Get Started with GIMP 2.10: Comprehensive Overview | Michael Davies | Skillshare

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Get Started with GIMP 2.10: Comprehensive Overview

teacher avatar Michael Davies, GIMP Photo Editing Tutorials

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (1h 44m)
    • 1. Downloading GIMP and Introduction Udemy Lecture

    • 2. The GIMP Layout

    • 3. Open Images Into GIMP 2.10

    • 4. Introduction to the GIMP Toolbox

    • 5. The GIMP Image Window

    • 6. Create a New Composition

    • 7. GIMP Selection Tools Part 1

    • 8. GIMP Selection Tools Part 2

    • 9. GIMP 2.10 Paths Tool

    • 10. GIMP Eyedropper to Measure Tool

    • 11. GIMP Transform Tools Part 1

    • 12. GIMP Transform Tools Part 2

    • 13. GIMP Introduction to the Text Tool

    • 14. GIMP Paint Tools Part 1

    • 15. GIMP Paint Tools Part 2

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About This Class

Get started with GIMP 2.10 with this in-depth introduction to the program. This class encompass everything from how to install, to an overview of all the tools, to the GIMP layout, and to importing and exporting images.

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Michael Davies

GIMP Photo Editing Tutorials


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1. Downloading GIMP and Introduction Udemy Lecture: hello and welcome to yet another tutorial by Davies Media Design. My name is Michael Davies and in today's tutorial will be going over a comprehensive overview of the give basics. In this tutorial, I'm gonna be showing you all the beginner essentials to get you started in gimp from how and where to download it to how to export your files out of gimp. Plus, we'll be showing you how to set preferences to get the most out of your computer and the most out of the program, and I'm gonna give you a comprehensive tools overview. So for starters, gim can always be downloaded for free from gimp dot orc and I'm on the website here, and you'll see they always have the most up to date download of GIB displayed on the home page and you'll see this red button here or just red button, and it says download, give 2.10 point four and you'll see here. It will tell you what the current stable version of gimp is for the version or operating system that your computer is on and right here. It has a message telling you what operating system it thinks you're on. If you're on a different one, you can shift toe one of these different downloads, but you could download given to 10.10 point four via bit torrent or directly. I recommend downloading directly just cause it's going to download the Execute herbal file straight to your computer, and that's the easiest thing to open up. So once you're ready to download this, just go ahead and click download. Give directly. So that's gonna go ahead and download and executed will file to your computer, which is the same as you know, all APS that you download to your computer use. And so once that download is finished, go ahead and click on this to open up the Execute herbal file and your computer's gonna ask you for permission to set this up. Just go ahead and hit yes, and then select your language for the install and click OK, and that's gonna ask you to install given to 0.10 and this will install the latest version . If you still have given 2.8 on your computer, it will automatically take 2.8 off of your computer and put on the latest version. I've already got the latest version on my computer, so I'm just gonna hit cancel. But for the rest of you, just go ahead and hit install, and that will go ahead and install this now. Once it's installed, go ahead and type gimp and you'll see the best match here is given to 0.10 point four. That is the latest version of gimp. And so I've already got gimp open on my computer and given to 0.10 point four, I believe rolls out with this dark theme. I'm not sure if the icons you guys have are the same as the ones I have shown here. But you can always edit your icons, and I like to edit this to be the legacy version and the lighter theme. That's just what I prefer. You guys consented to whatever you want, but to do that, go to edit preferences and here you'll see you have a section called Interface and right here you'll see theme. I like to set Mind to system, which is gonna be a lighter theme for me and then under icon theme, you've got four different options here. I like to set mine toe legacy. That's just the classic version. So especially if you're coming from an older version of gimp, like 2.8 or even 2.6. This is a lot easier of a transition, and all the icons are the same. Apart from the brand new tools that are now found and give that weren't found in previous versions, you can also customize your icons here. I'm not gonna really go into that. I do have an entire article on my website on how to customize your theme and your icons, so definitely check that out if you want more information on this subject. So while we're in our preferences, let's go over the system. Resource is here, and you guys can see you have the ability to control the resource consumption of gimp. This basically allows you to set how much gim takes up of your computer's memory and storage space, and by customizing these numbers here, you can kind of speed up your gimp to a certain degree. And so, for instance, you could set the maximum undo memory to be a lower value, And that basically means that every time you create in action and gimp that's storing those actions into your own do history. But if you basically set a low maximum of how much it can store, it's not gonna clog up your gimp with the gigantic undo history. But you don't want to make that too small because you don't want Teoh only have, like, 10 undo actions within your undo history. You want to be able to go back a pretty far amount and undo up to a certain point in case you mess up. You know a pretty long sequence of actions that you perform in your composition. You could also set the maximum new image size if your computer can only handle images upto a certain size. It's good to set this to, you know, lower image size. But if your computer isn't super slow or super old, I just recommend keeping all these settings at the default settings, and I'm not gonna go through all the custom preferences you can set. But I will go to default image because I think this is a pretty important concept for you guys to know. And so, in the default new image you can set, you know every time you go to file new and create a new image. Basically, you can have a custom image size set here, So in this case, I haven't said to 1920 by 10 80 that is HD resolution or full HD, I should say X and Y resolution. I go through that a lot of my tutorials. That's basically the resolution of the final image. And if it sets a 300 peopie, I, that's better for print, 72 pp. I is gonna be better for digital displays like your computer monitor, and the reason this concept is important is because there's a major difference between printing items out on a printer and displaying items on a computer screen or on a website. So when you're displaying on a website, you want to compress your image as much as possible without there being noticeable quality loss. Because you know things like site speed and the size of a Web page is going to affect your overall Seo rankings on Google, and that's gonna affect your overall traffic, which is not good. So you want to keep that as low as possible. You know you don't want to slow down your website by having large images on there and so that's why we go with 72 PP I and when it comes to print. On the other hand, when you think of a printer, it's basically printing ink, using dots on a piece of paper or whatever that media is that it's being printed on. And so the higher the resolution basically the MAWR information you're putting inside each daughter, the more dots you're putting on that media. And so when you have 300 pixels per inch resolution, basically you're just getting a better quality image that's printed on that media. So that's why we set 300 for print and 72 for digital color space. RGB color. That is just the default and gimp you cannot do seem like a color and gimp. You can change it to gray scale, however, and that'll just said everything to black and white in your image. I recommend keeping the set to RGB Precision is going to be the precision with which your images processed while you're using gimp so given to 0.10 and above allows for 32 bit floating point precision. And that's basically the highest setting you can set this to within gimp But it's also going to slow your computer down if you do have a slow computer. So if you have a slow computer, you can get away with something like a 32 bit integer, which is going to work a little faster, or even a 16 or a pit imager. Eight bit is if your computer is really slow and it really can't handle large files at all . You can also change the gamma two linear light or perceptual gamma. If you're using 32 bit floating point image, it's recommended that you use linear light. And if you're using something real low, like a pit imager, it's recommended that you switch over to perceptual gamma. So I'm just gonna set this by to fall to 32 bit floating point, and you'll see that this actually changes automatically toe linear light. When I do that, and then you've got the type of background that will be created with each new image you create. I'll just keep this set of background color for now. You could change that within the file New dialog window, and then you can have a comment all of your images here, so that's really the gist of creating a default new image. So go ahead and click OK for now, 2. The GIMP Layout: and you'll see I've already got a few images open here within gimp already. And before we dive into any of the image adjustments or the tools overview, I'm gonna quickly go over the game, play out overview. So right now, you'll see that everything in gimp is all within one single window. And for some of you, that's just how you've always known Give, because you've been using gimp, you know, maybe a short period of time. But back in the good old days of gimp, you could separate this and actually by default, it came in a multi window mode. And so, for instance, if I go to Windows and check single window mode here, you'll see that everything, including my images, are now put on separate windows. And so you'll see that, actually, all of these images here have their own separate smaller windows. And then this main image here, or our first image that we have open has its own large window. And I think this just got confusing for users, you know, figuring out which one knows they had open already. And ah, really, how to just work within, you know, when they did have multiple compositions open how to work with in all those multiple compositions without losing track of where different images were and so forth. So in order to sort of mirror photo shops layout and also just make the workflow easier for gimp users, gimp created single window mode. So if you go windows single window mode that puts everything all into a single window, and so this just makes it way easier to basically work within gim. So within this window there are five main areas, and that includes the toolbox over here on the left. Then you have the tool options here, and this is a dock, which means you can move it so you'll see. I can click and drag this tab outside, and now this stock is just sort of a floating dock here. So this is what's called a Dhaka ble dialogue, and you'll see that there's two other DACA ble dialogues over here in the same area. If you accidentally close out the tool options window, you go toe windows, Doc herbal dialogues and right here at the very top, you'll see two options, and that might place it over here like it just did it couldn't also be placed over here. It could be placed floating, or it could be back here where it originally was. If you need to click and drag this somewhere else, go ahead and just drag this like so from the tab, and then go ahead and drop it right there. And so there's our tool options. The third main area is the image window that's the actual area where your composition or your images displayed. Then you've got the layers channels pass on do section, and the reason it's called that simply is because you've got your layers Doc here. And I do have an entirely separate tutorial on layers that I recommend you check out because layers are a very important concept and get that you're gonna be using every single time you're in gimp and then next you've got your channels, so you've got your red, green and blue channels as well as your Alfa Channel. That's basically where your transparency lies on your image, and I'm not gonna get too much into that. But then you have your undo history, which I went over a little bit in the beginning of this tutorial and so this is every time you make an action on game. So, for instance, if I grab my paintbrush and pain on this image, you'll see that now the paint brush tool shows up in my undo history. If I want to do undo that, I can click on the base image here, and that will revert back to our beginning image. You could also purge what's going on in your undo history right here and that'll remove everything and clear some memory, which will speed up your gimp if you're having issues. So go ahead and hit clear and then you've got your paths dialogue. And whenever you used the past tool, which is called the Ken Brewer Tool on my channel things toward Diamond Supporter Can Brewer on patri on. Every time you use that tool, it's going to show up over here. You'll see your paths in here, and we're gonna get into that a little bit in this tutorial today. But we're not gonna get to in depth with that now. The next section is your brushes, patterns and Grady in stock, and you'll see that over here. So I've got my brushes patterns and I actually don't have migrating open. Right now. I have something called my fonts. And so these are all the fonts displayed in game. This is something I opened up by myself. If I wanted to close this out, I could just click on this little triangle here and hate Closed tab, and then I'll close that out. I also have a selection editor open right now. I could do the same thing, close that tab out, and then if I wanted to open up my Grady INTs over here, I can go to Windows, Doc, herbal dialogues and shoes, Grady INTs and then go ahead and click and drag this down here to its original placement. And so that's probably what you're guises, gimp looks like right now. And so, basically, what's within the Grady in section are all of the built ingredients that come with gimp. The default radiance, and you can create custom greetings and add them into the section yourself. 