WRITTEN_BY David REVOY -
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1 comment
(I posted this one on social-medias the morning of the 25 while I was traveling to visit my family. This is a repost to keep it on my blog).
WRITTEN_BY David REVOY -
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61 comments
Hi! I just posted a new Pepper&Carrot episode on peppercarrot website:
https://www.peppercarrot.com/en/article464/episode-31-the-fight
Have a good read !
(I'll add more infos in the comments later)
WRITTEN_BY David REVOY -
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15 comments
Slowly but surely and in the background of [the book-publishing project](article747/the-english-book-printed-project-production-report-2 "the book-publishing project" ) I've been working on a future episode of Pepper&Carrot. Here is a report about that with many screenshots:
[info]
**Disclaimer:**
\* Screenshot here might spoil parts of the story (I selected them to minify this effect).
\* Anatomy sketch training posted here might look like nudity.
[/info]
## Episode 31's challenges
As usual, I'm using Pepper&Carrot episodes to push forward my art techniques, tools and habits. The first challenge will be **to work in [4KUHD resolution](https://en.wikipedia.org/wiki/4K_resolution "4KUHD" )** which means 3840x5422 px; compared to the first episode (A4@300ppi and its 2481x3503 pixels) that's a big change.
The second challenge is to render this episode to look like my recent illustrations. I have a new taste for producing artworks with **textured canvases**. I developed ([and shared here](article742/krita-4-extras-brush-presets-pack "and shared here" )) a set of new brush presets to help me getting this effect with Krita.
[](data/images/blog/2019/ep31/2019-10-18_screenshot_154153_net.jpg)
_A close-up on "Black Hole" ([illustration here](article737/chicory-first-black-hole "illustration here" ))_
[](data/images/blog/2019/ep31/2019-10-18_screenshot_164805_net.jpg)
_A screenshot of Krita while testing my new brush effects_
## Drawing training
I also spent many hours doing exercises and tests. **I trained the fundamentals; anatomy, gesture, perspective, facial expressions**... That was essential to survive all the frustration I gathered while working on the book project. I learned a lot and I felt the upgrade when I made a week of signing sessions in Paris at the end of November. Here are visual from this period:
[](data/images/blog/2019/ep31/2019-12-11_screenshot_150632_net.jpg)
_I made a sketchbook I named "Testing" during this period._
[](data/images/blog/2019/ep31/2019-11-12_screenshot_154130_net.jpg)
_Inside testing, I experiment drawing with ink directly a lot._
[](data/images/blog/2019/ep31/2019-11-14_sketchbook-rain_net.jpg)
_... or over a minimal sketch._
[](data/images/blog/2019/ep31/2019-11-xx_sketchcollection_net.jpg)
_I did the same with Krita and my Cintiq13HD._
## Writing and storyboard
The story is born from many different thumbnails from my sketchbook; the main one driving my inspiration was clearly this doodle:
[](data/images/blog/2019/ep31/2019-06-12_screenshot_094537_net.jpg)
_A quick thumbnail from June, source of inspiration for Episode 31..._
[](data/images/blog/2019/ep31/2019-10-25_sketching_008.jpg)
_Same doodle with full rendering, for testing ([illustration here](article743/powerful "illustration here" ))_
I wrote the main story inside a text-editor to get an idea of the spine of the story but quickly, I felt I had to experiment with my ideas directly on a storyboard because **episode 31 has a long fight scene** and it was nearly impossible to just "write it down". I took a brush and started to speedpaint in black and white the episode as I did in my long video tutorial "[a comic page from A to Z with Krita](https://www.youtube.com/watch?v=A7olKdIEtNQ "a comic page from A to Z with Krita" )".
One of my surprises was how quicker I was and how my speedpainting of characters improved. I also experimented with the language: I wrote the episode in French and added subtitles in English under each speech bubble so I was able to keep in the loop the non-French proofreaders. I worked also on making more automation tools for the beta-testing to share a rendering of the version while I'm making changes, daily. This whole process allowed me to play more with the layout of the page during the process and interact more with the proofreaders of Pepper&Carrot [on a thread of the Gitlab instance of Framasoft: Framagit](https://framagit.org/peppercarrot/webcomics/issues/128 "on the Gitlab instance of Framasoft: Framagit" ) (A big thanks to the small team which help me a lot for feedback and improvements!).
