null  null
Full Circle
THE INDEPENDENT MAGAZINE FOR THE UBUNTU LINUX COMMUNITY
Special Edition
GIMP Special Edition
Fu ll Ci rclefull
M a gcircle
a zi n emagazine
i s n e i th e r a#84
ffi li a te d w1i th , n o r e n d o rse d b y, Ca n o n i ca l Ltd .
contents ^
Full Circle Magazine Specials
About Full Circle
Find Us
Full
Circle
is
a
free,
independent,
magazine
dedicated to the Ubuntu family
of Linux operating systems.
Each month, it contains helpful
how-to articles and readersubmitted stories.
Full Circle also features a
companion podcast, the Full
Circle Podcast which covers the
magazine, along with other
news of interest.
Please note: this Special Edition
is provided with absolutely no
warranty whatsoever; neither
the contributors nor Full Circle
Magazine
accept
any
responsibility or liability for loss
or damage resulting from
readers choosing to apply this
content to theirs or others
computers and equipment.
Website:
http://www.fullcirclemagazine.org/
Forums:
http://ubuntuforums.org/
forumdisplay.php?f=270
Welcome to another 'single-topic special'
Introducing the Gimp series by Ronnie Tucker, all
you
budding artists can work through the features of this
capable
application
immensely
graphics
in this
compilation of the Gimp series from issues #6, 12-19 & 60-63.
Please bear in mind the original publication dates; current
versions of hardware and software may difer from those
illustrated, so check your hardware and software versions
before attempting to emulate the tutorials in these special
editions. You may have later versions of software installed or
available in your distributions' repositories.
Enjoy!
IRC: #fullcirclemagazine on
chat.freenode.net
Editorial Team
Editor: Ronnie Tucker
(aka: RonnieTucker)
[email protected]
Webmaster: Rob Keria
(aka: admin / [email protected]
Editing & Proofreading
Mike Kennedy, David Haas,
Gord Campbell, Robert Orsino
Our thanks go to Canonical and the
many translation teams around the
world.
The articles contained in this magazine are released under the Creative Commons Attribution-Share Alike 3.0
Unported license. This means you can adapt, copy, distribute and transmit the articles but only under the following conditions: You
must attribute the work to the original author in some way (at least a name, email or URL) and to this magazine by name ('full circle magazine') and the
URL www.fullcirclemagazine.org (but not attribute the article(s) in any way that suggests that they endorse you or your use of the work). If you alter,
transform, or build upon this work, you must distribute the resulting work under the same, similar or a compatible license.
Full Circle Magazine is entirely independent of Canonical, the sponsor of Ubuntu projects and the views and opinions in the magazine should in no
way be assumed to have Canonical endorsement.
full circle magazine
HOW-TO
Written by Luca De Marini
USE PHOTOSHOP
PLUGINS IN GIMP
Well we all know one of the biggest lacks of The Gimp is that is misses a good number of plugins. Photoshop is the one software
everyone loves and uses when they have to apply any sort of mutation/transformation to its images, or when they have to create
outstanding graphics with the help of well projected plugins. For Photoshop there are hundreds of plugins around. Is this a problem for
The Gimp? Not at all.
M
any of you may not know
it, but GIMP supports a
large number of
photoshop plugins, both in the
Windows and Linux versions,
thanks to this wonderful tool
called PSPI. Now, let’s see how to
use it and what we can do with
our new toy; paying nothing, of
course!
Pear and for the second plugin, the
freeware one, I’ve chosen
Caravaggio from Xero Graphics.
Getting Started
'The Linux packages include three
files: README. linux pspi, a small
shell script pspi. exe. so, the binary
that wine runs'
First we need to install WINE on
our Linux box (In Ubuntu, look for
the WINE package in Synaptic),
then we’ll need GIMP and PSPI, of
course. We also need at least one
Photoshop plugin. To get started
and I downloaded two plugins,
one commercial and one
freeware. The first one is Designer
Sextet from the company Flaming
Installing PSPI and
Photoshop plugins
Now it is time to install PSPI on
your GIMP. The following is an extract
from the PSPI site:
Copy pspi and pspi.exe.so to your
personal GIMP plug-ins folder,
typically ~/.gimp-2.2/plug-ins .
When you run GIMP it will issue a
warning “wire_read(): error” as
pspi. exe. so can’t be started directly.
(The pspi script can, though, and is
8
from GIMP’s point of view a GIMP
plug-in.) This warning is
harmless (GIMP just ignores that
file then), but if you want to
avoid it, move pspi.exe.so
somewhere else and modify the
pspi script to point to its new
location instead.
After starting GIMP, go to the
Xtns:Photoshop Plug-in Settings
and enter the folder where you
are going to keep the 3rd-party
Photoshop plug-ins (.8bf files)
that you want to use in GIMP.
Preferably you should use an
empty folder for this, and then
install (copy) Photoshop plug-ins
there one by one, verifying that
each works. It isn’t really useful
to rush and install a great deal of
Photoshop plug-ins at once and
assume they all will work under
pspi.
So I did what they wrote in the
instructions and also copied my
freshly downloaded PS Plugins to
a folder in my home that I called
~/.gimp-2.2/psplugins.
Remember that this GIMP folder
we are referring to is a hidden
folder, therefore, you’ll have to
set your file browser so that it
shows hidden files. In my case, I
use GNOME and Nautilus. I can
see hidden files by using the
Nautilus menu View > Show
hidden files.
Setting The GIMP UP
As the guide says, I start GIMP
and it hangs up for some seconds
analyzing the newly installed plugin:
But once
GIMP is
loaded I get
no error
message as
expected
(The PSPI
guide
suggested
that an error may have occurred but I
didn’t see any). All works fine for
now. Proceeding with the settings, I
open the GIMP Menu Xtns >
Photoshop Plug-in Settings and this
window shows up:
Hit the New button (In my
screenshot it is the white sheet of
paper with an orange star over it, on
the upper left corner of the above
screenshot) and choose the path
where you put your Photoshop
9
plugins. In my case we saw that
it is /home/darkmaster/.gimp2.2/psplugins.
Push the OK button and a
message will appear warning
you that the new plugins will be
loaded next time you restart The
GIMP.
Testing the new PS Plugins
To complete the operation I
close and then reopen The GIMP.
Even now I don’t get any error
message. I then load an image
from my HDD and then click on
the Filters menu. The plugins are
at the bottom of the menu.
Rating and Credits
Let’s test them! Will they work?
I start with Flaming Pear >
Aetherize and… wow it works!
Here’s a screenshot!
Ok, it's not a review but none
the less I rate this PSPI extension
for GIMP as a 5 out of 5, it does
what it promises to do and it
adds vital functionalities to The
GIMP.
A big thank you goes to the
WINE project, PSPI team and to
GIMP creators.
Now it’s Caravaggio’s turn and
wow, it works too! Another
screenshot for the press:
This is the result of applying the
Caravaggio filter (right)
Now doesn’t that look like a real
painting? This Caravaggio plugin
is excellent and it’s freeware.
Conclusions
So I tested two random Photoshop
plugins from around the net and two
of two worked. Guess there’s a very
high compatibility thanks to Wine
getting better and better with each
release.. What can I say now? Enjoy,
and say goodbye to one of the most
deprecated defects of GIMP, the lack
of good and professional plugins! If
you have the money, you can buy
and use serious plugins like those
from Alien Skin in Linux with The
GIMP and PSPI now!
