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Ubuntu 16.04 for my digital painting workstation

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Here are my full notes, to transform a Ubuntu 16.04 fresh install into Linux Mint  my workstation machine with all apps I need. I tried to write it with details for (almost) GNU/Linux beginners. I started to write notes like this in 2011, a long tradition! Finding all the good package, the settings, living multiples installation process is always hard and a very time-consuming work. That's why I publish my install notes: to share them. I hope it will help you and I'll make you save time ! 

Note :  all was tested and written for Ubuntu 16.04 main edition. 
All of this informations are not meant to be compatible with other distribution or other version,
Don't be surprised if the note here are not working in another release, do it at your own risk.

Screenshot gallery :
Here are screenshots of my system. Click on them if you need to watch full size.



Nemo file manager with *.kra file preview (top-left),  Compiled Krita 3.0 (bottom-right)


Eyes of Gnome 3.18 (top-left), Screenfetch with system infos and theme (bottom-left), Cinnamon's Wacom GUI panel (top-right), color tool (center) 


Video tools: Kdenlive (top-left) and SimpleScreenRecorder (bottom-right)


Blender and the Cinnamon menu


Tools I'm using for Pepper&Carrot: Nemo with RabbitCVS plugin to get a GUI for Git (top), Inkscape for speechbubble and dialog, and Git in terminal.


Pepper&Carrot bash scripts: installer, renderfarm and minimal GUI menu


Working on the website with Geany and a webrowser and Gcolor2 as a color wheel.


General install advice

Preinstallation :

First: Backup, Backup and Backup your datas. Done? Let's move forward! 
Always prepare your disk before doing a new linux install ( and obviously backup any important data on a external disk before start ). Here I use the partionning tools ; GNOME Disk or Gparted. 

I usually create 3 partitions :

  • A small one for swap ; two time the size of my RAM is ok. In doubt, I create one of minimum 8GB.
  • A 25GB minimum partition formated as EXT4 for the Linux system. ( Note: I'm using a full 120GB SSD disk for it )
  • The last part of your disc, EXT4 , bigger, for your home. It means your documents, datas and user preferences. (Note: I'm using a 250GB disk for this. )
Dowload and burn a DVD or make a bootable USB key: 
If you come from a Mac/Windows or another GNU/Linux system; You'll find all you need to know here on the official Download page for the Ubuntu desktop. Read the guide and launch your installation media. 

Installation :
While installing be sure you checked the support of proprietary format , and also update while installing.
It's two checkbox on the install process, inviting to download update while installing, and use mp3/flash proprietary technologies.

When it ask for the destination disc to install Ubuntu, select the last option to make a custom choice of partition :
  • Our small 8GB partition use 'Swap'
  • Our 25GB partition for system need to be formated as Ext4 and mount the root ' / '
  • The last part , bigger, for our documents as Ext4 to use ' /home/ '
This way of separating '/' and '/home/' make easier maintenance in case of reinstalling, you can keep your /home/ and just reinstall the system on '/'...

First start-up

Upgrade:
When the install process is over, and you first login into your new installed Ubuntu 16.04; launch a terminal from the menu ( or press <ctrl><alt>+T ) and upgrade the system. Here under is a line of code to copy/paste on the terminal. To copy <ctrl>+C , to paste in a terminal it's a bit more complex <ctrl><shift>+V

sudo apt-get update
sudo apt-get dist-upgrade

Additional driver:
Launch in your menu the "Addtional driver" to check if your graphic card, CPU or other hardware don't propose a proprietary driver. 
If they do, it can be a good idea to test if the hardware is faster with it. For my Nvidia gfx-card, the gain of performance and stability is better with the proprietary driver, I use the last nvidia-update proposed. ( Note: restart your system after this )

Desktop environment choice:

On the top of a fresh install you can install as many desktop environment as you want. The big one already have *.iso ready-made : Kubuntu for KDE/plasma5 ; Xubuntu for XFCE ; Lubuntu for LXDE... etc... This spins contain mostly a set of packages recommended to run with the desktop-environment and a bit of branding. My own choice is the Cinnamon desktop with a panel on top, and clock centered to look like the GNOME desktop.

sudo apt install cinnamon cinnamon-desktop-environment

To switch desktop, log-out , at login screen, click on your name and next to it on the corner, click on the Ubuntu logo ; you'll be able to choose from here the dekstop environment you want to use. Switch to Cinnamon. Then login with name and password.

Note about the theme I use:
- Icon theme : Mint-X-Aqua  ( download as zip, and unpack all Mint-X folders the folder in home/<username>/.icons/ , then setup in Cinnamon System Settings)
- GTK theme : Mint-X-Aqua ( download as zip, and unpack all Mint-X folders the folder in home/<username>/.themes/ , then setup in Cinnamon System Settings)
- Cinnamon theme : Loki ( available via the GUI in Cinnamon settings )
- Windows manager theme (top bar): Numix ( sudo apt install numix-gtk-theme , then setup in Cinnamon System Settings)
- Fonts : Droid Sans 9 ( sudo apt install fonts-droid-fallback , then setup in Cinnamon System Settings)

Get back the control of yourAlt key for Blender and Krita
Launch the System Settings panel - >Windows -> Behavior (tab) 
for 'Special key to move and resize windows ( use <Super> )
also; remove the 'Attach dialog windows to the parent ; it's annoying in digital painting software.

Synaptic for a better package manager :
Synaptic is a bit ugly, it looks like a big database of all package available.
But it is quick, and with a little tweak it can have a powerfull search field to navigate the packages.
I also install gdebi, it opens the *.deb packages with a double-click on it and display a lot of information on the package before installing.

sudo apt install synaptic gdebi
sudo apt install apt-xapian-index 
sudo update-apt-xapian-index -vf
( run last line twice )
(source: http://ubuntuforums.org/showthread.php?t=1178974 )

[update] Fix Cinnamon panel disapearing after screenlock:
The culprit is the gnome-screensaver package, two screensaver launch at same time. To uninstall this package without removing anything else:
sudo dpkg -r --force-depends gnome-screensaver

Color profile:

In Cinnamon, the color calibration GUI works out-of-box for my PantoneHueyPro colorimeter.
There is a small hic-up in case of multi-screen when changing screen resolution or dispositions: the color profile might not load correctly. Removing the file ~/.config/monitors.xml fixes it.

Wacom tablet:

In Cinnamon, the GUI for Wacom tablet offer minimal yet powerful set of options: set buttons, set proportions to the screen...etc... The GUI is limited because you can't assign buttons modifier like <Ctrl> , <Shift> and <Alt> ...

Xsetwacom:
For those who really need a way to assign this key and do more, here is the (big) workaround involving command line, script and other dirty things a normal user shoudn't consider as something normal to setup an hardware ( graphist needs a GUI and focus on making good graphism, not script/code ) :

1) Get your tablet device name :
xsetwacom --list
This command returns the name of my Wacom device, useful for my script :
Wacom Intuos3 9x12 Pen stylus   id: 11type: STYLUS
Wacom Intuos3 9x12 Pad pad      id: 12type: PAD
Wacom Intuos3 9x12 Pen eraser   id: 15type: ERASER
Wacom Intuos3 9x12 Pen cursor   id: 16type: CURSOR
Note for reference your tablet pad name, mine here is Wacom Intuos3 9x12 Pad pad in this example. Select the name, then press <Ctrl>+<Shift>+C to copy it in your terminal.

2) Create a Xsetwacom bash script
Open the file manager (Nemo) , and in the folder of your choice ( I use /home/deevad/Script on my installation ) create a new empty file with right-click , "create a new document">"Empty document". Name it tablet.sh , then open it with a text-editor (Gedit). Inside it write a script like this with your tablet name:
#! /bin/bash
xsetwacom set "Wacom Intuos3 9x12 Pad pad" Button 1 "key Shift_L"
xsetwacom set "Wacom Intuos3 9x12 Pad pad" Button 2 "key Control_L"
This example script will map <Shift> to the button 1 of your tablet (resize brush in Krita) , and Control to the button 2 ( pick color on Krita/Gimp/Mypaint) of the tablet. The special keys use standard names, for assigning other type of key I paste here a list : http://pastebin.com/aXGDkJTU

If you want to assign a modifier ( eg. Ctrl ) on the stylus button, it's also possible:
xsetwacom set "Wacom Intuos3 9x12 Pen stylus" Button 2 "key ctrl"
You can test all your xsetwacom lines inside the Terminal before writing them in your script. This way you'll test if you have a Button 5 , or Button 20... etc...
For my Intuos 3, the layout of the right side is like this ( I found it with guessing and trying ):
# ---------
# |   | 1 |
# | 3 |---|
# |   | 2 |
# |-------|
# |   8   |
# ---------
When your script is finished you can save it. In the file-manager ; right-click on it again > Properties > Permissions > and in front of Execute check the box for 'Allow executing file as a program'.

3) Run it, create a start-up

You can double click and run the script. Your key on tablet will be mapped. But all setup of the button will not last a reboot. That's why we made a script to execute it at each start-up. Go now on 'System Settings', then 'Start-up application' , press the 'Add' button , give the form a name of your choice, for the command pick your script via the 'Browse' button, and comment what you want about it.

More informations about Xsetwacom:

Full featured Nemo filemanager :

I prefer Nemo filemanager, it's often proposed with the Cinnamon desktop.

sudo add-apt-repository ppa:webupd8team/nemo
sudo apt update
sudo apt install nemo nemo-fileroller nemo-rabbitvcs nemo-share nemo-emblems
This is in case you meet issue with default Cinnamon/Nemo package, just fix package, and relaunch.
sudo apt-get -f install
To set nemo as default filemanager
xdg-mime default nemo.desktop inode/directory application/x-gnome-saved-search
Folder colored:
To add the 'folder-color' feature to Nemo :
sudo add-apt-repository ppa:costales/folder-color
sudo apt update
sudo apt install folder-color-nemo nemo -q
Samba sharing on network with a right-click:
Just right click on a folder and share it, the service will auto-install everything and prompt you for a restart.

Thumbnails for Krita, Mypaint, Gimp:
Here is a quick thumbnailers for ora, kra, xcf, psd files: 
sudo add-apt-repository ppa:mmolch
sudo apt update
sudo apt install mmolch-thumbnailers
(source: http://moritzmolch.com/1749 )
(source2: http://www.webupd8.org/2013/10/install-nemo-with-unity-patches-and.html )
(source3: http://askubuntu.com/questions/260244/make-nemo-the-default-file-browser )
(source4: http://www.webupd8.org/2015/03/nautilus-nemo-and-caja-extension-folder.html )

Applications

Krita:
I compile Krita from sources;  check the dedicated article:  'Building Krita on Linux for cats ' ; But if you want a good version easy to install, Krita 2.9.7 is on the package manager :
sudo apt install krita

Gfx tools
Gcolor2 is a colorpicker, Inkscape my favorite vector editor, Gimp for manipulating images and Shutter for taking advanced screenshots.

sudo apt install gcolor2 inkscape gimp shutter

Gmic:
The plugin for Gimp and the CLI tool:

sudo add-apt-repository ppa:otto-kesselgulasch/gimp
sudo apt update
sudo apt install gmic gimp-gmic

Blender:
Blender, the 3D software:  
sudo add-apt-repository ppa:thomas-schiex/blender
sudo apt update
sudo apt install blender 

Audio tools
Here is a list of classics: Clementine for playing music, audacity for audio editing... 

sudo apt install clementine audacity mencoder 

Video tools:

SimpleScreenrecording:
SimpleScreenrecording is the best capturing video recorder, with audio, with pause, preview, etc... the best way to screenrecord your desktop! (and I contributed to the project, so I'm proud of it :P )

sudo add-apt-repository ppa:maarten-baert/simplescreenrecorder
sudo apt update
sudo apt install simplescreenrecorder

Kdenlive:
My favorite video editing suite since 2009. I edited many Youtube videos, two DVDs and more.
sudo add-apt-repository ppa:kdenlive/kdenlive-stable
sudo apt update
sudo apt install kdenlive 

Dev tools
My little development tools I use for Pepper&Carrot:

sudo apt install git-core geany wget unzip parallel diffutils grsync mc filezilla imagemagick ppa-purge exiftran lftp glipper screenfetch

Remove long notification for parralel:

parallel --bibtex

I also like the text-editor Atom, especially for the markdown color syntax highlight as I store many document in markdown:
go to https://atom.io/ , they propose the *.deb. Open this deb with gdebi to install it.

