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144 CHAPTER 4 DRAWING The typical gradient makes a smooth transition from the foreground color to the back ground color. (There are also other gradients that display different effects, such as Golden for making metallic golden glows, or Neon Cyan for making neon lights.) With the Gradient tool selected in the Toolbox, mouse down in one place, drag to another place, and release the mouse button to draw a gradient into the current layer (of course, if there s a selection, the tool will only draw inside it). Tip If you drag even slightly off horizontally or vertically, you ll get a gradient that s noticeably diagonal. If that isn t what you want, try holding down the Control key as you drag. This will constrain your dragged line to a multiple of 15 degrees, which will make it much easier to drag a perfectly horizontal or vertical line. This Control-key constraint works in most drawing tools, and also in the transform tools such as Rotation. The Gradients Chooser You may have already noticed that there s a gradient indicator in the Toolbox, below the current brush and pattern. That s because the default gradient, a smooth blend from foreground to background color, isn t the only gradient available (Figure 4-23). Figure 4-23. The gradients chooser Most of the gradients available in the dialog have fixed colors regardless of the current foreground and background. Some gradients also include transparency, or partial transparency. You may find that some of them give a nice effect, or you may find most of them extraneous.
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CHAPTER 4 DRAWING 143 Clicking on the pattern shown in the Toolbox will bring up the Patterns dialog, where you can select from all the patterns GIMP knows about. A pattern is just an image. Right-clicking on any square in the Patterns dialog offers Open Pattern as Image, from which you can edit the image and save it as a new pattern (usually with a file name ending in .pat, though .png and .tga will also work). But a pattern is a slightly special type of image: it s usually tileable. Imagine the pattern image is a tile and you re flooring a room with it. You d want the right edge of each tile to match the left edge of the tile next to it, and similarly with the top and bottom of each tile. If the edges match, then the tile job will be seamless and look like a single huge pattern. If they don t match, then you will be able to see seams between each image. It will be obvious that you used a lot of small images, and the result won t look so good. Most of the time, the patterns built into GIMP offer whatever you need. If you want more, there are plenty of sites that offer downloadable patterns. But if you crave something really special, the GIMP can help you make an image into a tileable pattern. Filters . Map . Make Seamless changes the edges of the current image so that it can be tiled precisely. Chapter 9 will go into pattern creation in more detail. Gradients The Gradient, or Blend, tool is another way to fill areas (Figure 4-22). It s also useful in all sorts of GIMP effects, as you ll see in later chapters. Figure 4-22. Filling with a gradient
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142 CHAPTER 4 DRAWING Fill transparent areas lets you fill similar colors, even if you click on a transparent or nearly transparent area. Normally, clicking on transparency won t fill anything. Sample merged uses the colors from all layers in the image to determine the color GIMP will try to match, instead of just the color in the current layer. This is useful when you re build ing up an image with a lot of layers stacked on top of one another. Of course, when GIMP fills, it will still put the color in the current layer. Patterns What s all this about patterns? The GIMP has a diverse collection of patterns (Figure 4-21). The current pattern is always shown in the Toolbox, next to the current brush. It will also be shown next to tools and menu items that use patterns, such as Bucket Fill and Edit . Fill with Pattern. Figure 4-21. Filling circular selections with patterns
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CHAPTER 4 DRAWING 141 Figure 4-20. Fill similar colors For example, in a photo like Figure 4-20, you might want to use Fill similar colors to replace a cloudy sky with a blue one. Set the foreground color to light blue, then click somewhere in the sky. With a very low Threshold, not much of the sky is likely to have the same color as the point where you click; you end up with color bands and an unnatural look. With the default Threshold of 15, a lot of the clouds get replaced, but not all of them; sometimes this looks okay, but other times it looks weird. With just the right Threshold (50, for this image), the whole sky is replaced, but nothing else. Go higher, and some of the fill will spill over into other areas, like the cliff face. At very high settings, nearly every color in the image will be replaced, and at the highest setting of 255, the entire image will be blue. The only way to determine the exact Threshold setting is by experimenting; it s different for every image.
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140 CHAPTER 4 DRAWING Figure 4-19. The Bucket Fill tool Bucket Fill has lots of options, starting with the Opacity and Mode selections shared with the line-drawing tools. Fill Type lets you fill with the foreground color (FG), background color (BG), or a pattern. The next to Fill Type tells you that pressing the Control key when you click in the image will choose the opposite of your specified color: if FG is chosen, then Control-click will fill with the background color rather than the foreground, and vice versa. Affected Area lets you control what area will be filled. Fill whole selection is easy: select the area you want to fill, and click in it. But with Fill similar colors, when you click somewhere in the image, GIMP will look for adjacent areas that are colored similarly. (If there s a selection, GIMP still won t fill outside it.) Just how similar the color needs to be is controlled by the Threshold slider (Figure 4-20).
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CHAPTER 4 DRAWING 139 Figure 4-18. Fill with foreground color, applied to a selection Notice that all three of these Fill with items show the current color or pattern next to the entry in the menu. This gives you a quick sanity check to make sure you re using the color you expect. Of course, if you decide that you don t like the color, just go to the Toolbox and click on the color swatch to change the color, then Fill with FG Color again. If you don t have a selection, the Fill with items will fill the whole layer. This is an easy way to change the color of a background layer. You can also fill a selection by dragging from the Toolbox s foreground, background, or pattern swatches into the image. The Bucket Fill Tool For more complicated fill-ups, use the Bucket Fill tool (Figure 4-19). Choose it in the Toolbox, then click anywhere inside your selection to fill it with the foreground color.
