 Hello everyone and welcome to this new streaming. It's the 21 March today and I hope the microphone sound is good and you also receive the video quality and everything. I get a lot of messages on the chat, also on IRC so it's hard to focus on something right now. But thank you for all your presents. I know it's not a very good time zone for everyone so thank you for doing the effort. Especially to those in the USA and in all the America who have to wake up very early for following this stream or the one who also are in Asia and it's very late at night. So thank you for doing all this effort. Today we will do the second part of shading this artwork. I see it under here and if you miss out the first part you can see always later the video is in the description of the video and also all the previous livestreams are stored in the video description of this livestream and the address of this livestream is not changing. So sorry I will put the right setup to record only the desktop maybe adding a little camera in the corner like that and preparing my tablet. So I have my files here. So today we will work on getting from this step, no not this step, this step that's where we went last time and we go to this step first so adding a little shading and texture and this step making all the detail perfect and all the little ambient and the depth and the picture and everything. So I'm looking a bit at the chat. Hello everyone. So it's really hard for me to read everything. I'm just over reading every time so if you want to make a question or something directly to me so I can answer it feel free to quote my name. There is certainly a system because I see the line in red or something it helps to attract my attention during the stream and also your question. Thank you. So we will start where we stopped at last time and it was at this step. I will open it in Krita. Okay and I will just put this chat windows always on top so it's always visible and also I'm checking if Krita my tablet is well set up because I'm always changing things. So last time we colored all the little island here with a flat color and I gave some tips to adapt the color to make it to color this very fastly with a mask that is naming the color is mask and then we added just a little pass here it was a hard light a layer with just pure violet just to reduce all the color to fit in the same palette and also to add a little ambient. Okay and today loading up today I'm gonna start with this shade layer so we have the here the full stack this is all the layer hide in here are the final artwork because it's an artwork I did but here I just make visible this layer it's a paint layer named a shade and it's in hard light also because I really like hard light and I will probably start to explain what does the hard light layer so the hard light is in the category lighten it's probably a problem to be in the category lighten maybe it was sorted in Krita in this category because the name was hard light and light lighten maybe but it's probably an arithmetic one and I will show you why so I will name it shade demo to be sure to to be on this layer and I will put a color like orange to be sure to be on it and then this type of layer if I pick a perfect gray here on my palette and just a hairbrush and if I paint you'll see that does nothing even if on the layer you have some gray painted it's because this layer paint bright things from the middle gray to the bright gray and shade dark from the black to the middle gray and so it's two blending mode into one layer on the upper part of the gray it will switch to a screen blending mode so it's a blending mode to and to to make things brighter like this you can see and if I go down here under the mid gray it will transform into a multiply blending mode so so why I'm using this and not two layers like a multiply and a screen blending mode on split layer it's because on my object here I often doesn't need to get shading and at the same time lighting in the same area it doesn't make sense if the area needs to be bright it doesn't need to be dark at the same time so for me it was necessary to find a blending mode that can do both and hard light was a good candidate I tested in the past a lot of them the grain merge was really good overlay also but these two made some too strong saturation so with this hard light I can start to make some global light on my scene just for example putting this very little slight airbrush light here and start to darken maybe a bit the edge of the scene at the same time so before doing more shading on the character and everything I will look at the chat so going a bit good I'm happy to know that the sound is working because I tweaked my microphone recently and I wasn't sure hard light is a combo of divide and multiply divide probably maybe but it looks really like screen any types for managing layers in Krita how do such a great job at it but I find myself confusing my layer when I'm working I'm just using the color color code and really small name just a single word compact name and the one I don't really need to touch anymore I put them into gray so that's how I manage the layer you see this one and this one are gray and small words to to try to to not do mistake with them I see I see so many comments very nice thank you so so for shading at first I will do something really quickly on the top of my on on my layer stack but just to explain you something and I will reduce the opacity I will consider all the the shape of my artwork like simple volume for example the head of this cat I will consider them like this and with two three angle like that just as in a low polygon video game this has a cylinder this