Hexchat:
For chatting on #krita freenode and #pepper&carrot ! Xchat2 is old ; Gnome-Xchat have weird interface imo ; and Polari is too young on Ubuntu repo ( can't Auth to a server, but promising Gnome app ).

sudo add-apt-repository ppa:gwendal-lebihan-dev/hexchat-stable
sudo apt update
sudo apt install hexchat

Apache and Php:

I run my website (PluXml) on a private local install before uploading them remotely to my server. Here is how I setup it:

sudo apt install apache2 
echo "ServerName localhost" | sudo tee /etc/apache2/conf-available/fqdn.conf
sudo a2enconf fqdn
sudo a2enmod rewrite
Then PHP :
sudo apt install php libapache2-mod-php php-gd php-xml php-mbstring
sudo /etc/init.d/apache2 restart
Linking the localhost to a folder in my documents ( /home/deevad/peppercarrot/www ) change it to your taste! easier to work and do backup:
sudo rm -r /var/www/html
sudo ln -s /home/deevad/peppercarrot/www /var/www/html
sudo gedit /etc/apache2/sites-available/000-default.conf
add the following to the end of the file :
<Directory "/var/www/html">
  AllowOverride All</Directory>
then:
sudo service apache2 restart

Other:

Amazon link:
A one liner to clean the Amazon link in the main menu

sudo rm /usr/share/applications/ubuntu-amazon-default.desktop

Note for nicer custom icons on Favorite launcher ( in activities ) :
Some icons looks really bad and this is a issue when Unity launcher display them like jewels on the side of your screen. Some are so ugly, it should be considered as bug :P  I think in my number one of horrors : Zim, Hexchat, gcolor2 ... If you want to replace their icons, it's possible :
1) Go to /usr/share/applications with Files and locate the launcher of your application. Copy it. 
2) Paste the launcher in your home/<username>/.local/share/applications ( Ctrl+H to unhide the folder starting with a dot )
3) Right click on the launcher, then propriety, and set permission to executable ( Allow executing file as program ) and accept.
4) Right click again on the launcher , then propriety, and click now on the icon slot. 
5) You can browse to the new icons you saved on your disk, *.png or *.svg works fine.
6) restart or logout. 


You have other tips? Do you need help? Use the comments;  I'll do my best to answer :)


Timelapse Demo: Comic page inking with Krita

Things to know from Krita 2.9 to Krita 3.0

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This article is a collection of notes from my transition between Krita 2.9x to the next generation Krita 3.0 on GNU/Linux Ubuntu 16.04 . Krita 3.0 is not released yet, and still in a period of bug-fix and beta-test. Here are my notes as a beta-tester to ease my testing with it. I'll probably update this article on the way. 

New preferences folder:

The user preferences (brush, windows layout, palette) stored by Krita changed directory. Here are the command line I do to port my 2.9 preferences to 3.0 :

Copying the configuration files:
cp ~/.kde/share/config/kritarc ~/.config/kritarc

Copying the folder with the user's resources:
cp -R ~/.kde/share/apps/krita ~/.local/share/krita

Updating the file path inside all the *.blacklist files:
cd  ~/.local/share/krita
find . -name '*.blacklist' -exec sed -i 's|~\/.kde\/share\/apps\/krita\/|\/.local\/share\/krita\/|g''{}' \; 

Links:



Krita Brushkit v8.0

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Hi. While beta-testing Krita 3.0, I decided to do a big cleaning in my brush-presets. I wanted to have something looking good when I was painting, especially while using the new presentation of Krita 3.0 for the right click pop-up on canvas. That's how I started this new version of my brushkit for Krita, the version 8. As usual with all my brushkit (I maintain them since 2009), I decided to distribute them for free, for anyone. I also took time to write here a full description of every 42 brushes you'll get in the pack. All this big work couldn't be possible without the support of my patrons. This brushkit is a free bonus on the way of more episodes for my webcomic Pepper&Carrot.  A big big thanks to them!

Brush description:

This eraser is good for erasing single small lines. At a bigger size, it can erase soft area with various level of opacity.

This eraser always erase 100% without doing variation on opacity. It is useful for removing a part of a drawing.

A preset with low opacity to draw construction lines and sketch.


The preset I use to do line-art and for drawing in general. It has a subtle grain.


The small brush I use to draw and to paint small detail. 


Another brush I use when I draw landscapes, they require usually less precision than characters.

A preset for deforming sketches. I correct my proportion with it.
Note: 'Liquify transform' does a better job on final artworks, but this brush is faster while sketching.

A large and rough brush for sketching mass, and blocking basic plane of a shape.

My favorite brush for painting. I often render everything with this one.

A variation of my favorite brush, more expressive and a bit more dirty for more expressive speedpaintings.

A simple speedpainting brush for general usage.

A soft brush with a wide range of opacity level mapped on the pressure of the stylus.
I use this one to pre-color a first pass under my pencil artworks. 

A preset to draw quick shapes by defining the outline.

A brush to paint details with a bit of color mixing in them, to mimic gouache.

A brush to blend color at low opacity but paint at higher opacity.

An attempt to produce watercolor fringe and blending at the same time.

A brush to smooth every transition of colors to a deadly perfect gradient.

A brush I only use to push pixels around and create smoke.

A big airbrush to fill background of drawings with custom smooth colors.

A brush to adjust color, or to re-color a picture.

A brush to lighten only, useful to create fog or increasing sfumato.


A shadow brush to darken area, to add shadows or to quickly vignette corners.


A brush to vivid colors of an artworks or to increase contrast.

A brush to lighten area with a lot of saturation, for special effects.

A clone brush ( ctrl to pick the origin ) to duplicate area of an artwork.

A pixel brush with default size to 1px, to draw guides and to fix Gmic[colorize] aliased colormap.

A brush to draw pseudo-screentones with control on the stylus pressure.

This stamp assists me when I need to emulate a lot of little strokes.


A stamp to add dirt to objects (eg. on Pepper's face)

A stamp producing big splat to add an easy artisty background to any unfinished speedpainting.

Drop of painting or flying dust, this stamp can do both and add particles in the artwork.

This stamp produce (heavy) stylized leaves. 

Detailed and blury herbs to add a quick foreground.

Group of strokes with subtle herb texture.

Little sparkle of light for magical fairy-dust effects.

This stamp add a quick texture looking like stone crackles to flat surfaces.


This preset ease the process of painting small lines for old wood texture.

Easy little stars glowing for any backgrounds.

A brush to ease the sketching of chains.

A stamp to assist sketching mass of plants with many leaves.

A quick texture for adding variation to floors.

A big texture for backgrounds.

Download the bundle :


To install the bundle:

Note: compatible with Krita 2.9.11 and future Krita 3.0 (not released yet)
  1. Download deevad-v8.bundle file on your disk.
  2. Open Krita and go to the top menu :  Setting > Manage Ressources
  3. In the 'Manage Resources Bundle' dialog appearing; press the top 'Import Bundles' button.
  4. Select the file deevad-v8.bundle on your disk , using the file explorer appearing on your screen, then finish by pressing 'Open'
  5. The icon of the brushkit should appears under 'Active bundle' ( the left column )
  6. Press OK on the 'Manage Resources Bundle' dialog.
  7. To end, I advice you to close and restart Krita: this way you'll have the brush tag deevad-v8 in your 'Brush Preset docker' to filter them.
  8. Have fun with painting!
( To uninstall: Setting > Manage Ressources, then 'Open resource folder', and delete the bundle file in the bundle folder. Restart Krita.)

License:

This brushes are licensed under the Creative Commons Attribution 4.0  to "David Revoy, www.davidrevoy.com".
This attribution is necessary in case of redistributing, commercializing, or modifying the brush kit.
This attribution is not necessary in case of usage (you can paint any artwork you want with it, you still own totally your artwork).
This attribution is not necessary in case of doing screenshot/screenrecording of Krita and have the brushkit visible. 

Sources:

Live streaming on Twitch

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I'll do a live video streaming on Twitch tomorrow, and exactly ten hours before the end of the Krita Kickstarter Campaign 'Let's Make text and vector art Awesome!'. A good way to celebrate together!


★ What is it?
It's a live video, I record my desktop screen while I'll create a painting from scratch. It will be fully commented with a microphone: I'll give you my tips to do an artwork with Krita. You'll also see my face recorded in the corner of the screen thanks to a webcam. I'll do a speedpainting with Krita and you can join to watch and interact with me using a chat on Twitch; I'll reply questions related to Krita, Painting, Art, Open-source and Pepper&Carrot. 
(Example of my past stream: test1 and test2 video recorded last week-end, for testing purpose ; video test1 had glitch and package-lost ; all was solved in video test 2.) 


★ Where and When ?

On the Twitch.tv website ; Krita official channel:

Tuesday 7 June 2016,  start at 21h00 (UTC+2, Paris timezone) to 23h00

 

I hope to see all of you around!

Krita Brushkit v8.1

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Hi. While beta-testing Krita 3.0, I decided to do a big cleaning in my brush-presets. I wanted to have something looking good when I was painting, especially while using the new presentation of Krita 3.0 for the right click pop-up on canvas. That's how I started this new version of my brushkit for Krita, the version 8. As usual with all my brushkit (I maintain them since 2009), I decided to distribute them for free, for anyone. I also took time to write here a full description of every 42 brushes you'll get in the pack. All this big work couldn't be possible without the support of my patrons. This brushkit is a free bonus on the way of more episodes for my webcomic Pepper&Carrot.  A big big thanks to them!

Update 16 august 2016 :
Version 8.1, I added 13 brushes, they are labeled [New] here.


Brush description:

This eraser is good for erasing single small lines. At a bigger size, it can erase soft area with various level of opacity.

This eraser always erase 100% without doing variation on opacity. It is useful for removing a part of a drawing.

A preset with low opacity to draw construction lines and sketch.


The preset I use to do line-art and for drawing in general. It has a subtle grain.


The small brush I use to draw and to paint small detail. 


Another brush I use when I draw landscapes, they require usually less precision than characters.

A preset for deforming sketches. I correct my proportion with it.
Note: 'Liquify transform' does a better job on final artworks, but this brush is faster while sketching.


[New] A brush with a grungy aspect, to block basic silhouette without caring about details.
This brush was always on all my brush pack, but were removed in 8.0. Now restored in 8.1.

A large and rough brush for sketching mass, and blocking basic plane of a shape.


[New] A large used old brush to add textures to backgrounds

My favorite brush for painting. I often render everything with this one.


[New] A derivation of my favorite brush, pressure less ( 100% painting ) for sharp strokes.


[New] Another derivation with smaller size and smoother pressure sensitivity.


[New] A brush with a special brush-tip to help me to speedpaint hair gloss/reflection.

A variation of my favorite brush, more expressive and a bit more dirty for more expressive speedpaintings.


[New] A derivation of the previous brushes with a less stronger opacity to glaze area.


[New] Another big flat brush with a specific texture to add a painterly feel to large area.

A simple speedpainting brush for general usage.


[New] Another speedpainting brush, but rounded and with soft borders.

A soft brush with a wide range of opacity level mapped on the pressure of the stylus.
I use this one to pre-color a first pass under my pencil artworks. 

A preset to draw quick shapes by defining the outline.

A brush to paint details with a bit of color mixing in them, to mimic gouache.

A brush to blend color at low opacity but paint at higher opacity.


[New] A brush with blending and a paper texture

An attempt to produce watercolor fringe and blending at the same time.

A brush to smooth every transition of colors to a deadly perfect gradient.


[New] A brush to smooth only, but with bristtle effect.

A brush I only use to push pixels around and create smoke.

A big airbrush to fill background of drawings with custom smooth colors.

A brush to adjust color, or to re-color a picture.

A brush to lighten only, useful to create fog or increasing sfumato.


A shadow brush to darken area, to add shadows or to quickly vignette corners.


A brush to vivid colors of an artworks or to increase contrast.

A brush to lighten area with a lot of saturation, for special effects.

A clone brush ( ctrl to pick the origin ) to duplicate area of an artwork.

A pixel brush with default size to 1px, to draw guides and to fix Gmic[colorize] aliased colormap.

A brush to draw pseudo-screentones with control on the stylus pressure.


[New] A brush to add a texture on reptilian skins ( a speedpainting shortcut ).


[New] A textured squary brush to mimic a sort of chalk.

This stamp assists me when I need to emulate a lot of little strokes.


A stamp to add dirt to objects (eg. on Pepper's face)

A stamp producing big splat to add an easy artisty background to any unfinished speedpainting.

Drop of painting or flying dust, this stamp can do both and add particles in the artwork.

This stamp produce (heavy) stylized leaves. 

Detailed and blury herbs to add a quick foreground.

Group of strokes with subtle herb texture.

Little sparkle of light for magical fairy-dust effects.

This stamp add a quick texture looking like stone crackles to flat surfaces.


This preset ease the process of painting small lines for old wood texture.

Easy little stars glowing for any backgrounds.

A brush to ease the sketching of chains.

A stamp to assist sketching mass of plants with many leaves.

A quick texture for adding variation to floors.

A big texture for backgrounds.


[New] A brush to paint 'bokeh', a photographic artifact from the lens when light get really out of focus.