3. Open Images Into GIMP 2.10: So as you guys can see, I already have a bunch of images opened up in the gimp. But what happens if you don't have any images opening gimp and you want to be able to open an image from your computer into gim? Well, I'm gonna show you guys how to do that. Right now. All you have to do is there's a few ways to do this, actually. So one way is to open up your file Explorer and locate your image. You know, wherever it is on your computer, and in this case, I'll just use this image right here. Right. Click on this Goto open with and you'll see a new image manipulation program here. So if I click on that, that will ask me if I want to convert this to the native RGB space Found and gimp. And so here is the original profile of my image. It's an adobe rgb color space. And then here is the color profile this wants to convert it to which is the gimp built in s RGB space. And so I'm gonna go ahead and hit convert, and that will convert this to the native color space within gimp in our images opened up into gimp. I'm gonna go ahead and close this out because we're gonna open it up again using another method. I'm gonna come back over here to my file Explorer on my computer. Another way to open this up in the game is to click and drag this over and just drag it right here over the Wilbur icon right here. And by the way, Wilbur is the name of the mascot for gimp. If I go ahead and release my mouse, that will also do the same thing. It will ask me if I want to convert this to the native RGB space founding gimp. So hey, convert And there's our image again. And in the last week, I'll show you guys had open issue, go to file open, and then I'll take you to the open image dialog box. And here we've already got that image. It's already in my image window currently, but you can always search your computer using the search feature you could go to recently used. If it's an image you opened up recently on your computer, or you could manually find the location using these folders right here, and I'll just go to download because that's where this image was. And here we'll see the image. You can also come down here and filter out the files on your computer by a file type. If you know what type of file this images that you want to open up into gimp and give can handle all these file types. So keep that in mind. And with give version 2.10 it also does a better job of handling Photoshopped document files and the layers and some of the features found in those documents. So keep that in mind. If you have somebody that you're working with who is sending you Photoshopped document files. You can open those up into gimp with all the layers intact and a majority of the features for the most part, if you're using given to 0.10 and above. So go ahead and hit open, and once again it will ask if we want to convert this to the native color space. I'll go ahead and hit, convert, and now are images opened up into gimp. You'll see here that our image is a big gamma right now. A big gamma manager. So if I wanted to change that, I could go to image precision. And here we have those precision modes we talked about earlier, and so had 32 bit floating point right here. Then it's gonna ask me the gamma I want to convert this to This is basically just how your computer handles the processing within the ram on your computer, and gimp recommends setting this the linear light. If you said it to the highest setting, which is 32 bit floating points, all hey, convert. And now this image is converted to that 32 bit linear floating point. And so that's just going to allow your image to be processed with a little bit better precision as you work with in gimp. So if your computer can handle it, I recommend sticking with this image precision mode. 4. Introduction to the GIMP Toolbox: So as I mentioned, this is your toolbox over here on the left and all the icons that you see here come with get by default and they all show up by default. But you can actually customize your toolbox by going to edit preferences again. And if I come over to interface and then toolbox, you'll see I have a bunch of options in here. And here are all the default icons that show up over here in your toolbox. If there's anything you would like to hide because you don't think you're gonna use it or you just don't want it over here cluttering up your toolbox, you can uncheck any of these and they will be removed. So, for instance, here's the warp transform tool right here. I can check that and you'll see that now disappears. Or you can come down here into the bottom and there are a couple tools you can actually add to your toolbox. So you've got the brightness contrast here. You'll see that now gets added over here at the end, and you've also got your threshold tool in your levels tool and these air all photo editing tools right here I'm actually unchecked. Those you can also set a giggle operation to show up here, and giggle operations are basically the back end of gimp. It's how GIM performs some of the operations, like using a filter, for example, and this is a brand new feature. I have an entire tutorial dedicated to what giggle operations are and why they're important to the future of Gim. So definitely check that out. If you have time, we'll go ahead and uncheck that and I'm gonna hit. Okay, I'm just gonna keep this setting default where it's that. But these tools are used for a combination of things, including image editing, drawing, creating selection areas, manipulating images, moving in distorting objects, adding text coloring areas and text and a lot of other things. So just keep that in mind. The tools can actually do a ton of stuff within gimp. And even though gift is a free program, it's actually a very powerful program because of these tools and because of all the filters found within give and each one of these tools, if I click on them, you'll see has a different tool option, and it'll say the name of the tool at the top of the tool options area here, so you'll see this one's called the Rectangle Select, and we're gonna go through all of these tools and a little bit. But just know, by clicking on these, you could bring up all of the different tool options for each tool within gimp. 5. The GIMP Image Window: I'm gonna just come over here to the move tool for now. So coming back to the image window, there are quite a bit of features found on this window, and we'll start with the rulers here. So right here, you'll see you've got some tick marks, and then you've got some numbers. These are rulers. And right now the unit is set to pixel. So you could see the unit down here. You could changes to any unit you want, so scroll down using my mouse, and we've got inches here. So this will change two inches now. And you've also got a variety of other options here for the units. I'm just gonna keep the set. Two pixels. You can also change the zoom of the image. So right now, this is set to resume of 18.2%. I could set this Teoh 25% for example, to 100%. This is the actual size of the image. And when you have a large image like this, you can move around the image using this tool over here so you'll see if I click on that, it allows me to sort of move around the image. It's called the bird's eye view in photo shop, and I'm just gonna set this back to 18.2. There's also an option up here in the top, right? If you click on that, it will fit the image within the image window. And then over here you have access to the menus that are seen right here. We're gonna go through those menus briefly in the second here, but just now, you can also access this menu right here. And then here you have another option, which is called the Quick Mass tool. So if I check that, that gives me the ability to create a quick mask. That is a pretty advanced concepts that I go over into my intro toe layers in advance layers tutorial. So again, ah, link that sectorial to this video and you guys can check that out for more in depth. Look at the quick mass tool. So I'll go ahead and check that quick mask option off, and this will show you the title of the image that you're currently working on, as well as the size of the image. And whenever you perform some sort of action on here, like applying a filter or some kind of effect. You'll see a loading bar here and we'll show you the completion percentage of that action you're trying to perform. And there will also be an X here that allows you to exit out of that action if you want to cancel it. Right. So before we go any further, real quick, I'm just going to switch over from this past tab here, over to the layers tab. That's where a lot of stuff is going to be happening. 6. Create a New Composition: And now what I'm gonna do is create a new composition. So Goto file new and you'll see here the image size is going to be the default image size as Thekla current image window I have open. So instead of the default image settings that we set up in the beginning of this tutorial, this is going to take on whatever settings are currently set up for this image right here. And I can adjust the with in height of my image that I'm going to create a in my composition. I'm gonna create and you'll see that will automatically switch this over the landscape from portrait. And then I can also set the units I want to use within my composition. If I wanted to be something different other than pixels and then right here I have a drop down for my advanced options so I can set my X and y resolution. I'm gonna keep the X and Y resolution at 72 pixels, per instance, we're gonna be using this on the computer, and then I'm also going to keep the precision set to the highest setting, which is 32 bit floating point and then linear light and you'll see right here an option called Fill With and it says background color. And what that means is that the background of our image when we first created is going to be this red color here. Or I can change us to something like transparency. So it will be a transparent image or white or a pattern or our foreground color, which is this color here. And I'm just gonna go with the background color for now and click. OK, so now you'll see we have a red image here, and by default it will put our composition on a new layer, which will be called background, and you'll see the color of that background layer is red, which is our background color right here. 7. GIMP Selection Tools Part 1: All right. So I'm gonna start going through all the tools you confined in gimp. I'm just really going to do a brief overview of each tool enough so that you guys know how to use the tool and what that tool is used for. Really, A lot of these tools are in depth and have a ton of features. But I don't want to overwhelm you with this one tutorial. So I am just going to sort of briefly go over each tool so we'll start with the rectangle select tool, which is in the top left of your toolbox here, and you'll see that at the top of your tool options. You have the name of the tool, which is rectangle select, and I've got four different modes here. So we have replaced the current selection, which is the default mode. Then we have add to the current selection, which you can also access by holding the shift key on your keyboard. Subtract from the current selection, which you can access by holding control on your keyboard and intersects with the current selection, which you can access by holding shift and control on your keyboard. So I'm gonna start with the replace the current selection mode, so you'll see that when I draw a rectangle here, every time I draw a new rectangle, it's just going to replace the old rectangle that was there so that old rectangle will disappear. If I change the mode to add to the current selection, it will keep the last rectangle I drew, and it'll add this new rectangle to it. So will combine these two shapes and create one large shape. Or, if I create a separate shape over here, you'll see that it will include this selection area in the overall selection area within my composition. If I change the mo to subtract from current selection, you'll see every time I draw a rectangle, it'll subtract that rectangle out of the current selection area that I have drawn here and then if I had changes to intersects with current selection. Basically what'll happen is if I draw a rectangle like this on Lee, the areas that are intersecting or within this rectangle right now will be left when I release, so you'll see everything outside this right tingle that I drew is no longer here and Onley these selection areas that intersect with it, which are? These areas right here are left. Now, if at any time I want to get rid of the selection area, I'll just take control. Shift A on my keyboard. And that's a short cut key, by the way, for select none. If I hate control Z on my keyboard, that's the undo key. And if I go to select none, that will perform the same action there so that all de select all of these selection areas on my image. By the way, the importance of the selection areas in gimp are that it basically isolates objects in a composition so that you can either only edit objects within that selection area. Or you can fill that selection area in with something like a color or a pattern or really whatever you want. So the very versatile tools and very common, so definitely familiarize yourself with them if you're gonna be using gimp, alright. So back to our rectangle select tool, I'm gonna change the mode back to the default, replace the current selection, draw a rectangle, and I'm just going to grab my bucket fill tool, which will get into a little bit later, But I'll just go ahead and fill this in with a solid color, so you'll see that now only the area within our selection area is filled with the color. And