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LXF121.Tut Gimp

LXF121.Tut Gimp

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Published by bidemi09
Gimp tutorial.
contact me on bidemi007@gmail.com if there's any 'ish'
Gimp tutorial.
contact me on bidemi007@gmail.com if there's any 'ish'

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Categories:Topics, Art & Design
Published by: bidemi09 on Jun 04, 2010
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08/13/2010

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Tutorial
Gimp
82
 
LXF121
 
August 2009
www.linuxformat.com
Michael JHammel
is a contributor tothe
Gimp 
projectand the author ofthree books on thesubject, includinghis latest,
The Artist’s Guide to Gimp Effects 
.
 
Ourexpert
is also reproducible in
Gimp 
, but the lack of a warpableTransform tool makes the process more difficult – though notimpossible – to complete.The concepts behind the two tutorials are complementaryand encourage experimentation. If you want to follow thisamalgam project exactly, it requires a number of stockimages that are either available for free or a low cost fromstock image repositories (see
Take Stock, above 
). It doesn’trequire the
Gimp Paint Shop 
package I’ve described over thepast few months, but having it will offer you more options.I’ve created the project at 2350x2033, but if you need toto reduce memory and CPU requirements, scale the stockimages down by 50% before starting.
Gimp:Create a
Gimp
Open source image-editingsoftware you can get your teeth into
Michael J Hammel
continues his journey on the fickle wings of inspirationthis month. He invites you to fire up Gimp and join him on his travels.
A
fter nearly 30 years of developing and using software,I sometimes find it hard to find motivation for mynext project. The same holds true for my artwork, sowhen I come across something that reinvigorates myenthusiasm I tend to hold on to it like a CEO on to bailoutfunding. Enthusiasm is currency – and it must be spentquickly or the value declines.So I must ask your forgiveness, dear reader, as I indulgemy enthusiasm with another expert-level project basedaround inspiration. As with last month, this tutorial is moreabout trying to inspire budding
Gimp 
users to dig around andcombine ideas than revealing how to perform a specificprocess, although I’ll cover the process as well.
Revitalise your burnt out creativity
This project, which I call Fire Goddess, is based on two onlinetutorials that I’ve merged together. The first of myinspirations, Mystic (
http://psdtuts.com/designing-tutorials/the-making-of-mystic
), produces in
Photoshop 
 what I can only describe as a Mayan god. This project iscompletely reproducible under
Gimp 
, but I was unable to findsuitable ornamental pieces to use here.My second inspiration comes from a
Photoshop 
tutorialthat shows you how to create an image of a woman on fire
http://psd.tutsplus.com/tutorials/tutorials-effects/how-to-create-a-flaming-photo-manipulation
. This project
Last month
We destroyed a city with Gimp and a graphics tablet.
This flaming hot beauty is the result of all your hard work.
Take stock
 
Our basis
 Woman with hair blowing upward:
bigstockphoto.com/photo/view/1921777
 
Ornate frames
 Golden picture frame:
istockphoto.com/stock-photo-1710947-golden-picture-frame.php
Vintage gold frame:
istockphoto.com/stock-photo-4930364-vintage-gold-frame.php
 