Download the bundle :


To install the bundle:

Note: compatible with Krita 2.9.11 and future Krita 3.0 (not released yet)
  1. Download deevad-v8.bundle file on your disk.
  2. Open Krita and go to the top menu :  Setting > Manage Ressources
  3. In the 'Manage Resources Bundle' dialog appearing; press the top 'Import Bundles' button.
  4. Select the file deevad-v8.bundle on your disk , using the file explorer appearing on your screen, then finish by pressing 'Open'
  5. The icon of the brushkit should appears under 'Active bundle' ( the left column )
  6. Press OK on the 'Manage Resources Bundle' dialog.
  7. To end, I advice you to close and restart Krita: this way you'll have the brush tag deevad-v8 in your 'Brush Preset docker' to filter them.
  8. Have fun with painting!
( To uninstall: Setting > Manage Ressources, then 'Open resource folder', and delete the bundle file in the bundle folder. Restart Krita.)

License:

This brushes are licensed under the Creative Commons Attribution 4.0  to "David Revoy, www.davidrevoy.com".
This attribution is necessary in case of redistributing, commercializing, or modifying the brush kit.
This attribution is not necessary in case of usage (you can paint any artwork you want with it, you still own totally your artwork).
This attribution is not necessary in case of doing screenshot/screenrecording of Krita and have the brushkit visible. 

Sources:

Comic page from A to Z with Krita

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Full video 1h46min, or watch it directly on Youtube .

Resources

- A zip pack with everything linked in this video is available here
- Deevad Brushkit version 8.1 bundle for Krita
- Comic page template Krita file.
- Perspective star grid PNG image file.
- Speechbubble library and template SVG Inkscape file.
- Lavi Font TTF Font file

Chapter & Content overview

( Note: if you go on the Youtube page , all time tags in video description will be dynamic to jump to the chapter )

0:00:06 Introduction
0:00:32    Disclaimer (french accent)
0:01:00 Chapter 1: Interface of Krita
0:01:00    Dockers,brushkit and tool-option in toolbar
0:01:53 Chapter 2: Preproduction
0:01:53    Script-scenario
0:02:46    Timelapse: storyboard
0:03:55    Subwindows mode
0:04:34    Template page
0:13:51 Chapter 3: Drawing (black&white speedpainting)
0:13:51    Composition vector layer
0:15:50       Canvas border color
0:17:22    Workflow: sketching with lines VS paint with mass
0:20:19    Timelapse: black&white speedpainting
0:22:21    Explaining previous timelapse
0:23:45    Perspective grid
0:28:08    Timelapse: black&white speedpainting (detail pass)
0:30:49    Explaining previous timelapse
0:32:39    Trim to image size
0:33:48    Save As VS Save incremental
0:34:37 Chapter 4: Inking
0:34:37    The Brush preset I use (pencil)
0:37:20    The numpad '/' to switch to last preset
0:37:52    Stabilizer: how to find a good setting
0:40:40    Timelapse: inking main panel
0:42:40    Explaining the previous timelapse
0:44:46    The Mirror mode with M
0:45:23    Timelapse: inking last part
0:47:24    Explaining the previous timelapse
0:48:50    Pure black&white page
0:53:59    Page for beta-translator version
1:00:03 Chapter 5: Adding text with Inkscape
1:00:03    Why not in Krita?
1:00:42    Export a transitional PNG from Krita
1:02:52    Disclaimer about future Krita text-tools
1:04:22    Starting Inkscape, setting page
1:07:04    Comic-speechbuble-template file
1:09:12    Adding text
1:11:07    Adding speechballoon
1:14:46    Adding soundFX
1:17:06 Chapter 6: Color sketch
1:17:06    Preparing the gray value, color balance
1:23:45    Timelapse: color-sketch with blending mode brushes
1:26:18    Explaining the previous timelapse
1:27:34 Chapter 7: Colored Lineart
1:27:34    Colored Lineart technique, alpha lock and isolate layer
1:32:59 Chapter 8: Detailing
1:32:59    Timelapse: Cleaning and painting detail
1:36:51 Chapter 9: Post-production
1:36:51    Color dodge light sources
1:37:29    Fog effect with a lighten layer
1:38:00    Water reflection effect with GMIC filters
1:38:36    Gloss and white stroke on the top, paint-over
1:39:43    Timelapse: paint-over pass
1:40:55    Explaining the previous timelapse
1:41:30    Sharpen filter layer
1:44:32 Epilogue
1:45:12 Thanks patrons!
1:45:39 End credit

Why a free tutorial of this length?

I'm sponsored by a community of patron on Patreon to produce new Pepper&Carrot episode. A lot of them gives between 1$, 3$ to 5$ per webcomic published  (I publish maximum one episode by month, around 10 episode per years). Between episodes I often jump into the creation of free bonus for the community. It can be a Youtube tutorials, articles, brushkit, making-of, etc... My patron encourage me to publish the result online for everyone, because we don't like the concept of paywall (subscription with payment to get access to a content).

For sure, paywall are a lot more efficient to receive sponsoring. You probably can see this system on a lot of successfully sponsored artist. So, if you consider my system more fair, encourage it! Become my patron today on Patreon. All money received is carefully invested to grow the open Webcomic project and create more free content and bonus.


Why did you made this video?

Just after finishing the episode 18 of Pepper&Carrot in the start of August 2016, I had a little week of holidays at the mountain. I usually spend my time on holidays to do plenty of drawing on my sketchbook, draft new ideas, invent new characters, create new storyboard, etc... But this time, nothing! Nothing of this did happen. The only thing I could think was about my digital-painting workflow. In this context, it was impossible to focus on making a new episode. I know myself a bit; when I'm the victim of a passion for something, I have to put it down: my only escape is to let the idea grow and finish/publish it. Then only I can dream again. So I started to take notes for this tutorial, and I quickly saw page after pages it was a long project, something ambitious, something big, something of the size of my previous Dvd Chaos&Evolution and Blend&Paint . So why this video? Because it's something I wanted to offer tomy patronsas a free bonus. Challenge accepted! 

I decided to take the end of August into recording it. Thanks to all my notes, the recording structure itself was smooth. SimpleScreenRecorder and Audacity both were really good tool to create video and audio content. It was a bit too hot to record with the windows closed in my room when outside it was 34°C (93°F). I couldn't even use a fan to get fresh air; no noise in the microphone allowed (I'm using a Samson Meteor USB mic). My poor vocabulary in English and my French accent were also a big handicap in the production. For some clip, I had to redo the voice like ten time. Doing audio and video editing on GNU/Linux was also really difficult and a big work. My usual tool, Kdenlive (I used it since 2009 for dozens of videos and Dvds) was unfortunately to buggy to do the job this time. I tried, tried many workaround, but unfortunately I lost 48h of production in it, and I felt frustrated at the end because I had no idea how to continue the video editing of this project. I then decided to (re)learn the Blender Video Sequence Editor (Blender VSE). It's painful to redo all the 10 first minutes of the video editing in another tool, with another logic, UI, etc... I had to sacrifice some specific effect done with Kdenlive I couldn't do with BlenderVSE. But I slowly found new method of editing and BlenderVSE did the job perfectly without a single bug on my experience. Believe me; something rare on the FLOSS world. On the cons, the text tool in Blender VSE is really too minimal (one can't change font family, weight, decoration, etc). So I went for "minimal effect" this time, and removed my usual screen annotation done with Kdenlive "Title Clip editor". On the pros, I could take advantage of the 3D of Blender, to decorate the timelapse sequences with a clock animation in the corner (the part where I accelerate the video with music in background). After days of video-editing my 15h of rush video into this 1h46 format, Blender took 6h to render a big 3.1GB file. A single review of the video took more than 1h46, and small correction another set of 6h to render... Upload to Youtube took 8h.
In this context, and with 10GB of sources on the disk, you can probably have a better idea of what work was done for a single video, the time spent and the up and down I had in this intense production. I really hope you'll enjoy and learn useful things in this tutorial. I'm proud of my 'new' video structure: partially commented with voice over/ partially live comment while recording/partially timelapse with a clock to allow quick skipping. I feel like I innovated into something new here! Level up :-)

About the workflow

I wanted to break-down for this video the workflow I used on Episode 18 because I had a pleasant production time on this one and found an original 100% digital workflow mixing my love for painting and drawing in a continuous process. The summary: I'm starting with a black&white speed-painting and then I draw lines over it. To color, I keep the drawing on top and then I color under them. Post-production effect are added on the top of the layer stack later and I sharpen the stack dynamically with a filter layer.

With this workflow, I can start each page with blocking my silhouettes and composition with mass of black&white and play with shapes. It's easier for me to compose my panels with mass and silhouettes. Probably something I trained on my past years of speedpainting for concept-art industry.

Thanks to this black&white step, I also can plan and predict more accurately in advance what part will be painted-only (as part of the landscape) and what part will receive ink and lines. So, the line-art is quicker and I benefit immediately of a little shading under my line at half of the process.

Painting time breakdown
1h30 Crappy storyboard
1h30 Detailed speedpainting (black&white storyboard)
3h00 Inking
1h30 Cleaning+Lettering
2h00 Color-sketch
5h00 Detail+post effect
=> Total: 14h30 of painting time per page


Future evolution for the workflow

I'm working more and more on my speedpainting skill. A possible optimization of this workflow would be to start with directly a full colored speedpainting, then detail it, then add line-art on top. Only at the end, a pass of cleaning would be necessary. The big pro; saving step and so saving time. The big con; it's complex to get something 'half done', consistent, and good enough for the translation-step ( a beta version usually in black and white I send to the translator team ). In the video, the step of line-art plus a colored shading is still a good 'half-way' option.


Licenses

Resources
This resources are licensed under the Creative Commons Attribution 4.0 to "David Revoy, www.davidrevoy.com".
Additional custom rules for being friendly with other artist:
- This attribution is necessary in case of redistributing, commercializing, or modifying the resources themselves.
- This attribution is not necessary in case of usage (you can paint any artwork you want with it, you still own totally your artwork).
- This attribution is not necessary in case of doing screenshot/screenrecording or using them in a public demo.
Exception: Lavi Font:( by Ruben Holthuijsen aka Rholt, modification by David Revoy and Sölve Svartskogen; GNU GPL V3 )

Video
This video is licensed under the Creative Commons Attribution 4.0
- Artwork/Video/Comments: David Revoy, davidrevoy.com
- Intro harp sound: sfx_oriental_harp3 by Soughtaftersounds on Freesound
- Timelapse music: Perspective by Kevin McLeod, www.incompetech.com
(credit also visible at the end-screen of the video)

Tool I used:
Artwork: Krita 3.0.1alpha1.appimage
Text: Inkscape 0.91 r13925
Screenrecord: SimpleScreenRecorder 0.3.6
Video: BlenderVSE 2.77a
Audio: Audacity 2.1.2
System: Manjaro XFCE 64bit GNU/Linux workstation
A big thank you!

Krita Appimage for cats

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Hey Krita users of GNU/Linux operating systems! Tired to upgrade or jump distro only to use a newer version? Tired to hunt for a maintained repository? Tired to build from source only for using Krita? Ladies and gent, get introduced to... (♫ ♩ roll drum ♫ ♩)... the Krita Appimage!

Get Krita appimage


Appimages is a technology designed for GNU/Linux. An Appimage is an application that can run anywhere, without requiring complex dependencies and run as the developers designed them: you get the right libraries bundled and everything inside for the best user experience. You can download Appimage of Krita on krita.org. Stable versions are under the 'Download' category, unstable development version (for testing) can be found on the blog (scroll down the front page).

You can save your Appimages files where you want on your disk. They are single 'big' files.
(eg. I save mine on /home/deevad/Sources/ and each Appimages of Krita take less than 80MB )



Security


Are you sure this file is trusted and come from the developers of Krita on krita.org? Fine!  Security is your responsibility: a file downloaded on Internet can't run like that on your computer without your approval and that's good.

How to communicate to the computer you approve this file? We just need to change the Appimage file to the execute mode. For this, two way:
1. right click on the file, and in 'permission' tab add permission to 'execute'.
2. ... or with a terminal, 'chmod +x' the file:
chmod +x krita-3.0.1-Alpha-4c91a18-x86_64.appimage


Time to run

That's all! Double-click on the file, and you run this version of Krita. Easy!

You like this version? Wants to use it daily? If your desktop environment and file manager is not too primitive, I'm sure you'll find feature how to add a shortcut to it to your main menu and set the Krita 'kra' files to 'Open With' with this Appimage. (eg. On XCFCE menu or on Cinnamon menu, a right click, Edit application... For the kra , a right click 'Open With' then select the application path, set it by default or in your list.)


Last features, best stability


- Do you want a stable version for production? No problem!
- Do you want to play with the last 'alpha' feature to discuss? No problem!
You can collect as many Appimage of Krita side by side as you want and keep your favorite version away from an unwanted update or a regression due to a change in a library.

You want to jump to another GNU/Linux distro? Backup your Appimages; they will behave the same on your future system!

And you? Do you love Appimage?
I do!



Illustration: Krita sources all layered here
(note: re-usage of Kiki the cyber squirel mascot of Krita, cc-by Tyson Tan ).

GNU/Linux - portrait

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full high-resolution for print here and lossless quality format

Here is a personal 'portrait' artwork. A bit unusual compare to my previous portraits and probably a bit more 'digital' than 'painting' this time. But it's a concept I had in mind since a long time and wanted to paint it on this rainy Sunday afternoon at home.