if I go to select none now we have a rectangle that is directly on our background layer here. So let's say I want a rectangle where the outer edges of the right single basically fade into the background color. Well, if I come over to my rectangle select tool and check feather edges, you'll see something called a radius, and that is essentially the rate at which your edges of your rectangular going to fade into your background. So if I turn that radius up and then draw my rectangle, you'll see the edges of our rectangle are going to be feathered when we fill it in. So let me grab my bucket. Fill tool and fill that in, and you'll see here that the, uh, bucket fill paying color doesn't go all the way to the edge of this rectangle select area. And that's because the edges are feathered. So if you go to select none, you'll see the edges here are much more blurry than they are here. And so that's what feather edges does. I'll come back to my rectangle select tool. You also have the option to add rounded corners. So let me uncheck the feather edges. Option here, and you'll see that when I checked the rounded corners option, the anti Elias ING option will automatically check and anti Elias ing basically is an automatic smoothing effect that gimp applies Teoh curved edges just to keep it from looking too pixelated. So any time you have a rounded object, really, and gimp, you're gonna have anti Elias ing and you can adjust the radius of the rounded corners so you'll see. I turned the radios up to about 27. If I draw my rectangle instead of the edges being pointed edges, they round off a little bit. And if I crank that radius up MAWR, they will round off even Mawr there so you'll see the rounding is more pronounced than it was earlier, and if I decrease it, of course, it will be less pronounced surrounding on the edges there. So again, if I feel that in with my bucket, fill tool and go to select nine, you'll see the difference here between these two. This one has pointed edges. This one has rounded. I'll come back to my rectangle Select tool. You've also got an option to expand from senator. That just has to do with how you're drawing directing. Also, you'll notice that without this checked, when I click and draw my rectangle, it's drawing from where I click downward in the direction that I'm pointing my mouse. But if I have the expand from center option checked, it's going to draw it outward from the center, so that's just a different way to draw your rectangle. Then you have an option here called Fixed. So let me uncheck the expand from center and also unchecked the rounded corners option. The fixed option here allows you to fix either in aspect ratio with ah, high or just overall size of your rectangle. So I'm just gonna go with aspect ratio. And if I set this, for example, toe a oneto one aspect ratio that essentially is what a square is. So now if I click and draw this, you'll see I have a perfect square as I drag it. And so that's what a fixed aspect ratio is. you also, of course, consider fixed with. So if I want this to make sure that it's 100 pixels wide. No matter how much I try to drag this out or how tall I make this, it will go ahead and constrain this rectangle tool to 100 pixels. You can also set the exact position of this. So let's say I want this at 500 pixels off the left side of our canvas here and then 400 pixels down. I'll go ahead and just type in 500 by 400 you'll see that I'll go ahead and place this in that exact location. And now I can fill this in or do whatever I want to do with this selectable. You can also set a specific size here. So remember, we have the fixed size set to 100 for the with, so that's why this is great out. If I uncheck that, I can go ahead and make this size whatever I want. So let's say I want this to be 400 pixels by 200 pixels already was type that in so 400 hit the tab Key 200. It enter, and now this is a 400 by 200 rectangle. If I split the highlight option, it'll highlight just the area inside the rectangle, and it'll gray everything else out. And I could change the opacity of that highlight areas so I could make it darker. So it's all black. Or I could make a lighter so you can't even see it. Or I can just make it a very light black color or a very dark color. I'll keep this around 50% for now. And I could set the guides that air within here. So right now there's no guides and it says right here. No guides, but I can go ahead and create center lines so we'll have Senator grid lines going through our selection area. This makes it easy to align this if I want to align this to something specific and actually gonna uncheck the highlight cause I don't want that option, but I can also said something like Rule of Thirds. So this is a photography of principle, and you'll see here that now our guides within our rectangle have rule of thirds, and we've got some other principles. Rule of fifths We've got gold in sections and we've got diagonal lines. And these are all just different types of guys you can set within your selection area. Auto shrink allows us to shrink the selection area to a specific object. So let's say, for instance, I'm gonna hover this over this rectangle. If I hit auto shrink, it will shrink my selection down to the edge of that rectangle. It didn't do it perfectly here, so this area didn't actually shrink down. And that could have happened because we have this object below it, which might have confused gimp. But if you have this shape on a totally separate layer, this auto sharing feature would work pretty well. But the object that you're trying to auto shrink this too, does have to be pretty pronounced against the rest of the layer in order for this to properly work. All right, so moving on, we've got the lips select tool that is essentially the same thing as the rectangle select tool only instead of it being a rectangle. Obviously it is in the lips or a circle shape, so you'll see as I'm drawing. It's a circle. Looks like we have our fixed aspect ratio set right now, And that's why this is staying at a particular aspect ratio while I draw and the expand from senator option is checked. So if I uncheck those options there and we draw, you'll see this is now more of an ellipse shape. So this can draw lip shapes or circles, and you'll see that this option has anti allies in checked by default. And that's because this is a circular object where it has rounded edges. And so the anti lies ing is just there to smooth those edges. You'll also see that there are the same modes here as a rectangle select tool, so you can also use these to compound shapes or subtract shapes from this and create your own custom shapes. Let's say I wanted to fill the shape in now if I did it on this layer, it's only going to fill in, You know, a single color that I quick on first is if I put this on its own new layer is gonna fill in the entire shape, so I just come over here and create a new layer, and I'm gonna name this random circle and click OK, and this is what the new ah created new layer panel looks like. By the way, I'll click. OK, so now if I grab my bucket fill tool and let's say I change my foreground color here to like a green color. And so here you have various color palettes that you could choose from. Or you can come over here and drag this to choose a color manually. And so just go ahead and go with this color, actually, and fill this in. And so now this entire shape that we created has been filled in using our bucket fill tool and, as usual, I could go to control shift A to select none. And now that selection area has disappeared. 8. GIMP Selection Tools Part 2: The next tool on here is the free select tool or the lasso tool, and this allows you to free hand a selection shape. So right now the mode is set to subtract from current selection. So let me make sure this is set to replace the current selection. And now I can do something like, Let's come over to this layer here. Let's say I wanted to isolate this building for whatever reason. I can click and create a node and just keep clicking. And this allows me to just draw a shape that goes along with the shape of this building and some creating straight lines from these notes here. These points, let's say I didn't want these to be straight lines. I wanted to freehand draw shape. Well, I can click and hold, and that will create a node. And then I could just freehand draw this with my mouse and so you could see I'm just freehand drawing the shape versus it being a straight line and when I release it will create another node. And then I can just continue drawing straight lines if I want or ah, clicking and holding and free handing this and I'm just gonna create straight lines around the rest of this image here. And this is just gonna be a pretty rough outline here. And I'm kind of zoomed in a little bit too much to be able to go outside the boundary here . Well, good about right here. And then when you connect to this last point here and go ahead and hit the enter key, that would create a selection area around the area you drew with your free select tool. And now, let's say, for example, I wanted to copy this over to our composition. Over here. All I have to do is hit control C on my keyboard. Come over to this composition hit Control V. And that image layer is a lot larger than this one. Was this composition? I could put this floating selection layer on its own new layer here, and we're gonna get more into the transform tools a little bit later. But I'll grab my zoom tool and zoom out, and you could see this is the overall size of this shape. But if I wanted to, I could grab the scale tool real quick. And I'm holding control to scale this down around the center of the image. And then if I had scale Now this fits within our composition window here, and I can grab my zoom tool and zoom in. And now you could see the free selectable we Drew allowed us to cut out this shape here from our other image and then paste it into this composition. So I'm gonna go ahead and delete this layer. But that's just a quick overview of the free select tool there, and you'll see this also has the anti Elias ing option checked. And that's because when you're freehand drawing, you are creating curves as I'm doing there and I hit Enter and I'm gonna take control. Shift A. Now The next tool is the fuzzy select tool, and you'll see when you hover over this, it says the funny select tool select a contiguous region on the basis of color. So basically what that means If I click on this tool here, it's going to select anything that is the same color and is also touching. So basically, if I create a barrier, so let me hide this Raynham circle a real quick. Let me come over here to this background layer to activate the layer so you could always tell which layer is your active layer by clicking on it. And if I go ahead and click on the red here on this layer, you'll see that it will select all the red within this image right now. And the reason it can do that is because there's nothing obstructing the red. If I go to select nine and let's say I use my rectangle select tool and I'm gonna go ahead and draw that real quick and then grab my bucket, fill tool and let's go ahead and fill this with the same sort of black color here we've been using. It's a black ish color, and it didn't fill it all the way because we do have the feathering of the edges right here . So let's grab our pain tool, increase the size here and then go ahead and manually fill the rest of that in. So like none. All right, so now we have these random shapes here, and this is obstructing basically the red on the left side from getting to the red on the right side or being contiguous in technical terms. So if I grab my fuzzy select tool now and click on this red, you'll see that on Lee. The left side of this image is selected because these air the continuous red regions within this image. Now, if I want to select just this blackish color here, I'll click on that and you'll see that it's only going to select the contiguous black regions of this image. So this part gets left out. Basically, it doesn't get selected. So you've got some other options here that are similar to our other select tools. And threshold is the man when you need to know, because that basically determines, as you could see when I hover over at the maximum color difference. So this is basically the tolerance of what colors it'll accept as the color you clicked on . So, for instance, you'll see this has a pretty low threshold set, which means it's not going to select these fuzzier areas because it's got too much of the red in it to be considered the same colors this one. But if I turn the threshold up and click on this again, you'll see that now it includes Thea Fuzzy parts here because it's basically turned up the tolerance as to which colors it'll consider the same color as this one. I'll go ahead and turn that back down. So now a similar tool here is thes select by color tool. So instead of selecting only contiguous regions within an image, it'll actually just select all of the same color within an image. So, for instance, if I click on this area here, it's not just going to select this area that has this color. It's also going to select this area over here and vice versa. If I click on this area, it will also select this area. Same with the red. So let me go ahead and test this out by clicking on here and you'll see now it selects all of the black regions of my image. And if I click on the red here, you'll see it now selects all of the red in my image, and you can always tell which area is within your selection area because you'll have something that's called marching ants going around the selection area here. And if the marching ants are ever on the outside of the layer as they are here. That means that everything from the first set of marching ants to the outside marching ants are the selection area. Now, if the marching ants do not go around the outside of the layer, that means everything inside the selection area, which in this case, is inside here and inside. Here is the active selection area, so you'll see there's no marching ants going on right here, which means none of this red right here is within the selection area. So this tool will also work on photographs. So if I come over