Hello, deaf gone. My name is Andrea Downing, and I'm really excited and honored to be back here at the biohacking village for my third year. Today, I'm going to be talking to you about predictive algorithms and how they affect your health and your future. The name of my talk is no aggregation without representation. So let's get started. My talk has 5 parts. Why me? Why should you listen to me? I'm going to talk about predictive power of health data, harm and threat models, hacking algorithms, and how we think and act differently to protect patients. I want to start by dedicating my talk to a friend and fellow disability rights activist, Erin Gilmour, who took her own life not long ago. While she can't be here today to raise her voice, I thought I would start with her words. She said this in 2014. I come from the privilege of being an educated white woman and a background and a culture where it's okay to question and fight for what I want. I know the correct jargon, and after so much time in hospitals, I have enough knowledge to ask for and fight for my care. Some patients died trying to get food, medicine, housing and medical care. If you don't die along the way, you honestly wish you could because it's also exhausting, frustrating and degrading. I may not speak for all patient communities when I talk about predicting your health and your future. And I might not represent the entire patient population or the diversity of it. But my own origin story and path to becoming a hacker and starting on this road that got me to DEF CON began when I was very young and predicting my own future around cancer. I have a lot to say about one gene and the history of that gene, what it tells us about predicting your health. I never wanted to be on this path. I first learned about the power of data to predict my own future when I was 25. And I share this in every talk. I have a bug in my coat. I have a BRCA one mutation. What that means is my genetic counselors sat me down when I was 25 years old and told me that I had it up to an 87% chance of developing breast cancer and up to a 60% chance of developing ovarian cancer in my lifetime. That's me getting surgery, one of seven surgeries up at the top left. And my first for a into data sharing and disability rights starts at the bottom right here at the steps of the Supreme Court. When I served as one of the spokespeople media spokesperson for a plaintiff in a case that went to the Supreme Court on whether human genes could be patented. The case and the genes in question were BRCA one and two where I had a genetic mutation and the company that had done my genetic testing had a patent on those genes. Before that case, over 40% of the human genome had been patented. And after that case, the access to genetic testing and genomic tech technologies exploded. And we really are still only at the tip of the iceberg when it comes to understanding the power of genomics. My path took an interesting turn in 2018 after Cambridge Analytica, where I became an accidental hacker asking myself a simple question about the privacy implications of having a support group of genetic mutation carriers on Facebook. That's a whole other talk, my first talk at DEF CON in 2019. If you want to go check it out, it's there. And all I want to say here is from that experience. I found other patients and this incredible community here, which I'm very thankful for the other patients around me who have, you know, sought a path forward are working to advance our rights. They're also fairer representation in the systems and technology and data that affects our lives, our health and our future. We are a nonprofit called the light collective, and I'll talk to you a little bit more about our work at the end. But first, let's go into what my talk is about predictive algorithms are everywhere, not only in healthcare, but increasingly. They exist in ways that impact our health that we may not understand or realize because the choices aren't apparent to us. We don't truly understand as we walk through our day and on the internet, some of the ways in which we can be targeted, or how our identities and our futures can be affected by predictive algorithms. Increasingly, the choices that we have and the way we're treated both inside and outside the walls of a clinic are dependent on the data that we generate. And the choices that predictive algorithms make about us clinicians develop predictive algorithms by studying health outcomes of patient populations over time. That would be the like 5 second explanation of predictive algorithms. And, you know, that's very basic. It's obviously a lot more complex than that when we think about informed medical decision making, clinical grade diagnostics and making sure that those things are good and trustworthy for care. When we're seeking knowledge to make informed decisions. How are those choices really our own my view on this from the cheap seats after 15 years of lived experience navigating my own future and my destiny based on genetic information is that your choices should be your own. And what you don't know may kill you. I'm going to talk about black boxes, black box predictions about our health are killing us in ways we don't know. And the examples here, emerging for key themes, patient safety, inaccuracy and bias, privacy and security and lack of digital rights. Let me start with EMR is epic has about 20 proprietary algorithms designed to predict things like how long a patient might stay in the hospital. How you might get care and one specific example of a predictive algorithm is your chances of developing a serious condition called subsist. Well, this example I'm calling out and I want to just say that Epic isn't the only EMR with predictive algorithms. This is an industry wide practice and this just happens to be an example that just hit the news. So I'm giving that here an external validation cohort study looked at Epic's proprietary algorithm for subsist, and they found that 67% of patients with sepsis were not identified based on this predictive algorithm looking at the wider population. So that's very interesting. When we have a black box making decisions about, you know, are you going to stay in the hospital longer or not or what's your risk of re admission or developing sepsis. You might not be given the same care as somebody else based on the data that is generated about you. What are the sources of that data. How is it accurate and how is it worthy of decision making that is informed by you and your doctor. Another example on the right here is something many may be familiar with the opioid epidemic. What a lot of people don't realize is the opioid epidemic of the last two decades has cost here in the United States 600,000 lives. How did it start aggressive marketing while under playing the risk of overdose and addiction to drugs in the middle of the opioid crisis, a Silicon Valley startup had a really fantastic business model idea. They were called practice fusion. And the company developed an electronic medical record system for doctors and instead of charging for the software, like their competitors, the company generated the bulk of its revenue by advertising to doctors. Specifically practice fusion solicited a $1 million payment from opioid companies to create alert systems that would encourage doctors to prescribe extended release opioids with two patients. This has since been busted and is in a huge criminal case. The DOJ is involved. It's really messy and ugly. And the, maybe the result of that here is maybe it's a bad idea to have drug companies as a business model. Share with Dr. C and shoes or predict about a patient. And that's all I have to say about that. How are we solving the opioid crisis? Well, here's a shining example. You may be surprised. You may not be predictive algorithms. This is a fantastic piece by formerly political reporter. Now, the interesting thing here is it's not based on just clinical or EMR or study data in an IRB approved study without your consent. What's happening is data aggregators are buying up data about the food you eat the time you spend watching TV. The kinds of medications you've been prescribed before in and they are mixing that up into a soup of prediction and then selling this to providers in order to predict your risk. This is unregulated and it is used without patient knowledge or consent. This is Tammy Dobbs. She lives in the state of Arkansas and relies on at home care for years. The state of Arkansas gave Tammy 56 hours of care per week to do basic tasks like getting out of bed, going to the bathroom, making meals and cleaning. Then in 2016 the state implemented an algorithm that decided that Tammy could only get 36 hours of care. She had to ration that care and decide and schedule when she was going to go to the bathroom and eat and in this specific case, the designed algorithm was so wildly irrational that not even the developer understood how and why the algorithm made the recommendations that it did. And what does that leave patients when something like this happens? It leaves us with loss of care, loss of benefits, inability to get food back to the words of Erin in the beginning of my talk. And just ways that these systems can be used to charge you the most amount of money in order to give you the least amount of care. Now let me take it back to my little domain that I know a lot about, which is BRCA, that happens to be one of the most studied genes on the human genome now. If you remember, I told you those 87% and 60, like super high scary numbers back in the beginning when I was told my genetic risk. And you have to keep in mind when we talk about in four medical decisions, that was like a death sentence to me at 25 years old. And a lot of my path and my identity has been shaped by that sense. And what I've wanted are better options, not only for myself and my future, but my family and my community. And since the patents were overturned in 2013, I mentioned that we've expanded access on genomic testing and all kinds of technologies. And we're learning about new predictive algorithms that are very interesting, but still need to be validated in order for them to be worthy of clinical grade decision making. So these are in early stages when you think about those over 60, like science is starting now know there are 66,000 variants on BRCA one and two alone. And the way that we classify those variants are some are harmful or going to kill you or you might develop cancer. I don't want to scare anybody. Some are totally benign. And then in the middle, there are variants of uncertain significance. And those variants of uncertain significance. Some of them are so rare that we will never have enough data in the population to make accurate predictions, but they can still be harmful. The way that we are predicting these things are looking at, for example, in silico prior prediction to be considered with other evidence in partnership with your clinician. Or thinly functional scores and these are all like where on the protein that the mutation happen or if you look at a model organisms and that organism has the mutation. Did they all develop cancer? Like those are other ways that you can look at prediction of a health outcome without actually looking at the population. This is Dr. Lynette Hammond-Jerrito and Valencia Robinson. Lynette on the left, Valencia on the right, not pictured is Tia Tomlin, founder of MyStyle of Matters in Atlanta. And I want to share this as a good example of patients representing themselves in partnership with a researcher to tackle the problem of genomic disparities in BRCA and data sharing. What Lynette has done in this initial study is look at the many layers of the cancer disparities problem.  