Learn GIMP | Brendon Schumacker | Skillshare
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33 Lessons (6h 26m)
    • 1. Promo

    • 2. Introduction

    • 3. Download and Installation

    • 4. Setup Your Environment

    • 5. Keyboard Shortcuts

    • 6. Getting Started

    • 7. Layers and Opacity

    • 8. Moving Around

    • 9. Common Tools

    • 10. Brush Tool

    • 11. Color Tools

    • 12. Selection Tools

    • 13. Bucket Fill and Gradient

    • 14. Transform and Crop Tools

    • 15. Path Tool

    • 16. Basic Menu Navigation

    • 17. Select Menu

    • 18. View Menu

    • 19. Image and Layer Menus

    • 20. Colors Menu

    • 21. Filters Menu

    • 22. Colorize a Black and White Photo

    • 23. Superimposing

    • 24. Using Layer Masks on Photos

    • 25. Photo Touch Up

    • 26. Landscape Enhancement

    • 27. Text Basics

    • 28. Text on Curves and Paths

    • 29. Drawing with a Tablet

    • 30. Cartoons and Illustration

    • 31. Making Scipts and Script-Fu Console

    • 32. Making Plug-ins and Python-Fu Console

    • 33. Thank you and Summary

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About This Class

This course will give you all the tools you need to create great design, illustration, art, and photography using GIMP softwrae. GIMP is a free and open source software that works on all common operating systems Windows, Mac, and Linux.

Meet Your Teacher

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Brendon Schumacker

Artist and Designer


Brendon Schumacker is an accomplished artist and illustrator with experience in many art forms. Having drawn since a young age, Brendon has a lifetime of educational background in freehand art from various schools in USA and has studied along side with artists of varied backgrounds, giving him a diverse understanding of many illustration styles and techniques. He has published comics and children's books, has done multiple gallery openings, and has been doing freelance illustration and design for over 10 years. His instruction style is casual and entertaining while also being detailed in his examination of varied art techniques.