If you don't know who is on the picture, on left it's Richard Stallman and on right it's Linus Torvalds. They both are great men. I hope one day I'll be able to meet them.

it's a A3@300dpi, CC-By.
It was done with Krita, Inkscape and Gmic.

prints available on deviantArt here.

edit: added wallpaper: 2396x1578px resolution here, preview under.


Close-up :

Smart-Coloring, preview of a new GMIC filter

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Here is a quick preview of Colorize Lineart[smart coloring], a new GMIC filter to auto-colorize line-art created by David Tschumperlé, Sébastien Fourey and me.

The workflow of this filter is really simple:

  1. Open your black and white line-art
  2. Send it to the GMIC filter Black&White > Colorize Lineart[smart coloring] the filter will auto-colorize all the areas for you with random bright colors and split two layers: your line-art above the generated color-map.
  3. Open the result (the filter is really quick) in your digital-painting program, and flood-fill/replace the colormap areas with the colors of your choice.
  4. Shade on the top, paint, color-corrections and voilà!


The filter :
When launching Colorize Lineart[smart coloring] , the preview display red nodes at the end point of each detected lines, then between the nodes a bezier curve in blue is generated to help 'fixing' the tiny holes in the line-art, or fix the artistic 'missing lines' suggested by the artist. When applying the filter, the node in red and the blue lines disapear to let only two layers: the line-art and the color-map.

Screenshot of the filter in GMIC

Pros
- Free/Libre and open-source.
- (a.) Auto-close holes in line-art. ( eg. I made two simple test-artwork: on top with closed lines, on bottom with arbitrary holes in the lines. The filter find the holes, and reconstruct a bezier curved line to smooth the limit. )
- (b.) Result of colormap are clean aliased pure color areas easy to replace with a fill-bucket at low tolerance, with line-art over just perfectly center above it.  No problem with the anti-aliasing or bluryness of the line-art (eg. a closeup without the line-art on left, with line-art over it on right ).
- Quick to use, just a filter to launch and quick to compute compare to all the other method I tested.
- (c.) Let you use your digital-painting software for coloring with your tools, palettes, color selections, etc. (eg. I can color in Krita taking advantage of the "Reference Docker" as a palette for color references, also fill-bucket on Krita is super quick and you can click 'Ctrl' to pick color with it at any time , or press 'e' to fill with 'eraser' blending mode, and get full transparency to remove backgrounds.)

Cons
- (d.) Some areas are sometime ignored or merged together. (eg: circled in red, some zone of the fur of the cat Carrot are merged with the body color. This part will need to post-fix the color map with an aliased brush , painting it manually ).
- (e.) Line-art with a lot of crosshatching render with two much little islands on the color-map to use it. it's definitely not a style suited for this filter. (eg. a pencil artwork of Pepper&Carrot episode 11, color map is crazy on the moon in background of the characters.)
- (f.) A limitation of the GMIC Gimp plugin; the preview windows is not really "What You See Is What You Get", it needs a lot of trials and errors for an artist to test the settings (a lot of sliders) and get a setup working with a style.

Install/test

You can already test this filter in GMIC 1.7.9 and 1.8.0beta, I'm using here the GMIC plugin for GIMP, import/export as open-raster *.ora files my line-art and islands to fill and paint them in Krita. For using the filter directly in Krita, we need to wait; last version of Krita 3.1.1 embed only GMIC version 1.7.0.

More informations

Everyone reading my blog already know David Tschumperlé: he is the creator, manager and main developer of GMIC and a good friend. He is a permanent CNRS research scientist, working in the Image group of the GREYC Lab in Caen. Last November, I was invited to join during a couple of day his workplace to work on the research of a "Style transfert" method. Style transfer is a technique to create an image from two sources; -in a nutshell- your holiday best landscape photo and a masterpiece of Vincent van Gogh. The expected result: your holiday photo painted in the style of Vincent van Gogh. Some algorythm already does it, but the results are variable and the existing methods needs a lot of computing time and big databases. At GREYC, the plan is to find a better and more lightweight solution, filter based. As an artist, I was invited to show how I break-down the copy of a painting and give informations on how I perform this "Style transfert" manually as I did on this video.

During this short period of work we had in Caen, I made a conference for scientists at CNRS. At the end of the conference, I presented the making-of episode 12 of my webcomic Pepper&Carrot as a proof-of-concept about merging multi computer tools: filters, scan, 3D, etc.... This episode mix also a lot of GMIC filters and a very old script for GIMP named Multifill. It's a filter I used 6 years ago on my early comic-style test. Unfortunately, with newer version of Gimp, the filter became very buggy, slow and unmaintained. David was surprised to learn that it took hours for this filter to auto-floodfill all the potion on episode 12. Two hours after the conference, he made a version of Multi-Fill in GMIC named Colorize lineart[auto-fill]. His filter matched the same work than 'Multifill' but in less than 30seconds!

A couple of discussion later in front of a "Coloring Pages" hanging on the wall and colored by a kid of the crew, we started to share common issues of automatic coloring filter and what method exists to colorize black and white line-art.

The work on the new filter Colorize Lineart[smart coloring] came later after I came back home. I started testing it and giving feedback while David Tschumperlé and Sébastien Fourey kept improving it.


Gallery

I'm still testing the filter. A single panel of comic here, a little artwork there. Here is a gallery of recent works made with it.

Your feedback?

A lot of digital artists reads my blog ; so question for you: what do you think about this new method? Do you think it can save you time when coloring your line-art? Would you plan to use it? Do you have a quicker method? Let me know on the comments.

Krita brushes: Charcoal pencils

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Video with a quick description/demo of the brushes, how-to install, and a timelapse.

Here is three new presets inspired by charcoal pencils, colored pencils and pencils in general. In short; these are just preset with a sublte grainy paper easy on eyes, with a cool and smooth grain and with also a sweet pressure curve. I hope you'll like them and have fun maintaining a digital-sketchbook folder!

Download:

2017-01-18_Charcoal_pencils.zip

Install:

See the video for detailed install instructions. In short: Download, extract, open Krita and go to Setting > Manage Ressources, press the Import Bundles button, and target the extracted bundle file, press Ok, restart Krita. Compatible with Krita 3.0 and up.

License:

This brushes are licensed under the Creative Commons Attribution 4.0  to "David Revoy, www.davidrevoy.com".
This attribution is necessary in case of redistributing, commercializing, or modifying the brushes.
This attribution is not necessary in case of usage (you can paint any artwork you want with it, you still own totally your artwork).
This attribution is not necessary in case of doing screenshot/screenrecording of Krita and have the brushes visible.

Krita palettes

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the two variations of the palette loaded in two dialogs

Introduction:

While painting in Krita, I was still switching palettes; between my old previous palettes, the one I added on Krita default and two other created on the fly for Pepper&Carrot. All this switch of palettes coupled with the current docker not rescaling the column of the palette made me less and less tempted to use palette. But having a good palette is something really important. A good one can really make a big difference in the quality of the color accents, large painted areas and mood of a painting. So, during an early spring cleaning, I decided to clean up my palette sets for Krita and simplify a bit the situation and improve my daily life with having the same one in all dialogs and quick access to everything I'm looking for. This palette is not a huge collection of colors, with gradients, color scheme, references and all. It's just a collection of my favorites colors and shortcuts, the one I struggle to find manually on the Advanced Color Selector docker. You want an olive green? check! a indigo blue? got it! Lemon Yellow? of course! etc... etc... It's a painter set of colors sorted the way painting tubes come out of the box. Even if this palettes are customized to my specific needs, I thought you might be interested to use it too. That's why I'm sharing them today. I hope this file will put good colors in front of your eyes! Enjoy!

Download:

2017-03-07_deevad-palettes.zip
 

Install:

TL;DR: Download the ZIP, it contains a *.bundle file. If you know how to install bundle files in Krita, you can skip all the detailed instructions under :-)

Install the bundle (detailed version):

1. Download the zip file
2. Extract deevad-palettes.bundle (inside the zip file) somewhere on your disk. Remember the folder.
3. Open Krita 3.1.2 or better.
4. Go to Settings > Manage Resources and press the Import Bundle button.
5. Find with the file dialog the deevad-palettes.bundle file
6. After selecting the files, you should see it loaded in the active bundle column.
7. Press OK to close the Manage Resources dialog.
8. Important: Restart Krita.


The palettes loaded on both dialogs. Artwork: episode 20 of Pepper&Carrot
(click to enlarge)

Load the palettes:

After installation, two palettes are added deevad and deevad-mini. The main one, deevad-mini, is a 9 columns version for the palette docker. The other one deevad is a funny hack to fill the Select a color dialog of Krita 3.1.2 with a 18 column version. I expect this latest version will disappear in time when the Select a color dialog will rescale automatically palettes.

Load deevad-mini on the palette docker:
1. Restart Krita.
2. Open a new document ( a lot of functionality of Krita are locked without a document ).
2. If you don't have the palette docker visible, Go to Settings > Docker > Palette to toggle the visibility of the docker.
3. On the bottom left of the docker, you'll find a colorful icon to load the palette. Select 'deevad-mini'.

Load deevad on the Select a color dialog:
1. Click on the foreground color icon in the top toolbar (in green under 'View' on the screenshot above) the dialog will pop-up.
2. Click on the button Add/Remove Colors
3. Use the top list button to select deevad

License:

This palettes are licensed under the Creative Commons Attribution 4.0  to "David Revoy, www.davidrevoy.com".
This attribution is necessary in case of redistributing, commercializing, or modifying the palettes.
This attribution is not necessary in case of usage (you can paint any artwork you want with it, you still own totally your artwork).
This attribution is not necessary in case of doing screenshot/screenrecording of Krita and have the palettes visibles.

Notes:




A. Simple greyscale from white to black, non linear and not equally split, just the visually good greys I like.

B. A block of personal shortcuts:
    top: A gradient from pale yellow to grey-violet: for tinting grey artwork with a subtle hue.
    bottom: the C0C0 grey I use for background paper, a icy blue I like to sketch when on white background, two good color for quick shading with multiply, and a dark-red for inking.

C. Rainbow color, but not pure RGB eyes agression. This one are balanced, and plays well together, as you can see.

D. A set of color sorted as a full set of gouaches. Not too saturated, not full of grey. Just pure good looking colors.

Source code:

The source code is available here on Github.

TO-DO:
- Name colors: if someone feels motivated, with this style (traditional pigment name).
- Add other popular pigment if missing
- Check how this 8bit *.gpl format behaves with 16bit color mixing
- Add and improve the color shortcut: industry standard color for sketching? for shading? for adding notes?
- Possibly find a way to add complimentary color under the third line color rainbow (shortcut).

Making of episode 22 "The Voting System"

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The workflow in a single picture, click to enlarge


Here is an article about the full steps I used to draw the episode 22 of Pepper&Carrot "The Voting System". I describe on it what worked, what did not and what I learned. It was a production with a heavy focus around traditional penciling and the first time I used the colorize[smart-coloring] Gmic filter far all an episode. This article contains a lot of visual and notes already communicated as extras to my patron during the production of episode 22. Now the episode is released, the article, visual and link can be public.

1. Storyboard

On thin and cheap 80gr/m² A4 (21x29,7cm or 8.3x11.7inches) paper; I pre-printed with my inkjet printer a thin black frame at the same proportion than my digital comic pages, and at the real scale of the printed comic book. I wanted to compose my panels in a WYSIWYG fashion. My tool, a simple soft pencil (2B) with a rounded tip and not a lot of pressure. I used a lot the eraser for moving parts and sometime full panel or character expression. Having a physical version of my storyboard with this flexibility to easily do quick changes was great to re-read often and modify the story. It was also convenient to get feedback from friends visiting home without going in front of the computer and correct it on the fly directly until we could read smoothly the storyboard. But it wasn't easy to share it with the online collaborators of Pepper&Carrot and I designed sometime long vertical panel that make sens for the printed version but made the on-screen reading a bit more difficult. Next episode, I'll try to revisit my approach with digital storyboarding and keep the best of both world.


Storyboard of page 7, page 4 and page 2.


Ball-pen sketch aside the storyboard to brainstorm visually panels:
from left to right: Coriander, Camomille and Shichimi.

2. Blue rough

On a new smooth cardboard paper (Clairefontaine 205g/m² "Fiches Bristol" A4) also preprinted with a light blue grid maximised to use all the size of the A4, I sketched my panels with a first pass of a large blue pencil (Faber-Castell Polychromos, light Phthalo Blue) with a lot of gesture and focusing on the composition, the main lines. Then I added a pass with more details using a mechanical-pencil filled with Pentel 0.5mm blue lids. This blue pencils are harder to erase than normal graphite gray pencils. When the drawing was ready, I used a kneaded eraser over all the drawing to fade-out the line, making them very bright but still visible. This step worked perfectly and I was happy with the results and productivity of this pass.


page 5, storyboard (left) and blue rought (right)


Scan of the blue sketch (first pass).




