Inkscape Deep Dive: Beginner to Master

1. Introduction and Installation: Hi, Welcome to the Inkscape deep dive course. In this course we'll be using the free and open source vector graphics editor known as Inkscape to create digital artwork. In case you're not quite sure what vector graphics are there. Graphics created directly from points, curves, and polygons and are stored as mathematical values. This allows us to create our work with a high degree of geometric precision. Also because they're stored as mathematical values, vector graphics can be resized and edited at anytime without any loss in quality. So we don't have to worry about creating artwork and specific sizes or for specific screen densities. This differs from rest or graphics, which recreating software like Photoshop and create a restaurant graphics are stored as pixels. We have to be careful by the dimensions we use when we create them, because changing the size can lead to loss in quality. We also sometimes have to create multiple versions of the same images for various screen densities. If you want flexibility and the ability to easily create artwork with high precision than Vector Graphics is a way to go. This is a very in-depth course that we'll start with the absolute basics, then move on to more intermediate and advanced topics. We'll then finish with a project section in which we will use what we learned in previous sections to create real usable art work. If you're completely new to Inkscape or two vector graphics in general, I recommend going through the course sequentially. As each lesson will assume that you know much of what we learned in the previous lessons and are optimistic references to the previous videos. If you have some experience with Inkscape or you've been using another vector graphics editor like Adobe Illustrator for awhile, you could probably skip around a bit without too much issue. But with that being said, I'll be going into a lot of detail about each topic. So even if you're quite familiar with Inkscape, we might learn some different ways of doing things. So be sure to check out all of the videos. Okay, so I'm currently at the Inkscape homepage, which is located at Inkscape.org. This page has a wealth of information about Inkscape, including news forums and manuals and tutorials. We can also learn how to contribute to and support the development of Inkscape. I recommend checking all of this stuff that when you get the chance. But for now, let's go to download current version. On this page, we can read the release notes for the current version of Inkscape, including various fixes for bugs and things that are in their previous versions. We can also see and download the previous versions. At the time of recording this video, the current version is 1.1.2, which is what I'll be using throughout most of the videos in this course. However, I plan to update the course whenever any new versions with major changes are released. So I recommend downloading and installing whatever the current version is showing here for you. Okay, so at the top here we have options to download the current version for different operating systems. I'm using Windows, so I'll click the Windows option. Next, we can choose 64-bit or a 32-bit. My system is 64 bits, so that's what our choose. Next we get options for which type of format we want to download for the installer. It says down here that if you want to install different versions of the next cape on the same system, we should use the compressed archive format here. But if we just want to install the current version, we can choose either EXE or MSI. I'll go with EXE. This will take us to this page and the download will start automatically. After it's finished downloading, we can open the installer. We then get the Inkscape setup dialog. We could click Next. Then agree to the license agreement. We next get the option to add escape to the system path. This is really only useful if you're planning to use Inkscape to the command line. And I actually got an error when I tried one of the ad options before. So I'll just leave it on. Do not add. We also get the opposite to add a shortcut to Inkscape on the desktop, which I recommend doing that. Let's click Next. We can then choose a location to save Enscape. Next we can create a folder for Inkscape in the Start Menu. And finally, we can choose which components we want to install. For the purposes of this course, I recommend just doing the full installation, which is selected by default. And because I already have Enscape installed, I won't click the Install button here, but once you do, the installation should take a couple of minutes, then you will be able to open Inkscape. Okay, and I will see you on the welcome screen in the next video. 2. Welcome Screen: We first opened Inkscape. We will see this welcome screen and the quick setup tab up here. We have a few settings that we can change. First, we can change the background color of the canvas, which is the area where we'll be creating art. We have options for the default Canvas or dark canvass, light and dark checkerboard and solid white. These are actually only a few of the many options we have for changing the appearance of the canvas, as we will see in an upcoming video. For now, let's just leave it on the default setting. The next sudden we can change as the keyboard shortcuts that Inkscape uses. If we drop this down, we can see that Inkscape provides a number of options to choose from, such as Adobe Illustrator and corral Joel. These are useful if you've been using one of these programs for awhile and you want to continue using the same keyboard shortcuts instead of learning new ones. For this course, however, I'll be using Inkscape is default keyboard shortcuts. And I recommend that you do the same in order to avoid confusion, but of course it's up to you. Next, we can change the appearance of the icons and escapes user interface. The default is a classic Inkscape style, which you can see down here. If we drop down the box, we can see some other options that we have. For example, this is what classics symbolic looks like. Here's colorful. For this course, I will just leave it on the default classic style, but feel free to use whatever style you like. Finally, we can turn on this option over here, under dark. This will change escapes theme to the dark theme, which will darken the user interface. As you can now see, how we just use the default theme for this course, feel free to use a dark theme if you prefer. That's it for the quick setup tab. Now let's go up to the supported by new tab here in the middle. The step just lets us know the Inkscape is a free open source project that has created a supported by users like us. If you want to learn how you can contribute to the development of Inkscape or how to help fund Inkscape. You can click one of these icons down here. But for now, let's click on the last tab up here, time to draw. The first thing we have in the time to draw tab is a list of projects that we worked on in the past. We can continue working on one by clicking it, then clicking the Load button down here. If this is your first time using Inkscape, however, you likely don't have any file as listed here. Below existing files, Inkscape provides a whole bunch of different templates we can use. For example, if we're planning to print our project, we can click print here and choose a template based on which format we plan to use when printing, such as A4 US letter. And down here we have a budget, different types of business cards to choose from. On the screen. We can choose a template based on a particular screen size. Under video, we can choose a particular video size for when we're making our work to place in a video. Social, we have templates for certain social media platforms such as Facebook, Instagram, LinkedIn, Snapchat and Twitter. And under other, we have templates for things like a belt screens and icons. Finally, we have a checkbox down here for choosing whether or not to show this welcome screen every time we opening scape, I'm just going to leave mine checked, but we won't be using the welcome screen anymore throughout this course. So it's totally fine if you want to uncheck yours. Now let's go back to quick setup appear. Click Save down here. Click thanks, then click New Document. Inkscape is now up and running. We will continue from here in the next video. 3. Interface Overview: In this video, we're just going to do a quick overview of Inkscape interface. And in the following videos, we will look at things in more detail. First, this vertical bar over here on the left is the toolbox, which contains tools we can use for drawing and editing objects. The tool we will use most often is a select top here, which we use for selecting parts of our drawings. We also use the Select tool for transforming our drawings, which includes moving them, resizing them, and rotating them. This toward the square icon here is used for creating squares and rectangles. This next tool is for circles, ellipses, and arcs. The 200 is for creating stars and polygons. These three tools here, the Bezier pen tool, the pencil tool, and the calligraphy tool are used for creating paths which are sequences of lines, segments, and or Bezier curves. We'll be learning a lot more about these and all of the other tools and upcoming videos are. So depending on your screen resolution and size of her Inkscape window, you might not see some of these last few tools here. Instead you might see an arrow at the bottom, which you can click to display all of the missing tools all the way over here to the right of the screen as the snap controls bar. This bar gives us options to snap parts of our drawings together in many different ways. We'll be discussing them all in detail later. Next we have this horizontal bar up here, which is called the torque control is bar or controls bar for short. The options that are available in the control bar, depending on which tool we have selected in the toolbox. Right now, add the select tool selected. So the control is bar gives me options for selecting and transforming objects. I don't currently have an object selected, so most of the options are grayed out at the moment. Now if I click on another tool, such as the squares and rectangles tool, the options in the controller's bar change. And now it gives me options for editing a selected square or rectangle. So just by changing the width and height above the controls bar, we have the commands bar. Depending on your screen resolution, your commands borrow might be in another location, such as over here on the right. And if you don't see it at all, you can go up to the View menu and go down to Show Hide. Then check this box to show the commands bar. We can also show and hide the other bars and the toolbox here as well. Anyway, the commands bar gives us easy access to general commands, such as creating new documents, opening existing documents, saving or printing, importing, exporting, copying, cutting, pasting, duplicating and cloning objects, and grouping and ungrouping objects. Now let's look at this group of six icons here. If we click one of these, for instance, the first one, it will open what's called a double dialogue here on the right. The dialogue I just opened as the fill and stroke dialogue, which allows us to modify the appearance of objects, such as by changing colors. If we go back up to the command bar and click this button with the T icon. It will open the text and find dialogue, which allows us to edit text objects. So it's about changing the font family, font style and font size. We now have to duck dialogues in this panel here. We can move back and forth between them by clicking on the tabs. We can also rearrange them by clicking and dragging one of the tabs to the left or right of another tab. Another thing we can do is to pop the dialogue out to a new window. We do this by right-clicking the tab, then choosing move tab to new window. The fill and stroke dialogue is known as its own window, which we can freely move around on the screen. I prefer to keep my dialogues duct in the panel here. And we can return it by clicking and holding on the tab, then dragging it back over to the top of the panel and releasing the mouse button. We can also resize this panel by putting the mouse cursor over this bar here until we see a double-sided arrow. Think clicking and dragging to the left or right. And when we're finished with the dialogues, we can click the X is on their tabs to close them. Let's now take a quick look at some of the options we have in the menus at the top. First, the File menu lets us do things like start a new document, open existing documents, and save our document. Inkscape mostly deals with the SVG file format, which stands for scalable vector graphics and is a standardized file format for vector graphics is based on XML and basically holds all the information required for rendering our drawings to the screen, such as colors, positioning and sizing. If we go to Save, As we have some more file formats we can save too, such as HTML and PDF. Also from the file menu, we can do things like important images into our document and export to the PNG image format will be looking at these options a bit later. In the Edit menu, we could do things like undo, redo, cut, copy and paste, duplicate and clone parts of our drawing and select different parts of our drawing. From the view menu, we can zoom and rotate our Canvas, show and hide parts of our interface and change the full screen if we want. The Layer menu has a lot of functions we can use for dealing with layers, which are what we use to arrange our drawings. This works similarly to layers and digital painting software like Photoshop. And we'll be talking a lot about them later in the course. The object path and text menus are, as the name suggests, used for manipulating objects, pads, and texts, all of which we'll be discussing very soon. The filters and extinctions menus provide some cool effects we can add to our drawings, like blurs, distortions, and color effects. Finally, in the help menu, we can look at the Inkscape manual, keys and mouse reference tutorials, and check out some stuff about our current version of Inkscape. Okay, in the next few videos, we'll discuss the canvas here in the middle and these two bars at the bottom, along with how to create primitive shapes. 4. Interface Overview (1.2 Update): With the release of Inkscape version 1 to a few changes were made to the interface. The only major change they made is that instead of having the snap controls bar appear in a bar Eden on the right side or the top. We can now find them in a pop-over. We can get to by clicking this arrow at the top right. We can enable or disable snappy completely with this checkbox or this button. To see all the available snap controls, we can click Advanced Mode here. There are also a few additions to the snap controls. Now be adding an update to the snap patrols video later in the course regarding these additions. For some minor changes, we can now adjust the size of the toolbox. One of the dialogues up here in the commands bar. We now have this arrow at the top right of the dialogue, which we can use to conveniently duck other available dialogues. Also the options that we previously got when right-clicking the tab of a dialogue have now been placed at the top of this dropdown. That's about it for the changes to the interface. So see in the next video. 5. Interface Overview (1.3 Update): Inkscape version 1.3, we turn on the rulers at the top and left at the canvas, which we can do by going to View, Show, Hide, and checking rulers. Here, the rulers now use a different color to indicate the location of the page and the canvas. Also, if we create an object and have this selected, we now get blue lines and the rulers that indicate the selected objects location. We don't like this new feature. We can turn it off by opening the preferences Dialog, choosing interface, and unchecking the show location and ruler option here 6. Canvas Navigation and Properties: In this video, we're going to discuss the Canvas, which is this large area in the middle. This is where we do all of our drawing. This rectangle in the center of the canvas is what is called the page. The size of the page Depends on the template we're using, which, as we saw, can be chosen on the welcome screen. If we don't choose a specific template. The default template is a standard A4 paper size, which has a width of 210 millimeters and a height of 297 millimeters. We can see this by looking at the rulers above and to the left of the canvas, which are currently set to millimeters. The top left of the page is at 0 and the bottom right is at 0.210 to 97. We can see our mouse cursor position relative to the page more accurately by looking at the x and y values down here on the status bar. It's hard to get my cursor on the exact point, but it's pretty close to 210 to 97. Now, next to the x and y coordinates on the status bar, we have a z along with the textbox and plus and minus buttons. These allow us to zoom in and out on the canvas. We can also type a specific Zoom percentage in this box and press Enter. For keyboard shortcuts, you can use the plus key to zoom in and the minus key to zoom out. To Zoom with the mouse, we can hold Control and right-click to zoom in or hold Shift and right-click to zoom out. We can also hold control and scroll the mouse wheel up and down to zoom in and out. When we zoom with the mouse, Inkscape would take into account the position of our mouse cursor. So if I move the cursor up here and zoom Inkscape, we'll zoom in and out around the point under the cursor. Another way to zoom is by using the zoom tool. You can get to by clicking on the magnifying glass icon down here in the toolbox, or by pressing E to the Z key or the F3 key, we activate the tool. The cursor then changes to a magnifying glass with a plus sign in the middle. And we can zoom into a point either by left clicking or middle clicking. We can zoom out by right-clicking. If we hold the Shift key, the cursor will change to a magnifying glass with a minus sign in the middle. Now the mouse buttons have the opposite effects. So left clicking or middle clicking, we zoom out and right-clicking we zoom in. We can also use the zoom tool to zoom into a particular area by clicking and dragging over the area, they releasing the mouse button. We can zoom out the same way by holding the Shift key. While doing this, you might have to play around with this tool. Bits really get the hang of it. Now because we currently have the zoom tool selected. If we look up here at the controller's bar, we also have some buttons we can use presuming. These include zoom in, zoom out, zoom one-to-one, which was zoomed to 100%. Zoom one to two, which will zoom to 50%. Zoom two-to-one, which was Zoom to 200 per cent. And some other options such as zooming to fit everything we have selected. Zooming to fit our entire drawing. Sumi to fit our page, zooming to fit our page width, centering our page on the Canvas and going back and forth between zooms that we used before. All of these options are also always available in the View menu. I'll zoom out to one to two for now so we can see everything to pan or scroll around the canvas. We also have a few options we can use. First, we can use the scroll bars and the bottom and right sides of the canvas. If you don't see these, you can go to View, Show, Hide, scroll bars. Another way to pan is to hold Control and use the arrow keys. To pan with the mouse. We can scroll the mouse will up to pan up and down to pen, down to pan, left and right. Hold the Shift key while scrolling the wheel. Up pans left and down pans right. You can also press and hold the middle mouse button or wheel, which will change the cursor to four arrows. And now we can freely pan around in any direction. We could do the same by holding the space bar. To rotate the canvas, we can go back down to the status bar. And all the way over here on the right is an R with a textbox and plus and minus buttons. The buttons allow us to rotate the canvas clockwise or counterclockwise by one degree increments. We can enter a specific number of degrees in the textbox to rotate with the mouse. We can hold Control and Shift and scroll the mouse wheel up goes clockwise by 30 degrees, and down goes counterclockwise by 30 degrees. You can also rotate the canvas by going to View orientation. Here we can rotate clockwise and counterclockwise. We set the rotation, lock the rotation, and flip canvas horizontally and vertically. Now let's talk about how we can change the look of the canvas. First, if we want to change the template of our document, we can go to File New from template. If we click it now, it will bring up this dialog that allows us to choose a template. If we choose, for example, a business card, we can choose what size business card we want. Then we can click Create from template. We now have a new document open with the business card template that we chose. When we start a new document like this. It will open a new document and a new Inkscape window. As you can see, this document is titled New Document two, and we now have two Inkscape windows open. Because switch back and forth between them the Inkscape by going to view previous window or next window. We can also use the shortcut Control tab. We're finished with the document. We can close it out either by clicking the X at the top right or by going to File Close. Be careful not to click quit though, as this will close out all of the documents. Let's go ahead and close up this document. Now let's say we want to change the size of the page within our current document. You can do this by clicking this Edit Properties button in the command spar, or by going to File Document Properties. Clicking this wood duck the Document Properties dialogue over here on the right. The Document Properties dialogue. We can set the display units for the document, such as pixels, which will set the rulers to measure the canvas in pixels. I'll change this back to millimeters for now. Next, we can set the size of the page either by choosing a preset size or by setting a custom width and height here. For example, I can type 300 for the width and 500 for the height and press Enter, and it will change the size of the page. We can also choose portrait or landscape orientation for our page. Next, if we open this re-size page to Content menu here, Enscape gives us the option to resize the page to fit either our entire drawing or any parts of our drawing that we have selected. Just to show you an example, I'm going to create some squares on the Canvas. At the moment I have nothing selected. So if I click this resize button, the page will resize to fit all of these squares. If now I select, for example, these two squares and click resize again. It will resize the page to fit just these two squares. By the way, this option is also available in the Edit menu here. Back over in the dialogue. We can also set the margins between the border of the page and the drawing. If this lock is open, we can set each person individually. And if it's closed, changing one margin will change all the other margins to the same number. If I set a margin to ten, for example, Press Center, they click the resize button, resize the page to fit all of the squares. But it will also leave ten millimeters of space between the page and the squares on all sides. Next, we have options to change the scale here. Different vector graphics editor is use different scaling. If you open it Inkscape file in Adobe Illustrator for example, the scaling might be a bit off. You could fix that by going here and setting the scale to be the same as what Illustrator uses. However, unless you switch between the two, often, you will likely never need to use this. And I've never had to use it myself. Down here. We can change the appearance of the entire canvas, such that by giving it a checkerboard background, or by changing the background color, which we can do by clicking here and choosing another color, such as light gray. Now if you look at this bottom bar here, this is the Alpha or opacity channel as currently on 0. So the background is considered by Inkscape to be fully transparent. This means that if we print or export the document, Inkscape won't take into account the background color of the canvas. This is useful if you just want to change the color for your own preference. For example, or maybe weight is too bright for your eyes. So you want to darken as some. Or maybe you plan to put your artwork on a website that has a certain background color and you want to see how your artwork will look against that color. If we raise the opacity, however, Inkscape would then consider the background color when printing and exporting. I set it back to 0. For now. Over here on the right, we have options to change the border of the page. If we uncheck this show Page Border option, it will effectively make the patient visible. We might do this if we don't care about constraining our drawing to a particular area. And the beauty of working with vector graphics is that we can always move things around and resize them without having to worry about any loss in quality. The next option is to make the border of the page always appear on top of our drawing. Right now if I change the square to another color, such as red, and move it over the border of the page, the square, we'll cover that part of the border. However, if I check this option, the border now appears on top of this square. Next we can toggle on or off the border shadow, which is this gray area on the right and bottom of the page. Finally, we can change the color of the border by clicking this color swatch and choosing a different color. This last option down here, use anti-aliasing doesn't really apply for newer versions and Inkscape. In order versus a weak scape. If you're using rounded objects like circles, the pixels around the object would appear jagged if anti-aliasing were turned off. What anti-aliasing does is add semi-transparent pixels around the object to make it appear more smooth. However, like I said, this isn't an issue with newer versions of IQ scale, but in older versions and at rest your graphics software, you can clearly see the difference between graphics with and without anti-aliasing. There are other things we can change the Document Properties Dialog, such as settings for guides and grids. But we will talk about these things later. So let's just close up the dialogue for now. Let's say we'd like the way our current document looks and we want to save it as a template so we can use it again later. We can do this by going to File Save template. We can then give our template a name such as test template. And we can add other information such as author and description. And if we plan to use this template very often, we can set this as the default template that Inkscape users. Then whenever we start up being scape again, it will use this template instead of the default A4 page template. I'm just showing you an example of how to save a template here. And I don't actually plan to use this template later. So I will leave this option unchecked and click Save. Now if I go back up to File New from template and now see test template in the list. If I click on it, then click Create from template. It opens a new document using the test template. As you can see when you save a template, Inkscape will store in the template all the canvas properties we changed along with any drawings we made on the Canvas. Okay, that's about it for Canvas navigation and properties. See you in the next video. 7. Layouts and Themes: Before we start drawing, I just wanted to quickly show you how to change the layout and Dima the interface. To change the layout of the interface, you can go up to the View menu. At the bottom we have three options, default, custom, and wide. We're currently using the default layout. If we choose the custom layout, Inkscape will move the snap controls bar, which was previously over here on the right, and we'll place it right below the menus appear. This is good if we want to free up some space for our canvas. If we go back to the view menu and choose wide Inkscape will put the snap controls bar and the commands bar all the way on the right. The toolbox is now longer. I'll go back to the default layout, but feel free to use whichever works best for you. We can also change the theme of the interface, which includes things like colors and icon appearance. We can do this either by going to Edit Preferences, by clicking this button with a screwdriver and wrench at the end of the commands bar. This will bring up the Preferences window, which allows us to change preferences for tools, interface, behavior and input and output. We will look at some of these later. But for now, let's click this arrow next to interface thing goes with the mean. At the top here we can change our GTK beam. Gtk is a toolkit used for creating graphical user interfaces. Are currently using the high-contrast theme. Some others we can use, or high contrast inverse, which is the dark theme, mean whites or Inkscape, which is like the style the old versus the next gave used the dark version of it. When 32, which has an old timey Windows 95 fill. And a system theme, which for me is only slightly different from the high contrast theme. I'll put it back on high contrast. You can also download or create your own themes which you can load here. Next, we have some options for changing the appearance of the icons, such as high color, multicolor, and tango. I'll set mine back to use system icons. We can also use symbolic icons, which are kinda cool. There are a few more things we can change them here, but these require very restarting scape in order to see the changes. And that's pretty much it for the beaming. I'll just stick with the defaults, but feel free to play around with these settings and choose what feels best for you. 8. Creating Shapes: In this video, we're going to finally start drawing by creating some shapes with the shape tools. So let's get started by clicking the squares and rectangles tool in the toolbox. We can also get to this tool by pressing the Alt key or the F4 key. Next, let's click and hold somewhere in the Canvas and dragons here we have a square, then release. Alright, we have our first square by square is black, but yours might be a different color. I believe the default color for the squares and rectangles tool is blue. If you've drawn something before and change the color, the square root probably be the last color you used. This isn't because inks table remember certain settings like colors that we used previously, and we'll continue using those same settings until we change them again. If we go down to the color palette here, which contains a whole bunch of colors we can choose from. And we click a color such as red, it would change the square to that color. Then if we create another shape such as a rectangle, there will also be red. And if I close out at Enscape right now, when I open it back up again later and create another shape will also be red. This red here is called the fill color, as it fills up the entire area of the objects. Your objects might also have outlines around them, which is called the stroke in Inkscape, we can set the stroke color by holding Shift and clicking a color in the pallet. To turn off the stroke, we can click this red X while holding shift. We can do the same with the fill color by clicking the X. Well, not holding Shift. Let's click a color to turn it back on the left and the status bar, we can see the fill and stroke colors of the objects we have selected. If we right-click one of these, it will bring up some options we can perform. For example, for the fill color, we can change it to the last set color. We can change it to white or black, and we can remove the fill color here. We have similar options for the stroke color. This number next to the stroke color as the stroke width. If we right-click it, we have a few options for setting it. And in this box here labeled O, because set the opacity of our objects with 0 being fully transparent and 100 being fully opaque. These are just a few options we have for changing the fill and stroke of our objects. We have many more options in the fill and stroke dialogue, which we saw briefly in the interface overview video, who have an entire lesson dedicated to it coming up soon. For now, let's see what we can do with these objects. First, let's select this square by clicking it. And because we're still using the squares and rectangles tool, we have some options on the controls bar for modifying our square. For example, we can adjust the width and height here. And with most boxes like this, we can hover the mouse over them and scroll the wheel up and down for small increments. Or we could click inside them and use the up and down arrow keys for larger increments. We can also press the tab key to move to the next box. Another way to adjust the size by clicking and dragging one of these little square shaped handles on the corners of the object. If we hold control while doing this, we can lock the ratio or we can make us over only stretch in one dimension. If we ever want to undo the actions we've taken, we can use the keyboard shortcut Control Z to redo an action, we can use Shift Control Z. These two options are also available up here in the command bar and in the Edit menu. The Edit menu also provides us with an Undo History option, which if we click it, will open the Undo History panel over here. With this, we can move back and forth between actions. Let's go ahead and close this out for now. Next move an object. You can click and hold on the x and the middle of the object, then move it around freely. We can also move it by pressing the arrow keys for small increments. By holding Shift and pressing the arrow keys for larger increments. Holding Alt and pressing the arrow keys will move the object by screen pixels. This is actually affected by our zoom level. So if we zoom in a lot, we can hold Alt and move the object by very small increments. Holding Shift and Alt at the same time while pressing the arrow keys will move the object by ten screen pixels up in the control bar, we have these two boxes that are labeled RX and RY. These are forgiving rounded corners to our shape. Our access for the horizontal radius and RY is for the vertical radius. We can also round the corners by clicking and dragging this little circle is at the top right corner of the objects. This button up here on the controller's bar will make our corners sharp again. We can only see one of the circles at the top right corner now. But if we drag it down, we can see the other one. The farthest each will go is to the middle of the objects. We can bring them both back to the top right corner to make the corners sharp again. We can also force the horizontal and vertical radii to stay the same by holding control as we drag one of the handles. Or if we change one, we can control click it to make the other one match. And a way to quickly remove the rounding is to ship, take one of the handles. Alice create another object with the squares and rectangles tool. But this time let's hold the control key. As we drag. We look down here in the status bar, we can see that the control key constraints, the ratio between the width and height ratio will depend on how we move the mouse. Right now are moving mostly horizontally and a little bit vertically. And it's constraining the ratio to 2-to-1. If we move close to evenly, horizontally and vertically, it will constrain the ratio. It's a one-to-one allowing us to create a perfect square. If we release the mouse button now we have a perfect square. Let's now start making another one. And as you can see, as we drag down into the right, the object will start drawing with the top-left corner at the mouse is starting position. If we drag up into the left, it will start drawing with the bottom-right corner of the mouth of starting position. If we want to center the object that the mouse has started position, we can do so by holding Shift. And if we want to center it and constrain the width and height ratio, we can hold both the shift and control. If we decide we no longer want the selected object, we can right-click on the object or anywhere on the canvas and choose Delete. Or we can press the delete key or the backspace key. The delete option is in the Edit menu as well. Let's now go back to the toolbox and chooses circles and ellipses tool, which we can also get to by pressing either the E key for the F5 key. Let's create an object on the canvas. We now have some options and the control is bar for dealing with circles, ellipses, and arcs. First, we can change the horizontal radius and vertical radius here. We can also do this by clicking and dragging the handles at the left and top of the object. If we hold Control while we're doing this, it will turn the object into a perfect circle. These two boxes up here labeled start and end, allow us to create segments and arcs. Another way to do this by dragging these small circular Handel was around. If we drag one of these around the outside of the objects, we can create segments. We drag it inside. We can create arcs. If we hold control, it will snap to 15 degree increments. And if we hold Shift, it will move both points together. And by the way, if you ever forget what a handle does, you can hover over it with a mouse. Then look down here at the status bar, which will tell you the function of the handle as well as this, some of the options you can use like holding shift or control. If we look back over the controls bar, there are some other options we have for changing the shape. This last button over here, we'll make the shape hole again. Another way to do that as we've shipped, take one of the circular handles. One more thing we can do with the handle is, is if we make this an oval, we can control click one of the square handles to make the object the circle. Finally, just like with the squares and rectangles tool, while creating an object with a circle is an ellipsis tool. We can hold Control to constrain the ratio and hold Shift to sensory. Okay, let's delete these. Let's next check out the stars and polygon's tool, either by clicking it in the toolbox or repressing either the asterisk key or Shift F9 about the control is bar. We didn't choose if he wants to create a new polygon or a new star shoes polygon for now. The next option we have is number of corners. The smallest number we can use for polygons as three, which will create a triangle. Next, we can choose whether we want rounded or sharp corners, zeros for sharp corners and anything above or below 0, we'll make our corners rounded. We can also right-click in here to see some options. We have such a stretched, twisted, slightly rounded, well-rounded, etc. I'll leave it at 0 for now. Finally, this box labeled randomized allows us to randomize the angles of our corners. Right-click here as well to see some of our options, such as slightly irregular, strongly randomized and blown up. These can have some crazy effects, will check it out soon. But for now, let's just create a plane or a triangle by choosing three for the corners. Then clicking and dragging in the Canvas. To re-size the triangle, we can click and drag this handle at the bottom right. This will also allow us to rotate the triangle around. To lock the rotation, we can hold the control key. As we can see down in the status bar. If we hold Shift while dragging the handle, we can round the corners. We can make some pretty cool shapes with this. This is the same as changing the rounded number up here. To remove any rounding, we can either set it back to 0 and the control is bar or Shift-click the handle. For your art while dragging the handle who were randomized the angles of the corners, which is the same as changing, randomizing the controller's bar. If we now drag the handle without holding out, the shape will constantly re-randomize. And all clicking the handle was set randomized vector 0. Let's go up here and change corners to five. We now have a pentagon. Just like with the triangle, we can scale it, rotate it round the corners, and randomize the corners. Left-click somewhere outside of the object to de-selected. Then go up to the command bar and click the star icon for corners, the smallest number we can use this to, which will actually create a diamond, not a star. Let's use five for a pentagram. The smoke ratio is the ratio between the base radius and the tip radius. We can right-click here to see a few options. I want to make a pentagram, so I will choose this option. And again, we can round and randomize the corners, are set these back to 0 for now and create a star. Like with polygons, we can drag around this outside handle to scale and rotate the star. We can hold Control to lock the rotation. Shift to round the corners and outs to randomize the corners. With polygons, we only had one hand or we can use with stars, we have two handles. If we drag around this inner handle, we can change the spoke ratio to prevent skewing. We can hold Control. And if we do skew it and decide what's removed, the skewing, we can control click the handle. We can round a randomized with this handle as well. Let's undo that. Now. Let's say we wanted to draw a hexagram or six cornered star. We can do that by typing 64 corners. So this object is now technically a hexagram because it has six corners, but it looks a little off because of the smoke ratio. We can fix this by right-clicking on this book ratio box and choosing the hexagram option. We also have options in here for hepta grams to grams and then re stars, which are pretty cool. Finally, this point at the end of the controller's bar, where we set all of these parameters back to the defaults, which are the parameters for a pentagram. The next tool in the toolbox is for creating 3D boxes. But this is a bit more advanced, so we'll save it for later in the course. The toe under is the spiral is tool, which we can also get to with either the I key or the F9 key. Let's go ahead and create one. If we look up here, the control is bar, we could change the number of turns or revolutions of our spiral. Right now it has three terms. So 123, we can change it to something else like five. We can right-click in here to see some other options, such as one full revolution and just the curve. I will set it back to three for now. We can also change the number of turns by dragging around this outer handle. Snap it to 15 degree increments by holding Control. Holding shift will allow us to scale and rotate around the center. And holding Alt will lock the radius. Next is divergence, which refers to how much the density of the outer revolutions changes as the spiral and grows. By default is set to one, which means the density is even. So this equal space between each revolution and the previous 10 will actually create a circle. 0.5 will make the edge denser. Now there's less and less space between the revolutions. As a spiral grows. 1.5, we'll make this centered denser. So now the space between revolutions we get larger and larger. I'll set it back to one for even. Another way to change the divergence is by holding Alt while I'm dragging the inner handle. Clicking the handle or reset the divergence, inner radius appear will let us change the radius and the innermost revolution. We can also do this by dragging the inner handle of the spiral. Hold the Control, snap the angle. And if we shift, click the handle here, we'll go back to the center. If we look down here in the status bar, we can see that the spiral is actually just a stroke. Fill Color currently says none, but we can change that by clicking on the color in the palette. We can also turn off the stroke if you want. Finally, at the end of the control is bar, we have another one of these buttons that will let us reset all these parameters, the defaults. Okay, that's it for this video. I encourage you to play around the shape tools and try out all the different key combinations we learned. We can make some really interesting shapes with just these tools. 9. Selecting Objects: In this video, we're going to learn the various methods we can use for selecting objects. We saw in the previous video that one way we can select the objects is by clicking them well, we have one of the Shape tool is active. Let's create a rectangle and an ellipse. The ellipse is currently selected, as we can see by the bounding box around it. If we click outside of the ellipse, it will deselect it. We can click it again to reselect it. Also because we currently have the circles and ellipses tool active, and we use this tool to create the object we currently have selected. We can go up to the controller's bar and change the parameters and it will affect the selected objects. If we select the rectangle. However, because we still have the circle is an ellipsis tool active. We can't affect this object by changing the parameters up here. So even if we change these numbers, it won't change the rectangle. To change the rectangle, we need to make the squares and rectangles still active. We can now change the rectangles parameters. Another way to select the objects and the way we will be using most often is with the Select tool. We can get to the Select tool in several ways by clicking it in the toolbox, by pressing either the S key or the F1 key or to switch back and forth between are currently active tool and the Select tool, press the space bar, which I will do now. We now have the Select tool active, and we can click objects to select them. To de-select everything. We can click an empty area on the canvas. We can also select multiple objects by clicking one, holding Shift and clicking another one. We now have both objects selected. If we want to de-select the one of them, we can hold Shift and click it again. Another way to select objects with the Select tool is by clicking and dragging around the object or objects. And once you select, and we have to make sure the entire object we want selected as inside the selection box or a won't be selected. If I do this, it won't select anything because no objects are fully inside the selection box. However, if we hold Alt while dragging, it was switched to touch selection. In any object we touch with, this red line will be selected. This touch selection method has some nuances though it might not always give us the exact result we want, as we will see in a later video. A better way to do this for now is to go up to the command bar and click this button that says Toggle selection box to select all touched objects. Now, any object that selection box touches will be selected. I like to keep this turned off unless I really need it though, because it makes it too easy to accidentally select things. We don't want to select. Some other ways of selecting objects are provided at the start of the controller's bar. This first button, we'll select every object in our current layer. We will talk a lot about layers in an upcoming video. But for now, just know that we started out with one layer. So at the moment, this button, we'll select every object and our canvas. We can also do this with Control a, or by going to Edit, select All. The Next button is used to select all objects and all visible and unlock layers. Again, we only have one layer at the moment. So this plan was to select every object in our Canvas. This is also available in the Edit menu and by keyboard shortcut. The next button is for de-selecting everything, which we can also do by pressing Escape, or again by clicking in a blank area on the canvas. And by the way, if we activate another tool and we don't have anything selected, pressing Escape will make the Select tool active. So if we have an object selected with another tool, you can press Escape wants to de-select it. And again to squish in the select tool, which is pretty convenient. Anyway, another way to select the objects by right-clicking are currently selected one, then going down to select same. This gives us some options to select other objects that match our current object in some way. The two objects I currently have shared the same fill and stroke characteristics. So if I go to select same and choose one of these first four options, it will select both objects. But if I select just this rectangle, then go back to Select Same and choose object type. The ellipse won't be selected because it's a different type of objects. Let me make another rectangle and change the fill color. Now if I go to select same object type, it will select both rectangles. These options that are available in the Edit menu as well. Also in the Edit menu, we had the option to invert our selection, de-select everything we currently have selected, and select everything we don't have selected. One final way to select objects by cycling through them with a tab key. Let's create a couple more objects to demonstrate. If we have no objects selected. Pressing tab, we select the first object we created, which was this rectangle pressing Tab again, we'll select the next object we created and so on. To cycle backwards, we can hold Shift while pressing Tab. Tab actually cycles through the objects and z order, which refers to the stacking order of the objects. We'll go more into z order and stacking when we discuss how to sort objects in an upcoming video. But for our purposes here, the z order is just the order of creation as new objects will be stacked on top of old objects. Okay, so that's how we can select the objects and Inkscape. See you in the next video. 10. Transforming Objects: In this video, we're going to talk about the select towards other main function, which is to transform objects, allowing us to do things like move, rotate, and skew objects. First, let's create an object. Earlier, we learned that if we have an object selected, we want the shape tools. We can move the object by clicking and holding on the x and the middle, then dragging the object around. You can move it around freely. We don't have much control over exact positioning. Now if we go to the Select tool, which I will do by pressing the space bar, we can click and hold anywhere inside the object and drag it around freely. However, we can now see the exact positioning in the controller's bar. We can also of course set these two specific numbers. If we hold control as we drag the object, will restrict the movement either horizontally or vertically, depending on which direction we move the mouse. Also, like we saw the shape tools, we can move the object in small increments by pressing the arrow keys, or slightly larger increments by holding Shift and pressing the arrow keys. And by the way, if we wanted to create a selection box while our cursor is inside an object. We can do so by holding Shift before we start to click and drag. If we don't hold Shift, clicking and dragging, we move the object around as we just learned. Another thing we can do with the Select tool is to scale the objects or change its size. One way to do this is with the boxes in the controller's bar. If we close this lock here, we change one dimension, the other would change by the same proportion. I'll reopen the luck for now. Another way to scale this by dragging one of these double arrowed handles located around the objects. If we hold Control while dragging your handle, we will lock the width and height ratio. If we hold Shift, it will scale on the opposite side by the same amount. If we want to scale with the keyboard, we can do so by pressing the less than key to scale it down while maintaining them width and height proportion. And the greater than key to scale up. If you hold control while doing this, the increments will be much larger. We can also rotate and flip objects with the Select tool. One way is by using these arrow buttons and the controller's bar. This will rotate the object 90 degrees counterclockwise. This one we're rotated 90 degrees clockwise. This button will flip the objects horizontally, but we can't really see the change with a rectangle, spiral. On the other hand, we can clearly see it flip. This point will flip it vertically. Is four options are also available in the object menu. You can see the keyboard shortcuts here as well. If we want to rotate an object by something other than 90 degrees, however, we have to first click again on the selected objects. The arrows on the handles will then change direction. If we drag one of these corner handles, we can rotate the object. Snap the angle by 15 degree increments. We can hold either the Alt key or the Control key. If we hold Shift while rotating, rotate around the opposite corner. This is easier to see with the rectangle. So if we hold Shift while rotating with this handle, the object to rotate around this opposite corner over here. Let's undo that. We can also change the point of rotation by changing the location of this pivot point, which is currently in the middle of the objects. We can move it over here and rotate around this point. Or even move it outside of the object. We can undo that until the rotation point is back in the center. To rotate with the keyboard, we can use the bracket keys. The open bracket key rotates the object counterclockwise by 15 degrees, and the close bracket key rotated clockwise by 15 degrees. We can hold Control while pressing these keys to rotate by 90 degrees. One other thing we can do with this leg torso skew objects. We can do this by dragging one of these center handles. We can hold Alt to snap the angle and shift to screw around the opposite side. Finally, to get back to the scale handles, you can just click the object again. Before we move on to the next video. Let's create another rectangle, but let's create it so they'll completely covers the first rectangle. Then let's change the fill color and switch back to the Select tool. Now let's say that we only want to select the bottom rectangle. One way to do this is if we know about where the bottom object begins and ends, we can try to create a selection box over it. Now just the bottom object is selected. We won't always know how large the bottom object is, however. So another way to select it as to hold Alt and click on the top object and location that we think is also inside the object under it. The first alt click will select the top object, and the next I'll click will select the first object under it. If we click again, it will go back up to the top object. This is because odd clicking with cycled between the top object and any objects below it. If we make another object, such as an ellipse on top of both rectangles and change the color so we can see it. Let's switch back to the Select tool and start all clicking the ellipse. It was cycled between selecting all three objects. And if we hold Shift while clicking to add the next object to the current selection. By the way, these same methods can be performed by holding Alt and scrolling the middle school on top of the objects instead of clicking, then let's de-select all of these and give it a try. And as you can see, this method will temporarily change the opacity of the objects we don't have selected, so that we can see our selected object better. Lsd select again, then Alt, click up here three times to select the bottom rectangle. We can now transform it with the scale handles. The control is bar, or by using keyboard shortcuts. However, what if we want to move the object around with the mouse? You can just click and start dragging because this will select and move the top object. To move the currently selected objects, we have to hold the Alt key first thing, click and hold the mouse. Now we can move the object around freely. Alright, that's about it for transforming objects, there are few more things we can do with the select tool, and we will discuss those as we move through the course. See you next video. 11. Transforming Objects (1.3 Update): In Inkscape version 1.3, after transforming an object with the Select tool, we can now press Control or T to reapply the transformation. And if we press Control D, there will apply the previous transformation to a duplicate of the objects. We'll learn more about duplicating and an upcoming video. We can also select the different objects and apply the previous transformation to it. The default reapply transform keyboard shortcuts don't work correctly on Mac or Linux. To change the shortcuts. First open up the preferences dialogue by going to Edit Preferences. Then show all of the items for interface here. Choose keyboard. Now if we search for the word reapply in the box here, you can see the keyboard shortcuts for both of the reapplied transform functions. To change one of the shortcuts. We can click it, which changes the text to new accelerator. And now we can input a different combination of keys. For example, Shift Control B. We could do the same for the other one. But because I'm using Windows, I'll just stick with the defaults. So I'll click the reset button down here. 12. Activity: Cute Amoeba: In this video, we'll use nothing but the shape tools, the select tool, and the color palette to create a cute amoeba. Use a star with rounded corners for the body. So squish the stars and polygon's tool mixture, one star Moody for corners, I'll go with the seven. That was create a star. To round the corners. You can hold Shift and drag one of these handles out. And we can drag the inner hand or to change the spoke ratio and make it look a bit less uniform. Okay, for the color, I'll go this lime green over here. Muscle going to give it a stroke by holding Shift and clicking one of the darker greens. We can also increase the stroke width sum if we want. Alice create some ellipses for eyes, I won't worry about making them perfect circles. It is an amoeba after all. Let's hold shift and click the X here to turn off the stroke. And I'll make the fill white. Now create another ellipse in here. Now, make this one the same color green I used for the body. We can switch to the select tool and adjust the size and position if necessary. Now create another ellipse here and make it black. Then I'll create one more small ellipse at the top of this one and make it white for a highlight. Now resize and adjust everything in between. Let's follow the same steps for the other eye. Alright, let's put some highlights on these top tentacle things. We can do that by creating a YT lips. Setting the opacity to around 50%. Let's create some more. We can add some above the eyes as well as also give him some spots. Are creating your lips here. Turn that black. Make the opacity about 20%. Are Christian Moore and other places. Next we can give him a mouth. For this. Let's create an ellipse down here. Let's put the opacity at 100%. Let's turn off the fill and give it a black stroke. Now let's grab this circular handle. Let's drag it inside the ellipse to create an arc. We will release the mouse. The stroke at the top disappears. It's now we have this smile shape. We can create a smaller one of these up here. Let's turn off snapping with this button over here. We might have set the stroke width back to what we were using before. I believe I was using three. There we go. Okay. We can also maybe give him a tooth or something here. For this, I'll use a triangle, squeeze the stars and polygon's tool change the mode to polygon, say corners to three, rounded to 0, and draw a triangle here. Let's turn off the stroke and make the fill white. You can hold Shift and drag the handle out around the corners a bit. Now we have acute simple amoeba character. We can easily change this color is if we want, like maybe making pinky with a darker pink stroke, I'll change the colors of the irises as well. If it goes to the stores and polygon's tool, you can change up the shape of the body a bit. I encourage you to now go through these steps and create a family of amoebas. Here's what I came up with. Okay, when you're finished with that, I'll see you in the next video. 