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1. Promo: Kim stands for GMU image manipulation program, and, accordingly, Gimp is an imaging software, which can be used to work with photos, make illustrations and even do professional design work. Sadly, Gimp has long been given a questionable reputation when put next to the spotlight of expensive industry standard design software's. But the truth is that Kim can give us just a much horsepower for most of the common jobs that graphic designers face in today's world, and being a free software that works on almost any operating system, there is really little excuse not to add it to your design arsenal. Whether you be a hobbyist, a professional designer or even an illustrator, Gimp has what it takes to get the job done. Unfortunately, such as with any dynamic software, learning can be a frustrating uphill struggle. Camp is packed with so many creative tools, scripts and plug ins that a beginner might feel daunted to advance their skills. But not to worry. Because I have taken care of all that with my instructional video. Of course, learned gimp in this course, I'll take you through all of the essential tools, menus and plug ins to get you started in your choice of photo manipulation, graphic design illustration or maybe even just having fun playing with images or making our This course includes live demonstration of all practical tools and techniques and includes expert tips, which will save you years of trial and error. Headache. So go ahead and sign up. Now I look forward to seeing you in class. 2. Introduction: Hello, this is Brendon. And I'd like to welcome you to my drawing course where we will learned the gimp and ah, in this course, we will be covering all of the tools and everything that you see here. Ah, in the gimp. So that by the time you're done, instead of looking at this and saying, while what are all of these fancy buttons and menus and things you'll say, Oh, I know exactly what to do with that stuff. And ah, you won't feel so ah confused and overwhelmed anymore. Um, even if you already know how to use a few tools in here, this lesson it will be good for you because we're gonna cover a lot of the details and advanced things such as scripts and all of these things that you can see in here. And if you happen to be a programmer, will even go so far as to teach you how to make your own scripts and make your own menus up here. That would be really cool. Um, one thing I want to get into briefly is who I am, and who am I? And that's just to ah ah, help you to feel some confidence while you're listening to me that it's not just a madman screaming into the microphone. Um, I actually do. Ah, no, The gimp very well have been using it for many years. And, ah, pretty much learned it the hard way. Ah, which is just going through it, step by step on and learning how to use one tool. Let it time. But that served its purpose. Um, for where I am today and got me to where I am. However, they didn't have videos like this back when I started. So for you luckily, you can ah, you know, skip a lot of the the trial and error that I had to go through. Um, I'll just show you briefly some of ah, these air some illustrations I've done using the game. It's not to say that you illustrate like this from this lesson, but just to give you an idea that ah, the gimp is a very professional software. And ah, I want to bring up the question of a lot of people who seem to look down upon the gimp in comparison to something like photo shopper, illustrator. And there are good reasons to, ah, you know, compare these different Softwares. They do have differences to them. However, it's not to look down upon the gimp. It's that some ah software's might be more suitable for certain jobs than other ones. So, for example, if I have a screw that I need to take out of a piece of wood than I would use a screwdriver , and if I want to put a nail into the would, then I would use a hammer. You used the right tool for the right job. But that's not to say that gimp is an inferior tool. It is not inferior tool. It's a very good tool that you can do a lot of different things with. Whether it be your if your goal, be illustration or your goal be to make logos or to be a designer, the gimp will get you there. It's a very good tools, and it's free. So the best thing to do, of course, would be to use the gimp first for as long as you can until the day comes that you realize that you do need photo shop where you just want photo shop because it's very expensive. So why not start off with a game and then we'll figure out how to use that later. Okay, so, um, that's that in a nutshell, and what we'll do in this course, as I've already briefly mentioned, we're going to go through everything. We're going to go through all of these tools over here. We're going to configure this environment, so it looks better right now. We have these, like, three window model here, which maybe you like that. Maybe you don't. And you know, there's different reasons. Ah, that different people can appreciate different environments. But you'll be able to make that decision yourself when we're done here. Because I'm gonna tell you how to configure everything here. So it'll be comfortable for you. You bring out the tools that you need, and we're gonna understand. Ah, all of these menus up here. What's going in? What's going on in here? One by one, I'll show you how to use all the tools. And you might even find some new tips and tricks that you didn't know over. You didn't even think of before because ah, this will give you some inspiration. When you realize all this stuff you can do in here with images. We're gonna cover photos and an illustration drawing from your imagination and all of that stuff. So, uh, and if you're interested in illustration do check out my other courses called from drawing to illustration by me. Brendan Schumacher also in you, Demi, You can find that in there. And ah, that's it for this one. Ah, welcome you to this course again. And let's get started in the next video. 3. Download and Installation: okay. And so the first thing we have to do in order to use the gimp obviously, is to install the correct version of it. And ah, the best way to do that is to go to their official website, which is gimp dot work. And that's G I m p dot org. And you should see a website that looks like this, depending on the time that you go at the time of this video, this is what it looks like. And as you can see, you have a nice handy download button right here. I happened to be using the Linux operating system right now. So if I click on this, I'm going to get the download notes here for different types of ah Lennox installations. So if you happen to be using Lennox to, you'll get this same Ah, the same screen here because website actually detects your operating system and gives you automatically gives you the correct instructions for download according to your operating system. So if you were in windows and you click the download button here, then it would send you to the page where ah, you'll get instructions to download the windows installer I believe it's a m s I file, which should be the self installer. And I'd recommend that it's pretty good does the trick. And, ah, same for Macintosh. Should we happen to be using an apple computer than ah ah, that's what you would do. Now you are gonna need probably a laptop. Ah, at minimum, we're desktop to run this software. And if you're trying to do some really intensive work such as very large files for production posters and things like that, then ah, you should have a lot of memory in your computer and have a pretty good GPU and CPU. Probably GPU is more important in this case, but memory will definitely be the most important one. So have a minimum of four gigabytes of memory. I'd say if you're doing big production, however, if you're just playing around with the gimp, you wanna have some fun and, you know, make some funny photo shop style images, as they say, Ah are now. We're going to say, if you want to gimp, if you want to gimp some images to show your friends than, ah, two gigabytes of memory, which is standard would probably be just enough. And, um, whips what the wrong way. So, um and and yes, so two gigabytes would be good and just started this page and follow the download instructions. Now, if you're having problems after installation, one thing you might want to know is that there were significant changes from gimp 2.6 up to gimp 2.7. And you can read those notes here because of some of these changes. If you're using an older operating system, you might be better off to install gimp 2.6. Um, it even says that here on this page, gimp 2.7, which is old now is in Ah, it's in no way a final product. A lot of new features are incomplete, and some things may even be completely broken. Well, that was that's actually old news. So you don't have to ah, worry about that now. We are now, in fact, up to gimp 2.8. It should be stable. I've been using it for a long time. Quite a few years now. I think I think to point it has been out for more than two years. So, um yeah, it give 2.8 is what you want. But what happens is the reason I'm talking about this. If your operating system is a little older and for some reason that gimp doesn't seem to be working right, then try and find gimp 2.6, which you can find on this website. Some somewhere they'll have maybe the click on downloads here. They'll have older. Yeah, released Next. And here you have. Ah, on this page, somewhere in here, you can find older release notes. This is Ah, Most people won't have this problem, so I'm not going to spend too much time of that. But you can google it or, you know, use your favorite search engine and you will find it in there. Ah, what happened? After 2.6, a lot of significant changes were made. Ah, to improve the system, they have new text features. Ah, the single window mode, which I like a lot. Ah, maybe new types of brushes and things like this. It was just Ah, basically, it was a major redo of the system in many ways. So, um yeah, that's just something to keep in mind If you're not, if you're not having any problems with your installation. Everything is working. Fine. Then I would recommend it. Just, you know, go ahead and get the default download, which is 2.8. I just want to make that. No, in case you do have any problems and of course, Ah, it is important to have a proper computer. I don't think you can use to get very well on a tablet right now unless it's ah, you know, Super tablet computer, something like, you know, I I pad or ah, mobile device like that. I do think you're gonna need a computer or laptop to run it. And other than that, that's it. Just go ahead, download it and install it. Same way you do any other software and it should work. If your system is all up to date, you have a fairly recent computer. Okay, let's move on to the next lesson. 4. Setup Your Environment: Let's take a look into configuring the interface in gimp, which will enable us to work in a much more comfortable environment. So the first problem that I have with this, um and this is my personal feeling is this three window mode where you have these docks, I believe they call him, um Ah, dialogues and and docks is you can see up in the windows tab here. It says recently, closed docks and ah, Doc herbal dialogues. So, for example, if I were to open up a dialogue Ah, like this, um, that one's already open. Let's get one that's not opened. What dialogue? Such as? Undo history. Okay, that opens up over here. This is thes are your dialogues and then the docks. Well, we don't have any open. Apparently, right now, that would be like if I were to close this one layers brushes, I can close that. And then if I go back to recently closed docks, there you go. It has that. So? So these things here called docks and even open up multiple of these, a supposed, um, it's something I don't want to do, so I won't go into detail about that and I don't think anybody does. Really? Um, you can pull some things out such as this. Here, I can pull out the brushes, and now I get a new Ah, doc here. And I can, you know, play with this and move it around. So, I mean, that's maybe you do want to do that. And I'm not here just to teach everyone how to be like me, So Ah, that's Ah, one little tip right there. If you do like this type of interface, then that's something you can do. However, I guess I can imagine some people this could be useful if you want to put this down here, and you can have your drawing space up here, that's what this is. The center area here is drawing space. And excuse me of some things running in the background there. So let me move this one down a little. Maybe you want that one there, and it could choose to have another one over here, right? So Yeah, well, not like that. This is a problem with my operating system. Not the softer. Okay, So and then, you know, you can just set up things. However, you want and have a little drawing space. Every here and this might be good, especially if you have a very, very big screen. But I find it to be, ah, cumbersome. I don't like having all these things. I like to simplify things. So anyway, that's a tip for you. If you do like that, that that's how you can do that. You can just pull these and move him out. Or you can go up into the menu and go into windows, and you can play around with with ease here. I'll probably cover more of this later. And this will help you to bring up all of the dialogues and docks and different things that you want. Um, but I don't want that. So And this will happen sometimes where you accidentally just from moving around so much, pull one of these out. And I've been in this situation before when this thing comes out and I'm like, uh what now? How do I put that back? And, ah, instead of wasting ah, half a day trying to figure that out. Look, you're here taking this lesson. All you have to do is slide it back like that but not with this top bar around here. It's this little tab you see here, right? You wanna grab that tab That has the word, the label on it and the icon and pull that back where I wanted to and that will slide it right back in the place. This happens to me all the time when I'm playing with the tools over here to this day, and sometimes I, you know, accidentally just rip it out like that because I'm using a tablet and a stylist moving very quickly so frequently, just pull this out and I say, God. But if you just remember to grab it by the tab and slide it back in a place they're, um well, that's useful. Maybe you do want to bring that out sometimes, too. So Ah, the first thing I want to do here is get out of this mode with all these windows and, you know, looking at my desktop, it's distracting. What if you have multiple windows open, like your Web browser and maybe a chat room or Skype or whatever? And looking at all that stuff in the background is also a little distracting. So I do is go in the windows and go to single window mode. And that'll make everything one big window here so that I am no longer distracted by all that. And I can resize things here by placing my mouse right in them in the middle between these tools and and the draw a bull in a screen area. This is like our desktop or workspace here. Actually, work space would be the best word. And I can resize this however I want to. So I still have flexibility. I do the same thing over here. It can resize. I saw a flexibility and lots of flexibility. Look, I can pull it over here if I want to see all these these air brushes over here, different types of brushes you can use. I want to see all those at once. Then I'll just slide this out. I don't want to see it. I was slide it out of the way. So have more workspace having more workspaces, Usually the preferred option. I think for most people because, after all, what you're doing is working, right? So, um, that's ah, one tip to configure the interface. Actually, that's a few tips you want to get familiar with your windows and ah, the workspace here. How to configure these docks and dialogues and then another thing to do before you start drawing if you just installed the gimp is to hit the edit button and go down to preferences . Now in preference is there is a lot of stuff to do, but we don't want to. Ah, you know, I have to read through all this stuff. Let's just get into this stuff. That's really important. Um, the environment number one here is the minimum minimum number of undue levels. Let me show you very quickly. Ah, I'll demonstrate very quickly what that could mean. If I have a brush here and I make a stroke with, I'm just using my mouse now, so it's not gonna look real pretty. I'll go. 123 There's 12345 six, seven, Right. I did seven things. Now I made a mistake. So I wanna undo the So hold a control key and tapas E just like any other software. And I'll undo where you can use the menu up here. Say at it. Undo. Right. So let me undo more and more. And there it is, right, so I can undo things. However, What if I did? Ah, 15 16. 17. I just kept doing this over and over again. There's gonna be a point where it doesn't allow me to undo anymore. Let me see if I can undo all of these. Yes, in this case, it's OK, but let's just imagine for argument's sake, that you have 100 things or 200 things you've done and you want to go back very far. It will happen. Sometimes. What happens is it runs out of memory it stop saving all of your induce and it runs out of memory to save them because you don't have it configured in here. Right now, I have 64 megabytes of memory, which means I can do a lot. However, what if you were using a very large photo and you did, Ah, very extensive process, like you changed the color of every pixel and you drew a bunch of things on it and it was only two steps, but you realize that there's no more memory to go back two steps because it took that much memory to do that Every time you induce something, it needs memory. So what I'm gonna do, I have four. I've actually eight gigabytes of, Ah, Space of RAM, So I'm gonna dedicate four gigabytes, which is rarely used anyway by any other software. I'm gonna put four gigabytes into that. I would do the same thing here. The tile cash size I'm gonna put in four gigabytes and maximum new image size. Also, four gigabytes would probably be enough. More than enough. Um, rarely Do you have an image that goes beyond one gigabyte? Even so, this is going to cover all of your situations and for maximum number of undue levels. I mean, I just wanted to be very high, so I never have to worry about it. So I just put that up very high. And, um, that's one thing. These other things size of thumbnail. Ah, some ah, the file size for thumb nailing that has to do with your computers, you know, operating system, making thumbnails. I don't find it to be very important, so just leave it there. Keep record of used files. And the recent document list. Of course, yes. I always want to save everything. So Assuming you have enough memory, I would go ahead and set these numbers as high as you can. Don't use all of your ram all of your memory, but use at least half of it. So if you have, ah, four gigabytes of ram on your computer than I will dedicate to and ah, that way you can undo as many times as you want, and you have plenty of, ah, plenty of space to work with. So you make very large files. So that's like that. And then the interface. We have a lot of things Teoh cover in here Such a zoo keyboard shortcuts which will go into the theme you can change. You can use small as you can see right there changes all of the icons too small. If you prefer that, or you can make a bigger that's just your preference and then tool options. Um, this one tool options is I'm not gonna cover right now. Not very important. You can live without it. Toolbox might be important. There's a lot of tools here. All of these tools are going to show over in the left hand side. If you're new to gimp, you might not. I wanna take away any of these because you want experiment with as much as you can and learn as much as you can about how everything works. But for me, I know there's a lot of things here that I'm not gonna need. So what I'll do is just click this little I eyeball there. They have little I and that means it's gonna hide it when the I is not showing. So you can see as I click this, they start to disappear from the menu over there. That's good for me because it lets things that I have to dig through every time I'm looking for something. That means it will be a lot faster when I'm working. Ah, I don't use Blur. I don't use much. These are all good tools. Maybe you'll like to use him, But, uh, I'm not going to cover him. And there's a reason for that in this course because I don't really Ah, I don't like the way that they work. Um, but feel free to play with them. I'm gonna cover ah, lot of stuff that help you to get the basics. But there's something said I just feel like I don't need scissors is unnecessary for me. So I'm just making my own personal adjustments here. And as you can see, I'm narrowing it down to a very small little list of things that I like to use a lot. And so that makes this Ah, that makes life a lot easier for me. You can customize yours, Harvey. Like, and that's pretty much it. One more. Maybe I should have closed that. Sorry, Omar. Quick glance here. Um, another thing you want to do something I like to do you don't have to do is every time that I close. Ah, the gimp. I like it to save the ah, the settings that I've said Use a K A. For example, Here. Save keyboard shortcuts on exit. I like to have that check. So if I do change a keyboard exits that will, uh, it'll save every time I change them. Um, tool options save tool options on exit. So all those changes I just made if I didn't check this right now, next time I turned on the gimp, it would be back to the default. So this is important. If you do change your toolbox options. He received that. And it will also remember which colors you were using. And, ah, which brushy, Reusing So when he started to get it'll, you know, basically start you right back where you left off. If you're working on something for a long time, that's very useful. Um, all of those things I just covered right there for me have been very, very important. I could even say essential. Ah, since I've been working with again for almost 10 years now, Um, every time I started new image, I don't like toe have to set the width and the height of it again to have a really good work space which will cover most of your, um, at almost any kind of situation you're working on. You want to get up to over 2000 pixels, so I would give a bare minimum of 2000 pixels. However, be careful if you don't have a very fast or very strong computer. Don't set this too high because it might actually cause the gimp to crash when he started. Or it will just be very, very slow. Probably won't crash, but will be just very, very slow because you need a lot of memory to work on very big images, small images or no problem. But for big images like this 2000 pixels by do 1500 um, that's going to be it's gonna start to slow down the memory. If you only have two gigabytes now, what I'm actually going to do is I'm gonna put 4000 by 2000. That's my preferred work size. So every time I started new image, I'll get this nice big canvas to work on. And I set the resolution to 300 because I do professional work which will eventually be printed. Um, so that's Ah, 300 pixels per inch, as it says here, pixels per inch or D P. I, I believe, would be dots per inch and printing, so I'll set that up to a nice high. If you're going for super professional and you have the best equipment, you might even want to go 600 with a Some people. Do you recommend that I think 300 is more than good enough with most printers, and that's that, Um, there's more settings here, which ah, currently don't affect me, too. much. You can look at him if you want to, but there's ones I just showed. You are probably essential. And the bare minimum. Whenever I see save something on exit, I always check Yes, for input. Devices will do that. This will become more important later. If you're using a tablet, I'll cover that later. And that's about it. I just want from head to toe of all this stuff that I think are important and the preferences here. And of course, we also included how to set up your environment here, going into the single window mode, this Windows menu here has all the other stuff you might be interested in on. You can ah, you have your toolbox here and that's about it. And so I hope that covers everything that you're curious about or could have been curious about. About on Ah, regarding the setting up your workspace and you have any questions with that? Please do send me a message and let me know. Otherwise we'll move on to the next lesson, and that's it for now. 5. Keyboard Shortcuts: Hello. And then this lesson I've learned gimp, we will cover the keyboard shortcuts and how toe configure them and set them up. And also, of course, what they are. I'm using a tablet now to demonstrate this is a drawing tablet so I can draw different things. And let's just imagine for a minute that I I was going to draw something like an eye, right? And if you want to learn, had a draw better, you can take my, uh, my other course from drawing to illustration, and here I have a little I will put some eyelashes on it. But suddenly I realized I want to use the eraser tool so I'll go back, use the eraser and fix some of this part here. And then I need the drawing tool again. So go back here to the jaw tool and I hit that. And I said, No, that's not right because we're making art right? This has to be perfect. So come back here than back back to the brush. And I think you can start to notice something. This is getting to be a lot of work. I have to keep going back and forth and back and forth. How can I, um, improve upon this? And of course, how could I continue to draw when it's really annoying like that? Um, what I want to do is to be able to hit a hot key so I can just hit on things. Just tap a key on the keyboard and switch from Total. So in order to do that, what we need to do is go into the keyboard shortcuts, which is in under edit, right where we have preferences. You can go down to more under that and you see keyboard shortcuts survey Hit that. And right here, you'll see we have lots and lots of keyboard shortcuts, even these that are displayed by default. You can drop them down and expose even more so there might be hundreds of different shortcuts, however, to find the one that we're looking for, This search tool of coming to find works Very good. So what I'm looking for is the erasure. First of all, e racer okay. And without even finishing the word there, you can see it has Ah, well, there's undue eraser here, and there's Eraser here. What I want is eraser. So when I tap on Eraser, When I select that with a mouse or the pen, you can see here it says new accelerators, someone to click on new accelerator. Or while it's saying new accelerator, I'm gonna tap the key that I want to use. And for now, I'm going to use Let's say, for example, if the ah, the geeky or no will do the f the F key. And it says F has already taken its being used by something else is being used by free select. Well, we don't really know what the other key keys are that are being set by the fault by gimp. And so what I'm gonna do is I'm gonna say I don't care about that. I'm gonna sign my shortcuts, how I want him and I'm gonna say yes and reassigned. Shortcut. Just hit that. So now that that set, let me go back here. And every time I hit the f key there, I can erase. But now I still have to go all the way back to hit the pen. I can hit F and a race very quickly, but I have to go back, hit, depend and notice I won't go back here. I am drawing drawing, Just tap f and suddenly I can race without having to go back there. So but now Ah, you know, I sought to do that for the pen, so let's go back one at a time. There we go again to edit and then hit keyboard shortcuts. And now it's not the pen. Actually, it's the brush I was using someone who's say brush and let's see what we have in here. There's a lot of different configurations or short cuts Weaken due for the brush. Um, actually, this one is called Paintbrush with a full word paintbrush. If I recall correctly, that will save us some time. Paintbrush, There it ISS. And right now you can see they have paintbrush. It's already set to pee. So if you like what it said at then that's fine. But I go back and forth from Paintbrush to the eraser. Ah, lot when I'm drawing. So what I'm gonna do is change that p into a D. And it's gonna ask me if I'm sure I want to reassign it because it's being used. I'll say again, Yes. Reassigned. Shortcut. Okay. And because the D is right next to the F. Now I can do this. I'll go into Top D and notice. I don't have to go all the way back over there D and F and D and F, and so I can flip back and forth very quickly from drawing to erasing. Now, I can go in and start fine tuning my eyeball. Actually, I the way I just instructed you to do that. Using DNF is a, um that that that would be good for a right handed person. I happen to be left handed. And so this is more difficult for me right now. Ah, but yeah, that's, um that's just the intro. The very beginning of how to set up your shortcuts there. And if you can use your imagination, you can see how it can get a lot easier if you, um excuse me. I started getting obsessed with, uh, drawing this I a little bit better, but yeah, you can You can see how that could become very useful very quickly because you don't wanna have to go all the way back over to that toolbox when you're doing a lot of work and this is true not only for this type of hand drawing if you're drawing with a tablet the Freehand drawing, but also it's true if you're doing any kind of work. Sometimes you just want to be able to, ah, flip between different tools because there's so many of them and whichever ones used the most, you can set them to your to your hot keys. So just remember, go up to the edit menu keyboard shortcuts. And whenever you start to feel frustrated that you have to keep on going all the way back here to switch tools, just remember that this menu is there for you, just for that problem. So you don't have to feel frustrated by you know, the the interface. Here, you can set your own custom tools where you want him on the keyboard, and I would make life a lot easier for you. So I hope that's useful for you, and we'll move on to the next lesson. 6. Getting Started: this is Brendon, and we're gonna do this lesson about opening up a file. There's actually a simple as it may sound, it just open a file, various ways to do it and to do it correctly in the game. So I'll start off by opening a regular file I'm going to do just have a blank canvas. And so to do that, we're going to do a new. We're gonna go to the file menu and the very first option there. You can also do as it says here, control end, that will give us a brand new image to work on. And so we have templates here, which you can choose for the sizes if you want to. And I'll give you, you know, all different printable sizes with 300 pixels per inch, which is good for printing and stuff like that. Or you can, ah, just custom set the the width and the height of the image that you want. Now, if you watch the previous lesson where I did all of my default settings, I actually pre configured this. So every time I open it, I'll get a nice big landscape of 4000 by 2000 pixels, and you can switch that here in the ah, in the menu. You want to make it 2000 by 4000. Just click the icons here and in the advanced options underneath that, you can set the resolution and some other ah detail things which aren't that important. You have a choice between RGB or gray scale, so it's grayscale. You're only going to be able to work in black and white and your default background color for this time. I'll just do make it white. Uh, that usually stays the same and not very not very important unless you're using the gimp every single day, in which case some of this will be actually important. And you should take time to look at it. Ah, but you know, for purposes now, just starting up a new image. That's good enough. And there we go. Now what? I want to point out. What's most important here is that this is a layer, and it's our base canvas, right? It's the very, ah, beginning of of making a new image and what happens on this new image? I can just go in here if you're using a tablet and start drawing whips to ah, set Reset my some of my shortcuts. So yeah, I can start drawing on the campus here. I'll choose a black color are drawing right on it. Or it can add some text or or whatever it is that I want to do. Write something like that and it's all going to go on this layer every here. No, I'm not covering layers in this. I'm just, you know, is setting up the stage here that what we've done is we've opened up a new image and by default. What that does is it does open up a layer over here, which is important to know I can hide that layer and you'll see it will make the drawing go away. And when I added new text that also added another layer. And I'm gonna hide that one. Right. So I hide everything Here is an image with nothing. It's completely blank. And so I don't even I'm not 100% sure What? What? You would call this Ah, this checker box that we have back here. But I guess you could call it the like a blank canvas. Because what happened when I set up a new image. It filed new and give us this dialogue. I specifically told it to give me, you know, await background and automatically gives you one layer. But I can delete all of these layers and now I have absolutely nothing. So now, with nothing here, let me try to go back to the pen tool and I'll try and draw something. And as you can see, nothing is happening because I have nothing to draw on. So it's important to understand that by default, when you make a new image, it also makes a new layer. Now I make a new layer. It still looks the same cause this layer is blank. I didn't tell it to make it white. And let's see if I can draw. There we go now. I can draw something in there and it's Ah, it's doing something. If I want to make ah white background, I'll have to fill that entire layer. And then I could go back to my paint tool and start drawing black on top of white. So when you make a new image, it's a little bit more complicated than just bringing out a piece of paper and excuse me, there's no reason for their circles. I'm just drawing a random things. Um, it's a little bit more complicated than just bringing out a piece of paper. We should understand that a new layer was made by default. That's number one, and that we can add more layers. And later on, we're going to add more layers for, ah, very good reason. And I'll give him that in the end of the next lesson. And also ah to to realize the size of the campus that you're working on, because if you start off with a very small canvas, let's say something like only ah 100 pixels. Well, let's even have a look. What would happen if I only did? Ah, 100 pixels by 100 pixels. First of all, that's very small, right? So that's the actual size, how big it is. Let me zoom in and start drawing. Look at what happens here. See how we're zoomed in so close that you can actually see the pixels and that brush size is not even well, it's It's going a little a little bit. Let me make it a little bit smaller make it a normal size would be like that, like 89 pixels as a very, very fine line. But even still, you can see the dots and the pixels of it. So this image would be way too small if you want to do some kind of complicated ah illustration. Because there's just not enough pixel space. But here I can draw very, very fine lines. This is the exact same pence. Eyes, lips. Excuse me. OK, you didn't mean to hit that. This is the exact same pen size that I was using. Ah, and the paintbrush. This right here is the exact same size brushes I'm using over here. But look at the difference. Now I can make nice fine lines. So if you make your canvas too small, then it's not gonna be good. Rule of thumb. I would say the bigger the better normally, but we can't say that because you don't want to use up all of your memories. So, like I said in the previous lesson, just, um, make it about 2000 or 4000 pixels wide. If your computer is, ah of average standard strength with a a good CPU and then four gigabytes of memory. At least then you should be able to do some good drawing. And this is true for all types of Ah, you're doing logo design or illustration or playing with photos. So that's that every time I close now, I do want to save. This is also part of this lesson is very important. When I go to save, is this going to be the image that I'm going to share with my friends? Actually, no. It's saving as Ah, The name is untitled here, and I'm just gonna call this. Call it a test, right? So it's saving as that dot ex CF file, and I cannot change that when I'm going to save just regular save. When you save this, it's going to save as a gimp document, and the gimp extension is X CF, as you can see here. So it's always good to save one of those. That's fine. So now I have this image save. That means I can close the gimp and reopen it, and all of the information and all of the layers will still be there. But I cannot share gim file with my friends if they don't have to get to where everyone a share online or send it to a printer. So in order to save it as a common file which you would know to be ah J Peg file or GIF G I f, um, or a PNG. Now we have to go to not save as but actually go to export the image. So to do that, you can either say, ah export, which is right here where you can do control shift e if you want to export as something new and now you can see by the photo gives me the PNG extension. And if you don't know PNG, it's ah, basically similar to ah J. Peg, just a smaller file format, which you can share with people. So I could choose to say that there, click the export button, and that will give me an image which I can share with people. So let's keep that mind every time you save. You're either gonna save it as a gimp file, which is the default safe, or you're going to export it into a file, which you can share with your friends or sent to a printer or something like that. Okay, so that's important. Understand? For the gift. Um, the next and last part, I was just gonna very quickly Ah, try opening an existing file and in this case, will do. Ah, photo, which I have in my webcam area here is actually a photo of me looking kind of funny. So there's me, um, and the photo and one thing that you'll notice when you open a photo. Ah, this photo. Let me see what the skill images, the sizes. It's not going to give you your default. Ah, size that you had said it's gonna be whatever size the actual image was. So this one, as you can see here, it's 1920 pixels by 10. 80. That's actually my desktop size. So, um, it's 1920 by 10 ity, and the resolution is set to 72 dots per inch. Um, that's good to know when you're opening a photo that you know what size is. It doesn't always say so right here. And you can, you know, let me get my mouse out. You can zoom in, zoom out and move around like that, and I'll show you that in the next lesson, but I just want to see if we're going to open a photo. It's very simple just going to here. And you can also use this toe open existing, um, existing images such as? Ah, maybe you had a drawing that somebody else Did you found online? Anyone to open it and, I don't know, change the size of it or something. So you can do that in here. That's the just open. It's the third option in the file menu. Right? But now what if I want to open a second image to work with this one? Let me see. I could open another one. Here's another weird picture of me with weird face, But notice now Over here. Uh, this is one image over here, and this is a separate one, and we have tabs on the top. So the more photos I open, it's just like a Web browser. We start to get tabs that we can move back and forth with now to move back and forth between these tabs without having to use the mouse. You can hold down the control key and DuPage down. We're page up and will help you to slide back and forth. These hot keys come in very useful if you're working a lot. Ah, with the with again. So Ah, what if I wanted to somehow play with these two images and merge them? I could copy this here. Hit. I'm gonna hit control Copy. Just like you would with any other software moved back to this image and do control paste. And there we go as a separate layer. It's moved on top of this image. So I'm gonna have I'm gonna right click on this layer and say Make it a new layer because there's many things you can do after you copy and paste it. So now I have this as a second layer. I can move it around and we'll see there. We have both images inside the same gimp workspace, right? That's that's what we're trying to achieve. So basically the reason I'm going through all this stuff, I want to cover all of the different scenarios that might happen. When you're trying to work with images, you might have to open a new image to just draw from scratch. Or you might be opening multiple images and you'll say, Hey, wait. My plan was toe, you know, gimp these together as opposed to photo shopping. These together, I want to give these together and, you know, emerged them, or you know how to make his face on top of his face. Do something funny. Well, this is how you do it. You can open both of them and then copy and paste this one over, or this is also in the file menu. I'm going to delete that. When I copied over, I'm gonna clues this and I'm gonna close this. So now I only have this image. I can directly goto file open as layers. And now I'm gonna open that second image right here and automatically open right on top of this one. So what we have is we're working within one gimp workspace here, but we have to images ah, imported as layers. Basically, and that's important to understand again, every time you open a new image or start a new image, or every time you open Ah, an existing photo or any type of image file. It automatically imports as a layer. And there's layers over here so I can hide over here by hitting the this eyeball button. I can hide that top layer, or I can hide the bottom layer. Right. So, you see, we have two separate layers to work with, and I could go to the bottom one. I can move it up top, right? And we're gonna cover more of that. And I believe very soon, the next lesson. I just want to get an idea right there to review review very quickly. Basically, what we're doing is we're reviewing this whole the very first, many how to make a new image and create. Ah, this is this we're not doing right now. That's something else. How to open an image, an existing image and how to add how to open another image into the same workspace. So you don't have to have multiple tabs going on if you don't want to, And then remember that saving and exporting which is down here are completely different. Save only allows you to save this work space that you're working in so that you can open again in the game. But if you want to start to share the file that you're working on and basically finish the job and send it out to your friends or your workmates or whatever it is you're doing for that you have to export so you can go export as and give it a new name where you can just hit the control. As it says here, control E button. I believe we'll give you just ah, a default export. That's it for now, Um, so that covers all of opening, saving and getting ready, Basically getting ready to set up your workspace and make a new image. That's also the end of this. Ah, this section. So by now, you should be, uh, comfortable with the interface of the gimp. You set up a nice some environment and you're ready to start working on image. We'll do a quick review of that before we finish this section. And, ah, the next section is gonna be really fun because we're actually going to start playing with the images. That's where Ah, the meat and potatoes is OK, We'll see you soon. That's the end of this one 7. Layers and Opacity: this is Brendon. And in this lesson, we're gonna cover layers and a pass ity in the game. And in this, uh, in the previous lesson one before this one, you saw that I opened up multiple layers by using the menu, and I'll do that again quickly. Let me just delete this one. Ah, because this that was actually a little bit of a skip ahead. This lesson is the one that where you should officially learn how to do that. And so let me start by saying that I opened this file already. We covered that in the last one officially, and now I'm going to open as layer. We gotta open as layer and open another image that I want tohave that I'm going to. I'm going to try and play with two images and mix them together. So I'm gonna open this one as a layer in the same workspace. Now, in contrast, what would happen if you just did open and I want to open this image? Then you see what make a whole new tab, as you can see, appear in the top. So we technically would have two separate images open at that point, but I don't want that. I want to have both images open in the same workspace so I can play with them and mix them together. Okay, So what I'm gonna do here now, I have these two different photos together. What can I do to ah to show you? Basically, just to show you how rapacity works and this trick might be useful for you also in the future. So I have one image here of another one there. I'm just going to use the move tool, which is Ah, Doesn't need moved to all by itself. Doesn't need too much explanation. It's Ah, this one right here is You can see I have selected right there. Let me get a quick zoom tool out for you. Right. So the zoom tool, if I can get this bigger Yeah, So here is Thea. Move Tool right there. And it's this one. Not this one, but this one. Yeah, It even says move, Tool. When I hover over it at sea, it is moved. And so anyway, move toe. I can move these in a different locations Now you can see when we have separate layers that there's gonna be one on top of the other. As I move this one around, it covers up the other one. Right. That's because it's on top. And you can change the orientation over here in this menu. Over here. Let me get this. Ah, zoom tool out again. Look at this area right here. You can even see. There's a tiny little thumbnail right there of the first image. And here is the 2nd 1 which I've moved over. So I move this back over, then you can see Yeah, there's a thumb now of the ah, of the top image and a thumb now at the bottom one. So if I go over here, what happens if I move the bottom one by selecting it selected and slide it up like that? So now that the bottom one is on the top, I just, you know, move their orientation and we can prove that by moving us over and there you can see there is the bottom. So which layers on top is gonna have a huge effect on the overall outcome of the image that you're working on? You need to know which layer is in which order you know which ones on the top, which ones on the bottom, Because the top one is gonna cover up the one on the bottom. Now that we've proven that we understand that theory. What happens if I change the A pass iti, which is this part up here? Here says opacity right there. What happens if we play with that? What's that going to do? But turning a pass it down and basically a pass ity for those who didn't know, um is another word for transparency. It's the amount of transparency that we have. But transparency is actually the opposite of the word opacity. So opacity means how solid it is. If we take away the a pass ity, then we go more towards transparency, which means it's transparent. If I have 0% capacity, as I do here, you can see now it's at 0%. Then you don't see it at all, but bring it up to about 50%. Then you can kind of, you know, halfway That's 53.4% there and you can kind of just halfway see it and the other images underneath of it. So slide it all the way back up and then we go. Now, this might not be an extremely useful example of why that is, but it just goes to show you with a very simple example cause everybody understands photos . Of course, that's a very simple example of how a passage Iwerks and again very, very quickly there's make a new layer Fill it in with white. Now I'm gonna make two more layers. Just one I'll call read and one more which I'll call Blue. So on the red layer, I'm gonna go ahead, grab my pen and will make blue the blue What? I don't know. Just a blue circle. Let me increase Thea the brush size here a little bit. Well, a lot, actually. So there is Ah, blue circle. And on the red layer, I would start to draw a red circle near the same area. Look what happens as I draw it because the red layer is under the blue layer. It doesn't go over that. If I wanted to draw a blue circle that merged with ah, red circle that covered over the blue area, then I would have to do it on the same layer, right? So I'm gonna undo that. Now I'm gonna go back down to the red layer and all of the red that I draw down here is gonna go underneath the blue. This could be very, very useful. Our it certainly is just, ah, mandatory knowledge. Basically, of all digital ah, illustration and graphic design. Regardless of your using this software or illustrator or any other software, I can't emphasize this enough understanding your layers. It's not only going to save you tons of time, but it's going to give you Ah, it's just going to give you the tool that you need the tools that you need, the technique that you need to achieve so many things and make it look a lot better. So what if I put the red on top of the blue now just to emphasize this example? Slide it over there. Now, while we're talking about layers, that's notice. I have the red, It's on top of the blue. Now what if I want to keep drawing it over around this way? What's gonna happen? I will point out again. The red is on top of the blue. But what happens? Because I just moved the red layer with the move tool. I moved it over this way, and you can see that border starting to come out. There is a lot of people get frustrated if they didn't understand that they want to draw over here, and suddenly it stopped. Why is this happening? Every time I go to draw every here and by the way, I'm not trying to draw any particular thing. I'm just doing random shapes. Um, I just suddenly suddenly stopped. That's because the layer is not infinite. The layer, the width and the height of the size when you make a new layer, its default to be the size of the image that you're working on. So in order to fix this problem, I can go over to the menu here and right Click it. Let me see if I can Ah. Yep. Okay. I'll just have to Ah, you can see here as I move my mouse up and down here and I select Ah, the red layer. I'm going to right click on it and go down to the menu item that says layer two image size clips. Do that again. And now I'm still in the red layer Now I control all the way over because I set that layer to be as big a Z image. Or we could also go into this menu, go to the layer menu and say, scale, layer and make it whatever size you want it to be. But for you know, this situation where we just want to make sure that we had the drawer draw Hubble space, I'm not sure that's actual English word, but a draw. A bull draw able section was covering the whole canvas here. Just go over to the layer menu, right click on it and say, Ah, layer to image size. That way the layer will fill up the whole image size. There might be times when you don't want to do that so I can select just a part of the layer. I want to work on here and we'll say, Good to layer and crop to selection. So now the layer is only going to be as big as that selection that I just made. Oh, but I did it on the blue one instead of the red one. Let me go back. Okay? That's why it didn't work. Go to layer crop to selection, and now we'll see. If we move that layer around, it's only as big as that little section that I have and we committed around here. Over there. This could be very useful. Imagine if you had a face of somebody in a photo and you want to move it somewhere or if you have a body of someone going to move it around, Okay, so understanding that layers can have different sizes, understanding that they can be on top and underneath of each other like this, you move it on the top, remove it on the bottom. These are all very, very important fundamental tools which you're gonna help you to do all kinds of tricks with photos and illustration. Whether it be ah, you know, separating your background from your foreground and illustration. Or maybe if you're working with photos and you wanna move people in things around, this is the fundamental thing to understand is layers over here to make a new layer. We tapped this button and say, Create new layer. You can give it a name, and if you don't like your layers, you can delete them with this button here and then make other layers, or, as we did before, get rid of all your layers. Now I have no layers and I can't even dropped. So that's pretty much everything you need to know about layers. The most important thing, if you can. If you understood how they work on top of and underneath each other, and the way that you can move them around, then you're good to go. The following lessons. If not, please review this again until you understand that, and that's it for this lesson. Hope you enjoyed. 