10
For more
PSPI
info:
http://url.fullcirclemagazine.org/1fa7e2
HOW-TO
USING GIMP - Part 1
Written by Ronnie Tucker
This series of tutorials, based on GIMP 2.4.2, will not cover every square inch of GIMP, since that would fill a book (and indeed has
already filled several), but, by the end, you will be proficient enough in GIMP to create anything from simple web banners to large
posters suitable for professional printing.
F
irst, let's open GIMP, and
have a quick look at its
layout. Please note that a
first load of GIMP may look
slightly different from my layout
(below). First I will briefly discuss
the GIMP layout.
On the top left we see the tools,
and on the bottom left we see the
options for the chosen tool
(Paintbrush, in this case). At the top
right are tabs for Layers, Channels
and so on, and at the bottom right
are tabs for Brushes among other
things. GIMP has a very flexible
layout system where you can drag
and drop items from place to place.
For example, if I want to have my
Layers
presented on
a separate
window, I
can click on
the Layers
tab (top
right, shown
right), and
drag it out to
my desktop.
If I want to have the Layers display
back where it was, I click and drag
16
on the word
'Layers' on the
window, and
drag it back to
the top right
(left).
You can
do this
with
anything
you like so feel free
to configure your layout to
whatever makes you most
comfortable. If, by accident, you
close any of your windows, and
need to get it back, click on File
> Dialogs and then the item you
want shown - or hidden for that
matter (above).
Let's create a new image. In the
main menu, click File > New.
Before we go any further, let me
explain what some of these things
do.
width and height are two small
boxes. Looking closely at the icons
on the buttons should help you
guess that the one on the left is for
portrait (a vertical image) and the
other for landscape (a horizontal
image). For the moment, I'll keep it
on portrait. A brief summary of your
chosen options are to the right of
these two buttons. Lets click
'Advanced Options', it reveals more
choices.
At the top of the window
(above), where it says 'Template',
we can choose from a variety of
different pre-configured sizes.
Click the drop down menu and
choose 'A4'. Below that is 'Image
Size'. This is now set to what
we've just chosen, A4, so there's
no need to alter these values just
yet. To the right of the 'Height'
value is a measurement type. At
the moment, mine is set to pixels
but with a click of the drop down
menu I can change it to
millimeters if I want. Below the
17
First, we have X and Y
Resolution values. These specify
how detailed your image will be.
This is also known as Dots Per
Inch (DPI), and is crucial in
printing. Professional print
houses will usually demand at
least 200dpi, but mostly 300dpi.
Near the values you can see a
small icon which is links in a
chain. In my image, they are
linked - meaning that changing
the X value will change the Y
value automatically; clicking the
icon will unlink them and allow
different X and Y values. If your
icon shows the chain links as
open, then you will want to click
it to have them as shown in the
image above. For just a basic
test image, change the X or Y
value to 100. Next is 'Color
Space'. I only have two options:
'RGB Color' or 'Grayscale', so I
am keeping it at 'RGB color'. 'Fill
With' lets you choose a starting
color for your image. Finally,
'Comment' something that will
be saved as part of your GIMP
file. This could be anything from
copyright information to your
contact details.
Why not give GIMP 2.4 a
try? Available for Linux,
Mac & Windows
With my options set, I click OK.
So now I have a fresh image to
work on - but how do you work on
an image? We'll get to that in
more detail later, but for now I
will do a quick run through of
some of the more important tools.
As you click on each tool (right),
the 'Tool Options' (below the
tools) will change. Each tool has
its own set of options - which I
won't go into just now, but play
around with these options,
because that's how you'll learn
more!
Check your package manager
for easy GIMP installation or
download GIMP from:
www.gimp.org
is Editor of
magazine, a proud Kubuntu user, and
part-time artist whose gallery of work
can be seen at www.RonnieTucker.co.uk.
Windows: www.gimp.org/windows
Mac: www.gimp.org/macintosh
18
HOW-TO
USING GIMP - Part 2
Written by Ronnie Tucker
This month, we will focus primarily on colors, but first let me say that GIMP (like Photoshop) has many ways of achieving the same result.
So, although I may show you one way of accomplishing a task, you can be sure there are several other ways of getting that same result.
C
olor correction (or
adjustment in some cases)
is probably more associated
with photography than anything
else -- so, let's take a photograph,
and correct any color problems it
may have.
Above is the original photo.
First, we will use GIMP to
automatically correct the image;
then we will change it manually. To
open an image file, we go to File >
Open, and choose the image we
want to manipulate. So, now that we
have our photo open in GIMP, we go
to the menu and choose Colors >
Levels.
This window
(right) allows
us to do many
complicated
things, but now we'll just click the
'Auto' button. Voilà! One colorcorrected photo (right).
16
Satisfactory corrections are
not always so easily achieved. If
an item in the photo is too
bright, for example, GIMP may
think it should be white. So,
GIMP makes it white, adjusts the
rest of the photo accordingly,
and presents an awful result.
Yet, in most cases the Auto
feature gives a satisfactory
result. When it doesn't, then
manual corrections should be
applied.
Before you make manual
corrections, you need to know
how images are colored. In
painting, the three primary colors
are the red, blue, and yellow
pigments. From these, any other
color can be created. Digital
images, however, are made
(essentially) from light, and their
three primary colors are the red,
green and blue wavelengths,
commonly referred to as RGB.
Don't believe me? Click (or
display) the Channels dialog, and
you'll see three items -- one red,
one green and one blue.
These three 'channels' make up
the colors in your image. Try
clicking the little eye icon beside
each layer, and you'll see what the
photo looks like without one (or
more) basic colors. So, in essence, a
badly colored photo will have a
combination of too much (or not
enough) red, green or blue.
Click (or display) the Dialogs >
Colors tab, then click the Triangle
button:
the triangle, blending in to one
another around the circle -- with
dark to light being represented
by the triangle. Click a color on
the 'wheel', and the triangle will
point to it. Now, click inside the
triangle to get a lighter or darker
version of that color. Play with
this for a while to become
familiar with where the colors
are and how to get the ones you
want -- we will be using this later
when we need to create or pick
a color.
Let's look through some of the
color options in GIMP to see how
they can affect our image. Go to
the Colors menu, and choose
Color Balance (below).
Above is the digital equivalent of
the artist's color wheel (circle with a
triangle inside) with the three
primary colors being at each point of
17
This window will let you finetune the colors in your photo. It
can alter the colors in each of the
three main levels: shadow,
midtone and highlight. Select
Shadows, Midtones or Highlights,
and move the sliders to see how it
affects your photo.
If you don't see the photo colors
change, check to make sure the
box beside 'Preview' is ticked. If
you don't want to keep those
color changes, simply click
'Cancel', and your image will
return to normal. You can also use
the Edit > Undo feature.
Colors > Colorize will allow you
to tint the entire photo with a
particular color. This is most often
used to give a photo a 'sepia tint' -which makes the image look old and
degraded. Rather than give you a
red, green and blue slider, this
window gives you a 'Hue' slider -which goes from red, through to
green, to blue, and back to red.
Tinker with the sliders until you get a
nice orangey-brown color, and you'll
see what I mean about the sepia tint.
Colors > Brightness – Contrast will
let you simply brighten or darken the
image. This can come in handy for
simple effects. If I brighten the image
18
quite a bit, and slide the contrast
up, I can make the dull original
image look like it was taken on a
scorching sunny day (which it
definitely wasn't!).