here to this photograph and I click on the white, you'll see that this is going to select all of the white in the image, So it's selecting the background here. But then it's also selecting some white pixels that have found inside the genes here and on the skin, which is probably from the light source. And then you've also got some white within the eyes here, also on the face, and that's another probably hot spot from the light source. And again, if we use the fuzzy select tool, it's only going to select continuous right white regions. So only the white regions that are connected are being selected. None of the white in the eyes or on the jeans or the skin right here are being selected. I'll go to select nine. The next election tool is the intelligence scissors tool, and this tool basically uses an algorithm to try to intelligently snap a line around an object so you could try to cut that object out. In my opinion, this tool is actually not very effective, but hopefully it will continue to improve this tool as they come out with new versions of gimp. But if I go ahead and click and create a note here and then I click somewhere up here, further away from this first node, basically what the's intelligence scissors air going to do our try to snap the line that is going to be in between these notes to the object that it thinks you're trying to cut out. So in this case, it will be the girl here. And so if I go ahead and click a note close to this girl, you'll see the intelligence scissors follow along the curve right here, and same thing if I just continue doing this around the edges of the image here, and the more separation you have between the foreground object in the background object, the more effective this tool is. So if you have a busy background, this won't work very well. We'll just continue clicking along here and you'll see that the intelligence scissors will try to snap to the model here and separated from the background. As you get around the hairs here, you'll see it starts to become a little bit more complicated. And let me just click and drag this note over here. So this is not a perfect tool, and you'll see there. It kind of missed that spot right there. And so now with the hair right here, it gets a little tricky, so not super accurate there. But as we get back to the body here, it becomes a little more accurate but still not super accurate. And then I can go ahead and connect these last notes to connect the full area. So now if I hit the enter key, it will go ahead and turn that area into a selection area. And just like other selection tools, you've got anti Elias ing turn on here because there are curved parts of this. So once I've done that, I can hit control C to copy the area inside the selection area we just created. And then let's say I come over to this photo we've been working on, and I'll go to select none here to de select that selection area. And I'll hit Control V that'll Pacer model inside here as a floating selection layer, and I'll go ahead and add this to a new layer and you'll see here the edges of this air pretty jagged. So it didn't do a great job, and that's why I don't actually use this tool very often. But there you could see what the intelligence scissors do. So go ahead and delete that layer there and let me come back to that model air and go to select none. All right, so the next tool is another tool that tries to intelligently separate one object from another object, in this case is called the foreground Select tool, so it tries to separate the foreground object from the background. This is another tool that's only effective when you have something like a high contrast ID , foreground and background. So in this case, we've got a girl wearing a dark shirt wearing dark pants, and then we've got this very light background here. So if I go ahead and grab my foreground, select tool. Basically, how this works is your mouse pointer will look like the free select tool that we use earlier or the lasso tool, and you can go ahead and basically loosely draw around your foreground. Object here and so you'll see. I'm loosely drawing this and I'll connect that last note there and hit the enter key, and now this will turn everything that it thinks is the background into blue. And then the foreground is a lighter blue. So now I'm going to further differentiate the foreground, object from the background so you'll see now that my mouse pointer looks like a paint brush tool here. And so I'm going to use this to paint and basically tell gimp that this is what my foreground object is. And again, I'm just loosely doing this. And then I'm just going to tell Gimp that all this stuff inside here is also my foreground object, and when I released my paintbrush, you'll see that all of our strokes that we made here with our paintbrush have now basically turned transparent. So these air no longer that light blue color. And if I hit the enter key on my keyboard now what's happened here is the foreground. Select Tool House calculated what it thinks is the foreground object, and what is the background object? You'll see. This is pretty in perfect here. There's some areas on her face and her eyes and on her hands that are still blue. And we can continue painting those objects here and basically trying to refine this algorithm so you'll see every time we pain. It's it's basically reproducing the algorithm here and same right here and over here. And then if I hit the enter key, it will now create a selection area. And again, this is pretty in perfect one trick to get rid of things like this. You know where there's all these spots inside the selection area that shouldn't be selected . You go to select remove holes, and that will remove all of those small areas within our selection area. It did also remove the white part in here, but that's OK, but go to control sea, then come over here, control V and put this floating selection layer on its own new layer and you'll see that this tool did a little bit of a better job than that last tool we did of cutting out this object from the background and putting it on its own layer. Go ahead, exit out of that and I'm gonna come back over to our model air and go to select nine to diesel like that. And now I'm actually going to switch photos to this photo over here. And you could see I could move around on my image using the sliding bars right here. So there is a horizontal in a vertical bar that allows you to just kind of move around the image. 9. GIMP 2.10 Paths Tool: So the next tool that we're gonna go over is the past tool. In the past, Tool is another very versatile tool. You guys might have heard of it from other programs, like Photo Shop or even Adobe Illustrator, for that matter, and basically with the past tool. What you could do is you can create notes just like we did with the free select tool. But these notes basically can be created a straight lines. Or you can click and drag to create these handles, and that allows you to create curves. And so this tool then becomes a useful tool for erasing backgrounds, for instance, or just creating polygon shapes or really just any shape in general. So right now, I'm just going toe loosely create these notes here, and you could see that as I'm clicking, it's creating a new node. And whenever I drag, it's creating a new handle, and the handles always create curves. She could see there's curves there and by default. Right now, I'm in design mode, which means I'm drawing the original path and I'll let you know what the other design modes are. In a second here, I'm gonna loosely outline this person here and then I'm gonna come over here and then when I get to the last note, if I hold the control key, you'll see we have a union symbol above that path tool. And so I'll go ahead and quick, and that basically means that it allows us to connect these paths. And now we've got some various options over here. Now that this path is connected, we can create a selection from the past. So if I hit that option, this whole path area now becomes a selection or I'll hit Control Z. To undo that, I can also fill this path in. So when I click that option now, I can fill it with the solid color, which will be our foreground color over here. Or I could fill it with the pattern. And over here in your patterns, you could see what your active pattern IHS. Or right now it's this pattern and you've got the option to select or de select anti allies ing, which again will smooth out any areas that basically have a curvature to them. So let me just hit fill with the pattern to show you guys what this looks like and so actually looks like this is our active pattern over here, and I hate control Z undo that, or I can click this stroke path option. And what this allows me to do is stroke a line along the outline of this path here. And I can either do that with a solid color, which is going to be our foreground color here. Or I can choose a pattern which will be whatever is my active pattern. So I could changes toe like a leopard pattern if I want. And again we have the option. Teoh have the anti Eliasson turned on, and we could change the width of the line or the width of the stroke that's going around this path, and we could click this line style dropped down, and that allows us to have even more options with this stroke. So you've got the cap style, so wherever there is an end to the line were drawing with the stroke and then the joint style, which is basically whenever this is turning a corner. This is the style of joint we can use, and then we've got some other options here. You've got a dash pattern if you want. Teoh basically created dash lines, so you've got a custom dash line or there's some presets in here. So you've got some dotted lines in here as well, where you could stroke it with the pain tool and so that will create more of a paint brush stroke versus a solid line. And you've got some other options here for the types of tools you can stroke this with. I'm gonna actually just go with stroke line and I'm going to choose a solid color. And I'm gonna keep this set to a dotted pattern and I'm going to change the joint style here. Go ahead and hit stroke. And now you'll see here that when I've drawn with this path tool and I've stroked the line created by this path, it's created a dotted line going around the shape of this path that we drew. And then, if you guys will remember, I also mentioned that there is a past dialogue over here, So if I click on that, you'll see the path we drew is now over here in our past dialogue, and you can go ahead and name this path, so let me name this model cause it's going around this shape over model here so you can create new passing. Here, you can duplicate your path. You can create a selection from this path. So if I click this option now, this becomes a selection. So he controls E. If you create a selection area and then hit this option right here, that will go ahead and create a path in the shape of the selection area you drew. Or, of course, you could stroke or paint along the path using this icon here. Or you can completely delete the path if you want. So if I click off of this path tool to the next tool, that path will now disappear, or at least the nodes will disappear. Your path will always be over here in the past. Dialogue. Unless you go ahead and delete this path layer, then it will be gone. You can always show or hide this path layer when it's shown it's got a red line through it , and when you hide it, that red line is gone, so you'll see. This model now has a dotted line going around him that was created from the path that dotted line has been painted directly on this layer. So even if you delete this path here, this dotted line will still be here. So go ahead and eat that path. You'll see that line is still there. The only way to get rid of this line is to go into your undo history and go all the way back before you stroked that path. Since we did undo all these actions until this action that we just clicked on. If I come back over here to the past dialogue, you'll see our path is now back here, and we have to rename it again. So rename it model. And then if I go ahead on high this path, you'll see it here again. If I click on my past tool and then go ahead and click on this path, you'll see. Now this path is activated again and you could see the nodes. And now, if I come over two layers, let's say I create a new layer and I'll just name this path and let me go ahead and stroke this path again, and I'm going to do with the solid color again and keep the dotted lines and hit stroke. Let me hide my path and then go ahead and click off in the past tool. And so now we have that dotted line again. But it's on a separate layers, so I can always show or hide this. Or I can delete this path entirely if I don't want it there, and I can do all that without affecting the actual original image. 