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138 CHAPTER 4 DRAWING Free Select with the Lasso Another selection tool you ll find useful for drawing is Free Select, also called the Lasso tool, from its Toolbox icon. The Lasso lets you draw a freehand selection of any shape (Figure 4-17). Just outline your shape in the image, end somewhere near where you started, and GIMP will make a closed curve. You can treat it just like you would a rectangular or elliptical selection. Figure 4-17. The Free Select tool Free Select offers the same antialiasing and feather options as the other selection tools. Filling Regions Filling a selection with a solid color or pattern is even easier than stroking a selection. Just above Stroke Selection in the Edit menu, Edit . Fill with FG Color (Figure 4-18) does the obvious: it fills your selection with the current foreground color. Fill with BG Color does the same thing but uses the background color, and Fill with Pattern fills the selection with the current pattern.
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CHAPTER 4 DRAWING 137 If you use Line Width rather than a paint tool, you can specify the type of line that will be used by clicking the expander next to Line Style (Figure 4-16). Figure 4-16. Line styles in Stroke Selection Cap style changes the look of the ends of lines; Join style does the same for places where lines connect to other lines (for instance, at the corners of a rectangle). Miter limit specifies how sharp or blunt the corners will be. A limit of zero makes the corners as sharp as possible; higher numbers make them look more blunted or rounded. Cap and join styles and miter limits won t be very noticeable unless your line is quite wide. Dash pattern lets you make a dashed line and specify exactly how the dashes will appear (drag horizontally in the preview to make different patterns). Dash preset lets you choose from a selection of common dashed-line styles. You ve already seen what Antialiasing can do, in the section on the Paintbrush tool. It can be helpful on rounded or diagonal lines. You can also stroke with a pattern (which generally will only be interesting if you use a fairly large line width). I ll talk about patterns in a moment. Note Both rectangular and elliptical selections offer antialiasing, which uses transparency along the edges of the selection to make boundaries appear smoother. They also let you feather edges: you can make the edges of your selection fuzzy rather than sharp. This isn t useful for outlining selections, but it can be useful when you re filling them. There are also some other selection options that you ll learn about in Chapter 5.
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136 CHAPTER 4 DRAWING Tip To constrain the Rectangle Select tool to a square, or the Ellipse Select tool to a circle, press the Shift key after you start dragging in the image. Pressing Shift first might sometimes work, but often it will give surprising results, which will be explained in Chapter 5. Outlining Selections: Stroking Stroking a selection outlines the boundaries of the selection. It s located in Edit . Stroke Selection…, and brings up the Stroke Selection dialog (Figure 4-15). Figure 4-15. The Stroke Selection dialog, with a rectangular selection active Stroke line will draw outlines using the current foreground color. You can specify the Line Width in pixels (or, if you choose, in some other unit). The default 6-pixel line is quite wide. Alternatively, you can stroke with a line-painting tool, such as Pencil or Paintbrush. The GIMP will act as though you had run that paint tool around the borders of the selection, using the current color and brush. (You can even make picture frames by stroking with a wide brush, especially if you use one of the more elaborate brushes, such as some of the animated ones.) Sometimes stroking with a paint tool, especially an antialiased tool like the Paintbrush, works better on curves than specifying a line width. Try it both ways on a circular selection and see.
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CHAPTER 4 DRAWING 135 The Eraser, like other drawing tools, uses the current brush. Use a large brush for erasing large areas. For erasing smaller areas or single pixels, use a smaller brush. Remember, you can zoom in on an image to magnify it so that you have more control over exactly what gets erased. Most of the time, there are more precise ways to remove detail than the Eraser. (You ll learn about some of these methods in Chapters 5 and 6.) But the Eraser is useful for quick-and-dirty touch-ups of drawings. The Eraser adds two new options to the usual drawing tool set. Hard edge makes the Eraser ignore any fuzzy edges in the brush. Remember how the Pencil tool made fuzzy-edged tools look large and sharp-edged? The Hard edge option will make the Eraser behave like that. Anti erase is trickier. How is it possible that GIMP could un-erase something? When you erase in a layer with an alpha channel, you re merely telling GIMP to make that part of the layer transparent. Behind the scenes, though, the GIMP knows which colors were there before you made it transparent. With the Anti erase option, GIMP removes transparency from the layer wherever you drag the eraser. If there was color there that you erased earlier, you ll see color back again. Caution Using Anti erase on a transparent area that has always been transparent will leave a black trail, as though you were drawing with the Pencil with a black foreground color. Figure 4-14 shows the difference in how the anti-eraser behaves in various circumstances. The image has two layers: an opaque background layer, and another layer that includes a photograph in the center, with transparency everywhere outside of the area of the photograph. Selecting the opaque background layer and erasing leaves a trail of white (the current background color). Anti-erase on this layer does nothing, since there s no transparency to remove. Selecting the pasted photograph layer gives more complex behavior. Erasing over the photograph makes the photograph transparent, so you can see through to the background layer. Notice that where the erased trail moves off the bottom of the photograph into the area that s already transparent, nothing changes: erasing transparency just gives you transparency. Anti-erase over the photograph does nothing, except in areas that were previously erased. There, it un-erases, removing the transparency and revealing the photograph again. But where anti-erase strays outside of the photograph into purely transparent areas, it erases the transparency and replaces it with black, since there was previously no other color there. Drawing Rectangles, Circles, and Other Shapes Now that you re an expert on drawing lines and erasing them, you d probably like to draw some shapes, too. Defining Regions The GIMP doesn t have any tools specifically for drawing shapes, which confuses some people coming to the GIMP from vector-drawing programs. But GIMP doesn t need shape-drawing tools: the trick is to make a selection, then fill or stroke the selection. To try this, first use the Rectangle or Ellipse Select tools and drag out a selection in the image.
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