Well, there are many layers to that problem, including lack of access to care, systemic racism in the healthcare system. But I want to talk about how genetic testing doesn't work for people of color. Because those genes were patented in 2013, what we knew at the time, what clinicians and the guidelines at the time were that BRCA mainly affects Ashkenazi Jewish women. It's breast and ovarian cancer. Those are the very, very extreme cases of cancer risk when it comes to the population. Therefore, only people with those certain markers were able to get tested. So back in 2005, there were just so many huge that you had to jump through to get insurance coverage for a $4,000 test and to get into a genetic counselor that was a six week wait time. Now, over time what happened was people with less access to care were not part of that original data set or the development of those algorithms. And now what we have is a problem where genomic testing genetic testing for BRCA literally does not work for black people. And that is because the systems were the, you know, the way that we have developed genetic testing is on reference genomes for white people. So we need data and we need algorithms that represents diverse populations. And my thesis here looking at this example is that needs to be led and supported institutional support for researchers and patient community advocates like Lynette, like Valencia and like Tia leading the way because that's the only way we are going to earn and build trust. This is their time to lead and it's very exciting. I promised I talked about hacking, hacking predictive algorithms. So here you go. Maybe not that hard.  I don't even know if I said the right thing here, but here's a beautiful example of Simon Wackert, a German artist who took a wagon full of cell phones down the street in order to affect Google's algorithm on whether or not there was traffic. And I think this is a fantastic example will not in healthcare. It applies. These barriers to entry and how to hack a predictive algorithm are pretty low. Like you just give it, you just feed a bad data. There you go. So up until now I've really focused on algorithmic bias, where testing works and where it doesn't. And when we lose care and we lose trust, and we fall through the cracks of the healthcare system, where do patients and the public go? They go to social media. When patients fall through the cracks of the healthcare system, they turn to social media for help, support and resources. And I'm telling you this because I did it in 2013 when I was going through my surgeries, I found a beautiful brave support group before the days of disinformation and it was a lifeline for me. Finding people with a shared identity and a health condition is one of the most important parts. It has been for me and many studies on this show that it is a really important part of the healing process. And the question becomes, how do we guide that and do it in a way that isn't exploiting people or harming and abusing their privacy? And what happens outside the walls of the healthcare system that researchers and clinicians often don't think about when they don't have a TikTok account? Well, I will start with this fantastic study that was done in 2019 evaluating the predictability of medical conditions in social media posts. And this was in plus, it was roughly an end of 1000. And the posts analyzed through natural language processing was roughly a million posts, 949,000. And so what they did was they took all the posts, they looked at different types of medical conditions and correlated with a way to predict risk of diabetes, pregnancy, anxiety, psychosis, everything down to really personal things like whether you're not, whether or not you're likely to abuse alcohol, whether or not you have a digestive disorder. And you have to keep in mind this is an IRB approved study with consent from the people involved. And the power of these predictive models are very early. But Facebook has a lot more data than that. We know that when predictive analytics are used in ad targeting on social media, pharma companies are able to target you target you based on your health conditions. One might think great, more effective marketing, you can get to the right patient at the right time and really getting effective about micro targeting these populations. But you have to keep in mind that if you go back to 2018 we warned Facebook about the huge problems with their group architecture and the way that those were feeding recommendations into group recommendations and interests. Those things were basically swept under the rug and then a pandemic happened. I want you to think back to that practice fusion example where they had a business model to target ads to physicians. Now this is what I'm showing you outside the walls of a clinic where we just go around the physicians and target directly to the patient. And the key here is to know that there's no governance, no digital governance that is protecting populations, vulnerable populations from being micro targeted. These three ads are just three examples of what my community sees when we go on social media. And there are thousands more of these are just three examples of thousands. You can target ads bourbon ads to alcoholics. You can target snake oil and fake treatments to us. You can give a send out a scam of DNA based life insurance. To people with genetic mutations so that you can deny them care and and that is actually a real thing that happened. Between July and November of 2020, the health care and pharmaceutical industry in the United States spent $198 million on Facebook advertising. Instagram followed with 151 million and ad investments have just exploded when it comes to health care and direct to consumer pharma ads on Facebook and other places on social media. We need to stop just like shifting risks down the road and saying to people, oh, well, they should have known better than putting their health information out there on the internet. Communities rely on old and outdated tactics when we're responding to misinformation. You know, I have witnessed it time and again from the World Health Organization to the CDC to hospitals, putting up FAQs on their website, download this yet another app so you can learn about medical misinformation and get educated. And yay, we're going to be experts teaching you and that's not working. Obviously, we're in a place where that's pretty much played out and we need to try some different tactics. When I talk in just towards the end of this presentation, I'm going to give you a few examples of what I think may work. What we don't see is also a lot more dangerous. I'm going to give you this very important example of clinical suicide risk versus social suicide risk. And I'll point you to this fantastic piece from Mason Marks on artificial intelligence based suicide prediction and the Yale Journal of Health Policy Law and Ethics. We break down if you think about a clinical setting and traditional risk models for suicide, something as intimate as predicting your risk and making informed decision about how to navigate care. That's got to be a really hard thing, right? Well, unfortunately, in the traditional clinical risk models, the risk scores and algorithms that have been developed for suicide risk are notoriously inaccurate. This study breaks down these sensitivity and specificity and level of evidence for a couple of a few dozen different predictive risk scores that have been developed with IRB approval. And, you know, the gist of it is a lot more needs to be done before these are worthy of informed clinical decision making in a practice with your doctor. And at the very least, something like this should be in your own hands as a risk score that you could make decisions about on your own and be informed about. Rather than something that is a decision made about you. Well, it's starting to be a thing that we are able to predict risk of suicide based on what you post and it doesn't have to be that you intend self harm. This is a study on machine learning approach for predicting suicidal ideation on social media data. And it's, it's, there are a few studies like this right now in their early stages where this was just a participant group of 283. Because the study was on Twitter data. They felt it was important that to outline there was no need for consent, because the tweets were public. And that's an important thing. We know when we go on Twitter, any user knows there's no expectation of private privacy and what you broadcast is what you broadcast. But what you may not know is that could predict even if you're talking about something totally unrelated, the words you use. Those could be used to train machine learning algorithms on your risk of suicide and then who knows if they're accurate or not. Those proprietary black boxes can be sold off to make decisions about your employment, your ability to get a mortgage or a loan a student loan. Who knows it's a black box and that's a problem. And it begs the question, should your risk of suicide be a trade secret at all, or your risk of any health information, should it be a trade secret. I get that companies have to build business