Long time no show – but this project is not dead. For the fresh start a new design for the intro is needed. And a new design needs new colours.
I used the Colorschemedesigner to create a palette of colours fitting the “Original MTG Orange” from the logo. Clever algorithms use old artists knowledge about colour combinations. This site even exports a GIMP palette file which is then imported into GIMP.
The video now has chapters – you can jump to the TOC entries!
00:01:00 Finding a palette with Color Scheme Designer
00:04:58 Exporting the palette to GIMP
00:05:43 Find the directory for the palette
00:06:30 Using palettes in GIMP
00:08:20 Creating a new image template
00:09:45 Create a new image
00:10:28 Inserting the logo from a file
00:11:11 Setting guides to half and a third of the image
00:11:44 Move the logo with help of the guides
00:13:20 Free fonts from the League of Movable Type
00:14:10 Editing text in GIMP with the on canvas editor
00:16:24 A drop shadow for text
00:17:36 A drop shadow for the logo
00:18:55 Saving the image
00:19:28 Adding the CC-Logo – loading images from the web
00:20:35 Using layers for different versions of one text
00:27:16 Rapport – stacking layers exactly on top of each other
00:28:29 Moving a stack of “chained” layers
00:29:08 Can you help me with the design?
00:29:44 Outlook into the next episodes
I gave myself a real photo printer for the 5th anniversary of “Meet the GIMP!” and have now my work-flow ready to print in the “right” colors. One reason I shied away from printing for years were the costs. Original Printer Ink is one of the most costly fluids that are traded commercially (1544.54€/l (1) is not the highest price you can pay) and good paper is expensive. But now I have found a combination of a good printer, which is subsidized by small and expensive ink tanks and a good second party ink for 1/6 of the price. The ink is pigment based and so doesn’t bleach out in the light so fast as dye inks. Added to that two good but cheap papers for making beginners mistakes.
Of course the colors are off when I print with the usual TurboPrint driver. TurboPrint knows neither ink nor papers. So I needed two printer profiles – one of them was already payed for with the ink starter set. Well, I had to buy two more profiles because I had made a big mistake while printing the test sheets. Take care to switch off all color correction while printing calibration charts.
With the right ICC profiles GIMP can give you a Soft Proof of the image that is going to be printed. The look of the printed image is simulated on the screen and you can adapt the image to get your best result.
All you need to know (and much more) about calibration and the different “intents” is at Cambridge in Colour and at the Idea Machine.
(1) It’s even worse than I said in the video. The ink cartridge holds 11ml and costs 16.99€ Epson list price. That’s 1544.54 per liter. farbenwerk C7 runs up to 275€/l in the set and 230€/l for the ink only. Quite a difference.
00:20 Gimp Magazine had a great start
01:10 New printer
03:00 Replacement ink by farbenwerk.com
03:50 Pigment ink vs. dye ink
05:50 Arguments for refillable inks
06:30 Filling of cartridges
09:20 Paper from Monochrom.de
11:20 Paper color changes the image
11:50 How printing works
16:00 Printer profiling explained
17:00 Profiling done
21:30 Getting the profile into TurboPrint
23:50 Soft proofing in GIMP
24:30 Out of gamut colors
25:40 Display filter for soft proof
26:30 Printing a real image with profile and soft proof
27:30 Adapting to printable colors with curves
30:10 Difference between LCD and paper / display intent
31:00 Printing in TurboPrint
34:15 6 colors – all black (Carbon ink for monochrome images)
Download the Video! (14:04 28.0MB)
I found a new feature in GIMP, no idea how long it has been hidden in the files menue. One can import a whole web page in one image! Better than a screen shot, because you don’t need to scroll down. The web site of the GIMP Magazine results in an image of 1024×16037 pixels, quite an extreme portrait format. It doesn’t work with all sites and sometimes results in render errors. But it is a nice tool.
The GIMP Magazine will have it’s launch in some days on September 5, you should know this by now.
