GIMP 3D Book Covers 3: Things My Grandpa Taught Me | Brian Jackson | Skillshare

GIMP 3D Book Covers 3: Things My Grandpa Taught Me

Brian Jackson, Author/Publisher/Educator

GIMP 3D Book Covers 3: Things My Grandpa Taught Me

Brian Jackson, Author/Publisher/Educator

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6 Lessons (30m)
    • 1. Bump Maps Pt. 1: Using Images

    • 2. Bump Maps Pt. 2: Using Text

    • 3. Water Reflection Effect

    • 4. Filters: Homework Assignment

    • 5. Things I Forgot to Mention About the GIMP and 3D Book Covers

    • 6. Wait a Second, That Happened Too Fast

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About This Class

GIMP 3D Book Covers 3: Things My Grandpa Taught Me

In this class you'll learn:

  • How to use images to produce a bump map through a white layer.
  • Create a cloudy night sky with a moon in it containing the Word "Moon". We then suspend this above a reflection in water, and you can tell that it's water because we put a ripple in it.
  • We look into the use of the many filters provided by the GIMP and suggest a homework assignment of going through all the filters to find out what each of them do.
  • I mention that fact that the GIMP displays tools tips when you hover over a button. This is something I forgot to mention earlier and it's been gnawing at me ever since.
  • I perform some of the most common tasks that I've performed quickly in the past so that viewers can keep up with fundamental actions that may have previously been missed.

So, don't miss out -- join me for the fun,


Meet Your Teacher

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Brian Jackson



Born in Los Angeles in the middle of the last century, I have always wanted to be a writer. After twenty-five some odd years spent working in the computer industry in the heart of the Silicon Valley, first for Lockheed as a Systems Programmer and later for Cisco Systems as a test tool developer, I managed to retire early and begin my next career as a self-published author.

Along with writing and publishing my own novels I also publish the works of my wife, Melanie Jackson. During the past four years I've published well over 100 books in paperback and eBook formats. Oddly enough this includes eBooks on how to self-publish books and how to create professional looking book covers using the GIMP. I've also recorded and distributed a pair of audiobooks available for purchase on Amazon... See full profile