We've already looked at
Levels, but let's look into it a bit
more. Click Colors > Levels, and
you'll see that familiar window -yes, it's the one with the magic
'Auto' button -- but this time let's
focus on the sliders below the
graph. The black, grey and white
sliders can move left to right,
and represent the shadows,
midtones and highlights,
respectively. They allow you to
manually color-correct the image.
The 'Output Levels' is almost like
a brightness control, but with
three sliders for the shadow,
midtone and highlights. At the top
of the window is a dropdown
menu which says 'Value' -- you
can click that and select one of
your red, green or blue channels
to fine-tune. This is quite a
powerful window, so play around
in there and get familiar with it.
And remember: if you don't see
your image updating as you move
a slider, tick the 'Preview'
checkbox.
Colors > Curves is similar to the
Levels window (which we just
looked at), but uses curves,
plotted on a graph, to give more
control over your colors. Again, at
the top of the window is the
dropdown menu, which lets you alter
the image as a whole, or just alter
one of the color channels. To edit the
curves, you click on the curve (to
create a point), then move the point
up, down, left, or right, to alter the
colors. The most basic color
correction in the curves window is
the 'S-curve' -- where you make an
'S' shape with the curve. Again, this
gives pretty much the same result as
the Color > Levels 'Auto' button.
use Edit >
Undo to
revert back
to the
original.
Color >
Invert will
give you the
negative of
the photo,
just like you'd
get with traditional camera film.
Clicking Color > Invert again will
return the image to normal.
There are many other items in
the Color menu, but the ones I
have mentioned are the most
important ones, and probably
the most used.
Color > Desaturate will remove all
color from your photo, leaving you
with a black and white image. You
have three options before it removes
the color, each giving you slightly
different results, so it's best to try
each to see which you prefer. As
ever, try an option; if you don't like it,
19
is Editor of
magazine, a proud Kubuntu
user, and part-time artist whose
gallery of work can be seen at
www.RonnieTucker.co.uk.
HOW-TO
USING GIMP - Part 3
Written by Ronnie Tucker
I
n the previous article, I showed
how to alter the colors of an
entire image. Now, I'll describe
how to alter selected parts of an
image, while leaving the rest
untouched. This is done using the
selection tools (below).
From left to right, the first two
buttons select a rectangle or an
oval, respectively (hold Shift for a
perfect circle). The third button
opens a free-selection tool for
outlining selected portions on an
image. Try it. Click the icon, then
left click your mouse, hold it, and
draw around an item. When you
release the mouse button, you'll
see a region
selected for
manipulation
(right).
Now, all
modifications
will affect only the selected region.
This helpful method is, however, not
very good for precise selections.
Next is a fuzzy selection. When a
dot is clicked, this selection enlarges
until it encounters a different color.
The enlargement can be fine-tuned
by editing the Threshold number in
the tool options (below the icons).
By holding down Shift, more colors
can be selected to widen the
selection. Once a
selection has been
made, further
modifications
apply to it alone
(right).
14
Next is the color-selection tool.
It is similar to the fuzzy
selection, so lets move on to the
last (for now): the scissor
selection tool. This is more
precise than the freehand tool
discussed above, but it only
works well on items with definite
outlines. The method is this:
click to start selecting, and put a
point on the outline; click again
to put another point further
along the item's outline; the
scissor tool then tries to
determine the item's perimeter
(above); continue clicking on the
image's outline; more added clicks
(and points) increase the
selection's precision; the last click
should be back at the starting
point. Before committing to a
selection, any of the points can be
clicked and dragged to fine-tune
the outline.
To create the actual selection,
click inside the completed loop
(shown below).
To remove a selection, go to the
menu and click Select > None.
But how do you make
a precise selection? Pen
tool (icon shown left).
The pen tool permits more
precise curve creation than does
the scissor tool. First, click the pen
tool to open it. Then, click around the
outline of the desired selection, as
was done with the scissor tool. But
unlike the scissor tool, the first point
can not be re-clicked as the last of
the points to close the selection -- so
just click near it. Don't worry if a
point is slightly out of place. After
inserting all the points, any point can
be clicked and moved into place
(below).
Now, the points can be edited to
produce nice curves between them.
Hold down the Ctrl key, click on a
point (keep the mouse button down)
and move your mouse. A line will
then come out from that point and a
curve will begin forming between the
chosen point and one of the points
15
on either side of it (below left).
Each point can have two lines
coming from it to form a curve
(above right). So, click on the
point, hold down Ctrl, and drag
out the second line. Now you will
have a curve.
The initial point can still be
moved, but clicking and
dragging a box at the end of a
line can fine tune a curve, or
create a curve leading in (or out)
from a point, or form a straight
line on the other side -- this
latter was useful in the present
example where the steps meet
the doorway.
When all the points are in
place, and the curves are
satisfactory, tell GIMP to select
the area. To do this, click the
Paths tab (beside your Layers
tab). If it's not there, display it
by clicking Dialogues > Paths.
The justcreated path
is shown in
miniature in
the Paths
tab. Right
click on its
name and
select
.
To hide the path to work on the
selection, or to show it again,
click the eye icon.
Sometimes,
even more
precision is
needed when
creating
selections. The
zoom tools are
very handy for this. At the bottom of
the image window is a drop-down
menu (above) that gives quick
access to a variety of settings for
zooming in or out of images.
The Zoom tool (left) is also
accessible from the toolbox
on the left.
Don't forget to combine tools.
For instance, to select a piece of
an image, zoom in first, then go
for the tool of your choice.
With the Zoom tool, clicking on an
image will zoom in (holding Ctrl and
clicking will zoom out). In addition,
holding a click permits drawing a box
around just a portion of an image
(below) for zooming (above right).
Combining the selection tools
with the color-correction items
can be amazingly powerful,
especially if all that is needed is
to color-correct family photos or
holiday snaps.
is Editor of
magazine, a proud Kubuntu
user, and part-time artist whose
gallery of work can be seen at
www.RonnieTucker.co.uk.
16
HOW-TO
USING GIMP - Part 4
Written by Ronnie Tucker
his month, we will discuss
probably the most powerful
feature of GIMP: Layers. If
you can grasp the concept of
layers and work them to your
advantage, you can create
anything.
T
works. The background is on one
sheet, the character on another
sheet and any foreground details on
a third sheet. Stack them properly
and you will have the character with
the foreground on top of it. Same
with GIMP layers.
Below the list of layers, you
will see several icons. Think of
these as shortcuts to menu
options.
First, let's make sure we have
our layers window showing and
ready to use.
If you open an image in GIMP, and
display the Layers tab (or window),
you will see that your image is
displayed as a single layer with the
name 'Background'.
From left to right they are:
Create New Layer, Raise Layer,
Lower Layer, Duplicate Layer,
Anchor Layer and Delete Layer.
Those are pretty self explanatory.
If you don't
have the layers
tab available to
you, click File >
Dialogs >
Layers in the
main menu.
Using the selection tools from
last month's article, I'm going to
use the circle tool to select the
planet.
Here's how layers work: think of
each layer as a transparent sheet
of plastic. The idea is that you
draw all your different things on
separate sheets of plastic then
stack the plastic sheets in a
particular order to achieve your
result. Similar to how an animator
15
And from the menu choose Edit
> Copy, then Edit > Paste
If I hide the original 'Background'
image, you can see that the
selected, copied and pasted planet is
now on its own, completely separate,
layer. Our first new layer!
to differentiate between the two
planets.