has another cylinder this has a sphere and here another sphere another sphere no no it's not sphere it's like a tube and this in the background like a big square big cubes even because square it's a flat shape and this is cubes with the surface so by making all this volume very simplified in my head of course I am not drawing that when I am doing the color but I keep that in mind when I do all of this it's helped me to to just focus at first on shading the the right part of the artwork there is some big block to shade for at first and so if I have my light source for example on this artwork I think I pick it here a light source coming like that from the moonlight and the moonlight is probably here somewhere but we can't see it so it's almost parallel ray of light so I will get this part more dark because this wall is not exposed directly to the light this one will be like exposed to light so maybe a bit brighter here I will get a cast shadow so these are stronger than usual on all this part and all the cut here will be on this type of value it's because it's in the shadow and then I will get here a shadow and here also a shadow like that casted shadow so darker and then I will do the boons light so the light boons on this wall and light the face of this character and light a little part of this and little part here and here so this is a really simple rig and really it's a simple way to manage the light and I explained it this with simple shape because it's a bit more cryptic when I do it on the on the shading layer so I keep using a preset like that not at full opacity and I pick just under the mid-gray just a bit darker here and I start to shade what I told you I would do so big block first you see I'm not really focusing on making the little volume of the little mouse or the nose of the the cat or everything it's big block first always and also I don't focus to be really clean you see that this edge I will fix the edge so the shadow going outside of the wall later I'm just picking a big brush and trying to to get the right shading for her maybe like that so you can you can play to make a lot of things with shading a lot of expression oops sorry I'm just adding a big big block here and I want to erase it and by by seeing you can play with things is if you put something in light like that you will attract attention and focus on your scene on it and if you put something in dark like the little mouse in the corner you will put some detail that doesn't need to be seen at first but will be seen after and because we are on a blending mode that can accept also color you can also play with color red light so for example I have the the light of the moon going from here bouncing on this wall and this wall maybe with the ambient and with the brick color and everything the moon the the lights that is refracted is getting a little blue-ish so can use this little blue light to go like that on this part and also this wall also a bit so by using a big brush like that you can quickly see if the light source is good here or if you prefer to go for another light source maybe turn the the moonlight in the other other side maybe make a dramatic effect and like an alarm red light here that can helps you to to make some volume a bit more visible here maybe but all this pass is really flat so all your colors here and all your volume are still very flat with this pass so that's why it's only the first step for the edges you can use a tool like the move tool here oh yeah here this one and just push your shadow to respect a bit more your edges sometimes it's good to to can also play with moving a shadow around like that or if you shake it you can have a little blur extra blur here like that it's good to soften a shadow edge i really like to to play with this type of tool so because it's it's very flat we need then to go into the detail and for that i'm using very often a simple brush with or flow or flow and opacity on it at the same time and i'm picking the local color so i press control alt at the same time and it it pick only the color on this layer because as you can see my layer has now some shading color on it so i can pick just the color of the layer with control and alt together press on the keyboard and i see that i i showing i'm showing my face now on the on the webcam it's not useful maybe it's better if i managed to to show what i'm afraid the webcam will fall because it's really but yeah so control and alt here on the keyboard and you can sample just the color of the layer not if you press control only it will sample all the color the resulting color on your screen but with control and alt you can pick just the color on your layer so you can find back what was your color of of light or of shadow here or here so then it's a game of going small and starting to make this little shadow that are in corner of the picture and it's a it's sort of in 3d it's called they call them the ambient occlusion one so when two objects touch together it's getting dark because even if there is a lot of ray of light everywhere this part gets darker because it's hard for the light to go on it so you can work on this type of shading and also on little shadow like for example this chicken things can do a little shadow here because we have this light coming ding ding and so there is a little casted shadow but if it looks like the cat is a droning or something drilling I don't know but when there is a lot of saliva and everything so sometimes you need to play with making it accurate depending the light or making it visually looking good that's that depends how much style you want to put in your picture so so you understood how to to to shade like that