models on the software that they develop, but there are different ways to do this. And as we think about paths forward and ethical AI, this is a really important one. And it scares me because when we are aggregating the pain of people or making decisions about somebody without their knowledge or consent. It hopefully I've said it over and over again is a complete breach of our human rights and our privacy and it shouldn't happen. You should feel free to be vulnerable as you want to be on social media without thinking about what the implications are of what you post. And I'm going to bring up by the way that goes for any jerk on the internet who wants to share things that are misinformed people need the freedom to learn and to disagree and be wrong. And trust is completely broken. Maybe I have shared enough at this point to convince you that trust is broken in institutions in technologies and patients of the public know it. I personally have an interesting definition of trust that comes from Stanford Professor Lindred Greer and she studies teams and how teams behave. One of the things she says is trust is not a feeling. It is a measure of how accurately you can predict benefit or harm. And often I think we look at patients as an abstraction. We think of us as a market or as consumers or users with no rights, and therefore our voices don't matter. I think of patients very differently as needing to be representative in the policies, the technology and the field of cybersecurity. I think patients, patients like me who are activists are hackers too. They just don't know it yet. And if we build trust, we have to do so in ways that are accurate and measurable. What do we do and how do we do that? As early adopters of technology, the BRCA community and I have been hacked, scammed, sold patented by the last generation of innovators in healthcare. And I think it's time for a change. I hope I've scared you enough because now I'm going to get to some more lighthearted stuff and a path forward. What is my call to arms? Well, I'm going to channel Rosalind Franklin who was the original X-ray crystallographer who found the structure of DNA and then add that co-opted by Watson and Crick. And she said science and everyday life cannot and should not be separated. She also died of ovarian cancer. The truth is, though, when it comes to dismantling the problems that we share, these are all problems that the second you go into the walls of a clinic, these problems are going to affect you too. And I think that we have to start bringing together the experts and institutions by supporting communities of patients and their leadership with governance, digital governance. In order to create a structure like this to address these problems, I shared at the beginning we formed a nonprofit to serve patient communities and represent our collective digital rights. Today we think of informed consent. And okay, if I look at a 50 page document and I sign at the end, well, I am like about to go into the emergency room box checked, I've given my consent. Well, it just, that doesn't do justice to anybody and it is not sustainable and it is further enabling these systems of harm. So our mission is to help peer support groups, people with shared identities and health conditions to build capacity around digital governance and foster healthy human connections when it comes to representing our identity and our rights and health data and technologies that affect our lives. Heidi Larson, vaccine anthropologist, said it beautifully, you know, when we think about the problem of medical misinformation, we should be looking at rumors as an ecosystem, not unlike a microbiome. When instead today we're just continuing to go to here, go to this FAQ and educate yourself when people don't trust it, it doesn't add anything to their experience. So here's what I am doing.  This is a network graph and I'm learning how predictive algorithms work so that I might be a part of the solution. And for the past year, I've been working with this amazing, amazing open source project called Project Domino. In fact, Leo Mayerovich and Cody Webb are one of them maybe in our Q&A. So keep an eye out for that. But what we've been doing is working to understand how our networks are visualized and helping to inform the design of predictive algorithms when there are often false positives and false negatives. How do we become part of the solution and represent ourselves in the data or the algorithms that we're developing? I think this lends to a more important question in my mind, which is, are patient activists, when we think patients can be hackers too, patients like me can be hackers too, we just don't know it yet. Can we be a part of a digital community of health workers that are helping to counter the effects of medical misinformation and become stewards of fairer representation in technology? So little nerd out and I, Candy, this is my little Jupiter notebook repository of BRCA tweets and here's a beautiful visualization of some of the things that we've been playing around with. This is actually looking at disinformation networks and bot networks and understanding how to identify them. And when you're a patient community going through trauma and diagnosis, you might not know the first thing about whether a bot network is targeting you or not or whether that's real. And you might only see a small sliver of the problem where this is a way to think about of it as a living breathing ecosystem and how information and knowledge is shared in a visual way. What is my call to arms? I am asking those listening to understand that patient communities who are users of technology also have no rights when we are generating health data as the supply in the supply chain and those data and algorithms can either cure or kill us. We need digital rights. So this is a draft of six principles for rights that in 2019 we drafted with the help of patient leaders, disability rights activists, patients and policy and technology experts. I encourage you to go take a look at this on our website. This is very much in the early stages. It's just a first draft. I have another culture arms and that is to the people not above me who think of themselves as experts representing institutions or elite hackers who are just talking about hacking all the things. This is for the people beside me who are struggling to learn about the technologies that affect us and that we often struggle to trust. We need to start building core competencies in technology as we organize communities on social media and help them to engage not only with experts in the healthcare system but advocate for our digital rights. We are going to be piloting a civic trust. This is a legal model and civic trust law is nothing new. It's been around for 1000 years, but when we think about having a fiduciary responsibility to shareholders instead of users or patients. This is part of the fundamental misalignment of incentives and business models like practice fusion that I shared or in ad targeting on social media that can cause harm. So if we think about patients and leaders and experts as data stewards that can be part of a new model and define the purpose of how data are used and communities as beneficiaries of those data. I think we have an opportunity not only to create a lot of value in the design of better systems that improve health outcomes but also take a more networked approach to representation of communities and diverse identities that can be a part of a path forward. Finally, I am, I think I already said finally, but finally again, I am asking for you to partner with us and directly work with patients as colleagues and equals rather than research subjects and users. I am asking you when you think about diversity on your team in cybersecurity or elsewhere in the design of your healthcare systems. Do you have patients representing your team. If you don't you are part of the problem because we can help and we need to be treated not just as advocates being asked for feedback. We need to be treated as experts in our own experience and build the capacity and skills, not only in the path career path of cybersecurity, but in other places. Because when we do that, there are so many examples of where we have changed things, not only in the diabetes community with we are not waiting and open APS but also the think about the HIV and AIDS movement and how that changed the course of their disease. So, finally, a third time finally, I'm asking you to join us in rebuilding trust. You can follow on Twitter be like light check out the light collective. I'm going to be sharing how to get involved with us if you are on the discord channel. And I'll be tweeting a few things out on how to get involved. We are currently seeking applications for our first cohort of partners and we would love for you to be a part of that. Finally, I want to give a whole bunch of thank yous to the board of the light collective who are patients who have been working on this for two and a half years. Advisors are legal advisors are clinical experts and cybersecurity experts and health data experts. I also want to thank the incredible communities on social media like BCSM with Alicia Staley. I want to thank Robert Wood Johnson Foundation for for supporting our work and BRCA sisterhood American living organ donor fund digital public. My style matters and so much more. So thank you. And I'll see you in the Q and a.


