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314 CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES Figure 8-14. The Colorify plug-in Colorize Easier to use is Colors . Colorize (Figure 8-15). With the Hue, Saturation, and Lightness sliders, you get much more control over the image (with a full-sized preview). The only tricky part is finding the right hue. For sepia, you ll probably want to choose a hue down in the thirties, and then increase lightness as needed to get the right effect. Figure 8-15. Tinting a black-and-white photo with Colorize
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CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES 313 Figure 8-13. The Old Photo plug-in Manual Conversion for Fine Control How does it work? How can you use the GIMP s color system to make your own sepia prints? Let s try several techniques. They all begin by converting the color image to black and white. But make sure the image ends up in RGB mode, not grayscale, so you ll be able to add the sepia color. Colorify One method is by using the Colorify plug-in, accessed through Colors . Colorify (Figure 8-14). Colorify tints an entire image as though you were looking through a filter. It starts with a small set of predefined colors, but by clicking on the Custom Color button, you can tint with any color you like. Colorify tends to make images that are fairly dark. You have to make the tint color very light or you may end up with a muddy result.
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312 CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES Figure 8-12. A color photograph to be converted to sepia Automatic Conversion with the Old Photo Filter First, let s do it the easy way. GIMP already has a plug-in to do this conversion. It s in Filters . Decor . Old Photo… (Figure 8-13). Earlier versions of GIMP located this feature in Script-Fu . Decor . Old Photo. Defocus makes the focus a little softer. Border size creates a fuzzy border around the image, making it look like the edges have been torn. Change this value to 0 if you don t want a border. Sepia converts the image to black and white, and then tints it sepia (without this, the image will remain colored). Mottle creates mottling all over the photo, making it look like it s been sitting in a dusty drawer for fifty years. Work on copy creates a new image, leaving your original unchanged. By default, it will Defocus, add a 20 pixel border, tint sepia, add no mottling, and create a copy.
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CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES 311 Channel Mixer Finally, if you want complete control, try Colors . Channel Mixer (Figure 8-11). Clicking on Monochrome gives you an opportunity to convert to grayscale using a weighted average like luminosity uses, but with complete control over the weights for each color. Setting red to 21%, green to 72%, and blue to 7% matches the standard luminosity in GIMP 2.4 (earlier GIMPs used 30%, 59%, and 11%). But if your image might benefit from a little more red and less blue, or any other combination, Channel Mixer is for you. Figure 8-11. The Channel Mixer Notice that you can make the image much brighter or darker by using the sliders in the Channel Mixer. If you just want to adjust the weights of the colors, without changing overall brightness, the Preserve luminosity checkbox will adjust all the values so that the image s luminosity remains unchanged even if the three slider values add to more or less than 100%. Coloring Monochrome Images and Making Sepia Photos Some cameras have a sepia setting, which makes a black-and-white photo and then colors it brownish, like a photographic print that s been toned to make it last longer. But if you like the look of sepia prints and your camera doesn t do them, you can make your own with GIMP. Start with a color photo (Figure 8-12).
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310 CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES Figure 8-10. Layers dialog after decomposing to RGB Tip You can make changes to these layers, and then recombine them into a color image using Recompose (located right next to Decompose in the menus). You can also build a color image out of several unrelated grayscale images using Compose. This will let you choose among all of the grayscale layers (and only grayscale layers) currently open in the GIMP. Decompose is fun because it lets you see the components of your image in several different color models. But it s also useful: you can use one of the layers as your final monochrome image, if you like it. Often, the green layer of an RGB decomposition makes a good approximation to what the eye sees. Or try the value layer of an HSV decomposition (which should be equivalent to using the Hue-Saturation dialog and reducing saturation to zero). The saturation layer of an HSV decomposition is particularly interesting it looks a little like a black-and-white negative of the original image. The K layer of a CMYK decomposition also looks like a negative. But they re not really equivalent to a negative: if you want to see what a black-and-white negative of the image would actually look like, you can get that by converting to monochrome using any of the methods already discussed, and then selecting Colors . Invert.
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CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES 309 Decompose No, this isn t what happens when you leave your disk drive out in the rain too long! Colors . Components . Decompose is actually a cool way of seeing the color components of your image. (In GIMP 2.0 and 2.2, you ll generally find this under both Image . Mode . Decompose and Filters . Colors . Decompose.) The Decompose dialog gives you lots of choices (Figure 8-9). Yikes! Figure 8-9. The Decompose dialog The first five should already be familiar to you. RGB will give you the red, green, and blue channels of your image; RGBA will do the same, but will include information about the alpha channel if your image has transparency. HSV, CMY, and CMYK are all terms you ve read about earlier in this chapter. Alpha gives you just the transparency and nothing else. LAB is yet another color model. The L stands for luminance; A and B represent a color channel between red and green and another color channel between blue and yellow. Some images made in Photoshop and certain other programs use this model. If you don t need to convert LAB images, you probably don t need to bother with it. The YCbCr_ITU entries represent specialized color models used for digital video and for the internals of jpeg images. They re similar to LAB, but most people won t find much use for them. Whichever color model you choose, Decompose will create a new image in which the layers correspond to the color channels (Figure 8-10). If you uncheck Decompose to Layers in the dialog, it will give you separate new images, instead of separate layers in a single new image. Either way, it will leave the original image unchanged. In the new image, what you see is the top layer in this case, the blue layer. You can view the other layers by clicking on the visibility buttons in the Layers dialog.
