 Today I have the honor of presenting and introducing David to show us his artwork. Thank you very much. First, my apology because I'm French and I learned English very lately and so my accent is not perfect and sometimes I will use very bad format sentence. So sorry about that. And in case you don't know, I'm streaming from this little point here in France. So yes, the signal has to travel a long way and it's already the start of afternoon here. So if there is some people who are on the chat, on the Element on Matrix chat and want to share their location sometimes I like to see if there is people coming from another region and also it's good for me to check the lag between reaction in the chat and my voice. So yes, if you can write some countries, for example, thank you. And more precisely, here is my desktop. I took this picture just five minutes before starting and I took it because I know that I will have some questions about my tablet. So my tablet of the moment because I'm changing a lot. It's 20 years that I'm doing that, that I'm doing illustration. And the right now I have a Intuos Pro large. It's a vacuum tablet. And yeah, that's all. And two screen, one for my entertainment chat and references and one for painting and working, the one in front of me. And of course I have cats, but maybe they will be behind me today, but they are cat, they do what they want. So I wanted also to say that I'm the creator of the webcomic Pepper and Carrot and it's my main work right now and I'm living with a donation for the webcomic on internet via Patreon, Tipeee, etc. So this way you have the big picture. And today I wanted to make a painting demo with Krita and Krita is a digital painting software. I'm opening it right now. I see some countries now. Honduras, Boston, France. Boston is a splendid city. I visited it this summer, last summer. Germany, hey cats. Poland, hey, the lag is not really big. It's not really big because I see the message I've read three minutes ago. And today I have only 50 minutes and it might sound like a big budget of time but for painting it's not because a painting can get a duration of 10 hours or 30 hours and of course I don't have this time. So I will go very quickly and I want to start with a sketch I already done. So this is a classic sketch page with a little notation, with random character, random expression studies and I will paint this one. So, but there is no composition so I will just start to open a new canvas. I will go into the pre-definite size and start a film in 16 by 9. It's a 4K document and I will create a new document like that. I will tile my windows. So by default Krita have tabs on the top but there is in the setting a mode with sub-windows like this and I will select the selection tool. Just trace a little quick selection around my character. Ah, someone in the chat and it's Petit Lutain. Okay, I think I know who he is. Yes, it's the new brushes I shared yesterday. So the brush I have here on my interface, it's brushes I shared for free yesterday on my social media and you can find them to use them with Krita. And I will pass the character here and I will try just to make a little composition. So not in the center, just a little bit one third maybe because I have a slow time budget I have to take quick decision. And yes, I think I will paint this and I also gathered some references because references are good for inspiration. I took them from a website with copyright free. It's Nameit Pexel and you can get a lot of pictures on it and I took some mountains for the background or time of the day. I'm really inspired by this. So this will be on my second screen. You will not see it but you can imagine that I will have them under my eyes just to add some inspiration. It's not just copying the photo. I will make the shape of the mountain I want. It's just taking an example of what nature can do and what good photograph can capture. Yes, I remain the... I see the chat about the Creative Summit Freedom logo and I redid it. I did a little animation. I share it on social media but it's not very good animation with them. So I have this character to colorize and it's a good opportunity to show probably a feature of Krita and the feature is the colorize mask. So if you don't know the colorize mask it will allow me to color very quickly this character. I will right click on my layer. So my layer is just opacity and the dark line and you see it's not even pure black line. It's opacity line because I'm sketching this way. I will just save if we have a crash or something. It can happen. Demo.kaa and I will put a right click and I will add a colorize mask. So right click, add a colorize mask. And on my layer stack I will reorganize that so you can see probably bigger because my screen is big so maybe it's very little font on your screen. And I have the colorize mask now and you can see that it's under the boy drawing. And what I will do is I will pick some colors like maybe I will keep the blue color sheen. So taking a brush and I will just create some markers like that. I will just indicate to Krita, hey, I want you to fill this area with this color. So I'm painting on the colorize mask right now. And I will select a good skin color and by good I just mean for my artwork. Do not put that out of the context. So I go into the brown, orange. I select a bright color and I will not detail the eyes or anything. I just want Krita to paint the big mass of the artwork. So maybe I will continue on the creative summit color palette. And right now I'm not really thinking about what the final color should be with the sun, with everything. I'm just thinking about what the color should be when the character is under like a neon light like a day with cloud and just a gray color day. We can call that like a neutral day and I can press control to color pick the color because I want this part to be also violet. The color, maybe this color, this color. I'm pressing control S. And yeah, right now it doesn't look like anything but as you can