and I will not so shade every little part of the scene in live it's it's only this to show you some technique and if I need to lighten because this material for example shine a bit because in front of the camera it receives some light so I can put some light reflection on it like on the banana also a bit and what I like with this technique is also I can keep blending only the light and not the the underneath color so for example if I take one of the blending mode like not blending mode but blending brush like this knife I can blend only the the shading and the material and get an effect on it and you can see that if I do this between the color it doesn't really break the edge because there is still the color that makes some area very very split but maybe for this I just need a something softer like that so it it helps me to to get some effect on the surface of object and managing my what is shining and what what is not shining so I can pick then after something and just draw a bit like this like that so at first it was the big block with a brush a bit blurry then we add some little shading and also reflection and in third path what what I do still on this same layer is I add some texture because I often get some very flat area around the drawing so what I'm doing is I often just scribble a bit a little texture on the part that deserve to receive a texture so sometimes it's little dot on the floor like that because this layer is not only good for shading but you can also use it to to do some color little color variation so if you need a little bit of noise on something or I'm not using it when there is a decal like a picture you put on the in the beginning quality was very good now it sucks oh the quality of the video of the quality of my speech Dr. Hoffman sorry sorry if it's technical and if it's about what I say sorry too so you have some texture here and you have the big block the little shading and texture and that's with more work of course what I did when I did this one so you will see the little shading the big block and texture this texture of watercolor is yes probably this brush in the watercolor set and just big splash of black like this or maybe a color a bit more reddish like that yes yes for the quality of video sorry it depends the youtube server and I'm and also my internet access soon video quality is fine here too so you can see here for example some rake effect on the wall this all little stroke at some life because I'm trying to break the the feeling of the flat textures on the artwork making a flat color artwork is very fast very fast with the quick mask tool as we saw on the live stream previously but but if I'm using these techniques I need some tips to break a bit the digital aspect so one one step I I keep adding is another pass of texture sometime and this time is with soft light svg but as you saw you can do it on the hard light maybe for this artwork I was a bit a zealous to make two pass of texture maybe one is is just necessary and then I advise a paint layer so this is just a paint layer on the top because getting all of this shading with problem with everything with textures I think it's really good to just take back a paint layer a simple paint layer and with a little brush like this one and just for example adding details manually picking the color and shading little part you you want to shade manually so for the shyness of of the trash can I prefer to make them in paint layer on this one so it's a paint layer but all of this is still under the ink and frame so I'm still working if I paint I still paint under the line and at this step what what I do also on my line is also I start to block the alpha so there is a little lock alpha here and and this little lock alpha if your lines I will just not select opaque but isolate the layer oops sorry I selected all the pixel on the layer that's not the thing I wanted to do just isolate the layer yes so now we can see only the alpha so the transparent color and the line so as my line as you saw on the previous stream are on a single layer I can lock them and then paint on them a color so as you can see on this drawing I just drew this line in yellow for the smell I will just move back so this line were part of the line art but I prefer to get them in in white and the fur of the cat here was maybe too strong in black so I just pick a brush and a color I am picking a pink so it's really visible and so I can paint only the line if I want on this layer so this is small adjustment because I saw that if I kept the color of the original line art the transition was a bit the contrast also with the white fur and this contrast was a bit too strong you see the line the underline is too big it makes a stylization effect I don't like just so I prefer to make it more bright and I know artists who does it for every material so they pick just the color here reduce the opacity and paint to get all the line matching the the color it does a very soft effect and it's something I like also the color red line effect but it takes time and I'm not fond of getting it over all the artwork sometimes on pepper and carrot I do it you can see it on the comics but I try to to only use it on specific object when the contrast is really hard to feel it's very hard to me so I will have a look at the at the chat can you explain more on how you decide on lighting what color you use for shading yes that's the right moment for this so when I made this layer on the top to to decide the the direction sure I didn't pick a nice this direction for nothing for example in this artwork I will just remove all the shading painting and texture I will show you what alternative I could