This long video is brought to you thanks to my patrons on Patreon. Hi everyone, my name is David Revois and in this video I will show you how to make a comic page using Krita. This tutorial will learn you the value steps I am using on my webcomic paper and carrot to reach this type of final rendering. This video will also be a good introduction to Krita, a round practical example. Check the video description if you want to discover or jump directly to a specific topic. As you can hear by my accent, I'm French and English is not my native language. I'm also not a really skillet English speaker so you will find a lot of hesitation into this tutorial because I'm recording them live so sorry about this and I hope you will understand the effort I put into recording this and I hope also you will have no problem with understanding the content of the tutorial. I'm using Krita version 3 with a basic customization of the interface. On the right I'm using mainly 3 dockers. The top, the advanced set color selector, at the center the brush preset with a pack of my free brushes and you will find a link to download them below the video on the description and at the bottom you will find the layer docker. I don't have a tool option docker around because I prefer to have it plugged on my toolbar so you can set up it via the settings in general tools and add the tool option location select in toolbar. Finally for my toolbar on the left I'm using the lower size of icon and you can set it with a right click over it. Our first step is to transform a story into a storyboard. I'm preparing here a A4 landscape page in Krita to draw my storyboard. For this tutorial I don't have a complex story it's just a simple paragraph with the character Chichi Mi and a dragon. It's a random story I made especially for this tutorial. My first step is to break down this paragraph into separate action and obtain five panels. I usually create page with four, five or sometimes three panels. Then I'm drawing the panel as a movie storyboard without thinking about the comic page layout. The next step is to take care of the layout and for this I need to open two documents side by side in Krita. In my settings I have the sub window mode activated. You can find it on general windows and switch tab for sub windows. This way I can reduce a storyboard on a side of the canvas and open my page template on the other side. You can download my comic page template. The link is in the video description. So in our storyboard we can't put all the the frame this way because our page is much more smaller. So we will have to change the layout and sometimes change the drawing too. But first I want to to see what panels can be easier to frame differently. For example this one can be a very wide panel like this. So it can take the eraser and resize it and also these three ones at the end are action that are very near in the timeline. Take it, throw it, ploof. So I think I will decide to go for a page like this with landscape on the top main because I already saw that this is the frame I would like to draw and show a more detail on it and maybe the more interesting in the page. And then three panels with Shishimi here with the object throwing and in the water. So I can already adapt my page layout and I will click on the frame layer and I will select the selection tool it's the top one shape manipulation tool and I will just take this separator click on them and press delete on keyboard because I don't need them and I will get almost the same layout. I'll take this one and move it a bit on the top this way and maybe this one a bit this way I will zoom here to extend this one and this one. So on my template the border of the comic are in gray but you can change the color later and add some border and add some decoration I will show it this is only because it's convenient for me to to keep drawing in black and white and have the border with a dark color at first. So as you can see on the layer we have a little grid here on the top can activate or remove it and so I can adjust the panel to fit the grid. So the landscape here the main shot here for this one maybe just a little bit more room and I don't like really the ratio of this one so I will just move it a little tiny bit up and yes I think it will be my page layout so I will just save this one save as just going here I'm doing a folder artwork I can also place a shortcut here and I will just name it my comic page for this tutorial underscore 001 because maybe I will save more than one version and save it okay now I will transfer the storyboard and this so I can select the selection tool I'll click on the header here and select this storyboard control c going to the header of my page and control v so the storyboard is a lot smaller but it's normal so just press control t to extend I'm resizing and I'll try to frame a bit the storyboard this will give me just a big guideline but we have to redraw everything pressing enter and first panel is done second panel I select storyboard and I continue for this one we have a completely different ratio so it's a bit more tricky maybe I will have to redraw it maybe I will have to redraw it for these three and that's not a problem so I have my pasted layer here and I will just take them up to the sketch one layer here and then I will flat them on the sketch with control e so I have a little glitch sometimes it's open just blink the visibility of the frame to remove this little display bug and I will storyboard now the other panel so back to the brush taking this preset pressing shift to resize and I will lower the opacity probably can do something like this I will save a little room here for the speech bubble the end with the object and we will try to have like a curve here off after the hand with the object showing that she threw it and here an action that it's on the water oops just doing selection tool center it a bit and deselect and on the corner maybe the eyes of the drawing like this I don't like this line I will remove it and as this way I start to to clean my storyboard just a little bit but this panel I'm not really linked just it was some visual guide and now I have a pretty crappy storyboard but I have a storyboard so I know the layout what type of action will happen on the on the panels and it's a already a good base because I'm at the good resolution to start to draw over this step pre-prod I will save it my artwork I set my comic page and zero zero just to save it in case I need it later but I don't think I will need it and for this page I will save it with control s too so now to transform our crappy storyboard into a drawing or a painting we need to to do a lot of work on the top of this of course this is not final this is just the idea and the first thing I will do is to zoom a little bit and to make it visible the compo layer it's a layer for the composition and I select I select the shape manipulation tool because it's a vector layer and I select all the object of the grid of the composition and I resize it to the panel size like this and I press control c control v to duplicate it and I repeat the same process over all the panel so this is always good to have an idea of the center of the panel or the diagonal or the third pretty like the third rule I know it's controversial but there is some recipe for making better composition and I think it works well so I like to to keep an eye on my composition and when it's done you can reduce the opacity of the composition layer because we only need it to be slightly visible like this something you probably noticed said is the panel color here are a bit similar than the background color of Krita it's allowed me to focus a bit better on the panel and consider them like different picture when I will start to draw if you want to customize the color of the background of Krita you can find it in setting configure Krita display and it's the canvas border color here so just click on it and you can even pick a screen color like this and take the color of your frame as a target press okay okay and you will get a very similar matching color for outside of your document and for your panel color so I will also hide the grade here because I don't need it anymore and I will rename this sketch layer as storyboard and I will redo the opacity of the storyboard I'll create on the top a new layer name paint and I will start to paint over my storyboard and to make a better composition to make a better drawing on the top of this storyboard there is mainly two approach I like the first one is to take the storyboard and reduce a bit more the opacity like this and on a paint layer take a pencil preset I will zoom at 50% and start to just sketch some volume on the top for example like the shape of the head shape of the torso etc etc and then refine find the the first line etc this is the first way I like because it's it's something more traditional with the white of the paper with a pencil approach then you take another pencil preset a bit more dark and you just start to improve the detail this is the first type and the second type is something I'm doing a bit more recently is just keep the storyboard a bit visible like this and on the paint layer take a brush preset like this one and directly paint some area so I just paint over and this way I'm more approaching the artwork by mass by silhouette and then when I have the silhouette I like I will take the pencil do another layer and start to outline it so yes this is just a little summary of what you will see next because I won't comment the next minute I will do a one minute non-commented and I will accelerate the video because now I will just paint and all the tool I will use will be this one and I will select maybe white color maybe I will pick color on the screen with the control key and dark color white color and I will paint like this over my storyboard so at any moment I can erase and see what I was doing and sometime I will even paint under the storyboard so I erase now and I will start the time lapse there will be a little clock on the corner if you want to skip it on the video and just jump to the next part commented and that's how we end our storyboard it's a like a painted storyboard result as you can see the face are not detailed but they are detailed enough to have an idea of the story and at this point if you have many pages like 7 10 or 30 you can already read your story and fix your storytelling so I really like this step because it doesn't cost a lot in time to redo a panel so it's still not too late to fix one and you can review the storytelling add a bit of ambience start to think about the light placement that's why I like the gray so now I know that the light will come from here and I will already know where the detail are important because of this light source and where the detail are not important so I just flattened the two layer I had into the paint layer and we will move now to the next step and the next step will be to add more detail on the main point of the illustration so there is the face of course there is a lot of work to make them a good design and the end and the background and for the background I will just add a perspective layer it's a grid for perspective and it's a grid I have in my resource and you will find the link on the description below the video also I just take my grid on my file explorer and I will drag and drop it on my canvas so up and I press insert as a new layer so it's just a big star offline and