13. Bezier Pen, Paths, and Nodes: In this video, we're going to be learning all about paths and how we can create them with the pen tool. So everything we draw an escape is referred to as an object. This includes all the shape objects we can draw the shape tools like squares, circles, and spirals. Another type of object we can create is called a path. Paths. As I mentioned briefly in the interface overview video are sequences of lines, segments, and or Bezier curves, with the most simple path being a single straight line segment. The most common method for creating path is by using the Bezier pen tool or pin tool for short. We can get to the pen tool either by clicking right here and the toolbox, or by pressing E to the B key or Shift F6. Let's activated now and make sure that first mode up here is active and Alice create a line segment by clicking and releasing somewhere in the Canvas thing clicking you're releasing somewhere else. Let's do this a few more times. To finish the path, we have a few options. We can activate another tool. You can press the Enter key. We can double-click somewhere in the canvas, or we can right-click somewhere, which I will do now. We now have a path with multiple line segments. If we switch to the Select tool, it gives us all the same functions with pads as we saw with shape objects, such as moving, scaling, rotating, and skewing. If you want to edit the pads individual segments, however, we have to use this tool under the Select tool, which is called the Node Tool. Let's go ahead and activate the new tool, which we can also do by pressing the enter key or the F2 key. We now see these little diamonds at the ends of each segment with paths. These are referred to as nodes. Let's select the first node. Now in the controls bar, we can see a whole bunch of options for dealing with nodes. We will discuss all of these shortly. But for now, one option we have is to set the position of the selected node. We can also do this by dragging around the node on the canvas. And if we hold control and restrict the movement either horizontally or vertically. You can use the arrow keys to move select the nodes as well. Just like with the shape objects holding Shift while doing this, we moved by ten times the normal step. Holding audits will move by one screen pixel and holding Shift and odds. When we buy ten screen pixels, we can add more nodes to our selection by holding Shift and clicking on another node. Clicking again while holding Shift to deselect that node. Another way to select multiple nodes as you hover over a node and scroll up the mouse wheel, which will select the node under the cursor and continue adding nodes to the selection in order of spatial distance from the cursor. You might have noticed that it's selected this node before this one. And that's because this node was closer to the cursor position. Scrolling down or remove nodes from the selection in the opposite direction. If we want control while scrolling the mouse will over a node. The nodes are selected based on the linear distance measured along the path. We can also use the page up and page down keys instead of the mouse wheel. If we press the Tab key while I noticed selected, it will select just the next node along the direction in which the path was created. If we press terroir, no node is selected. It will start at the first node and we can continue moving along the path. If you hold Shift while pressing Tab, it will move in the opposite direction. Another way to select nodes as we drag a selection box around them. Or use Control a to select them all. And we can move all the selected notes together by clicking and dragging one of the nodes around. If we hold out as we drag a node, we enter what's called sculpting mode. With sculpting mode, the node being dragged moves a full amounts and the other selected nodes move at different distances depending on how far they are from the node being dragged. As we can see in the status bar patch created with the pen tool by default get a black stroke and no fill. We can change the color of the stroke the same way we change the stroke color of the shape by holding Shift and clicking the color in the palette. We can also set the fill color. However, if we increase the width of the stroke, you can see that we don't have a stroke going around this part of the path because we didn't create a line segment between these two nodes. This might be what we want, but if we really prefer to have a closed path, we can do so with a pin tool by clicking one of these square handles at the ends, which are called anchors. Then clicking the other one. We now have a closed path with a stroke going all the way around it. If you click the Start a new path, holding Control or snapping or the 15 degree increments. Something else we can do while creating a path is removed the previous node using the arrow keys. And again, we can use the Shift and Alt keys to move it by different increments. We can also undo the previous node by pressing either backspace, delete, or Control Z. If we decide we don't want to create this path anymore, we can simply press the Escape key and now it's gone. I mentioned at the beginning of this video that pets are made up of line segments and or Bezier curves. So far we've only create a path with line segments to create a Bezier curve, also called a curved segment. We click and drag. Now we have a blue line leading from the node to the cursor. And under the cursor we have a circular control handle. We release the mouse. It creates a control point for a curve. And now we have a red line showing us the curve we're creating. If we click and drag again, get to more control handles. The one going in the opposite direction of the cursor is for creating the second control point and the current curve. And the one under the cursor will be the first control point and the next curve. The farther we drag these handles apart, the more the curvature. If we hold Control Alt and dragging it was snapped the angle that's released to create the first curve. And let's click and drag over here to create another one. If we hold Shift while dragging, only the handle under the cursor will move. If we release the mouse now, you will create a sharp point at that node. And if we want to go back to creating lines, segments, we can just click and release like normal. Let's go back to the first node and close it off. We can now go to the Node tool and play around with the nodes. If we select one of the curves segment nodes, we will see the control handles again and we can adjust them here to change the angles of the curves. We can also adjust the handles of any curved segment nodes on either side of our selected note. Something else we can do with noses. We select a few of them. Go up to the controller's bar and enable this button with the arrows. We now have transformation handles around our selected nodes. Now we can transform the nodes the same way we can transform entire objects with the Select tool. For example, we can scale them. If we click one of the selected nodes again, we can rotate and skew the nodes. We can also switch between the transformation modes using Shift H. Keyboard shortcuts we learned for the select tool work the same here as well. Such as the less than and greater than keys for scaling. The bracket keys for rotating. We also don't need this transformation handle is if we use the keyboard shortcuts and I'd like to keep them turned off when I'm not using them as they tend to get in the way. However, I Feel free to leave your design if you want. Now let's take the different types of nodes are path as this node here with no curves and no handles. And this node here with handles that move independently are called cusps or corner nodes and are used for making sharp corners. Cusp nodes are represented by diamonds. These nodes represented by squares are called smooth nodes, and they are used to create smooth flowing curves. The handle is of a smooth node, are aligned on a straight line and we'll rotate together. The handles are one method we can use to change the curvature of our segments. Another method is you click and hold on the segment itself and drag it around. If we do this through a line segment, it will change it to a curve segment. And now we have handles at the news for adjusting the curvature. Let's undo a few times to turn this back into a line segment. For casinos like this with the handle is retracted. We can also hold shift and click and drag the node, which will give us a handle to work with. If you hold Shift again and click and drag the node in the other direction, we now have both handles. All control while rotating a handle or snap the angle of 15 degree increments. Holding Shift, let's just rotate both panels together. And holding odds will allow only the handles angle to change. And now this length, if we only have one node with handles selected, like we do now, using the less than and greater than keys will change the length of both handles. If you hold control while doing this, you only scale one of the handles. We can actually hold the control key and the other side of the Space bar to scale the other annual. We can do the same with the left and right Alt keys to scale by one pixel. Similarly, using the bracket keys to rotate both handles. And using the left and right control or Alt keys along with the bracket keys or rotate the handle separately. We can change the notes type as well. Let's select this smooth node. To change it into a cusp load. We can either press Shift C or cut this point up here in the controller's bar. Now it's a custom mode. If you click this button with a customer selected, it will retract the nodes handles. We can use Shift S or click this next button to change it into a smooth node. Let's undo that and let's hold shift and drag out here to extend the handles. Normally when we change a node into a smooth node, which I would do with Shift S, it will rotate both handles and make them co-linear. However, if we undo that and hover over one of the handles and press Shift S, the position of that handle will be preserved and the other are rotated, become colinear with it. This next button, which we can also get to is Shift Y, will make the node symmetric. This is a type of smooth node in which the handles are the same distance from the node. If we move one, the other moves the same amount in the opposite direction. Finally, we have auto smooth here, which has the shortcut Shift a. If we click this, it will become an auto smooth node, which is represented by a circle. An auto smooth node is a special type of node that will attempt to maintain a smooth curve by automatically adjusting his handle is when you modify it or surrounding nodes. So if we change it to auto smooth and move it around It's handles and just automatically happens as we move around one of the surrounding nodes as well. Be aware that if we start playing with the nodes handles ourselves, however, it will change it to a normal smooth node. So now let's handle is don't automatically adjust anymore. Some other ways of changing node and segment type are holding Control and clicking on a node to cycled through the types and selecting one or more segments and clicking this button, which has the shortcut Shift L to turn them all into line segments. Or this button which has the shortcut, Shift you to turn them into curves segments. Now let's say we want to insert or remove some nodes. One way of inserting a node is either by double-clicking in the segment or by holding Control and Alt and single clicking. We now have a new node at that point, which we can move around and changed as we like. Another way is to first click a segment, which is just another way of selecting as two nodes. Then go up to the controller's bar and click this button with the plus sign. We now have a new node inserted at the midpoint between the two nodes. Now because we add three nodes selected, if I click this button again, it will insert a node at each midpoint. Let's zoom in so we can see it better. We can add as many nodes as we like, but be careful because having too many nodes can cause Inkscape is slowed down a lot. If we click the arrow next to the insert mode button, we will see some more options for inserting nodes. Demonstrate these. Let's go to the pen tool and create a square shaped path. Then use the node tool to drag out the segments. If we select all of the nodes, then go up here and choose insert node at Min X. It will insert a node over here at the minimum exposition of our path. Similarly insert node and make sex. We insert one here, the maximum x-position. We have the same options for y. To remove a selected node or nodes. We can either click this button with the minus sign or we can press either Backspace or Delete. We can also hold Control and Alt and click a node. Has. You can see when we remove a node Inkscape or attempt to preserve the path shaped by adjusting handles of the nodes adjacent to the deleted node. But if we undo the deleting and select the node again, then hold Control before deleting the node, the handle is on, the adjacent nodes, won't be adjusted. Next to duplicate select the nodes, we can use Shift D. We now have two nodes in this location connected by a segment. To break the path that is selected node, we can either use Shift B, we can click this button and the controls bar. We now have two nodes here, but unlike with duplicating nodes, the nodes aren't connected, giving us an open path. Let's undo this into us back to one node. Now let's select two nodes and break the path. We now actually have a path object made up of two sub paths, one here and one here. Something I didn't show you before is that with the Pen tool, if we have a path object selected, we can add a subpath to it by holding Shift and clicking somewhere to create the first node. We can then let go of shifts and continue creating the path. When we finish it, we can see that it's a subpath of this object. Has this also within the objects bounding box. If we squish the node tool and selecting one or more nodes, we can invert the selection and the current subpaths knows by pressing the exclamation point key. To do this for all sub-paths, we can know what ought to be for pressing the exclamation point key. If we want to connect this subpaths, we can connect the anchors with the Pen tool, like we saw before. However, we have a couple of other options for connecting subpaths up here. First, we can select the end nodes. You need to press Shift J or click this button up here. That's what join them into a single node. We can actually do this with connected nodes as well. Normally this would join the nodes right at the midpoint between them. However, if we undo that, this is like the nodes again and hover over one of them. Pressing Shift J will merge them at the location of that node. That's now choose these two end nodes. The other way to connect subpaths with this button. What this does is it creates a line segment between the two nodes, similar to what we did before with the pen tool. Have finally, if we want to delete a segment between two nodes, biggest select the nodes or the segment. Then click this button. Next, if we look all the way over here on the right side of the control is bar. We have a couple of other toggle buttons. This one that is currently toggled on is used to show or hide the Bezier handles of the selected node or nodes. Right now we can see the handles, but if we toggle this button off that become hitting, this is useful if we move around the nodes or lie, because the handle is often getting away, such as when we have a handle from one node overlapping another node, like this. This bond at the end of the controls bars for showing and hiding path outlines. If we hover our cursor over an unselected path who are briefly see a red outline around the path. This is useful. We have overlapping paths like this. Let me go back to the Node Tool. Right now it's difficult to tell where one path begins and the other ends. So Inkscape helps us out by briefly showing us a red outline around the path under our cursor. If we click one, we can see only the nose of the selected path. However, sometimes it might still be difficult to distinguish between the selected path and another one near it. To help with this, we can toggle on this button up here. Now as long as we have a path selected, the outline will remain red. This is also useful for path effects, as we will see later in the course. I'll turn mine back off for now. Now let's look at a few more things we can do with the Pen tool. If we activate the Pen tool, then look up here at the left that the control is bar. You can see some different mode options, default. And what we've been using throughout this video is the regular Bezier path boat, which lets us create line and curve segments. This next mode is for spiral pads. This mode does is when we start creating a path, it will automatically create curves and smooth them out as we go. We can also create cusp nodes by holding Shift and clicking on continue creating curves. We want to reposition the curve. We could do so by holding Alt and moving the mouse around. To finish the path, we can either close it off or press Enter or right-click, like what Bessie iPads. We can also switch to the node tool and edit the nodes and it will keep the smooth curves. Back in the pen tool, we add this button here. That's what flatten the spiral pad, meaning you would turn it into a regular path. So if we click this, then squish the node tool. We now have more nodes and I won't maintain a smooth curves. The next mode and the pin tool is B spline path. There's a similar to the spiral path mode, but this one creates a red line connecting the points we click and allows us to make tighter curves. Like with a spiral path mode, you can shift click to create a custom node and hold Alt to move the current section around. With the node tool, we can edit the B-spline points, like with a spiral path mode. If we switch back to the pen tool, we can click this button to flatten the spine path, turning it into a regular path. So now we can edit the nose like we would with a regular path. The next mode is the straight line segment mode. This is similar to the Bezier path mode, except now we're forced to only create line segments. This is useful if we only want perfectly straight lines and want to ensure that we don't accidentally click and drag creating a Bezier curve. The final mode is the 0 line segment mode. Like the straight line segment mode as well forces us to create lines segments. However, if we create the first segment, this mode also forces us to create segments that are either perpendicular to the previous one. Or if we hold Shift co-linear to the previous one. The next thing we see appears as box labeled shape is currently unknown. And if we drop down the box, we can see some more options. These have different effects on the shape of a path. So if we choose, for example, a triangle and then go back to the Bezier path mode and create a path. We can see that this gives a path a triangular shape going from thick to thin. We can also increase the scale of it. Here. We go to the new tool. We will see this pink diamond here, which is called a stroke width control points. And we can use it to change the width of the stroke. If we control-click on the control points, it will create another control point. And we're going to just that one as well. If we control alt, click on control point, it will delete it. I finally, if we shift click a control point, it will launch this little modified node position dialogue, which we can use to set the node position and stroke width. Back in the pen tool. The next shape option here is triangle out. This just does the opposite of triangle n. Now going from thin to thick. Next is ellipse. This will give the path the shape of a stretch daily lives, with the middle being the thickest. And like with the previous options, we can change the scale here or we can do it from the node tool. This is quite useful for doing line art. The next shape option is from clipboard. If we create another object, for example, a star, then copied into a clipboard with Control C. But he didn't go back to the pen tool. And with from clipboards set. Use that copied object when creating a path. If we continue drawing from wanting these handles, we can change the shape of it. We can also modify it with a new tool. Next, bin from clipboard is similar, but instead of a stroke, it'll get a fill color. Another thing with Ben from clipboard paths that if we switch to the new tool, they place these handles are the location of the copied object. And if we modify them, go modify that path. And as you can see, this doesn't actually modify the original object. More like we're modifying a ghost object that has been placed in the same position. We can actually even delete the original if we want. If we hover over the path with the node tool, now we will briefly see the outline of the ghosts object and we can click the path to modify the ghosts objects. Handel was again the types of panels we get here depending on the type of the original objects. So if we did this with a rectangle who had had the handle for rounding the corners. And if we did it with a path, we would have nodes that we can modify. The last shape option, last applied, or remember and reuse the settings we chose previously. One more thing we can do with the Pen tool is if we zoom in a lot and activate a line segment mode, either the straight line segment mode or the paraxial line segment mode. It doesn't really matter. We can create dots by holding Control and clicking. If we hold Control and Shift, we can create bigger dots. If you hold Control and Alt and create randomly size small dots. And if you hold Control Alt and Shift, we can create randomly size bigger dots. These dots are actually circle objects, the same as we can create with the circles and ellipses tool. And we can actually go to that tool and modify these circles with it. We can change the colors as well. Okay, I think we've covered enough in this video. As you can see in the path menu, there are a lot of cool things we can do with paths, such as combining them in different ways and adding path effects. Will be discussing all of these later in the course. There are as well a few things with the node tool that we haven't talked about yet. Namely these two buttons and these three buttons, because they don't get applied to what we've learned so far. But don't worry, we'll be getting to them throughout the course as well. I know this video had a lot of information to take in. The next video, we'll put some of what we've learned into practice. See you there. 14. Bezier Pen, Paths, and Nodes (1.3 Update): Inkscape version 1.3, a couple of features have been added to the node tool. First is a Lasso selection mode for selecting nodes. To use it, we hold down the Alt key and click and drag, which creates this red path that follows a cursor. When we release the mouse, any Nodes of the selected object that are within the area of the red path is selected. Next With the new tool active, we have a new options and the control as bar that says Add Corners, LPE. If we have path selected and we click this, we get these handles at the corners of the path that we can use to adjust the rounding at that corner. We can also select and round and Multiple Corners at once. If we hold down Control and click a handle, we can cycle between different corner types. We click the Corners button up here again, it removes the rounding from the corners. This feature X the as the Corners path Effect to the path which we'll learn all about in an upcoming lesson. 15. Importing and Tracing Images: In this video, we're going to learn how to import images into our document and get some practice with the pen tool by tracing an image. First, the image we're going to use in these videos and image of a king fisher, which I found for free online. The image is called king fisher dot JPG, and I've included it as a downloadable resource for this video. If you'd like to follow along, go ahead and pause the video now and download the image. You can also use your own image if you'd like. So now that we have the image downloaded, let's import it by going to File Import, which brings up this dialogue elicits choose a file to import. If we dropped down this file of type box, we can see that we can import all sorts of files, such as Adobe Illustrator files, Corel Draw files, and many different kinds of images. We can just leave this on the default option, which will display all files that we can import. Now browse to the location where you downloaded king fisher dot JPEG. Then select the image and click Open. Or we can just double-click the image. The import dialog that pops up next depends on the type of file we're importing. We're importing a JPEG image. So we get the JPEG or bitmap image import dialog. At the top, we have image import tight. Now our two options, or embed and link. Importing the image creates an image object in our document. With embed, the object will be encoded into our document. So we will no longer need the image file itself. However, this can cause our documents have a large size, especially for using high-quality images. Link, on the other hand, just linked the image object to the external image file. But then we'll have to make sure the image file doesn't get deleted or moved. For the most part, I prefer to use Embed, so I won't have to worry about accidentally deleting the image files or something later on. The other two options here gives us more control of the images DPI and it's rendering mode. But we won't be needing this here. So let's go ahead and click Okay to import the image. Now that we have our image imported, you can use the pen tool to trace around the bird. So let's activate the pin tool. And let's make sure we're on the Bezier path mode up here and that shape is set to none. This image has a lot of rounded areas. So we'll be using a lot of Bezier curves here. Let's start at the top of the head and go counterclockwise. So first let's zoom in a lot. And the head, which I'm doing by holding Control and scrolling the mouse wheel. For the first ODE, Let's click near the top point of the head. Next, let's click and drag here until we had the curvature of the head. Then release the mouse. Then let's do the same here. And don't worry about getting it perfect because we can always use the node tool later to fix it. This next area where the head intersects with the body is a good place for a customer node. So first let's pan over by pressing the middle mouse button and moving the mouse. Then let's click drag here. And without releasing the mouse, let's hold Shift to create a custom node. Then release the mouse. Now we can release shifts and start click dragging again. For this point, because there isn't much of a curve here, we can just click to create a customer node. Let's continue tracing around the body. For this feathery part of the body, we can randomly click drag or just click points to give it a jagged and look. I'm also not going to worry about the bird's leg. Remember that we can always press Control Z to undo the previous node. Now let's go back around the head and close off the path by clicking the first node. Now we have a path around the outline of the bird. And if we want, we can give it a fill color. We can remove the stroke by shift clicking the X down here. We can now switch to the node tool and fix up parts of the path by moving the nodes around or dragging around the handle is to fix the curves. We can also delete some nodes to make the curves a bit smoother, such as here and here. And here. We could probably spend an hour or fixing this up, but I think it's good enough for the moment. We can also go ahead and delete the image now if we want. Alright, so that's how we can trace an image with the pen tool. I highly recommend trying this for several different images until you get the hang of the pin tool and no tool because you will likely be using them very often your journey with Inkscape. But anyway, that should do it for this video, I will see you in the next one. 16. Changing Objects to Paths: In this short video, we're going to learn how to turn objects into pads. So first, let's create a shape object or one of our Shape Tools. I'll create a rectangle. If you recall from the creating shapes video, when we create an object with the shape tool, we have a few options for modifying them. For example, with this rectangle, I can drag this handle to round the corners. I can also change the size. If we go to the Select tool, we could do some rotations and stuff. However, that's pretty much all we can do with it. If we go to the Node tool, we just get the same Handel was again, we don't actually have access to the nodes. That's it because objects created with the shape tools aren't pads. And although all objects and escape technically have nodes, there'll be located at the corners of this rectangle. We only have access to the nodes, have pads. Fortunately, we had the ability to change objects into paths. To do this, we can either click this figure-eight looking button on the control bar or we can go to Path Object to pair. This also has a shortcut Shift Control C. As soon as we do this, the object becomes a path and we get access to the nodes. And now we can modify this path in the same ways as we learned earlier, such as by inserting nodes and changing node types. One thing to note though, is that if we go back to a shape tool, we no longer have those options for modifying the object like we had before. As you can see, the handles are no longer there. So with this rectangle, I can easily round the corners anymore. This is because Inkscape no longer recognizes the object as one that was created with the shape tool. We now have to use the nodes to modify it. And we have no way of changing the path back into a shape object. So be aware of this before you decide to change a shape object into a path. However, we will often run into situations in which will be necessary to change objects in the paths. Particularly when we want to perform path operations on them, as we'll see later in the course. We'll also learn how we can do things like round the corners of pads. 17. Activity: Superman Logo: For this activity, will create the Superman logo. The Superman logo has a pentagon shape, so switch to the stars and polygon's tool. Let's choose the polygon mode. Now with corners set to five and rounded and randomized set to 0, Let's start creating a pentagon. Hold Control to snap the angle. Let's make it through this point under the cursor is at the bottom. Now we actually want to move these two points here closer to the top. Therefore, we need access to this object's nodes. So let's turn it into a path by going to Path, Object Path. Now because squished in the node tool, select these two nodes. Hold control and move them up here. Let's move this bottom load up some as well by holding Control. Okay, now we have the background shape of the logo. Let's turn the fill color to yellow. Then I set the stroke color to red by holding Shift and clicking the red here. Let's make the stroke width pretty thick. I'll go with 16. Let's now switch to the pen tool and start drawing the first. Let's turn off snapping here. Now let's click inside the stroke here. And click drag up here until we have a nice curve without releasing the mouse hold Shift to create a custom node here, let's put the handle down here, then release Ellis click here, click drag down here and hold Shift to credit customer node. Release here. Think like up here, then over here. Now we want to hold control us. We can get a straight line. Let's click down here. Then while still holding Control, click over here to create another straight line. Else click drag up here. Click drag over here. Click drag over here, but don't release the mouse because we're going to hold Shift to credit customer node. Release here, click here, click here, click here, click drag over here, then hold shift the credit customers owed, at least down here. Click drag over here, and finally click drag the first node. Now let's turn off the stroke. Let's make the fill color red. Now it doesn't look too great right now, but that's okay because we can squish the node tool and play around the nose and handles. First, let's select the first note here. Let's make it a smooth node with this button. Now we can move the nodes around and adjust the curves until it looks better. I'm going to select these three nodes over here. Hold Control, moving to the left and bit. So this part is a little bit thicker. I'll move this one a little more. Okay. I'd say that looks pretty good. We can definitely keep adjusting, get into it looks better. And I encourage you to keep working on yours when you have the time and to also try this with some other logos. The Batman logo is another good one for getting practice with the pen tool. Okay, I'll see you the next video. 18. Fill and Stroke: In this video, we're going to learn about all the ways we can change the colors and styles of our objects, particularly by using the fill and stroke dialogue. Let's create a rectangle for demonstration. We already learned previously that we can change the fill color of our currently selected objects by clicking a color in the palette down here. We can actually also simply drag and drop a color onto the objects. This will work even if the object isn't selected. To change the stroke color of a selected object, we hold shift and click a color. We can also hold Shift and drag and drop a color. We can change the opacity of our object down here. 0 is completely transparent and 100 is completely opaque. To change the stroke width, we can right-click the stroke width value here, which gives us a few options. But that's about it. For more palette options, you can go to View swatches, which will open the swatches dialogue on the right. If we click this arrow here, it will give us a bunch of options for different types of pallets, such as Android icon, palette, greens, and reds. If we click on a color swatch, it would change the selected objects fill color to that color. And just like with the bottom palette, holding Shift and clicking your color will change the object's stroke color. We can also change the color palette down here by clicking this arrow all the way at the right. But I prefer the Inkscape default palette. This is all well and good. But what if we want complete control over the colors? And wherever you want to do things like change the style of an object's stroke? The answer is the fill and stroke dialogue, which we saw briefly in the interface overview video. To get to the fill and stroke dialogue, we have a bunch of options. We can right-click an object and go to fill and stroke. We can click this brush icon in the command bar. You can go to Object, fill and stroke. We can use the shortcut Shift Control F. Well, we can get to it from the status bar by clicking on either the fill color swatch, the stroke color swatch, or the stroke width. How these options were duct the fill and stroke dialogue. We can close up the swatches tab now as we won't be using anymore, the first tab and the fill and stroke dialogue is for setting the fill color and style. If we click this X here, it will turn off the fill color. The solid square next to it is forgiving our object a flat field color. This is what we have been using so far in the course for choosing a flat color with a few different color modes we can use. First, we have RGB, which stands for red, green, blue. With this, we can choose how much red, green, and blue the fill color will have, with 0 being the minimum and 255 being the maximum. We set them all to 0, we get black. And if we set the multitude 55, we get white. We can also set the Alpha, which is similar to opacity zeros for fully transparent, 100 is portfolio opaque. However, it's important to note that if we change the opacity here, we will only affect the fill color. If we changed it down in the status bar or here at the bottom of the fill and stroke dialogue. It will affect both the fill color and stroke color. With this one, we can only make the fill color transparent. With the other two, we can make the entire object transparent. The next option up here is HSL, which is the most commonly used way to select colors and Inkscape. Hsl stands for hue saturation, lightness. Hue is the base color, which is basically all the colors of the rainbow. Saturation is how much of the color shows. All the way to the right is fully saturated. And all the way to the left is fully saturated, which gives us gray line. This is how dark or bright the color is. As we move to the left, we get closer to black. And as we move to the right, we get closer to white. And again we are the alpha channel. The next option is HSB, which is similar to HSL. But instead of lightness, we deal with the value of the color. If you've done any digital painting, such with Photoshop, you're likely familiar with HSB. Cmyk is the next option and stands for cyan, magenta, yellow, and black. Next we have wheel, which gives us the color wheel to choose our color from. This is also common in digital painting software, and it's basically the same as HSV, except now we choose the hue by dragging this line around in a wheel, and we choose the saturation and value by moving this circle, round and triangle. Finally, we have CMS. This is for dealing with color profiles. We won't be covering color profiles in this course. But if you open the document properties dialog really quick and we go to the Color tab. Here we can change our color profile or add a new one. We can then go back to the fill and stroke dialogue and use that color profile here. I don't know enough about color profiles to go into any detail as I've never had to deal with them myself. But if you know more about them than I do, you might find this useful. I usually just stick with HSL. Okay, This next three buttons appear for applying gradients to our objects. There are a lot of things we can do with gradients, will have entire video is on them later in the course. So for now, we'll just take a quick look at the basic functions of each one. The first one is the linear gradient. And if we click it, you can see that the default is to have the fill color go from fully opaque on the left side to fully transparent on the right side. If we go over here to the gradient tool in the toolbox, we can click on each of these handles and change the color of deposition as well as the opacity. We can also move these handles around and create more handles as we will see later. The next type of gradient as radial gradient. This will create a circular gradient starting from the middle. Like with the linear gradient, we can use the gradient tool to change the colors. And we can move the handles around as well. The third gradient option is mesh gradient. With this one, we have multiple handles place to run our objects. To Edit Mesh gradient, we use the mesh tool, which is located under the gradient tool. We can use the mesh tool to move the handle is around. And we could change the colors at each corner. That's a quick overview of gradients. We'll go into much more detail about them a bit later in the course. The next option appears pattern. If we click this, we can give our object that pattern fill the current pattern of stripes one-to-one. And we can drop down this menu to choose another one. As you can see, we have a whole bunch of options, such as different types of stripes, polka dots, etc. Later in the course, we will learn how to modify these patterns and how to create our own patterns. The next option is swatch. This option lets us create our own custom color swatches. So right now a swash has been created using our current field color. And we can modify it down here. Now if we go back to flat color and choose another color, it will create another swatch with a new color, and we can easily switch back and forth between them. These last three buttons will statements. So later in the course, the question mark button will be useful when we talk about cloning objects. And the last two will be useful when we start dealing with path operations. If we look down here at the bottom of the tab, this box here labeled RGBA, is the hexadecimal value of the current color. If you've done any web design before, you're probably familiar with hexadecimal because it's the most common way to represent colors in HTML. This is useful if you're making artwork for a website and you want to use similar colors, or if you find a color that you'd like to any internet, you can copy and paste it into this box. To the left, we have these icons. This first one is, has to do with color management. Color management refers to converting between color representations of various types of devices. We won't be discussing color management in this course because it's scope spans beyond Inkscape and vector r. But if you do a search for it is pretty interesting. Nexus this eyedropper button. Let's create a couple more objects and give them different colors. Let's raise up their opacities. Now if we go back to the fill and stroke dialogue and click the eyedropper button. Our cursor changes into an eyedropper. And if we now click on another color somewhere on our Canvas, it will change the fill color of the selected object to that color. And what this button actually does is it temporarily switches are towards the color picker tool over here in the toolbox. After we choose a color, switches back to our previous tool. We can also just select the tool from the toolbox or repressing D or the F7 key, whoever when we use it now, it won't switch back to our previous tool. To change the stroke color over objects. We can hold Shift and click a color. If we click and drag over colors, who'll get a color that has an average of all the colors in the area. To demonstrate this, let's move these objects closer together. I'll give this one a red fill. Then I select this object again and go back to the color picker tool. If we now click and drag here, we get a circle around our cursor. And when we release a selected objects, fill color becomes the average of the colors that were inside the circle. We can do the same for the stroke color by holding shift as we click and drag over the colors. If we hold Alt and click a color, it will give us the inverse of that color. By holding Alt, it will show us what the inverse color is. And a little box to the right of our cursor. If we go over here to the color wheel, the inverse of a color is just the color that's on the opposite side of the wheel. So this green gives us a magenta and this blue gives us yellow. If we hold Shift and Alt together and click a color, it will change our stroke color to the inverse color. We can also use the color picker tool to copy a color into our clipboard by pressing Control C, we have an object selected. It will copy the fill color of that object. But if we de-select everything and go back to the color picker tool, we can hover over any color on the canvas and press control C to copy it. This actually copies the hexadecimal value. So now we can select an object and paste the copy color into the RGBA box. If we activate the color picker tool again and look up here, the commands bar, we have two buttons under opacity, labeled pick and assign. Let's first go to the Select tool and select this object and change the opacity of the field to say 50 per cent. Now if we select this object and go to the color picker tool, when these two buttons up here are toggled on like this, it will copy the fill color along with the Alpha value into our selected objects. However, if we undo that thing, go up here and turn off a sign. When we click this color, it will ignore the Alpha value and only copy over the color. And if we turn off pig, it will give us this exact color is seasonal and the cursor, which is this light red, but it will leave the Alpha value or 100. So this object is actually still fully opaque. It appears to have the same fill color is the other objects. Of course, if we raise the opacity of this object backup, the actual field color of it is the darker red. Let's now go back to the color picker tool. Also, the Assigned button only applies if pick is turned on. So right now it's disabled. Let's turn them both back on. This wishes the Select tool back over and the fill and stroke dialogue, we had the stroke paint tab. This tab is for setting the colour of the selected objects stroke. You basically have the exact same options here as in the Fill Tab, such as no color, gradients, patterns, etc. So let's now go over to the final tab, stroke style. In this tab we have some options for changing other properties of the stroke. First, we can change the width of the stroke here. You can also choose what type of units we want to use, such as centimeters or pixels. Next, we can choose the dashes of our stroke. Right now the stroke is a solid line. But for drop down this box, we can see a whole bunch of other options we can use, such as dotted lines with various spacing between the dots, dashed lines with various spacing between the dashes, etc. We can also set the offset of the dashes, which will basically slide them around on the stroke. The next option is markers. Markers lessons place various types of markers on the nodes of our object. The first one we'll place a marker on our first node, which for our rectangle is at the top left corner. The middle box has put a marker and all but the first and last nodes. And the third box, does it put a marker in our last node? As you can see with closed objects like rectangles, the first and last nodes are the same. So we now have two markers on the top-left node. Let's now go to the pen tool and create an open path. Let's make the stroke a bit wider. We can add markers to this path as well. The direction of the markers and locations of the first and last nodes depend on the direction in which we created the path. We created this path from left to right. This node being the first node and this one being the last. Because of this, the right facing arrow marker we chose for the first node is also facing right now our path and he's left facing arrows we chose for the middle nodes are facing left and our path. If we create another path, but this time from right to left, the end nodes will be switched and the markers will point in the opposite direction of what they show in the boxes. If you want to change the direction of a path, they could do so by selecting it and going to Path reverse. Now the first and last nodes have switched and then workers have changed direction. We can do that again to change it back. This only works for pets though. So we can't reverse the direction of our rectangle object. That is, unless we change it to a path first by going to path object to pad. Now we can reverse the direction. These next options here, labeled join. Let us change the appearance of the stroke at all. The nodes were two segments are joined. Let's turn up the markers of this rectangle for now by choosing the straight line at the top of each one. Let's give it no dashes. Now let's zoom in on itself. The segments of the rectangle are joined at the corners. And right now mine is on Round Join, which gives me these rounded corners. Here's might be on one of these other options. The option in the middle was bevel join, which will basically cut off the corners, making them flat. Next is miter join, which will make the corners sharp. Also for miter join with this box here for setting the maximum lengthen miter and units of stroke width. Sometimes when we create a path with a really sharp angle like this, the join would be beveled even though we're on miter join. To fix this, we just have to give this a higher number. We might have to make the number quite high. There we go. Okay, let's delete this path and now let's go back to the rectangle. Also just as a reminder, these effects here only applied to the stroke. So if we round the corners of the rectangle stroke, then turn off the stroke. You won't see the rounded corners anymore. If we turn the stroke back on who had the same style that we said before? Alright, let's go back to the strokes, our tab. Under joint, we have kept these options. Let us change the appearance at the end nodes of a path. Closed objects like the rectangular, of course don't have n nodes. So let's create an open path. Let's zoom in on one of the n nodes. By default, the anodes are set to white cat, which gives them a flat cat that stops the node. The next option is round cap, which will give us a rounded cap. And the last option is square cap, which is kind of like buck cap, but it also gives us some extra padding beyond the node. I will change it back to bug cap. Now, the final oxygen we have in the stroke style tab or for changing the order in which an object's fill stroke and markers will be drawn. Let's go back to the rectangle for this one. Let's select it and turn on some markers. Also set the joint to miter. If we hover over, one of these buttons, are looking at the icon, we can see what order we use. The default is to draw the field first, stroke on top of the fill, then the markers, which are represented by a circle and the icons. The next one would draw the stroke first, then the fill than the markers. With this one, the fill is actually drawn on top of the stroke, covering half of it. So the stroke actually appears to only be half of the width setting here. The next one is fill markers stroke, and so on. I invite you to play around with these, but when you're finished, Be sure to set it back to the default at the top left. So that will be on the same page for the rest of the course. Let's now look down here at the bottom of the fill and stroke dialogue. We already discussed the opacity slider. And the slider above it will get the object is simple blur. We also have some more advanced blur options in the filter's menu, which we'll discuss later in the course. Changing the blend mode here affects the way colors of objects are blended together with the colors of objects beneath them. If we create another object on top of this rectangle, we can go through the blend modes and see the different effects. If you've used any digital painting software before, you're likely familiar with blend modes. They're not quite as useful with vector graphics, but we can get some cool effects with it. I set it back to normal for now. Okay, that's pretty much it for the fill and stroke dialogue. I use this dialogue very often. We'll be using a lot throughout the rest of the course. So I'll leave mine dots. If it gets in the way, we can easily show and hide all of the duck dialogues in there by going to View, Show Hide dialogues, or by pressing the F2 key. Here really quick before we move on to the next topic, if we switch to the Select tool, we can see this for toggle buttons on the far right at the controller's bar. When it's first one is on scaling, objects were scaled the stroke width but the same proportion. You can see that the stroke width changes over here. If we turn this off, the stroke width won't be affected when we scale the object. The second one is just for rectangles. If we create another rectangle and rounded corners. This switch back to the Select tool. When this point is toggled on scaling, the rectangle will also scale the radio and the rounded corners. When it's off, the corners become less relevant as we scale up. More rounded as we scale down. The next button is for gradients. If we go back to the field tab in the fill and stroke dialogue and get the object and gradient fill. When this button is on, transforming the object will transform the gradient as well. When it's off, the gradient isn't affected by the transformations. You can see this better if we go to the gradient tool. The gradient is still over here, even though the object has been moved. The last point is similar, but will cause an object pattern to transform the object. And if we turn it off, this doesn't happen. Feel free to play around with these, but just be sure to turn them all back on before we continue with the course. And I will see you in the next video. 19. Fill and Stroke (1.2 Update): In this video, we'll talk about some of the fill and stroke updates that have been made. An exclusive version 1.21 for the color palette. Instead of having a scroll bar to scroll through the colors, we now have these two arrow buttons here on the right for moving between different related colors. Also, if we click this button at the end, we now have this configure option. With this, we could change things like the size of the swatch tiles. We can change the aspect ratio of them. We can make it so they stretch to fill the entire bar. We can change the size of the borders around them, and we can add multiple rows of swatches. Now let's create an object and check all the changes to the fill and stroke dialogue. First, the color moves have been placed in this drop-down box here. And the color wheel is now right here, which we can click to see it. Next to skip the subject of stroke. Let's increase the width and the stroke style tab. Under dashes, we now have a custom option. Clicking it shows this pattern box here. With this, we can create our own dash pattern. Each pair of numbers we put in here, separated by space, corresponds to the length of a dash followed by the length of a gap. So right now we have a dash with a length of one, followed by a gap with a length of two. Then another desk with a length of one. And finally a gap with a length of four. Then the pattern repeats itself. We can change these numbers and we can add more. We can also use decimals. If we use an odd number of dashes and gaps here, such as five, the repetitions of the pattern will be inverted. So after this final dash, who didn't get, uh, get this the length of the first number, then a deciliter the second number, and so on. Okay. I'll turn off the dashes of mine. We also have some changes regarding markers here versus a different layout with different marker options. Now if we choose one, we can actually edit the marker down here. You can change the size. You can make it so it doesn't scale with the stroke. That it does scale with a stroke. We could change the orientation, including give it a fixed angle of rotation. We can offset the marker on the stroke. We can also edit the marker on the canvas by clicking this button. Now we get handlers for changing the size, rotating it, and adjusting the offset. There are also some changes made for working with gradients. We will discuss these in a video update after we talk more about gradients later in the course. Okay, that's pretty much it for the fill and stroke updates. So I'll see you the next video. 20. Fill and Stroke (1.3 Update): There have been a few fill and Stroke updates made an Inkscape version 1.3 first and the color palette, we now have little circles that indicate both the fill color and the Stroke Color of dislike that Objects. We can also now pink color options to the start of the palette for faster access. By default, we have unset black, 50% gray, and white. To pin a different color, we can right-click it and choose pink color. This moves the color away from its original position and adds it to the pin colors. To unpin a color, we can right-click it and choose unpin color, which moves it back to its original location. By default, that pink color fields are larger than the other fields in the palette. To make the pink color fills the same size as the others, we can click the hamburger icon here on the right. Go to configure and uncheck enlarged Pen colors. For use the fill and Stroke Dialog to apply a pattern to an object instead of getting a drop-down with a long list of Pattern names, we now get a preview of all of the Patterns, including a lot of new ones that weren't previously available. By default, it shows us a preview of all available patterns, but we can change it to only show particular category of patterns. We can also scroll do the categories. And up here we can choose to show the names of the patterns along with the previews. Change the size of the preview tiles and do a search for particular pattern. We also now have a pattern editor right here in the fill and Stroke Dialog where we can change the patterns, scale, orientation, offsets, and the gaps between the repetitions of the pattern. We can also change the patterns color. If we click the Edit on Canvas button here, it switches us to the node tool, which we can use to edit the pattern on the canvas like we could in previous versions. Also clicking anywhere inside the pattern will now move the pattern editing controls to that position. Forgiven object I blur. With the Node Tool active. We now get these circular handles for adjusting the blur on both the vertical axis and the horizontal axis. If we hold down control as we do this, it will adjust both axes Together 21. Duplicating and Copying Objects: In this video, we're going to look at some ways we can make copies of objects. The most commonly used method for copying objects and escape is duplicating them. Let's first create an object. Switch to the Select tool. To duplicate a selected object with a few different options. We can right-click it and go to Duplicate. Click the duplicate button here in the command spar. We can go to Edit Duplicate, or we can use the shortcut Control D. I recommend memorizing the shortcut because we'll be using it often. Let's go ahead and press Control D Now to duplicate the object, what this does is it creates an exact copy of the object directly on top of the objects and selects the copy. So it doesn't look like anything happened right now. But if we drag this over, we can see that we have two copies of the objects. These objects aren't connected in any way. We can modify them individually. We can also duplicate multiple objects at the same time. So let's duplicate this object again with Control D. Now, drag this duplicate over here using control or to restrict this to the horizontal axis. Now let's select this object as well by shift clicking it, and duplicate both of these with Control D. Then we can drag these two buckets down. And again, I'm holding Control to restrict their movement. And that's pretty much it for duplicating. We can also copy cut and paste objects. You're probably already familiar with these functions from other software. And they work pretty much the same way and Inkscape, but just in case I will go over them all here. Let's first create another object down here and change the colors. Then go back to the Select tool to copy the selection into our clipboard. You can either right-click it and go to Copy. You can click the Copy Selection to Clipboard button in the commands far, we can go to edit copy, or we can use the shortcut Control C. Let's copy. And now, as you can see, copying something into our clipboard doesn't make a copy of it on our Canvas straight away like duplicate does. To put a copy of it onto our canvas, we can right-click in the Canvas and go to paste, and it will paste is centered at the mouse cursor. We also have a Paste button in the commands bar. Clicking this will create a copy of the center of the canvas. We also have an Edit Paste option, which will paste it at our cursor. Of course, like with other software, we can use the shortcut Control V to paste. And we can make as many copies as we want. If we copy another object, I'll use Control C. It will overwrite what was previously in the clipboard. So if we paste now, it will paste copies of the most recently copied objects. We can copy and paste multiple objects as well. We can also still paste copies of the originals have been deleted. So if we select all of these objects, delete them, and hit control V, It was still paste what was saved in a clipboard. And if we want to copy something into our clipboard and deleted at the same time, we can cut it either by right-clicking and going to cut by clicking the button up here with the scissors icon. I'm going to edit, cut, or by using the shortcut Control x. When we do this, the original selection will be gone. But because it's saved in our clipboard, we can paste it. Another thing we can do is paste in place by going to Edit Paste in Place, or by using the shortcut Control Alt V. This will paste a copy of the object or objects at the original position. So if we copy this one and hit Control, Alt V will get a copy directly on top of it. Similar to duplicating. We can also paste an object style into another object or objects. For this, Let's create another object and give it different fill and stroke colors. The switchbacks and select all and copy it. Then select another objects. Actually let's select two objects. To paste the style or recopied objects. You can go to edit paste style or hit Shift Control V. And our selected objects have the same colors and stroke style as a copied objects. Note however, that we can't copy the style or multiple objects. So if we copy these two selected objects, although it shows the average of the colors in the fill and stroke dialogue, it doesn't actually copy the average of the colors. We can see this when we paste the style into another object. It only paste this style of one of the copied objects. And I believe it chooses the one that had the lowest stacking order when we copy them. One more thing we can do with copy and paste this page size, which is also in the Edit menu. But this first option, page size does, is it sets the total size of our current selection to the total size of recopied selection. So if we copy one object, this is like another object and go to page size. It will make the selected object the same size as the copied object. If we select multiple objects, the total size is now the area within this entire bounding box. So if we copy this, select an object and paste size. The size will be changed to the total size of our coffee selection. These are the size or multiple objects as well as well. So if we select these two, then paste size. The total size of this selection is another same as the total size of our copied selection. The next two options are basically the same as paste size, except they were only paste the width or height of the copy selection. The final three options will paste the total sides were copied objects into each of the objects in our selection. So if we choose Paste size separately, now both of these objects are the same size as our copy selection. Way. We can copy objects with the spacebar to copy an object. This way, we click and hold on it, and wherever we want a copy of it, we drag it there and press the space bar. This is called stamping and it's very useful for making fast copies. We can also stamp as we rotate. Okay, that's about it for making copies. Later in the course, we will learn how to make clones of objects, which will actually be affected by changes made to the original objects. Alright, I'll see you in the next video. 22. Grouping Objects: In this video, we're going to talk about how we can group objects together. Start out by creating a simple animal. I'm going to go with the cat. I'll give it an oval shaped body and change the color to a medium gray with no stroke. I'll give it a circle for a, hey, I'm holding control here to make a perfect circle. I'll give us some triangles for ears. I'll duplicate this layer with Control D and flip it horizontally, which we can do by pressing this button in the command bar over pressing the H key, then move it over here in a straight line by holding Control. And for this video, Let's go over here to the top of the snap controls bar and click this top button to turn off snapping so that our objects won't snap together. We'll be talking about these later in the course, but we don't need them for now. Next I will make a couple of black circles for the eyes. I will duplicate this one and move it over. This is just for demonstration, so none of this has to be perfect. It's just good to put into practice some of the things we've learned wherever possible. Finally, I'll just make a long oval for the tail and give the same color as the rest of the cat. I think that's good enough. Now if we want to select all the parts of our animal, we can drag a selection over them all. Because we don't have any other objects in our Canvas. You can use Control a bucket, then move them around together as well as do other things like scale them and rotate them. We can also change the colors of them all at the same time. But now we can't see the face objects. So let's undo that, selecting all of our animal right now as easy, however, when we start adding a bunch of other objects for our drawing, it'll become more and more difficult to select just the objects we want to work on. A solution to this problem is to group objects together. We can group selected objects together in a few different ways. We can right-click one of the objects and click Group. We can click this button, the commands bar with the circle and square icon. We can go to Object group. Or we can use the shortcut Control G, which is what our use now. Our animal objects now are grouped together. If we look down here in the status bar, you can see that we have a group of seven objects selected, as we can see with a single bounding box being shared. But all of the objects, this group is now treated as one object. And we can select it by clicking anywhere inside it. We can also transform it like we would any other objects. If we decide we want to ungroup a group of objects we first selected like with grouping. Then we have a few options. Right-clicking the group and clicking ungroup. Clicking the ungroup button next to the group button in the commands bar, going to Object Ungroup. Or using either the shortcut Shift Control G as shown here, or the shortcut Control U. I will just click on it here. This time, we now have all of our seven original objects and we can select and change them separately again. However, what if we want to edit an object inside a group without ungrouping them all first, let's select them all and group them again by hitting Control G. We can enter inside this group either by right-clicking it and go into intergroup here at the bottom. And as you can see, our group is given a label of hashtag G followed by a random number, or we can just double-click anywhere in the group. We're now inside the group and we can select them, modify each object individually. Also, notice that the objects in a group don't have to be touching. They can be infinitely far apart and still be in the same group. Now let's look down at the status bar again. In this box here, you can see the label of the group were inside. And if we de-select everything, notice that it doesn't take us out of the group. Being still select the individual objects, get out of a group. We again have a few options. You can click this box in the status bar and choose something else. Right now the only other option is later one. We can select an object on our Canvas that is outside of the group, which we don't have at the moment. Or we can double-click an empty area in the Canvas. Now we're back in later one, I could transform the group as one object again. Next, let's say we want to add something else to our group, like legs for instance. If we create an object right now, it won't be part of our group. We could just ungroup everything. Let's select all of the objects, occluding the new one and group them all again. But a better way is to create the new object while inside the group. And because I already created this object, I can cut it with Control X, then double-click the group to enter it, then paste the leg with control V and move it into place. I also give it the same color as the body. This object is now part of the group. I can duplicate this now and move the duplicate over here. There we go. If we double-click the canvas to get out of the group, we can confirm that our new objects are part of the group. That's entered the group again and create a bot or something over here. I'll change the color to red. If we leave the group, you can see that the animal and ball objects are all grouped together and we can move them together. If we decide later, however, that we would prefer to be able to transform the animal and boys separately. We will need to take the ball out of the group. One way to do this as to ungroup everything, de-select the ball. Then just group the animal objects together. But let's undo that. A better way to do it is to enter the group, select the bot objects, then either right-click it and go to pop selection out of group, or go to objects, selected objects, set of group. Now the ball is no longer a part of the group. We can do this with multiple objects as well. So if we enter the group and select all of the head objects, for example, then right-click and go to pop selection out of group. All of these objects are no longer part of the group. But we don't want to do that. So let's undo until they're back inside the group. We can also create what are called nested groups, which are groups inside groups. Let's create a nicely grouped by grouping all the head objects. You can do this by entering the group, selecting out of the head objects and grouping them. We now have all the head objects in their own group. And we can enter this group using the same methods as for any other group, which I will do by double-clicking it, we can now modify these objects if we want. If we look down at the status bar again, we can see that we're in a different group than we were before. If we click the box, we can see that the group we're currently inside, it's nested inside this group above it. Our current group is referred to as a child group, and the one above it is as parent group. To get back to the parent group, we have a few options. We can click on it in this box. We can right-click inside the chow group and click go-to parent. Or we can just click an object that is inside the parent group, but outside our current child group. Now we're back inside the parent group. So if we go back into the head group, Double-clicking on the Canvas will actually take us back up to the hierarchy as shown in this box. So the first time we double-click, it will take us up to the parent group. If we double-click again, we'll be back in layer one. And outside of the animal group. We're not restricted to having just one child group inside a parent group. So we can enter into the animal group, select the body, tail and legs, and group these together. We now have two child groups nested inside that parent group. We can also create a char group inside of our group. Let's do this by creating a face group. Let's first enter into the head group. And if we use Control a to select all objects, will only select all of the objects that are inside our current group. We can then de-select everything we don't want by holding Shift and clicking it are disliked the ears and the head. Now I just have the I selected. Now press Control G to group these. Whenever face group, which we can enter into. I'll also add a triangle for our nose and make it black as well. If we click the box in the status bar again, we can see that our current group is a child of the head group, which the child of the main group above it basically continue creating an endless number of nested groups. But I think you get the idea. Just a couple more things before we end this video. First, if we get out of all the groups, which I will do by clicking this ball objects. This is like the whole animal object, Clicking on group or just ungroup the next groups in the hierarchy, which are the body and head groups. Clicking it again, we'll ungroup the objects are in the head group, which includes the face group. And clicking it again one group, the objects that are inside the face group. So the point is that if you want to ungroup everything and start a group with nested groups who had to click Ungroup multiple times. Let's undo all of that until we had the whole animal group again. The last thing I wanted to mention is that as you might recall from the video and selecting objects, if you want to select multiple objects without having to drag a selection box over the entire objects. One way of doing this is to hold Alt while I'm dragging, which will activate touched selection. However, I mentioned in that video that this method might not be exactly what we want. And that's because if we select the obvious way, it doesn't take groups into account. So as you can see, it ignored the fact that these obviously are inside a group. If that's what you want them gray. And there are a couple of other ways of selecting objects without taking groups into account. First, we can use the old-school method that we also learn this like the objects video, just like we'll do the objects and our cursor. Holding Alt and clicking on the other hand, was like what do the objects while taking groups into account. So if we enter into the main group, because psycho do both child groups this way. The other way to select an object without taking groups into account is to hold control and click the objects or Shift and Control to select multiple objects. Finally, if we would prefer to take groups into account when touched selecting, we can do so by toggling on this button in the Control S bar, which I also briefly mentioned in selecting objects video. We now just have to touch the objects with the selection box to select them. And just like with a normal selection box, it won't go inside groups. Well, we can enter the main group and select this immediate child groups. I'll turn this back off for now. Okay, For the next video about sorting objects, we will continue from where we left off here. If you've been following along, you need to go straight to the next video without closing or Inkscape. Or you can save your work and come back to a later. Or if you prefer to use the exact same objects I have here. I provided this document as a downloadable resource, which you can download an open and use it to follow along with the next video. See you there. 