8. Moving Around: this is Brennan. And in this lesson, we're gonna cover moving around in the game, which is basically to say, How do we Ah, zoom in and out and ah, move things around as well as move the campus around. Um, So I'm gonna make a new image here with my default template, which happens to have a black background this time. And what I want is a white background. So one moment, please. Okay. And, um, let me see how the best way to get this point across as I had it planned is to first show you that perhaps I'm drawing something and I want to draw something very simple, so it doesn't take too long. Do sort of Ah, head here. I know there's somebody's head. I'm gonna start drawing their eyes and here and a news in the mouth. Just very, very simple and eyebrows. But I need to zoom in in order to start working on the hair and other things like this, right? Even the eyes. And get everything symmetrical. So what I want to do is zoom in like this. Well, how can I do that? Um, comfortably. Because sometimes I need to zoom in quickly, maybe do a little work and then zoom out again and then start adding the neck from a distance so I can see where everything is. Um, you want to be able to just go in and out and in and out like this? So what I do is I set my hot keys, which I has recovered in previous lesson is up here, you get a keyboard shortcuts and just look for a zoom and ah, put the zoom in which I have here. Well, I can actually type it in Zoom. And there you go. And currently I have it set to the keypad number eight, which is convenient for me, and you can put it to whatever you think is convenient. And here I have zoom out, set to five. So we imagine the on the keypad that eight is right above the five. And so I can just go up and down and up and down, zoom in and out like that now sometimes and save our to draw something else over here and start drawing. Ah, something that let's just have that circle for now, for example. And I zoom in a little bit and I want to slide over to see where the other thing is. Ah, that circle that I'm drawing over there, um, without having to zoom out and then go zoom back in like this again. So for that we use the move tool that help us to slide around like this. Now, if you're using a mouse, I'll use the mouse right now to demonstrate. What I can do is hold down the middle mouse button right? And I'll even draw that for you real quick and say, This is a sign, A very good one. Mouse's kind of shaped like this. You have a button on the left and a button on the right, and then you have this button in the middle. It's the wheel, right, the scroll wheel. You can actually push that button down and what it will do, it'll it'll put you into move mode so that you can slide around. So first he pushed down, make sure that your little hand icon comes up and then starts sliding around like this. So if you're using ah tablet like I am now, I'm using Awaken tablet. I just set the pen on the the welcome Penn. I set the button on the pen to be the middle mouse button, and now I can slide around, draw, draw, slide, drawl and just move around very quickly like that. And since my hand is always on the keyboard with my hot key set up, as I like them, I could go in out, draw a little, move over, move out, draw a little bit more, move in and out. Okay, so that's basically all we want to cover in this lesson is to make sure that you are aware that we have this dragging ability. Sometimes you might just start to zoom in, and then you slide your bar over here and and let's say you were working on something. You're drawing something that's right here in this area, and you want that to be in the center so you can really focus on it. We see these slide bars here. They only go so far, they only go to the edge. So if you want to pull it past that, you have to use that middle mouse button and slide it over like this. Now I can get that in the center and start working on it more comfortably. Then zoom out, Zoo man, and go do whatever I need. Also, you can use the move tool over here. Now the move tool is actually going to physically grab the layer and it's moving it over here. Let's zoom out and see how that happens. You can see my whole canvas there. Let me actually make the canvas. Ah, black. You see this better and the layer I will ah, invert the color. So all that stuff I ju is its white now. Now, if I used the move tool, this is gonna physically move the layer. See that? The drawing, the actual canvas that we're drawing on that stays in place. But the layer is moving around. And that's handy. For example, if I were to draw a person, I just hit the delete key to get rid of that stuff. I do. Let's say, if I were ah, maybe we're drawing like there's let's imagine this a mountain back here and I do a little stick Figure a person on a separate layer drew a little stick. Figure a person just like that, and so now that person, because they're on a separate layer. I can go to the move tool which I have on my hockey and grab the person. Unmoved mover maybe actually wanted him to be over here, right? And then, as we did before, we can right click on the layer said it to image size. And there you go. We move the person. So that's the difference between moving the whole canvas around, right? So that you can go zoom in and get to the place where you want to be or actually moving a layer which is fundamentally it. The layers like an object. Now I can go to the second layer here. What if I wanted to move this? I can move this. Ah, the mountain around even right. You move anything. I can even go down to the background color and move that Move that out of the way if I want . So there's a difference between ah moving national canvas around and moving objects around doing the canvass around us for comfort. You can also use when you want to zoom in. If you don't find the ah hot keys convenient or if you don't wanna you know, father, your time with that you can use this tool down here. It will just tell you what percentage you want. Toe zoom in. So I could go to 100% here and they would bring it back to 50% like that or go back to 12.5 just whatever numbers they have here. I think they said these numbers to certain toe fault so that it will fit into the screen and things like that. That's basically all I have to cover in this lesson. And ah, although it's very simple, short and sweet. But these are very important. Very useful things to know while you're ah, working in the workspace here and get okay, we'll see you the next lesson. 9. Common Tools: Hi, this is Brennan, and we're going to cover very quickly. Thea tool box, which is over here. And the toolbox, um, is pretty self explanatory. As you can see here, I'm just using a zoom tool to ah, make this little bit bigger for people of smaller screens. Um, And as you hover your mouse over each tool, it's pretty self explanatory. It will tell you what it does, but you just want to get familiar with the names of all the tools, right? And so we have Here is the ah rectangle. Select the oval or lips select the ah crease electoral. Let me just show you very quickly. Um, one potential example of what we can do with these Ah, using. Ah, I guess just ah, simple line here. Or maybe I'll even use a selectable first. Me, you select, will the square select tool and make a box. And I'm gonna fill that box with color. So, you know, that's very fundamental thing that you'll need to do. I could also, while it's selected, I could cut it out of there and paste it on to a new layer like this. And now I can use the move tool and move that box around. Right? So these air all Ah, very fundamental things that need to be done, Um, something else or to be moving on to the lips tool. Pretty much the same thing as if the and these are all select tools. By the way, that's the same as the rectangle select. But now we're doing circles, right? And I can use this to, ah, fill in a circle or Mm. I'm not working. Not a correct tool. Yes. Sorry. Let me do that again. Oh, that layer won't work. That's why that layer that I just cut out this is good for you Toe notice while I'm at it. This it wanted cut out, cut out a very small layer, so I can't, um, draw outside of that space. Okay, so now on this layer, I can draw and fill it in, fill in this circle a little bit slow, cause this is very big, uh, canvas I'm working on. And I could also cut that out and move it around, same as I did with that. And that's the Ellipse selectable. Now we have this one. It's the lasso tool. The lasso tool is similar. Cancel ECT things, but you can basically draw the area that you want to select. So that would let me do that again. Zoom into this part here If I can just draw a funny shape in there. Yeah. And now I can select that part. I can actually cut out that part or, you know, paste it back in or whatever I want to do some like that. So it's the same as and there's many other things that could be done with a select We won't cover that. Now, this magic wand tool up here help us to select things as well. From on the right layer, I can just Ah, yes, select us a particular size or shape that has the same color. So if I had ah, Red over here, for example. And yeah, sorry about that. I got stuck in that mode, but I have read over here. I just want to select everything that's red. I use that magic wand and select that. There you go. Okay. So, yeah, I'm going to go through all of these later by the color picker tool. This one here. That's good to select. Ah, particular color. It will select all of them on a canvas. The path tool is very, very important for design will get a color picker measuring tool and ah, scaling tool. All of these here are gonna help on this road here. They all helped to change the size, shape and perspective of ah, of the layer So you can choose a layer and, you know, stretch it and pull it. Twist it. This one here, the cage tool is also for that. Here's text. So obviously for illustration, you need to put reading and writing into effect many cases and then ah, obviously the brush and eraser and other painting tools. So well, we're going to go into detail on all those in the following lessons. This is just a quick review. So, uh, yeah, thanks for that. And, ah, move onto the next lesson. 10. Brush Tool: okay. And this lesson we're going to cover using the brush tool in gimp, which, if you're using a tablet, you can draw lines with very easily like this. Um, where you can use the mouse as well, usually with the mouse. You're not going to get as good of, you know, smooth lines as you can with your hand, because the mouse is just not designed for that, right? So if you want to draw Freehand like this, you can do that. But you don't really have to If all you're worried about is making straight lines because you can hold down the shift key, right? And I zoom in a little bit. Let me make the brush very, very big so you can see that ball moving around there. Now, if I want to, I can you start drawing like this, but if I just make a dot first, I'll make it one little dot here, and I want to draw a straight line from there to here. We'll do is well. While the mouse is hovering around there. Hold down the shift key s I'm holding it down and you see that straight line that comes out there. It's waiting for me to tap this again. So here, I'm gonna hit it again. Right there any? See, I get a straight line. Now, this looks like a big fuzzy line. Right? And I can hold the shift key down. This is one thing I found that some other Softwares do not have, which is much better in the gimp. I like this feature. I can just hold down that shift key forever and just make continuous lines like that. So let's zoom out a little so we can see you know how I can just make lines triangles going to make a box over here. Right? But what about making ah, perfect bucks? So now and you can remember you can I'm not sure if you can configure your hot keys for this one. As a matter of fact, changing shifting control might be difficult, but shifting controller right next to each other. It only takes two fingers. I I actually do it with one finger. It Ah, what you have to do here is while you're moving around, if I hold down the control key now look at how and again Let me zoom in. Uh look at how, as I move it around, it jumps from spot to spot. What it's doing, it's helped me to find some some perfect angles to to make my lineup. And this is by first I'll demonstrate again. I tap my start point hold down shift first. Now I'm see when I'm moving only holding down shift it moves around freely. But now I'm gonna also hold down the control. But so I have shift and control held down at the same time. And I actually do that with one finger and now it gives me these perfect angles. So now if I want to go and make a perfect box like this, then we're good to go, right? You could make a nice, perfect little boxer rectangle the long rectangle and using that trick since it keeps us that perfect angles, it's ah a lot easier to try and make something like a perfect triangle going to do this. If I didn't have control and I tried here to get the perfect angle, that might come up, you know, a little on symmetrical. But when you have those guides that that angle told to help you and get more perfect. See, even that one was wrong. You still gotta use. Use your eye a little bit to see this angle here. I should come down at that angle and see You can see is that here is a here or there. It looks like things. This one, right? Yeah. And then you get a nice, symmetrical triangle. So that's basically using the brush tool. I took away the pencil tool. The only difference. I took that out of my toolbox and preferences. The only difference between the brush and the pencil is that the pencil doesn't do Aunty Allison. Ah, in other words, it doesn't make these smooth lines like this, which, when you're going to make professional illustrations, is usually not a desirable quality. It's nice that we get the smooth edges. And, um, you would learn more about that with practice. If I were to take this off. Now go to a ah, perfectly hard edge. See, you might think it looks kind of cool how it's perfect and sharp. And I guess there are situations where you want that. But I can do that with this brush to right and come in. Imagine. See, even here. We have a little bit of of blur when you zoom in. Imagine that. It was just perfect zigzag with pure white on this side and pure blue on that side. Even when you zoom out, it would look like it just doesn't look natural. You can try it if you want to, but I think, uh, we'll all agree that it's rare that you need the pencil tool and usually just the brush tool will cover. Ah, all of your situations. And ah, you know, while we're on that topic, this is important. Here is all your brushes in here. You can also choose Teoh. Open a tab on this side so you can see all of your brushes on this side on. Let me see. I have my zoom tool. Might help us out a little bit. Um, set this to stay on top. And so if you see over here, we have Ah, a lot of white selection brushes. Some of them are weird, like this bird, right? So now that I have a bird and I'll make the brush size very big, all I have to do is touch the canvas and it makes a bird everywhere I go. So, um, even if I draw all around like this, it just draws birds everywhere. Right? Um, in addition to that, we have many, many tools here which will be useful for artists. When you're doing illustration, this gives you a chalk effect. Right? And I can change my color in this palette here quickly. Ah, here. It will tell you the name of you hover over. This one is It's supposed to tell me the name. What is this one? Well, the name is in there somewhere. Maybe I double click on it. Oh, it's actually call it sell to. I guess it's this name out. This one's called cloth. So we want to do sort of, ah, cloth pattern can use this brush. Yeah, zoom in so you can see that a little better. There. You have sort of a fabric cloth. The pattern you have all your brushes here, and the brushes all have settings as well. You can notice the settings over here in this area where you can change the capacity. First of all. Right. So I'll go back to normal brush with a, uh, red color notice. If I draw with the A pass ity down and how to get the black. All right, man. Red. Ok, yeah. There we go. Now, when I have the capacity down as we ah saw in the ah layer and a pass ity section of this course the A passage e will make it sort of, like, see through like a ghost, right? We turn it all the way up, then you get a sharp, solid line. So that's the amount of transparency that you have, and that'll make a big difference in when you're doing, like, painting painterly style things. You can blend colors together and mix things around, and you can choose your brush over here as well. Ah, the size of the brush, which is very important. If I want to do small lines, let me get back to layers real quick and actually delete some of this, right, so, you know, down to ah, change the size of a small lines or get my past the backup. We're make very, very big lines like this will be good for filling in ah, very large areas. And I have my hot key set. So watch without moving my mouse, I can actually change the size of that. I can make it bigger or smaller because I used to brush so much. It's convenient to be able to go from big to small with both the brush in the eraser. So I go to Eraser right now. Make a very big and I can just erase everything very quickly where you could hit the delete key. Um, and applied jitter. Very interesting to make this small again. Make a little bit of jitter, so as as I draw, you know? Okay, apply jitter. Yeah, and as I draw it should make some Ah, shaky. Yeah, there we go. So you're like draw stars. Let's see if we wanted to. I'll make the whole background layer black and it'll take a minute. Where did I hit it? Either area. Then I go to this layer and select Ah, white color. Go back to this and let's supply a lot of jitter and make the brush very small. So when I Okay, I want even more jitter. The more jitter you add, that's a weird where to call a jitter. But, um, the more deter you add, the more it will space out all the dots as as it draws them. Right? So I make this rush very, very small and make the jet are very big. And you can see it makes kind of like you could do a starry night, but you gotta be careful with it. Let's see. I have the right colors here, right? You know, I do too much. Why did a dot here dot There? Yeah. Then it actually starts to look like stars. Right? And of course, stars have different colors and stuff he can make, you know, the red ones and and blue ones it was Eventually you play with enough. It'll start to look like a starry night. Something like that. From a distance, maybe. Okay, so you'd have to work on that for a while for it look like stars. But I guess you get the point anyway. It looks kind of cool, right? It's kind of fun just to play with that. No more applying jitter about smooth struck. What does that do? Well, if I want to basically make a smooth stroke, my hand is not so perfect that we zoom in. You know, I'm trying to draw, Let's say for example. Perfect circle. Look, that doesn't come out so so smooth all the time, Right, Little bumpy. But we put on the smooth stroke. Oh, no, wait. Actually, that was with that. I was with a smooth stroke. So here's me without the smooth stroke. So with this myth shook, you notice it's a little bit better, but I can make it even better. But playing with Thea configurations here And even if I try, try and be very sloppy here without, um, without any settings on like this and move it around Now they put smooth stroke on and try and do the same thing and see how it makes all the lines much smoother. It takes out all of the jagged edges. No matter how hard you try to make jagged edges, it kind of smooth them out. So I turned it off. I could make a very jacket like that. So if you're doing like some cartoons or illustration or designing a logo, or you need all perfect edges and lines, smooth stroke is very, very useful. Incremental, actually haven't used this in a long time. A thing incremental is supposed to change the amount of I have dynamics off. It's the most toe. Make it bigger as it go goes along. Ah, I haven't had this. Ah, working. I haven't used that. And while Nor had it working. So apologies. I won't be going over that one. But ah, thes everything. I'm sure you're so far should get going. Another one in the dynamics here. Ah, there's these are basically, let's see pressure passing random color. You can do all kinds of tricks. This It's supposed to give you a random color as you go through it. But as against C dynamics options reverse, does it work or not? I don't know. Sometimes I don't know exactly how these work. Uh, because they're so many of them in there. I'm just experimenting as as we talk your speed Opacity. Okay, this one works. So if you go faster notice it was I go slow. This would be good to zoom in on speed of passive. I go. If I draw slowly, it'll be very faint. But I go fast. Then suddenly it gets very thick and harsh. So you go slow and then speed up and slow, and I'll give you different levels of a passively depending on your speed. Um, there's really ah lot of stuff in here. I'm not gonna cover all of it, but basically, go in there and play with it. If you're bored of your studying and see what's available to you, most importantly should be to cover number one to turn dynamics off. That's in there. It's actually called. Yeah, sorry, that wasn't highlighted. Dynamics off. If you notice weird things happening, then just turn it off. Um, and I made my own pressure size, which I'll go into later. That's good for ah, when you're doing hand drawing Freehand drawing because I miss spelt that it's supposed to say Pressure size. Imagine that. I wanna have a pen techniques of a touch very lightly, and then go very hard. Should be like this. I can brush lightly and make small lines or push hard, make big lines right. So you do all kinds of special effects and stuff like that. That's obviously with a very big brush. Heres something like this. See how it tapers off into a small lines like that? So, yes, that's that, um, that pretty much covers everything that you have in here. You also have a mode. This gets complicated to the extent that I don't like to cover it, and a lot of people misuse this area. But you can do tricks with, for example, burn. See how it's drawn over the other layer. It's Ah, it's just burning into it. So I mean, yeah, it's kind of hard to explain all of the different things multiply Is another one in the drawing mode or overlay difference? Some of these air very useful. But in most cases, I would avoid playing with There's too much. It's, ah, sort of an expert tip and you can ah, we can pick that up in later lessons for analogue Just to know that And here you have your you're a pass ity the brush size the hardness is basically ah, choosing which type of brushy one. And there is a wide selection in there as against see in this section of here with many different types of brushes they can use and ah, and that's pretty much it. And then lips put that out again. Maybe you saw my earlier lesson this I told you this happens all the time. I always accidentally pulled that out there. Um, aspect, ratio and angle do not need to be played with unless you're doing some some tricks with the with the brush. And again leave that for, Ah, some later lessons on expert tips. But this I think you'll agree you see it yourself pretty much covered everything you could possibly do, making straight lines and ah, having different types of dynamics. You're doing these kind of lines. Make sure dynamics are all off if you wanna make normal straight lines like that. And ah, that pretty much covers. Thea, the introduction to the brush. So I hope you enjoyed that. They're in some from it and ah, you see, in the next lesson. All right, have a good one. 11. Color Tools: this is Brendon. And in this lesson will just go over very quickly. Colors using colors. And as you've seen in previous lessons, I like to keep this color palette open Every here. That's not the default setting. Um, but it's I believe it's there in its It's there by the full as one of these tabs. If not, let me check for quickly. Right here. Yeah, you can open right here. Goto add tab and let me get the ah, on the zoom tool open here. And if I get this area? Yeah, um, always on top. OK, so on this part Here, you see, we have ah, add tab. And I go there it opens another selection, which, uh, I have to move this over a little bit for you to see. Probably come up about there you go to add tab, and it gives you you know, all of the different types of tabs that you can open here. You can only see some of them in the zoom window, but of layers, channels, paths and ah, you will be able to find the Ah, I guess this is the color palette or yeah, colors have colors. is in there. So if you don't have that added already, you can, um basically, for a lot of people just getting started with the gimp, the things you're gonna want to use the most are Ah, the brush tool. And when you're playing with photos, even you're gonna need the brush tool, and you're gonna have to choose colors. And you're gonna want to play with layers, a lot of layers, colors, brushes, and, um also the air brush tool comes in. We'll go over that later in a photo touch ups. But the color palette for me is pretty useful thing to have open all the time and to have it in a nice big display like this is nice. So what we have here is we have all the hues you can select on this. Ah, excuse me. Athe Where is that other window? I closed it. Um, yeah, let me just serving that real quick. Okay, So over here, like to stretch this down a little bit. Sorry for that. You see, over in this section on on the left side is where you can actually choose the color that you're currently working it with and over here where you see this rainbow over there. That rainbow is where you can basically get a start color. So if I were to tap on the blue part over here there is you know, it's gonna give me all the hues of that blew all of the ah, the values actually not huge but the values of that blue so I could get a darker blue and ah, let me do this with my brush and palette, you go to a darker blue here or here. It's like a regular blue and start paying with that Or if I want to jump to a darker blue there is that later blue would be appear obviously, and then you can just, you know, scroll up and down our top on the part where you want here's yellow and go for a dark yellow a light yellow, but the wrong spot light yellow and ah ah, that's pretty self explanatory, I think after that, if you just noticed that, you know you're tapping your color and there's different views here. As you see, I just hit. There's a if you can see the h s V. Um, I guess h is probably for, Ah, Hugh, which we're looking at here s might be ah, by saturation. I'm not sure exactly what all of these are. Um, cause yeah, I'm not trying to get a scientific degree in Ah, in color. But I just want to be able to choose the colors that I want. There's different views and the default One should probably be just like this. In my opinion, that's ah, the easiest way to go about selecting your colors. So that's one thing is color selection. Another thing? Ah, outside of choosing a color would be toe pick a color. So let's say I'm drawing something over here and I realized I want this to have the same color as that thing over there. What I do, we'll go to the color picker, which I have set to Ah, hockey. It's this tool you can see right up there. Um, color picker. And so the color picker enables me to hit this color and you'll see it comes up over here. Thea, the actual color that I'm using. I lost the window again. Sorry. The X window? Yeah, this area right here, Right underneath. Years a toolbox and right underneath that this is the actual active color that I'm using. That's important to know. Ah, I guess a lot of people might have taken that for granted. But some people who are new ah to using the gimp, they might not have realized that. So under pointed out, when I click on this color, uh, that the act of color that's being used there, it will give me that same color selector window that we had over here that I that I opened in my tap. It's pretty much the same thing, but it gives you more options. You can play with the numbers and stuff again. I'm not going for a degree in color, just trying to get my colors. So for me, pretty much this part and this here, which enables made a select colors, is good enough. Sometimes these part do. These parts do come in useful view doing web design or programming, and you know the exact color values of what you need. But for the most part, you know, for me, playing around with this is enough. And so, um, while that's open, you can also see the color picker Tool is also right here in that part. It's this little icon right here. Uh, I don't even know if you can make it out, but it's supposed to look like an eye dropper, right? You can definitely see it clearly over here in this icon, it's eyedropper, Which means we're gonna pick the color. It's their way of saying it's a color picker, so good a color picker, and I can choose any part of the campus I want. I can choose here and will give me that blue going to start drawing with it again. Or I can choose from here and do that. And I have a hot key set so I can switch right in the color picker real quick because it's very, very important. Any kind of art with any color that you're in. Ah, you know, whether it be a photo if you're making color illustration. Obviously, just selecting choosing colors is gonna be a very important part of that process, right? So, um, I like to have my color picker always available so I can choose a color and draw it again. Um, so it's picking color choosing color. And there's another thing we need to do sometimes. Ah, one more neat little trick is the color selector. I think it's called Actually I forget the name I see select by color tool. Well, it has a weird name Select by color tools. A nice long name. So I want to see I want to show you buy This is very useful. What it enables us to do is let's say, for example, I have some of this color over here. That color is a little too bright for May This color over here and it also happens over there and maybe down here and then I'm drawing something. Ah, in between there, right have all this around here now. I suddenly realized that these three items which are that light blue color I want to select all of them at once. So that can do something. For example, change them all to be the same color. Ah, without have to draw over them all again and be so perfect. So, um, what I would do is I can choose this tool over here and let me give you a zoom view of it. It's this The hand pointing at the three colors there that little icon. And if you get that icon, turn that too alone. What I can do now is just choose the color that I want to select, and it automatically selects all of those spaces. So now I can turn all of those, let's say, for example, into another color such as Green, Um, and I'm gonna fill that in with Phil whole selection, and now I'll have to do is tap it once and look at that. It changed all others, right? I get a more obvious color to change it to. Yeah, there we go and it changes all. There's now that might seem like a strange thing to need to do, but it's actually very useful, and I want to demonstrate that just very quickly with, ah, I have to change this background. Let's say, for example, we had a blue sky like that and make a super quick oil painting sort of thing, and often a distance. We have some green mountains. This is not gonna be realistic at all very much off in the distance. We have these mountains here, and I actually want to draw them on this layer because sometimes we draw everything on the same layer, right? So just draw all this on the same layer, and I can fill this in flips. Gonna fill inthe e similar colors. Getting a slow reaction with this today. Don't know why. Now I have my threshold. Might not be too good. And make sure I have this all Tildon. Right. That should work. Yep. There we go. So there's let's imagine, at some green mountains in the background and then in the foreground, I'll have Let's say something like brown tree coming up, and it's gonna block the view. Those mountains, right? And so this is going up. We have our tree branches like this, and then we have ah, just make it look like a little bit like a tree again. Very laughable. Drawing on a This is not a van Gogh or anything right here. Ah, little tree right there. No. Suddenly I realized Wait, I don't want this guy to be that color blue. So how am I going to change that? Let's say if I choose another color blue a lighter blue like this. And now I have to paint all around here and go inside here, get all the details it is very difficult, but even more so. What if I want this guy to have ingredient so that it tapers off from, ah, blue to white? Because if you really look at the sky, in fact, it usually has ah ingredient to it kind of looks like that. But look, what happens when I draw that it fills the whole page. Right? So what I'm gonna do, I'll use this color picker, which I'm keep raving about here I used a color selector tool and it's going to choose all of that blue color. And now I can go to my Grady int tool and at that radiant sky So you see, just like a real sky, it goes from blue and fades off into another color, depending on what time of day it is, of course. And and that's that. So, uh, what if I wanted to do that same effect after I had already drawn the tree and there'd be no other way to do it right? I'd have to go in and, like, slowly, do blue and then slowly change it toe white until it faded off to wait. But using the color selector tool, I can select all of this color that I want to change and just change it all in one lump sum like that. Okay, so to review their very quickly, we've figured out how to ah, you know, we can choose a color and start drawing with it. Like such any color we want. We have the darker values and the lighter values by By moving this around, we can also select a color with a color picker and start drawing very quickly. With it is that that color pickle picker will go directly to your brush so it will be your foreground color. You can choose any color and then directly start drawing with it. And then you have your color selection pool, which will help you toe select all of the same color. And that comes in useful in ways that I can't even begin to to tell you. It's ah, there's all types of situations where that tool becomes very, very useful. Um, but I just Ah, yeah. Leave that there. For now, we have that one other thing would be the bucket tool, which you're probably familiar with by now because you keep seeing me. Just grab a bucket. You keep seeing the use this throughout all the lessons that choose a brown color. Let's say it's full Rodham now, Um, yet fall and the ah, the leaves of this tree are going to start turning brown or orange. So I want to fill just those. See if this works. It filled the whole page because my I'm on the wrong layer back this later. Okay, Right now, I just feel that answer is what is doing It is choosing. It's automatically finding the same colors. The similar color of that point, which I either click the mouse on or top that tablet with is going to fill that hole section with that particular color. So what if I want to fill the hole selection? And I just wanted to erase this and cover it? Well, then we go over here and in our options for this tool, and ah, right here says either fill whole selection or fill similar colors. I want to switch that toe, fill whole selection, and then what happens is it fills the whole selection, right? Well, just ignore whatever else is going on in there. And by the way, if I didn't make this clear before. I do notice that whatever tool I happened to be using all of the options for it are always gonna be, uh, underneath this this tool section, every tool has options. Where and so, yeah, I might not have emphasized that enough earlier, but ah, hopefully it just came a second nature because it seems pretty self explanatory anyway. Yeah, that's it for choosing colors, various ways, toe choose and Phil and draw with different colors and hope that was useful for you and look forward to seeing you in the next lesson. 12. Selection Tools: there. This is Brennan. And in this lesson will be covering the selection tools. So for this one, probably the most practical example would be to open a ah ah. File of photo. And so going to my pictures here, Webcam and find Ah, funny photo of me making a funny face. Ah, there's no reason for that. Really. So a Z going to see here? This is ah, zoom tool. That's just helping to enlarge. Ah, the toolbox there so that you can see better what I'm doing in the toolbox area. So I'll leave that over there for those us smaller screens. Um, and we're gonna do first is is used this selection, this rectangle, as it's called, the rectangle selectable and the rectangle select tool can do so many things. But let's see what a few of those things are. So what I'll do first with this is you can see in the select menu. We can do different things with it, like shrink the selection or grow it or border it. I'm gonna choose border, and I'll give it five pixels. So I get If you zoom in there, you'll see I get a little bit of a border, and I can emphasize that border by filling it in with the white color. Now, you see that white color that fills in it only fills in the selected area that I first I made a square selection and I turned it into a border. So it's only gonna fill in that area, right? Let me go back. I'm gonna undo. Undo. So now I'm just in a regular square selection and I feel that area and obviously it feels in that whole area, whatever. So whatever area selected, this is just, you know, very basic. Ah, beginners observation. In case some, you know, some of you are new and you didn't know it. I just wanted to point out that whatever area is selected is the area that you can draw or fill in. Now, if I take this pen here and again using white color and I start to draw over here, what happens? CEO just stops drawing when I go past the selection. So selection is basically a great way toe. Isolate an area, right. You just want to isolate that area. There's all different types of tricks you can do with it. It's Ah, limitless. You really got to use your creativity. That's why, um yeah, this dis less in particular lesson. I decided to use a photo going to spice things up. So, like, um, I'm sorry of previous lessons. Air Little boring. This one, obviously, with my stupid face in there. Um, not that my face is stupid, but maybe it is. Who knows who's to judge a smart face from a stupid one. But, ah, I'm making a stupid face there. And the whole point is to, ah, just show you a more practical example where this could be used. So another thing we can do with this, we'll go into while I have that area selected. I noticed we have this whole photo here with a whole bunch of stuff that I might not want to share with the world. That's my the The background is like my room or something. People don't need to know about that. It's my office space or something, right? Maybe I just wanna zone in and crop off this area the close up of my face. So while that area is selected, will go up to the, um, this area here we have the the edit menu up top and not the image menu you immature and go down to crop to selection. Right? So I hit that button once. And there you go, Boom. The rest of it is gone. The this entire image now is automatically sized just to fit that. You know that area that I had selected or what else can we do? That's Ah, that's one thing that would be useful. While I have it selected. I'll go up toothy Selection menu, which has a, uh, a whole bunch of different options weaken doing here, and I'll go to invert. Invert the selection. So now when I go to draw notice what happens? It's selected everything but the center because I inverted the selection. So now it's basically selecting the opposite of what it had selected before. Um, and I am trying to get back to where it was that might have run out of, ah, undo spaces or something like this ran out of memory. Okay, Anyway, put that back where it was and do and do and do you know all right, well, it's not important for this lesson. Um, let me go. Make another selection here. We're going to invert that selection again. Select invert. And now I'm going to fill in that whole space. So you see, I inverted it. That's the whole space that was selected after I inverted the selection. So if you ever want to select everything, but then what you do is first select the but the thing that your looking to not select and then go up to the menu and go select invert and it will invert your selection. So invert basically means to select the opposite of what you're selecting now. Now, I did this on a separate layer. I could turn the a pass ity down like this. I don't know why this Ah, this layer. You know, there are bugs that happens sometimes where it might have been my fault. Sometimes I'm moving so quickly that I'll, uh, I'll do something unintentionally that would break things. So, yeah, now you can see iis basically selected everything but that area, the window around me. It's not something that I necessarily need to do for any project right now. But just another tip toe help you to understand how the ah, how the tool works and all the various things you can do so that's going to other selection modes. That's just a brief in true to the selection menu. Now what if I want to do something such as select only my face big news, a circle tool, right? And I could. Ah, while I'm in select mode, I could copy the faced by holding control and tapping the Sea Key. And then I'll do control V and that will paste. But now that it's pasted, I need to bring it to new layer. So right click on that, bring it to a new layer it Now you can see there is a box around it, and the reason for that is because I've made a new layer with that section that I copied. Now we have to stupid faces, which is obviously a lot of fun. Now do control the again, and you'll see it comes up in this area here. At first, it's just there. It's floating selection because there's different things you can do with it. You can double click on it, I believe. Ah, that'll change the name. What else can I do? Yeah, I don't ask you to make a new layer out of it or you can right click on it. You can anchor it or delete it. Um, for whatever reason, I don't know why. This is one thing I've never understood about the gimp, but it doesn't just automatically turn it into a new layer. So you can either double click on it and click, OK, and that will make it to actually, that didn't even make it into a new layer. What I normally do is I right, click on it and just say new layer. Now it's a new layer, and now I can go in there and and move it around. That's one thing I've never quite understood. I did look it up. I don't know why they do that, but that's just how it is. So no software is perfect. Now we have three crazy faces of me on separate layers, and ah, so I've demonstrated at this point using ah, the circle tool and noticed how that gave me the selection as it came out and gave me a nice circle. Ah, an oval actually around the head and the the background of it is ah, the background of that layer is still transparent so I can move it around here and see it. You'll get that perfect kind of oval circle kind of thing. Um, So what we're doing is recovering. Basically this top row so far of tools, Another one is the lasso tool. Now I want to get a more perfect Ah, let's say, for example, not a circle, not a square. But how about I just want to get his I write so I can use this and draw around like this with the last so and then got a tap it where you finish it and that will give me. But do control X that will cut out his eye, right? Do that. They will do it again on the other. I having a little bit of a problem here with the software, Probably cause I've been using it too much where it's not showing me where my selection is , but I'm just gonna keep going right now. Ah, for the sick of their I pasted it there. No has no eyes. He looks kind of Ah, actually kind of scary. I can go in there and ah, maybe give him some black people's with a brush on which layer on your new layer that work . Get up here because I have that still selected De selected, Yeah, To make some weird crazy eyes or making like, cross side something like that. Okay, so I have some crazy eyes on this guy, and, um, that's the lasso tool. And then we have this selection pool is the magic wand. If I want to, this probably won't work perfectly, But if I wanted to just select an area, for example, all of this Ah, this dark part of his shirt, I'll just tap it with a magic wand. And, you know, actually, because that selection is not showing, I have to restart the semi open. I'm gonna close this one and see. See if I can fix that very quickly that restarting the software, okay. And then do magic wand to select that. Yeah, there we go. There's someone that particular image it was working, but ah, as you can see there, when I just hit, I'm gonna just hit the ah, the white space here, and that will select everything besides the black area. And since it's a very big campus, it takes a little while and just to show I have it selected. I'll choose this color and fill that space in. So you see, it's selected everything but that area right there. Eso let me go back to my photo. Which waas but as layer This one? Yeah, and I can zoom in here. Let's imagine that I just want to select this dark part of a Sure I'll try to tap on it. And as you can see, it does a pretty good job at acknowledging that that whole area is one color. But you can't blame it for not selecting it perfectly. Because, technically speaking, if you zoom in and I'll do control shift and the a key toe, make that selection go away, Um, then you can see this area up here is actually a different color. So I'll select this first. I don't. I want to make sure I get that whole part. So now I'm gonna hold down the shift key, and I can add another selection, which will be that part. Now hold the shift key again, and I want to get these other parts here. I want to add this all of that. This this I'll just tap around here until I have all that stuff selected with the with a magic wand, and it does a pretty good job as long as the colors a song is. There isn't too much of a variance in colors. Now what would I do with that spot? I don't know. Maybe I wanted to make his shirt pink, so just fill it in pink like that. Obviously, that doesn't a very natural. It's not something we're normally trying to do. But it goes to show you how that tool can select an area, even though the colors are a little bit