press control t as you can see it's a big picture with star I made this picture with inkscape a vector editor and I resize it to the size of my panel so here will be my vanishing point and I check if the line will be good for the castle and it's okay so press enter so this is a big picture it will take something to to resize but now I have my grid ready I will just select the select tool and remove a bit the part of the perspective that are over the other panel the other panel have also a perspective but it's not so needing to get a grid for it you can get a feeling like this that is quite okay so I will just keep the grid for this view especially for the design and I need another one here for this type of angle so I just duplicate this one and I move it and I keep the vanishing point on the same on the same horizon line like this and I try to adapt it to my crappy sketch like this so I have an idea now how this perspective will work for this city in background if I want to color this line of perspective I just press control u and press color res I put a bit of lightness and a lot of saturation and as you see the guide will start to color in red and if you change the u you you will get some blue and etc just take some bright blue and I redo the same I can just click here last use it and change the we take a red one for this one so now we have some color red line for this guide press control e and name it for perspective and I will place it on the top layer here maybe this kernel of the perspective vanishing point I didn't need so just press the brush I take an eraser a soft one and I just remove this kernel because it will be a bit hard to paint with this one visible I reduce a bit the opacity yes now it's good enough for me to to be guided to to do some detail about this so I will start again another time lapse now and in this time lapse I will select the paint layer I will directly paint on the paint layer and I will just add some more detail so see you back in one minute oh and don't forget to save so now our detail pass is finished it's not a big detailing as you can see there is still a lot of parts that are pretty rough and speed painting but there is also a rear with already pretty good detail and by detail I mean now we can see which what will be the pose of shishimi what will be a facial expression here or here what is the position of the hand as you can see they are still not really detailed enough still a bit weak as you could see also I like to play with the design during the painting I changed quite little things with the castle with the design of the dragon and this is probably because I was used to do some concept art before with speed painting and so drawing with painting directly with this gray is good for me because I can be a bit more creative I am not a prisoner of my line but I really like doing lines so I will add now a bit of line that's the next step and to add them first if you want to see I can blink the layer that it was the version before and if I turn the visibility of my layer with detail you can see how the detail changed but I don't need this layer anymore so I just press select the top layer and I will press Ctrl E to just merge it down if you keep the mouse over you see on the preview that we have some painting around the canvas it's it's really visible on the the top part so if I remove the frame you can see there is some painting but we have also painting outside and if you want to clean it because your field size will be smaller you can go to image and trim to image size so sometimes there is some glitch like this don't panic it's not a part of your artwork you lose it's just a a glitch of Krita just turn the visibility of one of your top layer off and bring it back and all will be okay it's a non-bug and now if I select it you can see it's not usually all trimmed but maybe it's not so obvious and visible on this little preview and now I will do a new save so you saw that I can do a Ctrl S to save as and enter here a new number like after three four etc but there is also a built-in feature of Krita you have here in file and it's file save incremental version and if you press it it will automatically save with a new number at the end so I press it Krita is saving and now you can see here I'm at the version four not the version three so if you want to keep a sort of history of your file when you delete a layer and just move on you can use the save incremental so after this detailing of the storyboard we can move to the next step and for the next step I will reintroduce some drawing and some line I will ink my drawing I know it's a bit weird to do the painting and to ink after but that's how I like it it because when I paint as I just explained it I prefer to do some concept and to add some light source and I like to reintroduce after just a very light line art and for this I just take the paint layer and I will reduce the opacity something very bright maybe like this and on the top of this layer I will just create a new paint layer and I will name it ink and so I will just ink the characters because I like to keep the landscape as just painted and I will also accelerate the time lapse during I ink this character I will ink them just a note before launching the time lapse with this pencil it's a dark pencil and if you see at low pressure I will select a good color at low pressure I will zoom it because on the video maybe it's not obvious but at low pressure I have a little grain and when I press the line became a bit more regular and here I have a grain some fuziness on it and I really like it because it's a bit less digital and boring than a digital inking tool so I prefer to use this I'm not sure I will use the size then maybe I will use it a bit smaller on some character but just testing a bit yes maybe I will use nine or even something else I will just probably continue some tests but I will record all this part without audio so I can focus on the hard work so another three detail before starting the inking the first one is I will turn the ink layer to 85 percent of opacity I will also use a shortcut on my keyboard to switch to the previous preset so here if I have the pencil and I draw and then I take the eraser I can press the slash on the numpad key to just go back to the previous it's something I already introduced in another previous video and you might be familiar with it but I think it's still important to remind about this key and the third thing I will use is of course the stabilizer so this is my tool option and I will switch from no smoothing to stabilizer and here I have a setting for my tablet and my screen that works for me if you want to find a good setting for you just do the same setup than here put a very high value like maybe 100 or 60 and then test for example I will use it because I will show you how to find a good one so just just do a large one like 100 like this and then at the zoom you want to do inking I would take the right brush try just to draw a small shape like this or just like you would do for quickly draw a little circle for an eye or something and as you can see here maybe it's difficult because it's in little but my movements are not following really my cursor I feel limited so in this case I will reduce by 10 for example here I will go to 90 and test again and now I have a bit more control but I still can't really close the circle so I reduce reduce reduce by 10 by 10 by 10 and when I feel comfortable it's the right setting so I think with my other tablet when I'm using the laptop in travel I'm using all the value so it's really depends on the size of your screen and on the size of your tablet even when I do a demo on a on a projector screen I have to test and change it it's not something absolute if you just do the same value as I do you will not find a good stabilizer for yourself I just test again yes this one I'm a bit free of my movement and there is inner stabilization when I do a long curve to have this perfect smooth thing that I like so yes it was just a little note to remind of this 85 percent this key to switch and this stabilizer I set up before inking so now I will launch the time lapse see you in one minute I'm doing now a little pause in the inking process to show you some highlight of what was important for me as first I wanted to show you and you probably saw it that I didn't really I would increase a bit the opacity just before explaining so you can see better so I increase the opacity of the sketch and I didn't just outline the drawing as you can see the eye here is a little bit lower than this one and when I drew I also fixed the volume and I made all the part easier to read for example if I turn off the inking you can see that this end was really simple really not detailed and I tried to draw over and not just outline my speed painting it's not how it works you can't just outline a speed painting you need to to really draw over and just invent and fix all the details so when you did this you can also add some details and sometime the speed painting under can help you to to have a bit of chaos some chaotic shape to add some interesting details add the scale pattern on the back if I turn off and you can see that this little stroke of painting just guided me to make some suggestive little ink of scale and so I wasn't tempted to draw every scale but just to underline a few of them and of course all this little detail helps to to make the render a bit more final so now I will just continue also as you can see I flip the canvas with the M key for the mirror so I can see the volume the shape in a two way and it helps my brain to to not focus on the same picture so it's like if I can fix two pictures and so I can refresh my eyes refresh the picture I have in front of my eyes and try to to fix more error so I will continue the inking now with all the other panel and I will launch again the timelapse now the inking is done and as you could see I had to change the haircut of Chichimi here to match this one because I prefered the the haircut here I also spent a lot of time on the hand that's still my weak point on anatomy and on character but I try to do all the best I can and I spend more time on it but it's not optimal yet maybe one day I will find a good way to make a perfectly drawn hand I also didn't ink the background or the part I think they will be easier to to paint and that's why I like this technique because I'm not I don't have to ink everything and I can