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Practice observation, choose drawing materials, and learn watercolor and acrylic techniques.
Search this topicSelect the Assistant tool and save the current assistants as a paintingassistant file from Tool Options. Open that file through the same tool in the other document. Check the placement and scale against the new composition before drawing. The saved setup transfers the assistants, so you can preserve a useful perspective construction without copying unrelated painted layers from the original artwork.
Set the Crop tool's Applies to option to Canvas before applying the crop. This changes the visible canvas boundary while leaving layer and frame contents alone. The Image option crops those contents too, so check the scope carefully. Save a KRA working file and confirm the chosen boundary before exporting, particularly if you may later need to expand the composition again.
Set the desired ratio in the Crop tool options and lock it before adjusting the crop rectangle. The width, height, and ratio controls let you constrain the dimensions precisely. Check the selected crop scope as well, then apply with Enter or the Crop button. Use the composition guides as a visual aid while remembering that they do not choose the subject placement for you.
Check the Move tool mode. Move layer with content chooses the layer under the cursor, while Move current layer uses the layer selected in the docker. Choose the mode that fits the task before dragging. A dense composition can make automatic content picking surprising, so selecting the layer explicitly is useful when several overlapping objects occupy the same area of the canvas.
Click to begin the move, then hold Shift while dragging to constrain movement to a horizontal or vertical direction. The order matters: pressing Shift before clicking invokes different group movement behavior. For a precise adjustment, use the position fields or configured arrow-key move distance. Check the selected layer and mode first so the constrained motion applies to the artwork you intend.
Limit the operation to a selection around the area being changed, or work on a layer containing only the relevant artwork. Liquify has less information to process that way. Start with modest adjustments and compare the result before applying it. A large full-canvas layer makes even a local-looking brush correction more demanding, so reducing the active area can help without changing the intended edit.
In Krita 5.2 or later, select the relevant layers together in the Layers docker and transform them as one operation. Earlier workflows may require a group. Check that every matching color and outline layer is selected before scaling, and preserve the aspect ratio when needed. Transforming only the visible outline can leave underlying fills misaligned even when the preview initially looks plausible.
Use the Multibrush tool in Symmetry mode and choose the number of brush instances in Tool Options. Set the symmetry axis or center before drawing, then make a few trial strokes to check the spacing. Each stroke is repeated around that setup. Keep the motif on a separate layer while exploring it, so you can revise the arrangement without disturbing the surrounding drawing.
Use Multibrush's Copy Translate mode. Turn on Add, place the copy positions relative to the multibrush origin, then turn Add off and draw. The copies follow the same stroke at those offsets. Test the arrangement on a clear area first and adjust the positions before detailed work. This is useful when the repeated elements need an irregular layout rather than evenly spaced radial symmetry.
Check whether the sampler uses all visible layers or only the active layer. Sampling the composite can include blending, opacity, and layers above the one you are editing. Choose the scope that matches the color you need, then sample again. A visible canvas color and a layer's underlying color can differ, so the result may be correct for the current sampling mode.
Increase the Color Sampler's Radius so it averages a region around the cursor instead of relying on one tiny point. Check the Blend percentage too, since it controls how the sample mixes with the current foreground color. Use a small representative area when you want a useful local average. An overly large radius can include neighboring shadows or edges that change the intended sample.
Krita's isometric grids provide visual guides but do not support grid snapping. Showing a grid and enabling snapping therefore does not make this grid type constrain the cursor. Use the lines for visual alignment or choose a suitable drawing assistant for constrained strokes. Check which kind of grid is active before troubleshooting the shortcut, because rectangular and isometric grids have different snapping capabilities.
Check whether guides are locked in the Grids and Guides docker or View menu. Unlock them, then drag the guide from the canvas; dragging it outside the canvas removes it. Guides and rulers also need to be visible when creating new guides from the rulers. Relock the guides after positioning them if accidental movement is disrupting your drawing or layout work.
Set the layers to the visibility combination you want, name it, and add a composition in the Compositions docker. Create another for each useful combination, then double-click a composition to restore its visibility state. Keep shared artwork on common layers and alternatives clearly named. A composition records which layers are visible, so it is a convenient presentation choice rather than a separate copy of every pixel.
Save each desired visibility arrangement as a composition, check the compositions you want, and use the docker's export control. Review the selected list before exporting so hidden experiments are not included accidentally. For animation compositions, Krita reuses the last render-animation settings, so verify those settings first. Inspect the output files and give them clear names before sharing the variants with someone else.
No. Snapshots are temporary document states and disappear when the document closes unless you explicitly save or export the versions you want to retain. Switching to a snapshot also discards the undo stack, so create another snapshot first if the current state may be needed. Use named saved versions for work you want to keep beyond the current editing session.
The Recorder docker saves image snapshots that are later rendered into a time-lapse video. Check its recordings directory and recording manager to see which sessions consume space. A longer capture interval or lower snapshot resolution can reduce future storage needs. Export and verify the finished video before removing source snapshots you may still need, since those snapshots provide the material for another render.
Increase the export Input FPS relative to the Video FPS so more captured snapshots are consumed per output second. Check the displayed duration and preview the exported result. The capture interval controls what was recorded, while these export settings control playback pacing. Keep the source snapshots until you are satisfied, since they allow another render with a different duration or final-frame hold.
Use the palette's entry dropdown to search by a swatch's name or ID. Give frequently reused colors clear names when editing the palette, and organize related swatches into groups. The ID can carry a separate reference code without replacing the readable name. This helps distinguish visually similar colors when you need to reproduce a specific design choice rather than simply pick something close.
Drag the palette color onto the layer stack to create a fill layer. Dropping a swatch onto the canvas instead fills the current layer according to the fill-tool behavior, so choose the destination deliberately. A separate fill layer is useful when the color should remain an independently controlled background or design element. Check its stacking position before deciding whether the color itself is wrong.
Use Mirror View in the View menu, or its M shortcut, to reflect the working view. This helps reveal proportion and balance issues from a fresh orientation without treating the view adjustment as an artwork transformation. Toggle it back when needed. Keep the distinction clear when preparing a final export, especially if the composition contains lettering or other direction-sensitive elements.
Enable Wrap Around Mode in the View menu to see the image repeated as tiles. Examine where opposite edges meet and look for abrupt lines, mismatched values, or conspicuous repeating shapes. Work on the texture with those joins visible, then return to the ordinary view to judge the individual tile. A clean edge join still needs a composition check across several repetitions.
Reduce its Threshold in Tool Options so the selected area stays closer to the clicked color. Confirm the reference-layer setting as well, since the tool can evaluate a composite rather than just the active layer. Inspect the selection around boundaries before editing. Threshold controls color similarity, while growth and feathering alter the resulting edge, so avoid using them interchangeably to solve the same problem.
Antialiasing smooths jagged high-contrast edges along the selection boundary. Feathering creates a broader soft transition around the boundary. Choose antialiasing for a clean curved edge and use feathering when the edit should gradually blend into its surroundings. Check at the intended output size before applying a large feather radius, since an excessively soft selection can make a precise shape look blurred or undersized.
Source checks for these answers: September 23, 2026. Product instructions and local requirements can vary.