expect there will be like a tada moment. And I hope it will be good. The color rise mask needs also a background. So I will do like for the movie in cinema. It will be green background that I will remove later. And I will select skin color. Here I have gloves, some more leather. This world, this world. Maybe a golden one. Like this, like that. And I think I have enough marker. I can still add them later and fix them. So it's not a huge pressure to not have them right. I can press also E on the keyboard for erasing. But now I have some color in place. And I'll try to just, if you see on the color rise mask here under, there is a little wheel that is an icon on the color rise mask. And I will press that and Krita will start a low adding bar right inside the layer stack. So yes, computing, computing. It takes a little time to just guess how to colorize this. And now I have a sort of preview mode. And in this preview mode, it's a compromise to see the marker, to see what Krita guess about the colorization, I guess. And the line art also. If you press the little pen here, you can have a preview of what was painted automatically. So this is very convenient. I have here some yellow I could put. And I have here some green I could put. But the other part like this, maybe I could fix that manually later. It's probably faster. So I'm going back into my edit mode. And I will pick green color here. Maybe blue here. And a bit of yellow here. This word also, this word wasn't well-paint. And yeah, we can go into detail. But be careful. Don't be too perfectionist with that because you can spend more time than actually fix it by yourself. And I will launch another set of computation. So yeah, unfortunately, the colorized mask is a bit slow, but not enough slow to get a coffee cup. So sometimes on a comic page, you have to wait. It's already done. So hey, not bad. So when the colorized mask is set like that and I like the result, I will just right-click on it and convert that one to a paint layer. I don't want these things to be like dynamic and add some marker and everything. I want to convert it to just pixel that I can tweak. So I click this, convert to paint layer. And now you can see I have a normal paint layer under my line. So this green screen is horrible. And I will pick the magic wand, select it, and we will remove that. Good. Now I have my character on my gray background. And I will do a little save incremental version. I see the time. Okay, 15 minutes. Good job for 15 minutes. And I will paint now the background because the background will lead the atmosphere of the artwork. And I want a pretty moody atmosphere. So the character will be like a flat cel shading right now. Boom. I will just paint. I press V on the keyboard while painting just to make a big line like this. And I took a big preset and this will be my sky because yes, I have like a view angle. I think the horizon line is even maybe like that. Yeah. And maybe we can get some epic mountain in background. Probably like that. And I'm looking at my reference right now because there is this color that looks like if the... Like if it's the end of a very special afternoon or something. Okay. And I also want some snow on this mountain. This mountain is not really big. I want something more epic like this. Maybe. Yeah. And for the snow, I will use some textures. So on my new brushes that I share, I have a lot of funny texture. Just creating a new layer. And I will try some snow. This one, for example, you see, does some crazy stuff with... Whee. Like that. And it's good just to show that I want some accident. This is the world that I'm looking for. I have this one that does like a canvas texture. You can see probably with a zoom like that. And this will help to give like a painterly accent. I'm just browsing quickly the chat at the same time. And I see some references to a universe from a famous brand of video game console. Yes, but he has blue hair. So it's not him. But yeah, of course, I was very influenced by all this imagery when I was a kid. And I continue to be because what they do with this large team and the very good designer they have, it's just amazing. So I start to have something for the background. It's still a bit flat. And I would like to pop a massive light on it. Just that will give the direction for my character. So I will open a new layer. And I will put this one into luminosity shine. That's a blending mode. And you can find it on the light category here. And yeah, this blending mode is magic. Just select a color of your light. You paint and you have just light. And it works for all the color. But I like the light is very believable in my opinion. Maybe other painter will dislike that. And I will smudge this light just a bit like that. So maybe the mountain is not back the light because the light is in the space. And I will just erase from the light source. The mountain, so the mountain now is in backlight. Backlight? I'm not sure. I have some little accident here. I will just create a new layer on the top and just clean up the edge. So my mountain, I don't like the shape. It's a bit classic. It could have more interesting edges. Of course, I'm running with a tight budget, time budget. But while I'm doing the painting of the background, if there is some question, I can try to answer them. So what I'm doing right now is layering. So I have some brushes that are here in the color teal and here in the color green that are specialized into adding some texture and glazing some texture. And when I add some texture, I sort of override the texture. And when I glaze, I just put another layer on the top of brush stroke. And what I'm trying to do with doing that is trying to get some brush stroke visible but trying also to get some rich texture in my background. I like the fact that we can see some sort of snow. But I don't like right now that as soon as we are in the shadow, it's totally lost and we can't see anything. So I would like just a little reference here to that shadow. And I'm starting