![]() ![]() ![]() Studying that art, I saw a lot of painterly details inside the characters, but the character edges were sharp. I wanted this piece to have a look similar to the ARMELLO game promo art. 2) Keep clean edges on painterly work by using Clipping Groups and making your base layer a plain silhouette. Note: for all of these but the paw I kept the values pretty form-based and plain–most the glowy lighting effects were added at the very end of the process. The cover file would update and show me if I was on the right path. Using File Layers meant I could also flip back to the full composition and after I saved the changes to the goat. Adding a transform mask to the file layer helped me get him the right size before I moved him into position. kra file (with the full thumbnail as a guide). Then I watched GDQuest Krita tips: using the File Layer for game art mockups: Īnd realized what I’d been doing wrong the whole time: to resize File Layers, you have to apply a transform mask before using the transform tool.įile layers let me paint goat, details and all, in his own file, then add him (as a File Layer) to the main cover. ![]() But I’d heard of Krita’s File Layers and thought maybe they could help me out…except I’d tried them out before and couldn’t figure out how they worked. With a 300DPI workfile at around 16 inches tall and 21 inches wide and a TON of elements planned, I knew it’d be huge and would make my rig chug. I wanted to paint this much larger than the book size it would be printed at in case I wanted to do posters. At the end you’ll see early WIPs, then the full wraparound cover and detail shots.įirst, here’s the image we’re talking about:ġ) Got a big project? Use Krita’s File Layers to work on elements separately before compositing them in the final piece. For all you digital artists out there, here’s some tips plus a list of Krita tutorials that helped me paint my latest fantasy book cover. ![]()
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