Black and white speedpainting blended well with the borderless white panel and working on them with Krita for the art and Inkscape for the text felt less difficult than in my previous episodes over these gray values. **I had a very good creative time**.
[](data/images/blog/2019/ep31/2019-12-03_screenshot_015216_net.jpg)
_How a page layout evolved while proofreading_
## Workflow
I wasn't really confident enough to just reuse my black and white speedpaintings and use a grayscale to color workflow on them. So my action plan was to consider this time the storyboard as an underlying sketch and redraw the artwork over it, flatten the colors, then shade the result with my brushes. In short here is a quick test illustration with Schichimi that shows the main steps for making my pages (the steps where I can pause the page and switch to the next one).
[](data/images/blog/2019/ep31/2019-12-04_screenshot_084130_net.jpg)
_click to enlarge_
## (re)Draw
The process was "fine but long" using my Cintiq13HD. I did not target a clean "inking" rendering (with sharp full black lines) but I preferred detailed pencil drawings that **describe all the volumes in the most correct way I could**. It asked for quite a time budget to do that, but I could fix many facial expressions, poses, proportions on the way. The process was basic: I reduced the layer opacity of the speedpainting to around 16%, I created a layer on the top and drew on it.
One of the drawbacks of this step is that while I was focused on each panel to solidify the correctness of the art, I also felt like I lost a certain energy in the artwork that the storyboard had... It's probably something related to the "Classic Art VS Life" described with success by Scott McCloud in his book "Making Comics" which I highly recommend. ([sample of his work on the topic on this article](http://hawkersmag.com/art-may-tell-a-story-but-art-is-not-equal-to-story/ "sample of this article" )). I'll take notes about that for episode 32.
[](data/images/blog/2019/ep31/2019-12-08_screenshot_164339_net.jpg)
_A screenshot during the (re)drawing process_
## Color Flat
My friend the Krita **[colorize-mask feature](article708/tutorial-coloring-with-colorize-mask-in-krita "color-mask feature" ) had poor results** with my pencil artworks: the noise texture built into my lines made a lot of artifacts; the result was "good but not great" and required a lot of manual fixing. Too bad, colorize-mask can speed up this boring task by almost two or three times when the art is compatible with it.
[](data/images/blog/2019/ep31/2019-12-10_screenshot_210311_net_001.jpg)
_Colorize-mask markups on left, rendering on middle, close-up on right_
So, I flattened my colors manually with a brush. As a helper for color consistency across the panels, I was happy to discover a Krita plugin that revived the [old reference docker](https://github.com/antoine-roux/krita-plugin-reference "old reference docker" ) but improved. I could load on it a palette I made with my background key colors and characters. (this docker does auto-picking of color when clicking on it which is very convenient). **Very good plugin**, thanks [Antoine Roux](https://github.com/antoine-roux "Antoine Roux" ) for it!
[](data/images/blog/2019/ep31/2019-12-10_screenshot_081553_net.jpg)
_Reference plugin on left with my custom palette._
## Conclusion
And that's where I am now; **ready to start the shading on all pages of the episode** and to open it for translation (translation before releasing the episode sent to the 50 languages of Pepper&Carrot) will start in a couple of days; there will be a lot of activity [on the project repository](https://framagit.org/groups/peppercarrot/-/activity "on the project repository" ).
But before shading, when I compare the storyboard to the current state of the drawings, it looks synthetic and cold due to the detailed drawings and big area of flat colors...
[](data/images/blog/2019/ep31/2019-12-11_screenshot_135125_net.jpg)
_A comparison of the storyboard VS redraw+flat color_
Even if looking at it gives me vertigo (redrawing took around 6h per page, flattening around 3h...) I'm certain from my recent experiments that one of the keys to create good shading and rendering is also in this type of preparation of my canvas; my test on this illustration below was a success:
[](data/images/blog/2019/ep31/2019-12-11_screenshot_135645_net.jpg)
So, I'll start shading and see how things go. I'll then create after the release a detailed tutorial about this shading technique if it still works and if it used a reasonable time budget in total compared to all the planning it required. If not I'll explore what I can branch reusing directly my storyboard speedpaintings to save more production time while adding more life into the panels.
