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CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES 299 Subtractive Colors So what s up with those red, yellow, and blue paints you mixed as a child? The red, green, and blue additive primary colors work for transmitted light. But ink or paint on paper follow different rules. As you add colors of transmitted light, the image gets brighter. But as you add shades of paint to a reflecting surface, the image gets darker. That s subtractive color. The paint absorbs light of particular frequencies. The light that doesn t get absorbed is reflected to your eye. In other words, the paint subtracts colors from the white light shining on it. When you mix several colors of paint together, the paint absorbs more and more colors, subtracting from the colors that reach your eye. Reflected color is called subtractive. Each of the additive colors that come from your RGB monitor has an opposite, or complementary color. The complement of blue is yellow, of green is magenta, and of red is cyan. You can see the relationships in Figure 8-1. For subtractive colors, it works best to use those complementary colors as primaries: so the subtractive primary colors are cyan, magenta, and yellow, and the color model based around them is known as CMY. Take some yellow paint and put it on white paper. The white surface reflects the full spectrum of magenta, cyan, and yellow light, while the yellow surface absorbs the magenta and cyan what s left is yellow. But wait! When you shine differently colored lights on a white screen, you re looking at reflected light, but it follows the additive rules. What s up with that? That s confusing, but the reflection is a red herring. The color you see is still coming from transmitted light, even after it s reflected. It s not subtractive color because there s no tinted surface subtracting from the colors you see. The Relationship Between Additive and Subtractive Systems It s convenient to consider these two systems, additive and subtractive, as mirrors of each other. They have their own rules about how colors work, but the rules are exact opposites of each other. For example, if you mix any two of the additive primaries (red, green, or blue), you get one of the subtractive primaries (also called the additive secondaries): magenta, cyan, or yellow, as you saw in Figure 8-1. Conversely, mixing any two subtractive primaries of paint will yield the additive primaries: yellow + magenta = red, yellow + cyan = green, and cyan + magenta = blue. So ultimately, the object of a subtractive approach is to reflect red, green, and blue aiming the RGB colors of light at your eye, just like your monitor does! Tip The GIMP can help you experiment with combining colors, using the Addition and Subtract layer modes and the color picker. That s how Figure 8-1 was made. You ll learn how in the next chapter. There s another way the two approaches mirror each other. If you keep adding transmitted light colors, eventually you ll get white. If you keep mixing colors of paint (subtracting reflected light), you theoretically end up with black. (In practice, with paint you get a muddy dark brown most of the time, but that s just reality refusing to conform to theory. You ll learn more about black in the discussion of CMYK color, and in the section Printing in Chapter 12.)
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298 CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES A Review of RGB and CMY Color You ve already worked with RGB images, and you know the letters stand for red, green, and blue. But do you know why those three colors are used? Why not red, yellow, and blue, like the paints you probably mixed as a child? The answer has two parts. The first part has to do with the structure of the human eye. Our color vision is made possible by light-sensitive cells in the retina called cones. There are three types of cones: some are sensitive to red, some to green, and some to blue. Every color we can see, we perceive as a combination of these three primary colors. The second part of the answer lies with how colors of transmitted light combine to make other colors. Transmitted colors are additive. The light of one color, combined with the light of another color, is perceived as a third color that is lighter than either component. Additive Colors Computer monitors use the additive technique to depict color. Each pixel in a computer monitor is a combination of red, green, and blue lights. These three colors combine efficiently into virtually any color that the eye can perceive. If you hold a magnifying glass up to your screen, you should be able to see the separate colors. It s easiest to see in white areas that s where all three colors are lit up. Figure 8-1 gives you an idea of how the primary colors combine to make other colors. Notice that the center of the circle, where all three colors combine, is white. (It may not look white to you, an optical illusion created by the other colors nearby. Try covering the other colors so that you see only the center portion. You ll see it really is white.) Figure 8-1. The primary (outer circles) and secondary (overlapping areas) additive colors