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1. Bump Maps Pt. 1: Using Images: in this lecture, we're gonna look at creating a bump map. This was one of the things that my grandfather taught me about the gimp, but I have used off and on, and I really should have included it. So let's go ahead and select none to get the creeping and stunt. They give me the creeps and will create a new 3000 by 3000 in the foreground color of white . Thank you that we won't be needing this anymore. Now there's two basic uses of bump maps. They both have to do with something from the background coming through. Um, one of the things that I like to use but maps for is a quick way to make Kind of like a line drawing. I'm gonna show you a creepy line drawing first. It's based on bringing into here an image we're gonna file open, and I'm going to go to first Brian Staff Image 5 35 I know rather obscure took me a while to figure it out. And ah, here's Brian looking creepy. I thought I just take a creepy look. You can actually see my dental work at the time. Not looking too bad. No growths. I have a little red. I I'm looking creepy. So what we're going to Dio is to creep this out even more. We're going to distorted a little by doing a scale image to get it to about 3000. Break the chain 3000 by 3000. There we go. We're losing the aspect ratio, and that will make it just look a little stranger. Now what we can do is we can select all edit copy and word basically done with that image. So let's minimize that. Let's go back to our white here now. What we want to do is create a new, transparent layer, and this should be down. Below are white layer. Let's go there and we'll wink out by winking out the eye on our white layer so that we can see our transparent layer down below. And there we will edit paste the creepy picture. Now it's a floating selection by default. We want to anger that before we do anything else that we could move on to the next step. What is the next step? Let's bring that white back into play, Okay, let's move to the white layer And now what we'll do is we'll apply filters, map a bump map to this layer. And what we want to do is you're going to This is the primarily control that I work with. Ah, you have such control over how the bump of the thing down below is going to come through the white. Um, but the one that I work with the most is the depth here. Now, notice the sample here on the left, the preview things bump through, much less the lower the depth ISS. Now you can drag this surrounds that we can get an example of an area may be where I am more towards the center, but we seem to just be getting General ah, background. I'm going to bring this back up to about 30 to really bring this through, and I'm gonna hit, okay, here it applies it and hear What you can see is that it's almost created a line drawing of myself, but a creepy kind of three d impression line drawing of me. Um, I really like this, and I can see many applications of using this in creating the various images that I'm working on. Let me show you another Maybe less disturbing than this drawing that weaken Dio. All I've got to do is undo the bump map. Get rid of me by winking out the I and I'll go ahead and our file open another image. This one is going to be from my can stock supply. And it will be called flower son. There we go. Now look at this. This is a very in fact. We won't need the white for right now. What a beautiful sight this is. What would happen if we bump map this through some solid weight? Okay, the first thing that will do is will add a new layer will make that layer white will go to that layer and will save filter map, bump map. We're up a 30. So it's quite a bump at this point and was still referencing that old scary layer. Let's see what happens if we pull this almost looks. It almost looks like ah three d kind of line drawing. I think it's really a kind of a need effect. And this is one way to use bump maps to pull images through white 2. Bump Maps Pt. 2: Using Text: in this lecture. I'd like to continue to talk about bump maps in this case, using a text bump map to put a slight watermark onto an image. You can sometimes put your name or something down in the lower right hand corner if you want to be identified with it. But you can make it very, um, washed out and very light so that it doesn't ruin the image. Let me go ahead and show you how to do this on white paper. Let's say, um, this is something that we're going to write on a white background. But first, what we want is to have a little watermark in the lower right. I'm going to use my name. We're going to use the text tool and great. We have Sands italic. I can go here and I could say Brian Jackson, Now this is just about the right size and we're pretty close to lower right hand corner. Let's say we want our water mark here. Now let's go ahead and merge that onto our white background so we have black on away. OK, now let's get some more white. Here's that we can see our water mark I'm gonna create a new white layer on top notice our text is gone. What I'm gonna do now is I'm going to tell it to use filter map a bump map to bump through my, uh, text from a previous layer. Here is my Brian Jackson. Let's take down how much it's pumping through because it's coming through quite strong right now. Take it down to about four. There we go. And you could see that you get just a very gentle watermark in the lower right hand corner of the screen. I can use any text I want. I can include images in this watermark of I have a company logo or something, but I could just em boss it gently in the lower right now. This will also work on images and sometimes even with the most dramatic images, Suppose if on this layer, rather than just white, I wanted to put a watermark on something fancy like Oh, flames. Okay, let's go ahead and will select all here. It will edit a copy of the flames. We don't need those anymore. We'll go to our white layer and we'll edit paste. Now what is our in Boston look going to look like here are watermark. Well, let's go ahead and anchor this. And then on this layer, we will go ahead and we'll do a filters map a bump map and will use the same layer to do our but, man notice. Here you're picking the layer that ends up bumping through the upper layer so I can pick any other layer on here to bump through here. I'm picking the layer with my writing on it. Uh, layer number one. And here with the depth primarily control Aiken, control how much the bump bumps through the image. I've got it down about a floor now, which is a fairly small bump. I could take this way up 2 30 beyond, and you can see in the sample that the bump gets very dark. I want it to be down around Well, it's gonna fight the flames. Let's bring it up to six. And there you could just very gently just barely see Brian Jackson down there. It's a gentle wonder mark of the lower right hand corner. I urge you not to place large watermarks across two images before placing them on the Internet. I know that it keeps people from stealing your image, but it looks ridiculous and screws up some really nice images. I'm showing you how to use watermarks just to do sophisticated labelling of images and to put your company logo and things like that on the images you produce anyway, that's it for bump maps. Go out and use them now on your own projects. 