The Mojo MOO Ink presets provide a fantastic range of inking options.
Distinctive features of Bamboo are the block-like line and the variable strength of the ink. It has a liquid feel in use, I believe thanks largely to Krita’s curve engine. Many of these brushes have experimental features, so that you’re not just painting pixels.
The strength of the ink is an important feature to watch for in all of these inking brushes. Most of them have at least some slight variance, meaning that you’re not inking with a mass of pixels all set to straight black. Even with very dark lines, you’ll likely be able to detect where you have inked over other lines, just as you would with IRL india ink with brush on paper. This brush however has a very distinctive wash in contrast to the dark wells of ink.
Bamboo Dark (demonstrated below) shares all of the same features, except that it is more evenly dark. If your goal were simple black and white printing, this would be a good choice.
For details try Bamboo Thin, which is reconfigured for a thinner dark stroke, meaning mostly that the varying line width is a bit more contained.
Bamboo Light (sample below) leaps in the other direction, and provides an even greater contrast in strength than the first brush.
Like the Bamboo presets, the Bristle brushes rely not on simple pixel painting, but on a specialized Krita brush engine, not surprisingly in this case the bristle brush engine. That means your brush line is essentially a mass of bristle hairs.
We also introduce a concept/technique that turns up in many of the Mojo brushes. Instead of the primary brush tip being a typical circle pushed along by your stylus, the brush tip is a longish shape that follows the path of your line, in order to simulate the feel of an actual brush trailing along the paper.
This ink drawing (above) was done all without readjusting brush size. The overall line is configured to not just simply vary width due to pressure, but to put up some resistance so that you actually have more control over the line.
The Dry Bristle brush makes full use of the bristles. The following drawing was created by alternating the dry brush between normal and erase modes.
The Egghead brush has an egg-shaped tip that tracks the movement of your line as you ink.
Like Egghead, the Combs rely on embedded graphic images to create special brush tips. They are similar to the Multiliners, which unlike the Combs are static lines that do not vary in strength.
For the scarecrow here, we use the Egghead brush for the drawing and the Combs for the overdone hatching. The hatching was done by varying the size of the brushes from the default, and frequently switching to the erase mode.
Don’t confuse Washline with watercolor. This is an emulation of a brush loaded with india ink and water.
The Krita sketch brush engine was meant for messy drawings, but oddly it allows for a really tight, controlled ink brush with distinctive character that behaves almost like magic. It is a very sharp line and easy to correct.
We include the Pulp brush in different pre-determined sizes because it is not possible to change the brush width through the normal brush size control. In fact, if you dramatically increase the size, you will find your cursor magnified and the brush struggling to move–but the line output will not change.
We name the brush Pulp in honor of our rich history of sensational publishing.
Automatic does not respond to pressure, but rather automatically varies line width. This might be useful for drawing with a mouse, and it can also be used (with great care) for lettering. Some light hatching on the strange cartoon is done with stopping down the brush size manually.
Pay attention to the way the brush is hiding behind the Ghost line. It’s a hint. Let’s take that goofy head from just now, and put it in a layer between a word balloon and a frame for him to overlap.
We stop down the opacity of each lower layer so you can tell them apart visually. Now starting in the word balloon layer, we paint into the word balloon with the Ghost brush.
We have made the word balloon opaque. Now we go down to the silly head level and do the same again. Let’s reset the opacity and see what we’ve got.
The art elements obscure each other as planned, without the use of additional adjustment layers and without changing or degrading the black and white art. That’s the power of the Ghost brush.
Liner and Art Liner
The plain Liner is best for drawing perfect, static lines. Its sister pen, the Art Liner, displays a lot more flexibility, but isn’t quite as wild as a brush.
The Felt Liner is just happy to be here. It bleeds into the paper some, but it gets the job done.
The Multi Liners act as banded pens. However, there will be a white fill between the lines under some circumstances. Set the brush blending mode for different results.