have so if the light for example if I had like sorry I probably need to create a new layer on top with hard light just to to make some quick notes well so if I had like a car in front and light or maybe a street with a lot of light here I would have this part like this here and this part in shadow so they would have strong silhouette for sure but because I want these two parts of the drawing to be read at first when we when we open this artwork it's not a very good choice if I want the the other way around so making all of this dark like this is the night and we have the shadow coming from here this is like a flash you know when you pick a photo and you are in front and you are also the camera and the source of light and this is not a very good choice because it makes all everything appear in distance here very mysterious so I should I would have picked this if the if we had like a monster in background like this and I wanted to make the picture underline the mysterious effect of this and a contrast between this scene being fun and this scene being mysterious because this light is not it's not bad because you can get your character very light and with a very front light but it just depends what you want to store retail the lighting is really a storytelling device with choosing the one from this side as I did and getting this in light and this a bit in secondary light with the boots it allows me to to get people to to get the context maybe first then move to the next character here and see her face and then understand why she does this face so it's like getting a little round in the picture and to try to play with that and this is just how I designed if I was putting the the light on the other sense on the other direction sorry for my English here it would have been much more complicated for me maybe to to story tell exactly the same story even if here I can expect like a boons of light here so as you can see playing with sketching the light is really quick you can pick a big airbrush and just do some sketch so this allow you to to see quickly what to do what will serve your picture or not and then for the color of shadow the shadow is doesn't really have color so you can't really advise pick always this color and it will be always good I know that there is a lot of artists in comic that says hey pick a a desaturated violet and it works every time but it's more complicated than that a color a single color a bit desaturated with a bit of gray will work most of the time because the truth is a shadow is just the lake of light there is no light on the part but there is still some light if there would be no light at all it would be pure dark pure black even you wouldn't see anything and the fact you see something in the shadow if there is some light in a scene like that it's a light that comes maybe from the sky the sky is a is a big source of light so it's a little blue like this that that comes even coloring the shadow even if the the source of light is very for example yellow everywhere on the scene the the part where the the yellow color is not touching it's what we name the shadow and this shadow is filled with another source of light it can be also a red light that is here so there is always a light always a little light that is filling the shadow so that's why if you pick a color for the shadow for example you pick a dark blue it's because you know that you are not painting really a shadow you are removing a bit of light and replacing by a very low light in blue so it's just how you you turn it around in your in your mind you not pick a color to paint a shadow but you try to emulate some work of light and by removing light it just means going darker and darker so i hope i answered this question sorry to be a bit long about it or picks dark violet on almost any kind of shadow part because we need to save time yes yes i understand this type of of production tips with people who picks always the same shadow but when i look at their artwork for me it looks industrial color and line also sometimes end up making your character looks like they glow yes yes it's good it's a good tips for for glowing effect but i do totally agree ah good so let's move on and going back to not not the shadow the texture paint contrast and repaint so now i will speak about the last step and the last step when you reach at this this coloring for a lot of artists they are ready to publish like that and and it's okay but here i like to put some things over on the top of the stack so the first thing i do is a layer that i named dof for depth of field sorry i have a bit of problem with pronunciating the f so depth of field and it's a it's a layer with the light and mode and this light and mode paint only oh it's a bit it's a bit complicated for me with my limited vocabulary to explain but if you put some violet color on it like this bright violet and if the line are dark under the violet will only affect the dark line if the lighten means it will lighten only the part of the picture that are dark maybe darker than your color so it's a bit confusing but you you will see quickly how you can you can play with it for example on the background all the line were too strong and without this the character looks almost for me at the same weight than this character and this character visual weight it's a it's a sort of contrast and by adding this it's like adding a distance fog on the scene so the more distant the the object are and the less visible they will be because the the line will be will be sort of lighten i can i can show you with uh if i had a pass of uh oops ah sorry just made too much of of undo and now i don't know why but i have like a ghost