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Color Manipulation, Channels, and Layer Modes CHAPTER 8 In earlier chapters, you learned how to do simple color correction: how RGB and indexed color differ, and how to change the foreground and background colors in the Toolbox. But a deeper understanding of the GIMP s color model can illuminate all sorts of useful image-processing tricks. In this chapter, I ll describe the way the GIMP represents colors, different color models, and techniques to manipulate colors. Understanding color requires a more theoretical approach than you ve seen so far. A familiarity with color implementation in digital images is helpful to understanding the sorts of advanced tricks that can be played. If you feel overwhelmed by the theory, you can skip those sections and use this chapter for reference when you have questions about color. Later chapters will not require an understanding of color theory, though some of the techniques covered here will help in other projects. This chapter will cover the following: A review of RGB and CMY color Working in HSV Working for print: CMYK GIMP s alternative color choosers Working with grayscale or black and white Coloring monochrome images and making sepia photos Using the Threshold tool to clean up black-and-white scans Indexed color Picking colors from the image The color channels How to use color decomposition Color profiles
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CHAPTER 7 FILTERS AND EFFECTS 295 Figure 7-36. Make your own planet with Render Map (left) or Land (right), combined with Map Object. Tip You might want to take a look at the layer name after you run Render Map. Swirl-Tile makes an interesting swirly pattern. You can tile it to a larger image to make a place mat. Swirly gives a pattern of black-and-white squares with a swirl in one of the corners. Finally, Web Page Themes offers several looks you might want to use on a website. Under each theme, you can make several different types of element, such as arrows, buttons, or headings, all coordinated. If you happen to like one of the motifs, you might find this useful. Summary Well, that s quite a list of toys! When you first installed GIMP you probably played around with a few of the filters, but it s easy to miss some of the most useful functions GIMP has stuffed in its menus. Now you should know when to look in the Toolbox menus versus the menus in the image window. You ve experimented with the GIMP s offerings for changing lighting and shadow, adding noise, and detecting edges. You can map images to three-dimensional objects with the Map filters and turn them into art with the Artistic filters. You know how to create interesting logos and other text effects, and how to make images for your web pages. Some of these techniques are helpful for working with photographs, but you ll find that they re even more useful when making drawings. You worked with basic drawing tools in Chapter 4, but now that you re familiar with heavy-duty image-processing techniques, you can go far beyond the simple examples from that chapter. So take a firm grip on your mouse (or drawing tablet, if you have one) as we move into the next chapter and learn some techniques for advanced drawing.
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294 CHAPTER 7 FILTERS AND EFFECTS You can round the corners, or make it look like a filmstrip or unmounted slide these two only work on images without an alpha channel. If they re grayed out, you ll have to use Image . Flatten to use them, which will combine all your layers into one image and eliminate any transparency. If you have an image that s in grayscale mode, you can carve it into another (colored) image with Stencil Carve, or use it as a map to create interesting chrome effects with Stencil Chrome. Scripts to Make New Images: The Xtns Menu The Toolbox s Xtns menu, like Filters, offers a collection of scripts and plug-ins for lots of different effects. The difference is that the Toolbox scripts all make a new image and don t require you to have an image already open. Buttons offers two scripts to make buttons with text on them, which you can use on web pages or in programs. You can probably make more interesting buttons by searching for web tutorials, however. Logos offers the same list of logo styles as in Filters . Alpha to Logo, except that you don t need an image open to use them. I usually find it more convenient to make logos from the Toolbox, and then paste them into another image. Misc . Sphere lets you make a sphere. It s a bit like Filters . Render . Sphere Designer, but a lot simpler. Set the foreground color and the image s background (alas, Sphere can t do a transparent background but in Chapter 11 you ll learn how to fix that). Specify the lighting angle and the size of the sphere, and whether or not you want a shadow. Voil ! A nice sphere. Patterns offers a collection of designs you can use as background images or for any other purpose you can think of. A Truchet pattern (named for Dominican priest Sebastien Truchet, who first studied them) is a network formed by combining a series of tiles, each of which has a circular arc across two opposite corners. Truchet and 3D Truchet create an image filled with two variants on a Truchet pattern. Camouflage makes a pattern like you might see on army fatigues. You can change the colors and make camouflage for other environments, of course. Flatland gives a random pattern rather similar to the one in Filters . Render . Clouds . Solid Noise. Land and Render Map create two different but equally interesting artificial world map views. Land gives textured green hills against a powder-blue sea (of course, you can change the colors by using a different gradient). Render Map looks more like something you might see on a globe of the earth. They look even better if you wrap the resulting image around a sphere by using Filters . Map . Map Object make your own planet (Figure 7-36).