That's all for today, if you want a credit at the end of the future episode 31 and help my quest in general, [please support my work](static3/patronage "please support my work" ). I plan to release Episode 31 next Friday. Until that, I'll post screenshots of my first renderings on usual social-media I use.
Thank you for reading this sort of diary on the making of Pepper&Carrot episodes and thanks also to all the supporters of the series.
_Thanks to Quetzal2 for the English improvements and corrections_
WRITTEN_BY David REVOY -
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40 comments
**TL:DR; Almost perfect if colors weren't way too bright.**
To give a bit more context, since [the first article published two month ago](article735/the-english-book-printed-project-production-report-1 "the first part published two month ago" ), I continued to work very hard on the book project. What started as a: _"it will take just two weeks of works!"_
...It took me months and I'm still on it. For a reminder, it is my self-published comic book project, 200 pages high quality color, big size hardcover and produced from scratch with 100% FLOSS software and released under a permissive CC-By license. To give you an idea, the book weight 1.3Kg, PDF file-weight of the page inside 2.8Gb and the cover is a 6K pixels large CMYK files combining vector and raster elements. It's probably one of the most challenging book Scribus saw and opening the file takes 6min on a 8 core machine and rendering takes almost 30min.
I have today the first book in my hand but the colors are wrong. So wrong my plan to sell it on the e-Shop for Xmas is now ruined. This rendering will never get my approval for being pushed into production and I must say, I felt very bad about all of this work for this result because I followed all the specifications to the letter to specifically avoid that situation. Here is a video of my hand browsing the first printed proof so you can get an idea of the object:
[video]data/images/blog/2019/book/2019-12-05_video-book_first-one.mp4[/video]
_a 5.4MB self-hosted video illustration in MP4 format_
The color issue can't be really seen on the video but the comic pages are like 10% too bright; this even sometime merges bright colors togethers. Here is a comparison, look at the cloud or the city in background:
[](data/images/blog/2019/book/2019-12-05_screenshot_231520_net.jpg)
_left: my book, right: Glénat version_
As you can imagine, these colors does not justice to Pepper&Carrot as I painted it. The cause? It could be a lot of things, but the gamma/brightness rings a bell to a bug I found with [a suspicious gamma issue](https://bugs.kde.org/show_bug.cgi?id=412604 "a suspicious gamma issue" ). It was declared "resolved upstream" when the main dev of LittleCMS put the blame into the color profile of my printer. Really? accusing [one of the only 23 official CMYK profiles of the ICC International Color Consortium produced by X-Rite](http://www.color.org/registry/CGATS21_CRPC1.xalter "one of the only 23 official CMYK profiles of the ICC International Color Consortium produced by X-Rite" ) while I have other books from my printer made with the same profile and Adobe InDesign that manage gorgeous colors with it? So, I come to doubt the profile is borked especially given how big my printer is ( [www.onebookshelf.com](https://www.onebookshelf.com/index.html "www.onebookshelf.com" )). I also discovered later on the process of making the book way more bugs, workflow bottleneck, crashes and other things that I'll gently skip here because they belong to bug-trackers...
[](data/images/blog/2019/book/2019-12-05_screenshot_143332_net.jpg)
_left: Breton version by Ar Gripi publishing, right: my book_
Fortunately, this first printed proof also has revealed plenty of positive aspects. The fonts in intro are good, deep black and at the right size. The composition of the pages are really good with very good respect of bleeds and large comic page that fill the area. The thickness of the book and the glossy hardcover is ideal. The thin grained smooth paper is non-glossy and gives a traditional aspect to the artworks. Also, this is the most hi-resolution printed version of Pepper&Carrot I saw to the date. So, I have hopes, once I fix this color issue it will be perfect. I'm sure the color profile in itself has this tendency to be bright; but not probably as bright as that.