While drawing the two pass of blue over page 8


3. Penciling

I cleaned my bright blue drawings with graphite pencils ; I used mid-hard tip from a range of 3H to HB (Staedler, Mars Lumograph. The blue drawings were unfortunately maybe already too detailed and I had the feeling to just clean-up artwork. I started to focus a lot on the quality of the line itself and  unconsciously made a result almost "inked". I wanted to obtain this sharp line and I applied a lot of pressure on the paper. It wasn't a good idea; I feel like it made my drawing a bit too rigid and also it was painful for my hand at the end of the cleaning and I probably spent more than ten days cleaning this pencil step. In the end, I used mainly a lot the H sharpened a lot to obtain a very thin and precise line. I used a special sharpener for this, the "Kum long point" and it was perfect for the result of long pointy pencil but also it increased my consumption of pencils because I was sharpening almost ten time a day. I used four H pencils but the pencils are not totally finished and are still long enough to be used with a pencil extender. During the production I bought a black one in metal of the brand Derwent to try to reuse the last centimeters of my pencils but I couldn't: the grip part of this extender is made of small metal spikes hurting the fingers more than really helping. I'll try to find another extension-technique to reuse my small used pencils.




while penciling page 7


Penciling first page


1 - blue rough: mannequin
2 - drawing
3 - second pass for line width corrections
4 - background and environment

4. Scan and cleaning


I scanned my pages at 600dpi, sRGB using my new CanonScan Lide220 bought in March. I color corrected it with ArgyllCMS and a R110112 color target from Coloraid.de . I scanned the page using a a small bash command-line script I made because all the scanner app with a GUI had issue with getting the color-profiling right. Once the page scanned, I cleaned them with Krita using the technique of removing the bright blue lines I show in this old tutorial here. I also transformed and deformed sometime the artwork when it was necessary and removed small dots and dust. I obtained a cleaned grayscale image with white background and clean lines.


First panel cleaned in Krita. I have a new scanner and it was long to find the right setting.

A set of cleaned pages with warm gray texture to see the border-less white frame panels.

5. Merging page in the translation system

    
Pepper&Carrot runs a complex setup and pages needs to be setup with very precise standards and format to be compatible with the translation system. I scaled down the page to insert them in the final page template Krita file and started to create the vector white square around artworks draw the white panel's frame around. Working with white borderless panel and speech-bubbles over white background is impossible, so I added on the top of the artwork a layer in "multiply blending mode" with a warm gray texture, to better see the positioning of the borderless white elements. Then I linked all external SVG files to make the text layer and started to do the lettering thanks to the notes on my storyboard, doing a lot of way and back between Krita and Inkscape for positioning, rescaling and make the two pass working together as if they were done in the same software. This is a tedious step I really hope I'll be able to skip in the future when Krita will get the vector and text layer compatible with SVG; it will be then possible for me to compose the text over the artwork and then only export the layer to SVG to be integrated in the translation system. Anyway, the pages joined on the first Git commit for the correctors and translators with this black and white textured aspect. During many weeks, we all get used to work on this version of the episode 22.

Texts and sounds effects are done with Inkscape: all string of text must be vectors objects to be dynamically changed later.
This way the comic can be translated.

6. Preparing coloring

    
While the translation and correction community effort was starting in background, I kept production for coloring the artwork. I inverted the panel's frame color to get black frames, I removed the gray warm texture, and copied the merged result to GIMP. Gimp has a more recent GMIC plugin than Krita, and it was necessary for me to get a very recent version to use the "Colorize (Smart coloring)" filter. Fortunately it's easy to select-all in Krita, copy the line-art, and paste it as a new document in GIMP.  Gmic "Colorize (Smart coloring)" filter tries to auto-detect the area and auto-fill them with a random color, trying also to close small gap in when the shapes are not well closed. I applied the filter and this one output the result with two layers: the line-art not modified and under it an aliased color map. I only had to select the colored map layer and copy it from GIMP back to Krita. Then, with the help of an aliased tools ( brush presets in my kit ) and the fill tools ( and selection tools with tool option in 'anti-aliasing turned off') I started to  clean the map and replace the color area. I decided to limit myself to 9 shades and a simple palette. ( skin in bright peach color, hair in a watermelon pink, to blues for props and clothes, 3 greens for backgrounds, and 2 yellows for special effects ). Nine shades to be able to perform selection quicker later 'by color', and getting "all hair", "all clothes" or all background selected with a magic wand selection tool click. The "Colorize (Smart coloring)" filter did help a lot to accelerate this step but don't expect it to solve everything; there is still a lot of manual cleaning to do but probably far less work than doing all from scratch. When the color-map work was over, I selected the one of the characters, background, Fx, and sky and split them on separate layers. I took probably to much time to do this 9 color map, and not used it a lot at the end. Maybe a better idea could be to directly replace the GMIC random color with the flatting and skip this extra step.


GMIC 2.0 loading my favorite settings for smart-coloring filter and preview on viewport.


The result applied and rendered into GIMP, two layers output.


A successful result output of the GMIC filter.
It almost draws the volume of the palm of the hand out of nothing.
--black-magic-- ;-)


The random color map generated imported back in Krita: ready to be colored with the fill tool.


The nine colors used to cleanup all the pages


A prepared page: using only nine colors to split artwork ( skin, hair, two for clothes, background..etc...)


An overview of Krita files with the large thumbnail proposed by PCManFM
while preparing my comic pages.

7. Color flatting

    
I decided to keep my colored layers over the line-art (and not under as usual). I grouped them all and put the whole group named "col" to a multiply blending. This way I was still able to pick the proper ground or color with the "R layer picker" shortcut key in Krita. ( This is hard to do if the line are above the color zones because the "R layer picker" can pick often the line-art layer itself). I was happy with this small improvement. Then I started to complexity the color-map with a real color palette. I colored as I would color a comic with Old-School flat area only. I kept the color bright and not too saturated to let breath the drawing. I also colored a bit my pencil line-art to be a bit warmer and also I blurred them a tiny bit with the GMIC Smooth[Nlmean] filter. Doing this step after the color preparing was boring. I was just spending mode time with the fill-bucket tool than with a brush, it's days of being trapped into a "coloring-book" process, keeping the area clean and sharp. It's hard to express any artistic personality in this step.


Replacing prepared area with flat colors in Krita.


Colored pencil and smoothed grain thanks to the GMIC Smoothing [nlmeans] filter
( default setting on a duplicated layer with 50% opacity, then merged down )



Zoom on a panel: not all is flat ; I used also a gradient for all backgrounds.


An overview of all the pages with flat colors (with page1 already shaded).

8. Color shading

    
All my grounds of colors (fg/bg/sky) get quickly sub-grouped with Ctrl+G ; and I added a layer with the "grain merge blending mode" on the top, alpha inherited and filled with a 127/127/127 RGB pure middle gray ( pure transparent for grain merge ). Then I shaded on this layer; warm bright gray for lights, dark cold grays for shading. "Grain-merge" can shade and brighten, and also introduce a color influence, but it also increase quickly the feeling of 'burnt' shadows and overexposed/saturated lights. My shading method: First pass general with large airbrush; then smudging the shadow with an expressive bristle brush ; then go to the details with a thin brush and create new details expressed only by the shading and not the line of the artwork. Thanks to the area of color cleaned and with alpha protected, it was surprisingly hyper fast to shade this episode. Maybe one of the rare time in my production where I meet my deadline before my estimation. I understand better why artist in French/Belgium comic studio often use this type of workflow: managing the pencil/ink them-self, get a colorist for the scan/clean/prepare/flatting and only take care them-self of the shading. It's fast and visually quickly rewarding to sculpt the shapes when the flat color area are already clean under and all edges of the lines and shape protected. Even with a dirty shading pass, the result still looks really clean. Making the shading pass expressive and not clean is even mandatory to break a bit of the too digital and smooth steps before this one.


Shading page 2 with layer stack growing.


shading one page 4: using a "glob" layer over my stack in grain merge
to manage the global mood of warm and cold colors.


Shading special effects.


Color grading with GMIC each ground one by one. A bit hard:
The GMIC plugin of Krita can't save "favorite/bookmark" system and can't "apply again" last filter.
Applying color grading on 4 layers x 10 pages quickly grow as a full afternoon of work.

9. Color adjustment, post effect.

    
I'm flatting my subgroups (fg/bg/sky) to can do color correction on each of them. It is still impossible to use a filter on group with Krita, and so it's hard to manage color filter on all the stack without flatting them back together. It's always hard to crunch flexibility of editing and data carefully split into different layers to get the advantage of using other features, but necessary. I used the GMIC filter color>color grading on all grounds to fix the burn of saturation caused by my usage of the "grain-merge blending mode" as a shading layer. I also adjusted the general color mood with Color balance and adjustment curves. Each layer are also corrected with direct paint-over when necessary and with a normal brush at low opacity to fix the shading edges. The Final touch was three new layers on the top of my stack: dof ( lighten blending mode, for depth of field, sfumato, smoke, color of the air ), fx ( addition blending mode, for hight lights, glows, special effect and direct source light ) and glob ( grain merge blending mode, just big gradient over the image to unify the colors, and give a cinematic mood to each panels : vignette darken border, corona of source light). Before publishing, I also added two adjustment layers on the very top of my stack: a classic one to sharpen my details at low opacity, and another one to prevent the crushed black by raising the value and blue channel in the very dark tones of the artworks; it brighten a bit the color pass and give more room for the penciled line-art to express itself with bluish cold tones. This step was really frustrating because it was hard to perform good color correction with Krita, especially handling the replacement of an unwanted color. Krita has an HSV/HSY/Chroma adjuster, but this one only apply to all the pixels, and can't target a range of pixels ( eg. A certain range of hue to replace a green-yellow to a golden one, or to a range of value to desaturate shadows a bit too burnt by excessive red saturation). Also, applying this color correction layers by layers in a long stack is far to be WYSIWYG at a part of the workflow where every change for the mood and atmosphere needs subtleties and measurement. Applying color adjustment filters on groups and get a recursive effect on all sublayer would be very useful for this type of workflow. Also, I wanted to add more post-effect dynamically on top of my artwork (color/chromatic aberration , shifting the channel a bit to benefit a subtle vibration in the bright parts of the magic effect) but this type of filter exist only in GMIC and would require to flat down all the layer stack to use them. This give me ideas of feature request for a distant future.


Drag'n'Dropping a sharpen filter layer at 40% opacity over the ten pages.
10GB of RAM memory are necessary to tile the page side by side in Krita like that.


Page 8 , final, with all the stack of shading, effect, sharpening and text.


For more visual of the final version
just visit the final episode 22 on www.peppercarrot.com here .

Conclusion


Using a "logical workflow" was a rich experience and a good teacher: I learned to keep the discipline of applying logical steps over the 10 pages, trusting the next step to bring something 'better' over the previous step. This workflow is clearly an industrial approach, the research of something I can reproduce at 100% and even split into a set of task within a small team. I wanted to experiment with this idea of a small webcomic studio. It works. But making a comic this way alone was also really boring and most step were like 'cleaning pixels here or there' : robotic and full of constrains. This way to handle things is not really related or in sync with my core passion for drawing or digital-painting. However, the logical steps did help me to get a cleaner (and sometime faster) workflow than what I'm doing usually. For this long story of ten pages, it was probably the best choice. To use a metaphor: this technique is a bit similar to the step necessary to build a pyramid adding a cube step by step on each other waiting to get final "Tadaaa♬ ♪ ♩" effect at the end when adding the last cube at the top. If the base of the pyramid is weak (the pencil artwork, preparation of color map) there is no way to save the stack at the end and the last cubes will fall. It's probably something totally inverted compare to my speedpainting in grayscale, coloring, and detailing at the end. For the next episode (23) , I'll try to not over-react to this experience and not go to a fully organic workflow, sketchy, speedpainterly and chaotic. I'll try to keep the same steps with a bit of more room for creative freedom and I have already an idea how... But that's another story on my quest for the next episode 23.

Thank you for reading!

( Note: Pictures and texts of this article are licensed under the Creative Commons Attribution 4.0 International license ; CC-By D.Revoy ).

Setup Huion Giano WH1409 tablet on Linux Mint 18.1/Ubuntu 16.04.

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Disclaimer: I'm not sponsored by Huion for this article and I purchased this tablet myself, it's not a commercial gift.


After the buglary of my house, I had to purchase a new tablet. I have a long experience with tablets, I owned so many models over the last 15 years that I even maintain for the fun a tablet history log about it. For once and after 15 years of Wacom, I also studied another brand: Huion. I liked the design of the WH1409 (no big padding around active area), the spec (maybe the largest active zone on a tablet right now on the market, 35x22cm / 13,8x8,6inch) and the low price (160€, the third of the price of a similar model made by Wacom).