10. GIMP Eyedropper to Measure Tool: so the next tool after the paths tool is the eyedropper, or the color picker tool. And basically, what this allows you to do is pick any color on your canvas as the color for your foreground color. And so you'll see that, you know, as I click over on the hair, the color over here is the color of the hair, and if I click on the lips here now, it's the color of the lips. If I hold control, you'll see that instead of the color that I'm clicking on being the foreground color, it's now selected as the background color. So holding control will set that color as the background color, and just clicking without holding anything will select the color as the foreground color. Next is a zoom tool, which you've already used a few times, and this again just allows you to zoom in on various parts of your image, and I can click to zoom in and increments, or I can click and drag to zoom in on a specific part, like the eyes here. And if I hold control, it'll allow me to zoom out. And if you want to fit this image to the window. You just hit this icon here and then I'll go ahead and figure image into the window. So the next tool is the measure tool, and that allows you to measure the distance between objects and your image. So let's say we want to measure. You know how tall this guy's from the top of his head down to the bottom of the image? Well, you'll see right here there'll be some units that show the distance. But then there's also a second unit that will show the angle so we'll get into the angle in a second here. But let's say right now we just want to measure, you know, from top to bottom how long this is right there. We could see its 610.2 pixels. Let's say we've got something like, Ah, horizon like in this image. And if this were, let's say, this bridge we thought was crooked and we wanted to straighten it out, or we just wanted to see what the angle of the bridge was. I can click and drag and you'll see that as I drag over here to the top of the bridge. It's showing me the angle right there. And so the angle is showing up is 4.88 degrees. Again, let's say that we thought that was crooked and we wanted that straight into zero degrees. There's a new button here in Game 2.10 called Straighten, and if I click that, it'll go ahead and straighten that horizon so that this is now zero degrees where this line is now. This is obviously crooked, and it was straightened before, so he controls E. But that just shows you guys a feature that's built into that measurement tool. 11. GIMP Transform Tools Part 1: all right. Next is the move tool, and the move tool is really just used to move any objects on a layer, whether that be the main image layer. So you'll see here that when I move this around, it's going to move this toe where I want it and you'll see behind here. There's a checkerboard that actually represents transparency. So any time you see a checkerboard, a gift, that's transparency. All he controls. E. But let's say I had an object on another layer. So let's actually go back over here to this layer with all of our shapes on it. And I'll hit control. Shift A to de select that selection area. And if I unhygienic random circle lair, if I click on that layer, it's going to allow me to move this layer so you'll see here that I can move this layer around using the move tool. And it doesn't matter what layer Amman by the fall. If I click on this layer and I still click over this raid, um, circle layer, this Raynham shape we created will still move that shape. It won't move anything that's on this layer, so that's a little different from Photoshopped and Photoshopped. Whatever active Larrier on is the only layer that you can move with that move tool. But in gimp it's going to move whatever object your hovered over, whether that be a shape or a piece of text or whatever. But you can actually toggle this so that you're only allowed to move the active layer. So now if I hover over this shape here and click, it's only gonna move the shape low or the layer below. I should say, Hey, control Z Um, I'm actually used to this method, but if you're used to the other method, you can go ahead and set that on your gimp so he controls E. The next tool is pretty similar, and that's the alignment tool. So that's another sort of form of the move tool, and that allows you to basically a line an object to an image. So let's say we want to align the shape here so that it is in the exact center of our composition. Well, first, I'll start by clicking on that Raynham Circle there that this is on and something real quick. I'll show you guys if I go to layer cropped to content that will crop my layer size down to just the size of my shape. So that's something to keep in mind that a layer can be smaller than the total composition size. The background layer always has to be the size of the overall composition just because there has to be one layer that's the size of the overall composition. Otherwise, that shrinks the entire composition. But if you have a layer on top of the background layer, that could be a smaller size. So in this case, the layer has been shrunk down. It's been cropped to the size of this shape, So now we can click on this with the alignment tool, and you could tell the alignment tool has activated a layer because it's got these little boxes here and now I can align this relative to the image, so this is going to align it relative to our entire composition. And if I click for example, align center of target, that will go ahead and senator that object up, and it's going to center it vertically here. And if I click this object here, align middle of target or click this button here, it's going to go ahead and horizontally aligned this. So that was our vertical, the 1st 1 and then we horizontally aligned it, and now it's in the dead center of the image. You can also align the layer to the left or right edges of the image, using these options here, so you'll see. When I click these, it'll move it to the left or right side, and the same applies to the top or bottom of the image. And let's say you had another random circle layers. So let me come over here to my layers panel and duplicate this layer. So now we have two of these layers, and I'll grab my move tool and move the top layer over to the left a little bit. So I've got two of these layers. If I grab my alignment tool, I can click on one layer, and then I can shift click on another layer, and now I've got two different layers selected by the alignment tool. Again, you could tell by the little squares in the corner of the layers, and now I can distribute these objects together so I could distribute them based on these center or Aiken, distribute them based on the top edges. Or I can distribute these based on the horizontal center of my image so you'll see these now space out based on going from right to left on my image. And I can also click this middle line button that will go ahead in middle line. Both of these and then something else you can do with the distribute option is you can offset this. So right now, this is set to a 350 pixel offset. Let's say I wanted these objects to be 10 pixels from the left side of the Simmons. Here. I'll set this to 10. And then if I go ahead and hit the left distribute, you'll see that both of these objects will move towards the left side, and they're actually spaced apart 10 pixels from each other, as well as 10 pixels from the edge. So that left most object is 10 pixels from the left edge, and then the object to the right of it is now 10 pixels from the first object, and I can grab my zoom tool in zoom in here to see so you'll see that if these were aligned , these two points right here would be aligned with one another. But because they're offset by 10 pixels, you could see there's a 10 pixel gap right there. Go hold control and zoom out, and I'll go ahead and delete one of these layers here and just go back to having the one layer. And I'm also going to just align this sodas in the center of the image. And of course, you can offset the wide value as well, so the X value will offset it from the left or right edge. And you can also set this to be a negative value. But if I offset the Y value, that will be either the top or the bottom of the image. So if I said this to 50 and then I distribute this to the bottom, you'll see that this goes 50 pixels beyond the bottom of the image. If I line it to the top, you'll see it's 50 pixels from the top of the image. If I set this too negative and distribute to the bottom, you'll see it's 50 pixels up from the bottom now, versus 50 pixels below it and then. Same with If I align into the top now it goes 50 pixels past the top. So the alignment tool is a pretty cool tool. And let me go ahead and center line this again. The next tool is the crop tool, and so let me switch over to another image for this tool. So if I grab my crop tool, this allows me to crop an image, and you guys are probably familiar with this tool. It's used a lot of image editing, and so let me uncheck the fixed aspect ratio button. And right now I can freehand crop this and it's got the guides on here as well. So right now this has rule of thirds guides. I can change this to say no guides or I could change the stitches, senator line guides. But this allows me to just crop out part of my image. So let's say, you know, I wanted to drop out the top and write parts of this image. Well, I can go ahead and move this toe where I want it and then click inside the crop, and now this will go ahead and crop our image. So everything that was outside that crop area has now been cut from the image. If I hate Control Z, there's actually an option checked right now called Lau growing. And what that does is it means that if I drag my crop area outside the original layer, it'll actually crop outside the layer in. Just add transparency to that well hit control Z. If I uncheck that it won't allow me to crop outside the layer so you'll see it will kind of stop me from cropping outside of that. There's also an option here. Toe only crop, the current layer. So if I had multiple layers on here, this crop would only apply to the active layer. I was on expand from center again. That just allows you to draw the crops so it expands from the centre versus going from the top corner and dragging in whatever direction you drag your mouse. And, of course, you could set a fixed aspect ratio. So let's say you want this to be 16 by nine aspect ratio. You go ahead and type 16 Colin nine. And now when I draw my crop area is going to draw the crop area constrained by this fixed aspect ratio of 16 by nine and I can move this crop area wherever I want it. And so let's go ahead and put this right here and then I'll go ahead and click to Crop and that will go ahead and crop everything outside of our crop area. You can also, of course, set an exact position or an exact size for the crop area, and you can adjust the highlight opacity here and the lines within the crop. So next we start getting into the transformed tools, and it starts with the unified transform tool. But I'm actually gonna skip that because it does incorporate a lot of the other transform tool. So I'm gonna go through those transform tools first, and then we'll come back to the unified transform tool. So we'll start with the rotate tool. And basically, what that does is it just allows you to rotate the image or the active Larrier on. And so all they have to do to use this tool is click on the Slayer and drag it and you'll see that this will go ahead and rotate my image. Now, one thing that's found in all of the transformation tools is the interpolation option and that essentially is going to determine the quality of your image or your layer after you've performed a transformation on it. So if you have a slower computer than you're probably gonna want to set it to something like none linear or cubic, because those will produce lower quality results. But it's also going to not take his much power from your computer to perform those results or to produce those results, I should say. And then we have the know halo and low halo options. Those will produce the highest quality results. So if I click on the No halo, for example, my computer can handle pretty large images, and it could process the high quality images, the high quality transformation. So I'll just go ahead and set that to know Halo. And then you've got the clipping option here, and this determines how. Basically, your image is cropped after you apply the transformation. So if I have this set to adjust, that will enlarge the canvas after the transformation is applied to fit the entire transformed image, and that'll include excess transparency areas. So go ahead and set this to adjust and hit rotate so you'll see that our layer now goes outside of the original campus here. And that's because the layer is basically fitting to the outer areas of this rotated image . But now, if I go to image fit campus toe layers, it will now expand our overall canvas size to the size of that new layer that was created there. From that rotate, let me have control Z and bring that back to normal. So now, with my rotates, will still selected. If I click on this active layer here and rotate it, if I come over here to clipping and changes to clip, what that will do is cut off all parts of the image that go outside the original canvas layer so you'll see these corners kind of go above the original canvas size, and so those corners will now get clipped off. So if I hit rotate, you'll see. Now the layer has been clipped. It hasn't grown at all, and now this image is just basically cut off there where everything went outside of the original canvas, so he controls the again. Now, if I click on this again and I changed the clipping now to crop to result what'll happen is skimp will automatically cropped the image to fit within the canvas area after the transformation is applied without any transparent or excess parts of the image showing. So this is going to completely crop out any of these excess transparencies created here and only keep the stuff that's inside those areas. So if I hit rotate, you'll see all of those excess transparencies got cropped out, and now I could go to image cropped to content. Now our image will shrink down to the size of our cropped area. Well, hey, control Z, undo that. So next time a change the clipping to crop with aspect, and that's going to apply the same exact effect on Lee. It's going to basically crop out all the excess parts while still maintaining the aspect ratio of the original canvas. So if I hit rotate here, you'll see that the campus is now shrunken down a little bit to crop out the excess areas, but it maintains the same aspect ratio of our original canvas. So I go to image crop to content and that'll cropper image size down to our final rotated image size, so it controls you to back that up 12. GIMP Transform Tools Part 2: So next I'm just gonna come over here to the scale image tool. And basically, if I click on this and drag it down, you'll see that our image is going to scale up or down, depending on which way we drag it and you'll see over here there's an option that's a show image preview. If you don't have this checked, it's just going to be like a wire frame like this, showing what the final image size is going to be. But if I do have this checked Aiken now, see, it'll basically removed the original image and just go ahead and show a preview of what the final transformation will look like over here. And you could change the opacity of this so you could put it all the way up to 100% or all the way down to something really low. But I'm just gonna keep this at a higher opacity