With 2048 levels of pressure sensitivity the Intuos Creative Stylus reacts to a light touch just like a real pen on paper. And just like real paper, you can rest your palm naturally on your iPad, because the only thing that will leave a mark is your stylus. The Intuos Creative Stylus connects seamlessly with your iPad Mini, iPad 3 or iPad 4 through Bluetooth® 4.0 Smart. I don't know if this is specific to Krita, I'd just like to understand how to handle it, as I cannot find any specific posts or info addressing it. If anyone could please advise, it would be greatly appreciated. If you're working with 'physical' painting/drawing tools, you know the size of your canvas or sheet, and the size of your brush tips, pens, etc., like '2 in brush', '1/2 in brush', etc. (see Bob Ross' 'The Joy of Painting' videos, for instance). That tells you immediately what size, relative to your canvas, your brush stroke will have when you apply it. If your canvas is 10 in wide, and you use a 2 in brush, you know your brush stroke will occupy about 1/5 of your canvas' width. In Krita, when I create a new file, I set the canvas size in cm (e.g. 5 x 5), and I need to set the resolution (e.g. Given that brush sizes are expressed in pixels, not inches or cm, this implies that the same brush, set to the same pixel size, on a canvas of the same size, will appear exactly twice as large if the ppi setting is halved. I understand the technical reasons for it, but I do not know how to handle it, for consistency. And then with lots of theory and dry erase board plotting under my belt and in my phone, I turn around into Fantagraphics Instagram demonstrating innumerable examples of people like Simon Hanselmann, working at an extremely high level with the humble squared grid, making each frame count and working the point of view moment to moment, and.I keep going. I've been going after all kinds of sources, and learning more, like the layout system demonstrated by Frank Santoro that can be rooted into fine art and renaissance painting, to dynamic symmetry, the inevitable Scott McCloud manuals, Paul Pope, Tony Millionaire, Brandon Graham, Moebius, Seth, and, of course, lots and lots of Mike Mignola. I want to have a lot of the planning accomplished, so that what I create will readily work as a book, will have a consistent visual vocabulary, and will have a flexible enough framework that I can present certain ideas I have that I really want to convey that will probably be in defiance of what I appear to be doing a lot of the time. For.ages now, I've been very involved in trying to better my understanding of comics, the design of them, the structures and formats, because I really want to make something of an ambitious design. Let me tell you what I've been on about lately. It's not gonna come out a carbon copy, but over time you'll find something else you like and then something else and then they'll combine into this weird little style that you usually refer back to. Basically, if you like someone's style, look at why you like it and see if you can apply it to your own work. I still don't quite think I've gotten the hand of my art style yet, which is why I'm trying to do a lot of courses and study, but yeah, that's how it developed over the years. It didn't really work when I went for a more realistic style so I started looking at other features I liked from other artists like simpler faces and how they captured features. I liked that arealtrashact didn't use lines and wanted to try that for myself when lines just weren't working for me so I just tried to see what they were doing with it. I developed it from really just looking at other artists like Steve Tompson (I think i spelled that wrong), Arealtrashact here on tumblr and a few others like nathsketch. Thank you so much for liking my art style.
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