Last week, we released Krita Gemini for Windows. It was demonstrated during Doug Fisher's keynote at IDF 2013. Check out the video of the keynote!

But Dan and Arjen haven't been resting on their laurels, so here's a new version, with bug fixes, much smoother switching and better AVX2 support!

Get your fresh Krita Gemini here! (Windows Vista and up, x86 and x64 are supported).

We got lots of questions about Krita Gemini for Linux. Because we're developing Krita Gemini in a branch of the regular Krita git repository, neither Krita Gemini nor Krita Sketch are currently included in the regular releases for Krita. We're working on merging the code back, but that'll take some time. It builds and runs fine on Linux, of course!

Last time, we went through the options for the versatile and expressive hairy brushes. This time, we’ll discuss the brush set I’ve created for the “Muses” training DVD. Creating the brush set has been an enriching experience. Together with David Revoy and Timothee Giet, we created a standard for brush sets -- and we have also created a SVG library with modular vector icons that are easy to adapt and use.  Check out Vasco Basque’s brush set, too.

So, without further ado: the Krita Training Vol.2: Muses Brush Set is here! The DVD is coming along nicely, and the contents will be on the printer on Monday 30 of September!

Krita makes it really easy to create brush presets and if we don’t take care, we’ll create hundreds of presets. Managing so many presets is rather more difficult than 42, the number of presets of this pack. It pays to be selective!

This pack cover the basic necessities for the most painting projects. The set I created for  “Muses” was created made to complement the default set and also to be compatible with another packs, like David Revoy’s pack. Although both packs have some things in common, I think that they complement each other very well. Each has some functionality that isn’t present in the other.

The Muses Pack focuses on providing a rich and varied painting experience with a traditional look.

The set is designed for being used with tablet. It’s not necessary to have a tablet but I don’t recommend using a mouse because some presets can work in a unexpected ways because they use sensors like pressure or tilt. For the best experience, use a tablet that has tilt since  some presets use the “Ascension” parameter.

Contents of the set:


The colors of the squares are only for differentiating the parts,  they don't have nothing to be with the colour coding we designed for distinguishing the presets.

- Sketching:
This first part of the set covers the sketching and dry techniques phases like pencil, charcoal and hard pastel.
Usually you’d use these presets in black and white, but the advantage of the digital painting is that with only one preset you can still use all the colors you want, for instance to simulate the effect of color pencils.

- Digital:
This part of the set covers the most common presets that you need for digital painting. The classic round brushes with a good velocity in bigger sizes, smooth contour, squared… The illustration of below, for example, makes an extensive use of the squared brush for creating the structures of the mountain. After that, you will have to do a detailing finish, of course, but is a fast way for delimiting the contours.
Personally, I use these presets all the time.


- Ink & Fx:
In principle, this presets aren’t for inking comics (for that see the presets created by Timothee Giet), they are for doing studies or fast sketches. We can emulate the markers technique very easily.

- Oils & water:
I use this presets for creating the brushstrokes of wet paint, for giving the painting the look and feel of oil paint and gouache. They create expressive effects and they are fast but I don’t recommend the using them at really big sizes: you can easily saturate the resources of even a beefy computer. They use the “ascension” sensor for the color-rate.

- Blender:
This presets mix the color that is applied in the canvas. They are quite explanatory in themselves.

- Texturing:
This presets are used for fill big parts of the image with varied shapes like leaves, clouds, etc. They simulate effects that will take a lot of time painting it directly with normal round brush, saving us a lot of time that can be spent on places where we need manual detailing.

- Hair Brush Pack Bonus:
If you have installed “Hairy presets set” you can create brush strokes where you can see a pattern of lines that simulate the hairs of the brush. Read my first post for all the details.





The brushkit ZIP can be downloaded here.
It should be compatible with 2.7 and 2.8dev
License :  the brushkit itself and thumbnails is released under the WTFPL 2.0  (compatible with Public Domain and CC-0 ).