The problem: the driver. No official GNU/Linux driver or tweak for this model, and a almost dead Digimend project: the leader decided to leave the project for good reasons after a decade of hard work on it, but now the project is orphan and is looking for a new maintainer... So it's not a good sign of health for all the non Wacom, but I decided to take the risk of getting something non-functional and tweak-it as a hobby until I get it working. Now it's done and I'm sharing the result to ease the path to other GNU/Linux artists around wanting a low-cost large tablet. :-) Not everything work perfectly, I'll end the article with a review of pros/cons and limitations of this model under a free/libre O.S.

Status after unboxing

On a Linux Mint Cinnamon 18.1, it was a surprise when I first connected the tablet: the coordinate, pressure, all main feature worked out-of-the-box (USB cable only, not wireless). But no button, no way to map the tablet to a single screen of my dual screen. And even when turning a screen off with xrandr, bad raw proportion for the classic 1920x1080.
The kernel 4.4.0-79-generic I'm using has the module of the Digimend project included, and the tablet is probably compatible with a part of the driver: if you type lsusb in a terminal, the tablet <CONSTRUCTOR>:<MODEL> is 256c:006e , and 256c in the Digimend project source-code probably triggers a default/generic Huion driver. So, even if the model is unlisted on the official documentation, the basics work. That was encouraging.


After unboxing

Install Digimend driver via DKMS:

I wanted to be sure to get the latest source code compiled for the Digimend project, in case more could work with more recent development. Unfortunately, I had to make many test and trial to compile the source of the project. Impossible to do the make/make install, 'deb' package not working... I had to search a long time how I could do. After many research, it appear all Ubuntu-based 16.04 can't compile custom module this way. It's prohibited (but the error message wasn't very obvious about it).

The only option is to install the DKMS way. The README.md file of the project doesn't explain how. After research, I learned the joy of DKMS. To install via DKMS, you'll need Git, and DKMS.
sudo apt install dkms git-core 
then we will put the source code inside a specific directory with the structure /usr/src/<PROJECTNAME>-<VERSION> , then build it using this time <PROJECTNAME>/<VERSION> :
sudo git clone https://github.com/DIGImend/digimend-kernel-drivers.git /usr/src/digimend-6
sudo dkms build digimend/6
sudo dkms install digimend/6
Reboot your computer. The tablet should now start to work better, smoother and being listed as "TABLET Pen Tablet Pen stylus" when entering this command in a terminal:
xinput --list
The digimend driver should be listed among other modules after typing:
dkms status
Icing on the cake, you can now remove the USB cable (used to charge the tablet), connect the wireless USB dongle, and use the tablet in wireless. The tablet is still here with lsusb.

Add a custom X11 rules:

We need a way to now configure the tablet, the buttons. We will add a X11 custom rule to make the Digimend driver use the Wacom driver command line tool to setup our non-named <TABLET>.

Call your text-editor in admin mode:
sudo xed /usr/share/X11/xorg.conf.d/50-huion.conf
Then paste this inside, save and close.
# Huion tablets
Section "InputClass"
    Identifier "Huion class"
    MatchProduct "TABLET"
    MatchIsTablet "on"
    MatchDevicePath "/dev/input/event*"
    Driver "wacom"
EndSection

Section "InputClass"
    Identifier "Huion buttons"
    MatchProduct "TABLET"
    MatchIsKeyboard "on"
    MatchDevicePath "/dev/input/event*"
    Driver "evdev"
EndSection

Section "InputClass"
    Identifier "Huion scroll"
    MatchProduct "TABLET"
    MatchIsPointer "off"
    MatchIsKeyboard "off"
    MatchIsTouchpad "off"
    MatchIsTablet "off"
    MatchIsTouchscreen "off"
    MatchDevicePath "/dev/input/event*"
    Driver "evdev"
EndSection

Reboot your computer. After that, the tablet should appear in the configuration tool xsetwacom:
xsetwacom --list

Congratulation! You're done with the driver part.

User preference, buttons, settings.

Now, let configure the tablet with xsetwacom.
For this, we can load xsetwacom command. But they are not persistent avec restarting computer.
So we need to store this collections of commands in a bash script and call this bash script when the system open.
mkdir scripts
xed ~/scripts/Huion_WH1409.sh
... and inside paste and customize the script under. To know the list of special "key" you can map on buttons, look at this list. Don't forget to change the screen size to your screen size (the tablet is not 100% same ratio than 1920x1080, it needs code to force good vertical and horizontal ratio so when you trace a circle on your tablet, a circle appear on the screen, and not an ellipse potato ). And comment or delete all the line you are not interested.
#! /bin/bash
# Setup HUION WH1409, after bridged to wacom driver with Digimend Kernel module.
# License: CC-0/Public-Domain license
# author: deevad

# Tablet definition
tabletstylus="TABLET Pen Tablet Pen stylus"
tabletpad="TABLET Pen Tablet Pad pad"

# Reset
xsetwacom --set "$tabletstylus" ResetArea
xsetwacom --set "$tabletstylus" RawSample 4

# Mapping
# get maximum size geometry with:
# xsetwacom --get "$tabletstylus" Area
# 0 0 55200 34500
tabletX=55200
tabletY=34500
# screen size:
screenX=1920
screenY=1080
# map to good screen (dual nvidia)
xsetwacom --set "$tabletstylus" MapToOutput "HEAD-0"
# setup ratio :
newtabletY=$(( $screenY * $tabletX / $screenX ))
xsetwacom --set "$tabletstylus" Area 0 0 "$tabletX""$newtabletY"


# Buttons
# =======
xsetwacom --set "$tabletstylus" Button 2 2
xsetwacom --set "$tabletstylus" Button 3 3
# ---------
# | 1 | 2 |
# |---|---|
# | 3 | 8 |
# |=======|
# | 9 |10 |
# |---|---|
# |11 |12 |
# |=======|
# |13 | ? |
# |---|---|
# | ? | ? |
# |=======|
xsetwacom --set "$tabletpad" Button 1 "key Control_L" # color picker on ring
xsetwacom --set "$tabletpad" Button 2 "key Shift_L" # resize brush
xsetwacom --set "$tabletpad" Button 3 "key KP_Divide" # switch /
xsetwacom --set "$tabletpad" Button 8 "key e" # eraser
xsetwacom --set "$tabletpad" Button 9 "key z"  # undo
xsetwacom --set "$tabletpad" Button 10 "key y"
xsetwacom --set "$tabletpad" Button 11 "key tab"
xsetwacom --set "$tabletpad" Button 12 "key r"
xsetwacom --set "$tabletpad" Button 13 "key m"


# Xinput option
# =============
# for the list:
# xinput --list

# xinput list-props 'TABLET Pen Tablet Mouse'
xinput set-prop 'TABLET Pen Tablet Mouse'"Evdev Middle Button Emulation" 0
# alternate way to map to a single screen
# execute "xrander" in a terminal to get the screen name ( DVI-D-0 in this example )
# xinput set-prop 'TABLET Pen Tablet Pen stylus' DVI-D-0


The various IDs of buttons I identified.
... and the three non-working.

When your script is finished you can save it. Then give it execute permission: In the file-manager ; right-click on it again > Properties > Permissions > and in front of Execute check the box for 'Allow executing file as a program'.

You can now double click and run the script. Test and adjust to your needs.

Your key on tablet will be mapped for the active session. To keep the settings accross reboot, you'll have to auto execute the script at start-up. To do this, go to 'System Settings', then 'Start-up application'. A user interface will propose you to add your script as a start-up script. You can also create a Menu entries if you need to run multi-scripts (right click on the menu button > Configure > Menu (Tab) > Open the menu editor to create a custom menu entry).


Interface in Linux Mint to add the Huion script



Review of the tablet

What doesn't work:
- The three last buttons of the tablets. But with 9 working and fully functional, I'm not complaining.
- Assigning special button on the stylus: I'm used to put Ctrl to color pick on the first button, but I can't: it trigger a middle-click+left-click interpreted as a right-click. Color picking on Krita shows the pop-up-Palette...
- Small glitch when switching tablet to mouse, and mouse to tablet. The system sometime has difficulty to 'leave' the table mode, and let the mouse work.

What's is 'meh' with this tablet:
- No GNU/Linux official support.
- Near to dead Digimend project.
- This smooth plastic "peach skin" coating on the stylus; they often turn sticky as hell after 3 or 4 years.
- The nibs of the stylus are floating a little bit inside the tube of the stylus tip.
- No eraser at the back of the stylus. (I'm not using it often anyway)
- No tilt/rotation sensor ( i'm not using them too )

What's surprisingly works better than I expected:
- The stylus need a battery, but this one doesn't impact the weight. The stylus is as heavy as a Wacom battery-less one.
- The buttons on the pad, I expected them to be cheap things with horrible keypress sound and too-hard or too-sensitive. They are in fact better than on all model of Wacom; easy to press almost like on a flat keyboard.
- Wireless. I never thought when I started this adventure this feature would work. My previous tablet , the Cintiq 13HD had a so massive wire and dumb connector the marketing of Wacom removed it on all the picture of the product ( even showing the tablet running with the screen 'on' without any power supply... marketing lie). Wireless for a tablet is a new comfort.
- Pressure sensitivity: the stylus is a bit more firm than my previous Cintiq13HD, it has more control over the pressure because you need to press physically more on the stylus to reach 100% of pressure, that's an advantage if you like glazing with low opacity , or need dancy line with many variation of line width.

What's cool:
- Size of the active area: with 35x22cm / 13,8x8,6inch ; I'm more near to a 1:1 ratio between my tablet and my 21'' 1080p screen. I can draw small details, small circles, little high-light without having a dancy cursor on screen.
- coating of the active area: smooth as Intuos3, my favorite coating (note: it might feel too-smooth for artist liking a little grain)
- Design: no big padding around the active zone, wireless and black. Looks good on a desk. Large enough to put the keyboard on it when not drawing and typing.
- Price for a large tablet. In the last 15 year, this is the first time I see this. It should open large tablet to a non professional audience.
- No "touch" option or necessity to add a switch to turn it on/off. I like tablet without "touch"
- Stylus diameter, tubular design, not pear-like ergonomic design as Wacom do.

End note:

It's in overall a good tablet but hard to advice it to a beginner on GNU/Linux. Really. It looks like running this hardware will be harder and harder with time. On my side, I'll keep this tablet in production for the next webcomic to give it more hours. Let see if this thing can handle more than three episode of Pepper&Carrot.

If you already have feedback about it, questions, tweaks, advices, feel free to share them here.

Sources:

https://digimend.github.io/
http://linuxwacom.sourceforge.net/wiki/index.php/Xsetwacom
https://wiki.archlinux.org/index.php/Dynamic_Kernel_Module_Support
https://www.reddit.com/r/krita/comments/3w6ohb/krita_huion_h610_tablet_on_dual_displays_issue/cxu5qqt/
http://quandtum.weebly.com/home/how-to-change-mouse-button-functions-in-linux

Tablet history log

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iIllustration: Beta-testing Krita in 2012 with four Wacom tablets


Welcome to this article about my experience with my graphic tablets, sorted under the form of a timeline.
The article starts with a little F.A.Q.

( Note: this article will continuously receives update. Creation date in May 2015, latest update: June 2017 )

F.A.Q:

What is the best tablet to start digital-painting with?
I think a A5 sized regular tablet (medium as Huion H610 Pro or Wacom Intuos Medium). Avoid the A6 size (10x15cm), they are too small to draw or paint.

Why do you have many tablets?
Ask to a professional guitarist why he has so many guitars. Same answer here :-)

Why tablets are so expensive?
Another analogy to musicians here: tablets are not expensive compare to a piano, a saxophone or a good instrument.

I'm a tablet company, would you like to test our tablets? I can send you a device for free to appear on this page.
Yes, but I'll test it on a GNU/Linux system and I'm not promising to say only good things about it.
Also, I'll always write if a device review is sponsored or not. Email me for getting my address.

Why do you use Linux to use your tablets ?
That's another topic, and you can read here about it.

Timeline:

2000 : No tablet

Context: I started being a professional illustrator with traditional painting on canvas. At this time, I used Internet mostly as a communication tool to send scan of my artworks to publishers.


Working on a H.P. Lovecraft illustration for a RPG book.

2002: Wacom Graphire 3

Context: First tablet, I made my first online portfolio and first years of freelancer "digital" with it.
Specification:  Medium sized A5, ultra smooth Plexiglas overlay sheet, 4/3 ratio.
Used with: a 4/3 CRT monitor 1280x1080px, Photoshop Element 2.0 (bundled with the tablet).
Pro: Good precision, got a slot to clip the stylus when traveling, thin stylus with good shape.
Con: Mouse was useless, Plexiglas overlay sheet get easily visible scratches.


2006: Intuos 3 A4

Context: Switching to 100% digital-painting in my daily work. Previous tablet felt a bit too small.
Specification: A4 large active area, 4:3 ratio. Perfect overlay sheet in my opinion ( a bit fragile, I changed it 3 times until expired in Wacom shop )
Used with: 1280x1024 4/3 monitor, and discovering first Linux distro in 2007 with it.
Pro: Super robust, super standard on every Linux (plug'n'play). I painted more on this tablet between 2006 to 2016 than all other combined.
Con: Wacom eshop don't sell parts or overlay sheet for it anymore. I can't use it; stylus spring for pressure is too tired after dozen of Pepper&Carrot episodes.