: If you have two images
open, you can drag and drop
layers between them!
You can copy from one image
and paste in to another image.
You can see that I now have a
new layer (named 'Floating
Selection'), but it needs to
become permanent, so click the
New Layer icon. It now has a
preview icon, and is automatically
renamed to 'Pasted Layer'. If you
want to rename a layer, just
double click on its name, and
enter a new name, followed by
the Enter key.
Don't worry about the two-tone,
chess-board pattern in the
background. It's just there to signify
complete transparency.
So now, with the planet selected,
I'll click the Duplicate Layer icon to
give me a second planet. To move
the layers, you use the Move tool,
select the layer you want to move,
then click and drag it into place. I'll
use some of our color altering
techniques to change the color of
one planet to make it easier for you
16
Let's create
a new blank
layer. A new
layer is
created
above the
layer you are
currently on,
so I'm going
to select my (hidden)
Background layer and then click
the New Layer icon. Up pops the
New Layer window (above).
From top to bottom: We give
the layer a name (preferably
something descriptive! I'll call
mine 'Space'); Width and height
we won't bother with just now, as
we want the layer to be the full
size of the image; Layer Fill Type
we will leave as transparent. You
can choose white, or one of your
foreground or background colors
if you wish. Now, I'll make my
foreground color black and fill my
'Space' layer with black color.
So
now I
have
two
planets
out in
space. I
don't
need
the original image any more, so I
select that layer and click the
Delete Layer icon.
So what if I wanted the orange
planet in front of the blue planet?
I click the orange planet layer,
then click the Raise Layer icon.
Think of your layers as going
from bottom to top. So first, GIMP
lays down the 'Space' layer, on top of
that it puts the blue planet layer,
and, finally, on top of that the orange
planet layer.
When saving, you want to make
sure you save your image in the
GIMP format (XCF). The next time
you load the image you will still have
all the layers intact for manipulation.
Saving as JPG or PNG will flatten the
image and you will lose your layer
information, so always keep an XCF
version! To save,
you click File >
Save As from the
menu, and make
absolutely sure
the filename
ends in .xcf
(right).
Many effects can be applied to
layers to make them even more
powerful. Try moving the Opacity
slider (above the list of layers).
17
Each layer can have one
'mode' applied to it. These are
listed in the drop-down menu
above the Opacity slider. Have a
play with these effects. You can
get some nice looking accidents
with these modes.
Above
is the basics of layers. No doubt,
we'll talk more about them in
future articles, but, for now,
have a play with copying and
pasting, raising and lowering
layers, and moving them to
create a pleasant composition.
is Editor of
magazine, a proud Kubuntu
user, and part-time artist whose
gallery of work can be seen at
www.RonnieTucker.co.uk.
HOW-TO
USING GIMP - Part 5
Written by Ronnie Tucker
T
his month, we will focus on
sizes. GIMP can use several
types of measurements for
images. Create a new image by
clicking File > New and let's
examine some of the
measurement types.
If you can't see the X and Y
resolution section, click the
Advanced Options text below the
Image Size and orientation.
Beside Image Size, you see width
and height values. To the right of the
height value you see a drop-down
menu. In my case it is showing
'pixels'. Put simply, pixels are the
small dots that make up your display.
So in this case the image would be
640 pixels (or 'display dots') wide.
Click the drop-down menu to see the
other available options. Now, try
clicking on inches.
See the
values change?
It is now only
8.889 wide.
Why? Because
we are now in
inches. 8.889
inches wide is
the same as 640
pixels wide.
15
Why have these different
measurements? If you were
working on a banner which was
to be used on a web site, for
example, then you would need
to create your image in pixels,
say 400 wide by 50 high. But for
print work, your image may need
to be 8 inches wide by 12 inches
high. Switch between
measurement types as needed.
Just below the Advanced
Options text is the X and Y
resolution. This is, by default, set
at 72 pixels per inch, also known
as dots per inch (DPI), and is
sufficient for most computer
display and web work. Think of
DPI as being detail. The more
dots per inch, the more detail
you can put in the image. Be
aware, however, that a high DPI
can slow some PCs down and will
result in much larger file sizes.
For print work it should be set to
about 300, but check with
whoever is printing the image
beforehand. If in doubt, use 300
DPI.
I trust GIMP, I really do. But
let's play Devil's Advocate and
double check, using a different
tool, to make sure there really is
one inch between the ruler on
the page and the edge of the
image. For this, we need the
Measurement Tool (below left).
So, with our new image (below),
let's move on to rulers.
You'll notice that, at the top and
the left side of the new image,
there are rulers displaying the
current measurement type, inches
in my case. This allows for precise
measuring and placement of
items within the image. If I need a
circle to start one inch down the
page and one inch from the left,
imagine how much trial and error
it would take to get it absolutely
right. It'd be almost impossible!
But with rulers, we can be much
more precise. Click on the top
(horizontal) ruler and drag down
onto the image.
You'll see a horizontal line (or ruler)
appear on your image (above). This
ruler does not damage your image in
any way, it is merely a guideline and
can be moved by clicking and
dragging on it with the movement
tool. Drag it back to where it came
from to remove it completely. You'll
notice in the information line below
the image tells you exactly where the
ruler is on the page (vertically in this
case). Drag from the left (vertical)
ruler on to the page to get another
ruler one inch from the left (below).
Where those
two rulers
converge is where
you would start
dragging your
circle out from
(inset).
16
This tool is like a tape
measure. You click to
create a start point, and
click to create an end
point (below). Between the two
points, a red line is drawn. In the
information bar (again, below
the image) you'll see some
numbers. These represent the
length of the line, the angle of
the line, the width of the line
(from start point to end point)
and the width of the line (again
from start to end).
And from my measurement line
I can see that the ruler is indeed
one inch out. Good job GIMP!
Clicking any other tool will
remove the measuring tape from
the screen.
One last tool to cover
in this section is the
crop tool (left), which
comes in handy for
keeping a single, rectangular,
piece of an image.
box, or resized by clicking and
dragging on one of the inside edges
of the box. Notice how the area
outside the box darkens to focus
your attention inside the box. Use
the crop tool to remove uninteresting
areas around photographs. Click
inside the box area to crop the image.
Join Launchpad.net
Select the crop tool, then click
and drag a box around the area
you wish to keep (below).
See how cropping the image has
forced you, the viewer, to focus on
the patio step. Previously, you may
have been focusing on the paving
stones. If something is unnecessary
in a photo, crop it out.
This area can be moved by
clicking and dragging inside the
Help keep the
bugs at bay.
is Editor of
magazine, a proud Kubuntu user, and
part-time artist whose gallery of work can
be seen at www.RonnieTucker.co.uk.
17
HOW-TO
USING GIMP - PART 6
Written by Ronnie Tucker
FCM #12 - #16 : USING GIMP 1 - 5
Dev
Graphics
Internet Multimedia System
CD/DVD HardDrive USB Drive
Laptop
eyeball, causing
the black pupil to
look red.
The easy way to
fix red-eye is to go
to the Filters >
Enhance > Red-Eye
Removal menu.
This will give you a preview of the
image, and a threshold slider to finetune the red-eye removal.
