Hello, my name is David Revois and today I'm proposing a video overview of my recent digital painting workflow with Crita. I'll comment the time lapse picture of the illustration you can see right now on your screen. So without waiting for more, let's start. Preparing a thumbnail or a sketch with a large brush always helps me to solve on the main problem when I start an illustration. And this problem is what to paint and where to paint it and how to organize the composition. And I guess we are a lot into this problem at first. But seriously, once this step is done well and I have the result I want in mind, everything is so much easier after. So I spend a lot of time on my little thumbnail or on a sketch on my sketchbook or anything to solve this first problem, what to paint, where to paint and how to organize the canvas. Once I have the idea of the main composition, I reduce its opacity and start to draw over with a thin line. I'm not making beautiful lines like I would for a comic book line art or this type of things. This layer will be idon later in the process so I'm not putting a lot of pressure on the you must draw well this. The main goal of this step is to solve the anatomy, the hands of the character, the perspective and in overall the solidity of objects. It always saves me a lot of time later when I get that done very early, mainly because correcting things while painting with little adjustment here and there can be very time consuming. When my lines are done, I reduce the opacity and hide my thumbnail. At this point I start to split all the main shapes layer after layer. For landscape, it often means foreground, middle ground and background. But the number of layers is fluid depending the complexity of the scene. So at this point I'm just painting the silhouette of everything. I'm not naming my layer but I prefer to enlarge the size of the thumbnail in the layer stack at this step. Why maybe because you'll see Krita is not really good at preserving the name of the layers and if I do that I will have to rename them later and I will lost a lot of time. Once my silhouette shapes are painted, I lock the opacity of the layer and I can paint only inside the shape. And then I paint a pass with a very flat color as if the light was an overcast. And an overcast is like when the light comes from a cloudy day. So there is light coming from all directions but no colors are too vivid. And you can see only a deep contact shadow here and there. It's a bit easier for me to start painting this way because I can focus my attention on the rocks, on the back of the trees. And I can also keep a sort of consistency between colors when I have multiple panels. So for example when I have a dialogue with two characters and there is often some color that come back on the same page. So that's why I started to paint this way. It's mainly in the purpose of painting my future episode of the webcomic pepper and carrot. Once I painted the scene totally like that, I start to put all the layers inside clipping groups. You can use the keyboard shortcut Ctrl Shift plus G to put a layer quickly in a clipping group using Crita. The layer stack become quickly a mess. So I usually need to disoom the layer stack and I start to rename the layers. I name the groups and I also name the layer base and I fill the layer on top of my base with a middle RGB gray color. I like to drag and drop a color slot from my palette on the canvas to do that. I also switch the layer to the blending mode Arlight and Arlight is a blending mode where a middle gray will be run the red as a transparent color. So anything under this color will darken, something good to paint the shadows for example and everything up to this color will brighten. So it's good to paint highlights. At this moment I also enter a common line to modify a setting of my tablet. I switch the Ctrl click color picker that I have on the first button of my stylus to a Ctrl alt click action. This Ctrl alt click action will pick only the color on the current layer. This will be useful for painting and picking the color of our shadows and light. And that's why I fill the color of the layer with a solid middle gray. It's because the color picker doesn't work well when the color is a bit transparent on this type of layer. Because our shading layer is clipped on my base, I can then shade all the scene without being afraid to paint outside the shape. I usually start by finding the good couple of key light and shadows, so just two colors. And then I later think about all the middle tones or arthons, the indirect light or the specular points or the highlights. It's not really a problem because this type of layer is really flexible to change my mind on the way. And it's great because I can then fully focus my attention on lighting the scene and trying to get the best out of my design. Unfortunately, the shading rally ends up into a tada moment where everything is done and where the painting is ready like that. I often dislike the rigidity of the shapes and that's why nothing replace a manual paint of a pass to give a more organic look to all those parts. So I often merge at this point all the clipping groups and it's a bit annoying to do because when the mergead result is done, it's auto-renamed with the word mergead at the end and that's something Krita does. But Krita will have soon an option in 5.2 to prevent this behavior and I'm really looking forward to it. At the end, I'm using the adjustment layers to fix the contrast. And I also very often use the color balance on the same way or sometimes the lens blur when I have to simulate depth of a shot. But that's all, yes. Thank you very much for watching. I hope you learned something. You can follow my work on this social media and you can also support my work. Thank you very much for all the support in 2022 and have a good end of year. Bye bye.