2007: Cintiq 12WX

Context: First Cintiq, was a dream to try to "draw on screen". The fashion of "wide" ratio screen started.
Specification: 1280x720px, same stylus and technology as Intuos3.
Used with: Second monitor , 1680x1024 16/10 monitor.
Pro: Draw on the screen.
Con: Mini size, too dark to be color calibrated correctly, very pricey, big padding on the border, too hot and big cable and power unit. The tablet took a scratch 1 year after getting it because of a solid dust in the air getting stuck between the stylus nib and screen during drawing. Also, it was a paint to setup with Xorg on my first years of 100% GNU/Linux. I sold it before Sintel.



2008: Bamboo fun A5

Context: I was needing a A5 tablet to do work while traveling and do conferences and demonstrations.
Specification: A5, 16:10 ratio, 4 buttons and one circular touch ring.
Used with: Small laptop.
Pro: The design. Small size, good stylus ergonomic. Still alive.
Con: Placement of the button on top. Bad overlay sheet ; I replaced with a Intuos3 overlay. Sticky coating of the stylus after years. I had to peel it manually.


2010: Intuos 4 M

Context: Working outside of my studio started to be something more frequent with all projects at Blender Foundation in Amsterdam. I decided to upgrade my tablet.
Specification: A5, 16:10 ratio, 8 buttons with mini black and white display, and a ring touch with a central button.
Used with: 15'' laptop to 24'' professional monitor.
Pro: Design with OLED buttons, More precise than the Bamboo-fun for similar active area.
Con: Issue with overlay sheet at release of Intuos4 : too grainy. Wacom fixed it in 2012 after a petition signed by many artists, meanwhile I adapted a Intuos3 overlay sheet. Larger and heavier than the Bamboo-fun. "peach skin" coating plastic on the stylus, I had to peel this one too.



2011: Cintiq 21UX

Context: I wanted to try (again) drawing on screen.
Specification:  10Kg, 1200x1600px, Intuos3 technology for stylus and similar button layout.
Used with: mapped to the built-in screen with always an external screen aside.
Pro: Resolved a long thirsty to get one day this type of model, thanks the efficient marketing of Wacom. Good device to detail digital painting.
Con: Too heavy, dark reddish screen impossible to calibrate color properly, big pixels for a device where your eyes are in a close distance. Very hot I had to built-in a custom system of fan. Smudgy overlay and fragile back-light ; the device "died" at a point. I was able to repair it with soldering electronic component manually. The device also take all the room on the desk; I tried to fix this in any possible manner: hacking a gamepad for additional buttons, putting the Cintiq on ergotron arm and more. I used on Pepper&Carrot the stylus of the Cintiq to offer a 10th life to my compatible Intuos3 A4. The surface got scratched: I had to peel it. Also, I opened the Cintiq completely to remove small insect between the pixels and the glass. This device can have real bugs. I finally archived this device I totally used to the last stroke. I plan to give it to a local Fablab or a group of hardware hacker.



2016: Cintiq 22HD

Context: During Pepper&Carrot production, Cintiq21ux died at episode 6 and my old Intuos 3 started to give sign of end-of-life. I wanted to test how Wacom fixed newer Cintiqs.
Specification:  1920x1080px ; 9 key layout on both side.
Used with: Built-in screen , and other 1080p screens aside.
Pro: 16:9 , 1080p ratio , very standard. General design. Screen colors and luminosity is good, possible to calibrate decently the device. Heat issue is acceptable. Not heavy and pretty thin compared to the 21UX ( but not flat at all ).
Con: The plastic around the active area is all made of this "Peach skin" coating. I expect epic peeling party and bad looking device after 4 years. The tablet still takes all the desktop and it's hard to switch between tasks. I sold the tablet after three weeks of production on episode 16, almost new, because my productivity was decreasing.



2017: Cintiq 13HD

Context: Intuos3 was definitely end-of-life, I was urged to buy a new tablet for episode 21 of Pepper&Carrot. I decided to try "Intuos 5 Pro Large" but the active size area was similar to a Cintiq13HD and price tag not so far.
Specification: 1920x1080pixels, Intuos5 technology, 13'' screen.
Used with: monitor cloned exactly to a 1920x1080pixels screen.
Pro: Possible to do Hybrid workflow ; half regular large tablet, half Cintiq. Good screen luminosity, color good enough to be calibrated. With 1080p in 13'' the resolution is good to the eyes on low distance. The parallax (distance of glass and pixel on screen) is much better than on 22HD or 21UX, you can almost use it without calibration. Heat issue is acceptable. Stylus is really better than Intuos4 and Intuos3 : buttons doesn't jump, plastic doesn't move. The case of the stylus delivered with the tablet is really good design. Also, I need to mention the price 750€ here, almost half price of the Cintiq12WX bought in 2007.
Con: The big fat and rigid cable going out of this model is really bad design. So bad you can't see it on any marketing picture. The Wacom team responsible for this part was really drank that day. Other point; If like me you are a hairy monkey; the plastic bevel around the active area act as a perfect device to remove the hair of your arm because they always get stuck with gesture inside. Little relief on the middle of the buttons are painful when pressed often. Also: "peach coating" over all the part where the tablet has button , like on the Cintiq 22HD. I guess I 'll have the period where it become sticky and the period where I 'll need to waste the design by peeling all this coating...



2017: Huion WH1409

Context: My house has been robbed. My Cintiq13HD has been robbed after only  three little month of usage. I was needing a new tablet. My curiosity lead me to try the Huion WH1409, to find maybe a successor to my ideal ex-Intuos3 large...
Specification:  Wireless, large active area, stylus with battery, 12 buttons between 16:9 and 16:10.
Used with:
Pro: The price, 1/3 less than Wacom similar model. Good design ; this black square looks good on a desk. Almost similar coating of the active area than Intuos3 but a bit smoother. The wireless is good. Battery life is good and also all works when connected/charging so no panic in case of emergency work to do and running out of battery. The buttons are easy to press and feels better than Wacom's one. A very good regular large tablet.
Con: No official GNU/Linux driver but possible to instal (but not all the features: eg,  9 buttons working on 12 available ) I had various small issue with middle click actions. Built-in curve of pressure of the stylus: this one quickly jump to high-pressure in my opinion, it's hard to get middle-pressure strokes for my habit, but surely something you can get used to do quickly with a bit of training and adaptation. Stylus tip diameter doesn't fit perfectly the socket to insert it ; the tip dance in the cavity adding a little feeling of inaccuracy when doing precise task as inking ( note: it's a issue easy to fix manually with adding a little 2mm large adhesive rubber band to thicken by 0.1mm the diameter of the nib, don't do it too much or the nib spring will get difficulty to restore initial position if there is too much contact ).  The plastic of the nib of the stylus is also glossy and then slide too quickly on the overlay sheet for my taste. You can sand paper it gently to increase the contact of the plastic with the overlay sheet. The last pack of 4 buttons on the bottom of the tablet are sensitive: if you put your arm on it to access a keyboard as I place mine in the photo under, you'll get accidental key-press done by your arm.




2017: Cintiq 13HD (the return)

Context: My previous Cintiq13HD has been robbed and it's sort of a psychological need for me to restore "my things" as they were before (or almost). I was also satisfied to paint with this model. So I bought it again, and that's what I'm using now in production. For Specification/Pro/Con please read two chapter above the Cintiq13HD , it's exactly the same device with same dumb cable, but also same lovely hybrid workflow.


I was missing too much the Linux Mint "Matrix" screensaver effect , on Cintiq13HD plus dual screen.

And you ?
What's your story with tablet?
Do you have different opinion on the model I described?
What's your favorite model?
Please share it in the comments :)

Making-of episode 23

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Summer 2017 is almost over, and I'm starting the autumn with this making-of episode 23. The production of episode 23 took me longer than usual because I wanted to open every steps to the Pepper&Carrot contributors and because also of my own perfectionism and focus on quality. The style for this episode is really clean, detailed and two month full-time from roughly mid June to mid August 2017 were necessary to complete the seven pages of "Take a Chance" (three weeks were necessary to get a final story adapted to our Git repository for the translation effort, then three intensive weeks were necessary to produce the penciling, inking and painting of the seven pages.) I want to thanks Calimeroteknik, Nartance, Valvin, Cmaloney and many other around our IRC channel for the feedback during the storyboard development. Also, thanks to all translators for the amazing work (the episode is already translated in 18 languages as I'm writing this making-of), and of course, many thanks to all the patrons of Pepper&Carrot for funding all the time I'm spending on this project!  

I built this article around the visual I collected while painting episode 23. My goal here: less text, more pictures. I hope you'll like scrolling this gallery! Feel free to comment at the end if you have a questions, and if you want to read the final episode, follow this link.



My operating system: (dual screen screenshot, Ubuntu Mate 17.04 + Cinnamon desktop)
My main tools for episode 23: Krita 3.1.4(appimage) and Inkscape 0.92.2(built from sources)


Storyboarding with Krita 3.1.4 : all pages embed on a single document
Version "alpha" of the storyboard: six pages only but the story had issue to understand the ending. 
Final version of the storyboard: seven pages to better develop the ending with the help of Calimeroteknik, Nartance, Valvin, Cmaloney.



Cuting storyboard to single pages, artwork in blue, upscale to final resolution, and retracing panels in dark



I'm using a Wacom Cintiq 13HD to redraw the artwork. The storyboard is still visible, but in background and low opacity


A page penciled, with perspective grid visible.


Inking: I repeat the process and redraw all a third time with a thin pen over the pencil.



I don't ink the background landscape. They'll be fully painted over.



Overview of three steps over the same panel : Storyboard (left) Penciling (center) Inking (right)



Overview of three steps with indication of brush preset used for each step



Inking in progress: I'm inking at 67,7% zoom of the viewport, with my perspective grid and the penciling in blue. 



GMIC-Qt "Black&White > colorize [smart-coloring] " in action with custom settings. The filter auto-fills random colors under my inking.



Result of Gmic "smart-colorize" over the bottom of page one



Background paintings started with transparent characters and big airbrush under blury/redish lines 



Fully painted backgrounds with flat and non shaded characters.



Final shading on characters ( with perspective grid visible )


Overview of three steps over the same panel : Storyboard (top) Inking (middle) Final rendering (bottom)


Overview of four steps over the same panel

If you want to have a look at the final version; follow this link and for Krita sources files follow this one.

Krita digital-painting courses at University Cergy-Pontoise

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This week, I traveled to Paris to teach courses of digital-painting with the open-source software Krita at the University Cergy-Pontoise. The course was organised by Nicolas Priniotakis. Since years, Nicolas already taught his courses at university with open-sources software, mainly courses of 3D with Blender. But it was the first time Krita was introduced into his department. So, Krita has a good future in education ? Oh yes, I believe so!

All in all the experience was very positive; I met two very attentive classroom of students who never ran Krita before. After a couple of hours, every one was able to paint, draw and focus on the work itself more than on the tool. Of course, Krita 3.2.1 ran like a charm on the classroom powered with workstation running the libre GNU/Linux operating system Manjaro with the KDE plasma5 desktop (we even could install via AUR the kcm-wacomtablet-frameworks-git package to configure the tablet with an interface). In the other class, equipped only with Apple Mac Osx hardware and system, Krita was a little bit more fragile and exposed to display bugs; but nothing too dramatic and everyone could get the work done.

Here is a commented gallery about this very good week:


Header artwork: a photo montage of:
(top) photos of the University
(bottom) the classroom of students who received 16h of digital-painting lessons (I'm in the center)


Result of one demo in class and an exercise: A fresco of Saint-Sernin.
The original document ( a photo of the fresco) is on left, and the paint-over to perform a digital renovation on right.
This exercise was created for one of my classroom, specialized in scientific communication (archaeology, robotics, biology, astronomy, physics, etc.).
With this type of workflow, they can fix 2D textures when they'll do 3D digital renovation (eg. of ancient buildings). 

Result of one demo in class and an exercise: a lesson about quick character design with the symmetry tool.
This exercise was created for the second classroom where students have a stronger focus on digital-art, creation and drawing.


Development of a posed character: (A) initial rough with silhouette and (B/C) draw over .



Speed-painting and presentation of our character design in a dynamic pose.
We also made a similar exercise for landscape design, perspective, grey-scale values and composition.


Me (left) and Nicolas Priniotakis (right)



Thanks again to all the students and teachers for the warm welcome!
I'll keep teaching Krita between episodes of Pepper&Carrot for sure  :-) 


Auto-Flatting Comic with Krita (+Gmic plugin)

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Video tutorial,if you can't see it, here is the link on Youtube


Hi, in thisvideo tutorial , I'll show you how I use a complex GMIC filter named : Colorize lineart [smart-coloring]. I'm using this filter to ease and speedup my workflow with flatting the color of my webcomic Pepper&Carrot. This filter is available on recent version of Krita, specifically the one with the GMIC-Qt plugin

Written version of the video:

In this tutorial, I'll show you two methods: 
The first method will be the "random-color". 
Gmic will auto-color the line-art with random color, and then we will just have to replace the colors.
The second methods  will be the "auto-clean".
In this one, we will  send two layers to GMIC ; our lineart and a color-sketch, and GMIC will auto-clean them.