23. Sorting Objects: In this video, we're going to talk about how to manage the z order or stacking order of objects in our drawings. If you didn't follow along with the previous video or if you didn't save your work and you want to follow along with this one. I provided this exact document as a downloadable resource. We have our animal-like thing here and now we want to give us some accessories, like for instance, a bed. For my cat's bed, I will just give him a simple teal rectangle. But right now it just looks like some object in front of him. I want to put it behind them so that it looks like he's standing on it. To do this with the change was called either the z order or stacking order of our objects for our purposes right now, whenever we create a new object is given a higher z order than all of the objects that we created before it, it will therefore appear to be in front of everything else are closer to us. For this object, you want to lower z order. We have a few options for doing so. If we go to the Select tool, you can click this lower selection one step button. We can go to Objects lower, or we can press the page down key. I will just click this for now. The bed object is now behind the animal objects. Also because this group object is treated as one object as far as the objects outside of their concern. All the objects in this group had the same z order. That's why lowering the rectangle object one-step, place it behind the entire animal objects. Let's now undo so that rectangle was back on top. We can also go the opposite way by selecting the animal objects. Then either clicking this race selection one step button. We're going to object rays. We're using the keyboard shortcut page up. Alright, let's not get the bedroom stands or something. I'll create a couple of brown rectangles for this. I want to put these stands behind the bed. So let's select them both and press page down. As you can see, only the first object went behind the bay. And that's because we have multiple objects selected that are in a group, changing the z order works and only one of the objects at a time. So if we press page down again, they'll both be behind the bed. To see this better, let's press Page Up a couple of times to bring the boat back to the top. Now let's move to the right, one to the middle and duplicate it. Then move the duplicate to the right. Let's select them all and press page down a few times. So first the left goes down, then the middle than the rate if we bring them back up. But what happened in reverse? If we have referred to move them all down at once, you can do so in a few ways that are similar to moving up and down by one step, we can click this lower selection to bottom button. We can go to Objects lower to bottom, or we can press the Enter key. Now, all of the standards are behind the bed. However, be aware that whereas lowering and raising my one-step only takes into account the z order of the objects behind and in front of the selected objects. Lowering them to the bottom like we just did. We'll put them behind all the objects that are currently on our Canvas. That includes the ball objects, which was previously behind everything. Now the stands are behind it. If we move the ball back over here away from the other objects, being oppressed, page up and page down as many times as you want. And it won't have any effect because there aren't any objects in front of or behind it. It's z order stays the same. If we click lower selection to bottom, however, it's now behind all the objects in the Canvas. Let's actually move the ball in front of everything, which we can do either by clicking this phrase selection to top button, by going to Object, race to top, or by pressing the home key. There we go. I'm not sure it gets really care much about balls but whatever. Okay, now let's talk about z order within a group of objects. Let's first enter into the animal group, then enter the body group. Machines the body to a different color so we can distinguish it from the other objects. I will choose a darker gray. Things may be different for you if you're using your own artwork. But for me, the body objects behind the legs and tail and in front of the head. I want it to be in front of the legs and tail and behind the head. I can try to move it behind the head by clicking the lower selection one step button. However, as you can see, nothing happens. And that's because objects within a group had their own z order and they don't care about the z order of objects outside the group. We can only place objects within our current group in front of or behind other objects in the same group. So if we click rates, selection to top, the body object cannot be above all the other objects in the group. Notice that it doesn't go in front of the ball because the ball is outside of the group. If you want to move the head group in front of the body group, we can click the head group wants to select it, then click race selection one step. Now in front of the body group because the head group object and the body group objects are both inside the main animal group. Next, let's add some white circles around these pupils and our animals face. Let's double-click to enter the head group. Then double-click the face group to enter into it. Let's now create a circle that's bigger than the pupil. It turn it white. Let's switch back to the Select tool and lower the white circle below the black one. I'm going to move it into place with the arrow keys. I'm actually going to delete this black circle over here, then select these two, duplicate them both, and move them over with this nose around some too. Even though we've only been using shaped objects in our group so far, we're not restricted to them. We can use path as well. I think I will add some whiskers to my cat with a pencil. There we have it beautiful. I encourage you to continue working on yours or create some other groups of objects and see what you can come up with. And I'll see you in the next video. 24. Changing Strokes to Paths: In this video, we're going to quickly go over how to turn strokes into paths. For demonstration, let's create an oval and give it a stroke. Let's change the width of the stroke to something thicker like tin. Okay, so changing the stroke of this object is to a path as similar to the ways we learn for chasing an object into a pair. One way is by going to path, stroke to path. Another way is by using the shortcut Control C. Finally, if we squish the node tool, we can click the stroke to Pat button in the Control S bar next to the object it had been. Let's do that. Now, what this does is if the object isn't already a path, who would turn the object and the stroke into paths? Of course, if the object is already a path that we just skipped the first step, I just wanted to mention this so you know that we don't have to change the object to a path verse, then change the stroke to a path. Anyway, we now have an object with two paths, this one in the middle and the one around it, which used to be a stroke. And we could go in with the node tool and modify the nodes of each path. The reason I saved this video until after the video about grouping objects is that if we switch to the select tool, then de-select the object and select it. Again. We can see down on the status bar that our objects is actually a group consisting of two objects. We can of course enter the group, which I will do by double-clicking it. If we get out of the group is selected, we can ungroup them if we want. Also notice that the object which he turned from a stroke into a path is now a path with the middle cutout and with the fill colors set, we can give this object a stroke like we could any other objects. And of course we could turn it stroke into a path as well. Okay, so that's how we turn strokes into paths. See in the next video. 25. Text Objects: In this video, we're going to learn how to create and edit texts objects. Let's get started by activating the text tool here in the toolbox, which we can also get to by pressing E to the T key or the F8 key. As you can see, we have a ton of options in the control bar and we'll be getting into the more shortly prefers to credit texts object. We have two options. First, we can just click somewhere in the Canvas. We can now start typing in the textbook continued going to the right. You might have to zoom in a bit to see it better. We can press Enter to start a new line. If we drag this handle here to the left, we can shrink the width of the text area, whereas they can't fit in a line, will move to the next slide and the height will automatically adjust to fit all the lines. And we can drag the handle to the right to widen it again. Another way to create a text object is to click and drag, which will create a box as we type now the text will stay within this box. This is called float text. And again, we can press Enter to start a new line. We get to the bottom of the box. However, we won't be able to see the text anymore. But that is a simple solution which is a drag this handle or the bottom-right the bugs to make it bigger or smaller. With the text tool activated, you can click anywhere inside the texts of the object to add sex that position. We can also click and drag over some tags to select it. Or press Control a to select all the text. If you hold Control and press the left and right arrow keys, you can go back and forth between whole words in the text. If we hold shift, we can use the arrow keys to select text. We can also cut copy and paste text either in the right-click menu or in the Edit menu like with objects, if we click on an empty space, either outside the text object or inside it, it will de-select the object and start creating a new text objects. But as long as we don't type anything, it won't actually create a new objects because the texts object can't be blank. We can click aside the texts of an object to select the objects and to de-select the text object without starting a new one, we can press escape. Okay, let's now start looking at some of the things we can do in the controller's bar. This first part is we're setting the text subjects font family. Let's select one of these text objects again. If we drop down this box, you can choose from all of the fonts installed on your system. We can actually just type one in here. And as we type it will give us some suggestions. This icon here, select all texts options they use the current font family. So if we de-select the texts objects and press this icon, it will reselect it. If we change this back to the previous Bach family, clicking the icon, we'll select both objects. The next box for font style, such as normal Italic, bold and bold italic. These might be different depending on the font family we choose. Next we have font size. Drop this down to see some options. We can just type any number we want. We can choose a unit of measurement here. Another way to change the font size, the whole Control, and press the greater than key to make the size twice as large, or the less than key to make it half as large. The next box that says change the spacing between baselines. Baseline of a line of text is, as the name suggests, a line that goes across the base of the text. However, a disregards the tails of letters such as lowercase Js and y's. So if I add some Js and wise to this text, the baseline would be about right here. We can increase or decrease the space between the baselines with this box. It does this for all the baselines in the texts. We can also right-click in this box to see a few options. I'll set it back to 1.25. We could change the units for this as well. This next button is protects the alignment. We can align it to the left, like it is now, the center or to the right. The last option is only for fluid texts, which we create when we drag out a box while creating a text objects like we did with this one. This is called justified alignment, and it will spread out the words so that the text is flush with both sides of the box. The next button is toggled superscript. For this, if we select one or more characters, clicking this button will make them a superscript. This would be useful if we're using number notes or something in your document. You could put, for example, a one next to some texts and make the one a superscript. To turn it off, just reselect the texts and click the button again. The button next to it is similar except this for subscripts. Next we have spacing between letters. With this, we can adjust the spacing between selected characters. We might have to give it a big number to see the change. If we don't select any texts, it would adjust the spacing between all the characters. The next box is for spacing between words. First, let's put this back on left align. Now if we select some words or even just parts of words, we can adjust the spacing between them. Or if we don't have any texts selected, we can adjust the spacing between all of the words. Next we have horizontal Kearney. These three boxes aren't enabled for float text. There are enabled for normal text objects. But they don't seem to work well after we adjust this handle. So let's create a new text object down here without dragging or adjusting anything. This time I'll use some real words. Okay, so kerning is similar to letter spacing, refers to the spacing between individual pairs of letters. It's also used as a verb, meaning to adjust the spacing. Each part actually has its own default kerning, which is why the letters aren't touching. This box is for manual kerning. And by the way, these three boxes, or use pixels to do manual kerning, we first click in between the letters we want to change the kerning for, then we can adjust it. Likely have to use larger numbers. You see this word, positive numbers will increase kerning and negative numbers will decrease it. Another way to do this, as you click into texts objects, then hold Alt and press the right and left arrow keys. As you can see, the text to the right of the letters will slide to the right and left as we turn. However, if we set this back to 0 and select a letter or even multiple letters, then increase the current in. The text to the right does not slide over and the letters begin to overlap each other. If this isn't what you want, and be sure to just put the cursor between the letters without selecting anything. We're just adjusting as a horizontal Kearney. We can also adjust the vertical kerning here. If you put our cursor between two letters and set this to a positive value. All the letters to the right of the cursor will move down. But we set this to a negative value, the letters will move up. We can also do this with the keyboard by holding Alt and pressing the up and down arrow keys. And by the way, holding Alt and Shift together while pressing the arrow keys will use larger increments. Like with horizontal kerning. If we select one or more letters and adjust the vertical kerning, only the selected letters will move. The last box is for character rotation and is in-degrees. With this, we can rotate the character to the right of the cursor by, for example, at 30 degrees. We can do this with more than one letter by selecting them first. We now these last three buttons on the controller is bar. The first button is black progression, which by default is on left to right with the text starting at the top-left. We can also set this to go from top to bottom. To see the difference between these last two options, we need at least two lines of text. If we choose the middle option in here, the block will go from top to bottom and the text will start at the top right. If we choose the last option, that text will start at the top. Let's set this back to the middle option for now. We choose one of these top to bottom oxygens here in the next box, we can choose the orientation of the glyphs, which are the characters in a text. Right now the texts has been rotated so that the bottoms are on the left. The next option will rotate. The individual characters backup right, but the lines were read from top to bottom. The last option appears to be the same as the first option. And the reason is that the texts currently only contains the characters that are normally written horizontally. However, if we were to add some Chinese characters, for example, this option would turn those characters up writing a text. Finally, this last button lets us change the horizontal direction of the text. The default is left to right. And if we create a new text object and put this on right to left, now as we type, the text will go from right to left. Okay, that's it for the controller's bar. If we go to the Select tool, we can do the same transformations as for any other objects. Note that if we scale it, however, not holding control, what caused the texts become worked? Holding Control will stop this from happening. We can also change the color of the font by changing the fill color. If we add a stroke, it will put the stroke around each of the characters. If you want to edit the text again, one way is to go back to the text tool. Another way is use the texts and font dialog. We can get to this in a few ways by right-clicking your texts objects and go into text and find. By clicking the button with the big T icon and the commands bar, I go into text, texts and find the shortcut Shift Control T. This will dock the texts and find dialogue. The Font tab, we can change their family, the style, and the size of the font. It shows us a preview down here, which is good for scrolling to the font options and seeing how they will look. If you want to set these at the text tools defaults, we can click this button down here. Then every time we create a new text objects, but we use the settings that we chose here. If you want to apply the changes to the currently selected text objects, we have to click the Apply button. The next tab is features. I've never had any need to change anything in here, but if you look through them, you might find something useful. The final tab is text, where we can edit the actual texts and the objects. Unlike when typing the text directly into the texts objects, this tab does automatic spell checking as we type underlining and read any words that we have misspelled, which is a nice feature. Again, we have to click apply to apply the changes. This dialogue is pretty useful because it lets us edit texts obvious conveniently without having to switch back to the text tool every time. However, we won't be using it very often in this course. So I will close mine out for now. Next, let's go over some of the options we have in the text menu. The SVG font editor lets us make our own fonts, will have a whole video on this later, so we can skip it for now. Unicode characters brings up a Unicode characters dialog. In this dialogue, we can find a whole bunch of special characters that we can use in each part family. You can see a lot more if we change range to all. If we click a character down here which shows the characters Unicode value, which is a four digit hexadecimal value. If we double-click a character, it will add the character to this box. We can add as many as we want the box. We can then copy and paste these characters somewhere. Or if we click the Pin button, it will add the characters at the end of a text object that we have selected. Let's close this dialogue out for now. Another way to enter Unicode characters is to click inside a text object and press Control U. As we can see in the status bar, we're now in Unicode mode. If we know what characters Unicode value, you can type it in. Now, I'll just type a random four-digit number like 2345, status bar. We can see the Unicode value we typed and the character to the right of it. If we press enter, it will add the character to our text and put us back in normal text mode. If we go back into unicode mode with control you to get back to normal mode without adding a character, you can just press Escape or Control U again. Next in the text menu is put on path. Let's delete this text objects and this one, and create a new one here. Let's put this back on left to right. That was create a circle. Now we'll turn off the stroke. If we select the texts objects and the circle and go to text, put on path. It will wrap the text around the circle. And the text object is now connected to the circle. So if we move this circle, that text moves with it. If we change its shape, the text will wrap around the new shape. And if we rotate it, the text wash rotate. We can also turn off the circle is fill color to make it invisible. However, if we deselect that now, we can't select it again because an object has to be visible for us to select it. To get around this, we can select the texts objects, then use the handy keyboard shortcut Shift D. This will select the source objects, which is a circle. We can now modify it again. I set the fill color if we want. Shift D is quite useful. We will be seeing a more throughout the course. Next, if we delete the source objects, that text object will disconnect from it and go back to the way it was before. Let's undo that. Disconnect the tech savvy from the source object without deleting the source objects, we can select the text objects and go to tags removed from path. It doesn't only work with shapes. We can also create a path with the pen tool, for example. Let's select it and the texts objects. I put the text on the path. And we can go to the Text tool and add more text. And it will follow along the path. Figure out side of the path. However, we won't be able to see the rest of the texts. But we can fix that by stretching out the path either with the new tool or the Select tool. Next we have flow into frame. For this, Let's duplicate this text objects and remove it from the path. Now, also select the circle and go to flow into frame. Well, this says that the flows of texts in a way that keeps it within the frame of another object we have selected, like we've put on path. The texts object is now connected to the source objects. So if we change the shape of the source object, that text will flow accordingly. And even if we move the texts object somewhere, they still thinks it's inside the source objects. Disconnect the texts subject from the source objects. We can select it and go to texts on flow. And it might do something crazy, like move it way over here. I'm not sure why it does this sometimes. But anyway, now it's back to the way it was. Another thing we can do with underflow is to unfollow a float texts object that we created. This is because if we go back to the text tool, which we can do easily by double-clicking your texts objects. This box with a red outline is actually considered a frame, just like the circle was for the other texts objects. If we unfold, this will become a normal texts object with no frame. It was stretched out to fit the full lines of the text. If we undo that, the next option here, convert to texts, is supposed to convert a float text object that to a normal text objects while leaving the form of it intact instead of stretching it out the way unfollowed does. However, it doesn't seem to work in my version of Inkscape. If you have a later version, you might get different results for this. Next is removed manual Kearns. If we create another texts objects and do some manual current adjusting, which I'm doing by holding Alt and pressing the arrow keys. This option will remove it all in one go, which is quite convenient. The last option in the text menu is check spelling. We can also get to this by right-clicking your texts object and go to check spelling. We now have the check spelling dialog dots. You can use this dialogue to spell check all the texts in our document. We can change the language here. Before we start. Let's delete all of these nonsense texts objects. Let's misspell some of the words and needs to start the spellchecker. Click the Start button at the bottom of the dialog. Here will now start searching through all of the texts in our document. And if it finds a misspelled word, it will highlight it in the texts objects and give us some suggested words in here. Now we can choose the suggested word and I click Accept to replace the misspelled word with the suggested word. Or we can click Ignore Once, which will cause a spell checker. You skip this particular instance of the misspelled word. Or we could click Ignore, which will ignore all instances of this word. Or if we think this word is correct, click Add to add the word to the dictionary. So the spellchecker were no longer considered the word to be misspelled. I'll click except for this one. Now it finds the next misspelled word. When we're finished bot checking, we can click Stop. Now we can close up this dialogue. One more thing we can do with texts objects as you turn them into paths. Let's do this by selecting this text objects and go into path, object to path. If we look down in the status bar, you can see that now we have a group of objects. If we enter into the group, you can see that each character is now individual path and we can move them around separately. We can also use the node tool to modify the nodes. Be aware however, that once we turn a text object into a path, we can no longer go in and edit the texts because the object is no longer recognized as a text object. But if we want to create custom text for things like logos, this is the way to do it. And another thing is if we have some texts obvious in our document and we save it, then we send a document to a friend or open it on another computer. If that computer doesn't have the fonts using those sex objects, the texts object will change with some default font. If we change the texts objects two paths first, however, that won't happen because they were no longer have a particular font attached to them. So that's something to keep in mind if you plan to share your documents or use them on different devices. Okay, they're pretty much does it protect subjects? See in the next video. 26. Text Objects (1.2 Update): Inkscape version 1 to a few changes and additions have been made to sex objects. First, if we create a sex object, then look up here at the controls bar. The kerning, word spacing and character position options have all been placed in this drop-down here, reducing the size of the controller's bar. Next, let's make the texts object bigger. Let's copy and paste that sex a few times and multiple lines. Now let's create a large shape. Then select it and it takes objects and go to text flow into frame. Let's move the shape below the text. If we switch back to the text tool and select that text object, we now get this handle on the top right corner of the text object. That list has adjusted padding between the texts in the frame. We can also do this with float texts that we create by dragging with the text tool. Now for de-select, select the text object again, we get the handle for adjusting the padding. One more addition we have in the text menu is this set subtraction frame's option. With this, we can make it soft fluid texts object like this one will also flow around one or more movable objects. We can create another shape. Change the color. Let's select the shape and a text object. And go to text says Subtraction frames. Now if we move this shape onto the text object, the texts will flow around the shape. We can also change the shape in the textbook just automatically. We can do this for multiple objects as well. Okay, that's it for the text object updates. See you next video. 27. Text Objects (1.3 Update): Inkscape version 1.3. If you go to the text tool, we now have the option up here that controls bar for organizing Fonts and two collections. If we click this select font collections button, we get a list of all available font collections. By default, Inkscape provides us with two font collections, document Fonts and previously used bonds. If we check the box next to one or more of the collections, then close this backup and show the font families. We now only see the ones that are included in the selected collection or collections. Want to create our own font collections. We can click the button again, check the font collections and click the Open Collections editor button. This brings up the font collections Dialog where we can see all available font families on the left side and all available font collections on the right side. To create a new font collection, we click this Plus button at the bottom type of named for the collection and press Enter. And now I renew font collection is included in the list here, as well as in the drop-down list up here. To add a font family to our new collection, we simply drag and drop the font family item from the list onto the font collection. We can add as many fonts to the collection as we want. We can also search for particular font using the search box here. And to go back to showing all of the Fonts, we can click this reset button. If you want to remove a font from a collection, we can click the trash icon next to the font and font collection is list. And if we check the box next to our new font collection here, we will only be able to select from the Fonts and that collection. To show all Fonts. Again, we can click this reset button. If you want to rename a font collection, we can choose it in the FAA collections list. Then we can either click the pencil button down here or we can double-click its name. And if we want to delete a selected font collection, we can click this X button at the bottom and click Yes. By the way, we can also create a managed Spark elections to the texts and font Dialog using this new collections button 28. Align and Distribute: In this video, we're going to learn how to use the Align and Distribute dialogue to arrange objects on our Canvas. Deduct the Align and Distribute dialogue. We can either click this button, the command spar with the icon of three stacked objects. Or we can go to Object, Align and Distribute at the bottom. Or we can press Shift Control a. And now it's stuck over here next to our fill and stroke dialogue. Let's now create a few objects and see what we can do with a line and distributed. The first section of the dialogue is aligned. These options, as the name suggests, allow us to align selected objects in different ways. The result of the alignment depends on what we have chosen is relative to box. Let's leave it on less selected for now. If we add objects to our selection individually by shift clicking, last selected were referred to the last subject we selected. But if we select them all together socially with a selection box, less selective, we refer to the object with the highest z order. For me is the star because I created a last. Let's select them individually for now. This first Align button will align the right edges of the objects to the left edge of the anchor. The anchor refers to what relative to is set to its unless selected. So this object will be the anchor for me because I selected it last. So if we click the button, banker stays in place. And the other objects change position so that the right edge is aligned with the left edge of the anchor. If we select them all together and press the button, the anchor is now the object we create a less because it currently has the highest z order. If we select another objects and raise it to the top, however, the subject will now have the highest z order. It will become the new anchor. Changing relative to 2 first selected, while the opposite effects more relative to options, we have our biggest objects and smallest object. For these two, when we click on Align button in this top row, it considers the object with the biggest height to be the biggest object and the one with the smallest height to be the smallest object. It doesn't take into account. If we move these objects away from each other and select them all again, think click this button. It chooses this object as an anchor because it has the biggest height. Changing the smallest object, which is this object with the smallest height. We click a button in the bottom row, however, it does the opposite. I'll click this one to demonstrate this point. The lines, the bottom edges of the objects at the top edge of the anchor. I chose this object as the angrier because it has the smallest width. If we change this to biggest objects and click the button, it chooses this object with the biggest width as the anchor. Let's choose page now and click the button. As you can see the pages now the anchor for drawing, currently our entire drawing is all of the August we have selected. So if we click that Align button again, it will move these objects, is that the right edges will be where this leftmost edge of the drawing currently is. Australia. Now, we can keep doing this. If we create another object and just have this selected, click the button, it moves the object so that is right edge is aligned with the leftmost edge of the drawing. Selection area is similar to drawing, but only cares about our current selection area. So if we select a couple of these objects and click the align button, it will align the right edges of the selected objects, the leftmost edge of the selection box. If we toggle on this button over here, that would treat our selection as a group. If we add the anchors, set the selection area, drawing or page, Inkscape would treat all of our selected obvious is one object and align them to the anchor. So let's select all of these objects again and give these a try. Selected area, drawing and page. So basically leaves the objects in the same position relative to the selection and moves them around as a whole. However, if we use one of these other options you select an object is the anchor. It would treat the other selected objects as a group and align the group to the anchor objects. Let's give these a try. Smallest object, biggest objects. First and last. Let's turn off the group button for now. Apart from these two buttons in the last column, on the other aligned buttons behave the same way. We can look at the icons or hover over them to see what they do. Such as align left edges, center on vertical axis, aligned bottom edges, et cetera. As you can see, the top row deals with the vertical axis and the bottom row deals with the horizontal axis. Let's select an object and change the anchor to page. Because central objects on the page but vertically and horizontally, which is pretty useful. Let's set the anchor back to last selected. These last two buttons are for texts objects only. Let's create a couple of texts objects. I would type the word texts for the first one, and the word text D with a y for the other one. So now we have a text object that contains a letter with a tail and one that doesn't. If we select these and click this button to align the bottom edges, you'll see that it takes into account the tail of the Y. Because these buttons go by the bounding boxes of the selected objects. If you click this button, however, it will align the baselines, which as I mentioned in the video on texts, objects are lines that go along the base of text while disregarding any tails. The button above it will align the baseline anchors horizontally. For most parts, this works the same as the button to align the left edges. However, if we use a font where the terrorists come way out to the left, as shown in this icon that tells will be ignored. Let's move back over to the other objects and spread them out a bit. Now let's move on to the distributed section, the bones in this section we will keep the size of our selection area the same, but what even out the spacing between the objects in different ways. Let's select these objects again. And this time the order doesn't matter because they're relative to bucks only applies to the line section. Now if we click this first button, you will put equal distance between the left edges of the objects. If we were to now measure the distance between the left edge of this object and this one. It would be the same as the distance between the left edges of these two and so on. The next button will put equal spacing between the centers. This one will put equal spacing between the right edges. So does the opposite of the first button. This will make the horizontal gaps equal. To see this better, less spread is obvious out again. Now when we click the button, we can see that it makes a horizontal gaps between them equal. On the bottom row, we have similar options, but for vertical spacing, top edges, centers, bottom edges, and vertical gaps. Also, like with the aligned section, we have some distributed buttons that were used the baselines of texts objects will need a third texts object for these to work. So I'll just duplicate this one and move it over. Let's select them all and make them a bit bigger. If we click this button, it will distribute the baseline anchors horizontally. And this one will distribute the baseline is vertically. And we might need to move this away from each other to see this better. There we go. The next section is rearrange. Will skip this first button for now because it has to do with the connector tool, which we'll talk about later in the course. The next button says it will exchange the positions of the objects based on selection order. That sounds confusing, but what it does is it moves an object into the position and the previous selected objects. So if we select them individually from left to right, when we click the button, this object will move here, this one will move here, this one here, and the first one to move to the last position. Let's give it a try. And we can do this multiple times. This Next button will do the same thing except instead of selection order, it will go by z order. The next point is similar to the previous two, but it will rotate the objects clockwise. As you can see the shift clockwise. The Next button will randomize the centers of the objects both horizontally and vertically, while keeping them within this original selection area. We can do this as many times as you want. If we de-select them, a select them again. We now have a smaller selection area than we had previously. So clicking this button will randomize them while keeping them closer together. The last button in the rearranged section, we'll unclip the objects. Meaning you will try to equalize the edge-to-edge spacing between the objects. The more we press the button, the closer the edge-to-edge spacing comes to being perfectly equalized. The next section and the line is should be dialogues, remove overlaps. What this does is if any of our selected objects overlap each other like this, this point will move the objects as little as possible so that they're bounding box is no longer overlap. So after pressing the button, the obvious had been moved just enough so that it's still touch with the bounding boxes don't overlap anymore. If we would rather put some gaps between them so they don't touch. We can add horizontal and vertical gaps in these boxes. And these are in pixels. So we can add, for example, 20 pixels of horizontal spacing and ten for vertical spacing. Now if we overlap these objects again, select them all and press the button. They have moved apart and gaps have been placed between them. And actually even if the objects aren't overlapping at the gaps between them are smaller than these numbers. The button will move them apart so that they have at least this much spacing between them. So if we set these to high numbers like 100, and click the button again. The objects now have at least 100 pixels of spacing between them horizontally and vertically. The next thing we're going to talk about is this button up here, that tablet it aligns section. If we toggle this on, it allowed us to align ourselves directly on the canvas, so we don't have to come over here and press these buttons. Also be aware that this doesn't work with the relative two bucks. So right now we just have these scale. Handel was like normal. If we click one of these options again, we get the rotation animals. And if we click it again, we now get these alignment handles because we've talked about this by nine. Now if we click any of these handles on the outside of the selection, the object will move to the edges and corners become flush with the handle. If we shift click a handle, it will do the inverse. Now the opposite edges and corners are flush with the handle. Let's undo into us back to the start. Clicking the handle in the middle was sent to the objects horizontally. Shift clicking it with central them vertically. If we hold control, we click these handles to treat the objects as a group. Control, clicking the hand or doesn't seem to do anything though. And it kinda makes sense because they are being treated as one object. However, if we hold Shift and Control and click the handles, we didn't get that inverse movement, but with all the objects moving together, I guess this could be useful if you wanted to duplicate the objects and evenly spread them out. Feel free to continue playing with this and to use it if you want. But I hardly ever use it myself. I prefer to just use these buttons because they give us more control. So I'll turn this off for now. There's actually one more section in London distribute dialogue called nodes, but we can only see it if we add a new tool active. There it is. For this, we'll need a path. Let's grab the pen tool and create a random path over here with a bunch of nodes. That should work. Let's switch back to the node tool. In the notes section, we have another relative to two bucks. The default is middle of selection. We also have first select it and let's select it again. And we have Min value and max value. Let's Stephen R, middle of selection. For now. We can select a few nodes or we can select all of the nodes, which we can do easily with control a, the first button will align. All of this is like the nodes to a common horizontal line, which will run to the anchor point. So if we click it, the nodes are now in a horizontal line that goes through the middle of a selection. Let's undo that and try some of the others. If we don't select the nodes individually, less likely it will be the node in our selection that we created last. As you can see, the last note stayed in place. Now the other nodes are horizontally aligned to it. Firstly, like that, we use the no recreated first as the anchor for the Horizontal Align button. Min value and max value, or the selected nodes with the smallest and largest y-coordinate respectively. Next value for me, it should be this node. Let's give it a try. And Min value should be this one. The next one is the opposite of the first byte. And it will align the nose and a vertical line that runs through the anchor point. For this one main value is select the node with the smallest x coordinate. And max value is the one with the largest x-coordinate. The last two buttons over distribution. And just like with the buttons and distribute section per objects, please don't use the relative two bucks. So we'll just set it back to the default. This button will distribute this select note is horizontally. Horizontally, the distance between these two nodes is the same as the distance between these two, and so on. The last point, we'll do the same but vertically. Okay, and that's it for the align distribute dialogue. We have another method of arranging objects, which is by using a range dialogue also found in the object menu. And we'll have a video for it later in the course. However, align distribute is by far the most common method. I use this dialogue very often. There will be using a more throughout the course. So I will leave a duct. Also for the most part. I'll be leaving their relative to bucks that to last selected. So make sure you have yours the same during the course so that we will get the same results. Okay, see in the next video. 29. Align and Distribute (1.2 Update): Prior to being saved version 1.2, we hadn't arranged dialogue, which is found at the bottom of the object menu. Arrange dialogue. We could do things like arrange objects and rectangular grid or round polar coordinates. In version 1.2, however, all of the functions and the arrange dialogue have been moved to the line and distribute dialogue. They are located in the grid and circular tabs. Other than that, the functions work exactly the same way as they did in the Arrange dialogue. So we talk about the range dialogue later in the course. If you're using version 1 to just be aware that instead of using the arrange dialogue, you can now follow along with the video using these new tabs and align distribute dialogue. Apart from that change, the align distribute dialogues the same as in version 1.1, except for some minor layout adjustments, like the on Canvas Alignment Button and Group button being placed together here at the top. Okay, I'll see you in the next video. 30. Activity: Monkey Logo: In this activity, we're going to create a logo with a monkey and some text. Let's get started by switching to the circles and ellipses tool and creating an oval for the body. How good this a dark brown field. We actually want to flatten the bottom of this a bit. So certainly into a path by going to Object Path and switch the new tool, hold Control and drag this bottom node up some. Let's now create a circle for the head. Let's make this one a slightly brighter brown. Let's switch to the select tool and put the head about where we want it. Then we'll shift and click the body, go to the Align and Distribute dialogue, essentially these vertically. Let's now duplicate this circle with Control D. Let's make it a bright Brown. I was hold Control and Shift and scale this down sum. Then we'll control and move it down here. This is going to be for the part of the face with the mouth and nose. The square root small circle over here for one of the nostrils. Let's make this a little darker and put it on top of the light brown circle here. Now we can duplicate this or control and move it over here. Then I'll select both of the nostrils and group them with Control G. Then hold, shift and click the face circle and central them vertically. Let's create another small circle here for the mouth. Let's make it black. We also want to center this vertically with the face. Now let's duplicate the face circle. Move it over here, some. Scale it down a bit. Well ***** control. Let's duplicate this one. Turned out, wait and hold, Shift and Control and scale it down. So this will be part of the eye. Let's duplicate again, turn it black and scale it down while holding Shift and Control. Now select these three circles. Group them with Control. G, duplicated, hold control, and move it to the right sum. Now it's like both of these group them, then center it vertically with the bottom part of the face. Next we'll work on the years. Keep the head circle. Move it to the left, some, scale it down a lot. Let's move it down here. Now let's duplicate this. Switch to the color picker tool and click on the body objects. Let's switch back to the Select tool and scale this down while holding Shift and Control. Now let's take both of these circles and group them, duplicate it, and move it to the right side of the head. Well, how do you control? Let's select both ears, group them with them below everything, and center them vertically with the head. Let's next work on the feet and arms. But first, I'm going to hold control and with the body down a bit. Muscle going to hold shift and make it less wide. Now is create a rounded rectangle over here. Let's rotate it negative 45 degrees. By holding Control. L is duplicate it. Duplicate the same color as the face. Hold Shift and Control and shrink it down. So let's group these together and move it closer to the body. Now let's duplicate it. Flip it horizontally with this button and move it to the right while holding control. Group both feet together. Let's center it vertically with the body. Now let's create another rounded rectangle for the arm. Let's make it the same color as the head. Let's turn off snapping and create a circle for the hand. Let's make this a color of the face. Everyone to switch the select tool and move this below the arm. Hold shift and click the arm and align the bottoms of these Hellas group, then duplicate it. Flip it horizontally, hold control, and move it to the right. Let's grip the arms together centrally and vertically with the body. Now we want to select the arms and the feet and align the bottoms. Then we can hold Control and move them up or down a bit if we want. Okay, now let's switch to the pen tool and create a tail. I'll click in here and click drag here. And click drag here. And right-click to finish the path, the switch, the color picker tool, hold shift and click the head to set the stroke color the tail. Then switch the fill and stroke dialogue and increase the stroke width quite a bit. We also want to give it rounded caps. Now we can squish this leg to move it into place. Also squished to the node tool and play around with the nodes and curves a bit. Let's switch back to the Select tool and put the tail below everything. Let's also turn this into a path by going to path, stroke the path muscle going to create a random object over here. And change the cap type back to buck cap, just so Inkscape doesn't default to using rounded caps and later videos. Now we can delete this. Next, switch, the text tool and create a text object. We can type anything we want. I'll just go with, I love monkeys and uppercase letters. We can also use whatever font you want, but I'll leave mine on the default. I will however, change the style to bold. Now switch to the Select tool or control and scale this up. Let's make it so that texts arcs over the top of the monkey. To do this, we can duplicate the head circle, hold Shift and Control, and scale it up a lot. Then what's Shift and click the text object and go to text, put on path. Now we can select just a circle and rotate it until the text is at the top. Let's turn off the fill just so we can see what it looks like. Okay, I think that looks pretty good. Let's set the fill again. This is like just the text object and go to Path, Object Path. Now we can delete this circle. Also want to make the light brown parts a little bit brighter. But because some of these objects are in groups, I can't just select them like normal. However, as we've learned in the video on grouping objects, you can go Control and click an object and it will ignore the groups. Then hold Control and Shift and add the other objects to this selection. Now I'll brighten this up a bit. I'll brighten the nostrils up some as well. I'm also going to move the bottom parts of the face down some. Okay, that's how we can create a monkey logo. See you next video. 31. Freehand Drawing: In this video, we're going to talk about how to draw freehand lines by using the pencil tool. Let's start by activating the pencil or free hand tool, which is located here in the toolbox. We can also get to by pressing either the P key or the F6 key. One way to use the pencil tool is to click and release somewhere on the Canvas. Then click and release somewhere else to create a single line segment. If we hold control after creating the first node, it will snap the angle. If we decide we don't want to draw the segment, we can just press escape. The most common use of the pencil tool, however, is for drawing freehand lines. We do this by clicking and holding and dragging the mouse and releasing the mouse will create the path. If you want to continue drawing the path, we can click and hold on one of the anchors and drag the mouse. We can close the path by releasing the mouse over the other anchor. To add a subpath, we can hold Shift before we start creating a new path. As you can see, the paths we create by dragging aren't very smooth. And if we go to the Node Tool, you can see that the pads have a bunch of nodes. If we go back to the pencil tool, we had this option and control is barcodes smoothing. This is also called simplifying and escape. And the higher this setting, this mood of the path we create will be. And thus the fewer nodes it will have. Let's try a higher setting, like 30. If we draw a freehand path now, It's not quite as accurate regarding our mouse movement, but it's much smoother. It also has much fewer nodes. If we go back and set the smoothing does something really high, like the max of 100. It will be super smooth but not at all accurate. On the other hand, if we set it to something really low, like one, it will be very accurate but quite rough. They will also have a ton of nodes. I don't recommend having the smoothing setting too low because they're more nodes we have in our drawing, the more processing power it requires. I'll set mine back to ten, which is the default. We can also smoothing or simplify path we've already created by going to Path Simplify, which has the shortcut Control L. And we can do this multiple times. If you go to the Node Tool, we can see that it reduces the number of nodes and moves them around to try to smooth in their path. Switch back to the pencil tool now. So at the moment after we create a path, we can't go back up to the smooth inbox and changes smoothing here. The setting only applies to the path recreate after changing the setting. However, if we toggle on this button next to it that says LPE base interactive simplify that what we create a path, we can still adjust the smoothing up and down. If you want to lock the path smoothing, we can click this LPE simplify flattened button here. Now we can adjust the smoothing anymore. We can still simplify from the path mi Nieto. This interactive simplified function uses up more processing power, so it turn mine off for now. Next we have the option to change the shape of new paths. This is actually exactly the same as for the pin tool, so it's not necessary to go over it again. This goes for the modes here as well. We already saw how the spiral path and B spline path modes work in the video about the Pen tool. If we toggle on this point here, it will let us use the pencil tool like a brush. We now have these Min and max settings. These let us set the minimum and maximum width of the brush. However, this really only works if we're using a pressure sensitive device like a drawing tablet, then depending on the amount of pressure we use, the brushwork will be somewhere between Min and max. If we're just using a mouse, however, the brushwork would just be the max setting like this. We also get this option and let's just change the appearance of the caps or endpoints of the pads. The default is round and we can go through some of these to see what they give us. This one's pretty cool. Alright, I'll set mine back to round it. Toggle off this button. Homer thing we could do with the pencil tool is create dots. Just like with the pen tool. We do this by holding Control and clicking. Holding Control and Alt to create randomly size small dots. Hold Control and Shift to create larger dots. And hold Control Shift and Alt will create randomly size larger dots. Like I mentioned with the pen tool, these dots are actually circle objects. We can modify them with the circles and ellipses tool. So that's how we can use the pencil tool. This tool is great for making sketches before doing our actual drawing, especially if we have a drawing tablet. However, having a ton of nodes in our document assumes a lot of resources and a large detailed sketch can definitely have a ton of nodes. Also, if we try drawing over with the pen tool, we might accidentally click on an anchor node and continue creating the path. To fix both of these issues, we could turn this sketch into a bitmap. We can do this by selecting the object and go into edit, make a bitmap copy. This will create a copy of the objects and turn the copy into a raster image. However, is very difficult to select it right now because it's just this thin outline. So let's undo all of that. Let's give the path of fill first. I'll choose white. Since the background is white. Let's make a bitmap copy again. Now we can move it around easily. We can also delete the original sketch now. But be aware that because this is a raster image, we can edit the nodes and as you can see, there's some quality loss here. This isn't a big deal with sketches though. We can now lower the opacity sum and easily trace over with the pen tool. Okay, See the next video. 32. Exporting PNG Images: In this video, we're going to learn how to export our drawing soup PNG, so that we can actually start using them outside of Inkscape. Png is an image format that supports transparency and uses data compression that doesn't result in a loss and image quality. That's one of the most commonly used image formats on the web and in things like video games. And it's also the most commonly used format for exporting our drawings and Inkscape had to do this. Inkscape provides us with the export PNG image dialogue, which gives us a lot of control over the resorting exported image. To get to this dialogue, we can either go to File Export PNG image, or we can click this button on the command bar. And now we'll start over here. At the top of the dialogue. We have options for the export area, including exporting everything aside the page, exporting all parts of our drawing. Exporting just the parts we have selected and creating a custom export area. For all of these, we can say, where are the export area begins and ends, as well as its width and height. We can also set the units here. Note that if we change one of these values, however, it automatically switches to the custom tab, because now we're actually customizing the export area. And if we set it back to the settings for the page, it was switched into page tab. The next section is image size. Here we can set the size in pixels at the export a PNG. This actually has nothing to do with the width and height of the export area. Although at the moment these are about the same as we can see if we change the units to pixels. If you want our export an image to be bigger or smaller, we can change the size here and it won't have any effect on the export areas size. Also note that changing the width or height here will automatically change the other value by the same proportion. The DPI value over here will change as well. And if we change the DPI, the size values will change accordingly. Dpi stands for dots per inch and is a measure of the number of dots or pixels that are placed in a line within the span of one inch. This is also called the resolution. The default for Inkscape is 96 DPI, which will correspond with the measurements used on the canvas. I believe the default for Adobe Illustrator is 72 DPI. But to be honest, unless you're printing the export an image, we just ignored the DPI. If you're printing, you want to set it to something high to get a good quality print. I believe 300 is a standard. Otherwise the DPI box here, there's really just useful for quickly changing the size of the exported image. If we made our drawing is really small. For example, we want the image to be twice the size. We could do this easily by changing the DPI to 192. If you wanted the image to be half the size, we can change the DPI to 48, which is half of 96. And of course we can just change the width and height directly instead. Set the DPI back to 96 for now. Finally, we have the file name section, or we can set the file name and location and export the image. So let's create some objects and do some exporting to see all this stuff works. I will just go the rectangle and an oval for now. The colors don't really matter, so I'll just use some random ones. I'll also make the oval slightly transparent and move it so it overlaps the rectangle a bit. Let's move this folder within the page. Then choose page in the export dialogue. Okay, for the filename, we'd like what the default is. We can just click Export or we can edit it here, or we can click Export As and choose a location and name. We actually have a few other formats we can export to. But unless you really need one of these formats, I recommend just sticking with PNG. If we click Save, it will export the image. I'll go ahead and open the export image now to show you the resort. Because we are the export areas set to the page. And because both of my objects are fully within the pages borders, they are both fully exploited to the image. Also is hard to see right now because of the white background. But if I click crop up here, we can see that the image is actually the same size in pixels as the patient our document. So all the empty space in the page, it's also export it as transparent pixels in the image. We can also see that my oval is slightly transparent just as it wasn't the document. Let's go back to Inkscape now. We have the page tab selected. Everything within the borders of the page will be exported. If we have part of the drawing outside of the page, it will only export this portion that is within the page. And by the way, when we select something, the export area automatically switch to selection. So I'll go back to page and export this now to demonstrate. As you can see, the rectangle is smaller now because only the part within a page was exported. If we go to the drawing tab, we can export only the area of the canvas that are drawing covers. It will show us where our drawing starts and ends on the canvas, as well as the total width and height. Let's export and see how this looks. It, export it everything in our drawing. And the drawing is flush with the size of the image. If you wanted to add some padding between our drawing and the size of the export an image. We can do so by changing these values here. For example, we can subtract x 0 by ten pixels to move it left. Subtract y 0 by ten pixels and move it up. And we can either add ten pixels, X1 and Y1, or we can add ten pixels for the width and height, which I had the same result. Note that changing these switches to the custom tab. If we export now, we have ten pixels of padding and size of our image. Next, let's select one of these objects were now in this selection tab. This tab does is exports all of the parts of our drawing that are within the bounding box of our selection. So of course this means the entire rectangle we have selected. However, you might be wondering about this tiny bit of the oval that is overlapping the rectangle. To choose whether or not to include this part, where this option down here that says Hide All except selected. When this is on, it will only export objects that are actually selected. So if I export right now, they only exploited the rectangle because the oval wasn't selected. If we turn this option off however, and export assignment, export of the rectangle as well as a part of the elbow that was overlapping it. Next, if we select all of our drawing and export it like this, it would just give us the same result as choosing the drawing tab. However, we also had this batch export option down here. If we turn this on, it will go through an export, all of our selected objects individually. And don't forget to turn on this height option again as well if necessary, because batch export, so export these overlapping parts. I'll turn this off for now. Finally, if you want this dialogue to close automatically after it finishes exporting, you can check this close when complete option. One more thing just to reiterate what I said earlier. If you wanted to increase or decrease the size of the export an image, we can of course always scale the obvious on the canvas. However, this isn't always convenient. And if we're exporting a lot of objects at once, changing the sizes this way we use it a lot of processing power and can cause Inkscape to freeze. That's why being able to change the image size here so useful. You can keep the objects and our canvas the same size and export them at bigger or smaller sizes. And because we're working with vector graphics, we don't have to worry about loss of quality. Okay, that's it for the export PNG image dialogue. If you know more about things like bit depth in compression, we have some options under advanced that we can change. I've never needed to mess with these settings myself, but you might find some use for them. Anyway, we won't be using this dialogue much throughout the course, so we can go ahead and close it out, then move on to the next video. See you there. 