different. With just a few clicks, you can pretty much select the whole area. Here we go again because he has light coming from the back. Well, this is me because I have, like, coming from behind, so it's lighter. The color of the shirt is lighter red up here than is down there, So if I want to select this whole half of the shirt, I'll hold down the shift key and get that light Part two. They hit the in between part and all these parts here and there you go. Pretty much has it all selected. That's another way that you can, you know, uh, basically select an area that you're trying to manipulate. And that's all I'm really trying to cover in this lesson is just to show you there's I have three or four different ways and there's even more selection tools. I believe in the in the settings, which in the preferences, which I might have turned off, I think there's another one where you can paint the area that that you want to use. But the's air enough for me to keep me going. And I, you know, recommend these. You can also turn on the other ones, and they're self explanatory. As long as you understand these, the most important thing to understand is, uh, you know how to grab a section holding. Now let's say I have I grabbed too much. Sometimes his black area, Maybe I want that. And then I realized, You know what? I don't wanna have that area. So now I'm gonna hold the control key, and that's going to subtract that part of this selection, right? And what if I don't want this part selected? I hold the this dark wrinkle area, so hold down the control key again. I'll tap that, and, well, it took out more than I wanted. But, um, you get the idea. If you hold the control key, it'll take away apart. And another thing of reason why it might have selected too much air is because I have this Ah, threshold in the settings for all selections or no, mostly the ah, the magic wand, which is what we're using here. This one is called The Magic Wand, and it just selects the whole area based on its color. And if you changed the threshold of the magic wand, let's turn it down a little. Let's turn down a lot to see what happens, and I'll g o to select this area again. See, there's with the threshold at, um, what do we have it set up? Sit at eight. The threshold set to eight. Let me try setting it up much higher. Now it's at 101 and I'll try selecting this area again and look what happened. It's selected almost everything right, so I go to fill that in with a paint bucket. Now it's noticed everything that it fills. Yeah, it's selected all of that stuff, which is not what we wanted. So that goes to show you what the threshold means if you ah, up some on their own tool. Have you want to loosen the ability of the selection such as to say, to make it select more colors in the surrounding area that that have a slight similarity to it? Then you can turn a threshold up a little, so I'm gonna change it to let's see if we can try and get this whole red area here, whether it be light red or dark grid. Maybe I'll set it to 32. We'll see what happens. No, it actually just went out that way. Whatever it is, it just ah, this threshold helps to define the boundary. There. It's It's a little bit better, right? When I haven't set to 14 like that, it will only select this bottom part up to about where that line is there, but I put it up a little bit higher. Do it again. Now it's selecting mawr of that shirt area, so we put it up higher than it's just going to go crazy and, you know, go all over the place. So the threshold of help to keep in the boundaries of how much color it selects. Based on what you what color it was that you selected, right? So, yeah, there's gonna hard to put into words, but I think Ah, with combination of my speaking and demonstrating here, you probably get the idea. And that's it for this one. We had many ways to select things. Um, to review There was the box selection which we call the rectangle selector. And we have the lips selector, such as making ovals and circles selections. And then we have the lasso which will ah, both. You can draw with the lasso such as this and just pick out an area or so with that drawing , let me just demonstrate eso I lasted that area. Or another thing you can do with the last. So is you can tap once twice, three and just come back to that area like that. So basically, yeah, you can draw shapes with it basically like ah, kind of like a line drawing tool so I can tap here, here, maybe do a little oval than tap here, and it just keeps following you until you go back to where you started at and fill it to close the gap. Once you closed the gap, that area is selected. It's done. Okay, so, yeah, that's another. I just wanted to add that detail to the to the lasso tool. And then we have the magic wand, which is basically, you know, choosing by color, but within a certain threshold. So you have to play with that threshold and see what is Thea. You know, the best settings to select the area that you're going for, and, ah, with those tools together and maybe some of the others in the toolbox, Um which you can turn on if you want to. Ah, you can definitely. You should be able to select whatever it is you're looking for. And that's it for our selection, tutorial and lesson here and have to see in the next lesson. I hope you enjoyed this one. Have a good day 13. Bucket Fill and Gradient: Hi. This is Brennan and continuing in this series with the review of the Bucket Tool and Greedy Int tool. And so, just in the last lesson, which of you watched it? Ah, before this one would make more sense. We were playing with this photo here. And so just go ahead and continue with that. Do a rough outline this year. Try and catch this guy's head and to one capsulized area. And then if we ah, I want to fill in that area with the later color, for example, White, Then use the bucket tool. But what if I just want to make his his whole face area just, ah, a little bit whiter right on this area. Well, we have a choice. We're gonna have, ah, the colors over here, which whenever before this is a foreground color and we also have the background color, which is black. So if I hit this tool to swap it now, the background colors in a front. So now the foreground color is black in the background colors by Well, I'm going to flip it back again, so the foreground color is white. Now, when we choose this, there's different ways that you can fill, and those are right over here. Let me use the zoom tool so I can see that better. And we have the ah ah, wait nieto. Configure this okay, so you can choose to fill with the foreground color the background color or pattern Phil. That's pretty self explanatory, I think so. I have my bucket tool selected. Now I can feel that whole area I selected with a foreground color or I can go the background color, which is black. Or I can switch it to Pattern Phil, at which point will be able to choose a pattern and fill it with that. And we have lots of lots of different patterns here already for us. Or you can probably choose your own pattern or at a new power pattern in there. So that part is pretty self explanatory. We're just going to select an area and then fill it. That's what the paint bucket does. However, there are different situations where, even while I have this selected, let me go back a few steps. Even when I had this selected, what if I didn't want to fill over his whole face? What if I wanted to, I don't know. That's like That's for the situation. Say his his beard or something, or just like fill in some of the lighting area that the lighter part of his face over here , um, in this situation, we're not going to do fill whole selection as we had it before. We're going to say Phil similar colors. So while it's on Phil summer color moods, let's see what happens. I'll just tap over here in this part and threshold. I need to go down a little bit for my example. Still not work, Phil. Similar colors because we're not on the later I was on a separate layer, let me show you that I was actually on this layer. This is important to this blank layer. So if I hit, feel if I wanted to fill the similar colors and the whole layer is blank, then what's gonna happen? So I need to go down to the layer that that has the colors which I'm trying to work with and highlight Select that layer before we start working on it. Okay, so now we'll go to fill similar colors again. We're in white. I'm just gonna tap this area over here. And actually, now we can throw. But the threshold up a little bit more normal is about 10. I think is a normal starting place with a threshold. Top this area here and now you see, it only fills in that area of his face that has the same color tone where to do it over here, the same thing, right? It's only going to do that. That little part that the light is reflecting on right there on his face. Okay, so you can see there's a difference there between Phil Whole selection or Filho colors. And this can be. Obviously, it can make a huge difference in and what it is that you're doing. This situation with the face is not a very common one, but let's say, for example, I just wanted to fill his shirt. Um, now there's a lot of different colors on it. But instead of taking a paintbrush and starting to go like this and try and get all the details and and, you know, in making a small brush and zooming in, making it perfect, what I could do is going to the bucket tool and just hit a couple of times in the right spots that once here once there. All right, that's 1234 five, 67 And I just saved myself. Ah, lot of brushstrokes by but hitting it a few times like that. And as you can see, it almost filled up that that whole area of a shirt with just five or six strokes right? And ah so that will be useful in many, many different situations, knowing the difference between filling similar colors and filling the whole selection. And again the threshold as we learned in last lesson now feeling the whole selection. Obviously, if I hit that here, she's gonna yeah, so the whole thing. So let's see what the Grady Int does. Radiant is going to go by default. It will usually go from foreground color to background color. What happens with ingredient tool is that first I pushed down or atop the mouse once, and I hold the mouse down and I drag it and then I let go and it does this right. I haven't set to buy Linear. Let me go to a linear. This is the default, so I drag it out and it goes like that, and the angle that it does the Grady int from from this color to that color is gonna be depending on which way you drag it so I can drag it this way and drag it that way. And if you looked at any kind of illustration before, obviously you can do all kinds of like background effects and such with this technique. Ah, the important things T notice with the with the Grady in menu is that you can choose the type of radiant that you're doing. Either you go from foreground, a background color or background foreground. Or they have a lot of presets, which you can choose, such as this one here called abstract. And I'll just make those particular preset colors for you. Or, if you go down further, they have, ah, like would textures. And here's a Here's a metal where horizon kind of texture also looks kind of like metallic right, and so you can pull these either your pull it really far like that, or you do it very short, and it will give you different effects. The most important effects that I usually find with this is going from foreground to transparent. The reason. That's important. Let's imagine if we filled in. You know, this whole area here. There's so many cases where this becomes important, such as like if I'm doing the ah blue sky and there's always ingredient in the blue sky and I want to pull it down like that so I can do that first, having a soft radiant like that and then come in and start to do, you know, with a paintbrush, go to the green, as I did in a previous lesson, I start to fill in these. Ah, make this real quick. You know, the Green Mountains will come in like this. This might be just like one one mountain here so that Grady in the background gives us kind of ah, sky effect, right? Huh? And then, Ah, I don't know. Let's say, for example, what if you had, like, a stick or something or a tree? Let's make a real quick tree to show how these tools can be used, as I did multiple times, usually drawing. I don't know for what reason, but if you draw a tree and a mountain and a sky, it it seems to cover so many different things. There's a very bright and I'm doing this some purpose. Very bright tree. Here's the branches coming up and then we'll go to, Ah, a green like this, Right? So that's gonna represent all the leaves up here. Put a little bit in the back, just like that. So very, very simple. But what if I select this area with a magic wand, as we did last time? And don't worry about these settings right now. Just use Thea the magic wand to select this tree area me and use a great yet and let's say that the foreground color is black. So we're gonna go from black to nothing, and I'll just pull that down slightly, pull it down a little bit here, so I'll show you that there's shade coming from under the tree cause I selected just that area that looks like that the tree leaves. Ah yeah, the You know, the bush part of the tree is casting some shadow down on to onto the these upper branches. And also maybe the light is coming from the other direction. So you just to sort of ah, yes, low, A subtle like greedy int shade effect here. Not a perfect example of the way to use this, but it just gives you Ah, the general idea. Now they have that in there. I can go and do some color selection. Bring the capacity down to my brush. These are all things we covered in previous lessons. And just start to ah, toe fill in. You know, based on the color that I need because I have a whole spectrum here of radiant colors. So you just pull out the ones that I need and start drawing and starts to look more and more like a tree, get a darker shade of the green, go around here and give it some Ah, you know, depth and texture and and stuff like that and a cast shadow comes out every year, and it almost looks like a cartoon tree. Little shut up, right? So, um, that's obviously not it a great tree, But I only get the general idea is that there's just, ah, many, many uses for the radiant tool. I didn't find the best one right here. Just trying to do something very quickly. And, ah, more importantly, that sky effect ihsaa. Very good example, And also the bucket fill tool. When you have different types of selections, there's different things. You can do it now, also with the ah, the Grady int tool That was only for linear weaken Do radio right such as this. So now if I feel this whole area, you can even start with a black canvas. Now just fill the whole selection with black. Now make the foreground color some kind of neon blue or something, and will make the the Grady Int tool will set at radio. So now it's that radio is gonna make a circle pattern like that, right? You start to make little stars like this and changing color again and make it like greenish a little little stars, big stars. And this could be more than just making random background effects you could also make Ah, this could be very useful for some type of, you know, designer or a particular pattern or illustration you're doing. Sometimes you need that soft edge just coming in a circle what you're doing like I want to show that the sun was very strong. If we're looking at the blue sky again, I want to have a very strong yellow kind of sunlight coming from over this way that I can use a radio effect and also with square effects in here conical these I don't use too much . Even that right there. It looks pretty cool, right? You could do all kinds of stuff with that. Um, here is a square effect. See what that does. So it just makes sort of ah diamond sort of shaped like that. I have rarely found that to be very useful, but the linear and the radio are very useful and by linear often comes in very useful by linear means. It will be just in a line, but it will give out both ways because let's compared to linear First, linear just goes from one color to the other. Or, you know, depending on your settings, I have it going from the foreground color to nothing, right? So it's just gonna start off wherever I started. Even I start halfway down here. It's going to start off with a color that I have selected and go off into nothing, which in this case that nothing is the black background. But if I put on by linear than depending on where I start is going to go in both directions into nothing, right? That's why they call it by linear because it's linear, but on both sides. So you could do like you start off with a horizon like this and then start doing all kinds of crazy. Ah, you know, science fiction stuff in the middle there, that could be like the sun rising in the background. I could do a son like that, you know, go into a red color and turn the transparency down on this layer. That's a red a stronger red like that. Yeah. And do another by linear one of these. And it might look like, you know, some kind of sunset effect or something like and then you say, Oh, I need some blue on the top. Okay? We'll switch over to blue to make it look like a sky later blue And then we'll go to just are you going to stay in by linear and bring the blue down on the top just like that, right? You start to get a sunset effect, and then you do the same on the bottom, where you're gonna draw in the the ocean waves and and stuff like this. So I'm not actually drawing that out. But just to give you a quick example, if you use your imagination, you can see Ah, you know, many uses their of the bi linear and the and the linear tools. I think that's it for this one. We had the, um we were ingredient. I'm only trying to cover the bucket and Grady in tools which are both for filling in color . Bucket, obviously, is the fill in solid color. And ingredient gives you these nice Grady inflows which can be used. And I use it mostly for background skies and, you know, horizons and stuff like that. But it comes in useful for a lot of other things to the tree Example might have been a little weird, but ah, I was just trying to stretch it to see how far I could get with it. Okay, so that's it for this lesson. And ah, we'll see in the next one. Hope you enjoyed this. If you have any questions, please send me a message and ah, have a good day 14. Transform and Crop Tools: So this is Brendon. And in this lesson, we're going to cover the transform tools. I'm referring to them as transformed tools. They're set of tools which basically helped to transform shapes and sizes. And with the zoom tool here that I have, this does not come with the gift. By the way, I'm only using this for ah, for our purposes. Here. Um, it's ah, softer specific toe Lennox, I guess. And windows, you have to get a different one. Um, So what I have here is ah ah to zoom in and look at the palette here. What I'm going to refer to now is this. Ah, this tool here where you can rotate, you see by the icon there, this one here you can scale on. You see, this icon has, like, small to big kind of look to it. This one is called the ah sheer tool. And this one, you can do perspectives called perspective tool. And with this one, you can flip, right? Ah, and we also have the cage tool down here which allows you to do ah more random free transform. Basically, in the software photo shop, I believe that Call that free transform. It basically looks like a cage. And you can just ben things around and shape them however you want to. So that's how that Ah, there's their tools. I'm gonna go over and, um, very quickly a tradition be too complicated to try and make it simple. So here we get a photo of me again, and I'm going to, uh, cut out my head as I usually do. It's Ah, I guess it's a habit. Something I enjoy. So chop off that head. Go last. So this head around here, you see, I have had headphones on which actually have them on right now. I did this wrong. Didn't come out, right? Actually, let me use this to Yeah, it's easier show chop off the hair. A little bit of their and, um, I'm gonna do here is I'm just going to cut with control X and them going to paste it with control V. Now, remember, when every paste in the gimp you have to go over to the layer section here and set it to new layer. Get the zoom tool out for that to make sure that we're we're being clear on this in this area here. You can see after I hit paste. It says there's a pasted layer there and it's always up at the top. And I'm going to right click on it. And that may see I got to sit that the tool there zoom tool to Ah, whoops. Where to go? Okay, there it is. Said to always stay on top. Now, if I right click here, this will come out this way. Right Click here. You're going to see it will say two new layer underneath. It has a couple of options. Will say to new layer are new from visible a new layer group. Um, I don't It's a really weird thing. I don't know why the gimp does this. I think when you pay something, it's just automatically go to a new layer. But alas Ah, this is what they do so well. After just say to new layer will click that. And now I have pasted layer. Okay, so I don't need this for now. Um so now we have that pasted layer where I cut the head out of me. You can see if I hide the layer with the eye. Here, hide the layer and you can see there My head disappears. It comes back. Now let's use these tools toe play with that real quick and see what we can do with it. One thing we can do is to the 1st 1 the rotate tool. First I will click on that Tolliver here and then I will select the layer that I want to root it. Now I have in rotate mode you see this kind of a cage effect there, and I can write it this way, rotated that way or to eat whatever I want. So let me make it go. I don't know. Just be Zini. Let's go completely upside down. Now. My head is completely upset out, and that's basically what the rule to the ah rotate tool does is just, you know, rotating around. You can go by angles up here. You can use this sliding bar to move it around, or you can go in with the mouse and just put it where you want to. And you can also decide where the center is by using this here, let's see what happens if we move the center to a different pixel location. Now, when we spend it around knows it's spinning. The center acts is in a different location. Let's see if we can select that center. Yeah, here it is, right here. So if I were to put the center up by the chin right here now that has become the center. Look at how it spends. It is going to spend around the chin area so the chin will be the center, so that will help you in certain situations where it gets very where you have to be precise and mathematical. You can move the center where it needs to be in rotate around. That's just the rotate tool. Basically, um, next one is a scale tool, not too hard to understand. It's the same process with each one of these tools. Firstly selected tool, you'll get a little dialogue that you can use to change it, such as this could make the with wider right. So now I have a big fat head me that in a center like that, try doing that 20 or friends heads and see how they like it, Um, or you know what else? We have? The width and the height. Give me a long head like that and then move it up with the move tour. So it looks like a long, crazy alien head. Or get back to where it was again. Or we can lock it together with this part here, and it'll at both with and height to it at the same time. Now, you don't have to do it like that. What you can do is also, as usual, with the other tool. Just grab it down here. I'm gonna take away that Locke tool. Just grab it down here and, like, stretch it and pull it moved around however you want. But while you're in this mode similar to previous lessons where we learned you can use the shift in control key while I'm in this mood, I'm gonna hit the shift key now and see what that does. Well, it does nothing hit the control key. OK, there we go. See the control key. No matter where I move, my mouse is going to keep it at an equal scale so it doesn't stretch horizontally or pull it vertically. When once I hold down, that, uh, control key is going to keep it at a good scale. So you can make it bigger without losing proportions. So that's Ah, good tip toe have when playing with that tool. A lot of these tools have that trick to Marie. Either hold down shift or hold down a control to see what happens. And I don't remember everything perfectly myself, but is what happened? Sheer tulle. What does it do? This is what it does. It shears things like that, right? They can stretch that box in an odd way. Um, as to where you want to share it wanted to go this way. You have to grab it on the bottom and I'm going to go the other way. Let me go. Reset it any grab it on the right side of the left side and he can make it sheer like this . That could be good to help you to make sort of, like a perspective effect. Or let's say, for example, I wanted to say that Ah, my face was on ah, piece of paper or it was like a poster on the wall. Then you share it like this, and now you can see it kind of looks like it's, you know, leaning sideways. You're looking at it sideways as if it were on a cover of a book or something like that. You do a lot of tricks with that perspective toe a similar situation to the sheer tool where we can just move things around. Let me even hide some of these other layers now so it can see what's happening. So you can, like, stretch things and put him into perspective. That's why they call perspective twisting You're studying illustration make it look like that. So it looks like, Ah, my head is slowly zooming off into the distance. Boy, that looks funny. Um, yeah, but ah, you know, there, if you study perspective, that makes more sense. Using this tool on ahead is just plain old funny. That looks like Conan O'Brien. Um, but yeah, If you were to make a checkerboard design or something like this and then ah, use a perspective tool, you could make it look like it was going off into the distance. Otherwise, you can just do whatever you want with a stretched around like this, and that is not necessarily perfect perspective or anything like that. But, ah, you just do some stretching effects. Um, flipped all pretty self explanatory over that. Flip it this way. Flip it. That way you can flip it. You should be able to flip it. Oh, yeah, Here it is. Flip it vertically with the settings over here. And then all I do is tap it with the mouse and it just flips it for me. Yes, that's very handy. And I don't even use that too much I normally use Ah, actually should use that more often. That's more convenient. I normally go up to here and, ah, once you have a layer selected, you get a layer menu, get to transform and do flip vertically. And I will do that. I use that a lot just for ah to check if things air symmetrical when I'm drawing, and then we have the cage tool in the cage. Tool is interesting. I think it's new. I'm not sure. I think it's one of the newer features. And again, I say, if I make you draw a box or draw a shape with this right first, that's how this one works, and then it's gonna compute. It usually takes a little bit of time, and it makes ah, it makes a matrix around it so that you can stretch things around. Right? And the detail of this matrix depends on how much work you put into it with your with your cage. So if I make more lines here, I'm gonna make more dots as I go around it so we can have more detail. Then we'll see what happens. Now it's making the cage. That's doing something. Okay, Now I can start playing with these lines. Let me let me try and zoom in or squish in the eyes with using using this part here. But that one in there and this one in here, Yeah, and you see how it only squeezes. It only transforms those specific parts, which I'm working on and then the top of the head. Maybe I'll try and stretch it up with these parts here. Yeah, and as you can see, it just focuses on on those parts. Although this is ah, it's stretching it outside of the layer, so I can't really see it. That's what the cage tool does. Um, you can do all kinds of stuff with it. Let me try and select a bunch of nudes around my eyes. here, right? And I don't know why it's doing that. I just stretch my eyes up like this and then hit the enter key. Right? See, this tool is very strange. Anyway, it's supposed to do, Um, that's what it's supposed to do. It's supposed to ah, move. Things stretch things in a certain way, depending on where you ah, you know where you put the cage. So I think this tool is relatively new, and I wouldn't be surprised if it doesn't work exactly what's supposed to, anyway. Um, so that's all the transformed tools. And then the only other one that we technically speaking, have already covered is the crop tool I was gonna cover in. Ah, this lesson. So go back to ah, opening up another or the same same image. Maybe this one. That was similar. Yeah. Ah, crop tool. I had actually closed it. It's not, um, it's not very complicated. It's not mind bending, but basically just cropped the image. Um, it is necessary toe to go through it at least once. Where am I going? I need to go into preferences. And ah, actually, not even Yeah, that's right, Toolbox. Because I took it out of my toolbox because I don't use it just to show you ah, how important I think it is. Actually, I took it out of here. Did I? Oh, no, wait. According to this, it's in there. It should be career up should be that knife tool, But I don't Oh, there it issue. It actually isn't there. I probably will take it out. The so the crop tool. What you do is you select a box, right, and then you just click on it and it crops that box. And that's, you know, just the thing to be careful of with that and to understand what that is actually cropping the whole entire image, not just the layer. So if you had many layers anyone in and just cropped it off like this than all of those layers would get chopped off and you know, into that area. Obviously this crop tools very useful for photos and ah, you know, whether it be landscape or whatever, Like what? If, for example, I wanted to make this photo, I can stretch it out and make it into sort of a ah widescreen effect. Right? So I can crop it like this. You could do that if it were a ah ah. What kind of like landscape photo or in a beautiful scenery and make a nice, long ah, effect like that. Or you can make a super skinny, artistic kind of things like this. Why would you do that? Well, there's a 1,000,001 reasons, depending on what you're doing, you could even be drawing an illustration, and you just want some special kind of effect. Ah, you know, some of some kind of special kind of scale to your image. So, uh, aspect ratio and all that. So that's your crop tool, and that's it. So all those tools that help you to stretch pool and move around individual layers and then , ah, finally you can crop the image. I just thought that there's tools kind of fit together, and so I would share the multi it once and ah, not too hard to understand. But I had to go through a review, a definite recommend playing around with those. Just have some fun with them. Play with photos, sir, whatever you can do. And ah, that's it will move on to the next lesson. I hope you enjoyed this one and CIA 15. Path Tool: this is Brendon. And in this lesson, we're going to go over the Patil, which is probably one of the most important tools. Whoever use if you want to draw with with the mouse or if you want to do some design work and ah, and really make it perfect, there's a lot of things with a path tour that can be done. Um, the path tool. Firstly, let me get this assume pulled out here so you can see what we're looking at. Path Tool is this icon right here? And, um, let me see if I hover the mouse There. You see, It's his path tool, and it's ah, it looks like sort of a pen and old fashioned pen with these. Ah, these nodes over here, which at first glance, if you don't know what it issue, probably won't understand it. But, um, once you start to play with it, you'll know exactly what that means, and you won't forget exactly what it means. Ah, yeah. Excuse me On that last part, I, uh, got a little confused myself with what I was trying to say is just little complicated to explain until you just get in there and start doing it. You know, you have to start working with this tool. Let's say, for example, would be a perfect example of something you want to do with the path will. Maybe I want to draw a, uh, an apple. We're gonna have a company, and we're gonna make a logo for it. And they're called, you know, apples incorporated. So if I were to go to the brush tool and let's just say do something like this, so get a black pen for starters and I'll try and do the capacities down. We'll try and do in a nice little apple here and maybe I even have a somewhat steady hand. And I could make a nice apple just like that, right? Philippine Red, It'll be good, but there's gonna come a time in a situation where you want to read, reuse their shape, and you also want to just make sure that you have really, really perfect corners and edges. Because, imagine, we're doing something for a big company like uh ah, that's a Nike shoes or McDonald's. You know, not that these air, my favorite companies or anything but just that size of company and international, like Walmart size or something where everything just has to be perfect, right? Some trying to use ah, really obvious examples that everybody can understand. Well, in that situation, if you don't have a perfectly steady hand, you can take out this path tool and start to draw things with the tool, and it will help you to draw these. He's perfectly smooth lines, right? Let's have a look at this, first of all, and you can always come back to the path tool and rework it and reshape it and and, ah, make it better and better. So I'm gonna try and do that. The top half of that apple, just secret doing a minute ago as he saw the Ah, an apple is usually a little bigger on the top we'll do is move these lines around as a zoom in here. Let's focus on one of these nodes here and notice that it has two lines to it, a better one to look at, actually to really get the idea. It's look at this one that's in the middle and look at how when I select it, I highlighted. It has these little markers that come up these little news. These will help you to control the angle of the line as its bending around. See, As I pull it back, the line comes with me. And if I pull it down, you know the lines just gonna follow that. But it follows. Ah, you know, it follows a certain sort of arc that works together with this one over here. So if I were to pull this one back towards it and also this one pull ups and also pull this one back, we start to get more and more of a straighter line. But if I pull it up and out like that and do the same with this one over here, then we'll get a nice round line like that. So it's not easy to put in words. Exactly. You know how to get the right angles using Ah, this technique. But I think by looking at what I'm doing here, have you just Ah, play with it? Ah, I don't know. You know how long? Maybe some people would need toe fiddle around with it for a week or two and others will pick it up very quickly. But if you just play with it a little bit, then you can see that it's not too hard to understand it. You'll get sort of just, ah, a natural understanding port. Oh, so I'm gonna do here. I'm gonna draw half of the apple because I don't want to. I want to be perfectly symmetrical anyway, and I don't want to have to draw that much. Also, that's always an important thing. I have this one come down here. An important trick to remember if you want to make a straight line cause I'm only drawing half the apple is to just pull this thing over directly in the direction that you want. The next line to G O. And this one too. Go straight up there and make my last line. So that would make you know a nice, perfect line like that. Now I'm gonna bring it up to where I started at, so it'll finish itself off and make completed. Um, complete. Actually, you know what? I'm not I'm gonna do this differently. I'm just going to draw the line. There's there's actually two things that I want to show you with this. So no, I'll show you this one first. What we're gonna do is we're gonna draw a line around that because right now it's just a path tool. We didn't actually paint anything. Um, see, now if I switched into paintbrush mode there, you know that would be drawing a line on the canvas, But we haven't done anything with that now. When I just switched a paintbrush mood, you'll notice the path that just disappeared. But don't panic because you have to go up here into the path dialogue here, the path tab. And there it is, right there Now, when I highlighted, you can still see it's there. I'll go back into a path tool mode and click on it. And there's all my notes I can still play with with a shape in this size, I can notice here it's a little bit out of whack, and certain areas doesn't look. Ah, the smooth as I'd like to be. See this part right here. If you zoom in, you can see it looks a little, has a little dent right there. I don't want that. I want to look like a nice smooth curves. And the reason that can happen as particularly if these lines are pulled out too far. See what happens. It goes, it goes beyond the point of the other nude. Then that's ah, obviously going to make it bend and twist like that. So you want to pull it back and not let it have Ah, hang out too far. Same with this one here. So should make nice, smooth curves. Right. And now I have that selected. I have, ah, drawn up exactly where I wanted to be. I'm gonna go into this one right here. Let me zoom in. And this is this is, you know, it's an unnamed path. That's the one that we're working on right now. And on the bottom part here, we have some options. All right. You can copy this path. You can turn it to a selection so that you could color it in. Ah, such as using a paint bucket. And this one right here where you have that little brush. That's what I'm interested in right now. That's ah going to allow us to draw a line along that path and we'll see what it says even when I hover the mouse over it as you give you a tip says paint along the path. Right? So that's a tool we're gonna use. I'm gonna click on that tool, and we have choices here of Ah, I can either just use the default option here. I'm gonna do that. Now, just see what happens. I'm a click the stroke button and see what happens. It should have painted. Let me close the path so I can see you know why we didn't see anything is cause we're in the color white and we have a white background. So let's do that again. I'm just going to click that tool and use the default options with the the black color selected here and hit strip. And there you go. It gave us a nice, perfect line right there. I could have never drawn that so perfectly with my hand. And, ah, you know, I've been drawing for a long time to So that's Ah, that's something. Um, look at how just, you know, robotically perfect. It is. He just can't do that. Almost Looks like a year, though. Keep in mind, this is 1/2 of an apple, so I'm gonna leave that there and we'll leave that path, Will there. And what I'm gonna do is just copy this real quick. I mean, a copy and paste it. I believe that should make I could be wrong. Even I'm hoping this will look like half of an apple when I'm done. I made it into a new layer. Let's use our flip tool, which we, uh, recently just reviewed. Then we use move, tool. I'm gonna tap it once with the move tool on. And then I'm going to use my arrow key to slide it over perfectly. The reason I'm doing that is because what if I were to grab it and move it around? Well, then it starts to get hard to see. Where is the, You know, that perfect pixel to put it and you gotta zoom in and find the perfect place. Sometimes that can be very hard to do. So instead of that, I'm gonna go back a few steps here. I'll just tap it once, make sure I have the layers selected, and then slide it over. See how it slides over perfectly now with the, um with the arrow keys and I can move it up one pixel at a time down one picks of the time , Get it right into place. That kind of looks like an apple. Well, it depends what kind of apples you're used to. The apples I eat Look like this. Um, And now that I have Ah, I have basically two layers because I copied and pasted half of it right on the other ones down here. So I'm going to go up to the top layer. I wanna right click on it and say, Merge down. So now it's merged into one layer, right? You can't undo that. So make sure that you have everything Exactly how you want it before you do that. Now go into the apple. Choose a red color, of course. Reddish color and user paint. Bucket with Phil. Similar colors as we study before. Infill ident. That's not very red, is it? Not that kind of red. It's not apple red. Bring it down a little, Right. There we go. Now, as you can see, um, while we're at this Ah, you know, you might notice these lessons get a little bit more complicated as we go along. Because I I'm assuming that you learned everything from the previous lessons will build upon that as we go, I'm gonna select this red part because see how there's little, uh, spots in their white spots where didn't feel in perfect. There's different ways of dealing with it. One is that Let me undo this and get back to this. But one is that I can play with the threshold here as we saw before, A threshold is going to define, uh, where where are selections break through the barriers and there we go, Right. I got the threshold. I had to bring it all the way up to 100 and it starts to, Ah, breakthrough that that little white line barrier, so it fills it imperfectly. But ah, an even better way for this situation is to make another layer under Ah, this line layer, right. We have the line. And underneath that layer, remember, if one underneath layer, it'll everything we draw is going to go behind it, right? So we can do here is this is a little bit tricky. First we got to go up to the line layer, make sure on that layer, and I'm going to select it with a magic wand. So I have everything selected there. But I'm going to go up to the select area and grow the selection by maybe four pixels. Right now you can see the selection is going all the way. Ah, into the black line area. So when we fill it in is gonna fill in into that area. But if I do it now, it's going to cover up because we're on this layer. Um oh, yeah, It's still just gonna fill in where you wanted to. So let's say if I did fill the whole selection right and fill it like that now it's covered up our black line, and we didn't want that to happen. So what I'm gonna do is I'm gonna go down to that new layer we made underneath and fill that in. So now we have is a perfect ah read fill in where it's going underneath the black lines. And that way, we couldn't possibly have any white space leftover on the top there. Um, something even better to do would be to go to this black layer and turn it into ah, multiply layer, That'll really uh, yeah, that'll really fix it up. Anyway, there's an apple course it still doesn't look completely like an apple unless you make a stem. And so we have to do something like this right now. It's an apple. Actually, that stem should be thicker, I think, Don't you something like this. Now it's too thick. I just can't get the right size. Let me go up to about 10 pixels. There we go. Now it's an apple. And we did that using the path will. Now another thing we can do with the path tool is some. Let's make another shaped like a moon again. This is something. If you're using your hand, it would be very hard to to do perfectly. You sort of ah, moon shaped like this. A crescent moon. I noticed when I come in here. Now, this Linus, the outer circle. And I want the inner circle to come in real sharp this way. So I gotta pull this one over down like this, and notice just kind of noticed the angle. It's really hard toe to put in the words easily so that everyone can understand it. But notice where I I dragged these lines. I move this around and you just sort of get a feel for it. Certainly no easy way to put that into words, all right. And do this one up there. And the great thing about this is even if it's not perfect when he started off. But you can always go back and tweak it. You play with these, there is little lines a little bit. Do that back. Move it forward, get it to where it needs to be. And I think your brain will figure it out nine times out of 10. You don't have to force yourself to think too much. It just happens. If he wanted to work, then it will eventually work. Play with these to the gets right trial and error. Okay, so it's not a perfect crescent moon. And there's, you know, better ways to do that. I could have used a circle tool, but this isn't just a good example of the other thing I want to do when toe show you how to use here. And that is if we go into back in this area where the menu is, you can see first we use that path Tool are now. This is the the the brush on the path will. And now we're going to use this one. It's Ah, that red box there. I'm gonna turn the path into a selection. So let's see what happens when we hit that. There you go. And he should be able to see that the path actually got turned into a selection so that can fill it in. Now with whatever I want, I can fill it in with the brush or, you know, we'll use yellow Mooney kind of color. I can go ahead and fill it in with a brush like this cause it's a selection now where I could fill it in with the bucket or the Grady int tool. What if we used foreground a background radiant. And I told you, I do that all the time, will make the other color to be orange kind of tent that we do ingredient. You get kind of a smooth effect like that. Now, there we go. That's pretty cool. Something like that. Of course I would be better if we had a black background so I could do a real quick rectangle. Black fill in and that is not good. Where did that? Oh, I already painted it on the other layer, so we'll make I just put it on this There. Yeah, there were you. What is that? Like that? Mm. Have to undo that. Where did I Oh, actually painted it on the bottom layer. OK, well, in that case, there's nothing I could do because I painted that on the bottom. Ah, layer. What? Or what could I do? Let me see if I go back a few steps. Yeah, I just painted on this There. There we go, and we'll do the same thing with yellow. Make it look, Mooney. Now, I put, uh, square on this layer, get a black and try and fill that in. Yeah. Now we have a moon looking kind of thing, right? Nothing too fancy. Nothing so professional, But it's just showing Ah, basic usage of the tools here. How you can make something a little bit better. Ah, little bit smoother. A bit more professional. Um and ah, yeah, you If you want to get in a more illustration, keep in mind. I have the other course. It's called from drawing to illustration, and we can find my other course ideo Ah, a lot more deeper into detail with about, you know, illustration and stuff like that. But this is just all about tools and how to use him. So that's how you use the path tool various uses that you can do with it. And it's one of the most useful tools. If you're trying to make logos and and other kinds of professional illustrations for business and stuff. Ah, and of course, you know it can be useful in many different ways. You could even make cartoons and Children's books with that kind of tool, although it might be a little bit slower than Freehand drawing. But, ah, it's fun to play with if you have the time. So Ah, that's the end of this lesson and this section. I might do a summary in the next one, but for now, that's it, and we'll see in the next section 16. Basic Menu Navigation: this is Brendon. And in this section, we're gonna be going over the Ah, the menu were I'm actually gonna try and go through it from head to toe. We did already cover file, and ah, thinly covered recur file and edit is, uh, which is pretty clear. Yeah, we did preferences. And at it. And I think everybody can understand. Cut, copy and paste. That would be like a fundamental computer, of course. So I'm not gonna do that one. Um, but I'll go through, select and view a lot of other things in here that are very useful. Um, and after this lesson will really be getting into some drawing with the gimp. We're going to do some more professional style stuff playing with photos, stuff like that. So But you really got to get this foundational stuff in your head at least. Ah, vaguely. You know, briefly understand a lot of this stuff before you start going to work. So, um, all I wanna really dio in this particular lesson. There's gonna be following lessons where I go. Ah, you know, point by point through these menus, but for this one, I just want you to notice um that if I right click anywhere on the canvas, basically, I get that whole menu is the same menu that's up here. It's the same exact menu, and there's there's nothing different about it whatsoever. So if you're playing with the mouse and you feel lazy and you're drawing around here like this, feel free toe right click and and go look for your options in here. Ah, for example, that thing I just did. Maybe I want a blur it right now with the Gatien Blur. I'm just using Ah, one hand and there we go. Give it a blur. I didn't have to go up there to the menu. I didn't have to move around here. There. It's all right there with right click of the mouse. And if you're using ah, a tablet, a stylist or welcome tablet or something, and you could, ah, configure it accordingly. To have that available to you. It's very, very convenient. So, um yeah, there's the two things I want to go over is just you have the menu up here, you have it down here and then the only other place that I find myself right clicking and using the menu is Ah, over here in the layers. If you right click on If you select a layer and right click on it, then you will actually get the layers menu, which, fundamentally, I believe if we go up here, I'll just right click, they were saying and go to