[](data/images/blog/2019/book/2019-12-06_screenshot_011334_net.jpg)
_"Books are great!"... :-D Oh the irony._
Unfortunately, I can't ask my printer to solve the color issues for me, this is not like the little printer enterprise of a local city but a large [service of POD](https://en.wikipedia.org/wiki/Print_on_demand "service of POD" ) with -I assume- machine operators that just put the file into the printers and have too big volumes to daily print (and pack books) to care about my non Adobe InDesign PDF files. So, I'll have to experiment and learn with more trial and errors: I'll keep sending on their server more files with various color strategy and wait for new printed proof until I can validate one. When I'll find the best workflow, I'll publish how I did. This project cost me already four time more than what I expected. Benefits of the books will never cover the months I did put into it, and the printed proof will make just increase the cost to a point where making this book with FLOSS already cost me more than buying a random Windows 10 laptop and pay a one month subscription for InDesign. But I'm doing it full FLOSS to reveal those issues, report them and aiming for quality always had a high price.
So that's all, expect new updates for the book project on 2020 when I'll receive the new printed proof that require around 20 days to be generated. Waiting for that, I'll focus with the Pepper&Carrot team of contributors on the next Pepper&Carrot episode!
WRITTEN_BY David REVOY -
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1 comment
I'm releasing the sources of the Pepper&Carrot eShop's product for #ThankYouPatrons day! Prepare your printer, transfer paper, sticker paper to hack, tweak and derivate your own DIY creation 🙂
**E-shop sources link: [https://www.peppercarrot.com/en/static6/sources&page=eshop](https://www.peppercarrot.com/en/static6/sources&page=eshop "https://www.peppercarrot.com/en/static6/sources&page=eshop" ) **
WRITTEN_BY David REVOY -
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3 comments
_click on the artwork for full-resolution/perceptual-lossless version (wallpaper)_
My quest to self-publish Pepper&Carrot in English on a large high-quality book is way longer than I originaly estimated! But I'm happy to finally share here the final artwork for the book cover. I'll write a second production report about it as soon as I have a first book printed in my hands because I'm learning a lot on many levels. Meanwhile you can still read [the first production ](article735/the-english-book-printed-project-production-report-1 "the first production" )[report](article735/the-english-book-printed-project-production-report-1 "report" ) about it if you have no idea about what is this project.
Screenshot of Krita running with the book cover file, rulers and fonts:
[](data/images/blog/2019/2019-11-08_screenshot_152259_net.jpg)
_click to enlarge_
WRITTEN_BY David REVOY -
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2 comments
For the release of Pepper&Carrot book three published by Glénat; I have this month five days of signing sessions! So, you can visit me and have a drawing on your Pepper&Carrot comic book (or buy one in-situ) at this events. Quick disclaimer: I do that for free and I have no royalties on books sold. I do it mostly to meet the Pepper&Carrot readers IRL.
### ★ Toulouse: Capitole du Libre 2019
**16 November (saturday), 14h00 → 17h30.**
Signing session managed by the bookstore [Les Petits Ruisseaux](https://www.facebook.com/librairie.lespetitsruisseaux "Les Petits Ruisseaux" ) in the main hall.
Location: Toulouse, ENSEEIHT.
(note: I'm also a speaker at "Les pages libérées : table ronde autour du livre libre" with Marina Fernandez de Retana, Squeeek, Gee, Stéphane Crozat, Yann Kervran, Terhemis. Les enjeux du libre; Samedi also: 17:30 => 18:30 in room A302)
More info:
### ★ Paris: A Livr'Ouvert bookstore
**27 November (wednesday), 14h30 → 19h00.**
Signing session in this wonderfull bookstore where two years ago I drew on books until 2am ([old blog post about it](article623/signing-session-in-paris-photo-gallery "old blog post about it" ) ).
Location: 171b bd Voltaire, 75011 Paris.