to take a lot of distance with my pixel image that I like. For a reminder, I will show it, it's here. So I'm in a very little bit more acid color palette. And I also wanted to take another. All right, we have a question. Ah, good. All right, so how long have you been using Krita? What are your favorite features? And are there some features you wish to have in the future? Oh, I will start by the last question about the feature that I would like. There is plenty and the developers know them because I'm very communicative about them. So I open thread on Krita artist and speak about that. I open often thread on the bug report and flag them as feature request. So yeah, I have a lot of things open, but I know that Krita is also like now a very, very big software. And they have some priority before adding my feature that are greater. So I'm just waiting patiently and that's totally okay. But for example, one that I would really like is a way to transform just drawing like this one of the boy. Right click and get a color directly transforming it into blue, for example. Just sometimes you have to redo a sketch and you can do that already. You have to go to filter, transform the color, put them into background. But sometimes you just want something non-destructive that you can right click and say, okay, this is a preparatory drawing or sketch and I want this to be blue temporarily and just to retrace on the top. And after that, you can still put back the blue of the color. And yeah, this is a feature that I would like for long and I know it's in the work, it's in background. There was already test for the performance and everything and I already tested. Oops, I'm painting on the wrong layer now. For the first question, how long I've been painting into Krita? Probably since now, 14 years, maybe 2009 I started. So yes, 14 years. I started at a very early time and it was only on Linux and there wasn't a lot of users back then. Probably a little team but a lot of very motivated developers and I'm very proud of all the way that was done along the years and all the work and all the dedication. That's amazing what Krita in 10 years became now. You can see it. For me, it's like a second nature for it's my tool. I love it. And the second question, can you remind it to me? What are your favorite features? Oh, my favorite Krita features. Oh, there is too much. Too many. I will continue to paint and I will think about it. Think about one that I find, wow or something and I will show it. For example, just one feature that I like right now and it's good because we can continue on this character with that. It's one that Madeleine, Madeleine Peck, she showed a presentation about the Fedora wallpaper. I invite you to watch it. It's in a replay with the Inkscape conference also. Very good conference. And she introduced the clipping group of Krita. So here I have my color, for example, of my character. And if I press Ctrl G, I will create a group with it. So I will rename it character. And this one flat because this is my flat color. And if I paint on the top now, you can see that all my brush stroke will go outside of the character. But if I go here on the little A, that is the Inherit Alpha in the year stack, all the layer with this little A on the top of this one will get the same transparency at the bottom one. And yeah, maybe it's a classic feature for a lot of painting application, but it's usually not done the same way. Because here you can see that I have one that is outside. But if I put on the top one that is in Inherit Alpha, it can now go back and inherit the one of the bottom. So there is something a little bit more complex with what you can do with groups in Krita that I really like. I also really like something that I don't find a lot of occasion of using. And it's the ability to clone things in the layer stack. So you can, for example, and here I'm entering a dangerous feature because it's add a clone layer. So I'm cloning this group, this layer maybe of this character because I can clone a group. But now if I paint on it, you see that it's painting at the same time on the flat color next to it. So this, when I gave a course about doing mock-up for video game, when you have some pixel art and you want to repeat it and you want to update only one tile and all the one update on your screen, this is a very powerful tool. I had a lot of fun with that. So there is a lot of like hidden treasure like this in Krita. And yes, that are totally advanced, totally to, even in comparison to the other proprietary tools. I would think if I have more. We have more questions now too. So how do you respond to people who say real industry artists need Adobe if they want to actually get a job and make things? Oh, yeah, I think there is a sentence from yesterday from Ryan. I think we say that it's a chicken and egg problem. And I really like this expression because yes, school teach Adobe. So professional use Adobe and professional use Adobe. So school teach Adobe, for example. And yes, it's really hard to break the loop. But for example, this morning I made some course for a school in France, Active Design. And it was a course with Krita. So they are a school that likes using also something else or introduce or making one hour of something else. Because using Krita, for example, as a freelancer can be a huge advantage. Because if you have some local clients, they can install the software for free and you can share the source with them. And they can reuse, for example, your work. So if you use Adobe with the local clients, for example, a little bakery or something for their website, something, they will not have to... Having to pay a subscription is a bit a lot for them, I guess. And yeah, I do react when other people say to me that this software is more professional. I say it doesn't matter. It's what's on your portfolio that matters. A big company will hire you and don't care about what you are really using. As long as you have good quality and you work fast and you know how