Flames
We used the fire pictures at:
sxc.hu/browse.phtml?f=view&id=1093986
 
sxc.hu/browse.phtml?f=view&id=1099709sxc.hu/browse.phtml?f=view&id=1104673
 
sxc.hu/browse.phtml?f=view&id=1143736
LXF121.tut_gimp 828/6/09 11:27:36 am
 
 
Gimp
Tutorial
www.tuxradar.com
August 2009
 
LXF121
 
83
If you missed last issue
 
Call 0870 837 4773 or +44 1858 438795.
fire goddess
1
A simple process
Let’s start by looking at the original image and thefinal image. As you can see, plenty has changed,but there are two notable alterations: firstly, I’veremoved the hair of the girl and, secondly, theimage is flame coloured.The reason our goddess is hairless is that I’doriginally intended this project to closely followthe tutorial for creating a flaming girl. With that inmind, I chose a base image with hair that shouldbe easy to convert to flames using
Gimp 
. However,because that process used a feature of
Photoshop 
 that isn’t easily duplicated in
Gimp 
(specifically, thewarpable Transform tool), I changed this project,making the hair in the source image irrelevant.Throughout the project you’ll also notice thatflames are not just components of the image, butalso used for colouring. The easy way of using aflame to colour a layer is to desaturate the layer tobe coloured, add a flame layer above it and set theflame’s Layer Mode appropriately. However, if youplace anything below that layer, the black regionaround the flame may block it from being visible.
2
Isolate the girl
The first step in this project is to isolate the girlfrom her background. We’ll do this primarilybecause the background in the source image forthe girl isn’t required and its colour may causeproblems when mixed with other layers. Removingit will also enable me to add background elementsbehind the girl’s head.To isolate the girl, first Desaturate (Colours >Desaturate) the source image with the Luminositysetting selected. The reason for using this settingis that the source image has a yellowish tint whenconverted from its original colour space (providedin the image when downloaded from the stockimage website) to the colour-managed display in
Gimp 
. I say colour-managed, because I configuredthe monitor profile for my Acer X203W monitors
3
Cutting her hair
In the original layer (which is titled Background bydefault), I use Ctrl+A to select the entire layer andthen drag the black foreground colour into thecanvas to fill that layer with black.Now it’s time to get rid of the girl’s hair. Just likemost operations that involve components of animage, I don’t really want to remove these from thelayer itself, but rather leave them in place and maskthem with a layer mask. The reason for leavingthese elements in place is so that I can decidelater to reincorporate the component (in this casehair) into the project. This kind of flexibility is a realTo avoid this, we’ll use layer masks on flame layersor simply copy and paste flames (without the blackbackgrounds) from their source image.The final process for creating the Fire Goddesscan be reduced to these basic steps:
1
Isolate the girl from the background.
2
Detect the edges of her head and create multiplecorresponding layers to get a perfect selection.
3
Blend in ornamental elements.
4
Do some fine blending to remove excess details.
5
Colour the image with flames.
6
Create the flaming hat.
7
Add the background emblem.Note that even if you follow this tutorial exactly,you won’t produce the same image as me. Thesteps I’ll present allow for too many variations,especially when creating the flaming hat. Don’t bediscouraged if your first attempt is less than ideal,though. I went through seven different designsbefore settling on this process and the first fouror five of those are – to be kind to myself – notsomething I’d ever show in public.in
Gimp 
’s Preferences. Thankfully, the yellow tintconverts to a bright white when the Luminosityoption is selected in the Desaturate window.Now I can use Select By Colour from the
Gimp 
toolbox and click on the white background. Withthe Tool Options Threshold set to 50, this willselect all of the background, a little of the hair andsome of the face and neck. To avoid selecting anyskin, switch to Quick Mask mode and paint out thewhite areas on the girl with a large black brush.Now switch off Quick Mask mode and Invert theselection. This selection is then copied and pastedto a new layer, which I name Girl. I then fit the newlayer to the canvas using Layer > Layer To ImageSize so that any modifications I make won’t berestricted by the size of the layer.assets of editing images digitally, so I encourageyou to make use of it.In this case, I add a white layer mask to theimage. Starting with a large brush and switchingto smaller brushes as I proceed, I paint with blackon top of the girl’s hair in the layer mask until mostof the hair is removed. I leave a small amount ofhair because I will be using edge-detect filters laterand I know the lines in the hair will provide anothervisual feature using those filters. Afterwards,I switch off the Girl layer’s visibility so it won’tinterfere with the next steps.
Step by step:Set the world alight!
LXF121.tut_gimp 838/6/09 11:27:38 am
 