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CHAPTER 7 FILTERS AND EFFECTS 293 Figure 7-35. The logo scripts BENDING TEXT INTO OTHER SHAPES One of the logo scripts isn t shown in Figure 7-35 because it does something a bit different: the very useful Text Circle bends text in a circle without adding any extra styles to it. You may remember that Polar Coords, from the Distorts menu is another way to bend text into a circle, and that Curve Bend can change the vertical height of a layer. But what if you want to bend text around a more complex shape? The answer is a button in the Text tool options: Text along Path, which can take a text layer and warp it along any path you ve defined with the Paths tool. Define the path first, and make sure it s selected in the Paths dialog. Then create the text layer. If you re using a text layer you ve already made, make it active by choosing the layer, selecting the Text tool in the Toolbox, and then clicking on the text in the image window. This should enable the Text along Path button, which will create a new path consisting of the outline of the text, warped so that each letter follows the old path. Since the result is a new path, you have several options for what to do with it. You can convert it to a selection and fill it with a color or pattern, edit it further, or export it as an SVG file. Decor The Decor menu lets you dress up an image or dress it down. You can add a bevel around the outside of an image, add a colored border or make the outside of the image look fuzzy, add splotches that look like coffee stains, or make the image look like an old photo you found in adrawer.
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292 CHAPTER 7 FILTERS AND EFFECTS If you specified no spacing between table elements, don t be too surprised if the web page looks like the original image. It should! Nothing has been deleted from the image; it has merely been split with a very sharp knife. The act of splitting up an image following the position of the guides is known as a guillotine operation. If you just want to split up one image into several smaller images, but you don t need an HTML table, Image . Transform . Guillotine is for you. It will open all the new images in GIMP, and you can take it from there. The final filter in GIMP s Web menu is Semi-Flatten (in some versions it can be found in Filters . Colors). Semi-Flatten provides a solution for browsers such as Internet Explorer that don t support full PNG transparency. Semi-Flatten will preserve areas of full transparency, but pixels that are only partially transparent will be given some combination of their current color and the background color. Before you use this plug-in, be sure to set the background color to match the page where the image will go. Animation Helpers The Filters . Animation menu offers optimizers to make your animated image more efficient. Optimize (for GIF) was discussed in the animation project at the end of Chapter 3: it attempts to reduce GIF file size, and adds layer names that help you control the speed of the animation. Optimize (Difference) performs more general optimizations, not specifically targeted at GIF animations. UnOptimize removes some of the optimizations that the other filters add; this can simplify layer names. Playback is the way to preview an animation in GIMP. The Animators menu offers a few filters that create animated images for you. Each of these starts from one or more existing layers and creates a new animated image. Blend makes an animation that gradually fades between the layers of the current image. Burn-in takes an image that consists of two layers a text layer and a background layer and creates an effect of the text being burned into the background, letter by letter. Rippling and Waves each make an image look as though it s being viewed through rippling water. Waves is the better effect, though you ll want to run it on an image that has only one layer. Rippling works on the active layer and ignores any others. Spinning Globe wraps your image around a globe and then rotates the globe. It works best on an image with a single layer: if there are multiple layers, you ll see flashes as the animation switches layers, but only one layer will be animated. It also works best if your image is tileable, or at least if the left and right edges join together smoothly. Alpha to Logo The Alpha to Logo scripts (in the Script-Fu menu of GIMP versions prior to 2.4) create interesting effects from a text layer (or any other layer with transparency). If you want some text in a fancy style, try some of these scripts! Figure 7-35 shows the collection, though of course they all have options to let you change fonts, colors, and other aspects of the effect. All these logo scripts are also available in the Xtns . Logos menu of the Toolbox (in earlier versions, Xtns . Script-Fu . Logos). If you don t already have a layer you want to use, the Toolbox versions will create a brand-new image containing your fancy text.