to deliver, to respect the constraint, to respect... to listen to everything. What the tool do you use? I think it's a loss of their problem. I think your personal eGen or something, if you work with other people, for example, is more important than the software you are using. I totally agree with you. Because by the end of the day, even in 2D, especially in 2D, I think, but by the end of the day, it's only pixels and pixel layer red as a stack. And it's quite easy to share to all the other tool right now. For example, Krita has very good PSD support to save a Photoshop file. So if you work with people using Photoshop or other software, because other software usually have also PSD support, you can collaborate. There is TIFF, multi-layer red, but there is many solutions. Nice. Okay, we have another question. This person says, I started using Krita just this week. What are your suggestions for those who are just starting out? So behind the... I just started Krita this week. It can be a lot of situation. I will just continue to answer this question just after, because now I will just set the character just to shade. And I will just put my line. I will colorize them. So I went to the adjustment of use, saturation and value. It's control U. And because the black line were a little bit too strong, too bold in my test. So I transform them right now into something a bit brownie, like brown ink, like this. Maybe it looks better. And I will put another layer. I will code shading. And for this shading, I will use one of the technique that I really like is to put a mid-gray. So 128 or 127, because RGB is on 255. So the middle is one or the other. There is no clear middle. And I will pick this gray and I will fill this layer shading with this gray. And I've used just the hard light blending mode. And the hard light blending mode is transparent with gray. And I will ask to inherit alpha. So now I'm exactly how I started, but when I paint something darker on this layer, it will shade. And brighter, it will light. And this is very convenient because I will show you why. Because I can take a big airbrush now and decide to make my character more blending with the scene. So shading the same color than the mountain. And picking up this light here and starting to light in a little bit. So about the question, now I will just continue because now I have all this color you see in place that are good. I have a good light that is like my mountain. I have my good shadows. I could probably do another little light source, blueish, that comes from the sky. Because when you have a sunset like this in front, on the other side, it's blue. So you have a sort of blueish light source that come. And I can go probably darker, especially where the object touch other. So I'm doing that with a very non-interesting brushes. It's an airbrush, but I will spice it later. This is just to get quick mix on the canvas like this. And now I can also pick color. So if I have an interesting shadow here, I can do control alt plus click. And this will sample only the color of the layer. So I have this layer and I can sample the color of my shadow. And now I can use a more interesting brush to get some more sculpt effect. And this is where I will spend a little bit more time and I can answer the question. So for someone who started Krita this week or last week, I don't know if it means he started or she started to also draw this week. Because Krita in this regard is a bit like for a writer, a word processor. You can learn the text editor very quickly. I think in two or three days, you get the big basics. And you can start to type what you want, make a book, make multiple pages, etc. But creating a story, creating characters, writing all of this can take a lifetime for the skill. So someone starting Krita and trying to get a, I don't know, very big, beautiful CG artwork directly. Yeah, you can take 10 years. And it's not the fault of Krita because Krita you can learn the basic layer, picking color, picking a brush preset and starting to paint. When you understand this, that and that and the filters, just some effect to add some blur, moving object, just what you paint, selecting object, etc. It's rather quick to learn Krita. I once made one day big introduction to probably all the features in Krita. That was a very boring talk, but it's possible. You can start with all the menu and in one day. But the brain can't handle all of that. You can handle the talk one day, full day and listening to that. But you can't remember everything or if you can, wow, not me. I'm a redfish in a bowl. I can just learn two or three things at a time. And I'm very proud when I do because drawing is that. It's one day you'll get a new thing that you learned about composition and you see that it works for you and it works for the art you want to make. And this tip, you will practice, practice and it will become second nature. And then you will move on to another thing and anatomy can take a lot of time like that. Getting better clothes, getting better view angle, but there is so many things you can learn that is not really the interface of Krita. And you can also start learning all of that on paper with a pencil. So someone who is proficient with a pencil and already know shading, know everything will open Krita and in five or ten minutes, I'm sure, be able to make a good artwork. Here, yes? Go ahead. No, no, here I'm just saying that I, using a feature like blending mode for shading, it's like big shock shortcuts just to save a lot of time because you can see that I'm like speed running this artwork. Nice. We have more questions, but I wanted to note on that last one, I like to compare, you know, drawing skills to leveling up in like a video game. If you're a video game player, like at the beginning, it's really easy to kind of make breakthroughs and you level up quickly. But, you know, as you go, you have to put in more and more hours to, you know, push through and make breakthroughs. Oh, yes. How I've looked at it. I've been