here, and you could set guides within the transformation area so I could set this to rule of thirds, and that will create some guidelines here. So go ahead and hit scale. And so now our layer has scaled down a little bit there. And as always, I could go to image, crop to content and that old crop, our overall canvas size to the size of our scale down layer. And I'll hit control Z. Next is the sheer tool. So if I click this, it'll basically caused the top parts or the top edges of my image to move over to the left and the bottom part to move over to the right. And that creates the sort of rhombus effect here. And you can also do it the other way so you could do it up and down if you want. And then you go ahead and hit sheer and then we'll go ahead and apply that, and this again has the same clipping options you could choose from Control Z. The next tool is interesting. It is the handle transform tool. And in order to demonstrate this, I want to put this image into another image. So what I'm gonna do is actually come back to my move tool and click on this tab here, and I'm gonna go ahead and drag it over to this image because I know this is a larger image . And so now what I'm gonna do. So I have my dropped buffer layer here, which is just this layer that we dropped in here. I'm gonna change this to female model. So now what this handle transform tool does right here is it allows me to click on this layer and create handles. And basically, what I can do is transform the perspective of this image now, based on these handles, and you'll see that it only allowed me to create four handles here. But when I click on one handle and drag it, it changes the perspective based on how I'm dragging this handle around. And once I release, it'll keep those settings there. But it'll compound those settings with this second handle that I now work with. So you'll see that the perspective is now being adjusted based on this handle is well. And then, same thing if I add another handle to it. If I click and drag this around, it'll continue. Teoh adjusted perspective. And then if I drag this last one around, you can see we could create some weird effects here, and then go ahead and hit transform. And now this image has been transformed. So that's the handle transform tool in the nut show, and I'm gonna go ahead and delete that layer. The next transformation tool is the perspective tool. So what I'm gonna do is click over here on this image of a beach and go to edit copy. And then I'll come over here to this image of a Mac book and go to edit Paste. And then what that will do is it'll add this to a floating selection layer. I'll just go ahead and click to create a new layer to put this on. And so if I use my move tool to move this up to where the Mac book is, the Mac book, as you'll see, has a different perspective than my actual layer it has on here. And so, in order to match the perspectives, I can use my perspective tool quick on this layer and go ahead and dragged the corners in here. And so you will see that that allows me and let me go ahead and shrink that and just get this out of the way here. And if I click on that handle, I can align this right here and now if I had transform that image layer has been transformed to the same perspective of the Mac book pro here and now that allows this image to fit and make it look like it's within the screen here. So the next transformation tool is thief lit tool. And so if I click on this, basically what that allows me to do is flip this either horizontally or vertically. And so if I click on this once right now, this is set the horizontal. So when I had flipped my image around based on the horizontal axis, and if I switch it over to vertical by clicking on it or holding the control key while I'm on the vertical option and click on this again, it will go ahead and flip that, based on the vertical access, it will make it upside down. And so that's what the flip tool does. So the unified transform tool, as I mentioned earlier, combines a lot of the transform tools in tow. One. This was a brand new transform tool that was introduced in the game to 10.10 and so I can access it by clicking this icon right here, and I'll start by deleting this image layer because we're going to go ahead and make those transformations again. I'm gonna come back here to original pure layer, and I'm going to just click on this tab here and drag it over here and then drop it on this canvas. So now let's say you wanted to perform multiple transformations on this. You wanted to scale it down. Change the perspective. May be rotated a little bit. Well, now you can go ahead and just click on this layer and you'll see you've got multiple handles on here. And each of these handles represents a transform tool that you can use with this. So right now, when I'm hovered over this, it is the perspective tool. If I move it a little bit over, you've got the scale tool. If I move it down here, you've got the sheer tool. If I move it a little bit outside the image, you'll see that turns into the rotate tool. And then if I hover over here, you've got the scale tool again, and it just kind of repeats itself as you go around the image. So let's say I want to scale this down. I'll just click and drag with scale tool. If I hover over the center, it turns into the move tool so I can move this up and then let's say I want to rotate a little bit. I can use that rotate tool and then grab the perspective handle right here and go ahead and fit this into our Mac window. Here we're just a laptop computer window. And let's say we wanted to rotate this to fix it a little bit there, and now we can rotate it and then go ahead and hit transform, and that will transform our image to fit into this laptop screen. Now, because this is a transparent laptop screen, I can also just click and drag this below, and that will go ahead and crop any part of this image layer here that maybe was overlapping with the black part of the laptop. So the next transform tool is the cage transform tool, and I actually go over this tool and the next tool, which is the warp transform tool in my how to transform the body tutorial that I recently put out for Game 2.10 point four. So definitely recommend checking that out for more details on these two tools. But what the cage transform tool allows me to do. For example, if I come over here to this photo of a female model again, I'll grab my zoom tool and zoom in on her. The cage transform tool essentially allows me to isolate an area within the image. So let's say I want to isolate her legs so I can click to create these handles and surround basically our subject's legs here and then connect this. So now everything within this cage will be affected based on whatever transformation I want to do. So I can click and drag a single note and you'll see that this will drag this part of the cage outward in that direction. Or I can drag that backed where I had it. You could tell that a note is active because it will have a square around it instead of a circle. So this is the only active node right now. But let's say I wanted to elongate the feet or just move the feet somewhere else. I can click and hold shift and click on several notes here so you could see now that all the active notes have squares around him or boxes around him. And so this is going to allow me to perform a transformation using these as anchor. So anything that is not active is essentially acting as an anchor. And so now I can move her foot over here, and this is allowing me to, you know, bring this foot out, and I can then go in here with another tool. We're gonna go over later called the Hell Tool, and maybe get rid of the foot here. And so basically, this cage transform tool just allows me Teoh transform an object within this area using these handles and notes. So another cool thing is, I can click and drag my mouse to select multiple nodes instead of holding this shift click . So if I click and hold over these two notes now, these two are active, and I can move these around. I recommend checking out our how to transform the body in game tutorial that I recently put out for more in depth. Look at this tool, but I'll go ahead and hit the enter key, and that will apply the cage transform and the next tool the warp tool again. I go over this in the how to transform a body tutorial, but basically let me come over here to our photo of a male model. What this does is it basically allows me to award pixels and let me come over here to my past tool and hide this path because that path is visible right now. And then I'll come back to my layers panel and over here in the warp transform options, you've got several ways you can warp pixels so you can move the pixels. You could grow an area, you could shrink an area. You can swirl it either clockwise or counterclockwise. And if you make a mistake while you're drawing with the warp tool, you can erase it or you could try to smooth it. And I'll just show you guys real quick since I have another tutorial dedicated to this. But let's say I want to move the hair inward a little bit. You could see that with this warp tool. I could go ahead and move it in, and let's say I want to smooth that line out. I can come over here and changes to smooth warping and go ahead and just draw over that and you'll see it kind of smooth that out a little bit. And if I hit enter, it'll apply that war. So let me hit Control Z. That's before I worked it. Control Why that's after. So I moved that hair and a little bit. Let's say I wanted to enlarge the eyes. I could go ahead and decrease the size of my tool and you could see the tool is the size of my brush at here. And now I'll come over here to grow area, and if I click on the eyes here and moving around, you'll see his eyes start to grow. So now his eyes look a lot bigger. And let's say I wanted to undo that. I could come over here to a race warping before I apply on my warp changes. And if I draw on that, I will go ahead and shrink that I back down. If I hit the enter key, it'll go ahead and apply that. And then let's say I want to shrink some pixels, so go ahead and changes to shrink area. And if I click on his nose here, let me go ahead and increase the size of my brush using the brackets on my keyboard. Now you could see his nose has shrunken down. He's got a tiny nose saying with lips. And so now we've gone ahead and warped our model here and given him a pretty weird looking face. Now, enter. So that is the warp tool in a nutshell. All right, let me go ahead and undo all that warping. 13. GIMP Introduction to the Text Tool: and now what I'll do is I'll move on to my text tool. So this is a pretty important tool. And as the name suggests, what this does is allows you to type text on your composition. So, for instance, I'll just type hello and I can click on this text. If I double click, it will highlight the text and you could tell it's highlighted because it will have the yellow boxes around it and I'll go ahead and change the color of this toe black here, and I can increase the size of the fine. Or I could change the fun entirely. Let's I want change it to area like in type aerial in here, and you can also bowled the fund, which this is already a bold Fonso won't do anything or you can italicize the text. You can underline it and you could strike it through, so you have all your different text options There. You can also create a text box by clicking and dragging this out, and you could choose how the Texas aligned within the text box using this justify option here so I can go ahead and hit enter and tight my paragraph text and let me go ahead and highlight this text and shrink down the text size here. And let's say we don't want the text overlap with his face. We can go ahead and move this text box in, and the text will adjust with the size of the text box. And of course, we could move the text over to the other side. Or we could do sort of the newspaper style here. Fill it in, or we could center it so you could justify the text. You go ahead and add spacing. So here's spacing between the lines of your text. You can indented text, or you can separate the space between the letters. You've got all sorts of options here, and the box option is basically just what we just did. So if it's fixed, basically the text will automatically wraparound. Otherwise, you could change it to dynamic, and that will go ahead and fit the box to the size of the text, and the box will just move as you continue typing text. But I'll go ahead and hit fixed, and you could change the language of your text down here 14. GIMP Paint Tools Part 1: So the next tool here is the bucket filled tool, and you guys already kind of saw that inaction. But I'll go ahead and demonstrate this again. So let me go ahead and create a new layer. And I'm just gonna name this box behind text. And by the way, you could add a color tag to your layers. And this just helps you kind of stay organized. And I'm going to fill this with transparency for now and quick. Okay, so now you'll see my color tags over here, and I'm going to go ahead and create a selection area using my rectangle Select tool is I'm gonna create this around my text and I'm going to click over here and let's say I choose a foreground color of maybe light blue and I'll click OK, and so your bucket filled tool by default is going to use that foreground color to fill this area in. So if I click on this, it's going to go ahead and fill that entire area in. Unless, of course, you said it to something like a pattern, Phil. So in this case, that'll fill it in with a leopard pattern, which is are selected pattern over here. And now, if I move this below our text there and I go ahead and decrease the opacity of this, which is something you could do with layers you could increase or decrease how transparent or opaque the layer is and go to select none. So now the bucket filled tool has allowed us to fill in this area with the pattern, and I could undo all that and instead perform those same actions here with the solid color . I can just turn that down there, and now we fill that in with solid color, so he control Shift A to de select that. And by the way, you can switch the foreground and background colors by hitting the X key on your keyboard. And if you want