33. Exporting PNG Images (1.2 Update): An escape version 1 to the export PNG image dialogue has been replaced with the export dialogue, which we can open by going to File. Export. Basically works the same way as the export PNG image dialog did, except for a few changes and additions. First, we now have separate tabs for single image and batch export. Under a single image, we could export everything in our document every day within the page, everything we have selected, and we can create a custom export area. We also now get a preview here of how the export an image will look. So we can create a few objects. Then we can see what the export the image will look like for each Export option. Another new thing with version 1 to is that we can now have multiple pages in one document. So if we go to the page tab, we can export the drawings and each one from here. We can create multiple pages with a new page towards the bottom of the toolbox, will have a video on how to use this tool later in the course. And the batch export tab, we can export two separate images, each object in our selection. All the objects in each layer handle all the objects in each page. Down here, the default export format is still p and g, or we could choose other formats if we drop down this box. Okay, that's it for the new export dialogue scene. The next video. 34. Linear and Radial Gradients: In this video, we're going to talk about how to add linear and radial gradients to our objects. Start out by creating an object. The colors don't really matter at the moment. Easiest way to create a gradient is do the fill and stroke dialogue, as we saw briefly in a previous video. Under the third tab and the stroke paint tab, we have buttons at the top for applying gradients, including linear radio and mesh gradients. For now let's get this object of linear gradient. This will create a default gradient that goes from the fill color at full capacity on the left to the fill color for transparency on the right. Inkscape also gives the gradient or random name, which we can click to change it if we wanted to. This number here is the number of objects currently using the gradient. To edit the selected gradient, we can click this button down here, which we'll switches to the gradient tool. We could have also just activated the tool by clicking here or by pressing either the G key or Control F v1. We now see these two connected handle is going through the center of the object. For gradients, these handles are called stops and they contain color information. The first step is denoted by a square and the last stop by a circle. If we click on the Fill Tab, change this show that stops color information. We can now change the color here, or we could just click a color in the color palette. We can also drag and drop the color onto the stack, just like with objects. If we click the last step, we can see that the alpha channel was on 0, making it transparent. We can bring that up as well as change the color. We can also move the stops around by clicking and dragging him. Wholly control was snapped the angle to 30 degree increments. If you hold Control and Alt, it will snap to 90 degree increments. If we hold Control and Shift, we can scale and rotate that the center of the gradient line. We can also redo the gradient by clicking and dragging. We can do this from outside the object or from inside it. Control Shift and Alt combinations work with this as well. We can also start the gradient from the other side to reverse it or go vertically. If we select both starts by shift clicking the other one, we can then move the gradient as a whole. Another way to move, so like this task by pressing the arrow keys. Now let's check out what we have in the control bar. First, we have options for linear gradient and radial gradient for whether it should affect the fill or the stroke. This is actually only for when we create a new gradient with a gradient tool, it won't change our current gradient. Next week is select from the gradients we created in our document. We've only created one so far. So it's our only option. Let's create another object. Let's give it a linear gradient as well. This switch back to the gradient tool. We now have both gradients in the list. If you want to switch the selected objects gradient to a different one in the list, we can just click it. Note, however that the previous credit we're using has been removed because Inkscape will automatically remove gradients that are being used by any objects so that our document doesn't become overloaded with unused gradients. However, if we change the gradient color of one of the objects, it doesn't modify the original gradient because it's being used by another objects. Instead it creates a new one. And we can see them both in the select box. If we would prefer to change the original gradient, however, it can do so by toggling on this button with the lock icon. Let's first set this one back to the original gradient, then toggle on the lock. If we change the colors now. Also changed for all other objects using a gradient. Note however, that only the colors are affected, not the locations of the stops. The next button here with the arrows reverses the direction of the gradient. And unlike when we move this stops around, this button actually affects the color information in this stops because the switches the colors of them. So the stops haven't actually changed location. The first one is still over here, and the last one is still here because we still have the lock toggled on. It changed the original gradient. If we undo that and turn off and lock. Now this button will create a new gradient with the colors reversed. Also be aware that because a new gradient has been created for this objects, if we click the reverse button again, we now have two gradients with the same color information. So if we want to make it so that the objects are sharing a gradient, again, we either have to undo the reversal or just click the other one here. The next option we have is repeat. If we add this set to none and put the steps inside the object, the parts beyond the stops. So just take the color of either the first or last stop. If we set repeat two reflected, it will repeat the gradient and alternating directions across the objects. Giving us this nice chrome like Effect. Direct will repeat the gradient in the same direction, giving us these harsh lines between them. The next box stops, shows us either the first stop or whichever step we have selected. We can drop this down to select one. This way. The offset box, we can change the offset of a star. However, the first step is always a 0 and the last step is always at 1. And we can't change this. This part is actually for stops that we add manually between the first and last stops. One way to do this is with the insert new Stop button here. And it doesn't work at the last step is selected. So let's make sure we had the first steps likely. Now if we click the button or press the Insert key, it will create and select what's called a mixed up between the first and last stops. It's hard to see here, but missteps are denoted by diamonds. And it's actually puts the midst up directly in the middle with an offset of 0.5. We can change the offset here or we can just drag the stuff directly. If you hold Control, it will snap the offset to increments of 0.1. Like with the first and last stops, we can change the color. If we add another mid staff, which I will do with the Insert key, it'll create a new one between the selected staff and the next step. If we select multiple stops, we can add stats between each pair of adjacent stops, similar to adding nodes with a new tool. Another way to add a mid steps by either double-clicking the gradient line or by Control Alt clicking it. Also note that we can't move stars, pass adjacent stops. We can put them in the same position though. As you can see, moving mid staffs doesn't affect the positions of others. Stops. Moving the first or less stuff, however, will move the mid stops in order to maintain the offsets. To delete stops, we can select them and either click the Delete Stop button up here, or press the backspace key or the Delete key. To delete a single stock we can control or to click it. If we delete either the first or last stop, the closest up on the line would take his place. If you want the gradient to be centered horizontal and flush with the sides, like we get when we click a Gradient button, the fill and stroke dialogue, we can just double-click the object with the gradient tool. Be aware however, that this creates a new gradient, which replaces the old one. If we had changed in these settings and new, I've gotten a different type of gradient. Let's actually do that now to give this object a radial gradient, Let's select the first, choose the radial gradient option. Then we can either double-click the object or we can click and drag. I'm only control here, just snap the angle. As you can see, radial gradients can be either use a circular gradient starting from the first step of the center of the gradient and moving out vertically and horizontally to two last stops, which are at 90 degree angles to each other. We can change the length of each last step individually. But as we rotate the whole gradient or rotate hold the control is not equal to 15 degree increments. Control and auto snap it to 90 degree increments and Control and Shift or scale both less steps together. These last steps also share the same color information. So changing the color of one, we changed the color of the other. We can move the first step around and change the position of the gradient. And we can change the color of it. If you hold Shift and drag out from the first stop, we can separate the focus of the gradient away from the center. If we let go of the mouse, we can see this little x now, which denotes the focus. You can click and drag this around within a gradient. You also put it back into sensory up, I think control is bar. We have the same options as per linear gradients. For example, we can reverse the gradient, which doesn't really do much for radial gradients. And we can repeat it. We can also insert stops, where we insert stops in a radial gradient. It inserts one are both gradient lines. These will share the same offset and color information. And the leading one we delete the other. Stroke gradients are basically the same as field gradients. Let's create another object and give it a stroke gradient. I'll do it from the fill and stroke dialogue this time. It can be either a linear or radial gradient. And if we squish the gradient tool, you see that we have the exact same options. And we can move this stops and change the colors. An object can actually have both a stroke gradient and a field gradient. And we can edit them separately. Yeah, Also immersive stops together by dragging one on top of the other. Now we can move and edit them as 12 separate them. We can hold Shift and click and drag one. We can also emerge the first step of one with the last step of the other and vice versa. To remove a gradient, we can of course just select the objects and change the type and the fill and stroke dialogue, or click a color in the palette. We can also select all of the stops and delete them. Or if you want to make the object the color of a specific stock, such as this one, we can select all of the other stops and delete them. Okay, Just a couple more things before we go back in the ingredient list, we have this plus button at the bottom. This will create a duplicate of the selected gradient. First, let's give this algorithm the same field gradient as this one. Now let's say we want to lock the gradient so that changing in a one objects will change it on all the others. Then later we decided to create another object, give it a gradient, set it to share this gradient as well. However, with this one, we want to be able to edit this gradient without affecting the other objects that use a gradient. That's where there's duplicate button comes in, it, you click it. Now we have a duplicate gradient up here, which will be then click on to use it for objects. Now we can modify this duplicate without affecting the original. The other objects are still using the original. Finally, and just as a reminder, we mentioned briefly in the video on transforming objects that and the controls bar for the select tool, we have this button over here that we can toggle on and off when it's on transforming object or transform their gradients as well. When it's off, the gradients will remain untransformed. I'll turn it back on for now. This works for mesh gradients as well, which we'll talk about in the next video. See you there. 35. Linear and Radial Gradients (1.2 Update): Inkscape version 1 to a gradient editor has been added to the fill and stroke dialogue. This means that if we create an object and give it either a linear or a radial gradient. We can now do most of the editing of the gradient directly inside the fill and stroke dialogue. Instead of having to use the gradient tool for everything, we get a list of current gradients here. We can also duplicate and remove them. We can reverse the gradient and change how it repeats from here. With this preview of the gradient here, we can move steps around. If we double-click inside the bar, we can add a star. Then we can change the color down here. We can remove a stop by selecting in the preview and pressing either Backspace or Delete. We can also add or remove stops and it stops box here. We can select them here as well. We get the same options with radial gradients as well as with gradients applied to the stroke. Okay, I'll see you next video. 36. Mesh Gradients: In this video, we'll continue our gradient discussion by talking about mesh gradients. If we create an object and look at the fill and stroke dialogue where the mesh gradient option in both the fill and the stroke paints apps. We actually have two types of Mesh Gradients, normal and Conoco. But currently we can only choose the normal one from the fill and stroke dialogue. So for now let's get the object that normal film edge gradient. This gives us a node at each of the four corners of the objects bounding box. And the color at each node is either white or the original fill color with a gradient between the nodes and the fill and stroke dialogue, we get a list of all the image gradients in our document. And it tells us to use the mesh tool to modify the mesh. So let's activate the mesh tool, which is here under the gradient tool. To change the color at a node. We can select it and choose a color either from the fill and stroke dialogue or from the palette. And we can do this with multiple nodes as well. If we drag around these Bezier handles, you can change the curve of the measure that point. We can also move the nodes around. And note that the gradient will only be visible within the bounding box of the object. So as you can see, when we select the node or modify its handles, the handle is turned into arrow is pointing toward the node so that we can identify it easily. And the control is bar. We have some options for creating a new mesh gradient. From here we can create a normal mesh or a clinical mesh. And we can set whether it will affect the fill or the stroke. Next biggest set the number of rows and columns of the mesh. The mesh we have here is a one-by-one mesh. Like these options, the rows and columns boxes here only apply to New Mesh Gradients credit with Image Store, so changing them won't affect the next 60 mesh. To add rows and columns to an existing mesh, we can double-click a vertical segment to split it into two rows, and a horizontal segment to split it into two columns. We now have these new nodes at the ends of the segments and where they connect. We can modify these as we like. If we want to sub-divide one or more segments exactly in the middle. Because select the segments and press Shift. I can add as many rows and columns as we want. But be aware that Inkscape doesn't currently allow us to delete a meshes, nodes or segments. These other two sections of the controller's bar work with this selected mesh. This first button here will toggle selected size between Bezier curves and lines. Let's look at this segment in the mesh. At the moment we have these Bezier handles allowing us to modify the curvature of this segment. If we select a segment, then we click this button. The segment becomes a line segment and the handle is retracts. We could do this with multiple segments as well. If we click this button while we have line segments selected, there'll become Bezier segments, handles appear. We can also switch back and forth like this with a shortcut ought to be. The next byte would change the length of this leg segments handle is to try to make it more elliptical. And it says that it works best at the handle is already approximate an ellipse. So if we change the curvature of a segment to make a somewhat elliptical, then select the segment and click this button. It will make the segment a bit smoother and more elliptical. This has the keyboard shortcut, alt C. That's actually works better with Conoco meshes, as we'll see in a bit. This next button with the eyedropper icon lets us set the color of selected notes and the color that is underneath each node. We can use this function to vectorize an image. To demonstrate this, I will import this watermelon image. If you want to follow along, I'm attached this image as a downloadable resource, but you can use any image for this. Let's create a rectangle on top of the image. We need to make sure that borders are fully within the image in order to sample the colors correctly. Now let's switch to the mesh tool. Let's change the rows and columns to say ten. To apply the mesh of the objects, we can either drag inside it or double-click it. Now we can select specific nodes and sample the colors Over the eyedropper button. Or we can just select all of the nodes and click the button. We can also use the shortcut Alt K for this. Now we have a vectorized version of the photo. Of course, the more nodes we have, the more accurate the result would be. The Gaussian go in and adjust the nodes to get the correct shapes. But as this is just a demonstration, I'll leave it at that. Let's go ahead and delete this. Then move back over to this object and switch back to the mesh tool. Next, and the control is bar. We have this button. This will scale the mesh to fit inside the bounding box of the objects. So if we click the button, scales down the whole mesh, so that is entirely within the object. If we move some nodes inside the bounding box and click the button again. It was scaled to mess up. This next button is just a warning telling us that the mesh SVG syntax is subject to change. If we click the button, we can get some more information. So the SVG file is created. Inkscape can actually be used on the web. However, certain features aren't yet supported, including mesh gradients. Therefore, if we save this document and wanted to use it on our website, we are first need to convert all the mesh gradients into bitmaps. As we saw in the video about the pencil tool, we select the objects and go to Edit, make a bitmap copy. Now we have a raster image copy of the object. We can now delete or hide the original one so it doesn't cause any problems on the web. But I'll just delete the copy, says I'm not planning to use this on the web. Next in the mesh tool, we have options for smoothing across patch boundaries. Patches or all of these areas between four nodes. Cuz is actually no smoothing. The other option and by cubic will smooth out the colors across the patch boundaries. And this will be applied to the entire mesh. If we want to just smooth out certain parts, you can set it back to Koons, then select one or more nodes and press Alt J. One more thing we could do with the mesh tool, which isn't available in the control bar, is to work with what's called a sensor points of a patch. To do this, we select one or more patches, then press Alt G. Now the tensor points are visible in order by these squares. Tensor points allow us to further refine the gradient. I've never used this in my work and actually didn't even know they existed until just recently. But you might find them useful too high. The tensor points, we just select the patches and press Alt G again. Now let's move on to Conoco Mesh Gradients. We can use any kind of shape for this, but I'll go with an oval. Switch to the mesh tool, change the type to Conoco, set the rows and columns back to one, and double-click the object. Clinical mesh gradients, as the name suggests, are shaped more like a cone. And they had these nodes in the sensory. We have two nodes on this side. So the mesh is actually split here. If we double-click one of these curves segments, we'll get a new segment running from that point to the center. These are the columns. If we double-click one of these segments coming from the center, we will get a new circle of segments, like what the normal mesh gradients. Because select a segment and press Shift I to sub-divide the segment at its center. And the control is bar. We have all the same functions as for the normal mesh gradients. As I mentioned earlier, this byte here works better for clinical measures. For example, if we move a node around making this segment crooked, you can select the nodes or segment and click this button to make the segment more elliptical. Finally, we have mesh gradients for the stroke. Stroke mesh gradients can be either normal or Conoco. And to apply one to an object, we just select the stroke option here and double-click the object. As you can see, an object can have both a fill and a stroke mesh gradient. However, at least in my version of Inkscape, I can't edit the film mesh now. I can only edit the stroke mesh. They're actually used to be some buttons appear to toggle between the fill and stroke meshes, but now they're gone. So unless your version happens to have some extra buttons here, keep in mind that you won't be able to modify the field mesh anymore after adding a stroke mesh and vice versa. Unless of course there's some other way to do it that I haven't been able to find. Anyway, that's how we can use Mesh Gradients. And by the way, some of the shape objects have different default mesh gradients. For example, if we create a star and give it a normal film mesh gradient, we get all of these nodes in this center that we can modify. The image gradient functions are still experimental, so things are likely to change in the future. In any case, it's definitely worth it to play around with them and see what kind of resource you can see in the next video. 37. Calligraphic Drawing: In this video, we're going to learn how to do calligraphy. We're using the calligraphy tool. Let's start by activating the calligraphy tool here in the toolbox. This towards the shortcut C and Control F6, we can now start doing calligraphy by just clicking and dragging on the canvas. Let's creates a path with a fill and no stroke. We can change the color if we want. We can also add a stroke. I'll turn mine back off for now. I'll bring the controller's bar. We first have this drop-down box. This lets us choose from a list of presets that Inkscape provides for us. Each one is different settings for everything appear kind of brush presets in Photoshop. We'll go over these later in the video, but for now, let's keep it on New Preset. This button next to it lets us add or edit Presets and we'll go over how to do this later as well. This next box, we can set the maximum width of the pin. If we right-click, we can see a few options. The minimum width we can use is one, which will give us a hairline pinch stroke. And the max is 100, which will give us a broad stroke. We can also change the width with the left and right arrow keys. And this works says we're drawing as well. If we press Alt X, it will enable the width box so we can type in a specific number and press Enter. I'll set it back to the default of 15. Now we can continue drawing with the new way. If we have this button here toggled on, you can use a drawing tablet to control the width of the pin, similar to what we saw with the pencil tool. I'm not currently using a drawing tablet. This button doesn't have any effects. If we talk on the next button, the width of the pin will be dependent on the color under a closer to white, the color is the smaller the width of the pin, and the closer to black, the larger the way. If we turn this on and draw on the canvas, because the background on the canvas is white, the pin width would be the minimum, which is one. Let's create an object and set the color to black. If we switch to the calligraphy tool and draw over the objects, width would be what we said here. Let's create another object and give it a gradient. Now if we draw over it from left to right with the calligraphy tool, the width goes from large to small as the color gets closer to white. Let's turn this back off for now. Next is thinning. If this is a positive number, the slower we make the pinch stroke that they grew will be, the faster we make the stroke that dinner it will be. Setting it to a negative number, would do the opposite. We set it to 0 and the width will stay the same regardless of the velocity. I'll put it back into default value of tin. Next step is mass. As we draw with the tool, we can see that the drawing actually lags behind the mouse and this helps us create a smoother path and it's referred to as the mass. The higher the masses there more than pin will lag, and the lower the mass, the lessor will lag. This can go from 0, which will have no lag and give us a rough path to 100, which will make the tool like a lot, but the path will come out much smoother. I'll set mine back to, to. The next setting is angle. This refers to the angle of the pins navy. If you've ever used a real calligraphy pen, you know that the typical initiative has a blunt edge that is shaped like a rectangle. If we hold the paint so that the edge of the name is perpendicular to the paper and we draw up and down. The stroke will be the full width of the nib. And if we go left and right without changing the angle of the pin, it will give us the finish stroke. Similarly, moving in a diagonal, we'll give this a width somewhere in-between the angles setting here, let's just set the angle at which the stroke will be the finished. The default is 30. So drawing it a dirty degree angle will give us a thinner stroke. If we toggle on this button next to it, it takes into account the angle of the input device. Whoever this really only works with drawing tablets because you can change the angle of the pin you're holding. With a normal mouse Inkscape just assumes we're holding the pin so that the nib is perpendicular to the canvas and the network not changing the angle. So now drawing up and down gives us the biggest stroke, and drawing left and right gives us a thinner stroke. If we turn this off and set the angle to 0, this actually gives us the same result. If we right-click in here, we can see that the minimum angle was negative 90 and then max is 90. Setting it to negative 90 or 90 will make it so going vertically we would give us the finish stroke, and horizontally would give us the biggest stroke. We can also change the angle with the up and down arrow keys, which allows us to change the angle as we're drawing. I'll put it back on 30. Now. Next we have fixation. The closure of this is to 0. The more uniform the width will be, meaning that less it would take into account the angle is setting. This would be like keeping our paint at the same angle as the stroke at all times. And it's similar to what we would get if we were painting with a brush. The closer it is to 100. On the other hand, the more it takes the angles setting into account. The default is 90. The next study we can change his caps. Let's delete all of this stuff. First. Capsules has changed the appearance of the ends of the stroke. There's a similar to what we saw for cap and the stroke style tab, the fill and stroke dialogue. Anyway, for the calligraphy tool, caps can go from 0 to five and we can use decimals. If it says to 0, which is what we've been using so far, the camps will be blunt like this. Five will give us these long round protruding caps. We can go with something smaller for less than a protruding effects. This works better if we set fixation to something low. I'll put these back in the defaults for now and delete these paths. The last two settings we have our tremor and wiggle. The closer tremor is to 100, the more rugged the path will be, kind of like it's trivially. The closer wiggle is to 100, the more wavy and curly you will be. I'm actually just moving the mouse around normally, but it's creating all of these waves automatically. I don't recommend doing too many paths with high tremor a wiggle settings because it creates a ton of nodes. This can slow down Inkscape a lot. Let's make sure these are back on 0 for now, let's delete these paths. It's now go to the presets and see what they give us. Drip pin just uses the default settings except with a two input device button is toggled on marker as thinning and fixation set to 0 and slightly rounded caps give me the path the appearance of being drawn with a marker. Brush gives the path the appearance of a brushstroke. With thinning being negative. Drawing slowly mix the width thin, and drawing fast makes it big. Wiggly as trimmer and wiggles set giving the path that weirdly shaped splotch, the high width Would thinning, trimmer and rounded caps gives us a splotchy look. Finally, the tracing preset has this button toggle it on, causing the width to change based on the darkness of the color under the pin. We can also change the settings here if he wants to become a bit different. Note that the switches is back to New Preset, so it doesn't actually overwrite any of the presets. If you want to make our own preset, we can click this button. We can give it a name and click Save, and it will save our current settings into the preset. This now in here, we can use this in future documents as well. If you want to delete a preset or overwrite one, we can choose the preset, then click this button again. We can now either save it or delete it. Delete the preset I just made. Let's now delete all of these paths. Let's get back to the default settings by choosing the drip pin preset, then turning off these two buttons is setting the width to 15. Something else we can do. The calligraphy tool is add subpaths were selected path by holding Shift while creating a new path. Just like with the pen and pencil tools, we don't have a path selected right now, so let's create one. And the calligraphy tool actually selects the path after we created. If we hold Shift now I create another path. We will get an object with two subpaths. If you go back to the calligraphy tool and hold Alt as we create a path. It would delete the parts of any selected paths, then we'd go over. We can do this with shape objects as well. It would turn the object into a path. If we have one or more paths selected and we hold control with a calligraphy tool. It will use the nearest selected path as a guide pad. Mean the next path we draw a follow along the guide path. We can see from this circle around the cursor which path is going to be used as the guide path. We can also use this circle to set how far away from the guide path we wanted to draw. If we keep holding control and start creating a path now, who were forced to path to follow along the guide path. Because the last path we create with the calligraphy tool gets selected automatically. If we keep holding control, we can keep going with this and it will maintain the distance. This lets us create hatchlings. If we let go of control and hold it again, you can change the distance. We can also change the settings as we do this, as long as we don't let go of control, it will maintain a distance. All right, so that's how we can do calligraphy and escape. If you're interested in creating nice-looking or even crazy-looking fonts. Getting good at using the calligraphy tool is definitely the way to go. Okay, I'll see you in next video. 38. Snapping Objects Together: In this video, we're going to talk about how we can snap objects together in different ways. Using the snap control is bar. If you don't see this snap controls bar here, you might be in the custom or wide layout. In which case the borrower would be appear similar. If you don't see the bar at all going to View, Show Hide, snap controls bars should bring it up. Okay, So this first button here is an on-off switch for global snapping. If this is turned on, snapping is enabled and we could choose a different types of snapping. There'll be wanted to use. This turn off all snapping is disabled. This is very handy because oftentimes snapping gets in the way of her drawing. So it's nice to be able to just turn it all off at once. It sounds like a good idea to memorize the shortcut for this, which is the precinct key. Let's use it now to turn, stepping back on the next button, it allows us to toggle on or off and bounding box snapping. So if we create a couple of objects, the bounding box, as we've learned before, is a square or rectangle that completely encloses the object is represented by a dashed line around a selected object. If we turn this on, we can now choose how we want the bounding boxes to snap together. The first option allows snapping to bounding box edges. However, this is a bit confusing because it doesn't actually allow edges to snap two edges. Instead, it allows other points to snap to the edges. For example, if we turn on this Next button, which allows stamping two bounding box corners, we can now snip a corner of an optics bounding box to the edge of another objects bounding box. As you can see, it would show us in this little pop-up what kind of snapping we're doing. And with this button enabled, we can also snap corners to corners. Let's turn that off for now. With the Next button we can snap bounding box edge midpoints. If we turn it on, we can now step the midpoints of the edges. Because the edge snapping button is still enabled, we can also snap midpoints. Two edges works from the inside as well. Let's turn that one and the edge one-off. The last button in this section, Let's snap the center of the bounding boxes. Like this. Of course being used any combinations of these buttons, such as snapping corners through centers, midpoints through centers. Let's turn all of these off and move on to the next section. This next section gives us options for stepping paths and nodes. The first button here to toggle snapping two paths. Here patho refers to the x squared shape of an object. If we go to the pin tool, biggest snippet tool to any point along the path of an object. Let's leave this went on for now and also turn on the Next button, which enables snapping to path intersections. If we move an object so that it overlaps in another one. You can go to the pin tool and snap to one of these intersections. Also, if we draw a path down here that intersects itself like this, because snap to the intersection. It's actually also lets us snap to points in an object with a shape changes direction, such as here on the oval. Let's turn this one off for now. Next two buttons enables snapping two nodes. The first one enables snapping to customers, which as we learned before, are the nodes that formed sharp corners, the corners of the rectangle. And if we draw another path without dragging, this node is a custom node. So if we enable this, we can set the custom nodes along the passive other objects. Let's turn that one off and turn on the Next button, which enables snapping to smooth nudes. Smooth nodes, of course, are nodes like this, which creates smooth curves. However, this also includes the quadrant points of ellipses, which are the points where the curve changes direction. Now we're snapping quadrant points, two edges. Now smooth nodes, two edges. We can even snap smooth nodes to quadrant points. Let's turn this off for now. The last button in this section enables snapping to midpoints of lines. Let's turn this on and the customer is Option on. Let's turn the paths option off for this, let's create a star. Now we can take the star establish customer to the mid points of the rectangle. We can snap the midpoints of the stars. I just did the rectangles, customer nodes, as well as to the midpoints of the rectangle was edges. Also note that this doesn't work for ellipses because it only applies to a straight line segments. Okay, let's turn all of these backoff. The next section enables toggling of miscellaneous points. So if we turn this on, the first option is for snapping to object midpoints. For the most part, this is the same as stepping through bounding box centers. If we turn this one on and move the ellipse so that is center snaps to the rectangle center. It says object May to object midpoint. But if we turn this option off and turn on the bounding box center snapping option. Now says bounding box midpoint two bounding box midpoint, though it's the same point. However, it was some objects like this star. The points are different. Let's turn on both of these centers snapping options and move the star to snap the center to the rectangle century. Right now it says boning box midpoint to bounding bugs midpoint. But if we move over a bit, now it says object May to object midpoint. The midpoint is slightly different from his bounding boxes midpoint. I'm not sure exactly how Enscape calculates the midpoints of objects, but just keep in mind that it's usually the same as the bounding box midpoint, but not always. Okay, Let's turn both of these backoff. The next button enables snapping to the rotation syndrome is if objects, the rotation center is a little crosshair we get when we turn on an object, rotation handles, by default is the same as the center of the bounding box, but of course we can move it around. We turn on this button. We can snap these two objects together at the rotation centers. Of course, biggest step other things to this as well. For example, we can snap a cuspid of one object to the rotation center row another. Really we have almost endless possibilities for snapping here. Let's turn these off. The next plane is first ineptitude, sex baselines and anchors. So let's create a couple of texts objects. If we select one, this little box in the left here is a text Anchor. And if we turn on this button because snap this anger to anywhere in the other texts objects baseline. We can also snap their anchors together. And if we turn customers snapping on again, because Snap an object's customers to a text objects anchor and baseline. We have one more section. This first button enables snapping to the motors of the page. So right now we get snap and objects customer to the page borders, both inside and outside. If we turn on bounding box corners snapping, you can easily keep our objects within the page borders. Finally, we have buttons for a steady two grids and guidelines were actually be learning about grids and guidelines in the next couple of videos. So it will save these into, in just a couple more things about snapping. If you hold Shift while moving an object, you would temporarily disable snapping. If we only need to disable snapping for one object at a time, this will be better than turning it on and off here. This works while I'm moving nodes as well. Also, if you want more control over how objects snap together, we can go into the document properties, dialog. The snap tab. We can do things like Megastore. We always snap two objects regardless of their distance, or we can change the snapping distance and screen pixels. I've never needed to change any of this myself, but feel free to play around with it because anything we changed in Document Properties only affects our current document. If we screw some stuff up here, we can just start a new document and get back to the original settings. I'll close out of this for now. Before we go, let's turn off some of the snapping so it won't be getting in the way too much. I'll turn off everything but customers snapping and grading guidelines snapping. Seen in the next video. 39. Snapping Objects Together (1.2 Update): As I mentioned in the update to the interface overview video with Inkscape version 1 to the snapping tools are no longer in a bar here. Instead they have been placed in a pop-over, which we get to by clicking this arrow at the top right of the canvas. To enable global snapping, you can either check this enables snapping box here, or we can simply click this button next to the arrow. We first opened the pop-over. It's in simple mode. Simple mode allows us to enable and disable bounding box snapping nodes snapping and the new alignment snapping, which we'll discuss in a bit. If you want access to all the snap controls, we have to click Advanced mode here. Now we get all the options we previously had in the snap controls bar plus a few additions. First editions we have earned the nodes category, perpendicular lines snapping and tangential line snapping. If we enabled perpendicular lines snapping, then create an object and rotate it some. We can now switch to the pen tool and easily create a line that is perpendicular to the objects. For tangential lines snapping, we can create a circle. This switch to the pen tool and create tangent lines to the circle. We can use this to create a path is connected to the circle. Under the other points section, we have the new mask and clip snap options. We haven't yet talked about masking and clipping. But basically what they do is allow us to clip out parts of an object using another objects. So we can create an object on top of this one, for example. Select them both. Then right-click and choose Set clip. Now the bottom object has been cleared using the top objects with clips snapping enabled because switch to the pen tool has snapped to the parts of the clip that we can't see. This works the same with masking. We'll be talking much more about both clipping masking a bit later. Finally, we add the new alliance section. If we turn this on and switch to a shape or path tool. As we move our cursor around on the canvas, we now see these lines going from our cursor to different points on the objects and on the page. These allow easy on Canvas alignment. Now for example, we can create an object at the top align to this object's center, and also make the bottoms of the objects aligned. Another option we have in alignment is enabled lining of nodes that are in the same path. So if we create a path with a few nodes, which the node tool we can now for example, easily make it through this node is a line horizontally with this one as well as vertically with this one. Finally, we have same distances alignment. With this, we can create an object, then duplicate it and move it over here. Then duplicate it again. And as we move it over here, we'll get these lines at the bottom of the objects, letting us put even spacing between them. We can do this vertically as well. Okay, that's it for the additions to the snap controls. One more thing to note is that if we click Reset the simple snapping mode here, you will put us back on simple mode, but also reset the default snapping options. So now alignment is turned off. And if we go back to advanced mode, perpendicular line and to just one line snapping, I've also been turned off again. If we don't want to reset to the defaults, we have to leave it on advanced mood. Okay, I'll see you the next video. 40. Snapping Objects Together (1.3 Update): Inkscape version 1.3, we have the option of switching back to having a snap controls appear inside a toolbar instead of a pop-over. To do this, we can open up the preferences Dialog, click the arrow next to interface, choose toolbars and change the snap controls bar setting to permanent. Changing the setting too simple, puts the controls back inside. I pop-over 41. Working With Guides: In this video, we're going to learn how to use guides to help with our drawings. First, we need to make sure these rulers and the left and top of the canvas or visible if yours aren't, just go to View, Show Hide Rulers. To create vertical guides, we can click and drag from the ruler on the left. We have a vertical guide. To make horizontal guides, we do the same with the top ruler. To create diagonal guides, click and drag from the corners. We can do this from the top right, the top left, the bottom left. To delete a guide, we can just drag it back to a ruler or a corner. Each guide has this red dot, which is the origin. If we move the guide, the origin will change the cursor position. Shift and hover over a guide. The cursor will change to a rotate cursor. If you click and drag now we can rotate the guy to run his origin. Control at the same time will snap the angle to 15 degree increments. If we won't control before clicking and dragging on a guide, we can change just a location of its origin. We can now rotate around that point. If we double-click a guide, it brings up the guideline dialogue. Here we can see the guides ID which is randomly assigned by Inkscape. You can also see as angle and the location of his origin. This information is also available in the status bar when we hover over a guide. Here, we didn't get the guy to label. This label will appear at the guy's origin. We can change the color of the guide here if we want. We can also change the origin, location, and angle here. If we check this relative change box, the values we put in here will be added to or subtracted from the current settings. If we check this locked option, the position of the guide will be locked and we won't be able to movie. Let's turn this on. And down here we can duplicate or delete the guide. Let's just click Okay, for now. The guide is now the color we chose and it's labeled now appears at the origin. It's also locked so we can't move it. To unlock it, we just double-click again to bring the guideline Dialog backup, uncheck, locked and click. Okay. We also have a few options for guides in the Edit menu. If you click this first one, you'll put guides along all four sides of the page border. The next option is to lock all guides. Now we can't move any of them. We can also toggle locking of guys with this lock button at the top left of the canvas between the two rulers. Now they're all locked, and now they're all unlocked. Finally, we can delete our guides. Let's go back to the Edit menu and turn off the lock all Guides option, then go back and create guides around the page again. Now if we have snapping to guidelines toggled on to this step and shoulders bar because Snap objects to the guides in different ways, such as by cusp nose and keep the objects within the page borders. The origins of the guides have been placed with the corners of the page. And snappy two guidelines allows us to step in guideline origins. So now we can easily make a background or something for the page. Guys watch with snap to other guides and their origins. If we switch to the pen tool, we can create shapes out of the intersections. Another thing we can do is change objects into guides. For this, let's first delete all of these guides. Then let's select one or more objects and go to object, objects to Guides. Now we have guides that were created using the size of the objects. We said like the next, if you want to hide the guides because they're getting in the way we can go to view guides. The shortcut for this is the pipe key, which we'd get to by pressing Shift Backslash. Finally, we have a few options for guides in the document properties dialog, which we can get to either from the file menu by clicking this button in the command is bar. The guides tab. We can show and hide old guides and we can lock all guides. We can also change the color of them all, as well as their highlight color, which is the color we get when we hover over one. Finally, we can create guides around the page and delete all the guys just like in the Edit menu. That's how we can use guides. In the next video, we'll learn how to use grades. See you there. 42. Working With Grids: In this video, we'll learn how to create and use grids. To create a grid, we can simply go to View Page gray, which we can also get to by pressing the hashtag key. This will create a rectangular grid with horizontal and vertical lines at every pixel. To edit this grid or create a new one, we need to open up the document properties dialog, the grids tab. We have the option to create either a new rectangular grid or new x and a metric grade, which we'll check out in a bit. For now, let's see how we can edit our current rectangular grid. Here we can choose which grid to edit what we currently only have one grid in our document. When this Enabled option is checked, the grid is usable within the canvas. If we have snapping to grids turned on, we can snap objects to the grid. If we uncheck this, the grid becomes invisible and objects won't snap to it. Let's turn it back on. If we uncheck visible with the grid walls become invisible. However, because enabled is still checked, objects were still snap to the grid. The next option it says snap too visible grid lines only. If we check visible again right now because we're zoomed out, we don't actually see all of the grid lines. We need to zoom in to see them all Inkscape Hide similarly when we zoom out, because otherwise it would just look like the whole canvas is blue. When this option here is checked, objects will only snap to the grid lines that are visible. If we uncheck it, it would now snap to all the invisible lines in between as well. If we zoom in a lot, we can see that it actually is still snapping to the grid where the lines are very close together. Let's turn that back on. Zoom out to 50% repressing to the last option here, Let's just switch between showing grid lines. It's showing dots, the grid points. Next weekend align the grid to the page at different positions, such as the top-left corner of the page, the top center, the center, etc. These buttons actually changed the origin of the grade, which we can also change here. The default is 0 is 0, which is the top left corner of the page. We can also change the distances between the vertical grid lines and the horizontal grid lines, both currently spaced one pixel apart. And we can also change the grid units here. Next, we have minor grid line color and major grid line color. By default, both are blue, but the minor grid line color is slightly more transparent than a major grid line color. We can't actually see the minor grid lines is to resume in a lot. Now we can see that we have a major grid line, then for minor grid lines, then another major grid lines and so on. The syllabus to evaluate distance. And we could change the distance between the major grid lines here. Let's zoom back out and create an external metric grid. We can do that by selecting x to the electric grid in this drop-down and clicking New. Now we actually have two grids on the canvas. We can either go back to the previous grid here and make it invisible or because we won't be needing it anymore, you can click the Remove button down here. Now we just have an x and a metric grade. The only real difference between X symmetric grids and rectangular grids, besides not having the option to use dots for x in the metric grids is that X symmetric grid lines are angled. We also only have one spacing option, which is for the base length of the z-axis. If we zoom in, we can see where the major and minor grid lines are. And we can change the angles of the x-axis and z-axis here. The default, so dirty. X and the micro grids are great for creating things like isometric icons and game assets. Anyway, that's about it for grids. If we have one or more grids and we want to hide or show them all at once. You can go to View Page grid again, or you just use the hashtag key shortcut. All right, I'll see you in the next video. 43. Path Operations: In this video, we're going to learn about the different path operations we can use an escape. He's operations that we're working with, vector graphics becomes really interesting. And it's important to become familiar with how they all work because you would likely to be using them very often. It's also a good idea to memorize these shortcuts. So it will be using them during the video. To start, let's create a few objects. Let's give them some random colors. Let's turn off snapping for now as it would just get in the way. Now for path operations to work, all the objects must be pads. For most of the operations will be looking at Inkscape converts the objects do pads automatically, but for some we have to convert the objects ourselves just to save us the trouble later, Let's select all of the objects and go to Path Object to pay. We should be good to go. The first operation we will look at is union. If we have two or more paths that are overlapping like this, and we select them both, then go to pet Union. It will combine them into one path. We can see this better if we go to the new tool. Let's undo all of that. If the paths aren't overlapping, union will combine them into subpaths. Now we have one object with two subpaths. Also the new object takes the fill and stroke appearance of the object had the Lewis z order. In this case, that was the rectangle, which is why the whole object is purple. Now, if we undo all of that and get the ellipse, a stroke, didn't do the union operation of the two objects again, which I would do with control plus Inkscape ignores the ellipses stroke because the ellipse has the higher Z order. However, if we undo again and bring the rectangle to the top of pressing the home key. Then do union. The object takes the ellipses fill and stroke appearance. Let's undo again. Next we have different difference. We'll take the top path and use it to cut out the part of the bottom path that is overlapping. So if we put the rectangle over the Ellipse, select them both and go to difference. We now have a chunk taken out of the ellipse where the rectangle, the source of deletes the top path. If the paths aren't overlapping and we do different, which I would do with control minus it just deletes the top path, which is the path with a higher z order. Difference, really only works correctly if we have only two paths selected. Move all of these together and do difference in all three. It gives us a strange result. It's better to do it with just two paths at a time. We can also do a union on the top two paths first, then do a difference with the bottom path. Next is intersection. Intersection leaves us with just the parts of the past that are intersecting. If we do intersection of these two paths, we just have this part leftover where the rectangle overlapped the ellipse. Also the new path takes a fill and stroke appearance of what was the bottom path. This works at more than two paths selected as well. I'll use the shortcut Control asterisk. If none of the paths are overlapping, the all get deleted because there weren't any intersecting parts. The next separation is exclusion. Exclusion would turn the selected pass new subpaths, but will also remove any overlapping parts. We do exclusion to these two paths. We now have two subpaths with this chunk taken out. We can pull them apart if we wanted to. Doing exclusion to pass our aren't touching would just make them normal subpaths similar to Union. And the shortcut for this is control plus the carry C0, which is the same as doing Control Shift six. We can also do this with more than two paths for some cool results. Next step is division. Division is similar to difference, that it will cut out the part of the bottom path that is being overlapped. But let's hop path. However, division won't delete the cup part. If we do division TVs. We now have two pads created from the bottom path, the cutoff part and the rest of it. This is actually two separate objects. Like with difference, division doesn't really work with more than two objects. Also the shortcut for this is control forward slash. Next we have cut Path. Cut path is the same as division except that works with a stroke instead of the field. So if we do cut path on these. We have the ellipse and stroke cut into two objects and the field has gone. But we can give each object that fill if we want. Cut path actually works better for pass every crate with a pin tool which only have a stroke. Let's switch to the pen tool and create a path down here. Now let's make the rectangle down here less than the path we just created to the bottom of the z order by pressing the N key. Let's select both paths and do cut path with the shortcut Control Alt forward slash. Now this path is split into three parts, less than do all of that. The next separation is combined. Combined turns to pass into subpaths have one object. If the paths aren't overlapping, combined gives us the same result as union. However, if we undo that, didn't overlap the paths and combine them. And I'll use the shortcut Control K This time. They actually still becomes separate subpaths which we can move apart. This is different from Union, which as we saw earlier, but turn overlapping paths into a single path less than do the node moving, but keep the paths combined. Now if we want to split these subpaths into separate objects, again, we can do so the next operation break apart. Now these are two different objects. Again. If we use Control plus to do a union on these, it becomes subpaths. So we can do break apart with Shift Control K to separate them. However, if we overlap them, do a union there, a single path now, so we can't break them apart. That's the main difference between using combined and using union ascent to do into their separate. Again, break apart also works if we create subpaths with a pin tool, which as we learned before, we can do by selecting a path, switching to the pen tool, holding Shift, and creating another path. We now have an object with two sub pads and we can break them apart with Shift Control K. Let's overlap these two again and combine them again with control K. So at the moment, the part where these two subpaths intersect is filled in. And that's because if we look at the fill and stroke dialogue, we had this button over here selected, which says Fill is solid unless a subpath is counter directional. If we instead select this button, we can now see an empty space where the subpaths overlap. This just helps us see where one step path ends and another begins. His subpaths are actually still filled in, as we can see if we move the nodes around. We can also see that they are subpaths. We give the object a stroke because each subpath will get a stroke. It actually had the same buttons in the stroke paint tab as well. But they don't seem to do anything in my version of Inkscape. Anyway, if we go back to the field tab, counter directional here refers to the directions of the nodes in the pads. When we created these two objects, because we started at the left and went down into the right. The nodes were created in a clockwise direction. So the nodes that these two objects go in the same direction. But if we break these apart with Shift Control K, this select only one of them and go to Path reverse. We can't see any real difference for the nodes of this path are now going in a counterclockwise direction. So now these two objects are counter directional. If we combine them now with Control K, It doesn't matter which button we choose here, because there's only works for subpaths. Her arms counter directional homework thing with break apart. Let's create some more objects over here. Let's make it so they have some space between them like this. Now select them all and do union. If we break this apart with Shift Control K, we can see that it actually fills in the previously empty space with a new path. If there are any of these spaces that can't be filled with an a path break apart with treat them as pets as well. The next separations we have our inset and now let's say both of these will offset the path or the same amount at every point on the path. You see why this is useful. Let's create another rectangle and turn off the stroke. Then let's duplicate it and change the color of the duplicate. Let's now start scaling down this duplicated while holding Control and Shift. As you can see, this key secret portions of the same, the width skills down faster than the height. However, if we undo that and go to inset, if we zoom in, we can see that it's scaled down the path by the same amount on all sides. We can keep doing this by pressing Control plus the nine key at the top of the keyboard. How does the opposite of inset? The shortcut is Control plus a 0 key at the top of the keyboard. Using these two operations is a good way to give a border to an object. We could of course just use a stroke for this, but that would only work for a single object within set and outset, however, we can give a border to multiple objects. Let's delete this object first, then create another object here. Let's select both objects. Duplicate them, Union them with control plus. It changed the color, send it to the bottom. Now we can offset it to create a border around both objects. We can select both of these objects and instead now I've said them together as well. Next we have dynamic offset. Dynamic offset. It turns a path into a dynamic offset object. This also switches us to the node tool, and now we have this handle at the top left and lets us offset the path. As you can see when we outset, the corners become rounding. If you want to edit the nodes of this, we have to turn it back into a path first by going to Path Object Path. Let's undo all day. Next is linked offset. This will also create a dynamic offset object, but instead of turning the object itself into the offset object, it'll create a separate object that is linked to the original. Also, if we were using this on a non path object, such as a shape object, it won't turn to the object into a path. We can change the color of the offset objects we want, and we can move it, scale it, and rotate it. However it, because it's linked to the original object, modifying the original object will modify it to. We can also leave more than one offset object to the original object by selecting it and doing linked offset again, which has the shortcut Control J. The offset objects aren't linked together though. Modifying one won't modify the other, but modifying the original object will modify them both. We can also create an offset object that is linked to another offset object. We do this by selecting one of the offset objects and pressing Control Alt J again. Now if we modify the parent offset object, the child gets modified as well. And modifying the original object will modify them all. If you want to get to the parent object, we can use the handy shortcut we learned in the video about texts objects, which is Shift D. So if we have this backoff set objects selected, pressing Shift D will take us to his parent here. The shortcut is useful in case we turn off the parent objects, fill and stroke for whatever reason. Now we can't click it. We have to use Shift D to select it. Next in the path menu we have filled between pads. If we create another path appear, select both paths and go to fill between paths. This will create an object using the space between the paths. And this object is actually linked to the space between the paths. So we can't move it away from the past. Also moving or modifying one of the paths will also move or modify the linked object. If you want to unlink the objects, because select it and go to Path Object took pair. Now it's a normal path that we can modify as we wish. I'll delete this now. Next we have simplify. We actually already saw this in the Pencil Tool video, where we use it to remove nodes from past and smooth them out. Like this. What we haven't yet learned with simplifies that it actually has a threshold. The shortcut for simplify as Control L. And if we do a slowly, the threshold doesn't increase. The simplifying happens slowly. If we do a fast, however, the threshold increases, the simplifying becomes much more aggressive. Simplifies also useful for removing unnecessary nodes. For example, if we select this triangle, then go to the Node Tool, select all of the nodes. Insert some extra ones. Simplify where we move them because they aren't affecting the shape of the path. Next step is reverse. Of course, we saw this earlier when we reverse the direction of this ellipse is nodes. However, there's another cool effect that this has. First, let's create a text objects. Make it a bit bigger. Let's break apart these two paths. Now let's select the ellipse and the text object. If you recall from the video on texts objects, if you go to Text put on a path, it would normally wrap the text object around the outside of the other objects. However, it because we reverse the direction of this ellipse earlier, the text will wrap around the inside. And we can reverse it again to put this x on the outside. All right, so that's how we can perform path operations. All we have left to talk about in the Path Menu now is Trace, Bitmap and pithy fix it. We'll be covering both of these later in the course. For now, I recommend practicing all of these path operations and getting familiar with it. It's definitely a lot of information to take in and it probably seems pretty confusing right now. But the more you use them, the more since they will make. Okay, I'll see you in next video. 