drawing since I was a young girl. Oh, yeah, good. That's very accurate. Your feedback is really accurate. And the more you grow and getting a breakthrough is more and more difficult. But, yes, it's like leveling in video game. When you are at a high level, the video game, yes, for sure, you need to start big campaign to get a level up or something. Yes. Yes, you got to put a lot of hours in. All right. So I have another question for you. Good. What is your opinion on copy left art licenses? Copy left. So all the open art licenses, but copy left means also the one that are recursive and stay in the as open material. So for example, you have the just to be sure that we share the same definition. You have all the public domain that are not copy left because it's it's material that you can copyright after even if the source remains always public domain. If you do a derivation with the source, you can make your derivation copyrighted and copy left listens are listens that are eternally you need to share a like. That's why the one of the main the creative commands share a like copy left listens is named share a like because once you share your artwork with this distance, it all the derivation, all the modification made by other people can only stay with the same type of license. So my opinion about that is they are great. I have not the majority of my artwork on copy left. The majority of my artwork on creative comments attribution. It's a it's a little bit more permissive because I'm not asking the derivation to be also under copy left. But I really like I really like I think it's great. Just because I'm not using them because before working on a web comic that is under free and liberal license, but not copy left. I work head into the publishing book industry. So for example, I know that a publisher, a French publisher, for example, needs to get the constraint of getting his own cover book cover because it's sort of a way to identify is publishing. So the derivation needs to be located on his side. The artwork for the cover can be open, but the title or the way the title is put and the color and everything has to be something that he can protect along the ESBN number and along something. It's just for the market. It's just how the market is designed right now. It's not something that I appreciate. I'm I wish it wasn't existing like that, but it's like a pragmatic choice on my side because if I wanted my web comic to be published as a book, I knew that I had to compromise on that a little bit to be more compatible with the industry. And I'm also compatible with the free and liberal world. So I tried that 10 years ago and I get the best of both worlds. But yeah, sometimes I for sure I regret. I prefer sometimes that all the derivation of my web comic paper and carrot would be free, liberal and open source. But if I want also video games, free, liberal and open source video game project, it's really hard to make a business model with it. I'm more likely to get derivation for a series, an animation or something that is proprietary. So leaving my artwork with non copy left. Yes, was one of the compromises I made to hope to get maybe that and it worked because the series has already some derivation like that. So sorry, I also read also for non copy left question. No worries. I think that context is important. So we have two more questions and about a little bit less than 15 minutes. So let's see if we can get to them. So someone has a question about pepper and carrot. Yay. Well, sort of related. When will you move on from the current series or add another like the one you've been drawing right now maybe someone says they work for free on that. Yeah, yeah. Yes. So this is I know that once I will move away and start to story tell something else than pepper and carrot. And you probably saw me playing with that recently because I started a sort of experimentation process the last three months. Trying things but I saw that once I'm trying to I'm starting to get more affection to other characters than my main than pepper and carrot and the old which. I start to create another universe directly and if I start to get my focus attention on it more developed that might be the end of pepper and carrot and I don't want. I still I still have a lot of affection for pepper for carrot and I still think I need to get a good closure like a good end and close the door of all the storytelling I started with them. So that's the conclusion of my three or four months of of work on it is to say that I am planning to to do some artwork sometime like that. That are not temed on pepper and carrot just to to refresh myself just to to do something else like all the artwork I do for freely project for from a soft for example. Peer tube mobility zone all of this artwork that allows me to just take a breath outside of pepper and cow because yeah next year it will be 10 years of pepper and carrot and 10 years for a webcomic is. I don't believe it myself I thought that the webcomic had like five years of duration of life expectancy. And yes 10 years for preparing carrots soon wow and I really want to to make a at least a five number five book to the series that will be bringing pepper to the to the ending of something and then she can probably continue to live in into many into many fan fiction maybe. There's probably a plethora of fan fiction. Well, thank you. And I totally understand get attached to those characters. Okay, next question. Any recommendations or tricks for using critter to color fairies so a little background is my daughter is interested in coloring fairies and is new to critter. So this person is looking for tricks and tips on making a drawing look magical. Okay, so if I add a fairies on this artwork, I will go to copyright infringement because a little boy with us world and a little fairies flying around is it's too many fun elements to start to to to get something. But let's say he has a little glowing dragon. That's not a fairies. And I will show you the technique so I will