Here's the layer menu. We have new layer, new from visible a layer group, etcetera, etcetera. And over here it's pretty much the same. You have new layer new from visible layer group and all these things, and I will cover what? Ah, what a lot of those mean. Um, unfortunately, I probably cannot cover each and every single thing that you can do in the gimp because they're quite a few things. But I'll try and cover. Ah, the important stuff in the basics here. Ah, so that's it for this one. Just a real quick introduction, a show you how flexible and easy to use the menu is. It's all over the place. Ah, One more thing. I could turn this into a dock, as you see is a little dotted line right there. I can grab that. I can click on it. There you go. And turn it into a movable doc, which, and now I can, you know, click and select all the different menus. I don't know why it's like that, but it's just a cool feature. Ah, you know, it comes with the comes with this software. And so that's it for this. Ah, this particular lesson. We'll move onto the next one where we're going to start going through, Ah, each and every one of these. I think we'll start off with E Select many of. And so what? We have available to us there. Okay. And we'll see you soon. 17. Select Menu: No, this is Brennan. And in this lesson, we're going to go through using the select menu in the game. And, ah, sect menu is one of my favorite menus because you can do, ah, a lot of very important tricks with it. Um, what I might do, You just start off with a blank canvas here now, And, of course, Ah, the first thing we can do is select Ah, what we do with the select menu. It's not about ah using it to select something. It's what you do with a selection that you already have. So, as you can see, you can see clearly I have a selection here, and to make it more clear, I'll go ahead and, ah, just fill it in. So I know it's hard to see Ah, some of the detail of these selections when, by the time it's video gets processed, that doesn't come up so clearly. But now that I have ah selection there and you can see it's selected in that in that square space, I can go ahead and open the select menu here, and maybe ah actually used the right mouse button to demonstrate this better. Um Excuse me Having mouse difficulties here. Okay? Yeah. So I'll go ahead and go into the select menu here, and we can see the options here. Maybe a bit better. And I bring out the zoom tool here, and I'll have it Zoom right about over here and down a bit further. Right. And we'll do it over this spot. OK, so lips are gonna set that to stay on top. Okay, so with the, um where is it? Over here. Okay. Yeah. When we have this open, actually, I need to get to select right there were. And you can see we have, ah, select all, which is a common option in this case that would select the entire canvas, which be the entire image you say Select None. That's just too Ah, stop your selections. So, you know I don't wanna have anything selected anymore. I'll just say select. None. Inverts selection is going to select the opposite of whatever we're selecting now. So to demonstrate that I'll click that now and we get rid of this one. And now that I have done the invert selection, that means it's selecting everything but the square that it was selecting previously. So it's going to, Ah, red color and fill that in with the bucket to see what selected. And there you have it selected. Ah, you know, the opposite of what was said. Um, and there you can see a selection much better with the with the zoom tool there. I'm sure you'll see that, um, sounds go back into the menu. There's my select many we have all known. We did invert. Ah, float is what happens if we float the selection. Now we get basically a new ah floating selection where it's ah, it's holding that in that selection in a new layer, and there's various things that you can do with it. If you see now, it's basically the same as copying and pasting. As you see now. We have that layer. That red layer that was selected moved up into its own layer, so it's no longer down there. You might as well have said copy and Paste A. So far as I know at this point, and it's the same thing, I'm not sure exactly why they have that. As I've said a couple of times, Um, as much as you can know about this software. It's Ah. Sometimes it's a little confusing, and sometimes I don't have the answer to everything. Ah, but let's go back to that select menu going. Get that in view. Where exactly is this? I want to put this, you know, put it right there. So I should be ableto navigated better. There we go. And we did float, Um, by color, select by color. What happens if I do that? Now? I get the color picker is giving me and I can click the color that I want to select, which in this case, is the red. And as you can see, it has selected all of that all of that red area so that I could change the color to green and fill it in. And that's what we have selected. Okay, um, again, sec menu. But we have ah, from path. This means if I had used a path, we actually went over this in a previous lesson. Just two lessons back. If, um, I had used the path tool toe to make a path. And, you know, I could turn that into a selection using this as well as using the button that we did over there. And thesis. Election editor. Something I haven't used here it is Over here. It's opened up this area over here. And I You know, I don't know what you would use this for. Basically Ah, it seems here you can turn this election into a path. Ah, you can paint along the outline that that could be very useful. And you have We'll basically have a series of tools here. You can save the selection different things like that. That one I'm not very interested in right now. Ah, let me see. The one I do take interest in is from here down. Basically, we have ah, feather sharpen. Let me just move up a little bit Here, feather, sharpen, shrink, grow border distort and rounded rectangle these air ones that I use all the time. So let me just ah, focus on those real quick and I'll make another square. Or this time I'll make a circle right over here. I like to keep my layers open so I can see what I'm working on. Now, let's go ahead and make a black circle as opposed to the Black Square with the bucket tool here and you see we get a regular filled in circle. That's the behavior that we expect. But what happens by going to the selection menu and use the 1st 1 which is to feather? Now we're going to get a little dialogue and ask us, How much do you want to feather it by what's set to five pixels by default? But I'm gonna move it up to 30 pixels, and that will try and fill it in again and see what happens now you can see is a zoom in there or even without zooming, and you see how it has a nice soft edge to it that's called a feathered edge. So when you use a feather on your selection, it will give it a nice soft glow like that on the outside, and that can be useful for many situations. Um, I'll do an example of something we could do with that in just a minute. The next one we have here is to shrink the selection. So here we have a big circle. What if I were to shrink it by 12 pixels? Well, now it's smaller. Let me do something with that. So first off, fill it, fill it with black. And so as you can see, the feather is still on. That me Undo the feather, select and do not feather zero pixels with at work. Ah, thing you have to make a new selection must be because yeah, I use Thea Backe. So to make a new selection There we go. OK, and so we'll go into, um, select again and we're looking to shrink. Already made a black circle there. Now I'm going to shrink that circle by I'm gonna go bigger than 12 to go 27 pixels. Now we have a smaller selection inside that. So I choose another color. There's pick some random orangish color here and fill that in. Now you can see it's ah, it's smaller because we shrank the selection and doing this, you can make perfect circles. You could make a wheel. You know, all types of things that you can do with this cause, um, but not just for this. Let's say, for example, you know, you had a person and you're trying to ah, manipulate the way the person looks. You can select that whole person and then grow this selection or shrink it into different glowing effects or some weird things like that. And, ah, it's just very useful to shrink or grow the selection. I'll actually show you a couple examples of that in a minute. Um, but just understand the basics. That's what it does. You can shrink the the selection. Now I can grow it. I'll grow it by four pixels and maybe I'll make a little white line in there with, uh, fill some similar colors. So in Get in there and hit that little inspire it there. And then we have, ah, white circle going around there because I grew this selection. Another thing is to border this selection. So what if I want to make a perfect circle? First of all, hold down Thea the shift key and help me to make a perfect circle as opposed to an ellipse like that. Now I have a circle, but if I go to fill it in with red, for example, it will just fill in the hole circle. But I want to make an empty circle with, uh, you know, a certain type of radius to it. I want to have, like, a border around there, so that's where the border selection comes in. We'll go to select and we'll border this selection and will use five pixels of a border that will give us a big, thick ring like that. And we feel that in. And that's how you can make an empty circle. Ah, going back to our original selection. Or I should just leave that one there to make another one. Andi, I think we need a square for this one over there, yet it's Ah, yeah, we still have. We did border. Now this one distort this one, actually distort the selection, so that will have rough edges to it. Let's see what happens when we click it. Now we can zoom in here. I'll fill it in so you can see what happened. Fill it in with a great color and you see what it did. Is it just distorted the edges? I've used this, Ah, to make, like, rough, burnt, old looking paper kind of effect. And ah, you know, maybe if you're making ah bubbles comic balloons and you want to look like somebody saying something very scary, then you can use this distortion effect around the edges. There there's a lot of uses for that if you're getting creative and one more, I believe, which is also very useful for squares is theory rounded rectangle. So obviously, you know, if you want to make a rectangle that has nice, smooth edges like that, I use this one all the time to make a comic balloons such as, Well, fill it in with white. Now let's go back and select the with Border and will make it just a few pixels, two pixels wide, and then we'll change color to black. Fill that area in with fill the whole selection. Actually, yeah, And there you go. You can Ah, that's the beginning of what could be a little comic book balloon where somebody's talking there. So we're going to brush mood and it's draw here. How many pixels? Any. This is actually rather small campus. To make one of these, switch to the white. Take out that line there, fill in the similar colors here, the extra space there you have comic balloon and say with the right color need black text. I say hello. And there you go. You have a little comic balloon. Uh, oops. No, back here not perfectly aligned, but anyway, that was in the point. But I have to be a perfectionist to move that, don't I? Okay, so here's a bunch of random things and my would ugly page we made here. But that just goes to show you what you can do with the selection menu is what we're reviewing here, all these different things. We also have, ah, safety channel and taco quick mask something that I just don't use or haven't used. Ah, frequently. So at the moment, I don't know what those are. All these are The ones I've shown you so far are tools that I use frequently and are very useful. Ah, as I said, I was gonna show you a quick example. Let me up in a photo here and let's say, for example, we have this weird character here, and we want to make him look like he's glowing or something like this. Right? So you go in and I'll use the lasso. Tool will be a little bit easier. Just wrap around here and around the head. I'm using the welcome with a stylist pen here, so it's the easier but easier to draw and go back over here, finish my selection now on a new layer. Let's say, for example, when to make him glow. I'll use White because it's very bright and again I'll go to selection. And I'm going to feather this selection with a whole bunch of pixels about 29 30 pixels to give me a nice feather effect. Let's fill that in on a separate layer and see what happens, right? You got a nice glow there, right? Actually wanted to make it glow even more so I'm going to do feather again with the same amount of pixels and will probably just do it double. Ah, I don't know if I'm satisfied with that. You see if I can do it even more. Oh, no. You know what I think If you do this twice, tap it. You have You felt it more than once. It will start Teoh, feather out like that. So fill it in multiple times when you go into feather. We should make this higher, get even more of a glow effect of Yeah, there it starts to go. And now I'm gonna take that layer and bring the A pass ity down like this. So it really looks like, you know, it actually looks like he's glowing in that room. And for more fun, we could go on a select and inverted, and all of the area that is not filled in by him is going to be filled in with the black space. Right? So now he's really glowing, and we can leave the room and there the background a little, But just have it like that, right? So there you have, you know, a sharp contrast between the white space that we covered him within a black space behind him and makes him a quick he's just glowing. There you zoom in crop. Um, if you wanted to make, uh, a very strange image this menu, what image and crop to selection. There you have a strange glowing man. Okay, so Ah, yeah, That's just some examples stuff that you can do with the select menu you can. My favorite one is the top ones here. Invert is actually very important on DA to de select. You have to use this all the time cause once you get into selection, let's say if I were to make a selection right here, and start drawing something with the use More obvious color. Start drawing with red. And maybe I wanted it to be selected like that. So I draw something here. But then I'm done with this selection. Now I want to start drawing over here. Well, it's really annoying, cause how do we get out of that selection? A lot of the time you have to go all the way back. You go over to the selection tool and just tap it somewhere in a black space and will make the selection go away so I can do this. But another thing you can do is go into the selection menu and say Select none. So that will remove the selection. I can start drawing again, but even still Oh, that's kind of annoying in comparison to having a hot key set up. And the default hot key here is to do control, shift and a and that will make it go. But even that is three fingers that you have to put in action. So you might want to go up into your preferences menu and see if there is a way to, ah to set it to your favorite hot key. If you use that frequently, I actually just use control Shift in A to get rid of that, um, to make the selection go away. And that works good enough for me. They don't do it too often. Um, and I think that's all I said I was gonna cover. I showed you on example of the feather with a glowing guy here and ah, oh, yeah. And shrinking grow. Well, basically same thing. Imagine if I wanted to glow. I said I wanted to give him more glove. Right. So if we were to go back to this layer and make him have more of a glowing radiation with, just do the same selection, then grow the selection to make it bigger around him and then, ah, you know, continue like that. So, yeah, that's pretty much that. I'm not sure I keep laughing when I look at myself like this. Um, so I hope you enjoyed that. And, Ah, have you learned something? I cannot teach you each and every little single thing with all of these menus. Of course, you're gonna have to play with it and see what they do. That and the most important part with all of these lessons, I hope you understand, is that you really got to use your creativity. My job here, I feel, is to just give you some pointers and show you how things work, you know, guide you through all of these things. Just so you know what they are. And you don't have to waste five years doing trial and error. Um, but after that, it's all up to your creativity. So yeah, the selection menu is really fun. You can do a lot of different stuff with it. That's why it's one of my favorites and we'll move on to the X Men. You in the next lesson. Hope you enjoyed this one, and we'll see you soon. 18. View Menu: there. This is Brendon, and ah, in this lesson will review the view menu in the gimp, and ah, I just noticed. I can actually ah, be very careful with this if Ah, I showed you this in previous lesson about click on this part up here. It'll make the menu pop out into a window mode, but, ah, you might not want to do that because I tried it twice and it locked up twice If I hit this one now, I'm doing it for the view window here now, and this seems to be okay. I can do it on this one, but don't do it on that top one. As a matter of fact, just don't do it at all. I'm only doing this for demonstration purposes or Ah, go ahead and try it when your other software is all closed and not to worry. And you know, everything's backed up and save because you don't want your computer lock up. OK, so for now, we'll just have a look at this in the view menu. We have ah, new view. Um, which Ah, actually, I'm not even sure what that means. Some of these things you click on new view. I'm not sure what they, uh, they intend with that. Let me have a look, because I haven't some of the things I never really had the need for. Okay, So basically, it just gives me another window. Let me see if I, um I draw in this and go back here. Oh, yeah, It's the same one. That's kind of interesting. That could be useful. I even learned something myself this time. Okay, so but for now, that wasn't something. Ah, I was intending to Ah, go into dot for dot Ah, you know, turn it on, turn it off. See what happens. A lot of stuff in the view menu is just going to show you. Ah, yeah. You know, it's just going to give you a different views. Basically, this what's gonna happen? And ah, let me see. You know, you can zoom in here dot for dot is probably ah referring to the the exact size that you're that you're at with it. Um, again, if anything here is important than I will let you know about that. But some of these things I just don't even know there's a few things that I don't know. And the ones I don't know, there's usually a reason for it because it's not very important. So Ah, this one, you can zoom in here. Ah, I'm trying to get back to where I was. Excuse me if I'm like doing two things at once. Ah, full screen shrink crack. These are Ah, These are view modes here and see what happens if we go into shrink wrap mood that just ah , lines it up perfectly. Ah, full screen, obviously, is full screen these. These are all just different modes of you that you can go into someone. You see. I'm in full screen now and I can g o and either, you know, check that offer. Uncheck it. So, um, I think you can use the tab key on a F 11. The tab key also is another view which they don't show you. Here. Let me see if I could go do that. Now you have you do the tab key, you go. It closes all the docks and dialogue so you can focus on just your heart. And that's really good. If you're drawing so you can move all that stuff other way and just play with a pencil and stuff. Ah, navigation window. Well, let's click it. See what happens. That's over here. So you can use that window to navigate. See, that's why the things like this I just don't use them as I find it completely unnecessary. So, yeah, I'm not gonna continue show you about things that are unnecessary. Um, but I just want to go, you know, point for point through this and make sure if there is anything that's, ah, that's important that, you know, I'm catching it most thes up to this point. Pretty self explanatory is just helping you to have, ah, you know, customize your view experience so that you can have everything. How you need it now, something down here that is very important. Ah, From this point forward, it gets ah, very important show selection. You wanna have that checked? Because it's not checked. When he select something, it won't show it to you. You won't be able to see those be lines. Ah, that that they call them that are buzzing around the selected area. A show layer boundary. This is also important. Let's say, for example, if I were to make Ah, new A small layer right here. We move this out of the way temporarily. How to make a new small layer and get back to layer section. They're so here I have the little layer. It could be over here and you can actually see the boundary. There's like lines around it there. So what if I go into that view menu and say, take later boundary? Now I can't see it, so it depends. You know, if you're if you're just showing something to somebody, you don't have to have to deal with those lines. I guess it's OK, But if you forget that it's a layer, um, that could complicate things for you later. So I would suggest keeping that on Ah, show guides. This is where things get important and I have to jump out of the the menu for a little bit . Let me just close this one. Ah, if I were to me just delete this layer, I were to want to draw something and make it very, very symmetrical, very perfect, and have things aligned well and stuff like that. That's where you got to use these guidelines and we make sure that you can see these here thes thes lines here, right? As I can pull them out there like little rulers and I can pull him out from the site. Let's say, for example, if I want to say some, this is a list making a list of text and ah ah, you know, how about this list item? Right. So we're gonna have multiple things in a list, and I'm gonna have ah, grow three in the list. I have all these things used is random text, but we want them to be lined up and ah, excuse my spelling there. So if I select this and what's gonna happen when I bring it over, I want I want them to all be aligned. Noticed how? A kind of snaps to the edger they get Thea Zoom tool out here and bring that out right over right over here. Okay, So, notice when I grabbed this, it's not that one gonna try and grab this item here. This is a list this text here and look at how it just kind of snaps over a little bit with us. No. Notice how as I can move it around here very freely. But then when I come over here, kind of snaps into place just snaps right in there. It's actually it's like gravity is pulling it away from a just snaps in there. So I don't have to worry too much about alignment because anything that I try to move around, its just gonna snap right right on there. And now we get a nice, you know? Well, it's not even, but at least it's lined. Um, because of this font, however, is there an extra space in their response? A little weird. What if this first? No, there's something weird about the extra space. Oh, I know why. Because I pulled this one over and it's some it's actually it's centered. So I have to left. Align this one. Yeah, there we go. To select this one left, align it in this one So they're all left aligned, and they're all snapped onto that. The edge of that border there. So now if we go over to, um let's give the bottom layer and you gonna see they're not perfectly spaced, vertically speaking, but, um, yeah, they're all snapped up on blind up there, and that's an example of one thing you can do with these guidelines. Um, the list of things you can do just goes on forever. You see, a very, very professional drawing are not drawing but a illustration being done. You'll almost always see, especially for graphic design. You always see tons and tons of these lines all over the page because a graphic designer is gonna want to make sure that, uh, everything is aligned perfectly. Alignment is so critically important when it comes to things that graphic design, if you're designing ah, Web page or a menu or something like that. So that's what the's guides air for. Reason. I'm going through all this. Obviously, it's very important for the view and also, um, have you to go into this menu here where it says snap, snap, two guides if I take that off, but I take that feature off, then I move around here whips, uh, let me zoom in a little that move around here and grab this. See, now it's not going to snap to the guide anymore. I'd have to zoom all the way in and get it to the perfect pixel, which is kind of hard to do with the mouse because it's no longer going to snap to the guides. Ah, even more so if you're drawing, that becomes it's ah, both the blessing and a curse that we're drawing sometimes if you want to draw a straight line, how did I get into this brush Has a very strange brush. OK, Yeah, uh, back to normal. Okay, well, here I am, drawing a line right now. I have it set so it won't snap to guide. So let's look what happens when I draw the line here. See, it's a little shaky, right? But I go back to the view menu and say that it should snap to the guides. Now when I draw the line in that general area, it's always going to keep it perfectly lined up along that line. So that can also be useful in ah, many drawing situations, although you could also just draw a perfect line. And so usually if I'm using guides to show me where the edge of the page should be for a comic book or something like that, I actually find it to be annoying cause I try to draw and it keeps snapping to that. That part right there from trying to draw something. So it's both important to remember to turn off the guides. You want to be able to Ah, turn them off is well, Assad, turn them on. So go into here. And actually right now, just take that off. Snapped a guide. Okay, so I'm not gonna zoom in because it's getting to be a hassle. But I'll just go through here, snapped a guy's snap to grid. Um, you can show the grid, and that is that right there. What you actually see is there is a grid in here that goes, Ah, not pixel by pixel. But maybe it seems to be like every five pixels or so. And I assume you can probably customize that in here somewhere. Ah, but I don't know where at the moment. Um, I personally don't find it to be important. Very important. But as you can see, have very It's very detailed. If I would just say, um, snap to guide now, we're not gonna snap to Annette mess, not snap to guide it. Snap to grid because that's the grid. We after not snap to grid every little line I draw is going to snap one of those grid lines , Not not perfectly. If I actually tried to force it to go in the middle like this, it'll it'll skip it. But it'll you know it will gravitate towards cl straight. That line is I'm drawing normally. You have to turn off now that turn off the ah snap to grid. If I turn it off and trying to the same thing you see, look at the difference. That's, you know, very wavy. I do not have ah, perfectly steady hand. So Ah, that can also be useful. Um, if you're being creative, there's all types of things you could do with that. And then ah, the same thing. You can snap to campus edges. That means everything that goes near the campus edge, which is the campus edge, is referring to this. You know, the basically the sides, the top, the bottom and the left and the right to the edge of the image. So if I had ah, you know, I'll go back to this text and I want this toe all snap perfectly to the edge and get it lineup in, snap right in a place they're then we could do that with the snap toe edge and that you know, that that's pretty much it is gonna get really boring if I keep going on like this. But the view menu Basically, um, it's probably the most used menu by graphic designers. If you're tryingto just have things aligned perfectly and snap into place and ah, you know, these grid lines and stuff, it's really good for, ah, graphic design and getting everything you know, perfectly aligned for user interfaces or, you know, Web Page. You could do a Web page design a mock up of a design and stuff like that, and also just to, ah, you know, customize your view in a way that you find ah, most comfortable for yourself. Obviously doesn't look too good the way that I have this looking right now, but ah yeah, you get the point. Okay, so that's it for this one, and the next many will do in. The next lesson is going to be the image that should be short and sweet, and, uh, hopefully soon we'll be moving on to playing with photos, so see you soon 19. Image and Layer Menus: Ah, this is Brendon. And in this lesson, we're gonna go over the image and layer menus and I'm not gonna use zoom tool for this one because it's actually getting a little annoying and cumbersome to to deal with that. But, um, the's menus, they're not very long anyway. And if you can't read it clearly from your screen, I'll just read it out to and I assume you'll be playing with a software yourself to So, um yeah, shouldn't be too hard to figure out. So what we're gonna do with the image and layer menu usually mostly has to do with the actual image itself, the shape, the size and and the rotation of it. So what I'm doing here is just showing you this is the draw. Draw a bull area. The area which you can draw on. It goes from top to bottom. It's this long and from left to right, that vertical and horizontal. So, um, that's the only amount of space that we can draw on there. And it's basically what we call the the full canvas. Even if I take this layer here which we had here and this layer Ah, I can move it over here, right? And what we'll see is it gets cropped off of this edge. And even if I draw over here, for example, by draw off the canvas up here, you can't see it now when I move it back into the viewable area of the canvas. Now I can see what I drew over there. They see that goes out. And then so this area, which is viewable and draw a bull, that's what we call the canvas. So what would happen if I were, for example, doing? Ah, let me get this back where it belongs for Giang. An evening seen. And maybe we had a mountain here and and a little castle and in the background, something like that. Ah, that looks more like a cactus than in a castle. But use your imagination is a castle far away there and and we have Maybe there's the moon over here. And then I decided that, um actually, I want the castle to be in the middle. But I also have something else over here, like, you know, little buildings or something. So I don't want to move everything over, cause then there's buildings I drew will disappear, right? So what I can do is make it longer try and make it longer over this way. Well, of course, if you're on ah, using piece of paper, you know the situation, you'd be in trouble unless you're willing to tape on another piece of paper to extend it. But luckily here in gimp, we can go to the canvas size. And as you'll see in this dialogue here, we can change the width and the height of the canvas. Now it's at 1920 which is almost 2000. Now, let me make it up to ah, 2000 and 200 wide and we'll click the center button. No, actually, undo that. I don't wanna center. I want to keep it over to the left. But just to show you in the cases where you do want to center it, you can do that. Or you can grab it and, you know, slide it to the last, slide it to the right and ah, that will keep the canvas. Ah, you know, the original drawing will be wherever you line it up there. So if I keep it slid all the way to the left. Here. You see, This drawing stays over to the left over here, but I get my extra canvas space. So now we have the extra space. Aiken, Can Kim go ahead and continue to draw my mountains over here right now. Look at what happens is I draw this way. It still stops here because we changed the canvas size, but we didn't change the layer size. Um, this is maybe not the greatest feature of Kim, but, ah, the campus and the layer are completely separate entities, and you do have to realize that and deal with them as such. So what I'm gonna do first is get that bottom layer because you can see all the banks space here. Blank space. Excuse me? The blank space here. Ah, I want that to be filled up with white to write. So uhm, I'm going to right click on the layer where we can go up to the layer menu, which is what we're doing. It's the same menu, whether you right, click on the layer over here, as I said before, or if you go up here and we'll say layer to image size. Now the layer is to image size, but it's still black because we didn't fill it in with anything. So I'm gonna put my weight on and just fill in that space with Phil. Similar cup, similar colors now do the same thing for the layer that I was drawing on. I'm going to layer layer two image size. Now let's see if we can draw in that space. And there you go. Now we can draw in there and we can add the little stars or whatever it was went to add to our scene. Right? So that's Ah, with that little lesson right there. I think that pretty much, if you can understand that that that should give you a good understanding of the difference between a layer and the canvas. And what happens when you're dealing with the image menu? It's pretty much the whole canvas. So if I want to go in here and ah, scale the image so this means that images 2200 pixels wide. Well, if I'm going to share this on, I don't know Facebook or Twitter something, it's bigger than I need, right so I can scale it down to 1000 pixels wide, and it should automatically set the height to keep it to scale for me at 491 pixels on, Let's see what happens and there goes it just made it smaller basically, but that made the entire image smaller. Just to give you an idea of why you have to be careful with this, what have I skill the image and make it really, really small? Let me make it down to 200 pixels and automatically good to 98 high. It is very small, but what happens when we zoom in a way that we made it so small that it doesn't really have enough pixels it within this small area to show the detail? So you want to be careful when you're making it too small? Every doing professional illustration. A graphic design. You always wanted to be much, much bigger than this, such as 4000 pixels wide by another 4000 or 2000 depending on whatever it is that you're doing. I rarely go up to 10,000 but ah yeah, three or 4000 rarely 5000 even it's ah, it's usually enough, even if you're making post. I've printed out big like Prince for art shows and stuff that did find the another, like, wall sized poster R and I got by fine with 4000 pixels. No problem whatsoever. Made really beautiful, colorful prints. So, um, yeah, this is actually cool. I'm starting to like this drawing. Very primitive, but just very fun. Um, so, yeah, that was one thing with the image. The other thing is transforming the image. We can flip the entire image. Or is Donnelly vertically like that? The These are all available in the image menu. So the canvas size Ah, we can change it from black and white to gray scale and a higher part there. Ah, there's prints, guys, print size, which I mean, I don't print too much. You know, you might be on your own with that one, but I think you know, we all pretty much know what that means. It's ah, it's asking you for the within inches and the resolution, So I actually I think you could skip that. That's why I don't use that much. What I use is thea I do do printing, but, um, normally I was just going to scale image. And that's the same thing. It's Ah, it's little redundant. There are some funny things and get like that. Okay, so, um weaken auto crop, the image, something I would never do. Zealous crop. I have no idea why you would want to do that either. It's Ah, it's basically just cutting out white space. But usually if I have white space, there's a reason for Oh, you know what that might be Good, though, if let's say if I was drawing a logo here and I wanted to crop it perfectly and there was just white space around it, that would be that would actually be a good tool. I just learned something myself. And then we can merge all the layers. Ah, etcetera, etcetera. There's nothing in here outside of that. It's very complicated. So, um, now with the layers, let's go back a little bit. What if we we experiment with re sizing the canvas? But what happens if we resize a layer? I just want to make sure you can probably guess if you don't know already. But this scale the layer, let's make it later, we we set it to 1000 last time. Let's just bring it down to about Ah, I just use the arrow here and see what lands. 825. So I'm gonna make this later 825 wide and automatically goes to 400. Now you see what happened There is the layer got smaller, but the canvas is still the same size. I'm not sure you can see that very clearly, cause Thea white background is very Yeah, it's just is how it is. It doesn't stand out very much. So I try and change the color of the background here real quick with this gray. There you go. So you see what happened to the The layer got smaller, but the canvas is, uh is still the same size. And so this is only in cases where you want the layer to be smaller. We're gonna scale the layer or bigger even and ah, but keep the campus at the same size. When does that situation come up? Actually, all the time. There's a lot of times where I want to shrink one layer, but not another one. Maybe because I'm copying and pasting a certain object and re sizing it right? So that happens all the time. Um, a slayer. And then there's a lot of other things in here that I'm going to cover later. But basically we have all the same tools with a layer. I can flip it horizontally, and I can go in there and flip it vertically, just like we did. But in this case, but it's only it's only flipping that one layer and not the whole image. So, uh, yeah, whenever that situation comes up later mass I'm going to go into later and ah, that that's about it. You know, there's nothing else very, very important here. So the image that's ah, the image and layer menus in a nutshell, Um, very, very important to understand. The difference is not complicated but very important to understand that the canvas is a canvas and the layer is a layer, and whenever you want to resize either of them or flip them or ah you know, scale them, then that's the place to do it. You can also rotate. Sorry, that's one other thing. We have been transformed. You can rotate 90 degrees clockwise, and that can be useful just to ah you know, perhaps you want to rotate it temporarily ages toe drawls in in a certain direction or or something like this, Or, you know, maybe permanently. What if you take? Sometimes you take a photo with your camera and you take it in landscape view, and it comes out sideways on a computer. So, you know, you can flip it real quick in there and and start working, you know, doing some other work on it. Yeah, that's image and layer in a nutshell. I hope that was easy enough to understand that if you have any questions, just send me a message and have a good day. Will move on to the next lesson. 20. Colors Menu: this is Brennan. And in this lesson, we're gonna go over the color menu. Now. The color menu is very long, and I'm not going to begin to pretend that I understand everything in this menu because, ah, this stuff is complicated. Color is really fancy thing that people seem to care about a lot. Ah, and yeah, that's you know, it's pretty much everybody who knows anything about the ah, the color wheel and, um, how digital, you know, files work with color. There's a lot of argument, and people argue about color. What's their favorite color? What looks better? You know how much you know, balance or brightness. Do you like in this and that And the argument, I guess, is part of what makes it so complicated in my mind. I don't think it's complicated, but, ah, people make it complicated. So I'm not gonna waste too much time talking about it. It was very opinionated thing, but I'll go over, Ah, the essentials of what you should know. And at least what I know. With many years of playing with this, going to mess around with photos a bit, you definitely want to know some of these thes top ones here, such as the color balance now, um, going back to a regular art class. Most people know that there's a couple of different ways to make color happen, and, ah, when it comes to print or digital and that's either with the ah, the red rgb or red, blue green. Ah, here we have Ah, red, green blue RGB on. We also have CCM y que cyan magenta. Now the gimp works purely in RGB, and they have the words with Cyan magenta here, But I don't know, you know, I don't understand the science behind that. I only know that in this little tool that I'm playing with here, I can play with with this and and make those colors change. Okay, That's that's about a scientific as it gets and whether or not you need to know this science to that in order to be, ah, designer or anything like this, I don't know. I'm not gonna claim to know. What I think as an illustrator and an artist is that you can use these tools when you need to Teoh to do different effects and, you know, have fun with it. You should understand that they're there. If you're trying to touch up photos that obviously these could be very useful. If you know what you're what you're doing with him. And, um, they can also be very dangerous and and, you know, make really ugly, weird pictures like this. So be careful. That's as far as I'm going to get into that. But there is some interesting buttons on this little dialogue. And click this one. It's the shadows. This one says mid turns. This one says highlights and it seems to automatically play with the levels. But I'm not really noticing. Ah, difference. Okay, so, um, you can ah, you can play around with that. They're supposed to be some presets in here. There aren't. Ah, but apparently you can add some and save You know, your favorite presets if you Ah, if you do know how to play with, I don't play with that. I normally draw directly, and I'm choosing my own colors. So that's not too much of a problem. This Ah, everybody is going to use. I know not. This one will move into another one. Ah, this one. Also, it's pretty much the same as the last one. You're doing it on a sliding scale. See, There are, um, 123456 colors that we have up here. And when you play with a Hugh, it's going to change those coats. It's kind of interesting what it does. Uh, let me get back to the beginning of that hue, saturation. What we're doing here. If I choose nothing up here, then you know it goes through all of the rainbow of color. So here's blue. There's green, we're getting into yellow brown. And then here's a purple and back to our That's blue s. So that wasn't blue over there. Was that? No, that was greener or her gala. Right. So it goes through the whole spectrum, such as you have over here on the color wheel, and you can, um you know. So if you wanted to put a certain type of color overall color to an image, you could put this on the choose to Hugh that you want, and then you can choose the amount of, um, the lightness here and the saturation of that color so you can choose toe, make it less saturated, such as, you know, less saturation means let's less color. So here it is. If I pull the saturation all the way down, it basically goes black and white. And then, as I slowly move it up, it will allow the color to come in. So, um, one. That's one way. If you want to go black and white, you could go into here and just slide that saturation down right, And you just go black and white. Or if you just wanted to be a little bit more if you didn't want it to be so intense, the color to be so intense and you bring that saturation down a little bit like that and you get a certain kind of effect. Ah, the easiest way to go straight into black and white will be go and used the D saturate option in the color menu, and they have different options here for lightness, luminosity or average, and I will give you different, different effects pending. I usually just leave that lightness Ah, where we're against. So the huge saturation That's basically what you can do and let me get back a few steps whips wrong. But yep, there's my color again and So with the ah, this one here, the hue saturation. What I thought was interesting is you can select a particular color. So I select and this says here, select primary color to adjust. So I'm gonna select the red. And then what happens that we take down the saturation, right? Notice it's leaving some color. So it's it's working on that one particular color. So we bring down the lightness while Red is selected, and basically it's sucking the red sucking to read out of the image and leaving like that, which is kind of interesting. And then if we play with the hue while red is selected, it'll do. Oh, yeah, it's changing everything but the red or something like this. Yeah, that's rather complicated. And to be honest, I don't understand. Ah, but there are some things that I have used this tool before. When I wanted to change the overall color of a scene, for example, I had a, um you know, a nighttime rainy scene and I wanted to make it all blue. So I played with the hue until I found that you know that that bluish color and ah, of course, it looked much better at the time because it was an illustration. This is a photo. So those weird. Ah, so after that one, um, colorized here, this does exactly the same thing as less when we're looking at you can, you know, add the color to it, but ah, it has less options. Um and I'm sure it is different in some reason, but on the surface, it's pretty much the same. Now, here's brightness. Contrast. This is the beginners Ah, tool for touching up a photo. And we'll get more into that later. Ah, but basically, if you make it brighter than guess what, it looks brighter. You make it darker, it looks darker. That's what brightness does. But the contrast level there is very important to bring up the level of contrast. It just makes things not necessarily sharper, but it makes the the lighters light and the dark er's dark. So to give you more contrast, if I bring the contrast all the way up the best way to understand contrast, let me let me do this first I'm going to do saturated. So we're going black and white, right? And then we'll go into the brightness contrast now what's gonna happen when I slide The contrast. We slide all the way up. Look what it does. It makes the lighters. It makes all the light more light and makes all the dark more dark. So that's how you can get that kind of that French film noir. Ah kind of thing. I don't know if it's French. They call it Film Noir. I think the word noir is a French word. Ah, but you have film noir or ah, you know, that old detective comic book style kind of look where you bring that contrast all the way up, and that's for me. That's the easiest way to understand what contrast is. It just makes all the lighters more light and all the brights and all the darks more dark. Excuse me. I keep stumbling on that word or that phrase, and so you can see. Now I have even balance of There's some grey. There's some white and it was very smooth. But when he raised that contrast up then ah, you know, it just it flattens all the whites so the white becomes very weight and all the dark becomes very dark. Now if we do that with color. It's a different phenomenon because here's adding contrast to the color because we have color, right? So all of the reds, it's a little bit read. It becomes super red. If it's a little bit blew, it becomes, you know, super blue. It just flattens everything out. And that can make a huge difference. Uh, when we lower the contrast to look, look at what happens there, everything becomes more muted. It just, ah, balances out into that great color. So, um, by playing with brightness and contrast, you can in fact ah, improve the overall quality, not quality. But just ah, I guess you could bring more life to it, bring more color to it where you can, you know, dead in it a little bit. It's ah, like I said in the beginning, to Beginner's Guide to ah, photo touch up. And it is important things to understand. So you've got your hue saturation that we played with playing with the colors in the first view, and then you got your brightness, contrast and contrast threshold. I'm not going to go anywhere near this, have no idea how it works. It looks like it's Ah, again playing with the lights and the darks and giving you Ah, you know, different things different, different ways of letting the light through. Um And we already said I'm gonna skip a couple of these because again, they're just ah out of my league. De saturate, we already said, is going to, um, turn it black and white. If you invert, it is going to give you the opposite of everything. So it would be like your your film Kind of look, undo that value. Invert. Okay, that's interesting. So that does that? I don't know. That would be of any use toe anybody for any reason. If you're just doing regular design, but it's there if you need it. If you wanna make that creepy look, you can do that. Interesting. And, yeah, I don't want to make it sound like I'm just going through here, experiencing this with you. I'm supposed to be teaching, um, so I'm only going to basically leave it at that. Those are the things I understand. And we have a lot of auto things here. So auto equalized. This I have used before, and what it does is it tries to do some automatic functions that in you would normally went to apply to something like a photo. And so that one there to equalize. It's supposed to balance out the colors. Here we have white balance. So by applying that it ah, you know, it's tryingto basically fix the photo and fix the color quality. Here's color enhance. All right, these air automatic things. And I have what I can teach use. I've never found any of these to be useful whatsoever. Um normalized? Yeah, that didn't didn't even make a difference. As you can see, um, so e never spend any time using