44. Path Operations (1.2 Update): Inkscape version 1 to a new path operation has been added called split path. This is similar to break apart except for one key difference. To demonstrate, let's create a text object with a text a, B, C, D. Let's make it bigger. Let's turn it into a path by going to Object path. Then ungroup the pads, Union the paths together. Now let's duplicate it and bring the duplicate down here. If we select the top one and go to Path, break apart, separate so the pads, but also creates new paths to fill in these empty areas inside the pads. But now if we select the other path and go to Path, split path, it also separates the paths, but it doesn't fill in the empty areas. Sometimes we'll want to have the empty areas filled in, but other times it's a nuisance. It's nice to have both options. Now, I see the next video. 45. Path Operations (1.3 Update): Inkscape version 1.3, we now have two new path Operations, fracture and flatten. With fracture. If we have two or more overlapping objects selected, it will split the Objects into all possible separate segments. It also cuts out any parts of an object that we're being overlapped by another Objects. Next, the flattened operation removes all parts of selected paths that are hidden behind other Paths. Do this previously, we had to create a duplicate of the top path and perform the difference path operations between it and the bottom path. And we had to do this for each pair of pads. So the flattened operation is definitely a big time-saver. 46. Activity: Isometric House: For this activity, we use an x in the metric grid to create a house in isometric view. Let's first open the document properties dialog. We can hide the page border here so the patient isn't getting away. Switch to the grids tab and create a new x in the metric gradient. Now we can close this out. Let's now zoom in until we can see the minor grid lines. Let's make sure we have snapping to grids turned on and let's switch to the pen tool. Let's start by creating the ground. I'll click it the major grid line intersection here. Now hold control to make it easier to move in the correct angle. And I'll go down into the right 12 major lines. Then go up into the right by 12. Think click up here and close it off. I want this to look like grass, so I'll make it green. Let's turn off the stroke. We can also give it some depth by creating a dirt part down here. I'll click here, bring it down one block, bring it over here. Click up here and close it off. I'll turn off the stroke and make this brown. Let's create another one over here. Let's make this one on darker brown than the other one. Let's work on the house now. I'll start four blocks from the front and two from the left side. Go right six box. This is going to be for the foundation of the house. So I'll go up to minor lines, bring it back over here and close it off. I'll make this a medium gray. Let's create the other side here. Step one block from the back, bring it up to minor lines here and close it off. I'll make this one a darker gray than the other side. For the small ledge of the foundation. I'll click here, bring it back to minor lines down. One click over here, click here and close it off. I'll make this a lighter gray than the front part. For the other side, I'll click here, bringing it back to one minor line from this back edge. Click here and bring it back around. I'll just make this the same greatest, the front part. Let's create the actual house. I'll click here. Bring it up one blog pestis edge of the ground. Click over here and come back around. We can make the house whatever color we want. I'll go with a tan color. Also if editing time, we want to hide the grid so that we can see everything better, bigger, press the hashtag key. Now let's create the other side of the house. I'll make this one a darker tan. Let's create the roof now. Let's first find the center of the front of the house. And easy way to do this is to draw a line from this corner to this one and another line between the other two corners. The lines intersect is the center of the house. We can now draw a line from the intersection up to how high we want the roof to go. I'll go up four blocks. I'll start drawing the roof one line down from this corner and three to the right. Then I'll go to up from the center line. And also one left so that it looks like the roof is sticking out from the house instead of flush with it. Then I'll go one below this 0.3 left. Now to right. Click up here to blow this point. Then down here and close it off. I'll make this a dark gray. We want to select all of these lines we've made here. Duplicate them and bring them to the back of the house. We can click here. Then three lines pass the House above and one to the left of the center line. Finished up a path. Before we change the color, Let's delete these extra lines here. I'll make this partner brighter red than the front of the roof. The closing this front part of the house, because simply go to the Node tool, double-click the top segment here to add another node and bring it up here. We can also add a shadow here. I'll make this the same color as the dark side of the house. Now we need to switch this Select tool and click the lower one step button into this path goes below the roof. I'll put it below this line as well. Before we delete these front lines, Let's use them to help us create a center door. I'll start with this major line here and three minor lines left from the center. Then three right from the center to the bottom and finish it up. I'll make this the same rate as the front of the roof. Let's create some lighter parts in here. I'll go in and down one from the top left corner, down one pass this major line. I'll make this the same color as the light red roof part. We can actually duplicate this now and bring it down here. For the door handle. I'll turn off snapping for the moment and create an ellipse over here. I'll make it this light gray here and move it into place. Let's rotate it just a bit. Let's turn snapping back on. Next, create some windows on both sides of the door. I'll start three lines in from this side of the house and on the same line as the top of the door. Bring it down to three lines from the bottom of the door. And I'm going to make it so the window is moving inward sum, and this will be part of the frame. I'll go in one up three over here, three lines from the left of the door up one back over here, up for and close it off. I'll make this the same color as the dark part of the door. Let's create a brighter piece here. How maybe the same red as the bright part of the door. Now, duplicate this and bring it down to the bottom of the frame. Now let's fill in these two areas with blue paths. Let's put a border around the window as well. I'll make it one minor line bigger than a window. Make the color a very light gray. This inner blue, all the window pieces. Let's select all of these pets here, and let's cook them with Control G. Then its hold Control, grab this handle and scale it down some so it's inline with the top of the door. It's not quite following the grid anymore, but that's fine. Now we can duplicate this and bring it to the other side of the door. We can also put a couple of these windows on the other side of the house. We can do this easily by duplicating the window and flipping it horizontally, then moving it into place. Let's double-click to enter the group and make the colors a bit darker. I'll make this outside a slightly darker gray. I'll make the blue ones slightly darker as well. I'll make the light red pizzas the color of the dark red piece. Now make the dark red piece a bit darker. Let's select an object outside the group to get out of the group, let's send the window below the roof. We can duplicate it and put another window over here. You can try creating a circular window from the top front of the house. Let's switch this circles and ellipses tool. I'll start one line to the right of the doors, left side, and three lines up from the top of the door, then drag a peer making it sewage one line left and the right side of the door. And maybe one minor line up from this major line. We want to rotate this a bit, so a follow-up perspective better. We don't really have to worry about getting it perfect. Let's make this too dark right of the door. Let's give it a stroke that's the same gray as the border of the other windows. I'm going to make the stroke a bit smaller. Now I'm going to hold Control and Shift and make the whole window a bit bigger. Let's turn the stroke into a path by going to path stroke to pair things like the ungroup button. Now we have these two separate paths. Let's duplicate the red one. The blue of the other windows. Turn off snapping for the moment. Bring this up into the right sound. Let's duplicate the red one. Shift, click the blue one, and go to Path intersection. They move this below the border. Let's turn snapping back on. We can also delete these lines now. Next let's add some steps in front of the door. I'll start at the top of the foundation here, one line to the left of the door, then out three over here, one line to the right of the door and complete the path. We can actually Union this with the top part of the foundation. Now let's create the front part of this step. Make it the same color as the dark part of the foundation. Then create another step here. But only come out two lines. Let's duplicate this front piece and bring it down here. Let's create a path to fill in this area here. Let's make it the darkest gray over here. We can also create a sidewalk going out to the front end of the yard. Make it the same width as a door. We can make this a pretty light gray. Let's finish up by adding some trees to the yard. What we needing snapping anymore and we can turn off the grid now as well. Let's draw a large circle over here. For the color. I'll go with a darker version of the grass color. A bit more yellow as well. Let's draw a bunch of small ellipses around the edge of this circle. Okay, now let's select all of these and union them. Now make it a bit bigger. Let's duplicate this and make it a slightly brighter green. Let's move it up into the left sum. We can also flip it horizontally so that the sides don't look too similar. And we're going to adjust the size. Let's create a circle one here. Let's make it the dark green. Let's duplicate this. Make it another color, and move it up into the left of it. Let's select both of them and go to path difference. Now we just have this crescent shape. We could duplicate this and move it to different parts of the tree. We can also duplicate one of these, make it a bright green. Flip it horizontally and vertically. It puts them at the top of the tree for a highlight. Alice group all of this. Let's create a long thin rectangle here for the trunk. Now make this the brown color of the dirt here. Certainly into a path by going to path, object to path, and switch the node tool and round the bottom segment here at B. Let's move it below the top part of the tree. For a shadow on the trunk, let's create another rectangle overlapping some of the right side of the trunk. Let's make it a darker brown. Now let's duplicate the Trump. Shift. Click the rectangle, and go to Path intersection. Let's move it below the top part. You can give it a shadow here as well by creating an ellipse here. Duplicating the trunk. Shift, clicking the ellipse and go into path intersection and move it below the top. Also creative ellipse at the bottom of the trunk for a shadow on the ground. I'll make it a darker green in the grass and move it below the trunk pieces. We can group all the three parts together, then duplicate it, and move it to different places in the yard. There we go. I encourage you to continue working on yours. Like maybe add a street here with a car or something. All right. I'll see you in the next video. 47. Cloning Objects: In this video, we're going to go over how to clone objects. Let's first create an object. To clone it. We select it and either click this button, the command is bar. Go to Edit clone, create clone. We can also use the shortcut Alt D displaces the clone directly on top of the original object. Let's turn off snapping for now. At the moment, you might be thinking that cloning objects seems the same as duplicating or copying and pasting them. However, the difference with clones is that they are linked to the original objects. If we modify the original objects, the clothes get modified as well. We're also limited to how we can modify the clones of themselves. For example, we can't modify it with a new tool or the shape tools. We can't however, transform it and it doesn't affect the original object. Also, if we try changing the fill color of the clone, although the color appears to change down in the status bar, it doesn't actually change on the clone. Unless that is we unset the original objects, feel colored. To do this, we select the original object. And in the fill and stroke dialogue, we click this question mark button and it filled tab. I'll do the color is now displayed as black. If we look in the status bar, it actually says on say, We are now free to change the clones fill color. We could do this with a stroke as well by selecting the original object, go into the stroke paint tab and clicking the unsaid, but whoever it mine is already unset. So I can go ahead and change the clones stroke. If we set the original objects colors again, however, the clones colors will change as well. The clone stroke style was also linked to the original object stroke style. So changing something like the original objects stroke width, for example, was to change the clone stroke width. If you want to unlink a clone from the original object, we select the Clone and either click this button then command is bar, or go to Edit clone only clone. This is a separate object so we can modify it however we want. Modifying the original object doesn't affect it. If we undo a few times to make the object of cloning again. We can also unlink the clone by deleting the original objects. If we look into Edit menu again, we see that we also have an option to unmute clones recursively. For this, let's create a few clones of this object. I'm doing this with all D and moving them out of the way. Now select a couple of clones and group them with Control G. Let us select the group and another clone outside the group. If we click this button here for normal unlinking, it will only unlinked selected clones that are not in a group. Now this one is unlinked. The two in the group are still linked, as we can see if we change the original. Let's undo a few times and select the group as single clone again. Now if we go to Edit clone an enclosed recursively, these two are still in a group, but now all three of the objects are unlinked from the original. The next option we have here is really two copied. For this, we need to create another object. Let's turn off the stroke. Let's copy it into the clipboard with Control C. And we can go ahead and delete these objects now because this only works with come's. Next, let's create a clone of this object again. With the clone selected, let's go to relink to copy. A clone has now been unlinked from this object, every link to this object that we copied to the clipboard. So now it's a clone of this object. Next in the Edit menu, we have this shift D shortcut that we've used a couple of times before. The shortcut really becomes useful with clones. To demonstrate this, let's make a lot of clones of this object again and scatter them around. Later, we might forget where the original object is to get back to it, because selected clone and press shift D, This gives us a dashed line pointing out the original object and it also selects the object. Just a couple more things with clones for this video. First, we can make clones of clones. If we take this clone and clone it with all indeed, it creates a new clone which is linked to this clone. If we change this clone, is clone changes as well. And if we change the original object, this column will change, which will cause this clone to change. Also, if we link this clone to this copied object, its colonial re-link as well. The point is that we can have multiple levels of clones if you wanted to. Finally, if we group the original object by itself, by selecting it and pressing Control G, this new group object is actually treated as a separate object. If we modify it, it doesn't modify the clones. However, if we double-click to enter the group, then modify the actual original object. It will modify the clones. If we get out of the group, then ungroup it with Control U, we can now modify the clones like normal. Let's create another object down here to clone. But before we clone it, let's group it first, then cloned the group. Because it's clone is a clone of the group. If we modify the group, it will modify the clone. Another thing we can do is enter the original group and add more objects to. These objects will be automatically cloned as well. All right, all we have left to talk about for clones are these create tower clones and clone original path options. Corner original path is actually a path effect. And there's not much we can do with it until we talk about path effects later in the course. And there was a lot to creating talent clones. So we'll talk about this in a separate video coming up next. See you there. 48. Cloning Objects (1.3 Update): As we learned previously, when we drag an object around with the select tool, you can press the spacebar to place a duplicate of the object and the current location. Bone Inkscape version 1.3, we can now also press the C key, which will create a clone of the object and the current location. If you modify the original object, we will modify its Clones as well. 49. Creating Tiled Clones: In this video, we're going to continue our discussion by learning how to create clones with the great Tao clones dialogue. To duck the create table clones dialogue, it go to Edit clone, create Taylor cones. As you can see, we have a bunch of stuff in this dialogue. Let's go ahead and create an object and get started. My objects says the stroke is unset, so a shift click the X here to turn it off completely. Otherwise the clones will get a stroke and we won't be needing snapping for this. The first step we have here is symmetry. If we drop down this box because see we have many different options. Let's just leave it on simple translation for now. Down here we can choose how we want the tower clones to be created. We can either put them in a specified number of rows and columns were placed them all within an area of a specified width and height. For this time, Let's go with four rows and five columns. And let's click Create. Now we have four rows and five columns of clones. It tells us down here that we have 20 tower clones. Note that this actually creates a clone on top of the original object. Right now we have the original objects selected, but if we click here, it will select the Clone on top. We can press shift D to select the original game. Then we could raise it to the top. Like with the normal clones. If you multiply the original object, the clothes get modified as well. It's undo that. Let's try it again with the width height setting. I'll use 300 by 500 millimeters. Now we can click Remove if we want, which would delete all of the clones. However it clicking Create, we actually delete all the current clones bursts, so we can just click Create. Now we have cones building up an area that has at least 300 by 500 millimeters. I say at least because if we select them all, we can see that it's actually slightly more than 305500 millimeters. This is because Inkscape will keep creating the cloned into a filling up the area we specify here. But depending on the size of the original objects, it might have to go over a bit. Another thing we have here is this checkbox that says Use Saved size and position of the tile. If we have this checked escape will retain that the size and position of the original objects bounding box are the same as the last time we tell the object. To see this, let's lower this clone to the bottom. Then select the original object to change its size. If we click Create now we get the same result because Inkscape pretends that the original object is still taking up this area. Because see this better if we click Remove first, then create. Now if we uncheck this option, then click Create. Escape will use the new size and position of the objects bounding box to create clones. Let's check this again. This unclaimed button here will randomly spread out the clones in order to reduce the clumping. We can do this repeatedly. Let's remove all of these clones and switch back to rows, columns. Let's check out some of the options we have for symmetry. As we saw, this simple translation option just lays out the clone side-by-side. The next option is 180 degree rotation. This will tell other clones so that each column is rotated 180 degrees from the previous column. However, rotating rectangle is 180 degrees, of course doesn't have any visible change. We need to create something like a star. Let's select the star and hit Create. The second column is rotated 180 degrees from the first column, then the third column is rotated again and so on. Let's see what else be happier. Reflection will flip each column of clones horizontally. Glide reflection will do the same, but with rows. The rest of the apps are pretty similar to the first floor. Where are combinations of them? Like glide reflection plus a 180 degree rotation. These dense and sparse ones are kind of cool. You can get some neat effects with these options are here. And I invite you to try them all out. But for now, let's put it back on simple translation and switch this shift tab. The reason we need to set it back to the default here is because all of these tabs actually works together. When we click Create, it will use all the settings and model the tabs when telling the clones. In the shift tab, we have options for shipping the positions of the clones. Biggest shift horizontally and vertically, both in rows and in columns. And actually the rows and columns are already shifted, which is why if we click Create again, the clones aren't on top of each other. The roads are shifted vertically by a 100% of the original objects height. The columns are shifted horizontally, or 100% of the width. This tab actually lets us add extra shipping. Before we start, let's get rid of the current clones. We can click the Remove button. We can select all of the clones, being careful not to select the original object under this first clone. Then press the Delete key and select the original object. The values we place in here are percentages of the object size. If we put a tin here, each row was shift horizontally by an extra 10% of the object's width. Let's give this a try. Switch row actually starts in the previous roads Exposition. This shifts to the right by 10% of the width. We can also use negative numbers to shift to the left. And we can shift the columns horizontally as well. Randomize here will randomize the amount of shipping. If we set this to something big, like 50%, the client will be all over the place. We can keep doing this if we want. Let's set all three of these values back to 0. The next row of values which shift the clones vertically. This time the values are percentages of the original objects height. If you use negative numbers were shipped y per row, the counter start to overlap each other. This is also true for shift expert column. Set these back to positive numbers. Exponent. Here we had an exponent to the shift, making the effect more dramatic. If we set these to a number that is less than one, like 0.5, the clones will converge. Higher than one, they would diverge. Let's set this back to one for now, which is the default. With alternate, we can make it so only every other row and column is shifted by the values we set. Cumulate will add on the shifting of mouth from all the previous rows and or columns. Finally, exclude tile will exclude the size of the original object from the shipping. A bunch of them all up. So if we set all of these back to 0, the clones will be in the same position. We could do this for just rose or just columns. This is actually a shortcut for applying negative 100% shifting for rows and or columns. Now let's switch back to the symmetry tab. Let's select a different option. If we click Create now, see that a clone said this effect applied, but I've also had the width excluded from the shifting. This is because we left this option checked in the Shift Tab. Unless we want the settings who carry over to the other tabs, you have to make sure to reset them first. We can do this easily by clicking the reset button down here. And it's plotted actually resets the shift, scale, rotation blur and opacity and color tabs all at once. Whoever it doesn't reset the symmetry tab, let's put it back into default. Next we have the scale tab. The settings here work the same as in the shift tab, but instead of affecting the positions of the clones, the effect size, you put some values in here to see how this works. Something new we have in the scale tab is this base setting here. This is actually for setting the base for logarithmic spiral. But for this to work, we need to use it in combination with the settings and rotation tag. Let's reset again. Move over to the rotation tab, the rotation tablets to do exactly what the name suggests, which is to rotate the clones. We can set the rotation angle per row and per column. You can see this even better with the rectangle. We can also randomize rotation. If we want liquids shifting and scaling, we can alternate and cumulate them. Let's remove these clones and switch back to the star by clicking this clone and pressing Shift D. The rotation here is actually happening around rotation center of the object. If we bring the original object at the top, you can move as rotation center somewhere else. If we want. For this to work, we need to uncheck the Use Saved size of position option. If we click Create now the clones rotate around the new rotation standard. Whoever this is a bit of a mess right now, because the clones are being shifted. If you want them to more of a circular pattern, it can go to the Shift Tab and check both exclude tile options. Click Create. Now the cleanest form part of a circle around the rotation century. We can move the rotation center to add or remove spacing. We can also move the rotation center back to original object and rotate the object, which will also rotate all the clones. Let's leave these exclude options checked. Let's go back to our tastes and tab and create a perfect circle. To do this as better to only use either rows or columns. Let's go with rows, ten rows and one column should work. To get the proper angle for each clone needs to divide 360 by the number we used here. So 360 divided by ten is 36. Because we're working with rows, we have to put it in the per row box. Let's set per column and randomize back to 0. We also need to turn off these options. Now we just need to move the rotation center somewhere and hit Create. Now we have a perfect circle of clones and we can adjust the size, but moving the rotation century. If we want a more stars like 15, we can put 15 here. Then for the angle 360 divided by 15, which is 24. If we wanted to work with columns instead of rows, you can just switch these values, but we would get basically the same result. Now let's switch back to the scale tab. You see how we can use basic crater logarithmic spiral. First because we're working with rows, we need to set scale x and scale y for rows. Four should be good. For base. We said these two a number smaller than one, like 0.5. The spiral will converge to the center. If we set it to something higher than one, like three, it would diverge. Values don't have to be the same, but if they aren't, close will be distorted. Like this. Let's make them the same again. And again. We can move the center of rotation. We can also do things like make the spiral longer by adding more rows. And I encourage you to play around with settings. But for now, as we said, everything is switched to the blur and opacity tag. The blurred opacity tab is pretty straightforward as it just allows us to set the blur and or opacity percentage per row and column. We could change some of these values to see how this works. I'm going to change back to four rows and five columns, as well as recheck, they use saved size and position option. I'll go in as an entirely necessary. Now let's click Create. Now they're clones become more and more blurry and transparent. We can also randomize this and alternate. Let's reset again and head to the color tab. The color tab allows us to change the colors of the clones. First we select the initial color, which we can do by sliding these around or by using the eyedropper button to choose a color from the Canvas. Next, we set it so that each row and row column changes by a certain percentage and hue saturation and lightness. If you go to the fill and stroke dialogue, who is the actual color? And as we saw in the previous video, in order to change the colors of the clones, we have to first unset the original optics color by clicking this question mark button. Now if we go back to the Create tau clones dialogue, we can give us some values are changing the hue and click Create. Next we have saturation. If you click the initial color button, you can see that the initial color is actually already a 100% saturated. So putting positive values here won't do anything. We can either D saturate the initial color or we can use negative numbers to desaturate the clones. Now that become more and more grey. Finally, we have lightness, which we can use some brighten or darken the colors. Because the initial color is already pretty light. These clones down here became white. We can fix this by lowering the lightness and the initial color. Let's reset again, move to the final tear trace. This allows us to choose how the cones appear based on an image or drawing that is underneath the clones. First, we have to check this box to enable tracing. In section one, we can choose what to pick from the background image or drawing. We could choose color, opacity, or specific attribute of the color. In section two, we can tweak the pig the value. We can gamma correct it, randomize it and invert it. And it's actually three. We could choose to apply the value to the clones presence, color, size, and opacity. So as you can see, there are many combinations would be to use for Tracy, I think the best way for you to learn all this stuff works is by testing it out yourself. For this video, we'll just do a quick demonstration. First, let's create an object for the background drawing. I'll go with a circle. We need to make it pretty big. Let's give it a fill color and a radial gradient. Next, let's switch to the gradient tool. Select this stop, then bring the alpha channel all the way up. Now set the color to white. We could then ask them more stops in here and give them some random colors. For the object to clone, I'll go with another smaller circle. In order to apply the color changes to this object and the tracing, we have to unset at least as fill color. Let's switch back to the great Tao column is dialogue will leave this on color here and here for down here, let's use the width and height of the background object. For me is about 340 by 40. Now let's select the smallest circle again and click your eight. Alright, so we'd get our clones matching the colors of the background object. We can also set it to apply to the clones opacity. For this, the brighter the background color is good, more transparent, that clone will be similar for size. The brighter the color, the smaller the clone size. Process. We'll use the colors to determine whether or not to create a clone there. Because see this better if we turn off these other options first. I'm not sure exactly how this works. We actually get a different result with this each time we click Create. We can also set it to pick the backgrounds opacity values, but our current background doesn't have any changes in opacity. I invite you to try out different objects and images with this and tested all of these settings. And that's how we can create towel clones. If you know a lot about math, you can get really crazy with this stuff in this dialogue. And I recommend taking the time to get the hang of it all. But for now I'll turn off trace and close mine out, and I'll see you in the next video. 50. Activity: Bees and Honeycomb: For this activity, were used to create towel clones dialogue to create a honeycomb. We'll also add some bees to it. For the shape of each honeycombs cell will use the hexagon. Let's squish the stars and polygon's tool. Choose the polygon mode, set corners to six, and with rounded and randomized set to 0, Let's start creating a hexagon. Let's hold control and make it so the point under our cursor is at the bottom. Before we clone, let's shift click the red X down here so that it says none for the stroke. Alice open, they create towel clones dialogue by going to Edit clone, creates our clones. Down here. Let's make sure we're on rows, columns. It doesn't really matter how many rows and columns we use. So I'll just go with six rows and six columns. If we click Create right now, the result isn't exactly what we want. We actually want to shift every other row by two-thirds of the original objects with and we want to shift each column by 1 third of the width. So let's go to the Shift Tab. And for shift X per row set to 66.6%, for shift expert column percent to 33.3%. If we click Create now, it shifts every row. Let's check the alternate option for per row. Okay, That's better. There's a little too much space between the cells. To fix this, let's make sure we have used saved size and position of the tile here checks. Let's turn off snapping. Now switch to the select tool, then hold Control and Shift and scale up the original object. So maybe a little more. Okay, That's good. That's removed the clones. Let's make it so they have different colors. First, we have to unset the original objects fill color by going to the fill and stroke dialogue. And under the field tab, Let's click the question mark button. Now back into creates our clones dialogue that switch to the color tab. Let's click on the initial color swatch here and set it to an orange. Let's also put the lightness near the center. Okay, Let's close this out. The only thing we want to change in here is the lightness per row and per column. We don't want to use numbers that are too big because the cells will start becoming too bright or too dark. I'll go with 2% for each value. Let's also set randomize here. Around 20% should be good. Now we can keep clicking Create until it gets something we like. I'll stick with this one. Okay, we're finished with creates our clones dialogue. Let's click Reset and close this out. We also won't be needing the original object anymore so we can press Delete to get rid of it. Also delete some of the cells around the outside to get the Honeycomb a bit more of an organic shape. Now let's work on the b's. First, let's create an oval for the body. I'm going to switch to the color picker tool and click one of the darkest cells. Then I'll switch to the fill and stroke dialogue and make it a bit darker. Now let's create another oval for the head. Let's give them a stinger as well. For this, the swishes its stars and polygon's tool, change corners to three. Start creating a triangle. Let's hold control and make it so the point under our cursor is facing left. Now let's move it onto the body. Let's select all three of these objects, go to the align and distribute dialogue and align them horizontally. We can also turn them into a single path by going to path Union. Next, let's create some stripes for the B, especially the squares and rectangles tool and create a rectangle here. And let's set the fill color to one of these brighter oranges. Now let's switch to the select tool and duplicate this. Then move the duplicate to the right. And let's do this a couple more times. Now let's select all of these rectangles. Let's click this button, align and distribute dialogue to make the horizontal gaps even. Now let's Union these. Next, let's select the path duplicated, Shift-click the stripes, and go to Path intersection. Okay, Now let's give the BMIs. Let's create a circle at the front of the head. Let's turn it black. Now let's duplicate this circle. Turn it white, shrink it down while holding Shift and Control. Then move it over here a bit. Let's select both of these circles, group them with Control, G, duplicate it and move it down here while holding control. Now we can group the two eyes together essentially then horizontally with the body. Next we'll create some wings. That's quite an oval over here. Let's make this oval a bright orange. Then switch to the select tool and rotate it so we can adjust the position and size as well. Now let's duplicate this and let's make it the same color as the stripes. Then this rotated some more and reposition it. We actually want this part to be under the bright part. So let's click the lower one step button in the Control bar. Now let's select both of these and group them, then duplicate it to mirror this over to the other side of the B-H plus turn snapping back on. Then enables snapping to rotation centers down here. Now let's click the group again to get the rotation handles. Then strike the rotation center down here until it snaps to the body's rotation center. Now if we click this flip vertically button up here, it will flip it along the center of the B. Finally, let's create the bees antennae. Use the pen tool for this. First I'll click in the eye and it's okay if we snapped to the rotation center here, then I'll click drag up here until I have a nice curve. Then right-click to create the path. Let's go to the fill and stroke dialogue and increase the stroke width a bit. Now we can mirror this over the same way we did with the wings. So let's switch to the Select tool. Duplicate the antenna. Click the duplicate, snap the rotation centers of the bees rotation center. Then flip it vertically. Select both of these and group them. Then move it below the rest of the B. Okay, now let's select all of the B parts and group them. Then we can rotate it and resize it and put it where we want it. Let's turn off snapping. I'll duplicate this and put one up here. Okay, that should do it. I'll see you in the next video. 51. All About Layers: In this video, we're going to talk about how to use layers in our drawings. If you've ever used any digital painting software, you're likely already familiar with layers, which allow us to later parts of our drawings on top of each other without damaging the parts underneath. With vectors, software like Inkscape, we don't really have to worry about damaging our drawings. Players can still be pretty useful, such as when we're using background and foreground elements. To start working with layers, we conduct the layers dialog either by going to Layer, layers or by clicking this button in the command spar. So as you can see by default, we actually already have one layer labeled layer one. And anything we draw on our Canvas right now will be placed in later one. So let's go ahead and create an object. To add another layer. You can either click this plus button down here, or we can right-click the layer in the list and go to Add layer. Or we can go to layer and layer. All of these will bring up this Add Layer dialogue. Here we can give the layer name and we can choose whether to place it above, below or as a sub layer, the current layer. Let's choose above current and click Add. Now we have this new layer above layer one. We've been switched to it. So if we draw an object now, it will be placed in layer two. Each layer has its own z order. So all objects in the layer will always stay above all objects in the layers below it and vice versa. To select a layer, we have a few options. You can click on it in the layers dialog. You can choose it in the status bar, which also shows our current layer. We can switch to the layer above or below the current one from the Layer menu. Or we can just simply click an object that's in a later we want to select. Now we're on layer one. Let's add a new layer, which we can do the shortcut Shift Control N. Let's put it below layer one. Let's create an object in this layer. As you can see, the objects is automatically drawn underneath all the objects in the layers above it. Back in the layers dialog, where these buttons down here that we can use to move the layers. This first button will raise the current layer all the way to the top. Now this object is above all the other objects. The button at the end does the opposite. Lowering the layer all the way to the bottom. The buttons in-between will raise and lower the current layer by one step. All these options are available in the later menu as well. Another way we can move a layer by dragging it in the list above and below other layers. And if we right-click the layer and the list, we can raise or lower the step from here. Another thing we could do from the right-click menu is rename a layer. You can also do this from the Layer menu. For easier way to rename a layer, you can just click its name in the list and type a new one. If you want to duplicate a layer, we can right-click and go to Duplicate current layer, which is also available in the Layer menu. Now a copy of the layer has been placed above it. And this also duplicates all the objects in that layer. To delete it later, we can right-click and go to Delete current layer, or choose the same option at the bottom of the layer menu. Or click is minus button in the layers dialog. This deletes the objects and layer as well. We can also hide and show layers with this I button. If we look at the layers in the status bar, invisible layers have grayed out names. We can select it here and make it visible either by clicking the I button here or in the layers dialog, or by going to Layer, Show Hide current layer. Another option we have is to lock and unlock layers by using this lock button. If the layer is locked, we can't select or do anything to any of the objects in that layer. The status bar lock layers have brackets around their names. We can select it and unlock it here or here. Or by going two layers, lock, unlock current layer. Locking layers as great for creating backgrounds for our drawings. Let's create a layer below all of these layers. Name it background, and create a gray rectangle or something to use as a background. So right now we can click and move around objects in the background layer and we can create objects in it. We probably don't want to accidentally do this while working in the foreground layers. So we can lock the background layer. Now we can't move anything or create anything in the layer. If we do create an object in the wrong layer, we can select it and go to the Layer menu and choose either move selection to layer above, move selection to later below, or move selection to layer. This last option is also available if we right-click the selection. If we click it, we get there. Move to layer dialogue, where we can choose the layer and click Move. Now the subject is in the later we chose. If you right-click the layer in the list, we can see some other options we have for hiding and locking layers. We have Show Hide other layers, hide all layers, lock all layers, etc. Another thing we could do is add sublayers to a layer. To do this, we select the layer, open the add layer dialogue, and choose as sub layer of current. Now we have a sub layer, as we can see by the indentation next to the name. Because see this in the status bar as well. Let's create an object in it. If we hide our luck, the parent layer, all the sublayers will also be hidden or locked. And if we delete the parent layer, the sub-layers will be deleted as well. Let's undo that. To turn a sub layer into a normal layer, you can just drag it out of the parent layer. And another way to create a sub layer is to drag a layer on top of another layer in the list. Finally, at the bottom of the layers dialog, we have some options for changing the layers appearance. First, we have a blend mode. We actually already saw this in the fill and stroke dialogue, where it allows us to change how an object's colors blend with the colors of the objects beneath it. It works the same way in the layers dialog buffer entire layers. I've asked you to play around with these if you haven't already. And down here, we can change the blur and opacity for an entire layer, which is pretty convenient. So that's it for the layers dialog. We can go ahead and close it out. Now if we want, really, unless we want to use these appearance options, we usually don't need to open the layers dialog because as we've seen, most of the options are available in the Layer menu. Most even have shortcuts. However, sometimes it's just nice to have this as a visual aid. Before we go a select all that we've been using with control a actually only selects all the objects in the current layer. To select objects and all layers, we have to use select all and all layers or control or to a, be aware, however, that this only works for layers that are visible and unlocked. So if we lock a layer, use control or to a, the objects in that layer won't be selected. Alright, so that's how we can work with layers. See you next video. 52. All About Layers (1.2 Update): Before Inkscape version 1.2, we add separate objects and layers Dialogues. Now the two dialogues have been combined into the layers and objects dialog, which we can find either in the Layer menu or in the object menu. If we open it, it will show all of our layers here. If we hover over a later to get the buttons for hiding and lucky in the layer. And we can add a new layer with this button. If we create an object in the layer. We can also see the object in the list under the layer that shows is the default label Inkscape gave to the object, which we can double-click to enter a new one. Now shows us what kind of objects that is with this icon next to the label. We can also hide and lock objects here. And if we right-click an object in the list to get basically the same options we get when we right-click it on a canvas. This exit, the top right, we can delete an object with this button over here. We can make it so it only shows the layers. How are these two buttons? We can move whole layers in the list. Or if we create another object in this later, we could change the order of the objects in the layer. The color of an item in the list is the highlight color we get. We hover over the item in the canvas with the node tool. You can change the color by clicking the color bar on the right. Another thing we could do it here is if we hold Alt and hover over an item in the list, again, highlight just a certain object on the canvas or an entire layer. If you hold Shift and click the Show Hide button or the lock unlock button of a layer. It'll perform the operation and all the other layers instead. Also in the status bar, we no longer have a box here that we can open the switch between layers. This is now a button that will open the layers and objects dialog. Alright, that's it for the layer updates. Later in the course. We'll have a video on both the object properties dialog and the objects dialog. If you're using version 1 to feel free to skip the second part of the video, which pertains to the now non-existent objects dialogue. Okay, I'll see you the next video. 53. Clipping Objects: In this video, we're going to learn how to use clipping and Eastgate. To start, let's create a few objects. Let's turn off snapping. To do clipping, we place one object on top of another. Select them both. Then either right-click and choose Set clip or go to Object clip. And what this does is it takes the top objects, which becomes the clipping path and uses it to define the visible parts of the bottom object. So basically, any parts of the bottom object that are within the top object stay visible in any parts outside of the top object become invisible. We can transform this as if it's one objects. If we switch to the Node Tool, we can modify the clipped object itself. If we toggle on this button here and the control is bar, we can now also modify the clipping path. I'll turn this back off for now and switch back to the Select tool. Release the clipping. We can either right-click and choose released clip. We'll go to Object, clip, release. Now these are two separate objects. Again. If you put these two objects together and put this one on top of them, then select all three. Right-click and go to psych clip. We'll actually use a separate copy of the clipping path for each objects. So these two clips objects are separate. If we release them, we can see that it actually created a duplicate of the top objects. We can go ahead and delete one of these. Now if we group these two objects first with Control G, put this one on top. Select them all. Setting the clip will clip the whole group with one clipping path. Also, we can still enter the group like normal and modify each individual objects. We can even pop one out of the group and it will no longer be clipped. Let's undo that. If you wanted to clip an already clipped object or group again, we first have to select this and grouping. Let's recreate a group of the clip, the objects and the clipping path. Now we can create another object on top of this. Select them all. And cyclic. Let's release this clip and delete this object before we can release the clip of this group. Now, the first set to ungroup it. Now we can release it. Let's think of something else we can do when we grew clipped objects together with their clipping path. First, let's get this object a blur selected and the object Group right-click and cyclic. As you can see, that ignores the style of the clipping path, including its fill and stroke. It just uses this shape to cook the objects. Now let's release the clip. Remove the blur from this objects. Let's blow the object group. Right now the blur is spreading beyond the shapes of the objects. But if we select these and set that clip, the blur now remains within the clipping path. We can increase or decrease the blur here, and it will remain within the clipping path. If you want the blur to spread outside of the clipping path, we can do so by first grouping the clip objects and Clippy path together. The group is treated as a single object. So we add a blur. Now in blurs the whole object. Ungroup. The blog is clipped again. Now we can release the clip. Let's turn off the blur of this group. A similar thing we can do is create what's called a clip group. But you see this if we right-click an object or a group of objects, we have an option that says create Clip Group. What this does is it will group the selected objects. Then we'll create a clone of the group and use that Colombia is a clipping path. Then replace all of this into a clip group. So we can go ahead and ungroup these now. We can right-click and choose Create Clip Group. He doesn't actually appear that anything happened besides these two objects being grouped. But if we add a blur now, we can see that they're also being clipped. If we release the clip now, you can see that we had this group of clones, the scope of the original objects. And this group right here is actually a group within a group. This is why we can modify it without affecting the clones. As we learned about in the video on cloning objects. We ungroup this. However. Now we just have one group of the original objects. So modifying it will modify the clones as well. Another thing we can do with clip groups is add more objects to them to be clipped. Whoever this really only works well if we first create a clip group with just one object. So let's create an object down here. Right-click and create clip group. Let's double-click to enter the clip group. We can now create more objects inside this clip group and there'll be clipped as well. Because the object that is clone is actually another group here created with the original object inside it. We can enter this group and add more objects to it, and these will be cloned as well. So there's a lot we can do with the clip groups, and I encourage you to experiment with them some more. But for now, let's select an object appear to get out of the groups. Clipping is also very useful for cropping images. To demonstrate this, how important is watermelon image that we've used in a previous video. So if you wanted to crop this image so that we can only see this front slice of watermelon. Switch to the pen tool, then create a path around the slice. We can then select the path and the image. Right-click and set click. There we go. Pretty simple. Homer thing we can do with clipping is inverted. Let's create a couple of more objects and put one on top of the other. To set an inverse clip, we select the objects and go to Object clip set inverse. This actually performs two operations. Firstly, does a normal clipping by using the top object to clip the bottom object. Then it hides the unclicked part and shows the clip part. If we undo once it goes back to normal clipping. If we undo again, removes the clipping, we can also go ahead and do their normal clipping step first, then set the inverse. There's a little bit more to inverse clipping, as we'll see when we learn about pet effects later in the course. And in the next video, we'll talk about masking, which is similar to clipping. See you there. 54. Masking Objects: In this video, we'll discuss how to use masking in our drawings. Masking is similar to clipping and then it allows us to visually crop an object or group of objects. However, masking as the Edit feature of transparency. To see how it works, let's first create a few objects. Let's give them different colors. The steps to masking an object are similar to clipping and objects. We put the object you want to use as the mask on top of the object or group of objects we want to mask. Select them both. Either right-click and choose Set mask or go to Object mask set. Alright, so the bottom object has been clipped by the top object so that we can't see any part of it that it's outside the top object's shape. This is the same as clipping. However, unlike clipping, There has been some transparency applied to the mask objects, which is why it appears to be a lighter shade. Now, you can see that it is transparent if we drag it over another object or the page border. Just like with clipping, we can transform the mask and mask objects together. We can also change the color of the mask objects. If we switch the node tool or a Shape tool, if the mask optic is a shape objects, then modify just the mass the object by itself. If you go to the Node Tool and toggle on this button up here in the controller's bar. We can also modify just the mask by itself. To release the mask, we can either right-click and choose Release Mask or we can go to object Mask Release. Now the two objects are separate again. Start talking about how the transparency works with this. So what masking does is it uses the lightest and opacity of the mask to determine the opacity of the mass, the object. Areas of the mask that are fully white and fully opaque will become fully opaque in the mass object. Areas of the mask that are black or fully transparent will become fully transparent in the mask object. So if we change the fill color of the mask to white, let's give it a stroke as well. Then select these objects and go to Set mask. The mask object is fully opaque. And if we release the mask, then set the masks fill color to something close to black, like this dark gray. Set the mask again. The mask object becomes nearly fully transparent. This also works if we reduce the opacity of the mask. So if we release it and set the mask back to white, then lower its opacity and set the mask again. Caused the mass objects opacity to be lowered as well. Let's undo all of that. We can also give the mask or gradient. For this, let's use a text object as the mask. Let's just create one down here for now and give it any text. Let's make it bigger. And give it a black fill. The fill and stroke tab. Let's give it a linear gradient. Let's actually works much better for you as black and white instead of opacity. So switch to the gradient tool. Select this stuff on the right. Reads the Alpha all the way up, and set the color to white. Now let's give this up with a different color. Let's group these two. Then let's put the texts object on top. Select them all, and set mask. Now we have this mass going from fully transparent on the left to fully opaque on the right. We can also use an important image as the mask. For this are important uses. Grayscale mountain image, which I've also provided as a downloadable resource. You can use any image to follow along with this. But just be aware that masking works best with gray scale images. You might not get the result you want with color images. Now let's create an object over this. Give it a different color and raise the opacity is lowered to the bottom and select it and the image. Then right-click and set mask. We can change the color if you want. Now if we raise this to the top and move it over another object, you can see that it goes from mostly opaque enough background to mostly transparent in the foreground. If you want to invert this, we have a set inverse option and an object Mask. Whoever, at least in my version of Inkscape, this doesn't work straight away. And just like with inverse clipping, this is actually a path effects. And we'll see how to get it working when we talk about path effects later in the course. We'll also learn some other things we can do with it. And finally, like with clipping, if we give this an effect, they usually spreads outside the object, such as a blur, it will stay within the mask. However, if we undo that, then group these together first. Now we can blur the group as a whole. If we ungroup, it goes back to keeping the blur within the mask. Alright, so that pretty much covers how to mask objects for the time being. So I'll see you in the next video. 55. Activity: Mango With Reflection: In this activity, we'll use a mesh gradient to create a realistic looking mango, and we'll use masking to give it a reflection. Let's start by activating the pencil and creating a mango shape. Let's turn off the stroke and give it a random field color for now. And we can use the node tool to adjust it a bit. Okay, Now on the fill and stroke dialogue under the field tab, Let's give the object a mesh pill with this button. Then I switched to the mesh tool. The first thing we want to do is select all of the mesh nodes, then make them a yellowish orange color. Okay, Now let's double-click the vertical line here to add a few more rows. That should be good. Let's add some columns as well. Now let's adjust the mesh nodes so that they follow along the shape or the mango a bit better. I'll speed this part up a bit. Let's put a highlight along near the top here. To do this, we can select some of the nodes in this row, then make them more a bit brighter. Let's make them a bit more yellow as well. Then we can adjust the handles of the nodes, has smooth in and out of bed. We can click out of this shape to see everything better. Let's make some of the nodes in the next row down a bit brighter as well, but not as bright as the row above. Okay, now starting with the nodes in the bottom row, I started making the bottom part of the mango darker. That's moving more towards red as well. Then it's like the nose and the next row up and make them darker but not as dark as the bottom row. Let's do the same for the row above it. Now let's adjust the handle is a bit. I'm kind of just moving things around randomly so the colors aren't your uniform. You can lighten or darken a few random nodes as well. I'm going to make this bottom one over here a bit darker. Okay, That's your work. Let's switch to the pen tool and add some spots or blemishes to the mango. Let's turn off the stroke and we can make the fill color either a little darker or brighter than a color under the spot. As also add some blur to this and lower the opacity sum. Now let's create a few more. Right, that looks pretty good. Let's select all of the mango parts and group them together. I'm going to rotate it a bit so the bottom is more flat. Now let's switch to the circles and ellipses tool and create an oval down here for the shadow. Let's make it black and give it a radial field. Then a squished to the select tool and move it below the mango. We can adjust the positioning and size some. That's also adjust the opacity a bit and maybe give it a light blur. Because switched the gradient tool and play around the stops as well. Finally, let's give them a singular reflection. First, let's duplicate the mango Dennis split by vertically, hold control and move it down here so that is slightly overlapping the bottom of the top menu. We're going to add a mass to this, making it so it starts out opaque at the top. Think it's more and more transparent toward the bottom. Let's create a rectangle covering all of the bottom mango. Then let's raise its opacity all the way up and give it a linear gradient. Now let's switch to the gradient tool and move the black stub down to the bottom. Then let's hold control and move the other stuff to the top. We want to make this stuff white. Okay, now we can switch to the select tool, then hold Alt and Shift and click inside this rectangle to add the mango to the selection. Then right-click and choose Set mask. Now let's lower this to the bottom. There we have it. I encourage you to go through these steps and try to create some other realistic looking objects. All right, I'll see you in the next video. 