layer ups here so on this layer if i pick some green yes and and you will see you can get some fog effect in the distance so this is really extreme but i was hoping it was like a nice demo to show the content of this layer this layer property and if you if you use the u saturation and darken a bit like that you can see how it push things into the distance because all the low value are affected by this layer and then you you can paint things to to be really more distance i i also use this layer this lighten layer when i have i could have used it here to to to add some smell or some effect on the top because it's really good at overriding a bit the the dark part of the picture and if you pick a very low color like that it can also just put all your scene on a star on a sort of fog so that's why i name it depth of field maybe it's not a very good one but i always use it to when i have my background that has some line and i want to to calm down a bit like that then the next uh the next is is a ambient color ambient color so it's just a filter uh and by filter i mean like a manual filter it's a layer fillet with a single color here it's violet and it's in color blending mode at 10 percent so if i put it at 100 percent it will color all my picture into only shade of violet it's not what we want but if i reduce it to 10 percent for example it will just subtly do some influence on all the shade of the picture so it helps again to tie all the palette together sometimes i have some here the orange of the cat that was maybe too different of the of the scene that the color and i really like it because it makes a comic effect with color very different but if i want to make the color a little bit more realistic i know that adding just a 10 percent in color mode over all my artwork at the end just helps to to make the picture colors like if they all live together and then it's adjustment so there is one that i really like is the saturation layer and on the saturation layer what you paint on it is just some stain to to manage the saturation of the picture so this is when for example the cat was now good for the color for the u but it was not really attracting the the the eyes so putting a saturation just a little bit higher i don't know if with the video compression if you if you can see the difference between this and that and it might depend also of your screen but it's like making the color a little bit fruity and also use this to reduce the saturation so on the on this part i really said the saturation as well yes it was on the bananas the bananas was a bit too too glowy so i really said it to be a bit more grayish to not stall the focus point and then just a normal paint over because with all this lasagna of of layers with all these layers of layers of layers there is things that you can't control and getting just a normal paint layer on the top for last minute fix so for example the white of the eyes here it's it's 10 times easier to fix them in the top layers at the last minute than to go back on all the stack and and try to know where when i should have put this a little bit brighter so it's a little paint layer and on this paint layer i'm doing usually little spot little white spot or little correction it's it's very subtle sometimes yes i withdraw for example the character they were very not a lot of details so i i quickly add tiny detail on the top and then the last filters i'm using and this is a filter it's a sharpened filter so this is here on the little add a new layer and you add a filter layer so you will get this dialogue and if you go to in ants and sharpen you can add like a sharpened filter like this on the top so this type of layer of very resource intensive if you want to paint back on your picture i advise you to to put off the visibility but if you press them on you will see that the detail will get a lot crispier on the screen so you will get from something blurry like that to something very sharp like that with all the detail about your textures like here on the wall very visible so obviously the default setting of the sharpened filter is a bit extreme you can see it's very noisy so when i when i use one for example mine is here i reduce the opacity of the filter here just 30 percent it's just to to go from this to this to get a little gain so all the texture pop a bit more like that and it's looking a bit better in my opinion but yes it has a drawback you have to deactivate it each time if you want to to go back painting your picture and reactivating reactivating it then to get this this type of a sharp result and here there is another layer but i think yes that's just my notes on the top so that's all for this shading method and if you have now question i will just look at the at the chat during five minutes and answer them and depending the answer then i will finish the the the little livestream so wow a lot oh boy we reached 100 viewer oh thank you okay so it was here depth of field yes my accent what is pepper and carrot about it's a webcomic with a little witch and an ur cat and you can find it on pepperandcarot.com it's probably in the video description is Krita an awesome program of course can it be used to make anim backgrounds sure it can time to make anti oh my god thank you Franco David do you use python scripting feature in Krita 4 uh taiman uh sorry i don't know a lot how to to write things in python uh i'm a python not scripter tweaker i changed the number here and there on already existing script so right now i just look at the script and i just enjoy looking at them uh and using them as a user but not yet i'm not making my own script it will come with time i need to learn more python