save time because on this part or on the tree inking all the different little leaves of the tree can be really really really time consuming and so now I will transform my inking into a black and white page this is for the one who would like to to have a black and white result in my in my case it doesn't make a lot of sense because I have some parts of the drawings that are painted but I will show you how to make a pure black and white page now so first you will hide the visibility of your paint storyboard layer so you keep only your black and white line and then we will transform the frame so just before doing this I think it's wise to do a little save I will do an incremental version I'm going to version 6 here and I will flip with M key to the original mirror view because I was in mirror head but as you could see I draw on both sides so it doesn't really matter to me but there is a original orientation of the drawing and I try to keep it this orientation is because it's follow the rhythm of of reading of the picture so from top left to bottom right for me because it's how I read so you can see that I follow this diagonal on the picture and yeah I just counter it to make a little jump on the picture and here just also but that's just a little parenthesis on what I did and to turn the frame because I have this vector layer frame to something white with a black border you just need to click right click on it and as you can see there is already a little FX symbol on the on the right so just right click and go to the layer style and as you can see this black gray color here is done by a color overlay into normal and into this dark color so you can just turn this color to white and now you have your frame in white and just add a little stroke here so by default the stroke is really large yes 21 pixels we will turn it to three pixels just a thin line like this position outside yes it will be outside the vector object but you can say at the center so it's a little bit thinner the mode multiply no just take a normal and 100% and the color is already set to black so yes it's it's good and you can press okay and now you have your panel in white with a stroke like this and you can still move your your frame if you want for example this one you can still move it here and it might take time to refresh because we have an FX on it but this process is a bit flexible because as you can see it auto merge the vector object together to trust your to trust your panel so you can even make a large panel and put it a bit with this type of rotation if you want of course the update time will be a bit longer and sometimes it can be very very dramatic with Krita to to retrace some layer effects but the job is done and that's the the main main part so let's wait yes as you can see you can follow the rendering because it's so slow come on come on okay okay okay okay yes it remember me the the old rate racing on the old 3d software and but when it's done it's done and in the recent version of Krita the three version and probably the the future version maybe this will will be speed up this little step and also when you work on another layer all of this pixel don't refresh every time so it's only when you move them that this thing is slow but that's a price to pay with working with this type of flexibility because as you could see I could change the layout as I wanted and I can change the color of the panel and the width of the line so I will adjust and do all these things I did to go back to my layout just go back in time with Ctrl Z, Ctrl Z, Ctrl Z and now I have my black and white page I will turn back the visibility of my paint layer here under so now I have my painted background and my character I will just reveal a bit the opacity of my storyboard this way and now I start to have a little shading and that will help me to start the pre-color at this step I usually just fix a bit the the background painting and I adjust it and I will do it on the fly because there is not a lot not a lot of things to fix so I will do it in live demo so just turning back the opacity of the layer a bit more like this and I will take a brush maybe my favorite brush and I will create a layer in between a fixed paint for example and just pick with Ctrl the color and I try to paint and so I'm really bad too to speak at the same time of painting because I'm thinking about many things at the same time but this is not really really a big thing and I don't want to launch a timelapse only for this little this little correction this little fixing so just doing them because after I want to show you how I prepare my my artwork for the next step so it's almost okay for this panel I could refine it a bit more but that will be the the next step anyway and here I talked about this and maybe the belt maybe this shape a bit there is always a big work of cleaning but yes I consider this okay for for going to the next step and the next step is usually the the version that my translator have it's a black and white version so just merge now the speed painting with my fix just Ctrl E so now I have only this version in gray and I reduce it to 50% so the gray are really really really bright and so the eyes can still catch only the line art and still get some ideas about the painted element and on the top of this I'll add a filter layer just on the top of my painting and filter layer it's a filter but that's just a filter that makes it work on the the previous layer in the stack or all the the bottom of the stack and I will take the color not the color adjust and color balance so this can take a bit of time to compute on your side I usually just put the the the shadow the shading with a bit of blue in it like this a bit of cyan to not make it too much too much violet so as you can see it's subtle but all the the dark got slightly bluish and I will take the mid tone to something a bit red and yellow just to make the picture just a little warm and the bright uh sometimes I leave them white like this because I think it looks good but sometimes I just add just a little bit of yellow like this and this way you obtain a it's not it's not color red but if you need to to to show these comic pages to for example in my case it's all the translator team of pepper and carrot and you obtain something that is a bit more sympathetic to the eyes than something black and white you obtain something with a gradient of colors and for just a little filter yeah something I also do with pepper and carrot is to remove the dark line on the panel because I prefer only white panel so just go back to the frame layer vector layer right click on it layer style and I just uncheck the stroke that's how I obtain my borderless panel and right now at this step because I say that this is the version I use to communicate with the translator it's also the step I use to enter the speech balloon and the text and also all the sound effects at first in the first episode of pepper and carrot I was doing it with Krita here and I was just turning the text layer on and you can see you have a little default text replace it if you can but I remove this because now I do it only with inkscape and so we will do now a little chapter on inkscape and how to make the speech balloon and use the resource I provide to to add quick speech balloon and quick text on on this picture but we have a file that is a Krita file finishing by kra and inkscape can't read this cray file so we need to do a transitional file a transitional exported file a flattened image and don't use it don't use this export to save but we need to do a transitional png file to work with inkscape so I will just save at first my car array and when this is saved because the the Krita picture can save all this layer and I want to keep my layers and I will just export and exports will just save a copy so here I have all my pages and I will do the my comic page without extension and png just typing the extension save and here I have some options for the png just because I have a good processor I use a maximum compression but if it takes too much time you can use six or just a bit lower value but it will take more disk space and press okay so the exporting is in progress as you can see Krita doesn't react it's almost like frozen but I can see on my second screen that the field is saving and if I take my file browser here you can see that I have my exported picture here and now that's a picture I can even share on internet if I want or that's a picture I can open with an image viewer and I will be able to open it with inkscape so here is a little chapter about inkscape and I use inkscape because the text tool is not really good in Krita right now but if you are watching this video in one or two years after the publishing of this video I'm sure Krita will have all the necessary tool to make good text and good speech bubble in Krita it's almost everything needed just a problem of stability and problem of a little glitch visual bug that make the tool not really good to use on a daily basis and not really predictable if you have like a lot of page and on pepper and carrot I have more than 100 page and there is like 30 translation so if you do the math I have like 3000 page to to manage so it's a bit impossible with something buggy a solution buggy so but it will change soon so we make this little chapter about inkscape inkscape is also an open source program about the vector and you can find it on inkscape.org if I if I remember and on linux you can just use your package manager and your software source or every method to just install it so here I have it let's see maybe I'm just used to call it by opening a file but yes by default I think we have a A4 pages on inkscape but I will check the document property and yes it's a A4 so that's the same ratio as my template and so I can just take my file manager and you have my comic page here and just do a drag and drop and normally inkscape will open it the file in it so it will probably ask you to should we link the file or embed the file it's up to you I prefer to link them because it's easier after to refresh but sometimes the option doesn't appear and we will have to to to change it later so yeah we will see but at the moment I will just put the artwork here and I'm pressing ctrl to preserve the page ratio and now I have my pages and I will save this file artwork and I will use also the same file naming my comic page but this time in svg which is the native file of inkscape