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CHAPTER 7 FILTERS AND EFFECTS 291 Figure 7-34. Define regions in ImageMap that will take the user to different web pages. To define a rectangular or circular region, click at one corner, move to the other corner, and click again. A dialog pops up to let you enter the website for that region. Polygonal regions are only slightly more complicated. Click on each point in turn, building up the region. When you get to the last point, double-click instead of single-clicking to complete the region and bring up the dialog. You can select regions and edit or change them by clicking on them in the list on the right side of the dialog. When you ve defined all your regions, you can save the image map using the ImageMap dialog s File . Save…. The filters Py-Slice and Perlotine are two ways of chopping up an image into a table of smaller images to put on a web page. Py-Slice is written in Python and Perlotine in Perl (so in GIMP versions prior to 2.4, look for them in the menus with those names), but otherwise they re pretty similar. Drag guides from the left and top rulers in the GIMP image window to define where the image will be chopped. Either Py-Slice or Perlotine will chop the image into bits, and then generate a web page in which the bits are reassembled as a table. You can specify the type of image that will be saved (GIF, JPG, or PNG), where the HTML and new images will be written, whether there should be space between the images in the table, and a few other details about how you want the web page to work. This is useful for lots of different sorts of web pages. You can use an image of a keypad to let the user enter numbers; or you can split a map into quadrants and let the user explore them separately. Or you might just want to display extra space between pieces of your image. The GIMP won t show you the web page: it doesn t know how to show HTML! You ll have to open the HTML file in a web browser to see the result. Of course, there won t be any links on the individual images yet; you ll have to edit the page to make it do what you want.
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290 CHAPTER 7 FILTERS AND EFFECTS Figure 7-33. Gfig is a vector-drawing application built inside of GIMP. Other Patterns Lava creates a red-on-black pattern that looks a bit like glowing lava at night. Line Nova creates a starburst pattern using the current foreground and background colors. Sphere Designer creates a sphere using a variety of complicated options. You can control all aspects of how the sphere is rotated and its apparent texture. In GIMP 2.2 and earlier, the options were very difficult to figure out, but they ve been simplified quite a bit in 2.4. Play around and see what you can make. (For a simpler sphere plug-in, keep reading: there s one in the Xtns menu of the Toolbox.) Spirogimp creates a pattern like a spirograph toy. You can control the number of teeth each spirograph wheel has, as well as the colors, drawing tool, and pen that will be used. Filters to Help Make Web Pages The GIMP offers a few filters to help you prepare images for your web pages. ImageMap lets you specify regions of the image that will link to other pages. You can specify rectangular or circular shapes, or use the Polygon tool to make arbitrary shapes (Figure 7-34).
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CHAPTER 7 FILTERS AND EFFECTS 289 Figure 7-32. Zooming in on a region in Fractal Explorer Gfig Gfig is an odd beast: a vector-drawing program built inside a raster image-editing program. Its dialog is a simple vector-drawing application all by itself (Figure 7-33). You can make lines, rectangles, ellipses, Bezier curves, stars, spirals, and other patterns. You can move objects around independently and change their fill or stroke style. What s the catch? Well, gfig doesn t save to a standard format. It draws into its own layer in your GIMP image, but if you want to edit the shapes you made later as gfig objects, you ll have to save to gfig s own format, using File . Save from the Gfig dialog. You probably don t want to use gfig for creating elaborate vector-graphics art. But for adding a few figures to a GIMP image that you might want to change or resize later, it can be quite helpful.
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