Much better. Just watch that
you don't overdo the threshold
slider lest you darken her
reddish eyebrows.
Wireless
T
his month, we move on to
some more advanced
features of GIMP. This group
of features is primarily used in
photographic touch-ups (also
known as air-brushing) to either
repair or enhance an image.
Let's do the easy photo repair
first - the infamous red-eye. This
occurs when the camera's flash
highlights the inside of the
the rectangular selection tool to
draw a box around both her
eyes; then try the Red-Eye
Removal filter.
But wait, it's altering parts of the
image that aren't her pupils! This is
because her lips are also red. Really,
all that GIMP is doing is changing the
red pixels to black. So, we need to be
more selective with this image. Use
16
Another way of doing red-eye
removal is to simply create a new
layer, draw a black dot for each
pupil, and then multiply the dots
layer with the original image until
it looks good. But the Red-Eye
Removal filter is a nice, quick,
shortcut.
Our next
volunteer is
a celebrity
who is, in
this photo,
looking a
little bit
'worse for
wear' let's
say. Let's
help her out;
she needs to
have those nasty spots removed.
The Healing tool will let
you select a spot (no pun
intended!) on the image
to act as a reference
point. GIMP will then give its best
guess as to what should be under
your brush - taking into account
the reference spot. First, click the
Healing tool icon. You'll see two
crossed elastoplasts beside your
pointer with a 'no entry' symbol
(circle with a diagonal line through
it). This means you have no
reference point as yet. Hold down
CTRL, and the 'no entry' symbol will
vanish. Click somewhere near the
blemish then release CTRL. You will
now see a circle with a cross inside it
marking your reference point.
Now, simply
draw over the nearby blemish, and, if
the reference point is good, the
blemish will vanish. Sometimes you
will need to undo what you did with
the Healing tool, and try again, but
trial-and-error is no bad thing.
And, just like
any good spot
removal cream:
apply as
necessary:
Now our celeb
is ready for the
front page.
17
Before you
start
pointing
fingers, no,
that photo is
not me! It's
my
grandfather,
and the photo was taken in,
roughly, 1930, so it's a bit tatty
and needs some touching up.
For this, we could
easily use the Healing
tool, but, this time, we
will bring in the powerful Clone
tool. It will, like the Healing tool,
need a reference point, but, this
time, it will just clone the
reference point to where your
brush is - no guess work. So let's
try it: same idea, you click the
Clone tool, hold down CTRL, click
on the source (near a crack in
the photo), release CTRL, and
you're ready to paint out the
cracks.
And, just to prove a point, try the
Healing tool on some photo cracks.
It'll probably work just as well, but
it's always better to have a Plan B!
is Editor of
magazine, a proud Kubuntu
user, and part-time artist whose
gallery of work can be seen at
www.RonnieTucker.co.uk.
Think of Wine as a compatibility layer
for running Windows programs.
, as it is a completely free
alternative implementation of the
Windows API consisting of 100% nonMicrosoft code.
The Wine Application Database
(AppDB) is where you can get
information on application
compatibility with Wine.
http://brainstorm.ubuntu.com
http://appdb.winehq.org/
18
HOW-TO
USING GIMP - PART 7
Written by Ronnie Tucker
FCM #12 - #17 : USING GIMP 1 - 6
Dev
Graphics
Internet Multimedia System
The Xtns menu is beside the File
menu. You'll see items like Module
Manager and Script-Fu, but our
interest lies in the items called
Buttons, Logos, Misc, Patterns, and
Web Page Themes. Another limitation
of these extensions is that most, if
not all, are not interactive. In other
words: guess-work, trial-and-error, if
you will.
A window will appear
presenting you with the available
options for this Chrome
extension.
Click Xtns > Logos > Chrome.
CD/DVD HardDrive USB Drive
Laptop
Wireless
As you can see, there are not
many options. You can choose a
font style and size, a background
color, and some text to apply the
extension to. I've picked a
chunky font, and used the text
'Full Circle', and here's the result:
This month, we'll discuss GIMP's
many Filters, and touch briefly on
the Xtns (extensions) menu. Both
menu items provide quick access
to dozens of special effects. The
main difference between the two
is that Xtns items will create a
new image with the specified
effect. Filters can be applied to a
whole image, or a selection of an
image.
14
Even though I had two yellow
colors selected, it still gave me a
black chrome effect. What if I
want to alter the text? Maybe
bring the letters closer together?
I'm afraid not. The thing with
extensions is that they are premade scripts. To fine tune the
effect, you would need to go in to
your /usr/share/gimp/2.0/scripts
folder, copy the script, then edit it
in your favorite text editor. Not
very user friendly. This is one
reason why I never use them.
However, I wanted to briefly
introduce them, and then ignore
them. Let's move on to the more
useful, and visual, Filters.
I'll use
the
photograph
shown left
as my
starting
point.
Let's jump right in and apply a
filter to the whole image. Click
Filters > Blur > Gaussian Blur.
Just like with extensions, a
window will appear. This window
is your preview and controls for
the selected filter.
which measurement type you
want the numbers to refer to
(inches, millimeters, pixels, etc.).
I prefer pixels. Then there are
two types of gaussian blur, but
we won't alter them for now.
Next, I click OK to apply the
effect.
At the top of
the window is a
preview, which
can be turned
on, or off, using
the check box
below the
preview. Below
that you have
the Blur Radius for applying how
much blur you want to the image.
Beside the numbers you'll see a
small three-link chain icon - this links
the horizontal value with the vertical
value: change one and the other will
change too. Unlinking the values
gives you more of a motion blur (as
either horizontal, or vertical, will
have more blur than the other), but,
for now, I'll keep them linked, and
the values at seven. You can specify
15
One blurry photo. Now let's
use our selection skills to select
just a part of the image to blur.
I'm going to use the path tool to
just quickly make a selection to
blur.
Now, when I apply the blur, it
will affect only the selected area.
correct it.
Filters >
Distorts >
Emboss is
useful for
picking out
detail that you
which can help give an image
atmosphere.
can't see initially.
Blurring only the background
(and not the door frame) has
given it a look of depth, almost as
though the camera is focused on
the door frame. Let's play with a
few more filter effects.
Filters >
Enhance is
where we
used the Red
Eye Removal
in lastmonth's article. In this set of
filters, I often use Sharpen. This
filter has one slider which lets you
sharpen the image (or selection).
This is usually one of the first
effects that I apply to an image to
While Ripple
will let you
make a
selection look
almost like it's
made of liquid.
Easily one of
the most used
(and abused)
effects applied
in the media
today is the
drop-shadow.
Found under Filters > Light And
Shadow > Drop Shadow, it will take a
selection (or text layer, anything
really) and put a shadow under it. It
can really help lift an item off the
page, but it can look very cliché. This
is also one of the few filters that has
no preview. Filters > Light And
Shadow also has many other
powerful effects such as Lighting,
16
The filters named Artistic will
try to apply a painterly effect.
Filters > Artistic > Oilify will try
to turn your photo into an oil
painting
There are too many effects to
list in this short article. The key
is to experiment with them. Play
around with them to see what
they will give you. Don't be
afraid to give them high or low
values. Sometimes accidents
give the best results!
Next month, we will take all
the things we've learned over
the past seven months, and
combine several photographs, to
end with a fantastical piece of
GIMP art. But before then, let me
just mention Layer Masks.
