The first situation is when the stroke is textured or semi-transparent. (Underestimated how small this was, sorry for the jpeg artifacts) This can then be used as a base for a more story-book like drawing. We define the important shapes by continuously drawing over the same area over and over. There are certain situations in which the variable width vector stroke isn’t going to be very useful. To thicken a stroke, we go over it again with a brush. Thickening lines strategically can help make the important contours more visible, hence doing that at the end. removing a stroke that is otherwise overlapped. Sometimes it’s cleaner and quicker to just erase sections.Įrasing is happening in two kinds of situations: 1. Feathering allows me to suggest lines which in turn makes the objects feel more 3d.ĭotted strokes, this is when I am ‘feathering’, which looks a little like hatching, but where hatching is to shade, feathering as an inking term is to create a suggested line. They result in messier lines than the uninterrupted ones. ![]() These tend to form a bigger line visually, and are made when it’s difficult to tell how the shape should go precisely. These often happen at fine details that have a complex shape. I also make liberal use of the ability to rotate and zoom the canvas so that I don’t have to do strange arm movements. To make these, I need to use most of my arm. Note how the canvas is rotate to let a left handed person make these easily. There’s a number of different kinds of strokes. Stablizer does makes things easier as you grow more tired over the duration of the inking session. I am also avoiding the stablizer, to give an accurate representation of the kinds of strokes I am making. I’m using my own inking brush here that I made like 5, 10 years ago. Our ‘control group’? (Though, iirc, control group is when you explicitly do nothing to the base :D, maybe not really applicable…) The result tends towards the somewhat stiff but technically sound side of drawing things. This is a technique I tend to use if I am unsure about what I am drawing. The sketch was made by taking the basic-opacity brush, drawing a basic pose, then using the adjustment curves to quarter the alpha, then halving the brush size and refining the sketch, rinse and repeat. Time lapse of the sketch made using the recorder docker. Furthermore, I’ll talk a bit about other solutions I’ve seen as well as Krita’s existing calligraphy tool. I will note the good and bad qualities of each. To do this, I have used the following sketch and inked it with Krita’s raster tools, Inkscape’s Power stroke and Blender’s Grease Pencil. ![]() There’s many different ways to approach such lines, and I’m writing this blog post as a study of the different types, problems and what kind of needs we’d have to fulfill if we want it to be on par with raster inking. Strokes that always taper at the beginning and end are another example of something beginners ask for (because they do not have a tablet or the motor skills to taper), but I feel equally uncomfortable about this, as inking without a tablet is a recipe for RSI. Usually beginners also really like the idea of editable vector lines because then they can ‘always fix their mistakes’, and I am wary of this as it is a perfectionism pitfall. Animation, similarly, seems to still per-frame line work as the interpolation tech for vector lines does not solve all use cases.
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