The scene below really describes the kind of atmosphere I was trying to get. Stylistically I took major inspiration from the nighttime street sequences in Fritz Lang’s “M”, happening in front of brightly-lit storefronts and completely washing their onlookers with light. It was exciting to make this lighting study of Nelly walking in London at night(with various period piece artifacts in the background, like the premieres of ‘A Hard Day’s Night’ and ‘Goldfinger’). It’s great for atmospheric elements such as reflections on various surfaces and foggy constructions such as glows and clouds.
This is exactly the kind of situation where I might have used that Airbrush for the outlines.īasic-4 Flow Opacity was really fun though and I can see myself having a lot of use for it. This drawing of Susan I made isn’t half-bad considering I used the pen for highlights on the jacket and hair, but I also think there must be a better way I could have drawn her, since her outlines portrude with real razor sharpness.
It’s basically like the one above meaning it has no pen pressure, but has a wavy, light mark on paper, and very ideal for making shadows or highlights. And I also hate how it reminds me that Jeremy’s blonde boy look is strikingly similar to world leaders like Boris Johnson and Donald Trump, which is a connotation I’d really like to avoid.īasic-3 Flow is weird. (I wasn’t exactly known as a smashing watercolour painter either). It doesn’t really work here since I’ve made this image look too soft, pastel-coloured and diluted, like it’s a beginner’s watercolour painting. He definitely needs to frown less.īasic-2 Opacity is a really useless brush for me, which similarly has no pen pressure ability, but has an opacity pressure used for very situational shading. Jeremy’s kind of a rough character to work on and I’m consciously trying to make him look sympathetic, ‘cos nobody wants a gloomy, spiteful protagonist. I saw some people use it for light sketching and I tried my hand on this Jeremy which I think looks really nice and the softness of the brush also makes him look non-threatening, which is a bonus. Doesn’t help that Jeremy doesn’t look too good either.Īirbrush Soft. The thing I wanted to try the most was to see what can it do with backgrounds, and I think playing with selective opacity is just a really lousy gain to make some atmospheric backgrouds like that one behind the window. I just had to do a small drawing of Jeremy just to keep things simple, but I also felt compelled to change the settings a little just to allow for some form of pen pressure, because I really can not imagine a lot of use for the pressureless brush. Here we begin with the first of my experiments:īasic-1 brush. But as my habits would always do, I spent a considerable amount of effort and time on several of these, and I do not regret it. I was always lured by the promise of making my own brush sets that would feel natural for me, and its cos of this reason that I wanted to have my hand at trying many brush presets it has, and make quick, disposable, playful little drawings. Learning Krita’s just not such an easy step for anyone jumping over from Photoshop or Paint Tool SAI, and it might be an errand that I will dabble in for years at this rate, and still uncover new mysteries. However going through the gears is a tough challenge in itself, and it always feels like Krita’s just a step above what I can comprehend every time I find a new way to utilise some sort of brush or a new kind of tool. Krita’s become my primary drawing tool for my LegalEagle illustrations, after all, and its shortcuts and the way it offers an immediacy in its tools has been very helpful and a lot more sensible than using similar functions in other software.
On the insistance of plenty of good friends, I had to try it out cos it’s been described as a heavily customisable and very intuitive piece of drawing software, and there’s a lot of truth in it.
#Krita brush size software#
Krita has been a drawing software with plenty of mysteries that I’ve been struggling to understand.
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