Normally, when we erase part
of a layer, it's gone for good. But
with layer masks we can remove
parts of a layer - but only visually,
while the original layer is still
there, untouched. This is
invaluable as, later on, you may
want to reinstate a part of a layer.
This is possible with a layer mask,
impossible with the eraser.
what you want
to remove. This
is what I choose
most of the
time.
You'll notice
that, beside the
chosen layer, a
new thumbnail
(a white
square) has appeared. This is your
mask. It is pure white at the
moment, and is completely visible.
Let's say I want to erase the
steps from my photo. First, select
the layer that's to be affected,
now go to Layer > Mask > Add
Layer Mask.
A window will appear, and
require an answer. Choosing
White (Full Opacity) will keep the
image as is, and let you paint out
You will see your layer return
to its old self. Click Disable Layer
Mask to enable the layer mask
again.
Here's (briefly) how masks work:
white is completely solid, and visible,
black is completely transparent, and
the shades of grey in between will be
semi-transparent. Make sure the
mask thumbnail is selected, choose
the paintbrush tool, and use the
colour black to paint with. If you've
selected the mask layer, then you
will be hiding parts of the layer, not
erasing, hiding. To prove the point,
right click on the layer mask
thumbnail, and choose Disable Layer
Mask.
17
Layer masks are a very
powerful feature, and give you a
great deal of flexibility by
keeping your layer always
available for future alterations.
Think of it as having your cake
and eating it.
is Editor of
magazine, a proud
Kubuntu user, and part-time
artist whose gallery of work can be
seen at www.RonnieTucker.co.uk.
HOW-TO
USING GIMP - PART 8
Written by Ronnie Tucker
Google Videos at:
FCM #12 - #17 : USING GIMP 1 - 6
Dev
Graphics
Internet Multimedia System
CD/DVD HardDrive USB Drive
Laptop
Wireless
In this, the last part of this GIMP
series, I'm going to create a single
image using three photographs
taken from Flickr. Although the
final image won't fool a
photographic analyst, its creation
should help you practice what
you've learned in the previous
seven articles. What I've also
done is recorded, in real-time, my
thirty-minute creation of the
image, which you can view on
http://url.fullcirclemagazine.org/c44b86
First, I grab my three source
images from Flickr, being careful to
choose only photographs licensed
under the
license - which allows
editing of photographs. What I'm
thinking is that I'll use the sky from
one photo, a middle-distance from a
second photo, and possibly a
foreground from a third photo, either
that or create some water using
GIMP filters. I'll post links to the
source images at the end of the
article, should you want to follow
along.
With my three images open, I
create a new image of the same size
as the source images. I used the
Flickr preview images as I didn't want
to have too many large images open
while recording the screen, but you
can use the full-size photographs. In
the case of a landscape, it's better to
work from back to front with the sky
being farthest back, so I draw a very
rough selection line around the sky of
15
my first photograph. I copy that
selection, and paste it into my
new image.
I then decided to use the
mountain range from the second
photograph, and selected its
outline using the Pen tool. Again,
I copy and paste the selection
into the new image.
From the third photo, I select
the trees and grass area and
copy/paste it into the new image.
To add some depth to the
image, I created a new layer and
placed it between the mountain
and tree layers. I airbrushed in
some white to act as a fog/mist. I
also selected the furthest away
trees and applied Gaussian Blur to
them.
I had a fourth image that I was
going to use, but decided against it.
Instead I copied the sky layer, flipped
it vertically, made a selection with
the Pen tool, and erased parts of it.
This will have effects applied to it
and will become water.
The mountains would also be
reflected, so I did the same with the
mountain layer: copy it and flip it
vertically.
16
Before applying a ripple to the
water, I used a soft-edged brush
with the eraser to soften the
outline of the mountain. Then I
flattened the two layers
(mountain reflection and sky
reflection) into one layer and
applied a ripple to them.
I darkened the foreground of
the water using the Burn tool. At
that point, I realised that I hadn't
reflected the foreground tree! So
I did a quick selection of the
foremost tree, copy/pasted it to a
new layer, flipped it vertically, and
applied a ripple effect to it.
Thankfully, the ripple filter keeps
your settings from the last time it
was used, so the ripple on the tree
was the same as on the water
layer.
The components of the final
image are now all in place. At this
point, I began playing around with
various filters to see if any would
enhance the image. I tried Lens
Flare and Sparkle but neither did
anything effective. I tried the
Gradient Flare, on a new layer,
and it gave the effect of a sun, so
I kept that and played with the
layer effects to make it blend in
more.
video of the above image being created: http://url.fullcirclemagazine.org/c44b86
Source Images:
http://url.fullcirclemagazine
.org/2fba72
http://url.fullcirclemagazine
.org/8a00d5
http://url.fullcirclemagazine
.org/d31f07
17
is Editor of
Full Circle magazine, a
recent GNOME convert, and
artist whose gallery of work can be
seen at www.RonnieTucker.co.uk.
HOW-TO
GIMP - The Beanstalk Pt1
Written by Ronnie Tucker
For ideas, I’m using Photoshop
tutorials that are freely available
on the web, and, while not copying
them step for step, applying the
underlying principles of them to
GIMP.
I should also state, for the
record, that I’m using GIMP 2.6. As I
write this, a 2.7 version is available,
but, it is not entirely compatible
with the *buntu family, and trying
to install it can give conflicts.
What we’ll be making is shown
left.
I
n the first of this new GIMP
series, I’m going to try and
show you some intermediate
techniques. In other words,
things that people may think are
possible only with Photoshop. If
you’d like to read more about the
absolute basics of GIMP, then I
refer you back to FCM#12-19.
While I used an older version of
GIMP in those issues, the layout of
GIMP has changed little in the
passing years.
and make it A4 in size, portrait in
orientation, and with an X and Y
resolution of 80. The default X and
Y resolution is 300. That’s for
professional printing, and, it
requires high resolution images as
source material, and can slow down
even the hardiest of machines - so
we’ll go with 80 which is more than
adequate for this tutorial.
else for now. For a foreground
color, choose a very pale greenyyellow (RGB = 220, 229, 189). For
the background, choose a slightly
faded greeny-yellow (RGB = 133,
151, 81).
Next, left click (and hold) in the
middle of the blank image and
move up to the top middle of the
image. Release the mouse button
Select the ‘Blend tool’ and you’ll have a radial fill covering
icon (shown left), and,
the entire canvas.
where it says ‘Shape:’,
choose ‘Radial’ from the drop down
menu. No need to change anything
Sources:
Sky http://www.2textured.com/index.p
hp/Environment/Skies/skies_0347
YouTube Video showing Pt1 being
made:
http://www.youtube.com/watch?v=
NYFTdbzjubg
The Sky Gradient
First thing we need to do is
create a new image (File > New),
full circle magazine #60
14
contents ^
HOWTO - GIMP: THE BEANSTALK Pt1
drop down menu above the layers
and choose ‘Value’.
Color Curve
No, Not The Layers!
Click File>Open, and choose
your sky image. To quickly get the
sky into our main image, we go to
the ‘Layers’ tab and (as shown
above) drag it onto our main image
With the sky now in our main
image, you can close the opened
sky image.
The sky image is quite
high resolution, larger
than we require, so we
need to resize it. Click the ‘Resize’
tool (shown left), and click the sky.