3. Water Reflection Effect: in this lecture, I'd like to talk with you about water effects, specifically how to do ripples in water. We're going to do ripples in water that is reflecting a night sky and a moon and a particular word To do this effect, we need to begin by grabbing our night sky that we're going to reflect in water. Now I just happen to a family one that's very dramatic. I'm gonna bring that up now. Here it ISS here we have a moon and a cloudy sky. Now what I need to make sure is that it's the right with for the image that I'm creating now. So we need toe. Make sure through image scale image that this is 9 60 wide. Let's go ahead and will type in 9 60 for the with That makes the height 14 41 will go ahead and scale. Now we can go ahead and select all and edit. Copy this image. Now we're done with it. So let's minimize that window. Let's go back to our white area to paste this here. All we've got to do is paste and then dragging around, and we don't care that it overlaps up and down that it's too tall. We'll just capture the area on the screen and it'll automatically crop. So we'll go edit paste. Oh, isn't that nice? We'll get the movement tool. We'll get the moon down here where it goes just over half the screen. This means that will actually begin to reflect on the water that looks like about the perfect place to put it. Let's go ahead and Agger that now we'd also like to have a piece of text to reflect. Let me see what would be inappropriate piece of text, Maybe the word moon. Let's do it in a white so we'll flip our colors to bring light to the foreground and will select text. I just happened to have popped up Copper plate, Gothic light and 1 50 which I think looks particularly nice for type in the moon. Let's go ahead here. We'll click with our text tool and will type moon. Now you can see it doesn't really pop out very well, and the reason is what we got to do is outline it and what's going to make it really Pop is black, so let's bring black to the foreground. and we will go ahead and right click in this area and say path from text. Now that will bring up the path window, which were not displaying right now. So we have to bring up Windows, Doc Kable dialogues and show paths. Here's the past window with the path that we just defined, which is an outline of our text. Let's go ahead and stroke that down in black. The width is two pixels. That sounds about right. Let's stroke that and we now have a nice, distinct moon popping out. Let's move that actually up into position so it's closer to the moon and higher up above the water. We'll put the M right in the moon, maybe getting it up here. There. Now we no longer need the poor past window. So we get rid of that again. Now what we need to dio is anchor this down, merge this layer down. So that's part of our total moon layer. Now we need something to reflect, and here we have something great in the upper half. The image Let's go ahead and create a new transparent layer will go to our background layer where we'll do a rectangular selection, and we know how to pick a perfect half of an image we can getting the ball park, then go down here to the lower left and see that our position is a 00 offset. That's good that the sizes 9 60 wide that's perfect goes away across. And what would be half of 5 40? That would be to 70. So there is where we want our selection to be to 70. There it is. Let's edit. Copy that, then we'll go up. Two are transparent layer where we will edit paste it, and then we will use our favorite flip tool toe flip vertically to make a reflection. Let's go ahead and move that down into position. Now, this already looks interesting as we anchor this layer, but it although it is a reflection, it doesn't necessarily look like water. What we're gonna do is we're going to take this reflected layer, and we're gonna add ripples to it so that it looks like a water effect will do that by selecting the reflection layer going to filters, going down to distorts and over on the cascading menu. Two waves Now here you can control just how big the waves are, what is the wavelength or phase between them and so on? By dragging thes sliders around notice here, I've made the size of the waves much greater. Well, actually, I made them more frequent. The wavelength here makes the waves well. That actually makes the more frequent. You'll have to play with it to find out exactly what makes the waves higher and what makes the more frequent. But here I have what I think is a pretty good reflection in the water of the word moon upside down. Let's go ahead and will apply that. And here we have our reflection in water of Moon. This is how to use one of the filters in the gimp to make a water reflection. I hope that you use it to good effect. 4. Filters: Homework Assignment: as the last lecture in this section. I wanted to go over a topic which will eventually turn into a homework assignment for you. This is your homework assignment for these section. And that is to do more or less what I'm going to do right now, which is going up through the filters and finding out what they dio now the first filter here. We're already familiar with Blur. I think the best blur out of all of these is the Gaussian Blur, and we use it all the time. Uh, what are some other effects here, though? That's about as deep as we've plunged in here. Well, the first thing that I'd like to show you is check out this London fog effect that my wife showed me. You go down to render and then over the clouds and you pick fog. Now it's gonna asking the color of the fog. And here, actually, this weird orange color turned out interesting to be smog. I suppose you could use Gray to would be interesting. We're going to stick with the that smug and you can add turbulence to it. Let's see what the default does to our book. cover here. Look at this. It's now behind Ah ah, London Fog More, more like an l A smog. Because of the color, I love this effect. I could see shrouding London scenes in the dense fog. And remember our best friend. If you're not familiar with it by now, you're gonna be familiar with it because we're gonna undo that fog. And this is what I want you to do is to go through each of these filters and find out what they dio because some of them are really need. And they're really easy to use. And you should have them in your tool kit. Ah, here's another one that I really like. It's under light and shadow. You go to the cascading menu to the right, and you do lighting effect. Now, what it does is it allows you to move a little blue dot around on the sample to move the source of a spotlight. We could put it up here on our text. Let's go ahead. We can change the distance of the spotlight from the image. Oh, you can change all kinds of things here, the light source. But we're just going to apply this and see what it does. Look at that. Now we have a spotlight hitting our gimp. Advanced logo. This is a really nice effect that you might want to consider using some for some of your images to enhance them. Let's go ahead. Use our best friend, undo, and we'll go up to filters and look at one last one once again under light and shadow the supernova. I