this at all. I would recommend using ah, the top three color balance, hue, saturation and colorized and brightness contrast if you can Master, there's three. I think you're pretty much good to go. Um, Color Fi. We already did. You know, it could make it all yellow. It's basically just playing with colors. It's like, you know, a kid's toy. Yeah, and this list is so long of things, I'm not gonna cover all of them. You can play with them yourself. It's basically just messing around with color and ah, it has some weird things in here. This alien map thing I've done before. It just, uh it's It's just a weird effect, right? Like that, that's all. You can make an album cover just like that. That actually looks like it's a good album. Cover there. If you want to use that, um, just give me a message and he can give you the copyrights to it. So that's a color menu in a nut show. Ah, the important things, Teoh note in this or color balance colorized brightness, contrast and ah de saturate to go black and white is used a lot. And ah, that's about it. The other ones, in my opinion, they're just toys. Or if you're very professional and you know all these things about you know Alfa and Gap gamma channels and stuff like that, this is where to find it. And ah, if that's you know, the kind of person you are, then you'll know what to do there better than I do. Um, so I hope you enjoy that next one. Ah, I think we have one more lesson. Where will cover? Ah, we don't need to cover tools because that's basically just ah mirror of everything that's in the toolbox over here. This will just help you to open up different tools. And so we're gonna do is just do a quick review of the filters in the next lesson, and then we'll be done. This section, I believe in moving on to more fun stuff where we actually make something. Okay, so we'll see you soon. 21. Filters Menu: this is Brennan. And in this lesson, we're going to cover the Ah, the last many I'm going to cover. It's a filters. And as I said previously, um, sorry, I don't have the zoom tool on this one is getting very cumbersome to deal with, but, um well, yes, I might want Teoh zoom in here real quick, and it's so you. There is one thing appear when I get this set up, right? Hold on. Always on top. So I'd over Okay, The one thing ah, that want to say up here is Ah, let's look at what we have up here starting from the beginning and just review, See that that we have everything where the file edit select We went through all that select is some of these air like utilities. And some of them are like tools, right? File and edit and view. They're more like utilities, in my opinion. Is is what I'm trying to say, because tool is something more like you can use in the toolbox toe work in the workspace, right? Where is like, ah, file and edit. That's about, you know, opening files and, you know, editing and going, going back and redoing and undoing things. Um, and the same thing with view view is more about setting up your environment. In many ways, where's Thesis Elect menu in enables you to do a lot of things to the image of the same thing is true with the image and a layer menu. The ah the Layer menu and the Image menu both allow you to actually transform the image and change the way that it is. This is also true for colors we can play, obviously with colors. I like the fact that the gimp is so simple like this. You have, you know, images, image, layers, layer color. It's broken down. So ah, you could almost say it's too simple where it's, ah, methodical. But it's just Ah, I don't know. Do you want things to be more complicated? I know sometimes other Softwares, because the complexity they seem somewhat, um, mysterious and, ah, a like, more interesting and more intelligent stuff. But aren't they just over complicating things? So I I like it when things were simple. That way I can save my intelligence, tow, be creative. Instead of wasting time trying to figure out what these people were trying to accomplish with her software. Um, so that's another reason to choose the gimp, of course. And so, ah, moving on with layers, colors, tools, Aziz said. Before these air, actually, just, ah, that all the tools that you can find in the toolbox, but they give you a manual for him to, so it's a bit more convenient. You can choose whether you want to select Ah, your tool through here. And it's also a nice, handy place to remind you of what the hot keys are. As you can see, the hot keys are all listed. Um, next to the next to the menu, let me see. Bring it back up there to tools. Yeah, uh, I'm just a little bit off a zoom tool isn't the best thing. Yeah, Now you can see, for example, of rectangle select Are is Thea hot key for that Ellipse is e. So all those little letters you see on the right hand side of the many of that's actually what the hot key is on the keyboard. Teoh choose that. So that's a good reminder or a good place to get a double check on that without half open up. Too many menus. Now, the last one. I just want to show you these ones here. Ah, the FX foundry and script food. I think they don't come with a default version of Skip. I installed them extra. Um, they were the was called the data extras or something like, this is just some extra scripts and stuff. And so I'm not gonna go over there because it's there's just too many of them. There's tons and tons of different plug ins and enable you to do out different types of tricks. And, um, my scripts here, these air, actually, my scripts that I wrote, there's I made those and install them here so we'll go over that later. If you're interested in that kind of stuff Windows and help the windows we already did in the beginning of the lesson of this course and help. Ah, well, if you need help there, it is also the plug in browsers in here, and we'll cover that later. Uh huh. So the only thing I'm gonna do now is Thea Filters, and we're just gonna go through this very quickly, much like a lot of the other men use. Um, there's tons and tons of stuff in here, and I don't claim to know all of it. It would be weird if I did know all of it. I'd be a strange robotic person and not a creative person. So, uh, and I don't have a photographic memory of idea that wouldn't be doing this, would I'd probably be, Ah, I don't know, somewhere else doing some math or something. So, yeah, I'm not going to continue to work with a zoom tool here because it's confusing. But you can play with software yourself. Ah, as we're going through it, or, uh or just listen to me and I'll tell you what I'm doing. So ah, one of the there's there are two key things I wanna do here. First of all, let me just go do some random thing like edge, detect or noise. And just to show you how this is, um, I'm just gonna select it and hit OK and see what it does. And it does a bunch of processes. And there you go. Now, the photo has all this staticky noise to it. So if I undo it, you see there is cleaner now. And when I read, do it. If I can have to redo a whole bunch of things, I can't redo it. Maybe undo it. That's, you know, more clear and well, I guess I just do it again. Where was that one edge detect noise? Yeah. Ad film grain. I just click this one. So I wonder. Zoom in so you can see that better. It does all this processing. It just gives it that that style. Ah, lot of these are just that. A lot of these filters that we have in here are basically just just that much effect. That's what they do. They just add some kind of weird effects going on here. Enhance. And we have, ah, red eye removal refocus. You can sharpen it. Ah, just regular, you know, photo upgrades, blinds. What does that do? I don't even know. Yeah, it makes blinds. So add thick lines like this. You know, like I don't know. Why would you want to do that? Is just weird effect. But if you go through and study all these, you might actually come to find some of them are very useful in certain situations where you're being Ah, you know, artistic and just playing around with things you do. Ah, Grady int flair. I don't think that does anything. Um, light and shadow only had, like, sparkle with no idea what this does. I'm just randomly hitting, you know, some things just to show you This is actually how how I learned a lot of this stuff. And then I'm going to show you the ones I do think your import See that sparkle had made a sparkles come out of the light. That could be that could be interesting when used in the in the right situation. OK, so ah, some of the ones I do find very useful, I'll tell you, is ah, the blur and what he uses usually Gatien blur. And I'll show you an example of why that can be used for how come useful What I'm trying to ah enhance are actually d hance the opposite of enhance whatever where ah, you might use to describe that. So let me select myself here in this photo roughly to go around here like this, and there we go. Then I'll invert that selection. So have the background, the background. This photo is not very important, right? So what I'm gonna do, select that whole area and go into tools or where the filter of going to blur and I use a gaijin blur. And since this is a pretty big photo, will have it a, like 35 both horizontal and vertical, and we just let it blur that background out. So now you see Ah, I mean, we're not talking about some really fascinating, amazing thing, but I just blurt out the background, which in turn brings my person much more into focus in the front. This could be used in all types of situations for ah, you know, before that it just basically adds a very interesting effect to the photo. And ah, in this it in this case, I didn't even do it very well. If you can zoom in, you can see you know the line between the blurred and not blurred area. There's better ways to do that. But, um, it's just to say that the blur, in my opinion, is, ah, useful tool in many situations. Um, another thing we could do is ah, let me see what other ones we have distorts like that the blinds and boss people use this sometimes and see what kind of effect we get out of that. It makes tm boss. It's just Ah, that's just a weird effect again. These things I don't use too much. Um so from there to here blur, I use light and shadow I rarely use. Sometimes when I'm playing with with text, we were making a, ah, a logo or something like that. You can do some some effects with that. Oops. I got to take that selection off. Okay, so what if I were to put some text here very quickly, put it in black and say, uh, that didn't help much, You know? Hello with the text. Make it a lot bigger and, Well, not that big. Yeah. Were problematic around here sometimes. Okay. Did I finally get the text? I wanted to be? Yes. So I have a, um, just a little. Hello, And I'm going to cut it and paste it just to make it so it's not a a text layer anymore. It's a flat layer. And then weaken g o. And, um, I'm gonna make that layer fill the whole page Letter to image size. Now we go to our filters and get a light and shadow and try to add a drop shadow. Let's see what happens. They're going to get a little little shadow effect, right? So that's pretty good for design for text designed. You see, There it is without the shadow. And then there it is with the shadow. It just adds a little shadow. I've always thought that was a pretty useful trick that, uh, what probably is commonly used by a lot of people and we have lighting effects, and this number is many light and shadow effects. Now, again, I'm not gonna go through everything. Just this stuff I use. Sometimes when you're lucky, you can apply some of these artistic effects in the filters. And it's called artistic. And you knew something like Cubism and sometimes get a nice effect out of it just to make it kind of, Yeah, like that. Why you would use that when I don't know, maybe to make a little background or something. It just makes it look like, ah, painting. Basically. And there's a lot of, I mean, the really gimmicky. They're just gimmicky things that you have in here. It's not great, but the important ones, so definitely blur for me. Um, you can play with enhanced to see if you can prove the quality of a photo. And, um, there's just so much stuff in here, it could play with you ripples and waves and let's see, a lot of it's just fun to play with, but yeah. Ah, the other important one is render. This one is actually very important. You go into clouds. I use this a lot. Um, not cloud. Sorry. Actually, clouds can be useful to its very useful, but it's it's a little complicated fog, um, the choose a color and fog and just let it rip. And there it goes. It makes FAQ. I know that seems very simple, but I use this a lot just to separate the foreground and the background sometimes to add some texture to the overall thing. So I added that when as the fog, for example, in this case it makes it as a new layer. So now I can go to my race tool and whips. It's on Geter and smooth stroke, and I can erase out myself out of that area and the rest of it will be fogged in these air just ah, 101 stupid effects that you can do to bring the person to focus in a image and add some effects to it. So there I am popping out in the fog is in the background. That's only one of many, many, ah, things you can do with that fog. Let's say, for example, you had, like, a big monster, and you're drawing skin on it instead of drawing like some Scalea. Maybe it's a big lizard, and you're trying to make it like Scalea skin, and you just draw like green color. Well, that's not very, you know, Scalea. And it's not very interesting. But if you put the green, they were to put it under some cloud effect and then, you know, add some other effects, the combination of effects You might start to get some Scalea skin, but I'm not gonna go into that right now cause it's not art class. So we're just going through these tools, right? So that's Ah, render and all this whole area I find very, very useful. The a lot of this stuff appear like I said. It's just gimmicky Ah, I like blurb. That's useful. Light and shadow can be useful. And then I skip a bunch of this stuff and I just come down to render where we have thes the clouds. And the five can be very useful plasma. If you want to get some random color, watch how this one works and, you know, sit that layer and it gives you some random color, which you can ah, you know, add Obviously, it's not gonna do anything special to this photo. But, um, that can be very useful sometimes, believe it or not, and back to the menu here gonna render clouds. That's enough of that, Um, and then patterns. This stuff cannot be very, very useful. If you want to make ah checkerboard or make a grid, let's say, for example, the need lines to go across. I can do make thick lines here if I just want to make, like blinds sort of effect. Um, I need to take off which one vertical lines, right? So I just have horizontal lines coming in. You can choose the color, which is black, and it'll basically draw lines. So now I have that you can use that to make a grid. Ah, there's many artistic reasons why you might need that. And also just for random design effects and stuff like that. That's in render renders where you're actually like drawing things. It's almost like mechanical. You can draw a checkerboard like this again that can become useful for various reasons. So that's what my favorite part of filters is. Ah, this render area, cause we're actually using it to to draw things which can be used for various effects. Um, and the rest of stuff here I don't have ah taste for I don't like it there. There are some tools in here to enhance photos and stuff like that. And, ah, there's a python and script fu which will help you to. That's where you can play with programming and do some of your own custom. Maybe even make you your own scripts in your own little Ah, you know, distorts and stuff like that on. We'll get on that into that and the, uh, later lessons. A couple lessons later. A few lessons later, we'll get into that. Um, for now, that's it for the filters money. I didn't want to spend all day in here as you're gonna see, it's way too much to cover. Ah, but I just hit the highlights of stuff I do like and and stuff I don't like. And you can go in there and play with it yourself. I'm sure you'll find something new. And, ah, if you give it a chance maybe something you didn't like to begin with, you might actually find to be useful later on. If you're creative enough, you can always make something useful, right? So that's it for this lesson. Hope you enjoyed it. That was thief Ilter menu. And, ah, I believe that's it for this section. Next will be, ah, getting into playing with photos a bit more, actually doing things with photos. As you can see, we're already slowly, gradually getting into that. And then I will be drawing from our imagination and doing a little bit of illustration and stuff. Ah, I'm not gonna get deep in that it's not art class. It's just Ah, this is a software class, but I will ah, it all For the sake of learning some tips and tricks, toe used to get better. Uh, I'll just dig in a couple of, ah, you know, photos and do a couple of illustrations so that you can see how I do it. All right? Great. And we'll see you soon. That's it for this lesson. And, ah, I hope to see a suit in the next one, but that. 22. Colorize a Black and White Photo: Ah, this is Brendon. And in this lesson, we're going to cover Ah, colorizing a black and white photo which in today's day and age is not extremely important tour ah, technique to use. But it can come in very useful. And there are actually still many people out there. I've seen others actually, groups of people on Reddit who Ah, request help in getting black and white photos colorized and ah, it ihsaa useful thing. There's a lot of black my old black and white photos out there that can be brought to life with color. Um, aside from that, it also teaches us very useful technique for painting which is still used in illustration. I use it myself where I start off. Ah, making the drawing in black and white and then I start to color it using this technique. Um, so that's all very useful. Ah, what we do basically is we start off with a black and white layer and this photo came from Wikipedia. If if you're interested in getting it. And it was originally a color photo, which I just set to black and white with this de saturate tool in the color menu um So what we're gonna do is we're gonna leave this layer as it is. We're gonna add another layer on top of it. And let's imagine what happens here if we start off by choosing, going to get kind of a lion orange kind of color and they were to just start drawing on top of it. You see, that's gonna cover up the photo. And we obviously don't want that. Ah, another thing that we could do was lower the A pass ity on this layer so we can draw the orange and it'll still kind of go over. Ah, the lions. We can still see the lion. However, this technique is not desirable because it's going to de saturate. Ah, lot of the values in the in the original image so the blacks won't be is black, and whites won't be his weight anymore because we're covering over them slightly with this with this layer. So we're going to do with that. Ah, the layer that were coloring on is going to go up to the mode here, and I'll bring out the zoom tool so you can see where we're at. Here is my layers. I have the Tigris, and that's ah, image by Jim Corbett. Uh, photographer, which I found on Wikipedia, would be interested. And, um, I added, Ah, the layer here. Above that, we have a pass iti, and right above there we have this little mood drop down many, and by the full it's set normal. So that means the mode of this layer, which I'm currently on, which is called layer with the orange on it. That's set to the normal mode, which means it's basically just normal. If you draw or paint on it, it will cover up whatever is underneath it. But what I'm gonna do is I'm going to select that. And there's a big drop down many here with all types of different effects, which I'm not gonna cover besides the multiply effect. So watch what happens when I set this to multiply boom, just like that. Suddenly now you can see all of the darks air still darker, and ah, it's just blending into the values with that perfectly. If we go back and compare, set it back to normal and just lower the A passage E. Now you can see what I was talking about how this seems kind of ghostly. It's just like, you know, it's all fading off into that one color of orange. We don't want that to happen. So we're just gonna take this layer and set it to multiply. And I don't know why they chose to call it multiply. I think they could have called it anything. Um, but that's the word they use, and this is what it does. It makes it so that Ah, whatever you color above there, whatever your color on this, the layer below, it will simply accept, uh, this layer as, um a multiplication to it, I guess, is the only way of putting it. So I'm gonna go ahead and just start coloring this line in ah, in this situation, obviously. Ah, I have a huge advantage by using a whack, um, tablet. So while we're on that topic, if you don't have one, it's ah, a bamboo. They have different versions of this. There's Thea into ists and there's I don't even know if the bamboo is. I think they're selling it, but they seem to like, not market it as much as they do the other ones that into us stuff like that. I use a light gray color here and go for these spots that are supposed to be white. And ah, at this point, I don't even know, uh, exactly what the colors are that I'm supposed to be drawing in here. I think these areas here look like they're supposed to be white. This area is definitely white. It's not gonna be incredibly realistic because I don't know exactly what color is. It is I'm looking for. But then again, this is art, so I can do whatever we want with it. One thing I can do because you see these areas here and the point of doing these these photos and stuff, by the way, is not just to show you how to do one trick. Um, I'm gonna be doing various tricks throughout this, and so you know whether or not it comes out like a perfect item, that's that's not the point. The point is just to look at the tools that I'm using and noticed some of the tricks that I'm doing here. So I'm gonna turn down the a pass ity of this brush so that when it paints, paints a little bit later, and that way you see how we can slowly fade off into some of these orange areas because it's not like there's the start orange areas that just go up to a line and suddenly you know, it turns in orange. In some places, it kind of like slowly gradually fades off like that I may bring the passing down even a little bit more around the edge here might be a little gray. His ears thes parts, I do believe, are supposed to be white, including the inside of the year. It would be better if I had reference for this. But even just like that, you can see already we have, Ah, a pretty realistic version of the of you know it's coming to life. It's coming to color. Make a long story short now. I, um I lost my color. I want to go back to that orange. I lost it. Remember, if you recently used a color just tap over here to open up this color dialogue, and there's just color palette here, which ah, it saves all of the colors that he recently used. Starting off with this one. This is the last one. This is the second the last third to last circus from ah ah, You left to right and top to bottom in that order. So this is a second last color. I used it. It must have been this orange I was using and again with lower rapacity. I can just slowly ah, color that that orange in there like that. Don't know why. Seems a little bit different. No, there's a guest cause of the A pass ity. Okay. And what happens if I race in this area? Yeah, that'll be fine. So let me hide this layer. And you know, if we hide this this voter layer here, you can see that's basically the color that I put in. And it looks like absolutely nothing left by itself. But, ah, when put together with the image and having that multiply effect put onto that layer, then we start to get ah pretty good effect. But this past, the all the way up, you know? Yeah, I think that's not the same color I had before. Let me get my color picker out. Yeah, that is actually a different orange. I don't know why it should have been the same. Um, anyway, now I have it were back in action. That's it. That will bring the A pass it back down again and slowly faith that orange into their spots right there. And that would be good enough. And that, um this is a nice and easy one. Imagine if it was, a person would have toe pay a lot of detail to ah, you know, different color in their eye color and stuff. Um, I don't know exactly what color a, uh, but tigers did I say lion before? This is a tiger. If I said lion, please forgive me. And since we're ah, doing this, you know we can take advantage. Also, you can use this as a technique to, uh, do abstract colors or abstract are ikan, you know, take what was an original color photo, make it black and white, and then start adding your own color. So you're making it kind of cartoony, but it still looks like it's really right. So it's almost like making art making color are with an original photo. So take any photo you want, make it black and white, and then start using this technique to ah to add your own crazy colors in there and that would, ah, you know, also be very, very useful technique. I think that looks pretty cool, doesn't it? Pretty interesting. So that's just one little tip. Um, using that multiply layer there. There's a lot of things you can do with these modes. Um, but I don't. You know, I don't go too deep into this. Burn is another one. See what happens there. The burn. It just has this burning effect, as you can see it. Really? Ah. Intensifies Thea color of whatever you have in there, and it usually takes. Ah, there's overlay, right? They all do different things. A soft light, hard light, right? Look at that. So you can play with this and, um, go through the manual and find ah, you know, all these different things that you can do. Others divide. We have multiplied. We also have divide. Okay, so, um yeah, I just wanted to show you that tip they're using Multiply is probably the most commonly used effect when it comes to adding, ah, mode, toe a layer. And it's used for this ah coloring technique. Both an illustration and enhancing photos and stuff like that. So I hope that's useful for you, and we'll see you in the next lesson. 23. Superimposing: Ah, this is Brennan. And in this lesson, we're going to go over. Ah, moving things around in photos. Basically, what I'm talking about in this is to, um to be able to, ah, superimpose things. I want to find a simple, easy, simple language way to say it. And so I called it moving and re sizing things. But actually, it's what most people call photo shopping in, right? But of course, photo shop is not really a verb. It's just something that happened. We turned it into a verb, and ah, the actual verb would be to superimpose, I believe is is the correcting. And ah, So what we're gonna do is I'm gonna try and take a picture of me which you've seen if you follow these courses you've seen too many times. Um, I'm gonna try and take this one and just take out the me of this and put me into this scene every here. Now, of course, this is absolutely ridiculous. There's no reason for me. Ah, in sitting in this position with headphones on to be in a beach scene whatsoever. Ah, but I we'll do it, you know, that's what we're gonna do, and we'll learn the techniques of how we do things like this appropriately and make it look good. While we're doing that, I'm gonna do my best, but it's gonna be hard. One thing to note, um, is that this wasn't meant to be to begin with. And he should notice that, um, you know, if you want to do this well, that you have to pay attention to the lighting, you can't just take an image of somebody if you want to still look like a photo and do things like move lighting angles and stuff. And it's very clear in this photo by my head and body here that, um, the light is coming from this side there shade on this side and all of these things that basically would not be a parent. And if I was actually standing on a beach on a sunny day like this, that would not be the case. So Ah, it's not gonna look realistic, but we can still go through the motions. Still do the process of moving me into that photo. There's many ways to do this. Well, I'm going to do is choose this relatively simple way of using for starters. I'm gonna leave my headphones in there. I'm gonna cut myself out. And you could do this many different ways. Based on previous lessons, I should, um they're gonna cut myself out and noticed that I'm leaving a lot of extra space around the edges here. I'm doing that on purpose. I don't want to. You don't have to kill yourself and zoom in and go pixel by pixel. Ah, that's it's not the way to do it. It's just too hard that way. And it's unnecessary. Now, I opened these in two separate images. That's why we have different types. I can flip back in here, but you could just as easily do the same thing. Ah, you know, like I showed you earlier just ah, import as layer and have them both within the same workspace. But I'm going to do for this situation because it doesn't really matter. Um, I'm just gonna copy that area, which I just selected around him. I'm gonna paste it in over here. We can see already how ridiculous this is going to be, but it's ah, it's all in good fun. Okay, so, um, we're gonna make that to a new layer, and we're gonna position it. Ah, someplace appropriate. Such as down here. Here I am. You know, at the beach, ready to ah, take your call. Look like a, um What do you call him? I could Telemarketer. No, we know this isn't gonna look very realistic to begin with, but let's do our best. Um, the first thing that we need to do is take away all that extra stuff that we have on the sides there. This is not difficult at all. As you can see, when I copy and paste all of the, ah, the extra area around me here, that's that's under that layer. It's all transparent. So if I really use his black back here, you can see that some I have a pretty good, you know, starting place right there to work with. So all they want to do. One thing I can do to make this a little bit easier Is that a very strange color on another layer, such as this Ah, bright blue. Here, I'll just fill the whole layer up in between. Yeah, in between the background and me. And now I can zoom into me and just go into a race remote with a nice soft brush and just take that out like that. Notice how it has Ah, soft edge. So, yeah, because it has a soft edge. It's gonna be easy to ah, you know, to get around the edges right there. So this won't take too long. Since the Finnish result, I don't want to leave the black line around me, but the finished result is gonna be much further out. Zoomed out like this wouldn't have to worry too much about being perfect at this point. There are other ways of going about this, too. And I can go in there and numerous like, you know, start to nick away at the shirt of I wanna really be perfect because we have a soft edge, so it's still look relatively natural. One thing I cannot have is thes dark lines here cause that's going to stand out there is here and the same thing up here. Even this might be a little bit too much work. I think there is. Ah, an easier way of going about this. But for now, this is one Ah ah, We'll just call it beginner's technique. I have a couple other techniques in mind I'm thinking of while I do this. If I could simplify it. But this isn't This isn't too bad. Zoom in there and take out some of this. We did take out most of it to begin with when we cut it up. There we go. Now take this layer away and we can still see some white spots around there. I don't really want that stuff to happen. Um, so do this, Um and that's, you know, that's not too bad. Right There. You zoom in, clean it up a little. If you see any colors that really stand out, it's ah, especially on the the edges that you don't want things to stand out too much. You have that right there. Um, now, one thing we could do is also notice. While we're here on the difference in color values, this is a in the background. We have this bright, sunny day going on, and then me and the foreground I have these sharp contrasts of like, you know, you can obviously tell that I'm sitting inside. Reason for that has a lot to do with the values Um and the values of you know, somebody or something sitting inside will be very different from outside where you have this brilliant sunlight shining of everything So we can go to this layer of me and used the colors color balancer. You know, one of these things in here. I'll get a brightness contrast, first of all, and see if this Ah, you know, playing with this little bit might help me, you know, just raised the brightness a little bit. You don't want to give up like that. That's obviously it'll look like a ghost or something. Just kind of make it look like So I blend in with with the scene, right? Play with a contrast to, obviously was a go up here, Stand out too much down here. I looked like a ghost. You want to find the place where it just fits right in the middle? Now it looks like I fit into that scene a little bit more naturally. Actually, if we shrunk it down a bit, you might think that I was there and I was, you know, squatting down on the beach right there, looking at you. So Ah, yeah. That's not a really perfect technique. I wonder if we add multiply to this. That would help. Now that makes it were, Ah, just thinking one of these one of these, I suspect, might be able to No. No, because it is going to do too much work with the layer beneath it. Um, but yeah, that's, you know, one simple technique. It only took a few steps. We cut it out, we moved it. And then we erased the edge is very, very simple and got the job done. You could continue to work on it if you wanted to, with more detailed brush tricks. And for now, that's the best technique I have. This type of situation looks pretty good to me. Um, if you have any questions or better advice, go ahead and send me a message. And that's it for for this lesson. Hope you learned something, and, uh, we'll see in the next one 24. Using Layer Masks on Photos: how this is Brennan. And in this lesson, we're gonna go over the ah layer mask, layer, mask, layer mask is a tool intended to use for layers, as the name suggests. And ah, what you do with a layer mask is you can help. Ah, two different layers to merge together. Or at least this is what I do with it. Ah, there's probably, you know, such as with all the other tools in the gimp. It's all a matter of your Your imagination is going to determine what you can Ah, ultimately do with this. But, ah, the ah point of this lesson. The goal of this lesson is to understand the ability that the layer mask eyes, or at least one or two of it, because I don't know all of them. It gets, ah, a little bit over my head even sometimes, Um, so, uh, yeah, let's just dive into it. And ah, I'm gonna show you a really obvious example. Try and make it clear and simple as to what we're doing here with this. What I have here is a ah, a zoom tool which is going to help us to ah zoom into the menu here for those of you with smaller screens and also even on larger screens Thea the fart sizes and stuff with the even with the best video, uh, quality that I can provide Here it gets it gets a little hard to read. So here's Thea layers. As you can see over here already imported a few layers to experiment with. Now, if I right click one of these layer layers, I'll get the menu here. Or I believe, um, we can also, if you want to go up to the ah, you're probably right. Click on the layer while it's active and go to let me see. I could be wrong about this. Yeah, In this case, um, it actually another it is masking add layer mess. So go here mask at layer mask where you can directly right click in the layers panel and go to add layer mask and ah, let me ah, bring that over a little bit more. Add layer mask. This is what we're going to do is add a layer mask so you can find that in ah either and also in the top menu. It should be up there, too. under mask, so I'm gonna go ahead and add Ah, layer mask that. Now, Um, here we have some options, and what we're gonna do is just leave these options alone. Just use the default option, which says full capacity. Now we have a choice between white with full a pastie or black with full transparency. And ah, the result of these is basically going to give us an opposite effect. Which means, in essence, they do the same thing, but with different colors. Um, you understand what that means in a moment? Ah, and these other ones here, I'm just going to leave those for now because I'm not 100% tested on those, but they probably do similar effects. What the layer mask is is it actually adds a mask. You won't be able to see it at first, but it adds a mask to a layer so that you can do some tricks with it. And, ah, with what? What I know of it. So far, what it usually does is dealing with transparency, although there's probably, ah, other tricks that could be done with it. Okay, so, um, let me just go ahead and click the add button. So we have our layer mass now and you can see it here in the menu. There's a new white box that's standing to the right of the thumb. Now on, you know, the original image, which is this picture of me, right? So you can actually a select both of them. You can toggle would go back and forth, but after you add the layer mask, it's defaulted. Teoh, highlight and be selected on this, which is actually the mask on that white box that's actually the mask. And what we're gonna do is we're gonna draw onto the mask to add some effect. Okay, so now that I have, ah, the layer mask in place, let me go over to my tools here and see what we can do. So have to grab my stylist very quickly What you want to do since we added a layer mask and he said, I believe it was black full a pass ity. Um, we're gonna want to use black and white, pure black and pure white. And you do need to have it for the ah, for the means of this. Ah lesson Here. You should have it on a full black and full light because we're gonna be using Grady in as well in a minute. Um, so first of all, let's just experiment and see what this does. We have a full black on a brush here. Now, I'm gonna start drawing in. I'm gonna just start drawing, you know, brushing around, painting, drawing around, And this notice that what happens is I draw you make my brush a little bigger here. There's draw around on the outside of that picture of me and see what happens there. So, as you can see, what's happening as you can guess is it's basically taking away everything that is Ah, black that I'm painting black. Anything against painting black on the mask makes the layer go transparent. Okay, so I'm just gonna keep We're gonna touch this up a little bit, so it looks Ah, a little bit presentable. Give us an idea. I don't like the waste. Too much time on these videos. The recommended length is somewhere between 2 to 5 minutes per video. As you have your following my course, you'll see I, ah easily go beyond that. Too much jibber jabber lot and the reason is because I really like to Ah, make sure that you have every detail. Um, I hate to exhaust your attention span, so I hope that when you know, you do feel fatigued or we start to zone out. Just go ahead and, ah, you know, stop the video and come back later. So there you go. We have, ah, a really clean effect. I could go in there and, you know, zoom in and and clean it out. But look at how crisp and clear that differences between ah, you know the difference between the layer on the top in the layer on the bottom and what it was. Excuse me. Let me just take this away from it. I don't need that now. Um, and what it was is a layer on the top that has the mask and the one beneath it. I have two layers on opening here. The one beneath it, which was image underneath of it, got exposed while I was ah, painting on the layer above it. The reason for that is because the mass just makes transparent this upper layer. And so the layer that's underneath it got exposed. If I had another image underneath it, such as this one. Then that would be exposed. Right? So whatever visible layer is underneath the layer that you're painting on with a layer mask is gonna be exposed. Um, and this is because of black, the black versus the white. Now, if I wanted to bring back some of the original photo, I could flip into the white. See, I'm in the white color of brush right now and just start lips, Not there on the wrong layer. Yeah, and on this layer mask, let me go back and just start painting it back in. So you see what it is to understand what's happening here. It's when I paint with white. It'll keep the photo as it ISS, and when I paint in black, it will make it transparent. Basically, it's basically like erasing it. Now you might say, Well, that was a really cool trick. But why bother doing that when I could just use the eraser? Well, this is where it gets really interesting if black makes it transparent and white makes it opaque, which is solid. What happens if I use gray? Gray is in the middle, right is graze in between black and white. So what it does, it makes it a little bit transparent. And you could do You couldn't do that. Well, you could do it with, actually. Ah, you could set the ah racer settings to a little opacity, but you won't get the same perfect effect, and you won't be able to, um, you're having on what color have around now anyway. Gonna go back to where we were to show you what would happen with your race or real quick. Um, we need white to fill it it, right? Yes. There we go. OK, so let me go back to this layer and use an eraser and put it on lower capacity and you see will get a similar effect if I never let the brush leave the canvas. But what if I take it off the camera? So I'm gonna go back to do more detail Now see, it starts getting heavier and heavier. The effect is completely different. So Ah, in other words, you wouldn't be able to get a Z crisper, clear of a perfect level of a pass ity that you would as you can with this and because of that. In addition, that since we're painting and not erasing, we can do something such as used the Grady int tool. Here, I'll set the Grady Int tool toe gradually fade from black to white on the layer mask, and we'll see what happens. Well, you guess what's gonna happen first and then, you know, do it. 123 go. And there you have it. Since it gradually fades from black to white. That means that the mask is going to interpret that as being fading from transparent to a pick. And I can choose to do this in a very Broadway eso. It's slowly, gradually fades or I have a very narrow transition such as this. Do it over here, do it over there. Or we could play with the other settings in this Ah, and the ingredient, Phil tal and do something like this where my head is, you know, floating in the scene there almost ah, kind of a romantic kind of thing. Um, you know, some like that and then I can flip over after having done that, maybe flip over to ah, white brush and start doing something, you know, So doing some kind of weird effects or something. In this case, I don't really have any any particular idea of what I want to do. Some Justina showing you some random tricks that I could do here doesn't necessarily look good, but as to go to show you, using your imagination and creativity, that is a very, very useful tool that you could use their. And so, uh, just to push the envelope a little bit, I brought out another image here. Or it can also add a layer mask, too. At layer mask the same one. And again, we'll start painting on here with black mega transparent. And I could have done this actually would have been easier of the other one. And there, you see, I had the the image underneath was ah, this ah is a sure seen And the image on the bottom Let me go. Actually, I may go back real quick to fill that in. No, the whole selection. Right. So I had this scene got to make the point here that this is a daytime beach scene. This is Ah, not evening. But, you know, Dawn, I was the sun going down at the time I took this photo by the shoreline and so maybe, you know, I like the beach in this one, but I like the sky in this one. And so that's why I thought this might make an interesting example. Of course, your creativity can go wild with this, and you can do all kinds of things. Who knows what you can achieve Many, many things. You can use this technique to, ah, blend in people into scenes or you can use it to Ah, you know, super. Yeah, like superimposed things, for example, is we did on the previous lesson I showed you a different method. Teoh superimpose. You can also use this to superimpose What if I had multiple items? I wonder superimposed on one image and just, you know, brush them in easily like that. Um, and of course, this sliding effect like this is always fun. You can make a montage of different beautiful photos cascading together and stuff like that . And ah, when you have the horizons lined up, it'll be really cool Effect. How like, baby, this was This is actually two completely different scenes. But what? It was the same scene, and I did a daytime and a night time and then, you know, transition like this, That would be really cool to write. So just use your imagination. Creativity. This is useful for illustration. Ah, for photography playing around with the design things like that very useful tool to keep in your gimp arsenal. So I hope that you picked that up in ah, and use it and hope you learned a lot in this lesson. And I'm looking forward to seeing you in the next one. See you soon. 25. Photo Touch Up: No, this is Brendon. And in this lesson, we're going to go over a photo touch up with yet another photo of me. The reason I use filters of me is because they're there and they don't have any copyright on them. Well, asides from my own copyright. If if there is any normally don't care about my photos, I don't know why other people do. Um, so why? I mean, unless his professional photography, but yes, let me not get off the track here. What we're doing in this lesson is going to be photo touch up. The reason I think this is a perfect photo to and I didn't bother going online to find a better one is because this Ah, this spot I have on my head right here I normally don't have a spot. And especially when you, ah, shrink the image. For some reason, it just seems to stand out. I don't have a spot there. I must have scratched my head, had some, like hot chili peppers and scratched my head there before taking this photo. However, I like the photo and I want it. I actually do use it. Not only did I want to use it, but I do use it. I like the contrast of Thea and a sharp light coming over here. And there's some natural window light and perhaps some TV light making some blue light over here and readiness in the middle. So has a lot of dynamics to so which, you know, makes me artistically. I like it. Whether or not it's a good voter or not, I don't know, but I've been using it for I can't remember what I have it and somewhere for a profile pic . So I want to get rid of that spot. What are we going to do it? We have to do, Ah, photo touch up. Based on the skills that we studied so far, the and I don't I honestly don't know. There is a super advanced technique to this. I know there's some people who dedicate their lives professional photographers, for example. They, ah, specialize in doing photo touch ups, and they might have the best techniques. What I have is logical techniques, which I think will work now. First of all, this photo isn't going to be a hard one to touch up, because when we zoom in here. Notice It's very blurry. Ah, but for profile Ah, as a profile image for the sake of profile image only. Zoom it out here. You can't see the blurriness, but you can still see that spot. So I'm just going to use Ah, this technique which is on a blurry image, a simple technique you could use, not even for a blurry image. I mean, even if you had an image, that was Ah, you know, this big, this same technique will probably work, although it will be a little bit more difficult. You'll have to Ah, smooth it out a bit more and you'll see what I mean in just a minute. So obviously, based on what we know right now, you can probably guess Yes, that's right. I'm going to use the color picker, and what I'm gonna do is here's the important part. I'm not just gonna tap it once in the same area here and just say, OK, that's good enough. That's a color because notice when we zoom in here, there's actually a lot of colors. And if you go on to Google and search something that will guarantee to bring up people such as famous people and get your color picker out and pick on every person that you see. You will be surprised how red people are and you didn't even know it. You think that there, uh, feature white or orange? And when you have, even when you have black people, that's the really surprising thing, whether they be black or white, whatever color their skin is, um, they all seem to come up as a turn of red. Ah, darker skin person like a black person that actually come up. Um, in this same red category that we have here on this pallet, but just a little over to the left. Little darker. And that's it. You know, it's not like a totally different zone of color there in the red role in the red. So go figure. Um, and I could be wrong about that. Maybe that's just a phenomenon with photos. But that was my discovery, so I picked a color here. Let's see what happens when I rub it on my face like that. Zoom out. No. Looks like I have a dot Right. So what you gonna do about that? You might say that just put on that the bad spot. Zoom out. I can still see a dot That might pass might get by, but I can still see it up. So let's see another technique. Add a layer. Wipe out the dot the same way we did before. Now let's lower the a passing of the layer just a little bit so that the tones, the others little dots and speckles air still shining through. But it's lightened with that. You know that the color that I just added is that gonna work? I'm still I'm still seeing it, but let's see, let's notice the difference. Here's the original and here it is right there. So it's actually an improvement. It's actually a major improvement, right? Let me put the A passage e up a little bit back to 100%. I don't really like that 50%. Ah, I can still, even at 50% I'm seeing it's it's There's a little oddness in there. It might pass, but it's not great. So our final resort, when there's techniques don't work. And ah, this I'm not saying it's gonna guarantee to work, but I hope it works. Is noticed that the Patrick Skin is this big? Let me slide up to an area that has the same exact same amount of light. I'm just gonna copy and paste it. Copy and paste two new layer. And then, as you can guess, we're going to try to move it. I'm gonna grab it and move it down to see if I can cover up that spot right there and that layer thing out of the way. Now, as you can see, that actually works. But it's not perfect, because why, you can see there's a little bit extra light coming here in a spot that doesn't be longer. So there's a little bit of, like yellow in there. So what we can do to try and smooth that out is one we can again go down to bring the A. Pass it down a little bit. And two, since we just basically chopped off a square and moved it from this spot to that spot you can make out, you can likely make out the squareness of it. So what we'll do is go into the eraser tool, make sure it has a nice big circle there, and I'm even turn this layer off so I can see where it is and just slowly around the edges . Kind of smooth it out a bit. Let me zoom in Better. Actually, I'm gonna undo what I just did. And I'm going to raise the A pass ity and just to show you slowly around the edges here and zoom in even more with a very, very big brush. This kind of smooth the edges out, so it's a little bit transparent. And what that's going to do is help to just ease in this little patch of color little patch of skin that we, you know, chopped off his head and put it over to someone else. Yeah, I guess you gotta have a strong stomach to, ah, to do this stuff and look at that now. They turned that later on. I didn't notice anything, do you? Even when I'm zoomed in very close like this, I cannot I can barely tell the difference. Barely. I know that it's there, so I know the difference. We'll zoom out. And at this point, especially when we get to this size or we go down to the profile picture size, it's pretty much perfect Let's look at our original dot on the head and then the finished product, no doubt on ahead. That same technique should should sort you out in many, many a situation. If this was a very high definition, very close up photo where you could see the skin, pores and everything, it would get a little bit more complicated. But I think you could use the same techniques that I just used and just do a little bit more work. It would take a little bit more, you know, Ah, edging around with the eraser and a little bit more playing with the capacity and trying to get the perfect patch of skin to move. Ever. You might even get to different patches and, like, you know, blend them together. And a final thing might be to go on to that layer, and you might have to play around with the colors. You can go in here and in the color balance and see, like, you know, make it a bit more red or a bit more yellow. Ah, whatever it takes, using all the tools that we've learned up to this point, it definitely guaranteed you can get the job done even on the most complicated of food is just a matter of putting the work in. Okay, so that's it for this one. Hope you enjoyed it and learned a lot. And, ah, seeing the next lesson. 