Unzip the downloaded zip , and paste the two folders 'brushes' and 'paintoppreset' into your Krita user preference directory. Under Mint 14 KDE, the Krita pref are located here : /home//.kde/share/apps/krita/.
On Windows, it will be c:\Users\\AppData\Roaming\krita or c:\Users\\AppData\Local\krita.

This week we are back with an amazing conversation with Krita artist Jens Reuterberg from Sweden. Below is one of his favorite works "Gangster Monkey" made in Krita. He has also collaborated with us for Kritashop and a few of his designs are already available on the shop. Read on the conversation to know more about him -

Gangster Monkey

1. Hi Jens, would you like to tell us something about yourself?
I'm a Swedish illustrator and graphics/visual designer working out of Gothenburg. If I where to define myself in a short sentence it would be: “Nerdy, Lefty, Gay, Artsy and a little bit odd in the head”.

2. Do you paint professionally or as a hobby artist? In any of the cases, how would you define the importance of art in your daily life?
I've always painted and drawn as far back as I can remember and it wasn't until rather late in life that I figured that that could actually constitute “a job”, up until which I worked, amongst other things, as a forklift operator. As relevant as art has always been in my life it was something that I never really understood that it was in fact something you could work with, in the same way I can only assume psychotherapists must be shocked that you can make a living through “empathy and human insight”.

3. When and how did you end up trying digital painting for the first time? What is it that makes you choose digital over the traditional painting?
Digital painting really became relevant when I first started working with it. To be crass: its faster, the end result is more reliable and consistent and its allot more flexible than “traditional” art. I tend to do digital when I need to do digital and “traditional” when I need to do that. I use the quotation marks because there is a common misconception that the digital work form is somehow not really “proper” art and that there should be a clear way to define whether something is done “traditionally” or “digitally” - where “digital” becomes a pejorative, a form of insult, that I never really understood.

But I assume all new things must have met the same rejection. “Oh I see you're using camels hair for your brushes, don't you think that's cheating?”, “Hah. Using acrylic paint, are we? If it's not poisonous and difficult to work with it's not proper art!”.

4. If you had to define your own painting style, how would you describe it?
My style tend to be rather filled and cramped. I often strive for minimalism but fail miserably and just keep adding things. Its just a sensation of not wanting to quit. For me the end result, although relevant, is not as important as the process. If its not fun I have a hard time sticking to it, and if it is fun I have a hard time letting go. So there tend to be allot of tiny things, either cross-hatchings and details or just tiny objects and jokes.The brushes I use the most tends to be the most a-realistic like the hard round fill-brush, the ink 10 brush and the smaller rounder ones for cross hatching and then I try to recreate the effect I'm going for.

5. Now talking of Opens Source Communities, how did you first find out about them? What is your opinion about them?
My first run-in with open source was when my installed Windows Vista crashed in that horrible and brutal way only Windows can crash – taking with it days of work. I was about to reinstall it and thought “hang on, there must be something better here” and started looking around. I found Linux, figured out how to make a Live USB and haven't looked back since.
My opinion on Open Source and its Communities can be summed up with: brilliant. I have never, in my life, had the backing of thousands of people who are all somehow invested in helping out. Open Source as a concept is wonderful, its devs clever but the real cheese lies within its communities and the distro and software with the best and most welcoming community tends to be the one that's the best to work in.