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308 CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES Grayscale Mode The most straightforward way to convert to grayscale is to change the image s mode from RGB (24 bits) to grayscale (8 bits) using Image . Mode. Without asking any additional questions, this gives you a black-and-white version of your image. Grayscale mode uses luminance. Often, this is all you need. It s the only method that converts the entire image; the others will convert only the current layer. It is also the only method that will save the image in grayscale mode (if the format you re using, such as PNG, allows such a concept). This can make a smaller image on disk. Once you tell GIMP an image should be grayscale mode, it won t let you add any colors to it. If you want to add colors later (even in another layer), you need to convert the mode back to RGB (which won t add the colors back; it will merely change the image s mode so that you can add colors). Desaturate The second method is the Desaturate function found in the Colors menu (in earlier versions, the Colors menu is found inside the Layer menu). In GIMP 2.4, this gives you a dialog offering a choice between Lightness, Luminosity, or Average. In earlier GIMPs, Desaturate used lightness, without offering the other two choices. Hue-Saturation You may have noticed that, ironically, Desaturate doesn t actually reduce saturation (if it did, you d be left with value, not lightness). If value is what you want, use the Hue-Saturation dialog from the Colors menu, and slide the Saturation bar all the way to the left. Figure 8-8 shows other uses for the Saturation bar. By reducing saturation in an image, you can make a pale-hued image that can make a nice background for a poster or greeting card. Increasing saturation creates a bright, garish image, which again could be useful for posters or other artwork. Figure 8-8. Reducing (center) or enhancing (right) saturation
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CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES 307 Figure 8-7. How would this look as a black-and-white photograph? Methods of Measuring Brightness What are all the brightness values, and how do they differ? Since each pixel in an image has a red, green, and blue value, these three numbers must be combined in some way to turn the pixel into a single gray value. The obvious way is to take the average of the three: (R + G + B)/3. Another simple method is to extract the value of the most prominent color in the image: max(R, G, B). This is Value, the V of HSV color. But those methods don t always give you a result that matches what the eye sees. The eye is most sensitive to green, less so to the other colors. Luminosity (also called luminance) is a measure intended to match the way most people s eyes see colors on a computer display. Instead of just averaging red, green, and blue, luminosity is a weighted average that gives the most weight to green, and the least to blue. In some cases, though, a slightly more complicated method can give better results. To find the lightness of a pixel, GIMP takes the value of the color that s most prevalent, and the value of the color that s least prevalent, then averages those two numbers. This usually gives a flatter result, with less dynamic range: the brights aren t as bright, and the darks aren t as dark. How do you create all these grayscale images?
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306 CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES The Watercolor Selector Finally, the trickiest of the selectors: Watercolor (Figure 8-6). When you drag the mouse in the square palette area, the color you drag gets mixed with the current color. At first, the color will be fairly pale; drag in small circles within the same color area to make the color gradually darker. Be careful not to slop over into other color zones, unless you want to mix in a different color. Figure 8-6. The Watercolor selector The slider to the right of the palette controls how fast color is added. To be cautious, or to paint with pastel colors, slide it farther down, as in Figure 8-6. If you slide it down all the way to the bottom, though, no color at all will be added. Caution The color chooser is one of the few areas in GIMP where there s no Undo. So if you accidentally add the wrong color, you usually have to start over. You can start over by clicking one of the color presets to the right of the Current and Old color swatches; happily, white is usually one of the colors shown there. If you ve done a lot of watercolor painting, this selector may seem very familiar. If you ve done a little watercolor painting, and when you mix colors, you usually end up with a muddy brown and have to start over well, this interface may seem familiar! To try it out, start with white and add color gradually to see what happens. It takes practice and parsimonious mouse use to get good color combinations without ending up at dark gray or brown. Working with Grayscale or Black and White How do you turn a color photograph, such as Figure 8-7, into a black-and-white one? It turns out there are lots of ways. They all produce similar results, but they re not exactly the same. There are quite a few ways to map the three color values into a single brightness value. If you want a very specific effect, you may want to try several methods and compare the results. But why are there so many methods?
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CHAPTER 8 COLOR MANIPULATION, CHANNELS, AND LAYER MODES 305 The Triangle Color Selector The triangle color selector provides an alternate HSV interface (Figure 8-5). Instead of a vertical slider, hue is represented by a circle (remember from the discussion of HSV how the Hue slider goes from 0 to 360, representing degrees around a circle?). The two small rings are grab handles that you can drag: one drags the point of the triangle around the circle to choose a hue, and the other drags into the triangle to choose saturation and value. Notice that you still have the familiar set of sliders for H, S, V, R, G, and B on the right: only the left section of the dialog has changed. Figure 8-5. An alternative set of HSV controls Once you ve chosen the hue, drag the other white ring back into the triangle to choose saturation and value. Dragging toward the black corner reduces value; toward the white corner, saturation. The interface in this tab is pretty. But it s sometimes a little hard to balance saturation and value they don t follow equal scales (for instance, the point in Figure 8-5 has saturation and value both set to the halfway point of 50, but clearly it s not halfway between the dark and light corners of the triangle). The interface is also a lot slower than the standard GIMP selector on my machine I find that it can t always update as fast as I can drag the circle around. But if you have a fast system, you may prefer this color selector. The CMYK Tab The CMYK tab, with a picture of a printer, offers controls to set CMYK colors. If you re working for a print medium, and know exactly the CMYK hue you re after, you can choose it here. But beware: GIMP does not use CMYK color internally, so the value you choose in this tab will be converted to RGB for most GIMP operations. The Black Pullout parameter lets you control how much the other colors can be reduced in order to use black instead. The maximum, 100, means use as much black as possible. Adjusting Black Pullout automatically adjusts the other colors (but not the reverse).
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