More info:
### ★ Montreuil, Salon du Livre et de la presse Jeunesse
**29 November (friday), 15h00 → 18h00**
** 30 November (saturday), 10h00 → 12h30.**
Signing session on the booth of the Glénat publisher on the largest book events in France. I'll also sign among a dozen of other comic book artists. A first for me! (I rejected all this type of events since the shitstorm in France when Glénat released Pepper&Carrot book one because of threat sent by frustrated comic authors).
More info:
### ★ Toulouse Game Show (TGS)
**1 December (sunday), 14h00 → 19h00**
Signing session on the booth of [Touhoppai team](https://touhoppai.moe/ "Touhoppai team" ).
More infos:
I hope to meet a lot of you during this dates!
_(license notes: the top picture has logos of companies not possible to reuse within the rules of the CC-By license: consider them as copyrighted)._
WRITTEN_BY David REVOY -
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7 comments
I had this badass Pepper on my [sketchbook](article732/recent-digital-sketches "sketchbook" ) and I probably made 5 attempts at coloring it but I failed all the time: the wind, particles, many sources of light, clouds made this task harder than I could do. So, after putting a month on it and while I kept testing and experimenting with my [new brushes](article742/krita-4-extras-brush-presets-pack "new brushes" ), I decided to try again. The process was pretty linear, with logical step and I'm happy with the result! It means I'll adopt this technique for the next episode. I hope you'll like this unusual concept featuring a Pepper with a lot of power and Carrot struggling with an antigravity field. (Click on the picture for full 4K resolution.)
WRITTEN_BY David REVOY -
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89 comments
I finally took the time to clean-up all the brush presets I made for Krita. You'll find here a bundle with an upgrade of 25 new presets including the research I did recently for my recent speedpaintings. I took an extra care for this collection to blend it perfectly within the default set that comes preinstalled with Krita. I hope you'll like them! Here is a video I made to share the news on social media:
[youtube]qdXTtBNhmLw[/youtube]
Here is my notes about how I use them:
## Drawing tools:
[](data/images/blog/2019/krita4extrasbrushes/c-_pencil-1_sketch-update.jpg)
I'm starting this list with a preset I use for sketching. The rendering is not realistic but I find the pressure curve and the way it build-up softly and slowly the lines very good.
[](data/images/blog/2019/krita4extrasbrushes/c-_pencil-2-update.jpg)
I used this pencil preset on the line-art of a lot of artworks over the last year. It has a subtle grain and a soft rendering that will reveal a bit more expression than my previous "Pencil 2" preset now default in Krita 4.x.
[](data/images/blog/2019/krita4extrasbrushes/c-_super-soft-mechanical-pencil.jpg)
This drawing tool has a very digital and plastic feeling. It is like drawing with the perfect pencil on a perfect smooth bristol paper. It's useful for reducing the noise in the crosshatching and almost get them replaced with thin gray. It eases the digital paint process on the top because the lines blends better with digital painting; being smooth.
[](data/images/blog/2019/krita4extrasbrushes/h-_charcoal_pencil_broad-sketch.jpg)
During the storyboard of episode 30, I decided to use a large and heavily textured pencil to not dive into the details. It does wonder with a bright gray color selected.
## Painting:
[](data/images/blog/2019/krita4extrasbrushes/f-_soft-painting-small.jpg)
This presets was designed to ease my time painting over and smoothing and adding details. It also produces very soft line-arts. Probably the brush I used the most over the last year: it has a subtle way to produce glazing with low pass of opacity but can also goes expressive at full pressure.
[](data/images/blog/2019/krita4extrasbrushes/f-_bristles-gentle-rub.jpg)
On episode 30; I wanted a rendering a little less smooth than the previous episode. I built this preset and I started to paint almost all the episode with it. It produces a subtle texture that reproduce a sort of gouache painting on paper.
[](data/images/blog/2019/krita4extrasbrushes/f-_sharp-silhouette-shape.jpg)
This brush draws sharps silhouettes and very dynamic strokes while having rough edges here and there.
[](data/images/blog/2019/krita4extrasbrushes/h-_chalk-soft_update.jpg)
Another brush to block big shapes while having another texture feeling.