really like this personally, and I like it. And blue, just this color really makes it a supernova. Here it is. It's a blazing star. You can move it around anywhere you want. We probably wanted up near the G and the gimp. There we go. The gimp are blazing. Star our guide and will undo that. So your homework assignment now is to go through the gimp and find out what all of these things under filters do. And you're gonna have a lot of fun. Like under artistic. What happens if I cartoon? If I my cover? Well, it actually kind of makes it dark. That brings out the lines and stuff like that just gives it a slightly cartoony look. That's a lot of fun. Edit. Undo moved to the next one. That is your homework assignment. Have fun. I know you're going to find some things to apply to your own gimp work. 5. Things I Forgot to Mention About the GIMP and 3D Book Covers: one of the things that I wanted to record here is a final thought to leave you with was, um things that I I kind of forgot to mention along the way. There's 1st 1 is a real, basic and important one which I should have mentioned right up front in my, um in true to gimp, which is my gimp book covers Course. If you hover over any of these tools in the toolbox, there is a pop up box tool tips bar that tells you what that particular tool here is. This is the blend tool, and it tells you even what it does, it fills the selected area with a color Grady int. Um, the same happens on these menu items as you come down on them. If you hover over them, it shows you this is open the undo history dialogue. This particular thing copies selected pixels to the clipboard. So this is a really important point that I should have made up front, which is a quick way toe learn the gimp is to just go and hover over things and see what it tells you about. That was a quick tip that I should have presented from the very beginning. Now you're getting it special delivered just to you 6. Wait a Second, That Happened Too Fast: in this lecture, I'd like to talk about some things that might have gone by a little fast for you to catch them. This is kind of the accompaniment to, hey, things I should have showed in the first place. This is Hey, things I probably should a show deal little slower. Let's begin by selecting things over here. On left, I notice you have this flipper to flip the foreground in the background color. I do that a lot really quickly. I just left. Click on the little bent arrow, and it flips black to white, white to black. When you double click on the foreground color that's gonna bring up the color picker for you to choose a color, I can actually quite often type the color I want in here. I know that 33333 is a very dark grey. I can lighten it up with Ah 66666 which is a hex code for a lighter grey, and you'll notice that that comes in here. I can also change the background color by double clicking on the background color boom. Up comes the color selector, and I could make it gold and say, OK, so they're the flipper to flip the colors and selecting whether you'd like to do the foreground of the background color just by clicking on them, that might have gone by a little fast with you. The next thing that I want to cover is actual selection of things on the screen. When it comes to selecting things, the rectangular selector tool is primarily what you're going to be using. Go ahead and click that. Now the way that you select is, you go to the upper left hand corner of where you want. You're gonna get the little crosshairs. There you hold down your mouse key any drag it across your selection. To critics selection. That's probably the easiest way to create a selection. Now, if you're dealing with taxed, there's another way to do a selection. Let's add some text to this screen here. We've got some great text and we're going to do moon again. Moon at night. It's gonna actually go off screen and gray here. Now, as we're entering the text of, we just want to select the word Moon. All we've got to do is double click, and we have the word moon selected so we can do things to it like change its find color. We could flip this. I'm sorry. We could go down here and change its find color to gold and so on. Actually, that changed the find color of the entire line to gold. But we could have changed justice. Selected text. That's a quick way to select just a single word of I want the entire line. I triple click and I get the entire lines a quick way of selecting. Let's see what else we can do here that I might have flipped by a little quickly. How about choosing a find when it comes to choosing a find? Aiken, go here into the final window. Aiken triple click to select the entire thing. And Aiken, type Sands. You got to use the upper case. It's actually case sensitive a n s. And here comes the sand spots. This is a quick way to make it to a font that you want to be. Know how it begins. Let's say I want sands italics. Of course. Your other choice is to actually click on the text font button, and up will come a list of fonts that you can scroll through. And by selecting them, you can see what they're going to look like in the select None. It's that we could actually see well what it's going to look like on the screen. Let me see. What else might I have slipped through a little quickly? One of the things that I have been avoiding showing you is that when it comes to moving layers, you can actually drag layers from one place to another on the screen. Unfortunately, that doesn't work in my screen capture software, and I haven't figured out why. That's the reason that I've been showing you these down and up arrows to move a layer up and down to the stack. But you actually can grab it and drag it. Okay, at any point, right click on the layer and you're gonna get the layer menu. There's a whole bunch of things you could do here. The things down at the bottom of the screens, like duplicate layer, is or emerged down. Okay, duplicate layers, something at the bottom of screen that you're gonna want to use merge down. It's something. You'll do a great deal. You can delete the layer. All of these things run under the layer menu by right clicking on a particular layer. Okay, one of the things and right click is to add a layer mask. We done land a lot. That's about 2/3 of the way down the layer menu. You go ahead and click on that and you'll get a layer mask. It'll ask you, Do you like it to be fully open, full opacity or see through? Do you like it to be black? You wouldn't be able to see anything in that case and various other options. Usually they're going to shoot lack of white and obviously most often the white. So here's our layer mask in a white for that layer. These are some of the things that I might have done a bit too quickly for you to see. I'm constantly flipping between my movement, tool and notice. If I have her over it, it says, move tool on the ah tool tips and all of these other things. The ah tool picker. Ah, the text tool, the flip tool. The aspect we have used all of these in sessions just hover over them and it will tell you what tool it is if you can't quite remember which it is. So that's a few tips on things that I might have done kind of quickly, and I apologize for that. I hope that this helps to bring you up to speed.