to revert back to black and white, you could hit D on your keyboard, and now it's switched back to black and white. So the next tool is the grating tool, and I actually have an entire tutorial dedicated to the Grady and Tools to definitely check that out for more in depth. Look at this tool, but I'll do the same thing here. I'll create a new layer and I'll just name this Grady int and let me give this a green color tag and click OK, if I click and drag this below that box slur, I can now create ingredient based on whatever setting I have right here for my color. So right now this is said actually to foreground transparent. I'm gonna change this to foreground, a background RGB. And we go ahead and hit this arrow because this is actually switched around. So right now, the foreground is on the left and the background is on the right, which is the default setting. If I click this one more time, it will switch it again. So you guys could just see hitting this arrow will switch your Grady up. So now I can draw my Grady and tool from, Let's say, for example, the top left to the bottom, right? And because this is given to 0.10 this is an active Grady in It's a live Grady in. I can edit it before I apply it so I can experiment with the colors. Aiken shift the colors and I could change the foreground or background color. So let's say I want to do this pink instead. And I could even change the layer mode here so I could set this to normal or something like dissolve so I can play with these layer modes, which that's an entirely different topic that I go over in my layers tutorial. I can also change the opacity of this Grady in so I could turn it up or down. And I could change the shape of this Grady in. So right now, this is sets a radio, which means it's going to create a circular shape starting from the center here and moving outwards towards this point over here. So if I go ahead and set this opacity back to 100 you could see here is the radio shape. It's a circle and it moves outward. And if I move it over here, you could see that the circles starts in the corner here so I could change the shape here to linear. So now it's a line, and it goes from black. The black color starts here, and all of this before to the left is going to be all black until it hits this starting endpoint here and moving towards what's called the ending endpoint, which is over here. That's when it starts to fade over into the pink. And you could change how this fades by moving this point right here. And this is the midpoint. So right now this is set the linear. I'm gonna change this back to radio, and there's a variety of other different shapes in here, by the way, which you guys can feel free to play around with. But I'm gonna go ahead and turn the opacity of this down and go ahead and grab a different tool to apply That Grady Int And the cool thing about this Grady it layer and really just layers in general is I could change the layer mode. And so I could change this to something like soft light and that will go ahead and blend that Grady in in with our original image and thus changes the color of that image. And again, that's more of an advanced concept that I won't get into today. But it is a really cool concept that you guys should check out. So now you could see by changing the motor, Hugh the Grady, it has blended in with the photo over model here, and it's caused him to change into sort of a pink color. The next tool in our toolbox is the first of the brush tools, and this is the pencil tool, and so the pencil tool is exactly what it sounds like. It behaves like a pencil. It draws Freehand lines with the hard edge. So it's very similar to the paint brush tool, which we're gonna go over in a second, although it does not produce a fuzzy edge like the paint brush tool does. And this tool also does not have anti ally icing because there's nothing about this tool that has any sort of curvature to it. So there's very few real life examples for how this pencil tool can be useful, although there are a few. And I think the main one is if you're trying to create pixel art. So let's go to file new and I'm gonna create a new image, and that's going to be a small image, so I'll do eight by eight pixels. So, yes, this will be a very small composition, and under the advanced settings, I'm gonna change the resolution to 72 pixels per inch, and I'll keep the precision set to eight bit imager for this so you can click on here. Just click AP imager, and that will automatically sent the game into Perceptual Gamma, which is the best setting for a pit imager. And I'll just fill this with the background color by default and click. OK, so you'll see this composition is so small you can't even really see it right now, but it's right here. So let me go ahead and grab my zoom tool and I'll click over here to zoom all the way in here so you'll see this is at 9000% Zoom. So this is a very zoomed in version of this actual composition size this campus eyes. And so now we'll come back over to the pencil tool, which I can also hit n on my keyboard. That's the short cut key for that and you'll see here when we're really zoomed in. This is actually a plus sign, even though the brush here is a circle, and if I click on here, you could see all the brushes that come with gimp, and some of these might be custom brushes. I'm not sure if I've added any of these in here after the fact after I downloaded gimp. But you do have a bunch of different brush types in here, and the same is going to apply for all the brush tools in here and you'll see I've got my brush size turned way down for the pencil tool. Here it's about 1.66 and if I turn it up, it's gonna be too big to even fit. Inside of our compositions will just turn away back down again, and this one now is set to around three. So this time it's a square instead of a plus sign. But you could see that when you're drawing pixels in such a small area, if you need precision, if you don't want any sort of fuzzy, fuzzy edges or anything like that, the pencil tool is effective here because it does create really straight lines really hard edges here and let me go ahead and turn this back down. This time it's again around one, and if I change is all the way to one, let's see what happens. So you could see we've got a nice square here and now when I'm drawing with the pencil tool , we can really? If we're creating, you know, uh, an eight bit sort of drawing or something. You could see that this is very accurate in doing that. And it almost looks like Minecraft or something when we're doing this so we can draw some pixelated images here. So that's just a random shape that I drew. But if I hit Control Z and go ahead and choose my pencil tool, you'll see that when I do this because the edges of a pencil tool are fuzzy edges, it's not actually really drawing the pixels that I wanted to draw it sort of drawing the semi transparent pixels, and it becomes hard to sort of control what it's doing here. So you could see why, at a micro level that the pencil tool is pretty effective because it does draw every single pixel individually so they control Z to undo that. And then I'll grab my zoom tool, hold controlling zoom out. So now we're going to switch over to the paint brush tool, and to do that, we're gonna come over here back to this image. So, as I said, the basic definition of the paint brush tool is that it paints fuzzy strokes as opposed to the hard edges that the pencil tool paints. So if I come over here to my paint brush tool and I'm gonna turn the size of this paint brush up a little bit so we could see it a little better again, we could come over here and we could change the brush head that we're using so we could go with a harder edge brush, which has a hardness of 100 as you could see here. Or if we want to go with the softer brush, you'll see this hardness number is now a lower number, and the settings in a lot of the pain tools are the same, so we could change the size of the brush head. We could change the aspect ratio of it. So instead of it being a perfect circle, you could see it's more of in the lips shape, and you also change the angle, so this will cause the shape of the brush head to tilt a little bit, and you could space out the strokes. I'm not going to touch that setting, but you can space out the stroke. So instead of drawing like this where it's all continuous, actually will just play with this a little bit. If I space it out more, you'll see that every time I move my mouse around is just more spaced out the different strokes. So it's not as continuous there. And let me just go ahead and bring that back down to five. The hardness just controls thief fuzziness of the edge. So right now this is set to 25% hardness, and then you've got the four slider here, and that's basically emulating as if you are applying more force to a brush. So you could see here it looks like we're just kind of pressing down harder on the paint brush head control Z. And I'm just gonna bring this back down to about 50 and then right here you have brush dynamics. This is when you are using a pen tablet. I don't have my pen tablets set up right now, but basically, brush dynamics allow you to incorporate pressure sensitivity. And so that's a very useful feature, especially for illustrators or people who like to sketch digitally within gimp. And I'm gonna set this aspect ratio back to zero, and that will bring this back to a circle shape and then I'm just going to decrease the size. One other thing with the pain tools is that you could change the mode, so basically you can apply a blend mode directly to your paper are. So if I change is too soft light and then let's say I want to and let me hit Control Z. I just clicked on my canvas there. If I hold control and click, I could choose the color in here and I can go ahead and brush. And now you could see that this is painting a soft light brush on our campus. I'll have control Z. That's about the same as creating a new layer here. And I'll just name this brush strokes, and I'm going to add a color tag to this so I'll just add a purplish color tag to this where I believe that's a blue and go ahead and click OK, and when I paint my brush strokes on here now, on this layer, I could change the layer mode of this and so let's go ahead and put that on soft light, so these create the same effect. The only difference is that you can have the soft light mode already set on your paintbrush versus setting it on your layer. I actually prefer to have this set to normal as the mode, while I paint and then setting the layer mode afterwards is just more of a nondestructive way of adding effects to your brush, because you can always go back and delete this layer or make changes to it or whatever. And I'm not gonna go too much into layer modes because I do go into that in my layers tutorial. So again, definitely check that out. And something else I do want to mention is that brushes can be customized by adding new brushes into give you can add Photoshopped rushes. Those are supported. There's plenty of articles on how to do that. And just for the sake of time, I won't get into it here. But just know that you can add new paint brushes into gimp, and, of course you guessed it. I have a tutorial on Hannity that, but again, for the sake of time, I'm just going to skip over that right now. But the next tool I'm going to go over is the eraser tool, and the eraser tool is going to erase whatsoever on your canvas is going to erase the colors on your canvas. So right now I'm still on my brush strokes layer, and the eraser tool does still use the brush. Head the same brush head as you have selected for your papers tool. But you can select a different brush head for it if you want. And for example, I can have a star brush head just like I could do with my paintbrush. But instead of painting colors on it removes colors from the canvas and let me just changes back to a softer brush heads. So this is about 50% hardness there, and you'll see here I can just go through and just erase any of those brush strokes I made . Now, cool feature about this eraser tool is that if I hold the altar key, it will actually under race. So anything that I just erased, it'll bring back and you'll see here. It's not super effective because it doesn't work very well with Alfa, which is basically transparency. It doesn't work very well with that soft paintbrush I just had. But just now that the UN raise tool is an option, if you ever want to bring back something that you accidentally erased, and one other feature these brush tools have in common is if I click over here and then I hold the shift key, you'll see this will enter in straight line mode, and this will draw your brush strokes in a straight line. And if I click, you'll see that in this case it will erase everything in a straight line. So that's really useful when you're trying to just either paint or erase straight lines. So again, if I have my brush tool here, my paintbrush, it's it does the same thing. It will draw this in straight Lima when I hold the shift key. Well, he controls E something important about the eraser tool. If I come over here to this image and I have my eraser tool and I go ahead and erase the image, if this image does not have an Alfa Channel, which basically means it doesn't have a layer of transparency below it, it's going to erase by default to the background color here. But if I hate control Z right click on this image layer and go to add Alfa Channel, that now adds a layer of transparency below this image. So now when I erase, you'll see that behind this image instead of there being a background color, it will actually be transparency. And then if I hold the altar key, you could see I can use the under race tool and bring back whatever I just erased so you could see it works a little bit better here with this image because it doesn't have any sort of fuzzy borders or anything. 