[](data/images/blog/2019/krita4extrasbrushes/g-_dry_brushing-modeling.jpg)
A dry and soft effect for this one, I use it to prototype shapes with weak edges like smoke.
[](data/images/blog/2019/krita4extrasbrushes/j-_simple_irregular_edges.jpg)
This preset has a gentle texture that will do wonders for coloring penciled artworks. It has a rendering totally less plastic than a digital rounded brush with opacity on pressure while having the same ease of usage.
## The "Hardpainting" set:
This is the brushes I designed recently to paint all my speedpaintings. I codenamed them 'Hardpainting' because I wanted to get a rendering that was far away the "soft" shading I'm used to do. Also, painting with them is harder; so I kept the codename as it is. :)
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-01-details.jpg)
This first preset of the hardpainting family is the one I use for details. It is not that much different from the inking preset I shared a year ago on the "brush duo" presets: it has the same subtle ghosting in the stroke that will make the line interesting and not too digital regular. I'm using it as a way to fix the details of my speedpaintings.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-02_textured-dry-details.jpg)
This preset was designed to reveal the texture of the canvas while painting details. It works better on painting bright on dark stroke.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-03_expressive-knife.jpg)
This knife adds very expressive stroke to the canvas with very hard (but dirty) edges. I use it to simulate a loaded knife that hit the canvas on the highlight or when I need to flatten area without wanting a too digital and flat result.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-04_soft-block-edges.jpg)
This one ease the modeling of volumes and smoothing softer edges. It react pretty much as a soft brush with just a tip a bit flat and angular. Abusing this one might produce weak results and wobbly volumes on hard surface and glossy or shiny material.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-05_gentle-rub-soft-overlays.jpg)
One of the key to use textured brush stroke is to avoid totally "opacity". But it's hard; because adjustments of colors are difficult without it unless you use a brush that shows half threw the texture. That's how works this brush: bad for blocking main volumes but good to bringing post-fix.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-06_wet-on-wet-canvas.jpg)
For breaking hard edges, a brush with a bit of mixing ease the process. This preset use the mix-brush engine to blend colors while keeping the texture of the canvas.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-07_dry-hard-rub-small.jpg)
This preset adds a bit of grain to the piece at the end: it simulate the rub of a small brush on the canvas.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-08_dry-hard-rub-large.jpg)
This one does exactly the same as the previous on in bigger; because Krita doesn't have a setting to scale the size of the texture at the same time as the diameter of the brush. That's fine with using a second preset.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-09_brush-dynamic-tilt.jpg)
My favorite preset of the moment: a rake with a tilt dynamic. (it will require your device to support tilt, not something common for many cheap tablets). I use it to cut shapes on the canvas and quickly depict my first layers of a painting.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-10-sharp-rake.jpg)
This rake will add noise and scratch the canvas. It's useful when you want to add confusion to a part of the picture without requiring to a blur for that. The eyes will avoid this non-sens quickly. Especially if you combo that with the brush that add the tiny dots and rub the canvas.
[](data/images/blog/2019/krita4extrasbrushes/h-_hardpainting-11_big-canvas-rub.jpg)
This brush adds a large texture to the artwork; as if you painted a part of the canvas, then decided to remove the exeeding paint thickness but some painting is still stuck in the holes in-between the fiber of the canvas. I use it often when I start a canvas to feed the surface with a base; or during post-fix to hide part a bit too flat to my taste.
## Misc:
[](data/images/blog/2019/krita4extrasbrushes/b-_basic-5_size-fill.jpg)
On episode 30, my line-art was too thin for the colorize mask; and I had to flatten the color manually. Within the default set; I couldn't find one that fills at 100% while having a bit of 'friction' at the start of the pressure.
[](data/images/blog/2019/krita4extrasbrushes/u-_pixel_art_fill_plus.jpg)
With episodes using the colorize mask feature of Krita and hundreds of artworks to colorize; I built for myself a preset I could quickly switch to draw the thin and aliased marker lines. The preset thumbnail as a circle dashed around it to remind the icon on the toolbar of the colorize-mask brush.