56. Creating 3D Boxes: In this video, we're going to learn how to create 3D boxes by using the box tool. So let's activate the backstory here, which we can also do by pressing E to the X key or Shift F4. Let's click and drag to create a 3D box. The way we drag, we determine the shape and direction of the box. If we press Shift while dragging, we can define the depth of the box. We released the mouse, we get a box drawn in perspective. And yours probably looks nothing like mine, because the shape of the box is determined by where we draw it on a canvas. This is because by default, these two vanishing points are placed in the middle of the pages side borders. If you create another box, you can see that as vanishing points are placed in the same positions, the farther away from the page we create the box, the more deformed it will be. If we create one near the center of the page, we can get a nice normal looking box. If we have a box selected with the bookstore. Because see this crosshair in the center. If we click and drag it, we can move the box around in 3D space. The box is kept in the x, y plane, with the red lines following along the x-axis and the blue line is falling along the y-axis. If we hold control, it will constrain the movement. If you hold Shift, you can move the box along the z axis, denoted by the yellow lines. If we click and drag these diamond shaped handles at the corners of the box, we can resize the box along the three axes. We can even flip it if we want. If we hover over the handle at the bottom right, you can see down in the status bar that Alice has re-size along the z-axis. Whoever if we hold shift, we can re-size along the x and y-axis. Similarly, the handle at the top left, Let's just re-size along the x and y-axis or along the z-axis. By holding Shift. Hold control, we're constrained to move in. If we click and drag these square handles at the vanishing points, we can read the vanishing points around. However, this also moves the vanishing point for every box that's shares this vanishing point which has all three boxes on the canvas. If we undo that, because separate the selected bucks is vanishing point from the other boxes by holding Shift before we click and drag the handle. We could do the same over here. If you want to merge the vanishing point of one box with a vanishing point of another, we have to select both boxes. Then drag the vanishing point of one of the boxes onto the vanishing point of the other box. Now they are merged again. Also be aware that we have to use the box towards move boxes in perspective. If we switch to the select tool and move the box, it will move without changing shape. We can also scale it and rotate it. And if we go back to the box tool, you can see that the box is vanishing points have been transformed along with the box. And the control is bar. We have some options for changing the angles of the vanishing point lines. In order to change the angle, however, the lines must be parallel and we can make them parallel by clicking these buttons next to the angle boxes. By default, only the lines and the y-axis are parallel. And because they're parallel, they're stretched out to infinity. We can use this to change their angle. We could do the same with the other axes. To get the vanishing points back, we can just toggle off these buttons. Now the y axis vanishing point is way up here. And we can bring it down if you want. The buttons here also have keyboard shortcuts. This one is Shift X, this one is Shift Y, and this one is Shift Z. The angles have shortcuts as well. If we make the x axis lines parallel, we can change angle x with the bracket keys. We can change the angle y with the parentheses keys. And we can change angle z with a curly brace skis. These shortcuts change the angle is by 15 degree increments. If you hold Alt while doing this, they're only changed by 0.5 degree increments. Next, let's talk about how we can change the colors of a 3D box. If we just go down to the palette and click a color, the whole box changes that color. Now we can't distinguish the sides of the box. We can get the box of stroke though, which we'll put the stroke along all the sides. So now we can see where each side is. Let's undo all of that. If we would rather change the color of each side individually, with the bookstore active, we can hold Control and click aside. Now we can change its color. If you hold Control and Alt and click, we can switch between aside. We can see any size that are hidden behind it. We can even delete sides if we want. Now we have a box we can see through. And actually a 3D boxes that group of objects with each side being its own objects. So we can enter the group and transform the size individually. However, we can't enter the group by double-clicking it with the Select tool like we normally can with groups, because the switches back to the bookstore. We can either right-click the object and choose inter group or if we switch to the Select tool, you can press Control Enter. Now we're inside the group and we could do whatever we want with the individual sides. We can also transform them. If we get out of the group by double-clicking the canvas, then switch back to the box tool. We can still modify this bucks like normal, even with the sides rearrange. Okay, so that's how we can work with 3D boxes. See in the next video. 57. Filling Bounded Areas: In this video, we're going to learn how we can use the paint bucket tool to fill in bounded areas of our drawings. The paint bucket tool or a bucket fill tool is located here in the toolbox. We can also get to by pressing either the UK or Shift F7. But first you need to create some objects. Let's go to the rectangle, an oval and a star. Let's make one red, one green, and one blue. Let's turn off snapping. Now let's switch to the paint bucket tool. So a bounded area is any area that has boundaries all around it. If we just click somewhere in the Canvas, nothing will happen because the area is unbounded, as it tells us in the status bar. If we click an object, however, the area will be filled because it's a bounded area. And what this does is it fills the area by creating a new path. They're using the color of the tool, which is shown next to our cursor end up here. Because this is a path that goes to the select tool and move it around. We can also change the color of it. I'll go ahead and delete this one. So that's what happens. We use the paint bucket tool and an object that is by itself. Now let's move an object on top of it. If we switch back to the paint bucket tool and fill it, now, we get this path with the other object cut out a bit. Because it only fills the area that contains the color we clicked on. We can fill the other object as well. That's one use of this tool. Another is fulfilling an unfilled areas between objects. If we arrange these objects so that they have an unfilled area between them, like here, we can go to the paint bucket tool and fill it in. However, we can see that this tool is imperfect. We have some gaps between the objects. This happens when we fill an objects as well. The reason this happens is that the area to be filled is defined by screen pixels. The tours stores the color information of the pixel we click on. Then it begins to fill in the surrounding pixels until it reaches different colored pixels. This includes the boundaries where two different colored objects meet, as well as where an object meets the canvas. And due to anti-aliasing, the pixels at the boundaries are some mixture of the two colors. This is why we get the gaps. So one way to get smaller gaps, It's a zoom in before clicking, because this increases the number of screen pixels in the area. So if we zoom in a bit, undo the fill, and fill the area again, it gives us a higher resolution fill. It's never going to be perfect though. And we'll look at another way to fill in gaps as we talked about the options we have in the control bar. The first option we have here is filled by, by default design visible colors, which lets us fill by any visible color that we click on. This includes the background color in these unfilled areas. We can also restrict the field to specific color channels. However, before we get into this, let's talk about threshold. The tours threshold determines how close to the surrounding pixel must match the clicked pixel in order to be filled. To see how this works, let's create another rectangle overlapping this one. Let's set its color to a darker version of the other rectangle is colored dark red for mine. Now let's select the rectangle and switch to the paint bucket tool. Let's give it a different color by clicking one in the palette. You can see that the color next to our cursor and up here have changed to the color that we clicked. Now let's click one of these rectangles. Because the threshold is pretty low, it only filled in the rectangle that we clicked. Whoever, if we undo a set a threshold to say 40, click one of the rectangles will fill them both. So that's how threshold works. The lower it is, the closer the pixels must match, and vice versa. Let's undo and set the threshold back to the default of 15 for now. So back in, fill by. If we change this to a specific channel, the toy store, just that channel of the pixel we click. So if we choose red, for example, and click a red pixel, it will store the value of that pixel is red channel. Then it will start filling in the surrounding pixels until it reaches pixels that are different values in the red channels. That includes the pixels of the canvas and other objects. And of course, we can increase the threshold if you want to get these dark red pixels as well. We might have to use an even higher number this time. Let's undo and set this back to 15. If we now try clicking, for example, the screen objects, they won't feel anything. And it says in the status bar that the area is not bounded. To see why this is, let's select the green objects. The fill and stroke dialogue under RGB. But you see that the red channel has a value of 0. If we select this blue object that's touching it, we can see that it also has a value of 0 for the red channel. And although the canvas is displayed as white, it's actually treated as having a value of 0 when all its color channels. So as far as the paint bucket tool is concerned, when filled by a set to read all the pixels of this object. Subjects and the canvas are the same, which is 0 red. Therefore, this area and this area are not bounded. However, let's try moving this object off the green one and stretch out a red object into the green object is completely surrounded by red pixels. If we click the green area with the paint bucket tool, now, it will feel this is due to the change in red detective between this area and this one. Let's undo that. We can also move this blue object back on top of the green one and shrink it until it is also completely surrounded by red. And now we can feel both areas together. This object in the bag doesn't have to be a pure red. It just has to have some red in it. So we can change it to an orange, for example, which of course has some red in it. And this will still work. Okay, lets them do all of that into the objects are back where they were. We could do the same thing with the green, blue hue, saturation, lightness, and alpha channels. With Alpha, we can fill all areas that are touching and have similar opacity. Because all four of these objects have 100% opacity and the Canvas has 0% opacity. Clicking inside one of the objects fulfill the whole area. And we could do the same with a bounded area between them. Let's set this back to visible colors. The next thing we can do here is grow or shrink the Fill Path. After it's created. A positive number will grow it, and a negative number will shrink it. We can also set the units here. This is the other method we can use to fill in gaps. Let's put it back on 0 for now. Next we have closed gaps. Or gaps refers to here is actual gaps in the area were trying to fill. We don't currently have any. But if you move this object down some, now we have this gap here. If close gaps is set to none, we can't fill this area. The other options we have our small, medium and large, small. There we go. The gap has to be pretty small for this to work at all. If we move this down a little more, even large won't work. Let's undo all of that. Let's set this back to none. We can actually just click this button here at the end, which will reset all these settings back to the default settings. The paint bucket tool also has a few modifier key combinations we can use. First, if we hold shift and click to fill in an area, it will perform a union path operation between the new path and any paths we have selected. So if we switch to the Select tool, select a couple of objects. Then switch back to the Paint Bucket Tool hold Shift, and click here. We now have one path created with a union between the objects we had selected and the new path of the tool created. Let's undo that. Another thing we can do with this as you keep adding areas to the new path. First, let's normal clicking an area to fill it. Now this new path is selected. So we can hold Shift and click in some other areas to add them to the path. Now we have this one big path. We can also fill in an area with a normal clinic, then zoom in and fill in some of these gaps by shift clicking them. Next, if we hold control and click an object, it will change the objects. Colors are the colors we have set for the paint bucket tool. So it didn't actually create a new path here, it just changed the object's color. We can give the Paint Bucket Tool is stroke color as well. By shift clicking a color in the pallet. If we control-click an object now, it will get the tours fill color as well as the stroke color and style. Being able to change the color of objects this way is useful for when we want to create a filled path covering multiple objects. But we don't want to switch to the Select tool to change the colors or deal with the settings up here. First, let's turn off the tool is stroke color by shift clicking the X, then this control-click this object again, and this one as well. Now we can change the tool color. Then we can double-click in here to create a filled path over all of this. Let's undo it to these objects are different colors again. Next, if we click and drag in an object, you can see this red line following our cursor. With this, we can fill in our touched areas regardless of their colors. This is especially useful if you want to fill in an area that has a gradient or a blur, if you hold Alt while I'm dragging, it will only fill in areas with pixel is that matched the initially clicked pixel. This doesn't seem useful right now, but let's undo. Let's give this object the same color as this one. Now let's de-select and switch back to the paint bucket tool. Change this color. Hold Alt, and drag from this subject down to this one and release. Now although these two areas aren't actually touching because of pixels match, and the areas are connected by this area. They've both been filled. That's pretty much it for how to use the paint bucket tool. One thing we might want to use this tool for us to quickly filling colors of say, ink or pencil sketches of drawings that we scan an important into Inkscape. We can also do this with drawings we've made with the pen or pencil tools. So if we quickly create a sketch of something over here, because switch to the paint bucket tool and start filling it in. And better yet, we can do this on a separate layer. So if we undo and create a new layer, we can keep the line art and colors separate. Alright, see you in the next video. 58. Tweaking Objects: In this video, we're going to learn how to tweak in scoped objects using the tweet tool. The tweet tool is located here in the toolbox. The shortcuts for this are the W key and Shift F2. But before we can use it, we need to create some objects. I'm just going to create a square and duplicate it a bunch of times, but pressing the space bar as I move it around. And we can go ahead and turn off snapping for this video. Now select all the objects and activate the tweet tool. Although it doesn't show us on the canvas that these objects are selected. Now, they actually are still selected as we can see in the status bar. Okay, So if we look at the controls bar, the first thing we have is width. This is the size of the tool, which is shown by the circle around the cursor. We can right-click in here to see a few options. Let's just leave it on the default of 15 for now. Next is force. With this, we can control how strong of a force the tool will have. Again, if we right-click here, we can see some options. This button next to it. Let's us use the pressure of an input device to alter the force with maximum pressure corresponding to the value we put here. This is useful if you're using a drawing tablet, but otherwise a tour just always use the fourth study. Next is mode. This is where we changed the type of action we want to perform. The default is there move mode, which has a shortcut, shifts in with this mode chosen. If we click and drag or select the objects at the top, touches will move in the direction in which we first moved the mouse. If you want to affect fewer or more objects, we have to change the width of the tool, which we can do up here, or we can do it by just pressing the left and right arrow keys. This allows us to change the width as we drag. Also the Home key sets the width to one, which is the minimum. And the End key sets it to the maximum of 100. I spit it back into default. Another thing to note is that the width is defined in screen pixels. This means that it is independent of Zoom. So an easy way to adjust the size of the tool is to just zoom in and out. They could change the tours force with the keyboard as well by using the up and down arrow keys. Hello. So most of the force is situated at the center of the tool. So the closer an object is to the center, the more force will be applied to it. I'll set this back to the default for now. The next mode is moving out with the shortcut Shift I. This mode turns the tool to kind of like a magnet pulling the objects into it. If you hold Shift, it will do the opposite, pushing the objects away. Next is move jitter. The session shortcuts Shift Z and it was scattered the objects around. Let's increase the force a bit. The next mode is scale, which we can also get to with **** plus e to the less than key or the greater than key. Normal dragging or treat the objects. And Shift dragging will enlarge them. Next we have the rotate mode with the shortcut Shift plus either the open bracket key or the close bracket key. Normal dragging rotates the objects clockwise. While Shift dragging rotates them counterclockwise. Next is duplicate slash delete, which has the shortcut Shift D. This will randomly duplicate the objects, automatically adding them to the selection. We can move these duplicates around. This will make a lot of duplicates, so we have to be careful with it. Let's select them all again and switch back to the tweet tool. If you hold shift as we drag on this mode, it will delete the objects. So these first six modes of our tweaking whole objects, the next four are for tweaking paths. This first mode is push, this as a shortcut Shift P. And it will push around the paths of the objects, allowing us to scope them. And it's important to note that if we do this to any objects that aren't pads, it will turn them into paths. We can see this if we switch to the node tool, these objects we just tweaked are now paths. Let's undo that and select all again back in the tweet. So the next mode is shrink, grow with the shortcut Shift S. There's a similar to the previous mode, but it will shrink the parts of the paths we touch. This will also convert the objects into pads. Holding shift with this will enlarge the pads are so whenever we undo with a tweet tool, like I did just now, it will deselect the objects that we had previously tweets. So we can just press control a here, just select the Morgan. Also for this mode, pick a temporarily switch to it from any other mode by holding control as we drag. So if we switch to the move mode, for example, if we hold Control, you can see that we're now on the street grow mode. If we let go of control, switches back to the mode we're just done. We can hold Control and shrink the path at anytime. And if we hold Shift and Control, we can enlarge the pads that anytime. Next we have attract, repel or use the shortcut Shift, a normal clicking will pull the paths towards the cursor, and shift clicking will push them away. The next mode is Ruffin with shortcut Shift R. This will add more nodes to the pads and move them around in order to roughen up the paths a bit. And we have to be careful with the fourth setting here because this can cause Inkscape if result. I'll put it back on the default. Next is the paint mode or sets a shortcut Shift C. For this, let's first change the tourists color, either do the fill and stroke dialogue or from the palette. And we can see that the fill color has changed up here. Now we can drag over the objects to start changing them towards that color. If you hold Shift, it will invert the color. As we learned in the video by the fill and stroke dialogue. The inverse of a color is the color on the opposite side of the color wheel. Up here we can select which channels are the objects, colors you want to effect. This works better if we squish the select tool and maybe lower the opacity a bit. Now back in the tweet. So if we have the OH toggled on here, this will increase the opacity. You can see this in the status bar, which shows us the average opacity of all the selected objects. If we don't do that and toggle off the button. Now the tool won't affect the opacity of the objects. This works similarly for the other buttons. If we have them all turned off, the tool doesn't do anything. I'll toggle them all back on for now. The next mode is jitter, besides a shortcut Shift J. This is similar to the previous mode, but it will give the objects random colors. Again, we can choose which channel is to affect. The final mood is blur, which has the shortcut Shift to be normal. Dragging will increase the Bureau of the objects. And shift drag you will decrease the blur. The last thing we have a peer is fidelity. But this does is the lower we set this to, the fewer nodes will be added when we use the path modes. And the higher we set it to, the more nodes will be added. To demonstrate this, let's just create a path over here with the pencil. Let's switch back to the tweet tool. Now what we use, for example, the push mode on this path. This wish the node tool. You can see that it has added a bunch of new nodes. This is because the fidelity is set somewhat high. The extra nodes were added to prevent too much distortion in the path has caused by the tweaking. If we undo the tweaking, switch back to the tweak to separability to something like ten, then tweak the path. We get fewer nodes added. Note that the two automatically closes off pads as well. Starting fidelity to the max of 100 gives us a ton of nodes. I recommend just keeping this on the default of 50 for the most part. Okay, that's how we can use the tweet tool. I'll set the mode back to the default. Now see the next video. 59. Spraying Objects: In this video, we're going to talk about how to use the spray tool. Let's pray towards located here on the toolbox. And it has the shortcuts a and Shift F3. The spray taller says create copies of one or more objects and scattered them around, kind of like using a can of spray paint. So first we need to create at least one object. I'll go to the rectangle. Let's give it a stroke as well. With the objects selected, let's activate the spray tool. So the first thing we have here in the control is bar is mode. The first mode is the copy mood. With this mode, the objects we spray will be duplicates that the original selected object or objects. And to use the tool, we can either just click somewhere to spray once, or we can click and hold and scroll the mouse wheel to spray multiple times in the same area. Or we can click and drag the spray continuously. We can now go in and change the objects however we want. Because these are duplicates. Changing the original object doesn't affect them. And we spray the object now, the new copies where the changes we made to it. Okay, let's delete all but the original objects. Let's select it again and switch back to the spray tool. The next mode is the clone mode. With this one, the sprayB copies will be clones of the original. As we learned in the videos on clones, clones are linked to the original object. Modifying the original object will modify the clones as well. We can however, modify the clones if we want. We can also do everything we've learned about before and edit clone, such as unlinked clone and relate to copied. And we can select the original object from here. Alright, let's delete the clones. Makes sure to select the object again. Let's switch back to the spray tool. Next is a single path mood. With a single path mode. The union path operation is performing all the copies after we release the mouse. So this is now one big object. Any overlapping copies were turned into a single paths. Let's undo, select the original, and go back to the spray tool. These first three modes, the single path mode is the most CPU intensive. So we have to be careful with it as it can cause Inkscape to freeze out. The final mode is the Delete mode. There's only works if we make either copies or clones first. So let's make some copies. What the Delete mode does is as we click and drag, and let's just delete copies or clones. And we don't have to worry about deleting the original objects or any other objects on the canvas. As this only applies to copies or clones of the objects that we have selected. And by the way, we can use a spray toward multiple objects at once. So if we create another object, Let's give it a different color. Select both objects. Switch back to the spray tool. You can make copies or clones of both objects. Then we can delete them. We can use the spray tool with groups of objects as well. Alright, so those are the four modes we have. Let's switch back to the copy mode, leg assembly, these other settings. I'm also going to only select one of these objects. Okay, so first we have width. This refers to the size of the orange circle around our cursor. The larger this is, the larger the area we can cover when we spray. We can also change the width with the left and right arrow keys. This allows us to change the width as we spray. If we press the home key to set the width at a minimum of one, and the in key will set to the maximum of 100. The default for this as 15. Also the width is defined in screen pixels. So zooming in and out, we'll change the size of the tool as well. If you have a drawing tablet, you can toggle on this button to use the pressure we pinned to control the width. Next step is a mount. This is just the number of items sprayed. The default of 70 is pretty high, so we get a lot of copies per click drag. We set it to something lower, will get fewer copies. We can also change this with the up and down arrow keys. And again, we can use a drawing tablet to control this. I'll set this back to 70 for now. The next setting is rotation. This will apply a random rotation to each copy. If it's non-zero, it applies no rotation. And if I sell 100, rotation could go up to 180 degrees or down to negative 180 degrees. I'll put it back on 0. Next is scale. This will add a random scale to each copy, with 0 being no added scale, and 100 being up to twice or down to half the size of the original object. And again, we can use pressure sensitivity for this. Next we have scatter. The higher this is, the more random the positions of the copies will be and vice versa. Let's reset scale. The next setting is focus, the C terminus, the spread of the scattered items. First let's make the width big. Focus is on 0. The copies will be created close to the center of the tool. If you put it on 100. There'll be created near the edge of the tool, giving us a circular shape around the cursor. I said all of these back to the defaults. Here we add these two toggle buttons, one with an open eye icon and one with a closed eye icon. If the OpenAI button is on, we can spray over areas that aren't transparent. And if the close button is on, we could spray over areas that are transparent. Right now because the closed eye button is on, we can spray over the canvas, which is transparent. But if we turn it off, we can't spray over the canvas. For the open eye button, let's create a large object here for the background. Let's select one of the small objects again and switch back to the spray tool. Now because the OpenAI button is on, we can spray over this non-transparent objects. And if we turn it off, now we can't spray over the objects. So that's how these two work. The next button that says no overlap between colors. This point only works if we only have one of these buttons turned on. So if we just turn on the closed die, right now, the copies we make will overlap each other. And they can also partially overlap non-transparent areas. But if we toggle on this button, now the copies won't overlap each other or the non-transparent areas. This is the same for spraying and non-transparent areas. With a button off, they overlap with it and they don't. Okay, let's turn these two back on and this one back off. The next button just prevents the copies from overlapping each other. This is especially useful when we're spraying multiple objects together. We can also set an offset for this. If this is set to a low percentage, they will start to overlap each other a bit. If it's non-zero is the same as not even using this. The highest it can go to as 1 thousand. But when I tried it earlier, it didn't make any copies. So let's try 500. We also need a really big width for this to work. How we set these and turn this back off. Finally, we have this button with an eyedropper icon. This is actually off by default, and these other four buttons are used with it. So if we toggle this off, the buttons disappear. Anyway, if you recall from the video on creating tower clones, we had an option called trace, which allowed us to trace a drawing that was under the tower clones. Well, we can do the same with sprayed items. And if we click on this button, it actually duck secretes how clones dialogue with the Trace tab selected. So first let's look at these options we have up here now. And before we start, let's select just this object. Switch back to the spray tool. This first button that says Apply picked color to fill and this is turned on. The copies will take the fill color of whatever the color is under it when it's created. This includes the canvas color, which is white. The next button is the same, but for the stroke. You can see this better if we turn off the fill option button here will invert the color. You can do this for the fill or the stroke. Let's turn these three back off for now. Currently we have this button at the end turned on, which says pick from center. And instead of average area. See how this works. Let's create another object overlapping this one. Give it a different fill color and turn off the stroke. Let's select this object again and go back to the spray tool. With this button turned on. If we turn one of these two back on a spray over these areas, the color chosen will be the color of the center of the tool. You can see this better if we make these bigger. Let's select this object again. We undo that and turn this off. Now the color chosen as the average of all the colors within the tool. Let's turn this back on. So far we've only been using this with copies. If we try this with clones, you probably already know it isn't going to work. This is because as we learned in the video is on clones. Before we can change the colors are clones. We first have to unset the original objects colors. Let's undo that last sunset the subjects fill. Now this should work fine. I'll turn this back off for now. Then we have trace. We already covered this before and they're creating tell clones video. So we won't cover it again here. But basically this has all these options plus more advanced ones. You just have to check this to start using it. Another step in here and up here works for copies and clones. If we squish a single path mode, however, you can see that these options all go away. So keep that in mind. Okay, So that's how we can use the spray tool. You can go ahead and close up this dialogue now, and I'll see you in the next video. 60. Erasing Parts of Drawings: In this video, we're going to talk about how to use the eraser tool to erase parts of our drawings. Eraser tool is located here in the toolbox and has the shortcut Shift E. But before we can erase anything, we need to draw something. So let's create a few random objects. I'm actually just going to create a bunch of duplicates of this. Now if we have any objects selected, we can only use the eraser tool on those objects. However, if we have nothing selected, you can use the eraser tool and are visible and unlocked parts of our drawings. Let's see, select everything and activate the eraser tool. So the first one we have up here in the control bar is touch mode for all modes of the Eraser tool. And we click and drag to get this red line. And touch mode, release the mouse. Every object that the line touches gets deleted. Let's undo that. That's the simplest mode. The next mode is cut out mood. We select this mode, we get all of these other settings here that we can change. But first, what cut-off mode does is every object we touched with a red line will be turning to our path if it isn't already a path and the parts of the path touched by the line will be cut out of the path. We squish the node tool. You can see that these are now paths. Let's undo that. Like any eraser tool. The first setting we have a peer is with. This lets us change the width of the red line goes from 0 to 100, with 15 being a default. We can also change the width with a left and right arrow keys, allowing us to adjust it as we drag. I'll set it back to 15. You've seen this type of button here several times before. And adolescents use the pressure of an input device to adjust the width. If we're not using a pressure sensitive input device, this doesn't do anything, so we can leave it on or off. Next is thinning. If this is higher than 0, the faster we drag the tool that thinner the width will be. So if we go slow, it stays thick. If we go fast and thins out. You can see this better if we set it to something higher. Setting this to a negative number, does the opposite. Slow and then fast as thick and 0. We'll keep the width at the value of the width setting. This goes from negative 100 to 100, with ten being the default. Next we have caps. When this is 0, the caps at the ends of the red line or blinds. But we can also make a slightly bulging are long and protruding. I'll put this back on 0. Next step is tremor. When this is 0, we get a smooth line. When it's higher than 0, we get a rugged and trembling line. Let's also takes more processing power. Let's put it back on 0. Next is mass. This causes the red line to lag behind the cursor, allowing us to get a smoother line. The higher this is, the longer the lag and the smoother the line we can get. If we set it to 0, there'll be no lag and the line will be referred, but more accurate. The default is two. Finally, we have this button here that says break apart cut items. Right now if we cut some objects and switch to the Select tool, you can see that even pests like this one, which has been cut all the way through our steel. When objects, if you wanted to split this into two objects, we can go to Path break apart. Now each part of the path has been turned into a separate objects. However, if we undo all of that and switch back to the Eraser tool, I toggle this button on the eraser tool, perform the break apart operation on these pads automatically saving us that trouble. Us. Undo again. Let's switch back to the Eraser tool and turn this back off. Alright, so that's how the cut-out mode works. The final mode is clip mode. The clip mode appears to do the same thing as the cutout mood. However, with clip mode, the tool doesn't actually cut the objects. Instead it uses the line to create a clipping path, then uses that clipping path, you click the object. If we squish the Select tool and select one of these, we can see that it says clipping the status bar. Like with normal clipping, we can release the clip by right-clicking and choosing release clip. We have our original object and this clipping path to the eraser tool created. The clipping path was centered on the object. So if we wanted to quit the object again, because select them both center vertically and horizontally. Right-click and set clip. Right. Now Let's de-select switch back to the Eraser tool. As you can see in the controller's bar to click mood has all the same settings as a cutout mode, except it doesn't have the button for breaking apart pads. This is just because clip mode doesn't actually cut any pads, so there's nothing to break apart. Also cut out mode only works on objects that can be changed into paths. So it doesn't work on things like bitmap images. If we import an image really quick, then try to cut it with a cut-off mode, nothing will happen. And it says in the status bar that one of the objects is not a path. Clip mode, on the other hand, works on all objects. Okay, so that's how we use the eraser tool. See you next video. 61. Creating Diagram Connectors: In this video, we're going to learn how to use the connector tool to create diagram conductors. The connector tool is located here in the toolbox and has the shortcuts Oh, and Control F2. But what this tool does is it lets us create what are called connectors, which are basically just lines that connect objects together. This is useful for things like flow diagrams and organization charts to see how this works, let's first create a few objects. Now let's activate the connector tool. We hover over an object with the connector tool, we get this connection handle, the center of the objects. To create a connector between two objects, we click the handle of one of the objects, then click the handle of the other objects. Now we have this path connected to the edge of each object. We can also create connectors from an object to an empty space on the canvas and vice versa. We can create connectors that aren't connecting any objects. We can have multiple connectors on one object as well. We select a connector to get a handle at each end. With these, we can connect the connectors somewhere else, including a different objects. If we start creating a connector, we can cancel it by pressing either escape or backspace or by clicking the right mouse button. If we move an object around the house connectors, connectors will stretch or shrink in order to maintain the connections. They also move around the edges of the objects. And other than that, connectors are basically just paths with a stroke. So we can go to the fill and stroke dialogue and change the stroke color as well as the style. We can also move them which will disconnect them from any objects are connected to. We can delete them as well. Let's switch back to the Connector tool. Look at the options we have in the controller's bar. This first button here will make connectors avoid the selected objects. So at the moment, if we move this object over here, the connector between the other two objects passes through it as if it doesn't exist. However, with this object selected, if I click this button, the connector will be in, in order to avoid passing through the object. Can, we can delete this conductor and create it again to see that it does the same. If we move this object, the connector will update itself in order to avoid passing through it. Back in the connector tool. The next part, we'll do the opposite. So now it's back to the way it was before with the connector ignoring the object and passing through it. The third button we're for selected connectors to use only horizontal and vertical lines. So if we select this connector and toggle on the button, the connector now goes straight to the right, then straight down to the other objects. Because select the connector again and toggle off the button to turn it back into a diagonal line. Next we have curvature. The source has changed the amount of curvature between two straight sections of a selected connector. If we select this object and click this first button again to make this connector avoided the connector now as two straight sections, Let's select the connector and increase the stroke width a bit so we can see it better. Now if we start to increase the curvature setting, the sections will become curved instead of straight. This goes up to 100. The next setting, spacing controls the amount of spacing between objects and connectors that avoid them, like right here. If we increase this, we can add more spacing there. This actually applies to all the connectors. So if we create another connector from this object to connect, your loss will have this spacing setting applied to it. You can see that as we change this, both connectors are affected. Let's set it back to 0. Now, delete this connector I just made. The next point here, nicely arranged the selected connector network. And this binding is actually also available in the line distributed dialogue under the rearranged section. For this, let's create a few more objects and connectors. Now let's select everything with Control a and click the orange button either in the align and distribute dialogue or in the control. As far as you can see, this might not work very well by default, which is why we have these next three settings to help make it better. First, we have length. This is the ideal length to use for the connectors when arranging, will likely have to set this pretty high. The maximum is 1 thousand. Now let's try arranging them again. That's better. Next we have this toggle button here. This will make it so that when the conductor network is arranged and it can ******* that have in markers will be arranged in a way that makes the markers pointing downward. This basically just means the connectors will become as close to vertical as possible. So if we select one or more of these connectors, use the filler stroke dialogue to add some markers to the ends here. Now increase the width of this connector so we can see it better. This select everything. Toggle on this button and click the Arrange button again, the connectors with markers and now a bit more vertical. This might be useful for certain types of arrangements. Finally, we have another toggle button. This one will prevent shapes from overlapping when arranging. If we set length back to 100 and click a range. Because see that this makes everything overlap. But if we toggle this on and click Arrange, now they don't overlap. I'll turn these two backoff now. Okay, so that's how we use the connector tool. One final thing to note is that we can't attach connectors to text objects. So if we create a text object, make it a bit bigger. Then switch back to the Connector tool and hover over it. We don't see a connector handle on this center. If you wanted to use texts objects and a connector network, the easiest way would be to put the texts object on top of another object. Let's select them both and group them. Now we can attach connectors to the group. Alright, I'll see you the next video. 62. Taking Measurements: In this video, we're going to talk about how to measure parts of our drawings using the measurement tool. The measurement tool is located down here in the toolbox and it has the shortcut M. We use the measurement tool to measure objects in our drawing, but we can still use it without any objects. So let's activate it and click and drag on the canvas, then release. So as you can see, we had this blue line that extends from the point where we first click to the point where we released the measurement in gray is the distance of this line. We also have a red line that is horizontal by default. And we saw so starts at the point we clicked and it's connected to the blue line by a red arc. The measurement in green on the arc is the angle between the two lines. And both measurements update in real time as we drag. If we continue holding the mouse down and hold Control, then start dragging again. The red line was switched the position where the blue line wise when we first press Control. Or if you hold control as we drag, it will restrict the angle to 15 degree increments. If we release the mouse, then click and drag one of these circular handles, which are referred to as knots in this tool, we can move that night. If we shift click one, we get this modified, not a position dialogue, which tells us the exact position of the nut and lets us move it to a specific position. If we click well, measurements are already displayed. It will keep the ending not in the same position and move the starting now to the position where we clicked. If we want to move both a nice two different positions, we can just click and drag again. Alright, now let's create a few objects and see how we can measure them. Also create a text object. Now let's switch back to the measurement tool. As you can see, when we switch to another tool, the measurements disappear. But when we switch back to the measurement tool, restores our previous measurements. Let's measure some objects by clicking and dragging over them. When the blue line intersects an object's, we get these x's at the intersections. We're also told the distance between the axis line intersects multiple objects. Get the distances between the objects, both from the closest points and the line and the farthest points. If we click and drag over text objects, you can get the width of each letter as well as the distances between them. We can hold Control as we measure if we want it to be perfectly horizontal. Also with snapping enabled, because snap the measurement tool to different parts of objects like paths and customer loads. And if we hover over an object next to our cursor, we get some information about the objects, including his late position and size. Length here is actually the distance around the object's path. For the ellipse, its length is a circumference. Now let's look at some of the settings we have in the controller's bar. First, this font size. This just lets us set the size of the font used to display the measurements. The default for this is tin. Next is precision. With this, we can change the decimal precision of the measurements. Right now it's on two decimal points and we can make it more or less precise. Next we have scale. This will show us what the measurements will be if we scaled everything by, for example, 200%. Now there are twice the original numbers. Here. We can change the units of the measurements. I'll put this back on 100%. Next we have five toggle buttons. Turn on this first button. It will only measure objects we have selected. We currently don't have this object selected, so it isn't getting measured. However, if we switch to the Select tool and select it, then switch back to the measurement tool. It will measure the objects. And it won't measure any of the objects we don't have selected. Let's turn this back off. When this next button is toggled on, like it is by default, the knots will be ignored in the measurements. So at the moment we don't see the distance from here to here. And the distance down here is from the first text to the last X. If we turn this off, however, now the distance here is from the starting node to the ending node. We can also see the measurements here and here. Let's turn this back on for the next button when it's toggled on and we see the measurements between items. That means the measurement here, here, and here. If we turn this off, now we can only see the one long measurement from the first intersection to the last intersection. The next button lets us see measurements between hidden intersections. Hidden intersections refers to points where overlapping objects intersects. So if we make this object overlap, this one, then switch back to the measurement tool. Right now we can see this measurement from this hidden intersection to hear. What if we toggle this button off? Now that part doesn't get measured. The next button allows us to measure objects and all layers. So if we add more layers with objects and then we'll be able to measure all the objects and all the layers together. If we turn this off, we would only be able to measure objects in the current layer. Next we have these five buttons. We can click. The first button reverses the positions of the knots. This also subtracts the angle by 180 degrees. The next button creates what's called a phantom measure, which is a temporary copy of the measurements. If we click this, the measurements become more transparent to show that as a phantom measure. And now we can do another measurement to compare the two. Clicking the button again, we're turned the current measurements into a phantom measure, replacing the old one. To get rid of the phantom measure completely. Because switch to another tool, then switch back to the measurement tool. This next slide we'll create guides using the measurements. If you can't see them, you might have to go to the View menu and check guides. The start in and crossing guys have all been labeled here. Now we can create some more objects between these guys if you wanted to. Like with normal guides, we can move them around and remove them by dragging them off the canvas. That's removed them all by going to edit, delete, or guides. Let's switch back to the measurement tool. If we click the next button, it will change all of these lines and measurements into a group of objects. You can change the text color by selecting the group and clicking your color in the palette. However, this also changes the color of this object at the arc. So if we wanted, we could enter the group and turn off the color of this. We can get out of this group and move it around. Back in the measurement tool. This last point we create what's called a global measurement line, which is this path going from the starting node to the ending. That. We also get this text objects, which tells us the length of the line. Let's delete both of these. Back in the measurement tool. Over here, we can change the offset of the global measure line, which is the space between it and a blue line and the measurement tool. And we can make more than one if we wanted. The default for the offset is five. Okay, so that's how we use the measurement tool to measure our drawings. 63. Object Properties and Objects Dialog: In this video, we're going to talk about both the object properties dialog and the objects dialog. First, let's create some objects. Too dark. The object properties dialog. We can either right-click and objects and choose Object properties, or we can go to objects, object properties. Now we have the object properties dialog over here. The first thing we see here is the selected objects ID. An object is automatically assigned an ID by Inkscape when we create it. And it's usually some descriptive word like path or rect, followed by a random number. For the most part, you probably won't need to change an object's ID. However, it can be useful if you have a drawing with many different parts, especially if you plan to look at the documents XML code next. And objects labeled by default is the same as this Id, except with a hashtag in front. This label field will be useful when we talk about the objects dialog. And we can also give an object a title and description. This might be useful for your planning to get functions to our objects, such as making them clickable buttons and use them on a website or something. Down here we can hide the object and we can lock the objects. If we lock the object, then de-select it. Now we can't select it again. We can't get to his properties and unlock it. Now, one way to unlock it is to right-click and choose unlock objects below. And this will actually unlock all locked objects that are at the position where we right-clicked. Similarly, we can select one or more objects, right-click in the Canvas. And we can choose either lock selected objects or hide selected objects. If we hide the selected objects and de-select them, now we can't see where they are. If we have an idea where they are, we can right-click over them and choose unhide objects below. This will unhide all hidden objects located at that position. Also the unhide objects below oxygen has only available if they're actually hidden objects below the cursor. So if we hit this once again and forgot where it was, we could keep right-clicking in different places until the unhide option became available. However, a better way would be to use the objects dialogue, as we will see in a minute. Next, in the object properties dialog, we have reserve ratio. This is actually only used with images. So let's import an image. I'll use the image of watermelon again, but you can use any image. For image objects. Reserve ratio is off by default. And this means that when we resize the image, the aspect ratio is in preserved, so the image will become distorted. Whoever if we turn this on and scale the image, the aspect ratio will be preserved. Also with image objects, we have this extra setting up here, image rendering. I haven't seen any need to change this, but you might find some use out of it. If we hover over the box here, we can see what the different options do. At the bottom of the object properties dialog, we had this set button, this is used to apply to the object any changes we made in the text boxes for ID, label and title, we can just type something and press Enter to apply the changes. But for description, pressing Enter or just moved down a line. So we need to press set to apply to the objects. Finally, we have this interactivity section that we can open. With this, we can add functions to the object to make it interactive on a website, such as giving us something to do when it's clicked or when the user hovers or mouseover it, etc. Another thing we can do with objects is turned them into clickable links. We do this by right-clicking the objects and choosing Create link. This toxin object attributes dialogue, or we can type in the H ref Target, etc, for the link. This object is now actually a link group. As we can see in the status bar. If we switch back to the object properties dialog, you can see that the ID has an a in front of it. If we double-click the group to enter it, we can edit the original objects. If we exit the group and select the link group again, we right-click it, we have some new options. First, link properties were just stuck. The object attributes dialogue again, so we can edit the link. You can go ahead and close this out. Next, if we added a link address to the objects, clicking follow link would take us to it and remove link or remove the leak from the object. Alright, let's close our object properties and open up the objects dialog, which we can get to under objects, objects. The objects dialog looks pretty similar to the layers dialog, except instead of just seeing liters, we see all the objects in layers as well. And we can collapse this if we want. On the left, we can toggle the visibility and lack of entire layers and individual objects. This comes in handy for times when we hide an objects and later one-to-one hide it, but we can't remember its location. We can bring up the objects dialogue and unhide it here. We can also select multiple objects in the list by selecting one, holding Control to select others. Clicking an item again while holding Control will remove it from the selection. And holding Shift and clicking an item will select all of the items in between as well. The next column we can see the type of the items. Each type of item has a different icon. This one is for layers and these are for objects. This will also show groups. So if we group these two objects, for example, now we have this group here. And we can open this to see the objects inside the group. The next column here would tell us whether or not the object is being clipped or masked. So if we move this object over here and put it on top of this one, this select them both. Right-click and say clip. Now and let us know here that the object is either clipped or mast. Next is what color of an outline to use when we hover over an item with the node tool, the default is red. So if we switch to the node tool and hover over an object, we briefly see a red outline around the shape. You can change the color of this here. For example, it's a blue. We also have to raise the alpha channel. Well, now the highlight outline and this object is blue. The last column is labeled. This just shows us the labels of the items. We saw that for objects we can change the label and the object properties dialog. We can also change the label of an item here by double-clicking the label and typing something else. At the bottom here we have some buttons. The first one is for adding layers. Let's go ahead and add a new layer. Now we have two layers in the stack. And this actually created a layer as a sub layer of layer one. So I will move it out. Let's add a couple of objects to it. This next point will remove selected objects. This button over here will collapse everything in the stack except for the current layer. And these last four buttons, that is, move things up and down in the stack. Down here we have blend mode, blur and opacity. You can use these for entire layers or for individual objects. If we right-click an item in the list, you can see some more options such as renaming and adding layers, hiding and locking layers, moving things and grouping things. Here we have options for setting and releasing clips. So if we select this clip, the objects, right-click it in here and choose Release, your release to clip. The next set and release for masking. And finally, we can duplicate and delete items. Okay, so that's how we can change object properties and use the objects dialog. You can go ahead and close this out, and I'll see you in the next video. 64. Creating Multiple Pages (1.2): Inkscape version 1.2 supports the creation of multi-page documents. And to do so, we use the new page tool located at the bottom of the toolbox. If we activate it, because simply click and drag on the canvas to create a custom sized page. We also get handles for adjusting the size of the selected page. And we can move the page around. We can do the same with the default page controllers bar. We could choose a specific page template with this drop-down. And it will change the selected page that size. Can, we can click this button to add a new page with the chosen typically. But this point here, we can make the selected page either fit around any objects we have selected or fit around the entire drawing. However, this button doesn't seem to work for me. The shortcut Shift Control R, on the other hand, does work correctly. So pre-create a couple of objects. Right now we only have this one selected. So if we do Shift Control R, the page we had selected now fits around the bounding box of the object. If we select both objects, press Shift Control R, the page fits around our entire selection area. If we move one of the objects, then de-select them all and press Shift Control R. It will make the page fit around the entire drawing area. Back in the page tool. We can move the selected page forwards and page order with this button. The swaps this position with the next page in the order. So any objects that are inside or touching the page get moved as well. This also happens if we move the page by clicking and dragging. And that's actually only because we have this move overlapping objects as the pages moved button toggle it on. If we turn this off, moving the page won't move the overlapping objects. This point here lets us move a page backwards and page order. With this box being good. The patient label, it appears at the top of the page. With this button, we can delete the selected page. We can also just simply select a page and press either Backspace or Delete. Be aware however, that if we have this button, toggle it on and we delete a page, any objects touching just that page will get deleted as well. If we right-click a page, we have options for creating a new page. Here we can delete pages and move pages and page order from here. Finally, at the right of the status bar, we now have this box that we can open the switch between pages. This will also zoom into the page. And we can switch between the pages with these arrows here as well. Okay, that's how we can work with multiple pages using the page tool and escape version 1.2. This will be very useful for creating things like multiple page PDFs. And we can actually use the export dialogue to export to PDF. Here. Alright, I'll see the next video. 65. Creating Multiple Pages (1.3 Update): Inkscape version 1.3. If we go to the page tool, we now have the option of adding margins to a page either by clicking the arrows and the new page margins box up here and studying them this way. Or by dragging these circular handles that now appear on the page. If we turn on snapping and take a look at all of the options. We now also have a page margins option that gets enabled by default so we can snap Objects, the Pages margins 66. Building Shapes (1.3): Inkscape version 1.3, we have a new tool called the Shape Builder tool. The Shape Builder Tool is located here in the Toolbox, and it allows us to easily combined shapes together and cut shapes out of other shapes. To use it, we first need to select some Shapes. Then activate the tool either by clicking this icon in the Toolbox. Hope by using the shortcut X. This turns all of the selected shapes gray with Stroke separating the segments. And it hides everything else on the canvas. If we look up here in the control is bar, we have two modes, ad and delete. That is the default mode. And when it's active, hovering over a segment of the selected shapes highlights the segment and light blue. We have two options for using the add mode. First, if we click and drag over some segments, it will combine them into a single path with the Strokes between them disappearing and the combined segment becoming a darker shade of blue. Second, if we simply click a segment, we will also turn blue, but it will keep the segments separate from the surrounding segments. We can also add enclosed empty areas between the shapes. If we now apply this, which we can do either by clicking the check mark button up here or by pressing the enter key, we can see that a combine the segments that we clicked and dragged over, and the segments that we clicked without dragging had been separated. It also removed all the segments that we didn't click. If we undo all of that, It's like the Objects again and go back to the shape builder tool. The other mode we have is the Delete mode. We can either choose a here or with the add mode still selected, we can hold down the Shift key to temporarily switch to delete mood. Now as we hover over the shapes, the segment under the cursor will turn pink, and if we click a segment, it gets removed. We can also click and drag over segments to remove them all at once. This is good for times when we accidentally add a segment. To remove it, we can hold Shift to enter into Delete mode and click the segment. And if we apply it, Here's a resort. We can also undo previous actions by pressing Control Z. If we want to cancel it all together, we can either click the X button and the controls bar or press the Escape key, or choose a different tool 67. Transform Dialog: In this video, we're going to learn how to use the transform dialogue for more precise transformations of objects. First, let's create a couple of objects. Too dark. The transform dialogue go to Object, Transform. Down here near the bottom. As you can see, we have tabs in here for all the different ways of transforming objects, including moving, scaling, rotating, and skewing. We also have a Matrix tab first and then move tab. We can either move selected objects by precise amount or to a precise location. If the relative move option is checked, typing some numbers in here and pressing Enter or clicking the Apply button will move the selected objects by that amount. So it was moved to the right by 100 millimeters and down by a 100 millimeters. If we uncheck relative move, these values become the position of the top-left corner of the selection box. So this point here, or if we select this object as well. Now use this point. We set these two, for example, with zeros 0 and press Enter. The selection moves. So that is top-left corner is at 00, which is the top-left corner of the page. Let's turn this back on. This option here actually applies to all of the tabs. And if it's checked, the transformations will be applied to each selected objects separately. When moving objects, this is useful for spacing them out evenly. To see this, let's make a couple of duplicates of this object. And let's move both duplicates to the right and snap them all together. And let's select them all. Now if we set the horizontal displacement value to something like 100 millimeters, leave this unchecked and click apply. All three objects move together by 100 millimeters. However, if we undo that, check this thing, click Apply. The leftmost object moves to the right by 100 millimeters. The middle object moves by 200 millimeters and the rightmost objects moves by 300 millimeters. So now there's exactly 100 millimeters between each of these objects. Okay, Let's uncheck this again. And let's click this clear button, which will reset all of the values of the current tab. Now let's move to the scale tab. And the scale tab, we can either scale the selected objects by certain percentage or we can change the width and height to a specific number of centimeters, pixels, etc. If we check the scale proportionately option, the values here will be locked so that if we change one, the other changes as well. Let's turn that back off. Also, if we select only one objects and click Apply, it was scaled relative to the center of his bounding box. However, if we select more than one objects and click Apply, they all scale relative to the center of the selection box. And that's actually only because this option is unchecked. If we try it with this option checked. Each object scale is relative to the center of his own bounding box. Uncheck this and click Clear again. Next in the Rotate tab, we can rotate the object by a certain number of degrees, radians, etc. And we can choose whether to rotate them counterclockwise or clockwise. If we set this to, for example, a 30 degrees and click apply the object to rotate relative to the rotation center of the selection box, which is this cross hair here. We can of course change the position of this if we want whoever, if we undo all of that and check this, clicking Apply rotate each object relative to its own rotation center. We can also change each object's rotation center if we wanted to. Let's undo that, uncheck this, and reset the value. And the skew tab. We can skew our objects by a certain number of degrees, pixels, percentages, etc. And like with the rotate tab, this works relative to the selection boxes rotation center. Or with this checked relative to each object's rotation center. Okay, Let's reset all of this again. Finally, we add the Matrix tab. With the Matrix tab, we can apply transformation matrices, two objects. To understand how this works, you'd have to read up on transformation matrices and there are a bit too complicated to explain here. But basically these first four values, a, b, c, and d, are used for scaling, rotating and skewing. And E and F are for translating. If this edit current matrix option here is unchecked, the matrix we enter here will post multiply the objects existing transformation matrix. So we can do it multiple times. If this is checked, however, it will replace the objects transformation matrix with this one. So we can only do a once again, we can choose whether or not to apply this to each object separately. Okay, so that's how we can use the transform dialogue to transform objects. If you don't already know about transformation matrices, I encourage you to learn about them and give this a try. But for now, we can go ahead and close out this dialogue. And I will see you in the next video. 