6. How did you find out about Krita? What was your first take on it?
I found Krita the week after installing Linux for the first time. I had to have something that could replace Photoshop. Gimp was brilliant as a Photoeditor, Scribus was an insanely good layout program, Inkscape handled vector and Blender 3D – but the troubles where the way I worked with Photoshop as illustration-software. Mypaint, which is an insanely good Painter replacement, never could cover the way I had to work when I did things in a professional capacity – when I had to sit down, on schedule, work out what I was going to do, sketch it out, fine tune it and finish it.
Krita came in when I had almost given up and started looking at methods to use Photoshop in Linux (with virtual machines and wine) and it was just perfect. A professional set of software, designed to be used to create art from sketch to finished product and with a community of helpful people and devs for whom this was their passion. Now Krita is my go-to-feature of Linux and one I never go without.
A common attitude with illustrators and graphics designers is that unless you pay insane amounts of cash to Adobe “your not a proper artist”. Which is really just a modern twist of the classic European art schools argument that “If you're not white, a man and rich enough to join this art school – you're not a proper artist”. The tools are so expensive or exclusive that you effectively disallow a large group of people from being artists.
The upside is that more and more illustrators and graphic designers are seeing the virtues of Open Source alternatives and Krita tend to be one of those really persuasive arguments and the few Adobe people I've worked with have always ended up saying “really? Wow I gotta look at that program a bit closer”.

7. What do you love about Krita?
My favorite feature of Krita must be the short-cuts design and the right-click circle. I sit hoovering over the keyboard with one hand and using all buttons of the stylus with the other and it's blazingly fast. Other than that there is the flexibility of the whole program – the feeling of always finding some new setting somewhere that, when fiddled with does something absurd and wonderful.

8. What do you think needs improvement in Krita?
There are two things with Krita that does need improvement: One is how complex the interface can be and how intimidating it might seem. With all the settings though it's almost impossible to make the interface easier but the UI design is certainly something to strive for in the future.
The second is funding. Those of us who use Krita professionally need to think about donations or some other way of making a contribution. Think about the amount of money you would have spent on proprietary software and how much it takes to create a good illustration and art application. This goes of course for all Open Source software and operative system and desktop environments. The majority of devs sit at home on their spare time doing this – which is appalling.
As illustrators, professional artists and graphic designers we often complain about the attitude of some that we should happily work for free (or “for the exposure” or “get paid later”). Lets not behave in the same atrocious manner towards the hardworking devs that create the software we create in.
The downside is that “rich artist” is as much an oxymoron as “atheist priest” but there are plenty of ways to help out. You can report bugs, you can file suggestions for improvements, you can use the software and tell others about it and even though a donation is small – its still a donation.

9. Indeed! Lots of small bits make a huge difference taken together, so consider development fund for Krita here.
Now, If you had to pick one favorite of all your work done in Krita so far, what would it be?

I can't say I have ever had a favorite artwork of my own – it tends to be the one I work on at the moment but of the ones finished the monkey gangster from the Comic Sans Gangsters series (actually that whole series was fun to do) and probably the tiny figures and emblems I did for my own homepage (which was set up and created with the invaluable help of Anders Flink, who is a brilliant webdesigner at Dedicate Ad-firm here in Gothenburg) especially the pooping bird, the parachuting rat and the falling penguing trying to fly.
The homepage with the figures and emblems - and Gangster Monkey shared above.

Thanks a lot Jens for taking out time for the interview and also, for your contribution in Kritashop!

Today KO GmbH presents Krita Gemini for Windows 8. Krita Gemini is a fusion between Krita Sketch and Krita Desktop: Krita Gemini switches seamlessly between the full-featured desktop/notebook user interface and the sketch interface, which is optimized for tablets.

KO GmbH has been working closely with Intel to develop this innovative technology. To quote Intel: "Krita Gemini is a brilliant example of how developers should utilise the option of a convertible device by using both tablet and desktop mode. The switching between the two modes works seamlessly."

With the right hardware, the switch is fully automatic and truly seamless. Krita Gemini also supports the AVX2 instruction set that was introduced with Haswell, Part of the development effort was spent on improving the Vc library by Matthias Kretz, adding support for Haswell's AVX2 vector extensions. KO GmbH worked close with Intel on this project.

Download Krita Gemini for free from the KO GmbH website. It works with Windows Vista, 7 and 8.