paint here above his shoulder like that a character like that. So the first thing you want when you start to paint magic is playing with blending mode and you have here on the light and a long list. And there is two that are very popular among digital artists. The first one is color dodge. And the second one that is popular just by me. I think it's the limousine side tool because color dodge is popular because of Photoshop Photoshop just has a little list like that of blending mode. You see critter as I don't know. I don't know how many hundred of them. It doesn't fit on the screen. It's. But on the light and category, you will get like this one. Luminosity shine. And if you paint with this one and with a low color, so I will make them nine blue, for example, you'll get directly this type of glow. And as soon as you go a little bit higher key on. When I say keys in its color like this, you will get some some feeling of light. It works better in a set in a setting, an environment that is dark, of course, if you start this on the white page of paper, it will not work. So for glowing things, there is some smudge brush. They are usually painted in white on the preset of Krita. And you can smudge to get to get just the feeling of glowing. And on the top of this, so now I have my you see it's like a stain of light that can move everywhere. And you'll find many little brush, for example, in all here that are preset with little stars. Little stars works perfectly for magical stuff. I will zoom in just so you see. And you can because it's light and the camera receives some light, just add some little bit of glowing on the top. Okay. And then you can draw your creature made of light on the top. So here we say that it's a little like dragon, like a serpent, a snake serpent. Pardon my French. And with wings. But now we have something in movement on a statical illustration. So I will probably take a brush just to make some motion blur. And yes, this is really done quickly, but with a little bit more of care and attention. I'm sure you can make some believable fairies and magic and sword in fire and everything. I'm back to the shading. If there is another question on the last 10 minutes. People are commenting. So cool to take to see this take shape and so quickly. So and someone says whatever you choose for pepper and carrot will support you. Oh, thank you very much because I had a very a period with a very low energy. And yeah, you probably the little community of pepper and carrot probably felt it. And I had to pump back energy. So I feel better now. You know, I think the last three years has, you know, sucked some energy out of all of us. Oh, yeah. And there is also a lot of a topic in art, actually, with the AI image generation with the NFT. And there is some community mess with Twitter and with all of this was so tiring for me. It's disheartening. Also, sometimes, you know, you got to take a break from creating because you're always putting yourself out there. So you have to, you know, take care of yourself, be inspired, take a breath, rest, and then you can come back with some new energy. Yes, exactly. Well, if anyone has a last minute question for David, feel free to drop it now. We are closing in on the last couple of minutes here. So I will move for the last step, because yeah, it's not a very detailed shading, but you get the picture of how I did that. And now I have this color of the hair that is like a blue till. And this color can't really happen in an environment with this color. It's just mathematical. And it's a little bit too contrasty. So I will add on the top of the layer a filter layer. And the filter layer, I will ask for a color balance. The filter layer will be a filter on the top that will just put all the color on the same page. And for the shadow, I want deep red shadow. So you see that, wow. But I will go subtle because you can really break an artwork with this. The mid tone, I will go probably a little bit of orange. So orange, it's a little bit of yellow on this side and red on this side. This is too much. Yeah, a bit yellow like that. And for the highlight, definitely yellow. Like that. And I press OK. So now I have my adjustment layer on the top for all the color. And that boosts a little bit, that blend the color all together. So it's a little bit too much saturated. So I will just lower the opacity of the adjustment layer. You can do that. So you can make the effect to zero or to 100%. So if it's too strong, you can still put it a little back like that. And I will finish with another filter layer. Add filter layer. But this time I will take curves. Curves, curves, it's color adjustment. But I named it all the way curve. And here I will just boost a little bit the contrast because I see that there is still a lot of things that is not touching really the dark point. So this RGB curve also adds some saturation. And I don't want saturation. I always forgot about it. So I will just set the curve to lightness. And now I have a little bit of deepness in the illustration for the blacks. And just a little bit of brightening. Maybe like that. Maybe like that. I'll just turn off and on. Yes, probably not visible with the live streaming, but it just roots a little bit the illustration for the dark. And last, because it's 29, I'll take a big airbrush on a multiply layer and just do a little vignette effect. And this is just replicating a camera effect that makes the edge of the picture a little bit darker. And it helps to get attention to the center of the picture just before, after. And yeah, that's finished. Thank you very much for watching. I just take advantage to show this if you want to follow me on social media or on my website and continue the discussion on private message or on the chat. I'll be around. Thank you. Awesome. Thank you so much, David. This was great. I learned a lot. And we had some really awesome questions. And we're going to stop the live stream for now. And we'll be right back with Saptac. All right. Bye. Thank you.