Let-starts step by step with the Random-colors method.  
Get your lineart ready, with a good contrast and select the layer with your line-art on it.
Then, go to :
Filter > Start GMIC-Qt
If your GMIC-Qt windows don’t look like mine, don’t panic: I just changed the Settings. 

I'm using the “Preview on right side” layout and the “Dark theme”. It's just a personnal preference.

To find the filter, you need to expand the Black&White category in "Available filter" column and click on Colorize lineart [smart coloring]
So, the first thing we can see on the preview is our line-art already filled with random-color but with also weird additional red spots and blue lines. 
This Preview not what you will get as a result.
The Preview show you by default extra information:
- The red dot are placed where GMIC detect “end points” in your lines or sharp angles.
- The blue lines connects the red dots with similar orientation or near enough to each other.

This system will help you to see where GMIC will auto-close small gaps in line-art.  
The default setting needs to be adjusted, or GMIC will try to auto-close too many areas.
To adjust the blue lines and red "end-points", we will change two parameters :
The first one is [End point rate] :
You can increase or decrease the detection of end-point on your line-art with a slider. 
- The second parameters is [Spline max length] and this one will define the maximum lenght of the blue lines and so; of the gaps in your line-art.
If you need a better preview, scroll at the end of the filter, and switch the "Preview Type" to "Colored Lineart": this is a preview of what you'll get.
When it’s done and you feel all your area are correctly detected, just click on OK...
... and the result appears in Krita.
GMIC output  two layers, your lineart and your colors
Krita has a minor bug here : the output of Gmic layers  and their names are switched:
- "New layer from GMIC" should be the color, but it’s your lineart
- And your color island are now named after your original line-art name. 
But this is easy to fix, you just need to rename them and put your line-art into the multiply blending mode above the color.
Now you can select your Fill tool, 
and go to the tool option docker
Set the Treshold to 1, and the fast mode
And then replace all area of your artwork ...

But for this you need to know exactly what color you want to replace. It's not easy and you can't do color-research for your design with a method like that.
That's why I also introduce in this video the second method: "Auto-clean".

Colorize line-art [smart-coloring] can also do something else:
If you scribble a colorsketch or speedcoloring under our line-art, the filter can auto-clean the speedcoloring into only clean flat areas of colors.
So first, we need to do a speedcoloring of our line-art.
This step is easy; we can use big airbrushes, blending-modes and brushes with expressive brush-strokes and research good color for our design.

We can even use color filters to change the mood of our artwork.
When it's done, select your line-art, and open Gmic-Qt in the filter menu and select Colorize line-art [smart-coloring].
First, we will switch on the top of the filter the Colorize Mode to "Auto-clean bottom color layer".
The preview of GMIC will suddently display a warning. It's normal : we need to tell GMIC to use more than one layer.
In Input/Output column, on the "Input" button select "Active and bellow" because we want GMIC to use the active layer (our line-art) the layer bellow (our speedcoloring)
Feel free to adjust the parameters as seen on the first method to auto-close the gap in your line-art.

When it’s done, just click on OK... and the result appears in Krita.
GMIC output  two layers, your lineart and your colors
Again, you might see a output-bug with switched layer names and position and lineart, but easy to workaround.

That's all for today. I hope this two new colorisation mode will help you to optimize your own productivity.
If you like them, let the GMIC developpers knows it ; they worked hard to get this filters ; and also thanks Krita developpers for shipping the recent GMIC-Qt filters into Krita. 

Good bye!

What is the best Krita cursor?

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Introduction

When you create an artwork with Krita, there is one little thing you'll focus your eyes for hours: your cursor. This cursor represents the tip of your "digital pen" and from this brush tip will emerge the few or hundred thousands brush strokes necessary to create an artwork. That's why this part is really important for many users across any digital painting software. Over the years, the Krita team added many presets and propose nowaday many variations of cursors.  But what is the best Krita cursor you can select to create your own artwork? Why this one over another one? the pros? the cons?... In this article based on Krita 3.x serie, I'll share my tips and feedback about this important feature and attempt a full review of the brush cursor.  An ambitious article!

The Settings

The "Cursor" panel is a very important interface in the Configure Krita windows. It's not a pure hazard if this panel appears at first when you open the settings ( on top menu bar : Settings > Configure Krita ). Krita propose on this panel to setup two aspects of the cursor : Cursor Shape and Outline Shape. With Cursor Shape option, you can select within a list a preset that will replace your actual cursor with another shape. By default it is set to No Cursor and the list contains nine other options. This Cursor Shape is just a Black or White static image pasted at the position (x,y) of your pointer on the canvas. This static images are configurable in the source code of Krita as *.xpm images in the folder krita/data/cursors. The second option named Outline Shape is more complex ; it's a decoration generated by Krita around the (x,y) position with more dynamic feedback about the shape, type, size of the selected brush. By default it is set to Preview Outline and contains four other options. Finally, a checkbox under this two list proposes you to Show or Hide the Outline Shape while painting (when the stylus hit the tablet). It is checked by default to always show it.


All the possibilities:

If you combine the two lists, you can obtain thirty six cursors! I made a table of all the possibilities (it was long, believe me) so you can get an idea of all of them. If you are familiar with my videos or screenshot, I'm using mainly two presets depending of the task I'm doing. I highlighted them in green on the table graphic under:



Choice 1: Painting (No Cursor+Preview Outline)

For painting (but also coloring and speedpainting), I'm using the default settings: No Cursor+Preview Outline. There is a good reason why this setting is selected by default: its working in most of case. Here under is a little demo about how it looks while I'm painting with it. In short, your cursor transform into the shape of your selected brush. It's convenient to always have an idea about what type of brush you selected and what is the size of it. You can not go wrong between the feedback of a textured brush with a specific outline and a large airbrush with a specific pure circular outline. The color of the Preview Outline also change depending of the background color of your artwork. The outline is dark when you fly over a white background, and bright over a dark background. It also change colors and adopt hue of red, blue, pink etc... to increase the contrast with the background color. Eg. look on the animation under when the Preview Outline is over the tip of the hat: it turns almost pure red.



The Preview Outline is a solid choice in almost any cases. It gives a far better feedback for the brush preset than Circle Outline or Tilt Outline ; the two other Outline options. This two only display a circle with maximal diameter of your selected brush, the Tilt Outline adds a little line to show the tilt direction if your tablet as tilt support. But Preview Outline -even if it's still my favorite after years of painting with Krita- is far to be ideal... In order to present why I need to use a second setup for my cursor selection in Krita, I need to introduce under also all the cons of the default Preview Outline:

Preview Outline cons:

1. It's noisy and aliased. This is an effect you can see with most presets using rotation sensors: the aliased pixels dances as the shape of the cursor get retraced while flying over the canvas. It makes focusing on the artwork more difficult.


2. Weird feedback of max width. Krita change the size of the Preview Outline when a dynamic sensor on size is attributed to the active brush presets. Software like Mypaint ( I also saw video of Clip Paint Studio) preferred to not give this type of dynamic feedback. I would prefer here getting the max diameter always visible to give me a better feedback of the max width size. Keeping the display of the max size helps for example to match the border of a orange shape when I'm filling an area.


    Krita


  Mypaint

3. Not precise. The Preview Outline doesn't display its center. This can be solved by adding a small cusor in overlay and I'm often using it when I'm doing detailing. Krita propose two options to solve that. The first one is to use an additional Cursor Shape on the top as the Small Cursor preset. But this cursor is a bit big with it's 3x3 pixels. But it works on white and black background. The other solution is to add the cursor Single Pixel white or Single Pixel Dark. The two solutions are very efficient: getting a single pixel in center for precision really helps to aim the start of a stroke. Unfortunately, this cursors are not adaptative for the color of the background, and they need manual switch very often... 

    Preview Outiline + Single pixel black    


4. It blinks a lot. Another side effect of showing the dynamic of the size sensor in real time: the cursor often jumps from max width to minimal width, transforming the drawing experience into a very "blinky" and stroboscopic experience.

    Krita     


    Mypaint, not blinking.    

Choice 2: Drawing (Triangle Righthanded+No Outline)

To workaround the blinking and precision issue of the Preview Outline, I'm using the cursor Triangle Righthanded, alone, without outline. It has a a sharp tip when I'm drawing ( a Lefthanded version also exist if it is your case). The triangle tip feels like the triangular tip of a sharp pencil, I can crosshatch quickly without getting an epileptic blinking effect. Here is a quick demo of how it looks: 



The limitation of using only a cursor is obvious: It's hard to get a feedback when you change brush preset (for exemple, when switching to an eraser preset while drawing, or when using a large deform brush to push and adjust a sketch) , but in case of doubt , it is still possible to press "Shift" and Krita will show the brush diameter (to propose a resize gesture).

Also, Cursors Shape are more performant in Krita than Outline Shapes, they often give you a better feedback of your real position while Outline Shape always have a latency to be traced. You can see how the outline lags behind the cursor in a tiny animation here under. This accuracy is decisive when you do crosshatching or when you draw quickly little details. Preview Outline never really show you your real position or with a couple of milliseconds late. It's often enough while painting or while speedpainting with large brushes but a no-go as soon as you start adding thin detailing or doing lines. That's one of my little secret to have better precision and accuracy ;-)


    Cursor Shape are faster and more precise than Outline Shape    


  

Conclusion

Thanks to the Krita team for all this options! With this large spectrum, it's always possible to workaround almost any situation. I hope you'll have fun exploring all the cursors and I also hope this article will help many user a bit lost within this type of choices.  Did you liked this article? Have a feedback? What is your favorite cursor setup? Share it on the comments bellow ! :-)

Krita 4.0 Brushes

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The result of a survey made by the Krita foundation over social network reported you were a large majority using my brushkit 8.2.

A big thank you about that!

So, I was sponsored by the Krita foundation in March to work on the default brush kit for Krita 4.0. My mission was to merge my brushkit 8.2, my Charcoal Pencils and wet brushes into a collection of new presets made with feedback of the community and merge also brushes submitted by Ramon Miranda, Wolthera, Pablo Cazorla, Rad, Scott Petrovic, Razvan and other. I triaged them, painted new thumbnails, took care about sorting them, renaming them, optimizing them and polishing the settings. You can read the Git commit here if you want full details.

I am now really happy using them, and happy to share them too!

Documentation:
You can read the fully illustrated documentation here:
https://docs.krita.org/The_Krita_4_Preset_Bundle


    click to enlarge    



Download:
Just download Krita 4.0, they are part of it by default.

Migration:
I couldn't port all my brushkit to Krita and keeping exactly the same. I merged the one duplicate, and decorated other one to be consistent with the way brushes were sorted. Here is a graph of the evolution and merging. I hope it helps if your work-flow was dependent of a specific setting in my 8.2 brushkit.



Changelog :

  • 22-03-2018: v9.0, Krita 4.0    - Merged as default in Krita. screenshot, article.
  • 08-03-2017: v8.2, Krita 3.1.2 - If it works, don't fix it: 10 brushes added, minor update for 2. screenshot, article.
  • 16-08-2016: v8.1, Krita 3.0.1 - Adding 13 new brushes. screenshot, article.
  • 20-05-2016: v8.0, Krita 3.0.0 - Refactor thumbnails and core 42 brushes. Use smudge-radius brushes. screenshot, article.
  • 02-07-2015: v7.0, Krita 2.9.7 - Pepper&Carrot stable kit: solidifying previous kit after 10 episodes. screenshot, article.
  • 17-04-2015: v6.0, Krita 2.9.0 - Mypaint stylised/colored thumbnails: set for Pepper&Carrot. screenshot, video, article.
  • 15-08-2014: v5.0, Krita 2.8.2 - Grey thumbnails, flow and compacting. screenshot, article.
  • 02-05-2014: v4.0, Krita 2.8.0 - Refactor and strip down for productivity. screenshot, article.
  • 14-08-2013: v3.0, Krita 2.7.0 - Base for many Krita default. Adding a standard for thumbnails. screenshot, article.
  • 26-01-2013: v2.1, Krita 2.6.0 - Post release fix. Add textured brushes for new Krita feature. screenshot, article, tar.gz.
  • 14-01-2013: v2.0, Krita 2.6.0 - Full brushkit refactor with painted thumbnail on crystal black. screenshot, article.
  • 04-06-2012: v1.0, Krita 2.3.0 - First release used on Tears of Steel concept art. screenshot, tar.gz.
  • 09-06-2011: v0.0, Krita 2.3.0 - Initial idea. Started on Krita sprint, Amsterdam. screenshot, article.

Full list of versioned changes here.


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