68. Arrange Dialog: In this video, we're going to learn how to arrange objects using the arrange dialogue. First, let's create some objects. I'll just stamp this one a few times with the space bar. To open the arrange dialogue. Let's go to Object Arrange at the bottom. So we already learn a lot of ways to arrange objects using the Align and Distribute dialogue. But with the arrange dialogue, we can arrange objects in a rectangular grid or around polar coordinates. The rectangular grid tab, we have values for the number of rows and columns for the grid. If we select all of these objects, the values here change to give us enough rows and columns to include all of the selected objects. As we change one of these, the other would change as well to ensure that all objects will be included. Let's go ahead and click arrange to see what we get. All right, so now my objects are arranged in a grid with two rows and four columns. And the rows we have an option called equal heights. And under columns we have one called equal-width. Would equal height checked. All the rows will be the height of the object with the largest height and width equal width checked. All the columns will be the width of the object with the largest width. At the moment, all the objects are the same size. So let's undo the arranging and let's change the size of some of these. That should be good. Let's select them all again and click Arrange. So now all the rows or the height of this tallest object, and all the columns or the width of this widest object. However, if we uncheck equal height and click Arrange, now each row is the height of the tallest object in that particular row. Similarly, if we uncheck equal width, arranging them will make each column the width of the widest object in that column. Let's check these again, and let's click arrange again. Next we have alignment. With this. We can change the alignment of the objects in the cells of the grid. By default, this is set to the center. The objects are all centered in their cells. We can change this to something else, such as the top-left corner, center, right, et cetera. I set this back to the center. Finally, we can choose whether we want to fit the gradient to the selection box or to space the rows and columns by a certain amount. By default, this is onset spacing with 15 pixels of spacing between columns and 15 pixels of spacing between rows, which gives us the extra spacing between the objects. You can set these to something else for more or less spacing. I'll set them back to 15. If we spread these objects out, some select them all. Choose fit into selection box and click Arrange. Now the objects are spaced so that the grid fills up the entire selection box. Alright, let's set this back to set spacing and move over to the Polar Coordinates tab. The Polar Coordinates tab lets us arrange objects around a circle, ellipse or arc. So first, let's create one. I'll go with a circle. And let's lower the opacity of it so we can see everything. Now let's select all of the objects. Back in the Arrange dialogue. Let's click arrange to see what it gives us. Okay, So now all of the rectangles are being wrapped around the circle. At the top here, we can choose what to use as the anchor point for the objects. By default, the anchor point is the center of the objects bounding boxes. We can set it to other points in the bounding boxes as well. I'll put it back on the center. Let's undo all of the arranging. Another option is to set the anchor point to the object's rotational centers with rectangles. This is by default pretty much the same as using the center of the bounding boxes. However, if we undo that, we can change the rotational centers of some of these. Select everything again and click a range. Now use the new rotational centers of those objects. Let's undo all of that again. And let's set this back to objects bounding boxes. Next, we have arranged on the first two options. First, selected circle ellipse or arc, and less selected circle ellipse or arc are useful for we have multiple circles, ellipses are arcs. So if we create an ellipse here, and let's raise the opacity. Then select everything and click Arrange. The rectangles and the ellipse are all arranged around the circle. This is because it was the first selected circle ellipse or arc. If we undo and choose less selected. Now they are arranged around the ellipse. The parameterized option here lets us arrange all the objects around an imaginary circle, ellipse or arc. We can set the center, the x and y-coordinates of the radius and the starting and ending angles. If we click a range right now, the objects arranged around a circle with a radius of 100 pixels and centered at 00 here. We can play around with these values for different results. Undo all of that, and put this back on first selected. Finally, we have rotate objects. When this is checked as it is by default, the objects will rotate when arranged around the circle. If it's unchecked, they won't rotate. Okay, so that's about it for the range dialogue. I'll check this again and close up the dialogue, and I will see you in the next video. 69. Modifying and Creating Patterns: In this video, we're going to learn how to modify and create patterns that can be used for the fill and stroke of objects. As we learned in the video on the fill and stroke dialogue. If we create an object and go to the fill and stroke dialogue, we can give the object a pattern fill and, or a pattern stroke by clicking this button here. The same button is in the stroke paint tab as well. Let's get this object that fill pattern. This gives the object the default field pattern of stripes one-to-one. If we drop down this box, we have a lot of pattern options we can choose from. If we wanted to transform an object's pattern, we can use the node tool or a shaped towards the object is a shape object. Now we can see these handles at the top-left corner of the page. We can transform the pattern with these handles. The square handle lets us scale the pattern. The circular one lets us rotate the pattern. Holy control snaps the angle. Holy control while dragging the square handle or scale the width and height uniformly. Finally, the x is the translation handle, which lets us move the pattern. Holding Control or restrict the movement to see what object or objects are being used to create this pattern. You can go to Object Pattern, pattern two objects. So the stripes wants to one pattern is created with just a black rectangle, R. So as you can see, this deletes the object that had the pattern. We can delete this now. And we can do this with some other patterns to see what objects they use. Like this camouflage pattern. This uses a group of objects which we can enter. Alright, let's get out of this group and delete it. And let's see how we can create our own patterns. To create a pattern, the first create one or more objects. We can group them or just select them. Go to Object. Pattern objects who pattern? Now it doesn't appear that anything has changed. But this has actually been converted to a rectangle with the objects we had selected being used as the Fill pattern. The pattern has been given a name and placed inside here. If we switch to the notes or shape tool, we can transform the pattern with these handles the same way as with built-in patterns. These handles here for the new rectangle object that got created. Let's delete this object and create another one. Let's give it a pattern fill. As you can see, the pattern is still available here. Whoever a bug in my version of Inkscape causes the pattern objects to be much larger than the original objects were. So we can switch the new tool and shrink itself. Next, let's try to create a stripe like pattern. As we saw earlier when we convert the stripes one-to-one pattern to objects, which we can do with the shortcut Shift I. Or we get is this small black rectangle. We can give this another color if we want. Let's try converting it back to a pattern with OT I. Now let's create another object and give it this new pattern. As you can see, the object disappears to be filled with a solid color. This is because the object here that we turned into a pattern is just being repeated over and over with no space between what it didn't show us when we converted the stripes one-to-one pattern into objects, is that the code for the pattern was edited to add empty space between each repetition, giving us the striped effect. We can actually do this easily ourselves by using a second rectangle and turning off as fill and stroke. So let's give this a try. First, I'm going to shrink this rectangle down a bit in order to compensate for the bug that increases the size of the pattern objects. Bug has been fixed in your version of Inkscape. You won't have to do this. Also, this is currently using the pattern recreated. So let's give it a flat fill color. Alright, now let's duplicate this with Control D and drag the duplicate over. And I have snapping to customer knows enabled. So I'm able to snap these together. Now let's turn off the fill and being careful not to de-select this object. Let's hold shift and select the other objects as well. Now let's convert them to a pattern with odds I. Okay, So we add this new pattern here. Let's select this bigger objects and give it the same pattern. Now we have a one-to-one straight pattern. Okay, so that's how we can create patterns and Inkscape. And don't forget, we can do this with a stroke as well. I encourage you to now go do the patterns and see how they work and to try to replicate them and create your own. One more thing before we go, if we use the node tool or a shape tool to transform an object with a pattern. The pattern stays at the same position and size and just repeats more or less in order to fill up the whole objects. However, if we use the Select tool to transform the object, the pattern transforms as well. This is actually because we have this button at the end of the controls bar toggled on. We saw this briefly in the video by the fill and stroke dialogue. If we turn the button off, now the pattern won't transform with the objects. Seems like it does until we let go of the mouse, then it goes back to the way it was. Okay, I will turn this back on and I'll see you in the next video. 70. Tracing Bitmaps: In this video, we're going to learn how we can vectorize bitmaps by tracing them with the Trace Bitmap dialogue. To start less important image to trace. How I import the image of a king fisher that we used earlier in the course. When we learned how to trace images with the pen tool. You can use this image as well to follow along, or you can use your own image. Whoever this works best with images that have high contrast. So keep that in mind. Alright, to Dr. Trace Bitmap dialogue, we can either right-click the image and select Trace Bitmap. We can go to Path Trace Bitmap. Now we see it over here on the right. At the top of the dialogue we had three tabs. Trace bitmap, pixel art, and help, where you can read about how to use the dialogue. In this video, we'll be going over the Trace Bitmap tab, and we will go over the pixel art tab in the next video. So the first setting we have is to select whether he wants to do a single scan or multiple scans. Single scan will create one path objects. Multiple scans will create a group of path objects. We actually have to do multiple scans if you want to vectorize the colors of the image. But for now we'll just leave it on single scan. Next, we have different modes that we can use for tracing the image. We will discuss each one. But for now, what brightness cutoff does is it encloses a path around areas of the image that are darker than this brightest threshold value. If we want to see what the result of the trace will look like, we can click this Update button and now we get a preview here. If you don't see a preview, make sure you have the image selected. If we like what we see in the preview, we can click Apply, then give it a few seconds. And now we add this new object that was created by tracing the image. And this is all one path object. So we can perform path operations and other things on it. I don't recommend using the Node tool on this right now though, because there are a ton of nodes here and it might lock up Inkscape. But we can simplify the path with Control L few times if you wanted to. Alright, we can go ahead and delete this and select the image again. If we increase the brightness threshold and click Update, we start to get more of the background and the tracing decreasing it will result in a smaller tracing area. The default for this is 0.450. And we can easily reset all the settings here by clicking the revert button. Another thing we can do is invert the image. For this image, we will get a tracing of the background with a bird cutout. Let's turn that back off. Now let's move on to the next mode, Edge Detection. Edge detection will create pass-through separate areas that have changes in brightness which exceed this edge threshold value. This is good for trying to create outlines around areas of the image. Let's click Apply to see this better. Let's select the image again and try increasing and decreasing the threshold to see what results we get. This is the result of increasing the threshold. This is the result of decreasing it. Again, we can invert this if we want. Let's revert these settings and move on to the next mode, which is colored quantisation. This mode we'll use path to separate the image into the number of colors we put here. The default and maximum is 64, which will give us a result like this. If we set this to a smaller number like ten, it will use fewer colors to separate the image. Here's what it will look like, inverted. Okay, Let's click revert. Next we have auto trace. These first three modes use an algorithm called pro trace. And these last two modes use a different algorithm called Auto Trace. Auto Trace mode gives us a similar result to the brightest cut-off mode. Whoever with the two modes, they use the auto trace algorithm. We can't see a preview. We have to click Apply to see the resort. This mode also gives the object that fill with a color similar to what's in the trace stereo, the image. You have some settings here that we can change, but they don't seem to do much with this image. Finally, we have central line tracing. This mode will attempt to create line artwork using the image. This mode and the edge detection mode work much better if the image is a line drawing, a sketch that we've scanned or created and restroom is software that's revert again. And let's see what we have on our multiple scans. For multiple scans we have four modes to choose from. First brightness steps will scan through the image and separate it into brightness levels. And it will create a path objects for each brightness level, the number of path objects that we'll create will be whatever value we set in scans here. The resulting object will be a group of all of the path objects. The higher the scans, the more accurate the results. Let's click apply and see what we get. This will take longer than single scanning as this is tracing the image multiple times. If it seems to be taking too long, we can click stop here to stop the tracing at anytime. Okay, here's the result. As you can see, this is much more detailed than single scanning. And this is a group of eight objects. So we can enter the group and edit each path. We have some options we can turn on or off here. And these actually applied to all of the multiple scan moods. Smooth here, apply Gaussian blur to the image before tracing, resulting in a smooth or tracing. With stack checked, each path object will actually include the areas of all of the path objects above it. You can see this if we move some of these objects off each other, the topmost object covers the least amount of area. And as we get closer to the back, the paths take up more area. The advantage of this is that it prevents holds from appearing between the pads. But if we delete this, then try it with stack unchecked. Now we have an object with more gaps in the pads, making it more transparent. Let's delete this and select the image. And let's check stack again. Finally remove background, removed the path object that contains the brightest areas of the image. This will be good for images with a white background as it will automatically remove it, saving us the trouble of doing it ourselves for images with dark or multi-valued backgrounds like this one, however, it's not very useful unless you want to remove the brightest parts of the image. Let's look at the other modes now. Colors will separate the image by color. With this mode, we can actually get colors in the tracings. Next is graze. This mode is similar to the colors mode, but the resulting tracings will be in gray scale. The last mode is auto trace. This gives us a similar result to the brightest steps mode, but it uses the auto trace algorithm and it's much slower. And actually frozen landscape. The last time I tried it, I won't try here. At the bottom here, we have these three options that apply to single scans and multiple scans. First with spec was turned on, the tracing will ignore small spots in the image up to this many pixels. I tried changing the setting by this image doesn't have many speckles. So I couldn't see any differences. Smooth corners with smooth out sharp corners of the trace. This image doesn't have any sharp corners. So I wasn't able to see any differences with changing this setting either. And optimize, will attempt to optimize the paths by joining adjacent Bezier curves segments. This isn't really visible and the trace will try to give us fewer nodes in the path. I invite you to use different images and play around with these, as well as everything else in the dialogue. Finally, we have this SiO x option in the preview area. With this, we can draw an object over what we want to be, the foreground area of the image. And the tracing will attempt to exclude everything that is different from that area. This is a good way to get a vectorized version of a specific item in the image, as long as there's a lot of contrasts between it and the rest of the image. To do this, we first draw a path over the area we want, for example, the bird. And the path doesn't have to be perfect. We do however, have to give the path to fill in order for this to work correctly. Now we select the path and the image. Then check SiO x. And for this we can choose any mode and either single scan or multiple scans. I'll go with colors. Now let's click Apply. If we move the path out of the way we can see the result. This actually gave a white background to the tracing. So if we undo all of that, Let's select the objects again and check remove background first. Now we get a vectorized version of just the bird. Alright, so that's how we trace bitmaps. We can go ahead and click revert, so we set everything. And in the next video we'll go over the pixel art tab. 71. Tracing Pixel Art: In this video, we're going to continue learning about the Trace Bitmap dialogue by using it to vectorize pixel art. If you don't still have the Trace Bitmap dialogue dog from the previous video. You can get to it by going to pat Trace Bitmap. Okay, For this video, I'm going to import a pixel art image of a heart. I've included this image as a downloadable resource for this video. But you can also use your own pixel art. However, be careful not to use anything too large or detailed, because the tracing can create up to one pack per pixel. So if the image is too complicated and might lock up Inkscape, alright, let's make sure we have the image selected and that we're on the pixel art tab over here. Before we talk about the settings, Let's go ahead and click Apply. Now we have a vectorized version of the pixel art. As you can see in the status bar, this is a group of 1024 objects. The image of the heart is 32 pixels by 32 pixels. So the tracing created a path object for every single pixel. This is why we should stick with smallest simple Pixar for this, select the image again and look at the settings. First, we have a group of settings under heuristics. These are pretty complicated to explain and to really understand them, you will need to read up on the algorithm that tracing uses, which is called Liberty pixelized. But basically these settings are used to try to get a more optimized resort. I couldn't really see any differences that are changing these for this image. But I invite you to try them out yourself on this image as well as others. Down here we have two options for output. The default is voronoi, which gives us the paths for each pixel. B splines takes it a step further and converts the paths to Bezier curves. This gives us a smoother result. And now we have a group of 189 objects instead of a 1024. This output is a bit slower though. Okay, so that's it for the Trace Bitmap dialogue. We can go ahead and set this back to the default and close up the dialogue. And I'll see you in the next video. 72. Using Path Effects: In this video, we're going to learn how to add effects to objects using the path effects dialogue. First, let's use the pen tool to create a path that we can add path effects to open the path to fix dialogue, we go to path, path effects. Now we have a duct over here. If we had any path effects added to the selected path, they would show up in this area here. To add a path effect, we click this plus button down here. This brings up the life path effects selector dialog, which shows us all of the path effects we can add. If we click the arrow under one of the effects, we get these three icons. If we hover over the first one, we can read about what the effect does. Clicking the second one lets us add the effect to our favorites. And clicking the third one will add the effect to the selected path. At the top of the dialogue, we can search for a particular path effect. We can change how they are displayed in the dialogue. We can view our favorites, and we can show effects that are still in the experimental stage. The experimental pet effects are listed here with bomb icons. We won't be going over these in this course because they're likely to change in the future. So we can go ahead and hide them again. We've actually already used a few path effects throughout the course. This includes B-spline here and spiral spine down here. We saw both of these as modes for the pen and pencil tools. We also briefly saw power clip and power mask, which can be used to do inverse clipping and masking. However, the path effects dialog provides us with a few more things we can do with all of these effects. So let's go over these four again in this video, and in the next few videos, we'll go over some of the other effects. Let's start with a B spline path effects. To add the effect of the selected path, we can either click this check mark button or we can just click the effects icon. And now it has been added to the path as we can see in this list. If we click the eye icon next to it, we can toggle the effect on and off. Down here we can add another effect and we can remove the selected effects and the path menu. We also had this removed path effects option. However, this one will actually remove all the effects from the selected objects. So keep that in mind. If we add more than one path effect added to the selected path, we can move them up and down with these buttons. Changing the order of the path effects were usually give us different results. If we switch to the Node Tool, we can see the original path in blue, which is referred to as the skeleton path. And we can modify it if we want. We also have a couple of buttons related to path effects and the controller's bar. For this one, some path effects, as we will see later, allow us to edit certain parameters on the canvas. With this button, we can show the next editable parameter. The B-spline path effect doesn't have parameters that can be edited on Canvas. So this has no effect. Toggling on this last button will make it so the skeleton path is always shown when the path is selected and the outline will be displayed in red. If this is turned off, sometimes the skeleton path or parts of it won't be displayed here in blue. So we could use this button to always show the whole thing, but we can leave it off for now. Now let's look at some of the parameters we can edit here in the path effects dialogue. First, we can switch between making all of the nodes, cusp nodes by clicking make cusp or smooth nodes by clicking default weight. With the next parameter we can set the weight percentage ourselves. The default is thirty-three point three, three, three, three percent. Increasing the weight will decrease the curvature. And decreasing the weight will increase the curvature. Setting it to 0%. We'll turn the nodes into cusp nodes. I'll set it back to the default. We can also change the curvature at a specific node by selecting a node, then holding Shift and dragging one of his handlers up and down. If we hold Control instead of shift, we can do the same, but it will snap to certain distances on the segment. And this next parameter's steps with control determines how many steps we can move the nodes handle when holding control before it reaches the end of the segment. By default, it's too. So we hold Control and drag this handle. We can move it twice before it snaps to the end. If we change it to four, for example, we can move at four steps before it reaches the end. Next is helper size. If we set this to something higher than 0, we can see these circles along the curves of the path. These are called helpers, but I'm not sure exactly what their purposes. If you're more familiar with B-spline curves and I am, you might find some use for these. Next we have three check boxes for deciding how to apply the changes we make here. The first one lets us apply changes the nodes with weights that are equal to 0%. This means cusp nodes. So if we turn these into cusp knows, we can change their weights here. However, if we turn this option off, now we can't change the nodes. The next option lets us apply changes the smooth nodes which have a weight greater than 0 per cent. So if we turn this option back God, and change the nose and the smooth nodes, right now we can change their weight here. If we turn this option off, however, we can't change them anymore. Let's turn this back on. And the third option lets us choose whether to only apply the changes to selected nodes. So if we check this one, we can select one or more nodes and change them to customer knows or smooth nodes, for example. Finally, we have the option to change the default parameters. If we drop this down, we can see labels for all the parameters and the dialogue. Each one has this information icon never again hover over it to get information about the parameter, including its current default. If we click a perimeter set button, it will replace the parameters default with whatever we have entered up here. Then whenever we apply the path effect to another path, it will use the new default for that perimeter. We also have unset buttons to restore the perimeters back to the original defaults. Alright, now let's move on to the spiral spine path effect. For this, Let's activate the pencil and switch to the spiral path bowed, and let's draw a path. This will automatically add the spiral spine path effect to the path, as we can see here. We also could have done this for the B-spline path. If we go to the Node Tool, we can see that unlike with B splines, the skeleton path isn't shown here in blue. This is where toggling on this button becomes useful. And with no parameters, that's pretty much it for the spiral spine effect. It's unlicensed, simple one. Another thing we can do with Pat effects as copy and paste the path effects from one path onto another path. If we wanted this path to add this other paths, B, spline path effects, we can select the other path, press control C to copy it. Then select this path again and go to path, paste path effect. Now this path as a spiral spline effects and obese by effect added to it. And as you can see, this also copies over the parameters from the other path. And we can edit them for this path if we wanted to. We can also turn each path effects on or off. We can move them up and down in the stack, which will change the result. And if we go to Path Object path, it will flatten the path effects, meaning it will replace the original path with the resulting path created by the path effects. Now we can edit the nodes like with a normal path. We can go ahead and delete these paths. Let's now create a couple of shapes are used for clipping. Let's select them both. Now if we look here on the path effects dialogue, the button to add Patty effects as disabled. This is because we can actually only add effects to a single object or a single group of objects at a time. If we want to add the power clip-path effector, these are options are either to go straight to object clipping set inverse, or to first just to set. Now the Add button is enabled here, so we can click it and add the power clip effects. As you can see here, the inverse clip perimeter is by default set to true. So the clipping is automatically inverted. And we can turn it off for normal clipping if we want. For this next parameter, flattened clip, if we get this object a stroke right now, when flattened clip is turned off, There'll be no stroke around the clipped out part. Because see this for normal clipping as well. If we turn on flattened clip, however, we get a stroke around that area. Here's the result with inverse clip turned on this info box here, it tells us that if we don't get the same flight result after converting this two paths, then we need to make sure that in the field tab of the fill and stroke dialogue, we had this even odd option selected. Alright, And finally, we can hide and show the clip. Now let's move on to the power mask path effects. For this, I will use the same gray scale mountain image I used in the video about masking objects. Let's create an object here. Then move it below by pressing the page down key. And let's select them both and go to object Mask set inverse. Now we have the power mask effect added. So this might be different if you're using a later version that makes scape. But in my version, Invert Mask here is by default set to false. This is why the mask doesn't get inverted straight away, as I mentioned in the video about masking objects. So we can turn this on now to invert it. Now the darker shades in the mask or the most opaque and the brighter shades of the most transparent. Next, we have the option to hide and show the mask. Finally, we have the option to add a background color to the mask. This is actually only visible if the object we use as a mask isn't fully opaque. So first let's right-click this and release the mask. And let's select just the image and decreases opacity a bit. Now let's select them both again and go to object Mask set inverse. Now back in the path it takes dialogue. We can see the difference. We turn the background off and on with the arm and makes the object a bit more opaque. We can also change the color of the background. Okay, so that's how we add effects to objects. In the following few videos, we'll discuss some of the other available path effects. 73. Using Path Effects (1.3 Update): The Path Effects Dialog has been simplified quite a bit. And Inkscape version 1.3, we now just start with this search box and a label telling us what object we have selected. To add a path Effect to the selected object, we can either search for the path Effect using the search box, or we can click the arrow next to the box to show all of the available path effects which have been organized into different categories. If we add a path Effect to the Objects, the path Effect display has also been changed with all of the Path Effects options being shown directly underneath the Path Effects name. If we add another path Effect to the objects, we can reorder the effects by dragging and dropping them in the list. And we can also collapse the options of each Effect for better visibility. In order to use path effects on a text Objects, we have to change the texts object into a Path First. However, we now get the option of doing this directly inside the Path Effects Dialog, which is pretty convenient. We also had this clone option, which will create a clone of the texts object. We can add path effects to the clone without affecting the original texts Objects. And because it's a clone, if we change the color of the original, it will also change the color of the Clone. And if we change the texts of the original, it will change the text of the clone 74. Path Effect: Attach Path: In this video, we're going to learn how to use the attached path, path effects. And if you don't still have the pet effects dialogue open from the previous video, you can duck it by going to path Patty pegs. What attached path does is it allows us to attach the ends of a path to different parts of one or two other paths. So first, let's create three paths. Let me switch this back to the Bezier mode. Now let's select the top path to use as the main path. Then you click the Add button and the path effects dialogue and click Attach path. The attached path defect is now added to the path, but the path isn't yet attached to any other paths. To attach it to another path, we need to select the other path then copied into our clipboard, which I will do with Control C. Then we select the main path again, and then the path effects dialogue under Start path. We click this button that says linked to path and clipboard. This creates a new path called a star path, connecting the starting node of the main path to the starting note of the other path. We also have this button here that will select the other path. If we move the path around, the star path was stay connected. For the main path is Start path will update after we release the mouse. Next to that path effects dialogue, we can change some parameters of the star path. First, we can change this position. This would change where this dark path attaches to the other path. Next, we can change the angle and distance of the star path starting curve at any curve. The starting curve is at this point and we need to zoom in a bit because changing these parameters has a very subtle effect. We can do the same with the ending curve down here. We can actually also change the angle of the Indian curve by switching to the node tool and dragging this handle around. This handle here lets us change the start paths position. Next in the path effects dialogue we have in path. There is a similar to start path, but this one will create an end path which will connect the ending node of the main path to another path. We still have this path here copied into our clipboard. So if we click this button, we now get an input from the ending node of the main path and which by default connects to the starting node of the other path. We can now change all the same parameters for the impact as for this dark path, such as its position. And we also have these handles here for changing the angle of the Indian curve and the impacts position. And finally, we can attach the main path to two paths. We do this by selecting the dirt path, copying it into the clipboard, then selecting the main path again and clicking one of the link buttons. Now we have three paths attached together. Okay, so that's how to use the attached path, path Effects. I'll see you in the next video. 75. Path Effect: Bend: In this video, we're going to learn how to use the band pass effect. The band pass effect, Let's has been an object along the curvature of a path. So to get started, let's create an object. I'll go with a star. Now in the path effects dialogue, Let's click the Add button, then click been to add it to the object. The first thing we have in the dialogue or these options under bent path. If we click the first button, it switches us to the node tool and shows us this green line to the middle of the objects. This is called the control path, and we can drag its nodes around to stretch and rotate the objects. We can also click and drag the control path to change this curve. This is where the name Ben comes in because the object bins along the curve of the control path. And we can actually do pretty much all the same things with control path as for a normal path, such as double-clicking it to add nodes and changing the node types. This handle coming off the control path down here is called the width. Not unless it's changed the width of the control path. The stretches out the object vertically. We could change the control pads with neuropathy effects, dialogue as well. We can also still manipulate the handles of the object to change its shape, either with the node tool over the shape tool if it's a shape objects. One thing to note, however, is that if we change to another tool, then switch back to the Node Tool, we can only see the shape handles and the width, not. If we want to see and edit the control paths nodes, we have to either click this button again in the past effects dialogue, or we can click this button here in the control bar for the new tool. Now we can edit the control path on Canvas. Again. This button is very handy for times when we might not have the path effects dialogue open. Next to NOPAT effects dialogue under Ben path, we had this copy path button. This will copy the control path into the clipboard and we can then paste it on the canvas, which I will do with control V. Now we can see what the control path actually looks like. If we select the object again, we also have a pace path button here. With this, we can replace the objects control path deformation with the information of a path that is copied into the clipboard. So if we create a path with the pen tool, select it and copy it, then select the object here again, clicking the pace path button will give us a control path that has curves and nodes similar to the copy path. We might have to edit the path a bit to make it look better with this object. The last button we have under been path as linked to path and clipboard. This is similar to the pace path button, but this will actually lead the object to the Copy path. So because we still have this path copied in the clipboard, if we click the button now, the actual path becomes the objects control path. And because they are linked, now, if we move the path, the object moves as well. Using the Node tool to edit the nodes of the path will also affect the shape of the object. If we select the object again, we can change the width of it with the width not. Next in the path effects dialogue, we have these three checkboxes. Let's first one was scaled the control path in units of its length. The next checkbox says original path is vertical. This rotates the object 90 degrees before bending it. I guess this helps to make the effect look better if we were using a vertical control path. And the final checkbox is just for hiding and showing the width not. Okay, So that's how we use the bin path effects. Without knowing it, we actually already use this path effect before the pen and pencil tools. For both tools, using the bin from clipboard shape option actually applies the bend effect to the path. To see this, let's create another object and copied into the clipboard. Now let's switch to the pen tool. Select the bin from clipboard shape option and draw a path. There we go. We now have an object with a bin. Path effects are such shape back to none and I'll see you in the next video. 76. Path Effect: Clone Original: In this video, we'll learn how to use the clone original path defects. The cloner original path effect allows us to make an object behave like a clone of another object and that it takes on the other objects, attributes and properties. However, it also lets us control which attributes and properties to take on. To start, we need to create two objects. Let's skip strokes to both objects. Now let's set the cloner original path effect to this objects by clicking the Add button in the path effects dialogue, then clicking Clone original. Next to turn this object into a clone of another object, we have to link it to the other object. To do this, we select the other object copied into the clipboard with Control C. Then select this object again and click this first button in the path effects dialog on your linked item. Now the object is linked to the copied object, which is now referred to as the original object. And because it has a lower z order, has been placed under the original object. Like with a normal clones, by default, we are free to move the clone around and do things like scale it and rotate it. But if we scale or rotate the original object, the clone was scalar rotate accordingly. Also under linked item in the path effects dialogue, we had this button that will select the original objects. Next we have some options for shape. The default is with LPE ease. With this option selected, the cone shape will also be affected by any path effects and the original object has, the original object doesn't currently have any pet effects applied to it. So as an example, let's set the bin path effect to it. Let's bend it by first clicking this button, then dragging the control path. As you can see, the clone bins as well. If we select the Clone Again, we also have a without LPs option here, which we'll ignore the original objects path effects. Another option is no shape. This will ignore the original object shape information, reverting the clone back to its original shape. Even if we modify the original object, such as by scaling, it won't affect the clone. And finally, under shape, we have spiral or B-spline only. This will ignore all of the original objects path effects except for the spiral spline or B spline path defects if it had either of these. Let's set this back to with LPs, and let's go ahead and remove the bin path effect from the original objects. Next in the path effects dialogue, we have these two boxes labeled attributes and CSS properties. With these, we can type in exactly what we want the clone to copy from the original objects. An object's attributes refer to things like its position, size, and transform information. However, I've only been able to get this to work with the transform information. So if we type the word transform into this box and either press Enter or click this button. The clone copies of the original objects transform information. This includes its translate information. So now we can't move the clone away from the original object. Let's hold Alt and click this object to select the Clone again to make it so we can move the clone again. We can just delete what's in this box and press Enter. Now we can move the clone. An object's CSS properties refers to things like as fill color, stroke, color, opacity, etc. And although the clone copy the original object CSS properties, when we first link the objects together. If we change the original object CSS properties such as its colors right now, we can see that the clone isn't still copying them. But if we type, for example, fill into this box and press enter, now the clone will keep copying the original objects, fill information. We can actually put multiple items into these boxes. We just had to separate them with commas. So fill comma stroke. What caused the conic copy the original objects fill and stroke colors. We also have to make sure not to put any spaces in here or won't work correctly. Next we have this checkbox labeled allow transforms. This being turned on. It's actually the only reason we've been able to freely transform the clone. If we turn this off, you won't be able to transform the clone at all. That's all. Click the original object to get back to the clone. And let's turn this back on. Finally, we have this button that says no shapes seem to current. This basically just says the shape to nose shape, reverting the clone back to its original shape. Okay, so that's how we use the cone original path effects. If you recall from the video about cloning objects, we also briefly saw this path effect as an option in the Edit menu under clone. If we create another object, then go to Edit clone, clone original path LPE. It creates a copy of the object and as a clone original path effect to the copy, then links it to the objects. And by default, shape is set to spiral or B spine only and allow transforms is turned off. So we can't change the clone. But of course we can always change the parameters if you want. Alright, that's it for the corner original path effect. So I'll see you in the next video. 77. Path Effect: Construct Grid: In this video, we will learn how to use the construct Grid Pad effects. They construct Grid Pad effect uses the first three nodes of a pad to create a perspective grid. So to start, we just need to create a path with three nodes. We can use a path with more than three nodes for the path effect will ignore all but the first three nodes. So there's really no point. Alright, now let's click the Add button and the path effects dialogue. Then click construct grid to add it to the pad. So what this did is it created a grid with the sitter note of the path defining the origin and the other two nodes defining the direction and length of the sides of each cell. It also by default created five cells and both the x-direction and the y-direction. And the path deflects dialogue. We can change the number of cells in each direction. If we switch to the new tool, we can drag the three nodes around to change the perspective of the grid in any way we want. If we turn on snapping to path intersections in the snap controls bar, this grid would be useful for drawing the perspective like so. Okay, so that's how we can use the construct grid path Effects. I'll see you in the next video. 78. Path Effect: Corners (Fillet/Chamfer): In this video, we're going to learn how to use the corners Phillips slash chamfer path effects. The corners path effect lets us create rounded corners known as fillets and beveled corners known as chamfers. So to get started, let's go to the pencil and create a path with some corners. Let's go ahead and close it off. Now let's click the Add button in the path effects dialogue and click corners village slash chamfer to add it to the path. Okay, so we have the path effect added to the path now. But before we can see any changes, we need to increase the radius parameter here in the path effects dialogue. As we do so the corners or the path all start to become rounded. The more we increase the radius, the more rounded the corners become. By default, the radius is in pixels, as we can see in the unit parameter. And we can change the units to something else if we wanted to. Changing the radius here by default affects all of the nodes of the path. But if we switch the notes or at each node we get to green nuts. If we drag one of the knots, we can change the radius at that corner. We can also move around the node itself. Next, NOPAT effects dialogue, we had the method parameter. With this, we can change the method used to calculate the rounding of the corners. By default Assign Otto and the next option force arc, seems to give the same result as auto. The third option force bezier, we'll use Bezier curves, which makes the corners a bit more angular. You might need to zoom in a bit to see this better. Force arc makes the corners more circular. I'll set this back to auto for now. The next parameter we have here is Chamfer steps. For this to work, we need to switch to chamfer mood. By default, we're on Philip mode, which is why we get rounded corners. And to change the mode, we just click on one of these buttons at the bottom. Let's click the chamfer button to switch to chamfer mood. Now we have beveled corners which are squared like they'd been cut off. And just like with the Philip mode, you can change the radius to increase or decrease the effects, either in the path effects dialogue, or per node via the new tool. With a chamfer steps parameter, we can change the number of steps using the chamfer. This is basically the number of lines segments use to connect the knots of the corners. If we set this to a high number, the corner start to appear rounded, like in film mode. I'll put it back on one. The other two mode buttons we have down here are Inverse fill it and inverse chamfer. These will make the film or chamfer move inwards. Here's what they Inverse fill at mode looks like. We can change the radius of it. For inverse chamfer, we can only see the difference if we use more than one chamfer step. Let's go back to Philip mode for now. Next we have a bunch of checkboxes here. If we turn on the first one, radius and percentage, the radius of the filler or chamfer at each corner would be percentage of the length of the segments at that corner. And we actually need to change the radius first to get this and start working. This gives us a much more dramatic effect. Let's turn this back golf and change the radius to update it. The next option is used nuts distance instead radius. Turning this off, we'll change the way the radius parameter is used. This causes some of the corners to change more rapidly than the others. Let's turn it back on. Next, we have two options for how to apply the changes. First, we can choose whether or not to apply changes to nodes with a corner radius equal to 0. This is turned on by default. So if we gave one of the nodes is 0 radius by dragging it back to the node. Changing the radius here will change the radius at that node. However, if we drag the nuts back up again, then turn this option off before changing the radius, the changes won't be applied to that node. Let's turn it back on. The next option is basically the opposite, allowing changes to nodes in which the radius is greater than 0. Currently, all of the nodes have a radius greater than 0, except for this dude that we changed. If we turn this off, then type a new radius here and press enter. Only the node that had a radius of 0 changes. And because the node now has a radius greater than 0, changing the radius now won't change it or any of the other nodes. Let's turn this back on. Now we can change all the nodes again. The next option here is changed only selected nodes. If we turn this on and select one or more nodes with the node tool, now only the selected nodes will be affected by changing the parameters. Finally, we can hide the knots if you want to. There are also a few more things we can do with the node tool. First, if we hold control and click a naught, we can cycle through the different modes. If we hold shift and click and not have brings up the Modify Philip chamfer dialogue. And here we can change the knots distance. We can change the chamfers subdivisions at the knot, which is the same as chamfer steps. And we could change the mode. Finally, if you hold Control and Alt and click a naught there removes the affiliate or chamfer. To get it back, we can just drag out the Nazi again. Alright, and that does it for the corners. Philip chamfer, path Effects. I'll see you in the next video. 79. Path Effect: Envelope Deformation: In this video, we will learn how the envelope deformation pet effect works. To get started, let's create an object. Now let's click the Add button and the effects dialogue. Then click envelope deformation to add it to the objects. And what this effect does is it allows us to create control pads on one or more size of the objects bounding box. And if you recall from the video about the bin path effects, control paths allow us to bend an object and change its shape. So if we click this first button next to top been pad, we get to control path along the top edge of the objects bounding box. It's a bit hard to see here a green line going across the top of the objects. Now with the node tool, we can click and drag the control path to bend the top of the object. If we move the objects handles out of the way, we can also move the control pads, nodes. We can bend the control path with this handles as well. That can impact effects dialogue. We can create a control path to the right side, the bottom, and the left side. Note, however, that we can only modify one of the control paths at a time, which is the one shown in green. The others are currently blue and we can't modify them to modify one of these control pads again, we can either click this button in the pet effects dialogue again, or we could cycled through the control pads with this button and controls bar for the node tool. We can also use the shortcut for this button, which is the seven key. Next, NOPAT effects dialogue. We have a column of buttons for copying a particular control pet into the clipboard. So if we copy the top control path, for example, we can then paste it onto the canvas with Control V. And now we can see what the path actually it looks like. Next we have a column of buttons for pacing and Tropez onto an object. So if we create another path with the pen tool and copied to the clipboard with Control C. Now we can paste it, for example, onto the object's bottom. If we show the bottom control path, you can see that it's now a smaller version of the path we copied. And we can modify the control path like normal. We can also link to a copy control path with this last column of buttons. Because we still have this path copied into the clipboard. If we click this button for the bottom, the bottom becomes linked to the copied path. So modifying the path will modify the bottom of the objects. Finally, we have these two checkboxes here. These just let us enable and disable either the top and bottom control pads or the left and right control paths. If we turn them both off, the object reverts back to the way it was as if we had a deformed it. Okay, so that's how we use the envelope deformation path effect. This effect is especially useful for shaping texts objects into particular shapes for things like logos. Let's say for example, if you wanted to text logo that has an elliptical shape. First we can create an ellipse. Then we can create a text object on top of it. Let's make it bigger. Before we can add a path effect to the text object, we have to turn it into a path by going to pass the object to path. Now let's add the envelope deformation effect to it. We can now go in and enable the control path for each side and manipulate them into the text fits inside the shape. We could definitely make it better, but that's good enough for now. Okay, I'll see you in the next video. 80. Path Effect: Hatches (Rough): In this video, we're going to learn how to use the hatches rough path effects. First, let's create an object. Now over in the path effects dialogue, Let's click the Add button. Then you click hatches rough to add it to the objects. As you can see, what this does is it fills the area inside the object with a squiggly line. It doesn't look so cool right now. But in the pet effects dialogue, we have a ton of different parameters we can use for changing the appearance of the squiggly line. We can hover over each of them to see what they do. For example, a frequency randomness. Let's us randomize the variation of distance between hatches. This goes from 0 per cent, which will have no randomness, to 99%, which will give a lot of randomness to the distances. We also had this button with a dice icon, which we can keep clicking to generate different random sequences. The next parameter of growth, let's change the growth of distance between the hatches. With this, we can spread out the wiggles of the line. Next we have this checkbox that says been hatches. When this is turned on, it adds a global been to the hatches. Here's what it looks like with this turned off. It's a very subtle difference. Next we have a bunch of parameters spreading jitter to different parts of the line, as well as options for bending the line in different ways. Down here we have another checkbox which says Generate thick thin path. With this sudden we get a stroke that varies in thickness. If we turn this off, it doesn't look right at the moment because our object has only a fill with no stroke. If we give it a stroke and turn off the fill. Now we get a stroke that doesn't vary in thickness. I'll turn this back on and also turn the objects feel bad gun and the stroke backoff. Finally, we have some options for changing the thickness of the line in different ways. Okay, So changing the parameters to the pet effects dialogue is one way of trying to get the resource we want, however, is pretty time-consuming and not very intuitive. A much better way I find is by using these handles we get on the object when we have either the node tool or shape to active. First we add these two green diamonds. With the middle green diamond. We can change the positioning of the hatches within the objects. With the green diamond over here, we can change the scale and rotation. If we move it close to the other green diamond, we can get the shape of a hand shaded look. The yellow diamonds that has changed the bend at the hatches. The further we move this one on the right away from the middle one, the more we can bend the hatches. We can also change the direction of the bending. Okay, so I'm sure you can imagine that we can get some really cool effects with this. And I encourage you to try it out with different settings and different shapes. Alright, I'll see you in the next video. 81. Path Effect: Pattern Along Path: In this video, we will go over how to use the pattern along path, path defects, pattern along path. Let's stretch and or repeat a path along another path. To get started, let's create a path with the pen tool and a shape objects. And we have to turn the shape into a path first by going to path, object to path. Now let's select the path we created with the pen tool. Path effects dialogue. Let's click the Add button and add the pattern along path effect to it. Okay, this path is now referred to as the skeleton pad and you put a pattern along it. The first step to select the path we want to use as the pattern copied into our clipboard with Control C. Then select the skeleton path again. And then the path effects dialog on your pattern source, we can click either the third button or the fourth button. This one would just paste the copy pattern onto the skeleton path. And this one will link the skeleton path to the copied object so that modifying the copied objects or modify the pattern. To keep it simple, I'll just click the Paste button. By default, pattern copies here is set to single stretched. This means that stretched the pattern along the skeleton path without repeating. The pattern also took on the fill and stroke information of the skeleton path. So a currently only has a stroke set. Whoever we can add a fill to it if we want. We can also turn off the stroke. If we drop down this box for pattern copies, we have a few other options to choose from. Repeated will just repeat the pattern along the skeleton path as many times as it can. Repeated, stretched will repeat the pattern and stretch it in order to cover the entire skeleton path. Single would just give us a single copy, the pattern object at the start of the skeleton path. I'll set this back to repeat it for now. Next week is set the width of the pattern. We can also do this by switching to the node tool, which enables this width not here that we can use to edit the patterns width on Canvas. We can drag the skeleton paths nodes around as well. And the pattern will repeat more or less in order to cover the skeleton pads new size. If we scale it with the Select tool, however, it will also scale the pattern. Another thing we can do is edit the shape of the pattern itself by clicking this first button under pattern source. Now we can see the nodes of the path as being used for the pattern, which is basically just a smaller version of the path we copied. And we can drag around the nodes to change its shape. We can also add more nodes if we want. The second button under pattern source, we just copy this pattern path and we can paste it on the canvas with Control V. Next, under the width box, we had this checkbox or less a scale, the patterns width in units of its length. This doesn't seem to do much with this pattern. Next, we have the spacing parameter. With this, we can add or remove spacing between the copies of the pattern. We can also use negative numbers which will cause the copies to overlap. Next, we have to offset parameters. With normal offset, we can move the pattern above or below the skeleton path. With a tangential offset, we can change the positioning of the pattern along the path. By default, these offset parameters are in pixels. But if we check this box here, the offset parameters will be expressed as a ratio of the patterns width and height. Next we have a checkbox labeled pattern is vertical. Inkscape assumes that the path we're using as a pattern is horizontal. But if we turn this on, it will rotate the pattern 90 degrees before applying the other parameters. This would be good if we were using a vertical path as a pattern. And the last checkbox just lets us hide and show the width, not. The final parameter is fused nearby ends. This lesson has fused parts of the pattern together when they're closer than this number, which I believe is in pixels. When it's on 0, this has no effect. So if we move the nodes of the skeleton paths so that parts of the pattern or close to other parts, nothing happens. But if we start increasing, this, parts of the pattern will start to fuse together. I'm not sure exactly what the purpose of this is, but it might be useful for certain types of patterns. Okay, that's how we use pattern along path. And we're not restricted to just using simple paths like this. We can do it with more complex shapes as well. We can also use a shape as the skeleton path. I'll use an ellipse as an example. Alice copy the path we want to use as the pattern for the ellipse. Let's give it a stroke and turn off the field. Then a set pattern long path to it. This time let's click the link button under pattern source. Let's change pattern copies to repeat it stretched. Now we get the pattern repeated along the ellipsis path. And because it's linked to the pattern object, we can modify the pattern by modifying the objects. And we can change the width, spacing, etc. Finally, just like with the bin path effects, we actually already saw this path effect with a pen and pencil tools under shape bend from clipboard uses the bin path effects, and from clipboard uses pattern long path. So we can copy this object here again. This switch to the pen tool and choose from clipboard. I'll put the mode back on bezier. Now when we draw a path that uses the path as a skeleton path and patterns the Copy path along it. Alright, I'll see you in the next video. 82. Using Filters: In this video, we're going to learn how to apply filters to objects. If we open the filter's menu, we can see that we have a ton of filters to choose from, including blurs, bumps, materials, overlays, shadows and glues, etc. The best way to learn what all of these do is to just create some different types of objects and apply the filter. So then if we hover over a filter, it gives us a brief description of it in the status bar. In this video, we'll just go over a few of the filters, as well as learn how to use the filter editor. Let's get started by creating some objects. Let's give this one a stroke. Let's give this one a gradient. Let's create a text object as well. So because some filters work best with images, I'm going to import the image of the king fisher that we used earlier in the course. Feel free to use any image you want. And we can actually apply filters to multiple objects at once. So let's select them all. First and the filter's menu, we have bevels. These are useful for creating things like buttons. As they get the objects are raised up appearance. Bloom gives them a highlight at the top-left corner. That's undo that. We actually even have a button filter here. And the filters that have three dots after them, like this matte gel E1 will bring up a dialog with different settings we can change. We can check this live preview option to see what the filter will look like. And we can try different settings. If we like what we see, we can click Apply, we can click Close to cancel it. Next we have blurs. This plane blur filter here actually does the same thing as adding a blur to the fill and stroke dialogue. However, if we apply it from the filter's menu, we get a dialogue for some extra settings. For example, we can use different values for the horizontal and vertical blurs. We can also choose the blur on it was inside the shape of the objects. These objects, we can really only see this with the object has a stroke and with the image. Filters under bumps give objects different kinds of bumpy appearances. Here's public bumps. Paper bump is a pretty cool one. Calorie gives us voters that modify the colors of objects. For example, a colorized lets us change the colors completely. We can also change the lighting and the color modes. With a gray scale filter, it can make the object's gray scale. We can also adjust the color channels. Next we have Distort. Ripple is a pretty cool one. Ruffin is quite useful as well. We can add some noise to the objects with this Fill and transparency, We have blend. This is what we get when we change an object's blend mode and the fill and stroke dialogue. We can also choose if you want to use the background or the image as a source. Under image effects, we have filters like film grain and soft focus lens. And under Image paint and draw, we have neon draw, which is pretty cool. And oil painting is another useful 100 materials we can make the objects look like different types of materials, such as 3D marble. 