the next step I'm using is just to to create here the text and change the the font here and trust the the speech balloon themselves so I do them manually just creating vector object and filling them with white and removing with shift and click the border this is how I did all the first 10 episodes of pepper and carrot and then I saw that all the speech balloon and all the the shape are really coming back there is not a lot of variety so what I did is I made a big template and so I just can do copy pasting and then it result in this big file here so it's a file with ready made a lot of vector object I made them myself and there is tail of speech balloon speech balloon themselves with a lot of style you have a lot of font with effect for ready speed effect for a soon effect sorry for my vocabulary and my english language but yes this file you will find it also on the description of the video you will find a link to download it it will be part of this tutorial and if you don't find it try to find the original page of the tutorial I will I will keep a version to download of about it and so the only things you have to do is to open this svg file in inkscape too and I will also add the font I'm using here it's the lavi font so it will be included in the pack it's a font I open source font for pepper and carrot and we we kept the development on it I'm not the original author I will probably on this video overlay the the name of the original creator because I don't know it but I don't remember the exact name but a big thanks for this very good font for comic and there is not a lot of good open source comic font so that was a real pleasure to find it so at first I start with the text themselves and this is a default non-flowet text oh maybe I will I will fix my template a bit oh and just press control c so it's open in a inkscape view and I press back my my other so in this view Chishimi will say nothing and maybe she will say a little thing here so I just add something and you can resize it to the size you want and you can edit with a double click with the text so I remember in my script I didn't have some dialogue so it's a bit hard to improvise a dialogue now I'm recording would just say that my english is not really good to compose dialogue in english so should we really keep this I will not write this ring because it's obvious it's a ring finger ring so should we really keep this she's thinking out loud and sorry for the cheesy dialogue but it's just something I I'm improvising and three little dots probably not and she decided to put it in the water this is not the part of a bigger story this is like a little scene for this tutorial so I'm just trying to to see where I can put my text and as you can see inkscape also have some glitch visually a little and if you zoom in back you will make a refresh so we have our text and I will take back my comic templates we'll take maybe this shape of balloon here control c going back to my comic page and I will press control v to past it and now my object a speech balloon is on the top of the text so I just go here and ask to lower the position of the object I like the the white speech balloon with white frame because you can merge them sometime like this something I also really like sometime to do is to reduce the opacity of the frame just a bit of the of the speech balloon and I will add a little tail to show that this balloon come from her mouth and not from the ring or not from the dragon so we'll take maybe this one it's a weak one a bit hesitant and Chishimi speak a bit like this oops this is Krita this is a good one so if you click a second time on the object you have the rotation and if you click one time you can scale them it's a very good system something I always always like it from the ergonomy of Inkscape really easy to use and if you want to change the point of the vector object you have here another selection tool and you can just drag a little to make the speech balloon looking a bit better okay so now it's okay I think for this one maybe not the the best I will take another speech balloon for the probably not no she's not screaming it just a regular rune dead balloon so just take another one resizing putting it in the background and I will add just a little tail to show that it's still her from here let's speak so a little tail I can use that is more direct this one like this rotation skating and this way and we will have a little sound effects here so I have some ready-made text effect with some effect to have some shadow and some outline this one looks good but no maybe a bit too shaky so maybe I will take this one just a simple one with black oops I passed that into Krita this is the Inkscape and I don't know the sound effect of water in English and maybe say cliff no that doesn't look doesn't sound really good pluff pluff pluff wow that's you probably will comment on the video to tell me what is the the right sound but yeah for this tutorial I think it will be okay so just a little sound like this maybe here I can also do a little pick because the the finger just do the sound so whoop we'll take maybe just a default text I can duplicate this one and do pick I will remove the dot that's okay and if you click a second time you have also this one to deform a bit so I will use this fake italic effect put it a bit like this and I think it's okay so when it's done you can save your SVG your Inkscape project now let's come back to Krita and in this chapter we will do a colorization of our comic pages and for this I will first remove the color balance because we will start from the ink layer and our gray layer the one we made the sketch with so I turn it to 100% again just to get back the value and I will try to fix the value first so I will duplicate it and I see that when I duplicate it I have some little refreshing problem here and it's because my layer here is partially transparent so I want to flatten all the pixels on about this so I will create another layer we could name it bg for background temporary just filling this layer with a white color and I flatten this one under so now when I duplicate this layer a copy of background restore the old name paint and copy of paint now the layer have solid color on it so this one and this one it makes no difference so why I duplicate it it's just because if I want to do some change on this one layer I keep a backup layer under so if I do something just a mistake I can still keep some information about the previous layer and I often work this way I work on a separate layer and when the result is okay I just flatten it if we want to change the value of our paint layer we will have mainly three tools the first two ones are filter so we have the adjust level here and you have some ruler that can just improve the contrast but also you can cut the black or cut the white that the first tool we have to tweak value the second tool is a bit similar and it's in filter adjust and it's the color adjustment curve and here you have the air gba channel that are all the channels so you can also do some tweaks here but there is a channel that is lightness that is a bit more interesting so if you want to make some contrast you just make a s curve like this and you will see some good contrast happening and also the third and the last way we will use to to improve contrast is also with the brush and using a preset I have some preset like this one to improve the light or this one to it's a overlay blending mode so with a dark color you can darken some zone some area and with some bright color you can brighten but at the same time you don't destroy everything like a normal brush so you can play on a big halo of life like this way so I will use this three method to improve the the the value of this picture and I will do a not do maybe a little time lapse about it maybe I will do it live and comment why I'm doing it it will maybe take time but maybe it will be more interesting the first thing we will do is to take the selection tool rectangular and we will do a rectangle around the panel we want to change so this way I will change only the content of this panel with the filter and not all the the other panel because I didn't made the same value on all the panel and I need to tweak only one by one so I will call the level filter with control l and just improve a bit the the darkness because it's a night scene so I want some pretty low value on it and because I'm doing a a comic style I want the line art to still be a bit visible so I will ask the the black to not be pure black but to be just a dark gray like this and you can hit preview button so we went from something that is really bright almost looking like a a bright scene to something that is really low and really dark maybe a bit too much so maybe I will play a bit with the setting preview this is a bit darker this is a bit like this looks a bit more okay to my eyes so just pressing okay and we have the the result so we can still hide the visibility of the top layer to see what we did and if we have a effect that is too strong we can still also radio the opacity and merge the two layers together that's why I always keep a backup I will do the same for the other now and I will probably launch a timelapse and accelerate the video as you can see I already accelerate because it's a bit repetitive and I first will fix all the value then I will clean the picture and add a color balance on all the panels and the next step will be to apply some blending mode so I'm launching a big timelapse and feel free to skip it because it's how I finish the color sketch so during the previous timelapse what I did was to focus on the lighting and as you could see if I turn off what I did to what was previously previously on my first sketch the lights were coming from the top so all the dragon was lighting from the top and I decided during this color sketch and during this cooking of color not only to influence the color but also to paint another shading and I had it now only the the light from the the moon which make a big rim light on the character so if I if I put off and you can see and of course this also affects this character and also could make a point of one color here here and on the sky so I can lead the eyes on this area and put some other area outside a bit colder so this is a system I use that here here also here a bit brighter color and here to lead the action another step before starting to detail is to also take care of the