Tutorial
Gimp
84
 
LXF121
 
August 2009
www.linuxformat.com
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The next step in this project is tocreate detailed outlines of the girlusing two edge-detection filters:Edge (Filters > Edge Detect > Edge)and Neon (found by going to Filters> Edge Detect > Neon). Theseproduce similar results that I’llcombine later with Layer Modes.To begin with, I duplicate theGirl layer and name the duplicatelayer Edge Detect. After that, Ithen open up the Edge Detect filterand select the Prewitt Compassalgorithm. I choose an algorithmThe ornament around the neck iscreated in exactly the same way,albeit with a new copy of the frame.A new copy is required because theangle of rotation, size and positionwill be different to the Foreheadversion, not to mention beingmasked differently. In this layer, thebottom edge of the frame is keptwhile the rest is masked out.Similarly, the collar is decoratedwith the oval frame. This time theframe is flipped vertically beforerotation, sizing and positioning.Finally, a mask is added to keep justthe lower section of the frame.Note that the frame imageswere significantly smaller than themain image window and the girl.The ornaments didn’t cover asmuch of the girl’s hair as I’doriginally thought it would, so toget rid of these unsightly blemisheson our goddess, it’s time to turnour attention to the Eraser andSmudge tools.Smudging in the edge detectlayers is possible (white and blacksmudged together produce shadesof gray), but I’d rather leave someof the line details in the face. Toaccomplish that, I’ll use the Eraserwith a Grunge brush and setthe Brush Dynamics to increaseOpacity, Hardness and Size whenpressure is applied using myNow it’s time to get our goddesslooking ornamental. The best placeto find suitable designs to use forthis are picture frames and buildingarchitecture. This project has stuckwith picture frames only because Icouldn’t find any really goodphotos of Victorian architecture.There are three ornamentalpieces I’m adding to this design:one on the forehead, one at the junction of head and neck, and oneto form a collar. The first two comefrom a rectangular frame while thelatter comes from an oval frame.I start with a rectangular frameand Desaturate it. Because theframe is fully enclosed in the solid-coloured background and alsoencloses a solid-coloured area,selecting the frame is easiestusing the Fuzzy Select tool setwith a Threshold of 50. Clickingonce outside the frame and againinside it creates a selection ofthe background. Grow this byone pixel (something I nearlyalways do to avoid leaving light-coloured pixels along the edgeof the selected object) and thenInvert the selection. Copy andbased on the preview and here Iselected the one that showed themost detail. Apply this filter to thelayer and then set the Layer Modeto Screen.The Girl layer is duplicatedagain, this time naming the newlayer Neon Detect. This layeris moved to the top of the layerstack and the colours are invertedin this (Colours > Invert) beforeapplying the Neon edge detectionfilter. The Layer Mode is set toScreen and, finally, this layer isduplicated once, resulting in threelayers dedicated to edge detectionstacked above the Girl layer.Zoom in now and you may findsome strands of hair that weren’tmasked in the last step. These canbe left, or you can remove themwith the Eraser. If you do this, theEraser will probably need to beapplied to the same area on eachof the three edge detection layers.These would be too difficult to seein print, so I’m not showing themhere. In my project, however, Ierased the extra strands of hair –I’m obnoxiously detail-oriented.This required increasing the sizeof the frames. Scaling an imageup is problematic because thescaled image quickly becomespixellated. However, in this casethe pixellation is hardly noticeablebecause of the weakly identifiableshapes (the ornate structure hasno discernible pattern). Usingblending layer modes also hidessome of the pixellation and ourcolouring technique hides it evenmore. Large prints, however,would likely show the pixellation.Therefore, if you intend to makeany prints of this image, theyshould to be no larger than thesize of a magazine page. (Prettyconvenient, eh?)Wacom pad. It’s worth mentioninghere that throughout this projectI haven’t needed to break out thepad, but this is one place where itcomes in handy. If you don’t havea graphics tablet to hand, you can just use a smaller brush and varythe Opacity manually.Now I apply the Eraser to eachedge-detect layer in turn, startingwith the upper layers. I do only asmall amount on each layer beforemoving to the next, then rotateback to the top and repeat. Mygoal is to try and keep as much ofthe detail as possible while losingthe obvious hair lines.Paste the frame into the workingcanvas as a new layer at the topof the layer stack. Name this layerOrnamental:Forehead and ensurethe Layer Mode is set to Normal.Once that’s done, Scale, Rotateand position the Forehead layerover the girl’s face. Use a layermask to remove the left and rightsides and bottom edge of theframe. Duplicate the layer and setthe duplicated layer’s Mode toDodge. Dodging the copy over adesaturated Normal Mode originalenhances contrast (which makes itlook shinier).
4
Edge detection
6
Continue decorating the goddess
7
Blending to remove excess details
5
Blend in the ornamental elements
LXF121.tut_gimp 848/6/09 11:27:39 am

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