In the resize window that pops up,
you need to make sure that the
You’ll now have a greeny sky,
but it doesn’t look very dramatic
does it? With the sky layer still
selected, click Colors > Curves from
the menu. We’re going to create
what’s known as an S-curve. The Scurve is a great way of quickly color
correcting your photos too. Click
two boxes across and two down in
the grid, and drag your mouse up
and to the left slightly, and two
boxes in and up from the bottom
little chain link icon is linked. If the
icon looks like a broken chain, then
your sky image will resize
disproportionately and squish.
Make the width of the sky about
300 wide, and click OK. This gives
us some room to play with.
Click the ‘Move’ icon
(shown left). Now, left
click and drag the sky
icon to where you think it looks
best.
TIP: The gradient is one layer and
the sky is another. If we add several
more layers, it’ll get quite
confusing. To make things easier
you can double click on a layer
name and rename it.
full circle magazine #60
Now for some layer magic. With
the sky layer still selected, click the
15
contents ^
HOWTO - GIMP: THE BEANSTALK Pt1
From the window that pops up,
choose ‘White (full opacity)’ and
click ‘Add’. You’ll see a box appear
next to your sky thumbnail in the
list of layers.
left of the grid, and click and drag
down to the right.
from the menu, choose ‘Add Layer
Mask’ (shown below).
Which will give you an S-curve
(shown above) which you should
play around with until you get a
nice dramatic sky with good darks,
but not too bright lights.
Let’s finish off this sky and
that’ll do us for this first part of the
tutorial.
That box is a thumbnail of the
layer mask. The idea is that if you
select that layer thumbnail, and
draw in black, you’ll erase parts of
the sky image. Draw over the
erased area with white and the sky
will reappear. This means you can
show/hide parts of the sky - using
the mask - without destroying the
original sky image. We’ll use the
mask to fade the sky into the
background.
Select’ icon (shown below left).
Left click and draw a box around
the bottom third of the sky.
Now click the ‘Blend Tool’ icon
(that we used at the start of this
tutorial), but make sure the
‘Shape:’ is Linear this time. You’ll
need a foreground colour of black,
and a background colour of white.
With that all set, click and drag just
up from the bottom middle of the
selected area, to just below the top
middle of the selected area, and
release the mouse button.
Make sure the mask
thumbnail is selected, it
should have a white
outline, and click the “Rectangle
Layer Mask
Right click on the sky layer, and
full circle magazine #60
16
contents ^
HOWTO - GIMP: THE BEANSTALK Pt1
The Ubuntu Podcast covers all
the latest news and issues facing
Ubuntu Linux users and Free
Software fans in general. The
show appeals to the newest user
and the oldest coder. Our
discussions cover the
development of Ubuntu but
aren’t overly technical. We are
lucky enough to have some
great guests on the show, telling
us first hand about the latest
exciting developments they are
working on, in a way that we can
all understand! We also talk
about the Ubuntu community
and what it gets up to.
Your sky will now magically fade
into the background. And since it’s
a layer mask, the original sky is
untouched. You can right click on
the layer mask and delete it and
the sky will return to its original
state.
The show is presented by
members of the UK’s Ubuntu
Linux community. Because it is
covered by the Ubuntu Code of
Conduct it is suitable for all.
Next month we’ll add a piece of
landscape below the sky, and
maybe, just maybe, start growing
that beanstalk. Class dismissed!
Ronnie is the founder, and editor, of
Full Circle, an official Ubuntu
member, and part-time artist who's
work can be seen at:
http://ronnietucker.co.uk
full circle magazine #60
17
The show is broadcast live every
fortnight on a Tuesday evening
(British time) and is available for
download the following day.
podcast.ubuntu-uk.org
contents ^
HOW-TO
GIMP - The Beanstalk Pt2
Written by Ronnie Tucker
O
bottom of the image.
K, so, we’ve got our sky
recoloured and fading
into the background;
next, we want to have
a little village below the sky.
Sources:
Village:
http://www.sxc.hu/browse.phtml?f
=view&id=1215281
Tree:
http://alfoart.com/flash/beanstalk
_tutorial/625100_53361668.jpg?ht
tp://www.2textured.com/main.php
?g2_itemId=281
YouTube:
http://www.youtube.com/watch?v
=KTmehu8x2j4
We’re going to chop away some
excess trees that are behind the
village to give us a nice landscape.
Selections
If you look at the list of layers,
you’ll see that the village layer is
sandwiched between the sky and
background images. We need the
village to be at the top of the list.
Simply drag it up above the sky
layer.
The Village
The selection tools are some of
the most important tools in GIMP
as they allow you to be as detailed
as you need to be when selecting
an outline. For this, our first big
tutorial, we’ll go with a quick and
dirty selection.
Click the ‘Free Select Tool’
(shown left) and draw around the
treeline keeping only
full trees. Draw out the
side of the image, and
loop back to where you started.
Press the Enter key on your
keyboard to complete the
selection.
You can, of course, go clockwise
if you prefer.
Press the Delete key on your
keyboard, and anything inside that
selection will be removed.
TIP: If you press the Delete key
and the selected area shows black,
then you’ll have to go to the menu,
click Edit > Undo. Right click on the
layers thumbnail, and choose ‘Add
Alpha Channel’. Now you can press
Delete to remove your selection.
This extra ‘Add Alpha Channel’ step
isn’t always necessary.
Bring the village photo into
your scene. How? This is where I
test if you’ve read part one or not.
Same idea: open the village image
and drag it into our main scene.
You’ll probably have to resize it to
about 750 pixels wide, though.
Should you see something like
this, don’t panic
Click the move icon, and drag
the village layer down to the
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contents ^
HOWTO - GIMP: THE BEANSTALK Pt2
Use the rectangle select tool to
select the top half of the village
(below left) and, like last time, use
a black and white linear gradient to
fade the top part of the village.
Remember last time
how I spoke about the
layer mask as being
non-destructive? Well,
here’s your chance to try it out. We
created a white layer which was
completely transparent, so choose
a foreground colour of white and
click the ‘Paintbrush’ icon (shown
left).
You can, if you like, go around
the treeline and tweak it with the
eraser, but for now we’ll cover it up
with a layer mask. You do
remember how to create a layer
mask, don’t you? Yep, right clicking
on the village layer, and choosing
to add a white layer mask.
full circle magazine #61
TIP: If you need to enlarge/shrink
the paintbrush you can use the
square bracket keys (that’s [ and ]).
22
The idea here (shown below
right) is to (on the layer mask!)
paint white over some of the
foreground trees to remove them
from the fog effect in the
background.
OK, let’s get our whopping
great tree inserted and we’ll finish
up part two.
I’ll show you another quick way
of inserting an image. Click the link
above for the tree source. In your
browser, right click the image and
copy the image to the clipboard.
Go to your main image in GIMP,
and, in the menu, click Edit > Paste
As > New Layer. Voila!
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HOWTO - GIMP: THE BEANSTALK Pt2
You’ll have to resize the layer to
about 600 pixels wide, and move it
down to have the tree roots
halfway down the grassy part of
the village. Clicking resize, and
then on the tree, I’m unlinking the
width and height numbers as I just
want to stretch the tree vertically
to about 650 high.
Like we did with the village, it’s
time to trim out the excess
background, we just want to keep
the tree. Time to click the free
select tool and get to work.