15. GIMP Paint Tools Part 2: all right, so the next brush tool is the air brush tool, and this tool works better when you're painting with soft colors. So in other words, when you're painting with flesh tones, so let me come over here to my model layer, and I'll grab my zoom tool and zoom in on her complexion here, and she has a pretty immaculate complexion already. But what I'm gonna do is just and I'll zoom in a little bit more. I'll grab my airbrush tool. I'll hold the control key to grab the color picker tool, and I'll click on here and now you could see that when I paint, it's going, Teoh lightly paint my airbrush on here, and you can control the opacity of the airbrush. And so I have this set a little bit lower than 100%. You can also control the rate in the flow, which basically controls how much digital pain is coming out of this airbrush that we're using. And so hold control and just select areas of the skin here and just move around and paint so you'll see that as I'm doing this, her complexion is starting to clear up and This was a tool that was made popular by photo shop. It could be somewhat controversial because some people overdo it and get a little too crazy with it and makes people look a little bit too dolled up. But you could see as I'm painting with this air brush tool, it's really starting to smooth out her complexion there. And if I grab my undo history and I come back all the way to the base image, you could see the difference there's before. And if I go back all the way to the last airbrush, there's what are airbrushing looks like after and if you wanted to contour Ah, what you could do is basically, click on here and let me go back to my layers panel so you could click on here, choose a color with the color picker tool, and they come over to your background color and then just go ahead and adjust the lightness slider here, for example, until this is a little darker. And now you've basically got let me hit Control Z. I should probably paint this around right here and now you've got, like, a slightly darker color right here and that just kind of allows you to contour. I'm obviously doing a terrible job right now. Let me decrease the opacity. So you've got a little bit of contouring there may be over here is well and so you guys get the point with that air brush tool, Let me grab, zoom, tool and zoom out. So the next brush tool is the tool. So if I click on that, you'll see this is a slightly simpler tool. But basically what this does is it emulates an ink pen, and so you can adjust the size here of your ink brush. And there's only three shapes here in the brush head. So you've got a circle. You've got a diamond, uh, or a square. And then this one's a square were diamond. I'm not sure which is which, actually, but you can adjust the aspect ratio of this. So by dragging this little white square in the middle here, you can see it changes the aspect ratio, and you'll see that when you draw with this, it just kind of looks like you're drawing with an ink pen like an old school ink pen. And if I change the size increase the speed. Now you'll see that this is a thinner ink pen. So I'm just drawing some random squiggles here, so it looks kind of cool, especially if you have, like, a particular signature you want to do on an image or just kind of make some squiggly is to make a look fancy. So that is the ink brush tool. The next tool is actually a brand new tool and give 2.10 and that is the my paint brush tool. So if I click on that, you'll see I actually have a variety of art brushes I could choose from here. And I think if you're an illustrator or any kind of artists, this should excite you. Just cause you've got some cool options here, like right here. You've got a digital knife so you can create some smudging effects, just like you could with some real life smudge knifes that you would do with your paints. And then you've got, like, some pencils here, so you gotta to be pencil, and so they have different types of specific art pencils, and then you've got a basic digital brush here. So you basically got all sorts of various art brushes, and you could create some really lifelike looking digital paintings or digital drawings. And so I think if you're an illustrator, you'll really love that. My paint brush tool next up is the clone tool. So I'll come over here and click on the Clone Tool. Now, this is a really cool tool that I use pretty often. And what this allows you to do is clone pixels from an area of an image and paint over defects in an image or really just cover up any part of an image that you want to cover up . And so to use this tool, basically, you have a brush head so I can increase the size of my brush and let me actually zoom in here. What I'm gonna do is erase the rips in her jeans, and this is just a test purely a demonstration of this tool, and let me actually decrease the size of my brush head using the brackets on my keyboard. And now if I hold the control key, I can select an area to clone. So let's say I want to clone this area right above the rip here now, with that area selected. If I paint on this rip is going to clone from that area originally selected or the source area, and it'll pain right here on this destination area. And now it looks like that Rip is gone. There's a few cool things you could do with the clone tool. For instance, you could change the source. So instead of this being from an image, you can make it from a pattern. And then here's the pattern right here and let me say, you know, this construction pattern here. Now, if I paint on here, it's just going to paint over those rips with the construction pattern Control Z. I'm just gonna switch this back to the image. You can also change the alignment, and that has to do with your source being aligned to how you're painting. So right now this is set to done, which means by default, it's just going Teoh. You know, every time I lift up my mouse, it's going to go back to the original spot where I selected for my source. But if I changes to something like a lines now, it's going to move along. So my source area is going to move along, so that is spaced exactly the same amount as it was when I originally said it. And so that could be useful if you want to, like, come over to a different area of the image and clone that area. Sometimes you have to choose a new source Teoh Keep from painting stuff back in here that you don't want in here. So next under alignment, I have an option called Registered, and this has to do when you bring in another photo into the mix. So let's say Come over here to this photo and I'm gonna make sure I'm on this face layer here at the bottom. I'm going to hit control and choose this guy's eyebrow as my source. Now, if I come over here to my original layer, if I paint, you'll see nothing shows up, and that's because this is registering the exact pixels of this image to the exact pixels of this image. And this image is a little longer, which means nothing is gonna show up down here. But if I come up here and start drawing, you'll see that that other image will start to show up here So it's going to draw exactly where the pixels air located on here relative to this image, and the last option here is fixed. And what that does is basically, let's say you hold control and you select this eyeball. Now when I try to clone anything, it's just going to clone this circle of the eyeball over and over again. So you'll see right here when I clone. It's just the eyeball. And because this does have a soft edge, that's why it kind of has a fuzzy edge here. Over here, the hardness is said to 50 but if I drag my clone, you know, and try to paint with it, it's just going to paint that eyeball over and over again. Wherever I click and drag my mouse hole Control Z undo all that. So the next tool is another great tool, and that is the hell tool. And this is something that you will use very often and let me come back over here to the image that we did the cage transform on. And so you'll remember that when we moved the leg, it basically created this weird artifact on the image here. Well, let me go ahead and grab my zoom tool and zoom in. And now, if I go back to my heel tool, it's the same as the clone tool, except it also uses an algorithm. And so, basically, you hold control like you do in the clone tool and grab a source area and then as you pain instead of itchiness copying exactly what's in the source area. It combines what's in the source area with what's in the destination, to try to blend it all together and make it look a little bit more realistic. And I'm actually gonna hold control and grab this as the source area, cause this is a little bit more similar to what we want here, so you'll see that as I pain. Here it is trying to use an algorithm. Teoh hell, this area and I can use the brackets on my keyboard to decrease the size of our source area and hold control and just change the source area around. So I'm just painting around my image here, and I'm just changing up the source as I go. And usually it's good to keep the source nearby or nearby, something that has a similar composition in terms of the pixels, and it's not gonna be a perfect result In some places, it looks a little bit better than others. So usually you use a combination of tools here. Uh, especially in this case when you're trying to heal an area that you completely moved using something like the cage transform tool. But you guys can see there's a ton of value in this tool. It does help to sort of patch and repair places and images where you've manipulated it, and you've moved some of the original pixels here, So grab zoom, tool in, zoom out. So again, I didn't spend a ton of time on this, and so it doesn't look perfect, but ah, you guys get the idea as to how that he'll tool works next up. We've got the perspective clone tool, and I'm gonna come back over here to our sunrise image or Sunset image. And this is the same as the clone tool accepted factors in using a perspective as you clone , and this image is actually a great example because we've got a light right here and let's say we want to duplicate this light and bring it over here. The perspective is not the same for the light here as it is appear, or even over here. So the perspective clone tool just allows you to bring this up over here while trying to also mimic the perspective as you do it. Now, this is not a tool I use very often, so I'm not gonna be great at it. But I'll just show you guys how it works anyway. So I've got three steps here, so real quick, I'm actually gonna grab my zoom tool, hold control and zoom out just so I can see this entire image. Let me zoom in a little bit there. Now I'm going to grab my perspective clone tool, and I'm gonna make sure this is said to modify perspective first. And so I'm gonna click on my image once, and this is going to bring up the unified transform tool. And what I'm gonna do now is change the perspective by hovering over that corner there and then I'll hover over this corner and I'm just trying to mimic the perspective of the bridge . So we know the bridge is larger because it's closer. The camera here and then it gets smaller as it heads towards the horizon. So once we've set that, go ahead and come over here to prospective clone and hold the control key and click, and that allow you to set the source here. And now, If you come up here closer to the front of the pier or the front of the bridge here and you draw this, you'll see that the light post is actually slightly larger. And that's because it's using this perspective here to get closer to the viewer or the camera here. And that's causing this to be a larger object. And usually you want to do this on a separate layer. You wanna paint the perspective on a separate layer, which, if I hope, control Z and create a new layer. And we'll just name this clone tool and it clicked on this layer. You could go ahead and draw that lamppost and actually let me undo it and start a little higher and a little lower. So now there's our lampposts. They're using the perspective clone. If I grab another tool that will go ahead and apply that. And if I grab my zoom tool and zoom in here. Now that this is on a new layer, I can go ahead and grab my eraser tool and clean this up a little bit. And I'm not gonna do this perfectly just for the sake of time. But you guys can see there. We've got our lamp. And if I zoom out, the lamp has been cloned based on the perspectives of this lamp is slightly larger than this lamp. All right, so we only have a few tools left here. Somebody come back over to this picture for the remainder of the tools and I'll go ahead and zoom in here on our model. So the first tool is the blur sharpen tool. And this does exactly what it sounds like. So if I come over here, you can change the convulsive type and you've got blur or sharpen has the settings, and this tool is a brush tool, so ah, as per usual, we can change the size of the brush head. We can change the aspect ratio. We've got all the same settings as we had for other brush tools. But when I have this set to blur, you'll see that whenever I paint on something. It'll start to blur those pixels. So pretty self explanatory there and I'll hit control. Zita, undo that. And the opposite is you can change the convulsed type to sharpen. And now that is going to sharpen the pixels that I paint instead of blur them until he controls E. Then we've got the smudge tool, and that will basically smudge nearby pixels altogether. So you'll see when I use this much tool, it'll just smudged all of those pixels. So it becomes a nice, blurry mess there. I'll hit Control Z again, and our last tool here is the Dodge Burn tool, and this will basically lighten or darken pixels that I paint on. So right now I have the typeset to dodge, which is going to lighten pixels. This is kind of another way to contour. And if I switch over to burn, this is basically going to darken those pixels and so I can kind of enhance, you know, things like the cheekbones on here, and you can also change the range that you're affecting. So right now I'm on the shadows, I can switch over to my mid tones of my image, or I could switch over to the highlights of my image and only have it affect the brightest pixels of my image, and you could change the exposure of the pixel. So if there's less exposure and you're on the burn tool, it's just gonna make those pixels less. Start. If there's more exposure, is just gonna make him darker and then the opposite with the Dodge. If it's set to dodge, the more exposure you have, the lighter those pixels will be, and the less exposure, the less light it will create there.