3d would. And leopard for this one is pretty weird. Next is morphology. A cool filter under here is outline, which lets us put an outline around the objects. We have a bunch of settings we can change here. We can also change the color of the outline and the color tab. The filters under non-realistic 3D shaders don't seem to work very well, but feel free to try them out. Some useful filters on our overlays are clouds and frost. Swiss cheese is pretty cool. 200 pixel tours, all we have is pixelized. This will remove anti-aliasing from objects. This causes the edges of the objects to become jagged. Under protrusions, we can do things like add a dripping effect and add fire around the objects. Ridges has some weird filters. The scatter filters we could do things like make objects look like scatter cubes or scattered leaves. Shadows and glues has some really useful filters. Here we can get the objects and glow effects. We can also get them drop shadows. And we can choose whether to make it an outer shadow or an inner shadow. We can also change the color of the shadow. Textures also has some really useful filters. We can make the objects look like tree bark, like rough paper, watercolor paints, etc. We can also apply multiple filters to objects. So for example, we can get these a bark texture and a button appearance. This will combine the effects of both filters together. Another thing to note is that applying filters doesn't actually change the original objects. The image is still an image object. The Texas still a text objects. Shapes are still shape objects, so we can still edit them like normal. And to quickly remove all the filters from the selected objects, you can go to filters, remove filters. Now let's take a look at the filter Editor dialog, which we conduct by going to filters, filter editor. At the left side of the dialogue, we have a list labelled Filter. This is currently showing the previous filter combination that we apply to all of the objects. We can turn one back on by checking the box next to it. These are all the same because we applied the same filters to all the objects at once. Also, when we choose remove filters from the filter's menu. And actually just turns off the filters here. If you want to actually delete a filter, you can right-click it in a list and choose Remove. You can go ahead and remove all but one of these. Some other things we can do by right-clicking your filter or duplicate it and rename it. We can also easily rename a filter by clicking his name and typing a new one. To the right, we have a list of the selected filters effects. These are also referred to as filter primitives, and they include things like turbulence, colored matrix, displacement, map, and blend. If we scroll to the right, we can see the various connections the effects have as indicated by these arrows. Most of the effects are connected to the previous effects, but some are connected to different parts of the object shown here. We can click and drag and arrow and connected to, for example, the objects background Alpha, which will give us a different result. We can also click and drag an effect to change his position in the stack. Changes this stuff in here can give us vastly different results. Let's undo all of that. And if we right-click in effect, we can duplicate it or remove it. Down here. We can drop this down to see all the effects that we can choose from. We choose one, it will give us a description over here. Also click the Add Effect button, which will add the effect to the bottom of the stack. And down here we can see and edit the parameters that effect that we have selected in the list. There's also a filter General Settings tab here. This automatic region option is turned on. The rendering area as indicated by the dashed line around each object will automatically expand to provide enough room for the filters. If we turn this off, we can give specific coordinates and dimension to the rendering region. One more thing we could do is create a custom filter by clicking this new button here. We can now go in and add effects to it and change the parameters that connections until we get what we want. The stuff can get really complicated, really fast. I've never actually needed to mess around with it much myself. But if you're feeling experimental, you can probably get some really cool effects with this. Anyway, that pretty much does it for filters. So we can go ahead and close out the filter Editor dialog now, and I'll see you in the next video. 83. Using Extensions: In this video, we're going to talk about how to use extensions and Inkscape. Like with filters, we have a ton of extensions we can use. And we can even download more off the Internet or create our own. Also like with filters, the best way to learn how extensions work is by trying them out yourself on different types of objects. So in this video, we will just go over a few of the most useful extensions. The first extension will go over as deep ungroup, which is under the arrange category. But deepen group does, is it completely on groups and selected group of objects, including any other groups nested within it. To see how this works, let's create some objects. Are just stamp this one a few times. Now let's select these two and group them. Then I said this quantity, the selection and group them and so on. Now we have a group with a bunch of groups nested within it. If we wanted to ungroup all of these, doing it the normal way, such as by clicking the ungroup button will take awhile because we will have to click it once for every single group. If we use the deep ungroup extension, however, we can ungroup them all in one go. We also get this dialogue where we can choose what debt to start at, what depth to stop that. And if there's a particular debt, we don't want to ungroup, we can put it in here. Let's just keep everything on the defaults and click Apply. It. Take a few seconds to complete. Now that it's finished, we can go ahead and close up the dialogue and see that all the objects have been ungrouped. This extension can be a great time-saver if you're working with a very large document with many nested groups. Next, let's look at some of the extensions under the Generate from pet category. First, we have Extrude. Extrude lets us connect the nodes of two paths together using either lines or polygons. For this, let's create a star. Let's duplicate it, make it bigger, and move it over here. Now let's select them both. We also need to turn these into paths. So let's go to Path, Object Path. Now let's apply the extreme extension. The default mode here is lines. And if we check the preview box, we can see that it creates lines connecting the nodes are both paths. And these lines are just normal path with a stroke. So if we click Apply here and close this out, we could change the colors and styles of the lines if we want. Let's undo all of that and open the extra dialogue again. The other mode we have is polygons. This will create filled in polygons between the nodes of the paths. Let's click Apply and close this out. All the polygons are in a group, so we can change all of the colors at once. We can also enter the group and edit the individual polygons. Next and degenerate from pet category, let's take a look at interpellate. This lets us do a linear interpolation between two or more selected paths. For this, Let's select one of these rectangles and turn it into a path. Let's create an oval over here. Now to turn it into a pad. Alice select them both and apply the interpellate extension. Let's go ahead and click live preview to see what we get. So by default we give five new paths that are mixtures of the shapes of the selected pads. The first setting we have here is exponent. When this is 0, the spacing is even between the pads. We set this to a positive number like 0.5. The spacing, we'll start out large and get smaller and smaller. Setting it to a negative number will have the opposite effect. Next is interpolation steps. This is the number of new paths to create between the original paths. For interpolation method, we only have two options, 12, changing this will give us different shape pads. When duplicate in paths is turned on, the selected paths will be duplicated and add it to a group with the paths between. We can turn this off if we don't want to duplicate them. Interpolates stylus as interpellate things like colors as well. Use z order will change which selected pads style to use when interpolate style is turned off. Right now is using the style of the path with a higher z order. If we turn this on and we get a warning that the setting is being deprecated. But it still works for now. So let's click. Okay. Now it's using the style of the path with the lower z order. Alright, so that's how we use the interpellate extension. Let's close this out now. Under the Renderer category of extinctions, we can create things like 3D polyhedra, ins, bar codes, calendars, gears and grids. Barcode. We have a few options to choose from. Shake up the classic one. In the dialogue, we have a lot of different types of barcodes. Let's go with EA N5 extension. This barcode type needs five digits. So embark code data, I'll just type 12345. We can also change the bar height here. Let's check live preview to see what we get. We now have a bar code object here. Let's go ahead and click Apply here and close this out and zoom in. This object is a group of a bunch of rectangles and a text object. We can even go in and edit the text object. Let's select another object to get out of the group. The texts category also has some useful extensions, such as changing the case of a text object in different ways. And this Lorem Ipsum extension is good for creating placeholder text. Here we can set things like the number of paragraphs and how many sentences to put in each paragraph. Let's see what we get. As you can see, if we have a path selected, the text object will be created so that it's texts flows into the shape of the selected path. Otherwise, it would have placed the text object at the top left corner of the page. Let's click Apply and close this out. Now we have this placeholder text object here that we can edit. And it's actually connected to the path we had selected. So if we resize the path, we will resize that text object as well. Let's delete the text object. Another thing we could do with extensions is repeat the previous one by going to extinctions previous extension. So I created another text object using the Lorem Ipsum extension. But because we didn't have a path selected, this one is flowing into the page. And if we just want to open the settings dialogue for the previous extension, we can go to Extensions, previous extinctions settings. Finally, at the bottom of the extensions menu, we have managed extensions. If we select this, it will open the extensions dialogue. Here we can see a list of active extension packages. We can install packages off the Internet. We can learn how to create and upload our own extensions. I highly encourage you to try out all of the extensions that Inkscape community has to offer and maybe even take a stab at creating your own. But anyway, that should do it as an introduction to extensions. So I'll see you in the next video. 84. Creating Fonts: In this video, we're going to learn how to create SVG fonts. So we actually could just start drawing letters on our Canvas like it is and create a font that way. However, if we want our fonts and look good and be more uniform, it's better to use some kind of template. Fortunately, Inkscape provides us with a template for just this purpose, which we can get to by going to File New from template, then selecting typography Canvas. Clicking Create From Template. This brings up a new document with a page of the Canvas marked with guidelines that we can use for drawing each character of a font. Between heights and baseline is where most lowercase letters would be drawn. These cinder is where we will draw parts of characters that drop below the baseline, like the tail of a lowercase y. Capital letters would normally go between baseline and cats. And a sender is for parts that might extend beyond caps, which is common for serif fonts. For drawing characters, we can use shape objects or pads. I like to use the calligraphy tool, so I'll activate it and I'll draw a capital a. Next. In order to create a font and add this character to it, we need to use the SVG font editor dialogue, which we conduct by going to text SVG font editor. The first thing we have in the dialogue is a list of fonts we've created. We haven't created any yet. So let's go ahead and do so by clicking New. We now have a new font here, labeled font one. You can click it again to change the name. To the right, we have global settings. Here we can change font attributes, such as the default width of each character and the position of each character's origin. We also have font-face such abuse. Family name is the actual name that will be displayed in fonts, selectors. And here we would type in the amounts of space for the essence, decent, etc, for the characters. However, this isn't really necessary at the moment, so we can just leave them on 0. The next tab is glyphs. Cliff is the term used to refer to a character and a font. So all letters, digits, etc, in a fonts are called Glyphs. This tab is where we actually start adding clips to our font. To do so, first we need to click the Add glyph button. Now we have a new glyph in the list. It's not really necessary to change the name of the glyph, but if we want to, we can click it again and type a new name. Since this cliff is going to be a capital a, I'll go with capital a as the name. Matching string is where we type in the character that the glyph will use, a capital a. And with the events setting, we can set a specific width for this glyph. If we leave it on 0, it will use the default glyph width from the Global Settings tab. Next, we need to select the objects that were used as the glyph. We also need to union needs together by going to pack union. Now in the font editor dialogue, we need to select the font again and the glyph then click Get curves from selection. Right now we can actually see that anything has happened. The bottom of the dialog, we have a place where you can type some text to see a preview of the font. If we use characters that are in the font like right now, it will display them as black boxes here. So let's replace this with a capital a. Now we can see the glyph we just created. We can type in more to see how the spacing will be. To create another glyph, the best way would be to do it on another layer. So we can hide this layer with the a, then create another one by going to Layer, Add Layer. Then clicking Add. Now we can draw another glyph. I'll go with a capital B. Next, let's select the objects and union them with control plus. Now let's go back to the Font Editor dialog, select the font and add a new glyph, our name and capital B. And put a capital B as the matching string. Now let's make sure that glyph is selected in the list. Then click Get curves from selection. We now have a new glyph, which we can see by typing the matching string for it here. Something else we can do in the glyphs tab is use a placeholder glyph for any missing Glyphs and our font. We do this by first drawing the placeholder glyph, then selecting it and clicking this From Selection button. I still had this big gloves selected. So if I click from selection, now all the missing glycerol use the beak live. We can see this as I type other characters in here that we haven't yet created. If we click the reset button, the missing Glyphs, we'll go back to being displayed as black boxes. We also have a Kerning tap here. Kerning, as we learned in the video about creating texts objects, is the space between a pair of gloves. So for example, we can change the kerning between the a and B glyphs by selecting them in these boxes, then clicking Add pair. Now we can decrease the kerning between them with this slider. We can also do this between a glyph in itself. Okay, so that's how we can create an SVG fonts. And we actually have a group of extensions that will do some of the steps for us. These are located under Extensions topography. The first one setup topography Canvas. We're actually set up our canvas to look the same as what the topography Canvas template gives us with the font face attributes marked. And we'll also do so without us having to start a new document to see this. Let's go ahead and close up this document to get back to our previous document with a default template. Now let's go to Extensions, topography, setup, topography Canvas. We also even get a dialogue where we can type in specific numbers for the font face attributes. Let's just stick with the defaults and click Apply. Now we're ready to go. I'll just draw another capital a. Let's select it all. And union. Then. Next we have add glyph layer. This will create a new layer for us, and it will also give this layer a name using whatever we type here in Unicode character. Let's go with a capital a and click Apply. Let's close this out. Now we're on a new layer labeled good flavor a. And if we unhide it, we can see that it also moved our selection into this new layer. Let's hide the layer again, switch back to layer one and create another glyph. I'll just go with a capital B for simplicity. Let's now go to add glyph layer again. Type in a capital B and click Apply. Let's unhide the new layer to see that our B glyph is there. So now we have two glyph layers, each with a glyph bound in. The next step is to go to convert glyph layers to SVG font. What this does is it actually goes through the steps we went through with the SVG font editor dialogue, creating a font and adding clips to it. We can see this if we open up the SVG font editor dialogue again, we have a new font here and even filled out all of the attributes for us. If we switch over to the glyphs tab, we can see that it also added to glyphs with the matching strings equal to the Unicode values we use when creating the glyph layers. Whoever it doesn't appear to actually add the drawings that we created to the glyphs. As we can see if we tried to preview the font, we just get blank spaces. So we still need to manually select the drawing and each glyph layer and attitudes corresponding glyph. The next option we have in extensions is convert SVG font to glyph layers. This would be useful if we are using a document that only had an SVG font created, but no corresponding lift layers. Next we have view next glyph and view previous glyph. This will hide the current Glyphs layer and make the next or previous clip layer visible. Alright, so that pretty much covers everything about creating an SVG file and Inkscape. It's important to note, however, that we can actually use SVG fonts and most software, including texts editors. We would first need to save this document, then import the file into a font editor, such as font forage, which can convert the SVG font and to a normal font format. The font can then be installed and use another software. Converting fonts is beyond the scope of this course, but you should be able to easily find a font editor online along with this documentation. Okay, I'll see you in the next video. 85. Creating Markers: In this video, we're going to learn how to create our own markers. Earlier in the course. We learned that under the stroke style tab, but the fill and stroke dialogue, we can add markers to the nodes of an object. This works best with pads. So let's create one with the pen tool. Let's increase the stroke width. Now we can add markers to the first node, the middle nodes. And the last node. The size of the markers depends on the stroke width. And the color of them is the same as the stroke color. If we change the direction of the path by going to Path Reverse, will also change the direction of the markers. I'll reverse mine again to get it back to normal. If we look through the list of markers, we have a ton of different ones to choose from. However, sometimes we might want to create our own. To do this, let's create an object that will convert into a marker. Let's change the fill color as well as the stroke color. So like with creating patterns, my version of Inkscape has a bug that causes the markers I create to be much bigger than the original objects. I'm going to shrink this down quite a bit. You may or may not have to do this. Now, to turn this into a marker, we simply go to objects. Objects to marker. The object disappears. But if we select the path and look in the marker list, we see our newly created marker at the top. Now we can set it as a marker. We can do this on all the nodes if we wanted to. Now notice that the mercury created as the same color as the object we use to create it. And even if we change the colors of the path, it doesn't affect the colors of the marker. We want to change the colors of this marker. We actually had to use an extension. The extension is located under the modified path category and it's called color markers. Clicking it will bring up the color markers dialogue. The first tab we have in the dialogue is from objects. This lets us choose how I want the colors of the markers to be determined based on the colors of the object that they're attached to. A shack live preview to see what we get. As you can see by default, the fill and stroke colors of the marker changes to the stroke color of the path. It actually also by default assigns the past alpha values to the markers. Let's close this dialogue out. Then change the alpha value of the path stroke and its fill. Now let's bring the color markers Dialog backup. Let's check live preview again. We can now see that the Margaret's are using the paths Alpha values. If we don't want this to happen, we can disable the option. In this tab. We can also change the type of the markers. By default, the type is solid, which causes the markers fill and stroke colors become the same as the pad stroke color. If we change this to field, however, now the markers stroke color goes back to the original color and its fill color becomes the paths fill color. I'll put it back on salad for now. We also have this invert, fill and stroke colors option in here, but it doesn't seem to do anything. Muscle not sure what this modifier in place option is for. Anyway, let's now switch over to the custom tab. Here we have tabs for applying custom fill and stroke colors to the markers. At the top of the field tab, we had this assign Fill Color option. If we turn this off, the markers fill color, we'll go back to being the original fill color. If we turn it back on, we can change the fill color to anything we want. We can do the same with a stroke color, right? So that's how we can create custom markers. I'll go ahead and close up this dialogue and I'll see you in the next video. 86. Projects Section Introduction: Welcome to the project section. After learning a ton of stuff about Inkscape, we're finally going to put that knowledge to work in this section by creating some real artwork. And although I will be showing you step-by-step everything I do in each video. I highly encourage you to do things a bit differently, such as using different colors or shapes or adding extra details. We can do exactly what I do first, then try to create something similar afterwards. And I would love to see all of your work. So after you finish your projects, please export them to images and upload them. So you don't have to worry about doing the projects in any particular order. So feel free to start with anyone you want. Okay, and before we start, for the most part, I'll be using the same simple Canvas setup for each video in this section. That's not entirely necessary that you use the exact same setup I use. But if you would like to, I will now go through the setup. First. Let's bring up the document properties dialog by clicking this button up here. We won't be needing the page so we can go ahead and hide the page borders. I'm also going to set the display units up here, two pixels. Okay, we can go ahead and close up this dialogue now. And the alignment distributed dialogue, just make sure to have less selected chosen and the relative two bucks. The control is bar for the select tool. Let's have these four buttons here turned on. Has for the snap controls bar will be turning various options on and off throughout the videos. But I'll be starting out each video just cosmos snapping, grid snapping and guide snapping turned on. Okay, and that's about it. We can now save this template if we want by going to File Save template, I will call it Projects and click Save. Now when we begin a project, you can start a document using this template by going to File New from template, then choosing the template. Alright, I'll see you in the project videos. 87. Battle Axe: For this project, we're going to learn how to create a battle ax game asset and Inkscape. First, let's turn off snapping. Let's create a long rectangle for the shaft of the x. I'll give this a dark brown fill. Let's make the corners of this rectangle is slightly rounded. Okay, now let's create another rectangle for the blade. Let's make the corners sharp by clicking this button in the Control bar. Now get this a medium gray fill. Alice turn this into a path by going to Path, Object Path. And let's switch to the Node Tool. We can get crazy with the shape of the blade here if we want. But I will just go the typical triangular shape. First, I'm going to hold Control and drag these nodes over here a bit. And I will also move these a bit closer together. On this side, I'll drag them a bit further apart. Now let's drag out this edge here to give it a curve. We can play around with the handles until we get what we want. Let's adjust these notes somewhere. We can also drag these two edges in a bit. That looks pretty good. Let's create another rectangle over here on top of the blade and shaft. Let's round the corners a bit and make it a slightly lighter color than a blade. Now let's shift, click the shaft and central these vertically. And I'll hold Shift and drag this handle when to shrink its width while keeping it centered. Okay, now let's add some detail to the blade. First I'm going to give it a gradient. Let's switch to the gradient tool. Select this stuff on the right and raise the Alpha all the way up. And I'll give this a really light gray. Then I'll move this stuff down here. This one up here to give it a shine at the bottom corner. Let's make the front of the blade shiny as well. One way we could do this by duplicating the blade twice, then dragging the top duplicate to the left some while holding Control. Then Shift-click the other duplicate to select them both and go to Path division. Now we can delete this part here. And we're left with this piece here, which we can give a very light gray fill. Next, let's get the blade some streaks. We can do this by creating a long, thin rectangle and changing the color to a darker gray. Now let's click it to get the rotation handles while holding control. Let's rotate it a few times. 45 degrees should be good. Now let's duplicate this and move it down. We can switch to the squares and rectangles tool and make this one a bit thinner. Now let's duplicate this one and move it down. Let's duplicate one more time. Let's make this one the degassed. Now we can select all of these rectangles. You need them with control plus then duplicate the blade, Shift-click the rectangles, then go to Path intersection. Now we can lower this step, you put it below the shiny part of the blade. And we could probably make this a bit brighter. Let's also give a highlight to the top of the blade. I'll do this by creating a triangular shape with the pen tool. Then switching to the node tool and dragging the sides to get the curves right. Let's turn off the stroke of this and give it a fill pretty close to white. Okay, that should do it for the blade. Now let's work in this metal part of the shaft. We can make this look rounded by adding some shadows to the sides. Let's do this by creating a rectangle overlapping some of the side here. And I'll make this a slightly darker gray than the piece under it. We can duplicate this and move it over to the other side. Then we can duplicate the middle piece here, then Shift-click one of these side pieces, then do an intersection with Control asterisk. And we could do the same for the other side. Now let's create another rectangle overlapping some of the top of this piece. Let's make this a very light gray. Then let's duplicate this middle piece again. Shift click the top piece and do an intersection. We can also add a highlight going down the center by creating a rectangle here, the same color as the top highlight. Now let's all click this to select the middle piece, duplicate it, and do an intersection on these two. Let's center this highlight vertically with the shaft. Now let's get the highlight our gradient. Let's switch to the gradient tool. And while holding control, Let's move this stuff up here and this one down here. That should be good. We could do the same with the chat. First, I'm going to make it a bit longer. Now let's create a rectangle overlapping this side. Change the color to the same as the shaft, then darken it a bit. Now let's duplicate this and bring it over to the other side. Now we can do intersections with these and the shaft will have to lower these a few steps to put them below the metal pieces. We also need to put a shadow here where the metal part meets the shaft. Now we can put a highlight down the middle of this chat. For this, I'm just going to create a triangular shape here with the pencil. Then turn off the stroke and give it a field that is a brighter version of the shaft color. We can also make it a bit more yellow. Now I will duplicate this. Flip it vertically, and move it over here. Alright, and now let's add a grip to the shafts. I'm going to create a rounded rectangle here and give it a dark red fill. Now let's create another rectangle on top of this. Sharpen the corners, and make it a slightly lighter red. Let's duplicate this and bring it down while holding control. I'm going to resize this to make everything fit better. Next, I'll create a highlight with the pen tool. Now let's select all of these grip pieces. Group them with Control G, then duplicate the group and move it down. We can change the size to give us some variety. Let's do this a few more times into our near the bottom of the shaft. Now let's add a shadow to the part of the shaft below the grid. We can just create a rectangle down here. Make it the same color as the other shadows, and do an intersection with it and a duplicate of the shaft. Then move it below the grid. We can also add a bit of a highlight at the top of the shaft in the same way. Okay, And one final thing we can do is add an outline or something to the x. First, let's select everything. Then let's group it. Now let's duplicate this click Ungroup until there aren't any more groups. Now let's do a union on these. Now we can turn it black, put it below everything, and outset it a few times. Or if you want to make our axes like magic or something, we can change this to a bright color, then add a blur to it so it looks like the x is glowing. Okay, that should do it. I encourage you to now create your own weapon, beat another x, a sword, a bot, whatever, and upload it for us to see. And I'll see you in the next video. 88. Street Sign: For this project, we're going to create a street sign. We'll add some effects to it to make it look old and worn. For my sign, I will create a stop sign or a stop sign is of course an octagon. So I switched to the stars and polygon's tool, set the type to polygon, change corners to eight and draw an octagon while holding Control to snap the angle. Notice however, that because of the strange way the tool starts creating the shape is not possible to make the octagon perfectly horizontal. So what we can do is as you're creating the octagon, we can turn on snapping and rotation centers snapping. Click the octagon to get the rotation handles and move the rotation center until it snaps to one of the top nodes. With guidelines Stepping toggled on. If you can drag a guideline down into a snaps to the same node as the rotation center. Then rotate the octagon or rather new rotation center and to the other top node snaps to the guideline. Okay, now let's turn on snapping to object mid points. Let's move the rotation center back to the center of the octagon in case we want to rotate it again later. Now we can get rid of this guideline and turn off snapping. I will make my sign read like a normal stop sign, but I also wanted to look old with faded paint. So I will lower the saturation sum as well as make it a bit darker. Next, I want to add the white border. The stop signs usually have duplicate the octagon and hold Control and Shift and shrink it down a bit. I want it to look old, so we'll give it a light gray stroke instead of white. We can also turn off the fill and adjust the width of the stroke some legs, Let's set the text to the sign. I'll create a text object in here. Type the word stop, make it the same gray as the border, and make it bigger. Now let's open the text and the font dialog by clicking this button with the T icon and the control is bar. And I think Aereo board will look good for this. Let's click Apply, close up the dialogue. Readjust the size of the text object if necessary. Now we can shift click the Sign and such these vertically and horizontally align and distribute dialog. Alright, so the text is looking a little too nice for an old sign. So I want to cut out parts of it to make it look like the paint has been chipping off. Before we do this, we need to turn the texts object into a path by going to path, object to path, then ungroup the letters. And to make it easier to cut out parts of the text as a whole, we can Union these together into one pad. Now we can switch to the pen tool and start creating some paths that we will cut out of the texts that you're creating. One, we can select it and the text then do a different sign them with Control minus. We can repeat these steps until we have what we want. That should be good. Let's do the same around the outside of the sine. Now we want to bring this all the way back around and close it off. Let's give it a medium gray fill to look like the metal of the sign is showing through. Let's turn off the stroke. Now we can select the octagon objects, duplicate it, shift, click the path we created, do an intersection with Control asterisk. And we can cut out some parts of this path to add some of the paint back. Everyone. We can also add some of these painless parts to the inner part of the sign. Next, we're going to add a texture to the sign to give them more of a scratched and grungy look. For this, I'm going to import the CMake dot JPEG image, which I provided as a downloadable resource. Let's make it big enough to cover the whole sign. Now we're going to create a path at this image with the Trace Bitmap dialogue. So let's open it by going to path Trace Bitmap. For the settings. We can leave it on single scan and brightness cutoff. And we might need to adjust the brightness threshold until we get something we like. 0.65 looks pretty good. Now let's click Apply. Now we have a trace path to the image, which we can move on top of the sign and adjust the size the way we want. Let's turn down the opacity of this quite a bit. Now we'll give it a dark, desaturated brownish fill. Now we can click the texture to select the octagon under it, duplicate it, shifted the texture and go to Path intersection. Alright, cool. We can go ahead and close up the Trace Bitmap dialog now and delete the image. One final thing we could do is add some bullet holes to the sign, because why not start? Let's switch to the stars and polygon's tool change to the star mode. And I'll leave everything else says is, let's create a star over here. Let's raise the opacity all the way up. Next, let's hold Alt and drag this handle a bit to start randomizing the shape. Now we can let go of Alt and drag both of these handles around until we get a shape that we like. Okay, that should work. Let's make this the same color as the metal parts of the sign. Now let's create an ellipse near the center of the star. It doesn't have to be perfectly round or centered. Let's give this a dark gray fill. Now, duplicate this. Give it an almost white fill, bring it down one step and move it a little down and either to the left or right by using the arrow keys. This will give it a highlight, so it actually looks like a whole. Now we can select all three of these objects, group it with Control G, trick it down some, and put it on top of the sign. We could duplicate this a couple of times and moved into different positions. Then we can enter each of the groups and use the stores and polygon's tool to change the shapes a bit. Okay, that should do it. Now we have an old sign. We can use an apocalyptic game or something. I encourage you to now create your own sign. It can be owed in grungy like this one or a nice shiny new one. Alright, I'll see you in the next video. 89. Button Icons: For this project, we're going to create some icons from buttons that can be used in a mobile app. To start, let's create a circle. I'll give this a reddish fill, then get the feel of linear gradient. Now let's switch to the gradient tool. And I'll give this stuff a yellowish color, as well as raise the alpha channel all the way up. Then let's turn on snapping to smooth nodes and quadrant points here. And now we get snap this top up here, and this one down here. Now let's get the button a highlight by creating an ellipse up here, turning it white and giving it a linear gradient. Let's switch to the gradient tool and snappy opaque stop to the top of the ellipse and the transparent one to the bottom. We can turn off snapping and adjust this in to us about how we want it. Then we can select both objects and central them vertically. Let's lower the opacity of the highlighted bit. Let's now give a drop shadow to the button by duplicating the circle, turning it black, and using the arrow keys to move it down and a little either to the left or right. Now let's lower it to the bottom, give it a blur. And lower the opacity. Some are finished with the button part. Now we're going to make three different icons. So let's select everything and group it. Then duplicate it and move it over while holding control. Then repeat that for the third button. And if we want to make this prettier, we can select them all and put equal horizontal spacing between them. Now let's get these. Biden has different colors. First, let's double-click the second one to enter the group. And let's select the circle. To change the colors. We can either use the gradient tool and adjust the colors of the stops, or we can try out the colorize filter we saw briefly earlier in the course. Let's do that now by going to filters, color, colorize. Now let's turn on the live preview and adjust the colors. I'll get this one a pinkish color. We can also go to the Options tab and adjust the lighting a bit. I think that looks pretty good. So I'll click Apply and close this out. Then we could do the same with this button. I'll give this one a greenish color. I'm actually going to bring the colorized dialogue backup and maybe make this a bit less saturated. Okay, For the first button, let's make it a play button like you see for audio or video, as far as enter the group. So any objects we create will be inside the group. Now let's switch to the stars and polygon's tool switch to the polygon mode, set corners and three and draw a triangle in here while holding Control to snap the angle. Now I'll make this black and put the opacity at, say, 80%. Let's lower the step to put it below the highlight. Next, we want to center this on the button. We could try Shift clicking the circle as centering them. Do they align and distribute dialogue? It looks fine when we center them horizontally this way. But because this aligns or centers of the bounding boxes, centering them vertically, it doesn't look right. That's because we actually want equal distance between the button object and each of the triangles corners. And easy way to do this is to enable snapping to object midpoints here. Let's also turn off step into customers for the moment. Now we can just move the triangle to the right and towards mid point snaps are the buttons, midpoint. This will actually try to snap to the midpoint of the shadow object as well, which is a bid down into the right. Let's make sure it snaps to the main circle is mid point over here. Now let's turn snapping back off. Finally, if we want, we can round the corners of the triangle by adding the corners path effect to it. So we can go to pet, pet effects. Then in the path effects dialog, click the Add button and choose corners, Phillips less chamfer. Now we can adjust the radius here into the corners are rounded as we want. Okay, our first button is finished. For the next button, let's create a home button with an icon of a house. First, let's enter into this group. Now let's create a rectangle here. Let's bring the opacity all the way back up for now. Now let's create another triangle. Has hold Control to snap the angle. Let's keep this one up right, as it will be the roof of the house. Now let's turn on snapping. And I'll turn on snapping and turn off these others. Now let's snap these corners over here. We want this triangle to be the same width as the rectangle. So we can select the Rectangle, Copy the width value of it with Control C, then select the triangle and paste the rectangle's width value into his width box with Control V. Then press Enter. Next, let's grab this scale handle at the top center of the triangle and drag it down a bit. The next thing we'll do is create a chimney, which will simply be a rectangle over here on the roof. Now let's duplicate this and bring it down here to use as a door. Let's turn off snapping again. We can turn this white and make it the size we want, making sure it continues to extend beyond the bottom of the house. Now let's shift click the main part of the house and central these vertically. Then let's cut out the door by going to path difference. Okay, we can now add the other parts of the house, the selection go to Path union. Now let's lower the opacity of this. I'll set it to 80 per cent for the play button. Then lower the object is step to put it below the highlight. Then shift click the button and center these vertically and horizontally. Alright, so normally I wouldn't worry too much about having the icon of this button perfectly aligned with the icon of the other. I'll just eyeball it. Whoever just in case we did want it to be perfect, we can do so with the use of guides. First, let's double-click the canvas to get out of this group. Now let's turn on snapping and will need to have snapping to pet intersections here turned on as well as snap into guides down here, which said already beyond legs, Let's drag a guide from up here and snap is origin to this intersection at the top corner of the play button triangle. Then let's drag another guide and snippets origin to the bottom corner. We can now turn off intersection snapping. Then a centered this group and move the house up while holding control until it snaps to the bottom guide. Finally, we can scale this down a bit until it snaps to the top guide. Okay, Now the objects are aligned. We can also go another step and make them the same width, but I think it looks pretty good as is. Now, let's move on to the final button. We can turn off snapping for the time being, let's leave the guides where they are. For this button, we're going to create a settings button, which typically have an icon of a gear. One way to do this would be to use the gear extension under the Render category. However, the gears created with this extension don't quite look the same as the gears we usually see for settings buttons. So instead we'll create our own. This will also allow us to get more practice with things like path operations and the arrange dialogue. To get started, let's make sure we're inside this group. Let's create a circle here. We don't have to worry about us alignment at the moment. Let's make it black and raise the opacity up for now. Next, let's create a rectangle appear to use as a spoke. Now let's turn this into a path by going to path, object to path. Then switch to the Node Tool, hold control, and move the top-left node in sum. Now we can duplicate this, flip it horizontally, and move it to the right a bit while holding control. That should be good. Let's now select both of these pieces, Union them with control plus, then shift click the circle, essentially these vertically. There are a few ways we can get spokes all the way around the circle. But if we're using an even number of spokes, and easy way to do it is with the arrange dialogue. So let's open the dialogue by going to Object Arrange. And for this, we're going to be using the Polar Coordinates tab. Okay, so now we need to decide how many spokes they want on our gear has to be an even number, and I will go with eight. So I'll duplicate the spoke seven times. Let's now select all of the spokes and make sure the status bar shows the correct number. Let's also select the circle next with the default parameters set and arrange dialogue. Or we need to do is click Arrange. Alright, now we have a gear. Let's Union all of these. Now. We can go ahead and close up the arrange dialogue, as well as the path effects dialog. Next, let's create a small circle in the middle to cut out of the big circle. We can make this any color we want. Let's now center it vertically and horizontally with this object. Then do a difference with Control Minus. Next, let's get the gear 80% opacity like the other buttons, lower below the highlight as central and vertically and horizontally with the button. Then let's turn on snapping and shrink the gear while holding control and shifts until it snaps to the top guy. We might have to zoom in a bit to make sure the bottom of the gears snaps to the bottom Guide. Alright, so now we have icons for three buttons. I would like you to now create your own 3D button icons. They can have the same style as these buttons, but with different symbols. Like maybe one for an undo button or a pause button to go with the play button. Or the bunnies can have a completely different style. It's entirely up to you. Okay, I'll see you in the next video. 90. Health Bar: For this project, we're going to create a health bar that we can use for a character in a video game. Let's start by creating a long rectangle. Let's turn off snapping for now. Let's round the corners of this rectangle is some by dragging this handle down. And I'm going to use this rectangle as the border for the bar. So I will turn it black. Now let's duplicate this. And I'll make this one a gold color. I'm also going to give it a lighter gold stroke. Let's make the stroke a bit wider. Now let's do the inset path operation on this a bunch of times by pressing Control open parentheses. That should be good. Next, I want to cut out some openings here like windows, which will show the amount of health remaining in the bar. So let's create a vertical rectangle here. Let's make the corners of this rectangle or less rounded. Then turn off the stroke and give it a different fill color. So we can see the color doesn't really matter as well. Just be cutting this object out of the object behind it. Now let's shift click the scored object, then center these vertically. I'm going to hold control and move this small rectangle to the left a bit. Okay, Now let's make a duplicate of it and move the duplicate to the left. Now let's do this a few more times until we can't fit any more in the bar. Next, be careful not to select a larger objects. Let's select all of these small rectangles. And then the Align and Distribute tab under the distributes section has click this button to put even space between the objects horizontally. Now we can Union these together. Then Shift-click the gold object behind it and align them vertically. Next I'm going to grab these two larger rectangles. Hold Shift, and drag this handle when to scale them down horizontally. Now let's select this object and the gold one. Then do a difference on them. Okay, So because the gold objects has a stroke, they put a stroke around all of the hole is we cut out of it. That might be what we want sometimes, but I actually think it will look better without the strokes around the holes. So I'll undo the difference, then select the gold objects and go to path stroke to pad. Now this is a group of two objects so we can ungroup them. We now have the stroke separated from this center part. So the central part selected. Let's shift click this object we want to cut out of it, then go to path difference. Alright, that looks better. Now for the health, we can just simply create a red rectangle over these. Sharpen the corners. Then move it down a couple of steps and center it vertically and horizontally with the subject. Now as our character gets injured, we can make this smaller and smaller. Let's also give a highlight to the bar to make it look a bit more like glass. First, let's drag a rectangle over these objects starting above them. And I will bring it down to a little higher than the center of the objects. Now let's make the fill of white, and let's give it a linear gradient. We can bring this down a bit more. Then switch to the gradient tool. Move the opaque stop appear while holding control who the transparent stop down here. And we can adjust it until it looks the way we want. Okay, So what this is showing the two gold objects, but not the black border. I also wanted to show on top of these holes we cut out. We can do this by first selecting the two gold objects, duplicating them, and doing a union now on them. Now to fill in these holes, we can first go to Path break apart, which will give us objects covering the holes. Now we can union all of these together. Okay, And finally, we can shift click the Highlight object and do an intersection on these. There we go. Alright, now let's create a hard to put here. First, let's create a long vertical rectangle over here. Let's give this same red as in the Health Bar. Let's round the corners all the way. Okay, now let's create a horizontal rectangle completely overlapping the bottom third or so of the objects. We can sharpen the corners and change the color just so we can see it. Now let's shift click the red objects and do a different Sundays with Control minus k. Now let's click this again to get the rotation handles, then hold Control and drag one of the corner handles and two has rotated 45 degrees. Next, let's duplicate this and flip it horizontally. Then turn on snapping with snapping to casinos enabled, and drag the duplicate to the left and to the bottom point, snap together. Now we have a heart. We can now select both of these and do a union with control plus then move it into place and resize it. How we want muscle going to add a black border to this. So I'll duplicate it and turn the duplicate black lower below the red part and outset it a bunch of times with Control, close parentheses. Next, we can create a shadow on the heart by duplicating the red part and giving it a darker red fill. Then moving it down here while holding Control. Let's turn off snapping. Now let's duplicate the lighter red part. Let's select both red parts and do an intersection with Control asterisk. Finally, we can add some highlights by creating an ellipse up here and turning it white. Then let's give it a linear gradient. Switch to the gradient tool and move this stuff up here. This one down here while holding Control, making it so only a small part of the ellipse shows. Now let's duplicate this, hold Control and drag it over. We can then select both of these, union them essentially then vertically with the heart. I'll also make the shadow a bit brighter. Okay, that should do it. Now it's your turn to create a bar like this that shows an amount of something. It could be a health bar like this one at time bar or any other kind of bar. Alright, I'll see you in the next video. 91. Neon Sign: For this project, we're going to create a glowing neon sign, like you often see outside places like bars and nightclubs. To get started, let's create a large rectangle to use as the background. Let's turn this black. And we're going to have this on a separate layer from the sign so that we can lock it if we need to. So let's go up to Layer, add later and add a new layer above the current one. Now for the sign, let's create a text object on top of the background. I'm going to use the word open. Let's change the fill to white for now so we can see it. Let's make this bigger. Now let's open the texts and font dialog by going to text, texts and fine. I'm going to use the Calibri font for my sign. But you can use pretty much any font you want. Callous click Apply. We can go ahead and close out the dialogue. Let's turn off snapping for now. Now let's center the text and the background by first holding Shift and clicking the background to add it to the selection, then in the Align and Distribute dialogue, Let's central them vertically and horizontally. Now let's see select them as select just the text objects. Okay, now we can choose a color we want to use for the neon. It doesn't really matter what the color is, as long as it's bright, I will go with one of these bright reds. I should be good. Next, I want to make these letters look like tubes or something that had been bent into shape. So I'm going to cut out a small part of each letter. Before we can do this though, we need to turn the text object into a path by going to path object to pay. Now we have a group of objects which we can ungroup by pressing Control U. Let's zoom in a bit. Okay, for the O, I'm going to cut out a small chunk at the bottom. So I'm going to grab the squares and rectangles tool and drag out a rectangle overlapping the OH, down here. And let's make this another color like white so we can see it better. Now let's select it and the E0 then central them vertically. Then let's cut the rectangle at the o by going to path difference. Now we can zoom in and make this look a bit more tube-like by switching to the Node Tool, then dragging out these segments to round them. We can also click on the nodes and straighten other handle is a bit that should work. For the p. I will do the same at the bottom of the loop. And we need to cut it out flush with the vertical line here, so we won't have any pieces sticking out. Let's turn on snapping and make sure snapping to customers is enabled. Switch to the pen tool. Now we can snap to this node, to this one, then click somewhere over here at about the thickness we want. Hold control and click up here. Then close off the path by clicking the first node. Now let's select the path and the p. Then do a difference by pressing Control minus. Now we can go to the Node Tool and round this off. We might need to turn off snapping again. For the E, I will do the same as with a P for cutting off this middle horizontal line here. The end, I guess we could cut it somewhere, but it's not really necessary as you could make an end with just one too. So I'll leave it as is for the remaining steps, is going to make our lives easier. If we turn all of the letters into one path, we can do this easily by selecting them all. Then going to path union. Now duplicate this path by pressing Control D. Let's insert a duplicate by going to path and say, let's instead it again. This is going to be the inner part of this sign. And we need to make it a lighter version of the color that's underneath the fill and stroke dialogue under the Fields tab, let's slide the lightness and so it's pretty close to white. Now let's alt click this path to select the one behind it. Let's get this path a bit of a blur. Around 20% looks pretty good. We could probably actually make this a bit darker. Let's outset. This one says, well by going through path outset, maybe we can give the inner path a bit of a blur to make it a bit brighter as well. Nice. Okay, let's all click the inner path again to get back to the outer path. Let's duplicate this one. Then let's put it under the other two paths by clicking the page down key twice. Let's outset this one a few times. Okay, let's make the fill a bit darker and give it more of a blur. We can also lower the opacity sum. Right now we have a pretty good-looking neon sign. Okay, to finish up, let's create a rectangular or a border or something surrounding the text. But first let's click the background objects, then lock the layer. Now let's select all the sign objects and group them with Control G. Alright, now let's create a rectangle on top of this group. Let's raise the opacity to 100. I'm going to make the border of neon blue. So I'm going to choose one of these light blue is over here. Let's actually do this for the stroke by shift clicking the color. Let's turn off the fill. I'm going to make this a bit smaller, as well as adjust the stroke width a bit. Now let's shift click the text group, and let's center these vertically and horizontally. Okay, and I want this to have rounded corners. So I'm going to switch to the squares and rectangles tool and drag this handle down some to round them. Now let's turn the stroke into a path by going to pad stroke too bad. We can cut out part of this as well like we did with the letters. Okay, now we can go through the same steps we did with the texts for making it appear neon. And I realized I made this a bit too. Then I'm going to use this path as the inner pad. For the second path. I'm going to duplicate this one. Then move the duplicate down one step and outset it a couple of times. Now let's select the inner path and make it bright. We can go ahead and give it a slight blur. And maybe we can also insert it once. Alice all click it to select the path below it and give it a blur. Okay, and we can duplicate this path, send it down into steps, make it darker, increase the blur, and lower the opacity. For the final touch, let's create another rectangle over the text. And lower below the text. Then let's shift click the text group and center these. Let's de-select the texts group, set the rectangle is filled to a bright red and give it a high blur and low opacity. Now let's create an even larger rectangle covering every day. Send it below everything. Center with the texts group and give it a light blue color and a high blur. Now the sign looks like it's glowing more in the background. Alright, and that should do it. Feel free to create your own neon sign with different colors, texts and shapes, and upload an image of it so we can see your awesome work. Okay, I'll see you in the next video. 92. Tree: For this project, we're going to create a tree. Let's start by using the Pen tool to create the trunk. I'll begin with the roots. Let's give it a few branches coming off near the town. Now let's give this a Brownfield and turn off the stroke. We can go in with the node tool and fix some parts if necessary. Let's turn off snapping. Okay, that'll do for now. For the leafy part at the top of the tree, we're going to create a leaf and use the spray tool to make many copies of it. So for the leaf, Let's create a small ellipse over here. I'll get this a dark green is saturated field. Now let's turn this into a path by going to Path, Object path. Then switch the node tool. Let's select the nodes on the left and right and turn them into customers by clicking this button. Now let's zoom in some more and drag the handles of the nodes in a bit. Let's do the same for the left node. This gives them more of a leaf shape. Next, let's create a large ellipse up here with the same color fill. Then select the leaf and switch to the spray tool. For the spray towards settings. We first wanted to put it on the single path mode so that we don't get a ton of paths when you spray the leaf for the width, let's make it smaller, like five. To get the leaves some variation, Let's set rotation to 100 and scale to say 35. We also don't want too much scatter, so I'll set it to something like 20. Alright, now let's click and hold the mouse somewhere at the edge of the larger ellipse, then spray the leaves around the entire edge. That should work. Now we can select this path we just created and the larger ellipse and union. Then next, let's select the leaf object again and give it a slightly brighter field. We can move the hue a bit more toward yellow as well. Now let's switch to the spray tool again and sprayed a brighter leaves around inside this object. We can give it another layer of leaves by making the leaf a bit brighter and more yellow. Let's bring in a top of this layer. Now we can select all three leaf layers and group them. Then move it over here. Let's drop the z order. This group interests behind the trunk, then adjusted into us the way we want it. Now we can simply duplicate this and move it over here and put it behind the trunk as well. Let's adjust the size some so it doesn't look too similar to the other side. We can also try flipping it. That should be good. Okay, Now we're going to put another group of leaf layers in the middle here, but this one will be closer to the viewer, so the leaves will be brighter and more saturated price. So let's select the leaf objects and make it a bit brighter and more saturated as making more yellow as well. Next, like we did with the other parts, Let's make a larger ellipse up here that's the same color as the leaf. Then select the leaf, switch, the spray tool, and spray around the edge of the ellipse. Let's select all of this unit we control plus for the next layer, let's make the leaf brighter, slightly more saturated, and closer to yellow. Let's spread around in here. They could probably make the width a bit larger for this. Now let's do the same for another layer. We can also add some bright yellow leaves in a few spots here. Now let's group all of this. Move it into place and adjust everything. Looks okay. I think we shared a few darker layers of leaves to give it more depth. First, let's change the color of the leaf to the color of this first dark green we use. Now let's switch to the spray tool has spread around the edge of this top group of leaves. Let's lower this below the top group of leaves and the trunk. Now it looks like the top group of leaves is casting a bit of a shadow on the bottom groups. Let's also add an even darker layer in the middle here, neither trunk. I'll select the leaf, make it darker. Spray some in here. Then I will lower this below the top group and the trunk. Let's put another layer of these dark leaves down here. Let's move it all the way to the bottom. So we'll fill in some of the space in the back. Alright, That should work. Now let's finish up the trunk by adding some shadows. First, let's select the trunk and grouping. Then double-click it to enter the group. Now we can create objects in here without having to bother with moving down below the leaf parts. Okay, let's switch to the pen tool and start creating some shadows. I'll start up here first. Let's make this the same color as the trunk, then make it a bit darker. Let's turn off the stroke. Now we can duplicate the trunk. Shift-click the shadow part and do an intersection with Control asterisk. Let's continue with the rest of the trunk. Finally, just to make this look a bit better, we can add some grass or something around the roots. First, let's select another object to get out of the trunk Group. Now let's switch to the pen tool and create an area down here for grass. How good this the same fill color as this green up here and turn off the stroke. Let's lower below the trunk. As also add some shadows close to the roots. I'll turn off the stroke gives us a slightly darker green in the grass and lower below the trunk. Okay, I think it's finished so we can go ahead and delete this leaf objects here. I would like you to now take a shot at creating your own tree. It can be any kind of tree, oak tree, palm tree, or even a Christmas tree. Right? I'll see you in the next video.