[](data/images/blog/2019/krita4extrasbrushes/v-_dashed.jpg)
I worked this summer for the illustration of a medical paper; and I designed a dashed line preset that works well with the shape tools of Krita. It has a lot of texture; something that vector dashed lines and shape can't do. This preset is really specific; but useful.
[](data/images/blog/2019/krita4extrasbrushes/y-_texture_starfield-bitmap.jpg)
This brush will produce a lot of stars for your night scene. Too many stars (please remove a lot after using it with an eraser, or it will quickly look like a star-field). If you use this brush with a very large diameter and blur it a bit; you can also use it for snow.
## Download:
I could probably get a lot of money if I put the brushes behind a paywall (on Gumroad, Artstation, etc) or if I put the pack to be exclusive only for my patrons (as many artist does). That system could probably fund all the time I spent on it. But no: I want this brush pack to be libre and open-source because I think we all prefer an Internet **that share and donate instead of an Internet that prohibite access and sells**. That's why please consider to support my work (and also Krita!) if you can afford that. It might take you only a small coin every two monthes when I release a new episode of my webcomic but it will help me a lot at handling my production budget (more info on the red button on the top-right of my website). Thank you for reading and have fun with the brushes! ;-)**[ ](https://www.peppercarrot.com/extras/resources/2019-10-25_Krita_4_Extras.zip)
**
**[2019-10-25_Krita_4_Extras.zip](https://www.peppercarrot.com/extras/resources/2019-10-25_Krita_4_Extras.zip)**
## Install:
1. Download the zip.
2. Extract the file.
3. Open Krita and go to Setting > Manage Resources
4. Press the Import Bundles button, and find the extracted file on your disk.
5. Press Ok, Restart Krita.
6. Done!
(Note: Compatible with Krita 4.2.x and up; generated with Krita 4.2.6appimage on GNU/Linux Kubuntu 18.04.02LTS.)
## License:
This brushes are licensed under [the Creative Commons Attribution 4.0](https://creativecommons.org/licenses/by/4.0/ "the Creative Commons Attribution 4.0" ) to "David Revoy, www.davidrevoy.com". This attribution is necessary in case of redistributing the pack, commercializing it, or modifying the brushes files. 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 while using the brushes.
WRITTEN_BY David REVOY -
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10 comments
I'm still in my experimentations with brushes and workflow. I'm filling litteraly my computer with sketches (I went out of disc space this week! Time to migrate to a larger SSD and archive things too...). Among the tests; this one had more potential than the other and I decided to take a little time to details it and share.
I'm not super happy with the volumes of the eyes and I find the design in general a bit goofy with this big sea shell on the side of her head, but all of that was part of the test to see how react this type of surfaces in contrast to skin or hair under my new brushes (and also if the edges of the base drawing resists to the shading and painting, or if it goes worst).
I also received this morning the feedback I was waiting for on the book project and a sample sent by my printer that took a bit long to be delivered at my house. Good: things are moving. Slower than I would like for sure, but it does.
WRITTEN_BY David REVOY -
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2 comments
[youtube]9Rmj4D9zJ30[/youtube]
And here is the timelapse of my recent experimentations. You'll find it also on the [Peertube instance](https://peertube.touhoppai.moe/ "Peertube instance" ) managed by the team Touhoppai. For more information about this artwork, read [my previous blog post](article739/experimentation "my previous blog post" ) with the artwork in HD.
WRITTEN_BY David REVOY -
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8 comments
Here is an experimentation I made around Shichimi and a small temple of Ah. I'm learning a lot and discover new way to approach Krita, light, shape, edges, values, painting and brushes. It is still too early to know if I'll be quick enough to use this technique for the next episode; I need to test more things before trying to do that on more than 30 panels because I probably gain a lot for the rendering/shading but I'm loosing a lot for the drawing on another side (that's why I took a theme where she turns her back to the camera; easier on a drawing POV). The big risk with a more realistic shading on cartoony design is the [uncanny valley](https://en.wikipedia.org/wiki/Uncanny_valley "uncanny valley" ). I'll probably have to reinject a stylisation of the shape and proportion in the process.