The Zipper brushes can be used to literally paint halftone. This is not an original idea, as you will probably find a couple of similar brushes in Krita’s default set. However, those tend to be more decorative than practical for black and white printing. The Zippers are created with a series of bitmap images, with the ultimate goal of stripping out any anti-alias residue that happens through the painting process.
Below, Darling Zipper, on the left, next to Krita’s default Screentone Pressure. Then we see both stripped of anti-aliasing for black and white printing. When you apply the Zippers, you are literally cycling through a series of separate bitmapped dot patterns, and what little anti-alias residue appears is from switching from one layer to another. Of the Zippers, Darling is the most complex.
The smallest size, Cute, is so tiny that there can only be a small set of tones in relation to the actual pixels.
The next size up, Darling, has the widest range of separate bitmap images to draw from, so it is split up into four different Zipper brushes. One is simply Zipper Darling, and covers the range from lightest to darkest. But this is actually an abbreviated version. We include Zipper Darling Light, Medium, and Strong to run the entire gamut.
The three largest sizes, Jumbo, Mammoth and Monster, are simpler configurations. At this size, they don’t need the careful bitmap tricks used in the other brushes to make them work.
Within this bundle you’ll also find this huge mass of spotty tones. Surprise! These are the flat Zips, and every brush is a consistent percentage of gray regardless of pressure.
They work in conjunction with the Zipper brushes. That is, the dot pattern coincides, as long as you use the same size, and without offsetting one or the other. Use the Darling Zipper, for example, with the flat Darling Zip tones.
The patterns come in four sizes: Cute, Darling, Jumbo and Mammoth. The names are strategically chosen so that the sizes appear in your brush palette in the proper order.
Among the many advantages of being bitmap-centric, the tone patterns can take some amount of distortion before losing too much integrity. The following pattern was twisted a few times with a Spin brush then hardened with Bitmap Greedy (both found in the Mojo MOO Draw bundle).
A few more tone patterns that can be used like the Zippers.
We saw earlier on the page how we can do some fast hatching with the Comb brushes. Crosshatcher and Double-crosshatcher are more crosshatching cheats.
The difference between the two illustrated. Double-crosshatcher is cross-hatched upon application, whereas Crosshatcher begins with a simple set of parallel lines and must be built by brushing and re-brushing. Neither is recommended for careful, controlled hatching, of course, but for large areas that must be shaded quickly.
Spray and Spritz create stipple tones.
The stipple brushes Spray and Spritz are super useful for all sorts of editing tasks, and outright stipple painting. Configured to be heavily bitmapped, so that there is minimal loss in processing for print.
Though these can be used to enhance action, they were created to mimic a style of thought balloon in manga. The following was created with the ellipse tool.
A detailed explanation of each stamp isn’t needed, but here are some notes on them in general. Be creative with the stamps, don’t just go PFFFBBBT! on your drawing and leave it at that. Spin, distort, layer, have fun!
The Scales were created with distortion in mind, which you can do easily with the Spin brushes from the Mojo MOO Draw bundle. As seen below, the distortion can be further enhanced with tones, like the Spray brush, to create the illusion of light. Note that very little is lost in the final image, after the results have been converted to bitmap for printing.
Don’t forget that many options can be adjusted on the fly with Krita’s pop-up palette. Splatter is shown below, at the default setting, with the brush size stepped down, with the spacing decreased, and finally with the particle count increased.
Combining stamps and tone
A special note on the Bubbler. This is meant to mimic a frequent tone seen in manga, generally used to suggest a romantic or dreamy feel. It is a white ring surrounded by a spray of dots. This should be converted to bitmap for black and white printing, but because of the delicate nature of the spray, you may find that some of it drops out. On the other hand, you may feel that the default spray is too heavy. Either way, you can use the stipple brushes Spray and Spritz to add or obscure spray.
Below, the intensity is reduced by painting white pixels with Spray, on separate layers below the line art.
Enhance the bubbles in various ways with other stamps set to white, or set them to erase mode.
Now go forth and create!