color of our line art so the line art is this layer ink and if I zoom in you can see that I drew it with black color and sometimes this black color can be sufficient for your type of rendering but for the style of paper and carrot I try to sometimes erase a part of the line art and especially when there is like this a big rim light like here and I think it's not looking natural to have a very light bright light source like this of the moon and suddenly a black line I think it doesn't look right but I like when the black line are like this and in this case the black line looks a bit like some deep shadow or detail so it's okay and sometimes when the the black line are outside the volume they can just look like the volume is turning and there is a little part in the shadow so this type of line works and some other type of line like this black line on the air doesn't works also like the black line on the nose here is too dark for a skin color so on the skin you will never have a black shadow like this so this is heavy stylization same for this line of the face and so I don't like it a lot so what I will try to do is to color the line art and I will show you my technique to color the line art to color the line art it will be a bit easy because I made I drew this line art directly on a transparent layer so this line art only has dark pixel or semi transparent dark pixel and transparent pixel what I like is just to lock the alpha so it means locking the transparency of the channel here the little checkerboard and you see there is a padlock appearing and select the color I want in my case it's a red and like one or one and a half value so very dark red like this or a very saturated brown and I will just edit fill with foreground color and this way I will get the exact color of the line art I want so this is just to give a little warm touch to the line art to all the shadow as you can see here and here so at first and because now we don't have very black very dark line art I will put this layer into multiply blending mode and so you will see that when the line art will be over a dark color like here the line will turn a bit black so if I put it to normal like before it will look a bit unnatural to me to have a similar value on the shadow but with multiply we have it turning black on the black area and on bright like here turning like a brown area so our setup is almost finished and during the next step it will be a timelapse step what I will do and what you will see me doing is I will take my brush so just this brush and sometimes I will select the ink layer and because it's alpha locked I can just paint take some yellow and paint the line art just a bit yellow at this at this right moment so if I right click and isolate the layer just to see the content of this layer you will see that now I painted a color red my line art into this color and if I want to come back to the dark red I just select the red the red value and just color it back so this way I can't really go wrong it's a very flexible way and if I want to paint the shadow on the skin of Chichimi on the line art with a brighter red like this you can see that I can color my line art really easily this way and I can always come back and color it darker later so this is what I will do especially on all the surface with a bright light on it like this and like this and it will be part of my detailing cleaning pass so I will just do a little save incremental version and launch a timelapse so one of the first post production effect we will do is a pass on the paint layer just a copy of the paint layer with a big brush with the dodge color dodge blending mode and we will boost the light so the light of the moon and also the light of the little fire here and I will blink the layer so you can see the difference it's a little post effect but always good on the light source the second effect is a fog effect and for this you need a new layer on the top of the ink in light on mode and just a scribble some particle with it with a big brush and then put some filter some Gaussian blur filter on it and you can also smudge a bit the detail and reduce the opacity to make a sort of fog on the overall even on the top of the inking another effect is just to take a part of the picture to duplicate it and here I'm using a gimmick filter a ripple and I will use also the gimmick filter water to obtain some deformation and to paint more easily the ripple and deformation on the water of this panel another lighting effect and this is a really important one in my opinion is about all the little glossy point and for this I create a new layer here and I usually name it paint over because I don't limit this layer just to paint some glossy point but sometimes to do some other type of correction on the top so it's a little on the top of our stack our graphic stack in this group and I'm used to to paint the reflection like the little white point of the gloss in the in the eyes usually taking some white and a very small brush like this and doing little reflection I also like to take a pencil and just some little stroke of white pencil here and there now our gloss pass is done and as you could see I not only added some white point during this time lapse but I also added some little correction here and there like little shadow here I will just blink the paint over layer so you can see fixing here just a blue shadow so I use this paint over layer to just fix quickly a lot of little things but mainly to add little white point so we will enter now in the last step and the last step when all is done like now is to just add a filter layer on the top of the graphics in my case and it's a so it's a dynamic filter and this filter will be on all the picture except the frame oh it appearing into the group but I will move it later and this filter is the enhance sharpen so this layer don't have any configuration you don't have the power or the opacity of the sharpen filter here but as you can see by default it's pretty strong so I will just move this filter I will rename it directly sharpen you can see there is a little filter icon here and if I turn it off as you can see you will get a lot of crispy detail with it but you will get also a lot of noise if you zoom in and this noise is not really good if you print or if you do something so that's why it's good to keep it dynamic I never use it 100% sometimes I use it like 60% so you can reduce the opacity of a layer like this and the effect will be a bit more subtle so sometimes even like 35% and compared to this blurry result you will already get a little bit more detail so I will just set set up the sharpen layer I think the comic will be seen online at 40% so most people will see the the comic and read the comic at this size just watching I think I use 60% or 70% of time on paper and carrot I have to check but I'm almost sure you can find it on the source each comic has a sharpen layer like this so yes it makes the detail a little bit more crispy and now when you have your result you can do the last saving so I will call it 19 and underscore final to know that this is the final version so we reach the end of this video and I hope all this long long video tutorial did help you and will inspire you to create beautiful comic stories it took me 10 days to record all this video and do all the video editing too and at final I had more than 15 hours of video to compress into less than two hours of final video be sure I did my best to compress all this length and I'll try to do better next time for sure also I couldn't spend all this time without the financial support of my patron on patreon so a big big big thanks to them for supporting the webcomic paper and carrot day after day and also by supporting the webcomic they support the free bonus between the episode and this video is a free bonus between the episode so as the brush kit as the template and everything you could download today so a big big thank you also for all the comments the reshare and everything around the community and around this channel it makes me really happy and see you on the next video I don't know if it will be shorter or longer but I will try to do something I promise it bye


Let's circuit Python. For the circuit Python parsec today, I wanted to show how we can create a random delay using the random library. So you can see here I have some blinking neopixels on a circuit playground, blue fruit, and they are blinking and then pausing some random amount of time between the third of a second and up to five seconds. So this is a really nice thing to do let's say a Halloween effect or another holiday effect or a prop where you want to have something that blinks occasionally, but it doesn't feel like it's on a regular. So here's how we do it. In circuit Python, I'm importing the time library, board to get pin definitions, the random library and neopixel. I'm setting up my neopixels and creating a variable for the red and the off or black colors that I can use. And then in my main loop, here's what I do. I fill the pixels red. I pause for just a tenth of a second. So that's how long I'm blinking on.  So the blink is regular. This is where we use random. I have a variable called pause time which equals random dot uniform. And then in parentheses, I say we can go a minimum of one third of a second and a maximum of five seconds. Then I print that to the serial port so we can see it while we're debugging. And I pause the program. So I have this time, sleep, pause time, whatever the random is that time that's gonna change every loop of the program. And so that's what gives us this really nice random effect where you see these lights blinking. They're not on a regular time where you're not gonna know exactly when they're gonna happen. Here you can see I've turned on the serial output so we know, okay, we're gonna get a three second pause. Next one also about three seconds. Now we get almost five seconds. So as each iteration of the program runs through, that pause time is gonna change because of random.uniform. Now, what is random.uniform?  You can get integers with rand int. You can get random.random which gives you a zero to one or you can use this one, uniform which is essentially a float value, a linear float value anywhere from your minimum that you type in to your maximum that you type in. And so that is how you can create a random blinking effect using the random library inside of CircuitPython. And that is your CircuitPython parsec.