26. Landscape Enhancement: Hi, this is Brendon. And in this lesson, we're going to go over touching up a landscape photo, which can be, Ah, the techniques that we used to do. This could be equally as difficult for Ah, you know, a portrait photo or any kind of photo because there's, Ah, there's just a lot of different areas to be covered when it comes to lighting. And, ah, you know, the light versus the dark and all these different types of things and color. Obviously, there's so much more color. Where is in? Ah, you know, a close up photo of somebody really just focus on the ah, the tones of their skin, which in some cases can also be very complicated, depending on lighting. But in a landscape you're pretty much guaranteed toe have hundreds of different colors, if not more. Um, you know, there's only really so many colors in the light spectrum that we can see. But when he include all of the different values light and dark that you can have in a different saturation levels, it actually comes out to millions. So the problem with this photo I really liked this photo, but I think I feel like it's a little dark in in the foreground here for to qualify as like a riel in, ah piece of art that you could put in a frame and hang up. It's a beautiful photo, but imagine taking this and hanging it up on your wall. It's kind of just like a really dark vote up the parts that are light where the sun is shining through. Ah is obviously very beautiful. That's the most attractive area right there and with, you know, with all these clouds and stuff like that, we have, ah, great foreground here, which leads off into Ah, you know, this perspective seen slowly tapering off into the background. And then we have a distant background so you can really feel the depth and space in in this photo as well as, ah, the clouds are all tapering off into the distance. Um, so there's just tons of perspective on beauty and stuff in this photo that I'd like to keep , but the colors are just way too dark, and, um, the overall values of it. So one thing we can do to, First of all, if you don't have years of experience in our, um One thing you can do a quick and easy trick to see whether or not your values are in a good place is to dis saturate it, make it black and white. And now it doesn't look too bad as a black and white photo. Either We could turn this into a beautiful wall peace with, you know, a black and white version of it. But even still, it's kind of dark, Um, not so dark that is ugly or anything like that. But it's just not the kind of thing that your average person would have hanging up on the wall because it's a little moody. So let's try and lighten it up. Just little. We can start off by using, ah, brightness and contrast to see what that does. Well, actually, while we're at it, let me go and look at some of these. They have some auto things in here auto equalize and see what that does. Well, that's actually that that gets the job done, doesn't it? It really lightens up the foreground, which is what I wanted. However, there is a side effect to it, which I don't like, and that's, um, the area that was originally white. As you can see, a get into brush mode is going to see here. This area previously had a lot of beautiful detail in it, which were we're well, we've basically lost it. Now let me go back a step, and you can see all that Look at all that, you know, that little detail in their of the clouds. That was one of the most interesting parts of this. Not to mention the fact that after we, um, how to get back to that. Yeah. After we added that, um, saturation the auto auto equalize here. Um, yeah. See, now this looks like lightning is blasting through the sky. Maybe a comet is coming to hit the earth or something right now is just Ah, not a very natural view. So how can we get this equalized version where it's ah, I mean, this is technically speaking. It's right where I want it to be. This whole bottom half here, it's light enough so that I feel like Ah, I'm there looking at it. And at the same time, you know, just well it gets the job done to make a long story short But the problem is, uh, yeah, what happens to this part? To make the rest of it lighter is it gets so light that it just over saturates that area. So what are we going to do to solve that problem? We have a couple of tricks up our sleeve that we've learned so far in previous lessons. Let's make some of those together and see what we can get done. So the first thing we can do is copy and paste this as many times as we want so that we don't have to worry about losing the original image. So I'm gonna take this new version of it, and I'm going to do that auto thing, Auto equalize. And I'm just going to leave that there. I'm gonna hide it. I think that might be useful. At least I like what I learned from it. What we learned is that the the photos basically a little bit off balance. We have some areas that are too white, obviously, because that's the sunlight and then other areas that, ah, as a result are too dark. And that might be the cameras way of adjusting to the sunlight to keep that in mind, the shutter might have had to close in order to allow the sunlight to come in there for everything else gets dark. Ah, let's see, We auto white balance with that does. That's kind of interesting, but we're getting darker, so I don't really like it. Color, enhance. That's really weird. I don't even know why. Why that did that to get back. Okay, so, yeah, I'm not really liking a lot of these auto things, and this is an experiment for me. Normally, I don't even touch those for just for that reason, because it always provides results that I don't really like. Um, but something else I can do is go into brightness. Contrast is always, ah, very good place to start. And you want to use brightness more than you do contrast in this situation. Because look what happens when you use contrast a lot, right? There's gonna completely distort the photo so you'll be real careful with this. Bring a contrast up slowly this little bit. I don't want to lose that detail. That's the whole trick behind. This is I don't want to lose anything that's interesting or beautiful in the photo But at the same time, I have to achieve my goal of lightening up this this foreground just a little bit. So bring a contrast back down and the brightness up a bit. Can we find a happy medium? And there a kind of like I'm just looking at the foreground now I'm looking at the bottom area and trying to make that part happy for me. And then we'll look, look at the other parts separately. I think I'm okay with this for now. Let's try this. Let's try this only for the foreground. So I like how the foreground is looking here now, and I like how the background looks there. So based on what we've learned so far, if you can guess where I'm going with this, I think we can settle on a layer mask and find the best of both worlds. So it's going to the radiant tool of the layer mask on make sure of the black color selected, and the default settings with a layer mask is that anything that's black is going to be hidden. So I'm going to go this way with layer mask and make the bottom half to be known. I want the top half Resist the photo that we we lit up. Anyway, it's not this side. It's outside. Right There we go. So now I have right. The beauty of the clouds is coming through and I'm holding down shift and control so I can get a perfect little Grady it right here. And I'm doing it over and over several times. I actually have it set. So, um, it's not painting. Wait on to the ah, the foreground. I can change the settings here is not painting Thea the background color. It's only painting over with. Ah, right, This one. So let me change that setting. You know this This will help me toe practice a bit more. I want to hit that. Trying to get that perfect spot. Ok, right there is probably good enough. So I have taken out. Ah, I have the clouds from the background, as you can see there. And I have this part of the foreground. This is Ah, the top layer has the foreground and then the bottom layer has what has the whole photo. But most importantly, it has the clouds on the top there they want so When I turn on this top layer, it's basically covering the foreground of the bottom layer. However, look at what happens. I have a perfect line there. You can see right about right about here. I needed layer right about here. There's a perfect line where it divides, right? And I don't want that because I want to include these buildings here should also be in the foreground. So I go back to my layer mask there, and I'm gonna paint some more black in so that we can hide. Am I gonna paint black or white? We want to use this. Okay, Yes, we have white because black is gonna hide it. I get confused that all the time, but it's one of those things. If it's not this, it's that. So I don't try too hard to remember it because it's not to Ah, it's not a big problem, really. Some of the gonna zoom in through this building here. It still has the old ah dark version of the house and I can zoom in there. I just brushed that out. Now we zoom out, you're not gonna notice detail that you know that meticulous, that small little detail, but it's good to zoom in. Does he want to make a nice no highly professional photo? Because some people do notice these little things. Imagine if you're competing with other professional photographers and they also do photo enhancement, they're gonna notice all these little details. Okay. I want to spend too much time on this because we're doing Ah, you know this for instructional purposes. I just want to get ah, just taken, see a half decent finished product. Okay, there we go. Now, it might look a little bit unnatural to the keen eye, because thes Ah, these houses in the foreground are kind of standing out a bit. They're almost look photoshopped in. What can we do to help balance that out? Well, going back to our previous tools here Ah, what we want to do is find a medium place between here and there. Right? So if we were to come in with the we were coloring in in black is that we were doing No, we're coloring in white to get yet to murder this one. So what if we take go back to the radio tool and you know, after all that work. I did. We can go instead of a painting from white to black. Let's go from foreground to transparent. So that way I can, you know, continuously add little spots here and there, and it should just take that away. What if I add some light back here? So it looks like there's like, coming from behind the houses. We're over this way, even chain faded and gradually and from different directions. So it's little even even over here a little bit. Remember, the important part I'm trying to do? The important thing I'm trying to do is just to maintain the beauty of the sun coming in there, the details and stuff like that. So even like that, it's not too bad. You might the keen I might be able to tell that some some work has been done here. I'm I'm just slowly, you know, smoothing in some of these Ah, the surrounding edges air the surrounding edges, making him a little bit white so that they taper off into the other highlighted photo. But I never The key point is that I don't want toe high like this because look what happens there. This if I highlight the whole photo, then there you go. We lost all of that on that stuff. But what I'm doing here isn't making any detail disappear. So I'm happy with it. And that might work even just that right there. We could also go into the brush and make this brush very, very big because I can get it and bring the A pass ity down very, very low. And just find some areas that look a little bit unnatural to me and stop it out a little bit so I can try and find a balance between the darkness and lightness here. Yeah, just here in there. I have this on very low capacity. So one little tap, even still with such low capacity one little tap makes a huge difference, right? I don't like that. And I gotta be careful. So what I'm gonna do is I'm gonna leave it like that for now. And let's take a look at what we have. So what I can do is, uh, this another pretty important. Ah, trick that I use frequently if you want to take snapshots of the work you're doing along the way. But you don't wanna have to continuously make save new files. You can right click in the layer area here and say new from visible. Now, what that does is it makes a new image out of everything that you see with your eyes at the moment when you make it right. So that makes a new layer right there. And I can turn off all the other layers here. And you see, now we just have this one layer that has basically the finished product. Now, I'm only doing that so I can compare it to the original, which is down here on this turn at all. So here's the original. When we had and our goal was to lighten it up and make it look like, you know, something a little bit more vivid, we could hang on the wall. And there we go. I think we did a pretty good job. Okay, sorry. I just had a little audio problem there. And Ah, so I have to Ah, just finish this video up here. Um, anyway, it was that I was I was, in fact, at the very end estimate left anyway. And this is you know, just where we are. finished photo, and, ah, I hope you learned a lot in this lesson and ah, we'll see in the next lesson. 27. Text Basics: Hi, this is Brendon. And in this lesson, we're going to go over the text using text in the get and so ah, diving right into it. The first thing we want to do when we're adding text is, uh, just a hope. Go ahead and get your text tool out. Um, as a matter of fact, I wanted to bring up the zoom tool first. Use this over here, right? And so every here you can see in the toolbox. We have this letter a right here, and that's our textile. So we click on that and you can go ahead and make You can either make a new area which you would like the text to be confined in. Such as this. Let me add some text to it. The new and how are you today? Ah, I was playing with the settings a bit earlier, so now I have to sit them back to ah, where they belong. Okay. Right. So hello. And how are you today? It is ups back to everywhere. It is nice to meet you. And I I am fine. Okay. Now you can see the remaining text that I wrote down there. cannot be seen because it doesn't fit within that draw herbal area that I wrote there. So with the text tool still highlighted while I'm still in the textile mood, I can grab one of these corner boxes and drag it down until I can see all of my text. Now. Another problem. We still didn't get to the end of this because the font is too big. So now we can start to look at our options or tool options for this. For the text tool, every tool has tool options. As far as I know, I have yet to see a tool without options to it. So Ah, while we're at it, let's look at all of the options that we have in here. Ah, first we have here is a nice drop down menu of all of the fonts. And if you want to install a new fund, you will have to install it. And then if you have the gimp running, you'll have to closed against savior work. Close it and open it again. Toe, have the new fun show up in the menu here because apparently this drop down menu ah, it ah populates the all of the fonts while the gimp is starting. So yeah, um, which is probably a good thing. Um, so as you can see, every time I change a fund here, then it gives me it instantly. Just changes the font over there, which is, uh, you know, as expected. And it's very nice after that. We have this size. I can just change it right here. Or I can, you know, select this area and type of number. And they're so just 20. Now you can tell how big this canvases, because, ah, 20 pixel fund would actually be quite big, for example, on a web page. But right here, it's showing up very, very small because I have, ah, very large canvas for a drawing purposes and ah, use editor. That means if you check that when you open a text editor, it will help you to, you know, play with play with the text inside the box here. I don't see it as being ah neither necessary or useful for any reason. Right now, it's probably an old that's an old feature. Anti Ellis ing. I'm never sure how to pronounce that anti airless ing alias ing anti Ellis ing means that it's going to smooth out. Ah, the rough edges on the front and I would always say yes to that. So just keep that where it is, hinting. I actually don't know what it is, but because of that, I will assume it's not critically important. And I do think it's the only thing I don't know in this money. So I'm sorry I can't cover that one for the color. That's a pretty self explanatory. As you know, according to all the lessons that we've had before this choosing color. Ah, with the palate selector here, we got the color wheel. You could make the text red or blue or whatever, and just choose a color. Justify it means the way is it going to be left in line to write a line right where you can center the text, all that stuff and, um, you know, But all of all of these things are pretty self explanatory. A lot of people would know it already, Or if you didn't know this, then I I would question why we're learning to gimp, right? But some things that people might not know, uh, when it comes to design. Let me make this spot a little bit bigger. And, as is expected, I always pull that up. Okay, try this again. Make this fun little bigger. Um, something. A lot of people don't know if they're not involved with design. Is these two here? One is the line height ritual. Make bigger spaces between your lines, right. And that that could be very, very important. Ah, as opposed. I have no right one line at a time when you're trying to make something like, let's say you were designing a greeting card or something like this and you want a lot of space to make it look poetic. Um, as opposed to, you know, writing many lines. You can just put it all in one box and, ah, you know, organized a spacing and hit the center button. And there you got It looks like a greeting card. Um, Also spacing, depending on which font you're using, can be very important. This is, ah, the letter spacing the spacing between each letter so you can make Let me just exaggerate it. See, now there's, like, a lot of space in between each letter. It's still the same font size. But I'm increasing the spacing between the letters, and you can do that for different effects. Different reasons. Just ah, it's just a design feature, basically, and it's very useful. Um, before recent updates with again, Ah, the text editing was, um, very bad. Deplorable. Actually, a lot of people complained about it, and so now they have this thing up here which is supposed to be an improvement upon it and enable you to do more things. I have yet to find it very useful, but I do find it very annoying because it's always there when I'm moving around, and sometimes or should I say all of the time, it's in my way. I did investigate away toe, make it go away and turn it off, and I cannot find one. So, uh, if if you have any updates on that, please let me know. Um, for the meantime, we will all have to deal with this annoying thing. Being here, it looks cool and useful, But trust me, once you start working, it's not. It's just annoying, okay? And so, um, that's it for the basics of adding text. There's not really much to it. You have your fonts, you can install new fonts. Just remember to reboot. And ah, another thing to notice is that, um every time you had fun, it does get added as a new layer. Now, its added as a new layer. Um, and it is it's not art, like other things are. Whereas, you know, if you take a paintbrush, you can start stretching and scaling things. Ah, you know, all of the strokes and the image. You took a photo or paintbrush? Uh, imagery. You can play with it with these tools. You can't do that with, um, with the text, because, let's see, right now. Or maybe you can, but not by default. Let's see if I grab this now. Okay, here, let me restate that once again, you can play with it, right? I'll stretch this year now, but I'm not sure if you'll still be able to edit the text. That is what the problem is. There you go. Yeah. OK, so now if I go to edit the text again, it says, Will you get this warning message and you may or may not be able okay, so you can edit the text But now notice when I go to edit the text, it lost that transformation. It's no longer scaled. Okay, so another example of this might be What if we go to the rotate tool? I go to rotate this, and it will rotate it. But look over on the menu here you'll notice that it is no longer a text object. Now it's become a digital object, which basically means it's just like a Ziff. Somebody had painted these words out, so I cannot edit it. But let's see what happens if I try to edit it. Okay, See, it does remember that it used to be edible text, but if I want to edit, it is going to go back this way so you cannot simultaneously transfer. Give it transformations or, you know you cannot enhance it with any of any of these other tools without turning it into a non edible text. If that makes sense, so once you start, in other words, basically get your words how you want them, and then you can start playing with it and, you know, adding color or change the shape and and, you know, pull it around and twist it and bend it and stuff because you won't be able to edit the text again after you start moving it around and ah, yeah, that's all. The basics Text is supposed to be simple, and it is quite simple. You add it and you choose the font in the size, and then you can start, you know, bending it, twisting it, shaping it for your art. So that's it for this lesson. Hope that cover that for you and, ah, have a good day. We'll move on to the next list. 28. Text on Curves and Paths: No, this is Brendon. And in this lesson, we're going to cover very quick and simple but useful trick that is to be able to draw text along a path. So this will enable us to write text a long Ah, well, along a path has already said along a path that has some shape to it so that the tax can be flowing in. Ah, nice. You know, like such as on the top of a circle or in arc pattern or something like this. No, um, this is very important for certain effects if you want to achieve, you know, bending text around to make it look artistic in ah, in certain areas. And ah, it's not. It's pretty much impossible to do with the default text tool here cause you can only draw in the straight lines to make this clear. Let me give you an example. Right now, um, I'll go straight into the path tool over here, which we've covered before, and I'll make Ah, big, winding, bending path like this and actually that last one, just in case we need to change it later, and then we're going to go into the text that we have here, I'll have my text tool selected now. That path that I just made disappeared when I go back in the path mode. But don't worry about I'm going to select this text with the make sure that you're in the text and not on a new text, the text that you want to work with, right click on it and go to text a long path. And then let's just watch what happens. Text a long path and there you go. It's wrapping the text that we wrote in there along that path that I made earlier and let me go into the path tool so we can see exactly this path. And, as you can see it, put it it. Put all of the text right in the middle of the line that we made there. Let me zoom in. So going to see that now? Unfortunately, we have to take the good with the bed and to be brutally honest. Um, one thing that is not very advanced in the gimp is text. It's just not very good. There's not a lot you can do with it. You can change the font the size, the spacing and height, which normally actually is enough. But when it comes to making artistic text, there are a lot of limitations, especially in comparison to other Softwares. So, uh, for this a situation what we have here, being able to put text along a path is already pretty advanced. I'd say, Um, I don't even know how they do it. Obviously, it's it's very complicated, but what I do know is this text that we've made here is not creditable. We cannot, you know, just edit this tax thing to go back to the text tool, for example, I'll select the text here and ah, erase some of it. And as you can see, that doesn't change this bending, winding text that we just made. And so, uh and why is the text in this red color and hollow? But what it did, it didn't turn it into a piece of art or anything like that. It didn't draw it onto the canvas. Technically speaking, Ah, the canvas that I have here is still blank. I have the text hovering in this layer and my background campus. There's nothing has been drawn on it. So the text is floating in this layer, the original text and this text which will focus on now what looks like text. It's actually just a path. And if we bring out the path pool path tool. Excuse me. I'm a study out today and zoom on it. Now you can see there's, like hundreds, dozens of just of these little nodes that they used to create, you know, to to draw lines, paths around the text, so I don't want to see all those. Right now, all they want to do is have the text selected and we can go into the path tool here while we're in this tab, go down to the bottom as a showed you in the previous lesson about paths and we're going to click path to selection. Now that the path has been turned into a selection, we can go back to the layer that run, use a paint bucket tool and fill it in with the fill hole selection. There we go. And now you still see the red lines of the path there. So just make sure that path is turned off and we'll come back to the layer with whatever tool we want. It use next and just you select that. So there you have some fancy you wrapped around text. And, of course, you can use your imagination in Joel text and, you know, in a circle or however you want to. If you have problems, make sure that the length of the text is not too long to fit into the path that you made that can cause problems. Sometimes it's a good tip to keep mind. And ah, you don't want it to be too long or too short, and you will have to do some trial and error. At least that's what I found. There is no way to to see exactly what length of path line is perfect for the text. So, um, you'll just have to, you know, undo what you've done sometimes go back and forth and make the text. You can make the text font smaller, sometimes to fit it better, or, ah, you know, an increase that the length of it increased the text font size where, of course, change your path length just to make it fit. Perfect when you need to, um, so that's it for this lesson. I hope you learned a lot, and I have that's useful for you and ah, we'll see in the next lesson 29. Drawing with a Tablet: So this is Brennan. And in this lesson, we're going to cover using tablets, um, drawing tablets, which means I have a stylist, which means I have a pen that draws on to a drawing surface so that I can draw naturally more naturally anyway, such as this. And, ah, you know, this is me just wrong with my hand. Now if I were to go to, ah, draw with the mouse and let's say try and mimic what I just did over there. You see it come out here and you have to hold the mouse button down. It gets all shaky in your hand. It's just Ah, the mouse just wasn't designed for this, right? It's not what it's designed for because you got to hold it with your whole hand and you don't get that pinpoint pinpoint precision that you do with a pen touching on a on a surface. So, you know, with their second very quickly. Well, not with a pen this big. Let me make it smaller. Maybe like very quickly draw a little happy person here with hair and years, zoom in and do their eyes and everything like that, right? But you would never have that accomplished with the mouse and so much time. So drawing with your hand is obviously a lot more fun. And as usual, he is lopsided. I always hate when that happens. Anyway, get a fix in real quick just to say I did. Okay, so, um, what we're gonna do with the tablet? The first thing we want to make sure we do is, uh, by one if you don't haven't already the only one to make a long story short. The only company I know of that is, uh, that I can confidently say, is an expert in this Ah, product is the wack, um or wake um W a c o m dot com. That's where you go to buy one. Most people who are interested in this field already know this. If you don't, there you go. Now you have the expert information. The only decisions that you're going to make it first eyes, whether or not you want. Ah, the welcome tablet to have a display is there called welcome displays. And that basically means that it has a big screen that shows exactly what you're drawing and control directly onto that screen into the software. So Ah, that's obviously a lot more natural. And, ah, that I assumed this would be what most people would prefer. Ah, but they're more expensive. I don't have one of these myself. I get by fine with the regular pen displays and, ah, the basically non display tablets there, which are called into his pen dependent touch or into his pro. These other ones they have here, and on these you will have to adjust a little bit. You, the one I have looks similar to this. It's even a little older than that. And, um, it's about the size of a laptop screen, a small laptop screen, and it does the trick find. Ah, as I was saying, You do have to adjust to these because, as you can see, there's no screen on it. So you're looking at the screen. We're with your eyes, as we say, and your hand is down drawing on this blank tablet. So you're not looking at exactly where you're drawing, However, let me go back here to demonstrate I can move around, and, ah, as you can see, the mouse is moving around here, but without drawing anything, So I know where the mouse is. So if I draw a line here and then you know I'm going to draw a square so the next line should start here, even though I can't look down and see where it is. But I look at the screen, move the mouse there and move it over. Then the next line I bring my mouse back here and start and bring it down, right? Just like that. So you get used to it. It is a bit of an adjustment period. It's, ah, not super easy. But, um, I guess if you had drawn on paper for a long time, within about a month, you'll be very comfortably drawing around. I don't even think about it anymore. It becomes second nature. However, I noticed that I do still draw better on paper because I have so many years of doing that. And, ah, it's it's, Ah, slow, gradual adjustment period. I'm getting a better and better by the day. It's been a couple of years now. I think I've been using the's tablets and so it's it's coming along. Um, so that's step one is to get a tablet and just practice with it every day. If you, I mean, if you want to do this, that's what that's where you're going. Every getting into illustration or, ah, graphic design. I definitely recommend these. It might even be a requirement. Um, pretty much necessary these days, Have a tablet so that you can really Ah, you know, get in there and do the details. You can't drove the mouse. So, um, the other thing that happens when you get your tablet and we're talking about the gimp software here is that sometimes the pressure sensitivity won't work when you first open, get this gonna happen. It's happened to me on Windows and Linux operating systems. Haven't tried on the Mac, but basically what it means is when you're trying to do this effect where you go from thick to small, you know, light strokes and stuff like that it comes. It all comes out with the with no dynamics, right? And so it comes out straight. Just flat lines like this. And even right now, I'm trying very soft and now pushing very hard. But it all just comes out the same line. So that means you won't be able to use a lot of the effects, and there's more effects that you can use them here. Such as, uh, I don't know what is a basic simple yes, this one. It judges based on speed and lightness that changes the A Pass it e. And that could be good if you want to like, you know, shade in something softly have almost kind of like a watercolor. He kind of looked to it, I guess something like that. But, yeah, there's just all different types of effects that you can use with pressure. And so you want to make sure that your pressure opacity is working. So the first thing you do if it's not working, is go up into the preferences and you'll see, or you can hit it straight from the menu. It's this one here called input Devices, and then up here. We have configure extended input devices in the preferences. Sorry if you can't see it there, but I just read it for you. It's not worth bringing out a zoom tool, I think. Just go to input devices in the preferences many and then configure extended input devices and you'll see in here if you're welcome. Tablet is plugged in correctly. You should see it in the menu here of the input devices. You'll see that it, for example, mine Here, it says, There's the finger pad, the finger touch. There's a pen, eraser and a pen stylist, and what you want to do specifically for the stylists and the eraser on the pen, if you use it is set them to scream. Sometimes when you come into gimp, it's ah, by default. It's set on disabled and it's on disabled. That means your stylist will not be interacting with the screen correctly. So put it to screen. And sometimes if that doesn't work, I've also read some people. Put it on window. Um, but first try, you're gonna hope you're gonna want it to be on screen, so we hope that that works for us. Of that doesn't work. You might have to use window, which causes some weird effects, but you try screen first, and you can just go ahead and set all of these things that you use to screen. I don't use the pad or the touch features of it. I only use that I only want the pen and the eraser to work. So I set them to screen in this area here, and then don't touch anything else in here and just save it and close it. And then you're done after that. If you're pressure, Ah, sensitivity still doesn't work. Then you should probably go into some forums or ah, about the gimp. And also, of course, touch test your pad, another software. And if it's not working in any softer than you have to contact the manufacturers of the products, you know, welcome. You're welcome dot com and ask them what might be wrong. You might be missing some drivers depending on your operating system, so Ah, that's pretty much it. There's one more tip I can give you, you know, it's what to buy and then how to configure it. And then the other thing is gonna be before we start trying to draw with anything, the other thing is going to be adding a pressure size, the basic the dynamics that you choose in this menu over here. And ah, maybe I will bring out a quick zoom tool for this. We can excuse that mess of that. That was just showing there. Um they bring this over here? You can see in here. It says pressure size. Right? That may just pull this down. Yes, sir. Very, very quickly. Here. Okay, so we should be able to see the whole menu here. This is when you're in the in the paintbrush mode, you can see that we have, um these are all the options for for a paintbrush when we're in the paint and one of the options down here where it says press you size. It's supposed to say pressure size. I miss spelt that myself. Um, this drop down menu gives you a, ah, a whole bunch of different settings that you can use for the pressure. So this one says, Ah, confetti. So this should, you know, do something with my setting. And what does it do it? Well, yeah, that that actually has nothing to do with the pressure. But that one has something Do maybe with speed or something else. Um, here is basic. Simple. What is this? Do this does Okay. If I go slowly and softly, it'll it'll draw very lightly. But if I go fast and hard and you know it's very a pick, Um So there's all these different setting. Some of them will change the way your pen ah, goes based on speed and other will change the way that it draws based on the pressure. Um, here's one called speed, size, speed and size A Passage E. So if I go slow, it's small in a pick and we go fast, it gets gets smaller. Okay, so I'm slow, it's big and I go fast, Smart. It almost makes sense. It's kind of and sometimes it feels kind of natural. Because isn't that what would happen if you had like, Ah, I don't know, a piece of chalk or something very slowly. But if you go fast, then you know, just screech across the board or something, and you might find something that you really love in there that will help you to draw better. So it's worth taking the time to look at all these and experiment with. But one thing that I found it did not come with was, ah, a good setting that I needed for pressure. A passage E. So what I did is, um or what you do for that is you're going to hear and on while it's on, you know, any kind of setting just hit this button, the edit button, and that will bring you over that will open up this over on the right hand side. It'll open up this new tab here where you can choose and edit and make a new type of basically a new type of dynamic. So what I did here is I checked off this box you see here in between pressure and size. So that means when I'm adding pressure is going to change the size. And that's exactly what I wanted. I want it so that when I push hard, just like a paint brush or a marker, I push hard. It's gonna make a bigger, fatter line. And when I brushed on it softly, that make thin little soft lines. So, um, you can change this to be whatever you want. You can say, like when I push hard, you know, change the hardness or, ah, you know, here they have the spacing and the rate and ah, all of those it would take me all day. Or, you know, we'd have a 24 hour video here literally if I had to explain all the potential results that you could have out of this. But I'll at least start you off with this one. You can make your own brush by by pushing this right here. And then, um, let me see. Actually, first you have toe make a new brush. So to do that when we dropped this one down. Yeah, this is over. Ever hear of to bring this over for you? When we dropped down the pressure size thing? Look on the bottom, you have to bring it down a little bit further. So when I opened up the pressure size thing you see on the bottom right here it has. I believe that's one open, dynamic selection. Dialog right here is the one here. And now when that one is open, look down here on the bottom and you see here it has created a new dynamic, so that would be the first step. And so I did that. And you can see now it says, uh, here is Oh, it changed. Where to go? Yeah, There we go. Ok, so here is the new dynamics and I could type in Ah, a new name here. Oh, no, wait That's not where you dude anyone? Let me see. Ah, ok. Right. And says Untitled one. So I just made a new dynamic, and I can give it a new name. Like New dynamic, um, Emmick New dynamic with capital Any W and I will set it. Why? Oh, you know, that's because I switched from stylists to, um, to the other one. Let me just keep on the mouse, OK? New dynamic. And I'm going to give it. Ah, Let's see, when I push harder, it's going to change the Geter. Okay, Maybe that will work. I'm not even sure of that. Work. End with velocity. Okay, good. So that's a new dynamic, and it should use There's two features. I don't know why it keeps changing like that. I guess I'm supposed to say that like this one new dynamic to since something seemed to happen and I guess that should do it. So now we go over here. Yeah, there's the new dynamic we selected. And let's see what happens if I try to draw with this. It might not even work. I'm not 100% sure. Yeah, This one is called New Dynamic, and I said it for pressure or not. Not plus Jenner. That doesn't work. Let me see with size. Yeah, that that is working so you can see if I go. If I have the pressure soft and I push it hard, it's given me a different size. But the flow and the jitter is not working. I don't know why. Let me see what color. Now that that does work, you have added color, so it's give me less color. If I If I push harder and angle now, that would work. The angle is only gonna have an effect. If you have a certain sized brush like this one, they clean the canvas so that push harder. Yes, he has given me that thick the clients that is actually working when I have the angle set because the angle of this brush, if I don't have that on, let me show you how it works. The angle of this brush is always at that. See, it's just a flat line like that. So when I go down and makes a thick line when I go over, it makes a thin line. However, when we changed the ah, when we add this setting here is going to change the angle of that line when I push harder . So now let's look when I draw and I'll make it bigger so you can see it. Yeah, look that you can actually see it spinning. Let me make it even bigger So it's very clear Yeah, see that? See how it's spinning that now I'm pushing down and now I'm letting it softer Your softer, softer Now I'm pushing down a softer So imagine all the weird crazy effects that you could invent with this thing because you can just make it so that you're basically playing with with color and sizes and shapes while you paint things um, hardness. I don't know what that would do. Let me headed hardness Eso It seems more blurred when you when you don't push down hard. Okay, let me put it back to a regular brush. And also I'm gonna take away the size and angle and have focused on just hardness to see what that does. We push hard look that gives you hard, thick lines and then when I go softer, it gets more blurry and soft. That's, you know, also very easily so, yeah, I'm learning stuff while while we do this too. But I hope you understand that, Um the what I'm trying to point I'm trying to get across here is this is not very simple. It's actually quite complicated, but you can easily make your own new dynamics to play with this. Ah, just by opening this dialogue and again to do that, it's over here. Under the after you open a brush, you'll have this dynamics menu. And then when you click that dynamics button down here, you have this make, ah, new dynamic button, which is, you know, this one on. It's the most right. Most button down there. You see that little blue icon and you click on that one, and then you can just, you know, start playing with these these settings here. And there's even more settings, which I'm not gonna get into because it's, you know, just there's so many things you could be in there all day long, experimenting with it. But my favorite one, the most important one you need to add, is just a have pressure. Ah, to have the size change on pressure and I call it pressure size even though I have toe spell it again because I made it incorrectly. Um, so that's it for this lesson. We did cover just about everything I even went to Ah, maybe too much detail with that. Hope it in Boria and ah, we'll call it a day and, um see in the next lesson. Thank you very much. 30. Cartoons and Illustration: This is Brendon, and ah, in this lesson, we're going to go over, uh, enjoying a comic book style illustration you saying to get And so what I did is I started to do a very rough sketch here just so that I have some kind of ah foundation of a of a comic book style drawing. And if you can't make it out yet, it is intended to be ah, sort of a guy superpower guy flying through the air. Ah, I won't say superhero because he actually doesn't look so nice. Maybe he's a supervillain, so I'll just go ahead and keep sketching this and in the meantime, will think of Ah, you know, whatever comes to my mind of, ah, regarding this this type of process. So this is not actually a, um a drawing class. If you do want to see ah, you know, if you want to learn more techniques like this on how to draw, Actually, um, I have another lesson for that. What you're gonna find ah, in my curriculum somewhere in there, or just searching you Demi for ah, from drawing to illustration from drawing to illustration or search for my name and I should be able to find it in there. Illustration. Course there's a couple other courses in there, too. And of course you're welcome to Ah, take those or take mine. Ah, I don't know which is better. You know, I'm not going to sit here and ah, get competitive with people and argue over what's right. What's wrong? Um, everybody has their own way of getting stuff done. I've been criticized before for Ah, you know the way that I get things done, my anatomy of the figure and stuff like this. And, ah, who's to say who's wrong and right? You know, it's hard sometimes. So I obviously I don't do things in a way that I think are wrong. That's not my ambition, but I think people are, Ah, a little overzealous and perfectionism sometimes. Okay, so you know, people nit pick and and say that you're wrong for these reasons, get very passionate about the argument. And then you look in reality and you see someone drawing like peanuts like Charles Schulz. And obviously he's one of the most successful cartoonist of all time. And, of course, that's different from comic books, right? It's It's very different style, but doesn't go to show that sometimes we should just lighten up. Is that the whole point? Actually, of cartoons like that? Just lighten up, not worry so much. But there is. There are certain certain things that we need to keep in mind to make sure that we're not being, ah, sort of Ah, hurtful to the I. You know, when things to look appalling. So you're supposed to be ah, supervillain style guy. Ah, no idea. You know exactly who he is. As you can see, he doesn't have a mask. Um, he just looks like a regular person. So maybe I could do something to fix that. Yeah, we'll go like this. And ah, don't really like that face. Even for a villain. It doesn't have to be that we're looking. Uh, okay, this is a sketch, right? It's a sketch. So I'm not gonna worry about it too much, but asked have gloves, of course, because is a super guy. And eso while I'm sketching something that is actually relevant, um, to this lesson is that it's nice to be able to flip the layer like this. I have a hot key set to flip the layer. Um, and we have to know there's a difference between flipping the entire image or flipping the layer if you flip the entire image, which is nice, Um, in some cases, because you might have multiple layers. It's good to have that, too, but it takes a lot longer for one, um, and it's ah, it's not always a good idea. For example, if you have text for, because we're working in the gimp here, not