when learning the technical side of Krita did you look at tutorial or did you self teach um but at that time there wasn't a lot of tutorial uh it was back in 2009 or 2010 almost 10 years ago now and um it was really easy to to find the feature i was needing so and there is also another effect if you learned a painting software it can be a photoshop corral painter or something and when you open another new painting software you might not be able to manage 100% of the feature at first but you can really really quickly find everything you need very quickly because the vocabulary is the same because all the features uh they do think differently but you know you already know what you want to to do as effect and you can see directly uh oh this is a brush this is where the blending mode are uh this is the layer stack and this is a filter and when you get all this logical brick you can quickly already start to to paint in any software so it was really quick to to get the first fundamental of Krita and then i started to to make the tutorial to to to make more tutorial about it any advice in leotine comic i mean in planning the layer do you usually do one panel one file aha so for this the best is uh to dive in a real comic page took took took i go in my pepper and carrot folder in my webcomic and i will pick uh episode with with a lot of layers so maybe this one no i showed it last week so yes this one and first page and you will see the the structures of my comic page all the page and all the krita files are on pepper and carrot so so if you want to open this file you can go on pepper and carrot go to the source category and then you will access to every krita files of every 100 page i made of pepper and carrot but i usually layout pepper and carrot page by page because it's more convenient for publisher and being published for pepper and carrot is one of the target of the project also so having a diffusion on paper printed uh so i started pepper and carrot with the strip format making all the panel on the same page for all the episode and then i i started to break down everything page by page and my file my layer structure is like that so i will turn all down so usually what i have is on the top a frame layer so this is a i will just reactivate the line because it doesn't look good without the line so the on the frame layer oh i converted it to a paint layer this one yes it was to make this little rune dish border so but the the frame layer is often a vector layer so i can move the panel a bit when i need to adjust and then i have my line i have my painting under the line and some things that i show you on this stream so uh the fog effect like this on the floor it's a lighten the the death of field the dof i couldn't really spell some highlight here for the little star and highlight on the character so highlight can override all the line of the artwork like that and then filters like sharpen here i have also a defocus but this one is really resource intensive and i use that only on this episode so the defocus is just a blur a gaugian blur and i painted on this layer part really uh sharp and part very blurry here because it's in foreground it's a bit more blurry you see and it becomes a bit blurry so it's it's just a focus a gaugian filter a blur and because on critter you can paint on filter layer you can go uh to black if you don't want to to remove all the effect and in white to put the effect to the maximum so here you can see that this is a blur filter up painting it black again so i get all the detail on her face and here i can make the foreground a bit more blurry like that of course it takes a lot of time to compute so a texture on the top and this is just a slightly paper texture so it's hard to show you because this is very subtle maybe if i increase now the here for example the you have a little paper texture if i enable and disable it and this is just to make a little grain a little aspect more traditional a composition filter it's just some composition line for me when i i do the the composition of the panel to get the the element at one third it helps me to to compose my panel and to see where i want to frame things like that sorry i will drink a bit of water so i will just scan the chat for another question hello david which linux distribution are you using it's very okay uh is doing an amazing work at replying everything uh he's a pepper and carrot contributor thank him again for managing here and he replying uh well it's uh yubin 2 17.10 gnome yeah you can find it here there is netli app image yes app image of krita but the release of krita is tomorrow so krita 4.0 will come very soon so thank you very much again for uh yeah so yes i was just checking the chat before saying the the last goodbye so thank you very much for following again this uh live streaming if you want to see later all the streaming a check in the description of the video there is all the the the live streaming saved from the previous edition in the description they are listed it will take like three or four hours to get this one computed by youtube to appear on the list but in two or three hours you will see the link and also next week i will try to do something traditional maybe showing how i do my ballpen technique or how i draw on paper i have a better webcam now so thank you very much for following again i'm repeating myself maybe i'm a bit tired this week um and uh if you want to continue discussion you can always go to paper and carot.com in the community uh part of the website there is a link to our telegram chat i iotc channel and everything and i will be on the iotc channel uh so thank you very much and see you next week bye