and darker at the same time good and I will just pick here just a blue tone just to make sure this guy already fished some stuff just to show him that he was successful at it and casted shadows is a good point thank you Raman for this we have a strong light source here and of course here I forgot a big casted shadows just under the foreground and whoops I have a private message that came and with a multiply layer blending mode I will keep all the ripple effect on the water like that so yeah maybe this is just a cheap effect maybe I should put it under the dragon so yeah I will get no overlap and maybe I have a contact shadow but my desktop is starting to die for a reason I probably going to save incremental version ok contact shadow here good so under the dragon maybe a little contact shadow also for the little guy and for the basket and for the cat just locking the alpha and I promise this is the last touch because I want to paint the stripe of carrot and yes let's call this done and thank you very much for following I will take now your question and I can open another critter documents and we can have 10 minutes for that as your grad thank you thank you Murph ah Boren good to see you around so it looks like the jitzy setup and with the guvc view and the tiny chat everything works out I will go to look at yeah one hour ten recorder good look so diva what is the shortcut for pick select layer again it's the R key so yeah here so yeah you can read here and yeah I pick dragon here the little interrogation but this is the cat probably renamed carrot and R for the sun and I go to background directly for the question you're welcome ah that's good I can appreciate with that the latency of the streaming maybe you can also because you can see the chat thank you for watching it glaya thank you very much Elisa and thank you for all the email to prepare the workshop that was great so where this will be uploaded I think I will upload a copy on my youtube channel and there will be one also if zio grad is around on the pier tube channel named toe upai that pier tube that I don't have the name but maybe it will past because I think he's around on the chat thank you Timothy and thank you for being available for the test thank you Maria ok I will send you the recording I have Timothy so I'm scrolling a bit I think I caught all the questions and if Timothy agree with it we can cut it merci encore thank you very much and have a fun afternoon or day for your time zone bye bye