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CHAPTER 6 ERASING AND TOUCHING UP 235 Fine-tuning a Clone Job You may have noticed in Figure 6-14 that the centerline doesn t go around the bend. That s because the Clone tool copies regions at least as large as the brush. With a large brush, it will always copy a centerline that s pointing in the wrong direction. How can you fix that? One way is to switch to a much smaller brush, Control-click on the centerline to use it as the source region, and then click repeatedly around the corner, making dots of centerline color (Figure 6-15). Figure 6-15. Using one dot at a time to make the curve in the centerline Use enough dots to fill in the line completely. Or, if you start feeling too dotty, use the Smudge tool (still with a small brush) to close the gaps between the dots. Voil ! (Figure 6-16.) I don t know why I kept waiting for a gap between cars to take that photo. Getting rid of cars is easy!
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234 CHAPTER 6 ERASING AND TOUCHING UP Change the source region whenever you need to. You ll probably need to grab from several different source areas (in this case, road, centerline, gray dirt, red dirt, and bushes, as in Figure 6-14). Figure 6-14. Cover the unwanted object(s), changing the source region as many times as you need to. Finally, it s as cloned as it s going to get. But, as usual, it s not perfect.
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CHAPTER 6 ERASING AND TOUCHING UP 233 Figure 6-13. Selecting too much with the Clone tool For that reason, choose a large source region if you can (though it s not always possible), and use fairly short strokes. Be careful not to drag too far. Also, if you re trying to paint a specific object out of the picture, use direction to your advantage. For instance, if you clone from below the car, painting with downward strokes (starting at the top of the car and dragging down) will pick up more road, while if you drag upward you ll just copy the car onto itself. In the case of the lead car, this technique doesn t work so well: the road ahead of the car is curving, while the road behind it is straight. The best bet is to take a source region from the road behind the car, about halfway between the car and foreground rock, and use very short strokes, being careful about the placement of the road s center line. As with most touch-up techniques, a fuzzy brush usually works best, unless you re cloning near a sharp boundary like the edge of a rock or tree trunk against the sky. Tip When covering an area, particularly a long thin area like this one, using Shift-click is helpful. Remember drawing lines in Chapter 4? Click on a point, and then hold down the Shift key while clicking to draw a line to your next point.
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232 CHAPTER 6 ERASING AND TOUCHING UP Figure 6-12. At first, GIMP won t let you clone! Setting the Clone Source The key to the Clone tool is first selecting the region you want to clone by holding down the Control key while clicking. Once you ve selected the region, you can duplicate it over and over by dragging, painting just as if you were using the Paintbrush tool. This is much more powerful than simply dragging whatever is nearby, like Smudge. You can even Control-click in one image, and then drag in another, cloning parts of the first image into the second. But there s one other trick to using the Clone tool: it doesn t restrict itself to the pattern that was inside the brush outline when you Control-clicked. If you keep dragging, it will continue copying from the source image. This means the direction and length of your drag is very important. For instance, suppose that you Control-click to choose a source region in the bushes just to the right of the lead car. Then move down a bit and drag along a line from right to left (Figure 6-13). Getting the bush at the beginning of the dragged line was great, but you can see the drag got carried away. It went too far left in the original source region, grabbing the car, the center line, and a lot of road.
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CHAPTER 6 ERASING AND TOUCHING UP 231 Figure 6-11. Smudging just makes a mess. The answer is the Clone tool. The Clone tool lets you duplicate a small area over and over, to paint an object out of a picture. The first time you try to use it, you ll probably be frustrated. You click and drag, expecting patterns from nearby areas to be copied just like with Smudge, only smarter. But nothing happens! The cursor shows a crossed-circle (Figure 6-12) saying No ! Why won t it let you paint?
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230 CHAPTER 6 ERASING AND TOUCHING UP Figure 6-10. I waited and waited for a clear moment, but the cars just kept coming! If you try to smudge objects out of areas like this, you ll just make a mess, like in Figure 6-11 (and give yourself a repetitive stress injury from pressing the mouse button too much). This inaccuracy is why finger painting never caught on in professional art circles, even though it was lots of fun to do in kindergarten.
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CHAPTER 6 ERASING AND TOUCHING UP 229 Figure 6-9. Strange effects from a smudge rate of 100% and a large hard-edged brush. The blue on top of the tube is just the sky from above the branch when starting the smudge. The Clone Tool, For More Difficult Jobs The Smudge tool is fun and easy, but if you ve used it, you ve probably already hit its limitations. It s hard to keep control of colors when you re smudging. More important, smudging smoothes out any textures that should be in the original. It s okay for clear blue skies and other very evenly colored areas, but it wouldn t work to remove an object on a more complicated background, like the cars in Figure 6-10.
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228 CHAPTER 6 ERASING AND TOUCHING UP Smudge is useful in drawing as well as image touch-up. For instance, if you draw a white blob (by filling a rectangle or oval with white) and then smudge in small arcs, you can make new clouds (Figure 6-8). Smudging outward from the white area expands the size of the cloud; smudging inward from the sky into the growing cloud, adds some darker shadow highlights that can make a cloud look more realistic. Figure 6-8. Smudging to make larger puffy clouds The Smudge tool has the same Opacity, Pressure sensitivity, Fade out, and Hard edge options as the Dodge tool. In addition, it has a special option of its own: Rate. Rate controls the strength of the smudge effect. The default setting of 50% is good for most touch-up work. But you can get some interesting effects by increasing the rate. 100% isn t very useful for image touch-ups, but it gives a very strong smudge with a hard edge and no transparency that can be useful in drawing (Figure 6-9).
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CHAPTER 6 ERASING AND TOUCHING UP 227 Figure 6-7. The power tower is gone. After smudging an object out of a photograph, you may have residual color that you can t seem to get right. If you look closely at Figure 6-7, you may notice a faint darker area in the sky where the power tower used to be. It s very difficult to end up with completely smooth color using the Smudge tool. Often, it s good enough, and the tool is very simple and fun to use. But if you want cleaner results, fear not! You ll learn several more accurate ways to paint out images.
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226 CHAPTER 6 ERASING AND TOUCHING UP One way to get rid of simple problems like this is by using the Smudge tool. Its icon in the Toolbox is a finger smudging, and that s exactly what it looks like when you drag the Smudge tool across an image (Figure 6-6). If you ever made finger paintings in kindergarten, the Smudge tool should seem familiar. Figure 6-6. The Smudge tool Notice that the Smudge tool picks up color underneath it, and distributes those colors as you continue to drag. For this reason, most of the time you ll want to use short strokes when you smudge. Work from the color you want to keep (in this case, the sky) and gradually replace the colors you don t want (the power tower). Drag the sky color in on top of the power tower, and when it starts to turn dark, stop dragging, go back, and start again in the sky. Usually a large brush works best on photographs, because it takes too long to smudge with a small brush. Sometimes you can start with a large hard-edged brush, and then clean up any problems with a smaller fuzzy brush. Eventually, after many short strokes, the unwanted object is gone (Figure 6-7).
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