Check out how TImothee Giet uses Krita Gemini:


Here we are again with more interviews for you! This time we have for you a conversation with César Tellez, he is Mexican and he has been a member of our artist community for a long time and now he has collaborated with us! His artwork will appear in the new coming products of our shop. Thanks to him and enjoy the interview!

Hi César,
Do you paint professionally or as a hobby artist?

Together with some friends, we have just started making digital art professionally. And we’ve been doing comics as a hobby.

When did you start with digital painting?
About 4 years ago, when I started to be a regular user of Kubuntu. In those days I bought my first graphic tablet and I started to search for tools for working with digital art in Linux based systems.

How was your first take on it?
Well, I was used to use the programs of that famous company that makes proprietary graphics software. My first attempt was with GIMP, and getting used to it wasn’t hard. Maybe it was a little irritating to work with all the separate windows, but bit by bit I got used to ti.  Eventually I discovered MyPaint, and that was a lot easier for me in a lot of ways.

Would you prefer digital painting or traditional?
I still prefer traditional painting and if the modern publishing industry would make it possible, I would exclusively work in the traditional way. But  it is more practical,  more productive to paint digitally. Anyway,  you can obtain the same effects with both methods, so it will always depend on the circumstances of each job and on the artist in particular.

How did you get in Open Source Communities?
It was almost at the same time that I started to use free software all the time, as immediately I started to find compatibility problems, system collapses and all those lovely issues. So I understood the need to be in contact with other users via forums and blogs almost immediately.

What do you think about Open Source communities?
There are all kinds of members, as it occurs in all the communities on line, but I have always been fortunate to find very kind and cooperative people.

Did you contribute to any FOSS project?
No, this will be the first time and I do it with pleasure


How did you find Krita?
At the moment of experimenting with open source apps. I tried Krita since the version 1.6.3, which wasn’t usable for me, but even back then, it seemed a promising program.

How was your first take on it?
Well. 1.6.3 and 2.0 gave me huge headaches, for the slowness, crashes and the limited file format support. It was difficult, but when 2.3  was released it turned almost overnight into my favorite tool.

What is the thing you like the most about Krita?
In the first place, that is a very flexible program, its configurability makes it very convenient to adapt to the type of technique or result wanted. Then its variety of brushes is very useful, as is the fact that each painting engine has a lot of configuration options.
It is  also what I call a “direct” app: it has filters, selections and other features that are there and can be used for photo editing or general treatment of the image, but don’t disturb the work for drawing, they are there but don’t  impede the concentration when painting.

What do you think needs improvement in Krita?
Maybe its resource consumption, it’s the only thing that doesn’t allows the position of Krita in the most popular digital art apps, apart there is that limitations of using a based in Linux system or the uncomfortable thing of a dual-boot

Something you hate?
Not really, except for the sudden closures of the app, but this occurs almost only in the test versions.

In your opinion, what sets Krita apart from the other tools that you use?
Together with MyPaint, it comes closest to painting on a normal sheet of paper, it’s very comfortable with regard to its painting tools, but there are also these little options that you can find in photo editing programs that sometimes you need for working.

What brushes did you use?
I did the sketch in a paper sheet and then scanned it. The coloring process was done with pixel brushes with the maximum opacity, to make easier the application of color (task that regularly I start for solid colors with the fill tool). For the lights and shadows i used the blur brush, sometimes with textures, that, i have to say, that is a very interesting tool that Krita offers.

Thank you so much for this interview César, has been a pleasure :)

Hope you all enjoyed it!


This weekend we have loaded the Kritashop with many new attractive products. For the products this week, we collaborated with Krita artist Enrico Guarnieri and created many new designs for throw pillows. Also, we now have a Krita icon tee in the shop which you can order in a color of your choice!

We'd love to hear back from you guys. Let us know what you'd like to see more of in Kritashop! Below are the snapshots of a few of the new products -

 Demon Buster

Mother Nature

     Krita Icon Tee

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