food ish up and some things ah, are not good to do that with right? If you do, if you have text on some layers and then you flip the entire image well, it's going to turn that text into not text so you won't be able to edit again. That could be a problem if you're making something like a Children's book or comic book and you have your text in there and then you have to edit the text later. Well, you'd have to go in there and, you know, redo it all and make a whole new text layer and and do it from scratch. Um, so when you're in sketch mood, it's good to have all this stuff done. Now, keep in mind, this is digital illustration. Uh, we've come a long way. It's a lot easier than doing everything with, you know, actual paper and pens. You can erase your mistakes. Imagine the old days when you had, um there were no computers to draw with. And you had to use, you know, actual pen and ink. And every time that you laid that brush down onto the paper or the board, um, it was basically do or die. If you made a mistake, then well, you could use White out to go over it, but yeah, it's something making mistakes. It's something that was not very acceptable in the world of the Illustrator in ah years passed, it would be very costly to make mistakes. But now we can make mistakes all the time and redo it because we have these digital tablets . So things have gotten a lot better. A lot less stressful. Um, so that's about it for my sketch. Um, that's just a quick sketch there, and what I'm gonna do is lower the a pass it on it again. The point of this is just to show you some of the techniques that I use for illustration and, um, the tools that I use. So I turned that layer down the one that's my sketch layer. And now I'm going to go to a new layer. And normally, if I'm taking my time, I would call this the ink layer or the line layer or something like that. And now, as we do in traditional comic books, I can go in here with the pen. And, you know, this is the pressure size as we set it up correctly with the, you know, the previous it was described in previous lessons. I have it set up so that it writes, or it paints, I should say, just like Ah, a pen or the pennant. Traditional pen in ink is what I meant to say. The ah would call on ink brush the ink brushes good for this traditional style thinking, because you can get thin lines when you need him and thick lines as you need them, right and go from thick to thin. And this guy has a little bit of a chubby face That's okay, can all be supermodels. And when I do this, uh, when I'm really going to work. I would normally make this a bit more. The sketch, a bit more detail. Don't really have time for that right now, Has this Ah, snarl on his face that we call it, uh so I should be able to view Excuse me? Not making ah masterpiece here. Minuto Just trying to speed this up a bit. As you can see, he's kind of like in the air flying, and ah, I think you get the general gist of what I'm trying to achieve with this superhero style guy flying through the air. He's coming towards you, as is tradition with a lot of the comic books and ah, we're going to do is at the another layer gonna do some coloring and some shading as quickly as I can Here. Ah, don't need that. I was about to add Ah, too much anatomy there. The what you call the nipples. They should probably have a different name for that for men. Not really. Use on a use. Now, get real sloppy here, but just get the point across. As you can see, there's ah, there's a leg might actually end up looking pretty good in the end. But I go through this thinking process usually a bit well, a lot more slow. And then when this is done, we can jump right into color. So there we have that now about the pencil layer. Ah, you can take it away and leave this, but I like to leave it in there. This is what I call it the pencil there. It's actually, you know, sketch layer, and there's a lot of good details there sometimes, but I want to make sure it's not Ah, where I don't want it basically is. It's not like coming out of the seams here falling around. That doesn't look sloppy, right? Because some of this stuff that I did in pencil I don't want to do it. It wouldn't look right about one over in pen because I don't want every single line to be so dark and thick. But at the same time, I also can't have all this. Ah, Messi scratchy stuff all over the place. So I do have to do a little bit of work. You don't clean it up just like this. These clean up the outside of the character as bare minimum and we're Mr Okay, so that's pretty much all I want to do. Now, that pencil there, I can also use it as a shade layer since the background is white in this situation, Um, and I do like Teoh. Do you like to do that? Even if the background changes color, having this layer as, ah as a shade layer since it's down in a pass Idiots, actually black, right. So when I'm drawing here, I'm drawing on to, uh, basically drawing pure black onto a layer that has lower capacity. Right. So that's good, because later on, I can change that. The capacity of that make it lighter or darker. And I can also select all of the black if I want to and turn it into, um, you know, any other color that that might need for the shading do the shooting effects that I need. So here I am, just doing some shading, and here have little reflective light again. If you want to learn about the actual drawing process, it can check out some of my other lessons. Or do you go into detail about had a CI vil of these effects and I should be updating there is less. And soon I've been meaning to get to him. Uh, recently, actually, but I haven't done to it. Okay? I don't want this to get too long, but you get the general idea. There's a guy he should be flying through the air, I think. Originally, was he actually on this site? Yeah, that's the original way. So I feel more comfortable finishing that way, too. Now, let's say there is a background and we need to give it a little bit of turn. Well based color there. That way I can apply. Ah, the effect I'm looking for cause I feel like he's just hanging there in the air, and I'm just anxious to make it look like he's flying in in the air like this. Right? So when I have that effect in there and so we have the sketch layer, which I had there the in Claire. When you put them together, it doesn't look too bad. Now I'm gonna add a color layer. No, actually, I like to be a bit of a stickler about this. Make sure that name the layer. Excuse me. Very useful. Then we can start coloring. Okay. A little bit red turn here. And he doesn't look very symmetrical after work on that. Okay, Now you might wonder why I'm covering his face up like this if you Ah, we're a good student and followed all the previous lessons. You know that something. Take a guess what we're about to do right now I'm gonna take this layer and can you guess what I'm gonna do with it? I'm gonna go to the mode of the layer, and I'm going to bring it on down to multiply and see how that fits right in there. Right. Um, one thing that is not good about this since we have the gray background, is that it's multiplying. I think it's multiplying that color in with the gray as well. So what I can do to fix that is first put in. Ah, some white behind him. And yes, as you can see, that's that's gonna lighten him up because the multiplies going to add whatever effect it does. You know, I don't know how to explain that. Exactly. It's it's like merging itself with layers beneath it, and it's gonna work together with whatever colors happened to be beneath it. as well. So I need a white base here in order for, ah, the colors that I'm putting over it to come out as they're supposed to be. We just need that white base. Basically, it's what I'm trying to say. So put that in there. And now when I go back to, ah to paint these the colors with the multiply layer should ah e should turn out as planned . Why is that? I wonder. See, I got to get that color. Yeah. I don't know why that color disappeared. Should have been in my palette. Okay, Anyway, now I got the red color, and, ah, as you can see, they're using a multiplier effect. And do that, I'll give him some kind of soup color, which is Ah, give it a bluish color. Here. We can paint it right on in there. Now, one thing if I wanted to use the select tool to fill it in like a paint bucket told we can do that too. But first we have to go to the inn. Claire and ah, make sure turn off the other layers temporarily here and make sure that I have all my lines drawn in. If we leave any little spaces, see that little gap right there? So if I try to select him now, is it going to go through that? Get we got lucky. Probably cause my threshold is up kind of guy. But leaving little gaps like that can create big problems in many cases. So I'm on the in Clear now. Unfortunately, in gimp, we do have to come into that layer to select it. I did. I actually search that, and I couldn't find any other way. But, um, the good news is, I have a good way to fill it in good and strong. And that is, after we select this, I'll go into the select menu, Say grow and I'm going to grow it. Make that selection a little bit bigger by, like, three pixels. So now when I go to fill it in is gonna fill it in. Ah, well, very good. And yeah, that's right. We're using the blue color and I'll just use the paint bucket, make sure it's set, fill whole selection, and there we go. It feels all that in. So I don't have to where I could have brushed it in just a Z easily with a big brush. Right? So it's nice to make their selections that it helps you so even. Look here. See, I missed a lot of spots and in this area because I was being fasted and sloppy, but when you're being professional, wait. Did I put that on the right there? Yeah. Okay. We're good. I was afraid of they did that paint bucket fill in the wrong there. Okay, so you want to make sure that you have the right colors? Very weird. It's supposed to put recent colors that I've used. Oh, maybe that's why. Is this it? No, that's not it. Yeah, This is really weird. It should ah should save the recent colors I've used in in this area. And it's not doing that. So let me see if I can select this color. Let's put that in there on my sketch layer back on. Mm. Uh, and the weight layer. Now I construct that layer the color, I mean, and okay, I did draw this on the ink layer accidentally. Very sorry for that Waste of time. There. Okay, Now we're cooking with grease, and maybe his legs were just wait. You know, it is what it is. There's all the color and back to the shade layer. See, now, if I had named on my layers here, I wouldn't have had toe click on that one to see if it was the right layer. And there goes that I'm not gonna finish this, but I think you can see the direction I'm heading in. I could just continue coloring, coloring and do all this work here. And eventually he would be, Ah, you know, a professional illustration and just a little bit like to his ice. And then when we're done with that, we go into this mode here, bring out some text and the text. He's saying something such as, Hey, you. But we have to get a nice comic Funt and a heaven and here Atlanta gold. Right, Do that and make the final little bit smaller. This is combining a lot of this stuff that we've learned in previous lessons, Which is why I want to do this. Now I make a new layer which I usually call balloons, which is four word balloons, as they call them, and I all I have to do to make this because I made my own script is to select it and dio use my own personal script here for that and automatically makes that for me. If you wanted to do it one step at a time, basically selected with a square I'm going to here and turn it into a rounded rectangle. And then you border it with the border command. We covered all that. You make the border of your selection and you feel that outside in black and the inside in white, but not in that order. And ah, we did cover that in the previous previous sections, so you can go back and check that up. Um, I need to get this in about 15 pixels. Right? We're gonna try and make the word balloon here two sec. This, if I can get it in one strip, would be really nice. New trial and error. Sometimes they're better ways to do that. I could use a path tool, but it takes long, so I prefer the Ah, you see, It only took me through here for tries, but it got the job done. Now I can take out this line here. Great to the bucket, Phil. Whips change out toe only fill similar colors, not fill the whole thing. And there we go. Maybe a little cleanup work here. Try and make it perfect. And that's Ah, comic style illustration. Obviously, it needs a lot of work, and I was doing that super fast. Uh, I did it all the way from the sketch up to the color, but, um, you know, look at how many different techniques we covered there, and ah, just goes to show you how quickly you can throw together an illustration with everything from the word balloons, the text, and, ah, and the character there. So I hope you enjoyed that. Learned a lot of stuff. And ah, we have a few more lessons left if you're sticking with us, If not, have a nice day and, uh, see you later. 31. Making Scipts and Script-Fu Console: Hello. This is Brennan. And in this lesson, we're gonna go over scripting and again. And Ah, this is a slightly more intimidating, um, lesson, because this Ah, the scripting. It's basically programming. And we're trying to figure out how to use programming could to do things with the image, which in itself is a pretty complicated thing to even think about. How do we use programming code to manipulate, You know, an image. A lot of people just don't even want to think about that. So Ah, but I do want to say that you don't really have to be a programmer. As long as you can understand what it is that the script does and save it to the correct directory. Then you can still use the script because there's a lot of scripts out there. Gimp has been around for a long time, and, ah, we can use other people's scripts. You know, we can share scripts, Um, especially if they come from trusted sources. Because these scripts, they are, you know, like little programs. And I might be able to do some damage or ah, play little pranks on you or something like that. So especially with a python scripts. Um, I believe, based on what I've read Ah, I think Python scripts are actually full fledged execute herbal programs. And if you don't know how programming works and you can't read the code, then you have to be careful of those. You should be advised that however, the gimp scripts, which are based on the L I S P or list programming language or at least it seems to be that way, um, it has that you know that context to it. Um, these these scripts are a bit more safe. So all of this jargon that I'm talking now, it might sound a little confusing. Ah, if you don't understand, But just don't worry about it, we'll get right into it. What we're gonna do here is first open up the consul, which can be found in filters, and we'll go down to script through. It's actually called script food. And let me definitely get up my zoom tool for this one. So yeah, here we go with this. Whoops. Not what I wanted. Ah, always on top, right? And we bring that down about here, let me see where the ah, yeah, the filter's menu here. Go down to ah script for you have Python through and scripted. We're going to start off with the script food. They're two different things. I don't know everything about this stuff, but I have made plug ins. What I will tell you, based on what I know is that scripts um, the script, who is where you put into the scripts directory and Python Fu is where you put into the plug on plug ins directory. Um, And again, that's as far as I know I could be wrong. But based on what I've done and what I've learned so far, python makes plug ins and script food makes scripts and, ah, script through. It seems to be a type of a programming language language, which, to me, seems to be just like Ah ah l A s p I did study programming for Well Oh, and I already have this council open, so Yeah, I was looking for something that Ah yeah, already existed. So here we have. This isn't a fresh council. This is when I've been experimenting with. And I just wanted to show you the reason I left this one open. Actually it was a reason for it is that I had already made a script here, which was a rather complicated one to make. Ah, very simple thing. Which is why, if you don't like programming, I mean, if you don't love programming, you might be better off just using other people's scripts. If you can find one that does the job you need and, um eso let me just do a quick demo with this, see if it even works by typing this command here. Um right. It did. Something gave me number 4000 cause I typed in gimp draw bull with layer, so it told me What? Thea, you know what? The width of the layer there. Okay, here's one actually does something. As you can see in the zoom area over here, it says gimp Trouble. Feel there, foreground, Phil. So if I'm lucky, it would do a foreground, Phil, and let's see what happens. There you go. And you see in the background, which was actually wait a moment ago, it now changed to ah to black. So it, uh, did a foreground color fill on the draw a bold layer. Now the hard part and The sad part about this is before being able to do such a simple command, I had to do a lot of programming. Um, there was a poor five step thing with a lot of errors. You can see all this gibberish up here. Um, the first part of it is pretty easy to read. That's the function name. It's gimp. Draw global fill with hyphens between it just to tie it together and make it one word. His functions have to be one word after that is where the hard part came. The word layer right there. Ah, you don't just type in the word layer and watch it work. Unfortunately, we had to find the layer mathematically and then, ah, set the variable whose name is layer to be layer. So this is where it gets complicated. And, ah, you know, if if you're not into programming, just close. You put your hands over your ears for a couple minutes until I get through this part, and then we'll show you how you can download a script and install it. Um, but yeah, First, to get this layer just to give an example how this all works, Let's go up to. This is where we started that I had to go find the image. All right. Well, first we had to list the image. So let's see what happens when I do this gimp hyphen image hyphen list that gives us this list here. A very short list which basically just has the number one in it. And another number one. If I had more images open, I'm assuming there'd be a number 23 and four and so on. That's how I saw it, at least. Ah, you know, on the examples online. Now, since we only have one image up in and I know that because I only opened one, we can assume that the first number is actually going to be zero. Because, remember, we're programming here, so we start with the number zero. The 1st 1 will be zero in the 2nd 1 this is an array because the list that the program gave us is actually in a race. So the 1st 1 will be zero second one will be one and so on. And ah, it's giving us I d numbers. So what happened here is after I know that the image on a draw on is the 0th 1 which is always going to be the case. Luckily, I guess if you were, you know, you wouldn't have to go through that if you already knew that you only had one image open. But after that, now we know the number that we need to zero. So I went into I had to define an image as 0th 1 So here we go define image to we just named the image to this was based on example I found online and you have a ref, and then I don't know what a riff is. I I just blindly type this cad. Are I do know is, uh, this is reminiscent of L. A s P code, which is basically setting a variable. And then we have the gimp image list, which we already used. So we're pulling out an array. We're taking the first element of the array, which is gonna be the gimp image list array zero. And we set that as we use a ref to reference that I guess we're probably trying to get the address of this variable, this array and we set that address to image the name image, too. So I'm going to do this again right now and see what happens. And there you go. All that does is it responds with image to which is actually a good thing, cause if you don't get that, then you're gonna get a bunch of ever could. So now we have ah, variable for this image, which is called Image to. Now what we have to do is get the layer that we're going to draw on. So how do we do that? Well, now that we have a variable for the image, let's go up to And I typed all this code out previously, so you don't have to watch me type it again. I'm just scrolling up to ah, to get where it is. Um, okay, I have to make this window a little bit bigger to a bit wider. Yeah, there we go. And so now that we have image to is a variable, as you can see, I'm using. And over here, since its programming code, as usual, might as well read it backwards. Um, so out of this image, we're doing gimp image. Get active layer, cause we're gonna you know which later do we want to draw on to? Theirs could be many layers. I wish it just selected the default one. Ah, you know, But we have to go through this process. So we're setting that variable of the active layer to be We're defining it. What? We're calling it layer right? Or in this case, just to prove that we know what we're doing. Let's change that, and we'll call it, um, you know Ah, uh, sort of call it background or something. I'm afraid that would be the We'll call it base capital. I don't know if we can do capitals, right. It will try. So we made a new layer called Base, which in my previous ah test was called layer. So now we know which layer we're gonna drawn. We know which image you're gonna drawn and which later won a drawn. We should be good to get at this point. So we got to do this gimp draw bull, Phil, But not Layer. I wanted to be that new one. I just called it base. Um, and this is gonna be a function which, actually, you know, Joe's. But in order to test this appropriately. I have to change the color cause it's already been painted black. So change it to read. Go back to my console here. So if all of our, you know, functions were correct here, this should, uh, essentially should ah, fill this with the red color. Turn all that black and Guerette. See what happens. Hit, Enter. There we go. It actually works. Wow. Hallelujah, applause and all that stuff. Okay, so, um, that's a quick introduction onto do it. Doing something very, very simple with this. Now, the question is going to be OK for people who are programmers. You're going to say, OK, I understand. I get the general idea. And if you have, you know l a Ah, yeah. What do you call it? Lists. Programming language. Let me just show you very quickly. You can do two plus two like this and outputs for right. So it is very much Ah, allies p programming interface. Um, if you don't know that language which I wouldn't blame you. This e don't know how many people do. I don't hear of it frequently, but, um, yeah, it's not too hard to pick up for the sake of scripting here, but your first question is gonna be Well, where are all the functions? Where's the documentation? That's where the good news comes in. Right here on this console. Click the browse button and you're going to get this window over here, which I cannot move because it's underneath this right. There we go. You gonna get this window here? Which is basically the best documentation of anything I've ever seen. For any programming language is just great. You can search for whatever kind of function you might be thinking of you. If you want to do some of the background, for example, then ah, you know, search the word background and see what you get there. Um, actually, background would not be ah, suitable word. Make sure using a tool word or something like that. So I searched, for example, bucket to do gimp bucket, fill. And there you go. There's the function. Forgive, bucket, fill. And not only does it tell you what the function is, but every here it has a full description and it tells you all the variables. And in addition to that, if you hit the apply button, it will automatically put it into the console for you so you can start testing with it. However, remember, you have to set up your draw balls, right? You have to set up your ah, your your layer that you want to draw on and all that stuff so you can't just hit enter. After doing that, you gotta change some of these variable names. So that's the good news and bad news. But, um, I think it's very good interface now, Very quickly. Ah, script that I found online. But you do have over here. Let's take this script somebody else's script who did the hard work for us and try and install it into the game. What we're gonna do is go into. Actually, I'll do it right from here. We just want to save this file. It's called hello world dot SCM and the place to save it. We're gonna save page, as is in the Gimp directory. Now the gimp directory. Whether you be on Windows or Linux Macintosh, it's in your home directory, so you go to ah, your user names directory of your on windows. It'll be user for slash your user name and on Lenox, it's home for it slash linens and Mac. I think of the same with home Ford Slash. And then you have to make sure that hidden files are being viewed. And look for the folder called dot game Hyphen 2.8. As you can see here has got adopt before because it's a hidden file. And if you don't select show hidden files in your preferences, then you might not see it. So first, Ah, you know, get your setting straight for to show these hidden files and then we'll go into the scripts directory right right there, and give 2.8 scripts directory will just save this script now without I did test this before it should work without closing the game. Let me get rid of that atrocious red so that my I I don't want to go blind right now. Not yet. Okay, waiting for that to fill. And I thought I was on white on red. OK, so now let's know something that script is supposed to. If it does what it's supposed to do, zoom in here. It's supposed to make a new ah many Wait, um, which is really cool, right? We're gonna install this is gonna make new menu item. And if you can study the code, you can make your own and make your own little gimp many weight. So it's supposed to be and file create. And the name of it is Hello, world. So let's go look in Hello, Create. And we'll see Right now there is a hello world. But that's because I had installed earlier for testing. Um, let me get a script script through here and refresh scripts. I believe now it should technically should not be They're going to notice. Still there. So let me Oh, that's because I just saved the in the directory. Okay, um, let's use our imagination that hello world was not here previously because I know for a fact that it was a um but we just, you know, saved it and ah, yeah, Catch 22 it's there again. So that script we just installed is here in the menu. Now let me click on it and see what it does. Maybe that it gives us a little pop up dialogue. We can play with this say, instead of how the world say hello, universe and ah, I will defend Well, the fonts work, and I gonna be that lucky. Let me try one of it. Tape something in here now, The boom too bold or something? I'll do italics so that we know that that it worked. Ah, font size of 100. Okay, Definitely not using red will use black that reds make me go blind and we'll just click the OK button and see what happens. There we go. It actually worked. Hello, universe. It made a new image. Ah sized it and made text. I don't know that made the text first and made it size to fit or how it did it. Um, it's also using the correct fund, so it works perfectly. That's really cool. Um so that script which I found online at ah, which website at gimp book dot com. It's called Hello world dot SCM. It's ah. You know, if you want to use that for testing, at least we know it works because he saw me use it. So that make a really good test. And ah, there you have it. Basically, that's everything. We know how to play with the script. Food console. Here you can experiment with functions. Try some of the functions that I did. See if it works for you just to see it working, If not, you might need toe. You know, make sure that you don't have a problem with your installation of the game. Um, but yeah, if you try this stuff I did in the order that I did it, then it should work and give you some good feedback. Ah, In addition to that, we found some scripts online, and we installed them and saw them show up in the many. So I think that's very successful. Course. I hope you guys appreciate that and learn something, and I do hope to see in the next lesson. Um, have a good day. 32. Making Plug-ins and Python-Fu Console: Hello. This is Brendon. And in this lesson, we're gonna cover Ah, Python Consul and ah, making plug ins. Eso as far as I known as far as I can tell, with my experience so far, it seems that Ah, the python language is dedicated to making plug ins and, ah, the scripting language, which is Ah, lisp style language. Elias P style language is dedicated to making scripts, so that sounds little confusing. But basically, we have two types of languages that you can make these macro like, ah, scripts with. And it's either, uh, python or us The script, which is this and they never specifically seemed to call it list, but ah, anyway, that's what it is. So let's go in this lesson. We're gonna go to the python console first on. I've already opened one. Ah, right here I have available, which I was doing some testing with because, uh, yeah, I didn't want to waste your time. Anybody's time by ah, not, you know, using untested code. So I got that all taken care of and make sure that ah, that I know what I'm doing here. So one thing with this, um, first of all I want to show you where I'm getting this code from. And ah, let you know that you know, I'm kind of working backwards. What happened is if Ugo if you look in the previous lesson, you don't have to right now. But if you watch that one already, then you know that we went into our ah hidden gimp file, which is in your home directory, either on windows or on ah or on Mac or Lennox. It's in the should be in the home file and some systems that could be different. If you have a older version should be in here and in this area we have both the plug ins directory and the scripts directory. So last time we installed the one hello world script over here in a scripts directory using Thea the You know that script that they have their with the SCM, whatever language it happens to be, um, And now we're going to go into the plug ins directory and you can see that I already have ah, good number of them at four plug ins and here that I made myself and this is ah, uh, orders safe plugging every here, which actually doesn't work. And I don't know why. Um uh, actually, I think I do know why it's supposed to be using PERL, but it just doesn't work. So of to figure that out some other time. Gimp seems to not have auto say feature, which was disturbing because I crashed a couple times and that wasn't good. Um, so let me show you what my custom scripts do first, before you go the console, so you can understand what the goal is. I like to make comic books, and so doing. So I need to make the's word bubbles over and over and over again. And it can be exhausting work. If you're using tools to Gioia, draw out the word balloons every time. Should be word balloon. It's not bubbles. Ah, oh, yeah. I always forget this is another nuisance in the gimp. If you want to change the text color, you have to actually go down there. It's not. They should set it to the foreground color, I think, because it just well, it annoys me. Every time I want to change the color for the text, I instinctively go up to the foreground color and then realize I actually have to change it down here. Um, why? Why does it need its own color box? I don't know. Anyway. Ah, that's a pet peeve addressed and let's move on. So here I have my text. Let's imagine some character is over here and they're saying something. So I need to make a word balloon for them. So what I can do instead of having to draw it out every time and do 15 step procedure, I go up to my own personal menu that I made up here called the Ah, my scripts. But you can see right here, and I numbered them so that they're lined up how I want them in order of most used to least used. And the 1st 1 here, comic balloons will automatically make a comic balloon for me. Ah, long as I select it, because I can't expect the program to know where my, uh, where my text is and how big it is each time. It can vary every time, right, so the least I have to do is make a selection here, and of course I have to have a layer available for two drawn to. So I'm gonna make a new layer here. Excuse me while I moved, Assume tool around and make sure that we're on the right layer. And that layer should be under the text layer so that the bubble the balloon doesn't cover up the text. Okay, so now I have it all set up. All I have to do is going to my script menu up here, and I'm going to hit that button called, you know, make word balloon. And then we'll see what happens. Kind of play. And it made a giant balloon. Hold on. Accidents do happen. I think. While I was doing all that work, I did something with my selection and OK there. Yeah. We didn't have this selection Police, did we? Okay, so let me go do this again. Now I do kind of thing. Now, if you could see that in slow motion if you noticed if you had a quick I it did like 45 steps all at once. First, it made a rounded rectangle than it filled it in white. Then it made a border, and then it filled in the border black. So let's do it again. And see if you can watch very quickly. I'll go back. Ah, few steps and I'll hit the button again. 123 Yeah, you could say it does it all. It doesn't very quickly. If you have a slumber computer, you can see it step by step. But we don't actually want a slower computer, so I'm glad it's very quick. Um anyway, point being it made that little text 1,000,000,000 right there very quickly and just ah, you know, demonstrate. In case you didn't see the ah earlier lessons how this works, I would go into this mode here and then, Ah, it's about 15 pixels and thickness. So after doing that would draw my little you know, I don't know what you call this thing. I guess it's the pointer. You know, it's supposed to be pointing to the person. I assume there's a name port. It's ah, interesting trivia question to bring up what he called a pointer on a comic book. Ah, text balloon. And then we just clean it up a little bit like that. And there you go. So you can imagine there was a guy over here talking a little stick man and he's saying hello just like that and so that scripts very useful. Ah, it might have seemed like it took me many steps this time to set up, but that's because I didn't have my layers set up and everything like that. Ah, usually I just dropped the rectangle around the text and hit the hit. That button than the last step I have to do is just draw that little arrow thing, that pointy thing, which we don't have a name for towards somebody's head. And so that's an example of a script in action now, how to make your own script or how to install them. Well, the installation process. We pretty much already covered it. What happens is you have to get the code and put it in this directory. Let me just move this file out here stuck behind the other window, and, ah, so this is the code for my balloon plug in Here we go from the top, looking from the top here we bring in the python environment, and we import everything that we that we need from gimp food as they call it. And then here's ah, the definition of my function for python balloon, as I called it, and you can even read the code here is pretty self explanatory. We do, ah, it script through selection rounded rectangle. Then we do set the background and the 25 fives there means, Ah, I'm flooding it with white. Then we go at it. Phil layer background. So I set the background color to white. Actually, there's more steps than you know even thought of, um, so we have to set the color toe weight, and then we fill in the white, and then we get a border with eight pixels. So technically, it's 16 pixel border in thickness. And then, ah, I said it to sharpen. I guess I didn't want fuzzy edges to come out. And then we set the background color again. And then we filled this selection, which was the, you know, the black border that we filled in. And then ah, in that here I feathered it, too. So anyway, and then, just to make it less annoying so I can go back to drawing again. A za last step here, says gimp, selection none. So it takes away the selection so I don't have to de select it. Ah, before I start moving on to my the next thing about you cause after I make that balloon, I'm sure to always grab the penn and want to start, you know, making the little pointer that has no name. Um, that's that. And then down here, we have some variables which I won't get into. Ah, in too much depth. But basically, it's very self explanatory at a ah, a description. A name for a python named for it called python food balloon On a little description, the name of the author who was me and apparently made this in 2013. Well, almost two years ago, Ah, and I gave it a title for the menu. And then this part's kind of interesting on the very bottom. This is where we make the menu. So I made my own menu, called my Scripts. It always starts off with image. You put that first no matter what, and then you couldn't put file or view are at it, and you can, you know, basically push it into any many that you want to. I think, um, I have seen it done that way, and pretty much that's You know, I believe it's that way. So the new menu that I made is called my scripts, obviously. So that's convenient for me. And, ah, the name of it is appear 01 comic balloon and it seems to put them in order based on whatever order they are in the directory. So that's why I gave these numbers of, you know, 00100 to just so they stay in the order that I want them to be Because, uh, yeah, well, I'm a little meticulous, like to have things in order. So this is how you make a script, right? With code such as this, and installing it is just a Z Z is putting it in this directory, and I believe you have to make sure it's execute herbal. Ah, I remember it not working and then just setting them to be executed ble Ah, that would be particularly if you're in Lennox or Mac operating system and windows. I assume it will just work. Ah, as is and then and then we're good to go. So then we go back to the system here and you'll see up the top that I have the the my scripts menu. And when it drops down, I have that. So that in mind, we can look very quickly because I don't like to make this too long and boring at the console. So this is the python consul. Now that you understand what our goal was Ah, what I wanted to do, just like with the Samos with the the last, um, lesson where we're going over the other scripts. Ah, I was having problems at first. It didn't work because the first thing you have to do in here is tell the consul which image you're working on and which layer you're working on. Even if you only have one layer open. It's a computer, so it just doesn't know that. So the first thing we do is gimp image list and that will give us a list. This one's a little better than the last one that just had numbers. It actually tells us Ah, you know the name of it which currently is entitled because I didn't save this file. I'm assuming that if I save this file, that entitled will change into know the name of this file and so we know that we have an array of images and we want the 1st 1 So of course, that could we know looks like this. We just add Thea zero at the end and just to see what that returns. Ah, well, that returned. Nothing. Let me because there are setting the variable. I thought I had a different code there. Let me see. Will do, gimp image list zero. And basically, now you can see it gave us back the same thing. But it doesn't have the brackets around it, so we know it's not an array. Now that is the actual image that we want, right? So as we did with the this goat here were setting this variable called image to that first image. So now we have our image Variable. That's ah, you know, step one, Step two, we want to get the layer. So the draw global layer that we're working on right now is in the image. It's ah, you know, over here on that right side. It's in this image active layer variable. So Ah, I can do this, or I can even skip this step and say image. Active layer. It's actually just called layer. And then now we have the image. We have the layers so we can proceed to make our rounded rectangle, which was the first step of making this balloon. So let me go ahead and delete this. I'll make a new selection here. I'm not going to do the whole balloon, but I'm just gonna do one quick test here just to see if we can make the rounded rectangle from the consul here, which should be, you know, for me it's exciting. And I hope you're excited to he even though it might seem very boring to some people. Um, so we have a square selection right now. I want to turn it into a rounded rectangle. Do we have the correct code? Here is the question, or are we gonna fill and fall flat on our faces with embarrassment? So instead of calling this draw a ble, I'm gonna call it image. And what was it? It's called active layer. So that's the active layer that we have inside the image. So that will save us a line of code. Right? Um and here we have the number 50. That means I want a 50 degree. Ah, radius on the circle that's going to make the rounded edges. So basically it'll be perfectly rounded edges and zero. I have no idea what it means at the moment, but you can look that up in the documentation which will see in a minute. So now there's all my coat Let me see if it makes direct rounded rectangle as you can see now when I fill you see you know when I feel that square in it turns black, right? So Oh, yeah, it turns black and it's a perfect square. So sorry. I was repeating myself. There was trying toe get that to go back. That's a perfect square. But I don't want it to be a perfect square. I want it to be rectangle. Where did my console go? There it is. All right. So I have my coat typed in here. Let me hit, Enter and see if it does the magic and there we go. So now you can see in the zoom area here it ihsaa rounded rectangle and add proof to that. I will give us a white background in there so we can see it very slow, but it works OK Yeah, well, remember that I am bidding while video recording here with very high quality and recording sound while I do this. That's why my gimp might seem a little bit slow. Um, so there we go, made a rounded rectangle using pure could, If that's not exciting, I don't know what is. Ah, but yet to see things work for those of you are watching this. Ah, if anybody ever watches this, it's, um The joy of programming, of course, is when we type some code and actually works and the ability to control software like this is certainly an amazing thing, and you can do all kinds of cool stuff with it. So that was a review of the Python Council and installing a plug in Ah, perhaps in reverse order. But if you're going to be doing programming, you're used to that. Our chip. And so we will end this lesson here. I hope you learned a lot. If you have any questions, do please message me and or get in contact with me. However you can Ah, this is in fact, the last lesson. By the way to and if you went through from beginning to end Congratulations and thank you very, very much for paying attention. I will have Ah, one more summary lesson. After this, we're go into detail about some of that and, Ah, have a nice day. 33. Thank you and Summary: No, this is Brendon. And Ah, I would like to thank you very much if you followed through. Especially if you followed through from the very beginning, all the way to the very end of this. Ah, very last video. Right here. Um, And while I'm talking a bit about that, I'm going to go ahead and chop out this head here because when we play with again, we love to chop heads. Um, which told my looking for last. So that's right. And I brought up open up a bunch of the images of things that we worked on as a summary and overall summary of things that we've done and that we've been through and accomplished as you've done all this. And so, um, but the major point is that if you did duo that and you learned something from it, you have achieved major accomplishment that I know many people would not be able to do because it is a very complicated lesson. It's very long, and ah, sometimes I am a little bit long winded. I'm aware that so I do try and keep it his brief as I can. But this is what happens in reality. Right. So, um, aside from that, ah cannot make a new layer. Why would that happen? No. What about Ad one here? Okay. Well, then we'll just add this. Ah, somewhere else, won't we yet? Sorry about that. Anyway, I'm just trying to add this head in here. Well, while we speak, Um, the point was that this was indeed a very long, very difficult lesson to get through, but ah, definitely worth every moment. I'd say if if you did it. And if you're trying to get into illustration or something like this, don't forget to go ahead and ah, sign up for my other course, which, if you go to my website, you can find a link for it there. Immediate link where I might Ah, I think I can just paste the link for it in here. And ah, I should be able to They have a lot of rules here. You Demi which make things difficult. Uh, complicated sometimes. But wherever I can find the place to put it appropriately, I should be able to give you ah, coupon code for that. So that, um so that you can get a cheaper price on you. know on signing up for that course and, uh, if you want to. Otherwise, there is a lot of a lot of stuff that's been covered way too much to just ah, you know, summarize in ah, in this one. A quick video here. But I do hope that you appreciate the fact that, um, there's limited time. And a lot of these things are very, very complicated. And I did do my best to try and, you know, summarize things is concisely as I could, but it's not always easy. So in a lot of cases, you really just have to go back and review the video again. Um, as a matter of fact, that might be, you know, a good thing for you to do right now while we're talking about that, um, not to say right now, but, you know, at some point in time, So ah, with that in mind going to say thank you very much, we're going to go through some of these images. And as you can see, I make Justus many mistakes as anyone all the time. But I never quit. Thank you very much. What? I'm China right out here and Ah, this is Ah, this is all a part of the learning process. This software, whether it be this or Photoshopped or whatever, they're all I've used all of them and I'm a I'm not trying to toot my own horn or brag or anything. I am known to be a very talented person. Ah, I do all kinds of things with my hands and feet, if you can put it that way, that, um, a lot of people just don't get around to doing it requires a lot of patients, as you can see in the later lessons. I even got into programming and stuff. It's very mentally straining stuff, very boring stuff. You could also say that a lot of people just don't like to get into, um, so if you feel frustrated at any point in time, I certainly don't feel a learn because this is not at all easy stuff to do. And there's air, probably. Ah, you know the best. The best parting words that I could leave you with is to just keep on, keep on keeping on and keep on trying and keep on doing your best, and eventually it should click and come through to you. What you really want to do is have the information that I gave you in these lessons. Ah, in your brain. That's what we're trying to do is to try and get that stuff up in your head so that when you're having these frustrating moments, you can call upon that knowledge to help you through with it. Otherwise, it's trial and error in addition to the frustration that you're having every time you find a problem. And that's not really a good such situation of being. If you have to go into trial and error mode when you get frustrated, Ah, it's a lot worse than you know, knowing what to do to get yourself out of a jam. So that's that in the nut show and users some of the images that we're working on previously. This one. I don't know why I was doing that. Maybe if I were to go up here and then paste, let's see if that works. Uh, that would've worked, OK, yes. See, I'm still learning things, too. Apparently, you can't paste on to a layer. I might have been on top of one of these a layer masks instead of up on an actual layer. So that's where that happened. And even here at the bitter end, we're still learning things. There's so much to learn with this softer and ah, here we did some coloring color rising in black and white. No, this one. This is where we did a touch up of my face or yeah, we This is not the touched up version that, but that was the original oneness reminder. So that's photo touch up. You might recall this image and earlier lessons. We did all kinds of crazy stuff with it. And we use this one for some landscape, uh, and layer exercises. And ah, I'm not sure if this one was even in these videos. I was playing with it, but I like it and it's pretty cool. I do think we use this summer. I can't remember where, and I saved this one particularly. I think it's Ah, it's somehow inspired me the simplicity of it. So it's like a minimalist landscape painting, so I might do something with that later. I think this would look great up in a while, and as as I was saying before and as I just made this image here once and lasted for all. Thank you very much. And do you keep in touch? Message me with any questions and go ahead and sign up for other courses if he enjoyed this one. And I do look forward to hearing from you and hope that Ah, you had a great experience and learned a lot and ah, that's it. Have a great day. We'll see you.