This time we want to keep
what’s inside the selection, so, in
the menu, click Select > Invert and
press Delete. One tree. But I think
I’d like it growing up to the right,
so click Layer > Transform > Flip
Horizontally. I’d also like it to have
a tint of green like the rest of the
image, so click Colors > Colorize,
and move the ‘Hue’ slider until you
get a greenish tint to the tree.
Finally, apply a layer mask to
the tree layer, and select the top
third of the tree and use the blend
tool to fade the tree into the
clouds.
layer to paint a shadow from the
tree across the grass.
In the final part of the
Beanstalk image we’ll add some
pizazz to the image.
Ronnie is the founder, and editor, of
Full Circle, an official Ubuntu
member, and part-time artist who's
work can be seen at:
http://ronnietucker.co.uk
One last thing, your homework
for this lesson: use the
Dodge/Burn tool on the village
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contents ^
HOW-TO
GIMP - The Beanstalk Pt3
Written by Ronnie Tucker
W
e’re almost done
with the beanstalk
image, but I’d like to
add some random
bits and bobs to give it some
pizzazz.
This time, in the dropdown
menu above the list of layers,
choose ‘Screen’; the black in the
layer will vanish, and the moon will
blend in nicely.
hollow should be nice and dark.
Sources:
Moon:
http://www.sxc.hu/photo/1126941
Stars:
http://www.sxc.hu/photo/1005288
YouTube Video:
http://www.youtube.com/watch?v
=HZcoOx94ox8
Moonshine
Copy/paste the moon image
into the beanstalk scene. I’m
keeping the moon layer at about
150 wide and have flipped it
horizontally.
Although, a glow around it
wouldn’t go amiss. We’ll cheat with
the glow and use a filter. Click
Filters > Artistic > Softglow. Move
the sliders until you get something
pretty. I used a high brightness and
glow radius.
The good thing about doing this
in a non-destructive manner is that
you can change anything at any
time without having to completely
redo chunks of the image. I’m
going to use an S-curve now on the
tree as I think it needs to have
brighter highlights on it and that
full circle magazine #62
One last thing is that I’m going
to add some stars to the sky, so it’s
time to bring in the image of the
stars: place the layer below the
moon layer, and make it about 300
pixels wide. This time though,
make the layer mode ‘Lighten only’
from the dropdown menu. The last
thing to do is give the stars a layer
mask that will fade them out
midway down the image.
17
Next month we’ll have a tutorial
from Thomas Standiford on
making your photo look retro.
Ronnie is the founder, and editor, of
Full Circle, an official Ubuntu
member, and part-time artist whose
work can be seen at:
http://ronnietucker.co.uk
contents ^
HOW-TO
GIMP - Retro Photo
Written by Thomas Standiford
I
n this GIMP how-to, we're
going to do some basic curves
adjustments to make this
photo have a cool stylized
retro-type look.
We'll start with the image
above right, and end with the
image shown bottom right.
Get the Retro Colors
Most of the effect for this
photo is simply from adjusting the
curves of each channel (the red,
green, blue, and alpha channels)
like so:
Note: To change which channel to
adjust, select the channel from the
channel drop-down. You can switch
back and forth between channels.
All of these curves adjustments
should be done in ONE
COMMAND, not a series of four
commands.
After making the adjustment,
your photo should look pretty cool,
but we need to tone the contrast
down a bit.
Next, do another curves
adjustment like so:
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HOWTO - GIMP RETRO PHOTO
Not bad, now if only those
bubbles didn't disappear in the
process.
hot pink.
Add a layer mask to the
dramatize layer.
Using a fairly large and soft
brush, carefully brush in a few
spaces of pink and green in each
bubble, like so:
Now that our bubbles are a
little more visible, let's dramatize
the photo a bit.
Final Touches
Enhance the Bubbles
The bubbles seem to have
disappeared in this photo. We're
going to use a combination of
selections, and soft brushes to put
some pop back into them.
Create a new layer, name it
"bubbles".
Now we will select the bubbles.
Using the path tool, trace around
the outer edge of each bubble.
Once all of the bubbles have
been outlined, right-click on the
path in the path menu (located in
the same window as the layers),
and click "path to selection."
Set your foreground and
background to a lime green and
Now that we have added the
color to the proper areas of the
bubbles, let's change some layer
styles and adjust the opacity to
make the bubbles look realistic.
Using the blend tool, set the
gradient mode to radial, and use a
gradient that goes from black to
white. Create a gradient that goes
from the center of the photo
outward. Adjust the opacity of the
layer to something you're happy
with. Here is what I ended up with:
Next month we'll begin a video
editing series using Kdenlive.
Create a new layer, name it
"dramatize", set the layer mode to
Overlay, and fill the layer with
black.
Set the layer mode to Overlay.
Duplicate the layer. Name the
duplicated layer "bubblebrighten".
Set the duplicated layer mode
to addition.
Adjust the opacity of both the
"bubble" and "bubblebrighten"
layer until you end up with
something you're happy with. My
opacity settings are set to 23 and
40 respectively, and they look like
this:
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contents ^
H O W-TO
G ' M I C I n Pa i n t
Written by Ronnie Tucker
Nicholas has worked himself into
a hospital bed this month, and
will be back next month.
O
ne thing that GIMP is well
known for is its filters. Think
of them as Photoshop plugins. One
GIMP filter that is incredibly
powerful – yet not so well known,
it seems – is G’MIC. Meaning
‘GREYC’s Magic for Image
Computing,’ it comes with an
incredible amount of filters
covering deformations,
degradations, details, film
emulsion, patterns, rendering,
repair, and even a section for
filters still in testing. In this quick
example, I’ll talk about the Inpaint
feature. This allows you to mask an
area which Inpaint will fix for you.
GIMP plugin directory (this is
usually /home/.gimp2.8/plug-ins or
thereabouts, so you may need to
show hidden files to find the
.gimp2.8 folder). Now, when you
start GIMP and click the ‘filters’
menu, you should see G’MIC at the
bottom of the list.
U SING
(in GIMP), you use the pencil tool
(not the paintbrush) to cover the
parts of the photo you want
Inpaint to remove. I started with
the photo shown above.
When you have a photo loaded
I NSTALLING
Go to:
http://gmic.sourceforge.net/gimp.s
html and download the
appropriate file (32/64 bit).
Unarchive the download to your
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HOWTO - G'MIC INPAINT
now is the time to grab a
tea/coffee.
And below left is the final
result.
Is it perfect? No. Is it quick and
easier than using the cloning tool?
Definitely!
I decided to test Inpaint by
seeing if it could remove the red
and white tape. I simply drew over
it with the pencil tool using bright
red (pure red, no green or blue) as
shown on the previous page
(bottom image).
Next, I opened G’MIC (filters >
G’MIC), clicked REPAIR, then
‘Inpaint (Patch Based)’:
From the default settings I
raised the Patch Size setting to 1 5
and the Lookup Size to 22. After
that I clicked OK and waited. It
does take a fair bit of
computational power to do this, so
I purposely chose this photo as I
thought maybe the railings would
catch it out, but InPaint worked
fine. There are a couple of bits on
the railings where it isn’t perfect,
but I’ll let you see if you can spot
them.
G’MIC has literally dozens of
great filters in it so have a play
around with them!
Ronnie is the founder and (still!)
editor of Full Circle. He's also a selftaught (part-time) artist who draws
both serious and silly things. His
work can be seen at:
http://ronnietucker.co.uk.
full circle magazine #83
25
contents ^
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