I helped a bit publishing a book, working as a Technical Reviewer. I got the drafts of all the chapters as a Libre Office File and worked through it, filling it up with nasty comments. So I can claim that I have read every word in Michael J. Hammel’s book “Artist’s Guide to GIMP, 2nd Edition” that I have on the lab bench in the second part of the video.
It is not a text book but a collection of small and medium sized projects. You learn by doing stuff.
Of course I am a little bit biased, got some money, fun and a box of books, but I would also have recommended the first edition of this book. And the second one is better!
Not really needed here – the show starts with creating an image from a web site and switches over to the book review at 7:40. Nothing more in it.
But the show starts with an other anniversary. Twenty years ago these days Tim Berners-Lee (still without a “Sir” in front of his name) published the first photo on the World Wide Web. Up to then it had spent it’s first year or so text only. The users and servers were somehow connected to the CERN particle collider near Geneva. What’s better to put on an image in a nerdy environment than a band? An all female High Energy Rock Band, Les Horribles Cernettes, of course. So a quick and dirty Photoshop (Version 1) hack (yes, web sites were that ugly once…) intended as a base for an in house CD publication found it’s way to the computer of Berners-Lee and history was on it’s way. There seems to be quite a dispute about this just now. Why can’t people keep proper records when they are making history?
Some epsiodes of Meet the GIMP! have found their way into an education program of the Indian Institute of Technology in Mumbai (Bombay). They dub them with Indian English and publish them on their server. The project Spoken Tutorial is a great way to reach out and broaden education. And of course I am proud that my material is used that way.
Ramon Miranda has updated his GIMP Paint Studio. This is a collection of brushes, patterns, gradients and more, bound together by presets and dynamic settings for tablet users. (If you don’t have a tablet, get one now!)
The GIMP Magazine is taking up steam. I have seen the drafts, they are nearly complete and get better all the time. Expect the first issue in early September.
And finally I process an image of a small part of the steam engine01 1066, which I found in the Hamburg Main Station. The processing is nothing spectacular, just cropping, curves, a bit of burning and dodging. But this time I am printing the image on my brand new printer – an Epson 1500W. An Episode about printing is coming up, just now I am just playing around.
UPDATE I made a blunder here and switched the terms dodging and burning – I got the reminder of proper dark room culture from Saul Goode in the forum.
Burning is letting more light from the enlarger onto the paper (as I told in the show) but as it is a negative projected on light sensitive paper the image gets darker. So I burned the lower right edge of the image.
Dodging is keeping light away from the paper and so making that part lighter, no light at all would result in unchanged white. I dodged the rust on the fitting in the center of the image.
And here comes the twist. A “burned out sky” is white on the final image because it has been “burned out” the negative, resulting in solid black there. I haven’t been in the dark room lab for decades, perhaps I’ll try it again after the printing fever has gone old. (BTW, my new pigment ink and refillable replacement cartridges arrived today…. )
A very good demonstration of burning and dodging is done in the film War Photographer about James Nachtwey. Worth watching, even without interest in dark room technique.
A big thank you to all of you for the support in these five years!
00:20 Les Horribles Cernettes
03:15 20 years of images in the net
03:50 Meet the GIMP is dubbed in Indian English by spokentutorials.org in Mumbai
06:20 5 years of Meet the GIMP!
07:00 Installing a grey icon theme
08:00 Where is your personal GIMP directory?
09:00 Gimp Paint Studio by Ramon Miranda
10:50 The presets give additional value
11:20 Dynamic settings
13:00 Dampflok 101066 in Hamburg Central Station
14:45 Opening and analyzing the image
16:20 Cropping for a print with a fixed aspect ratio
18:45 Make a backup layer
19:00 Curve tool to get black black
20:45 Dodging Burning with a layer and brush
22:50 Burning Dodging with a layer and brush
27:30 Saving the image
28:10 Printing is new for me
29:00 The GIMP Magazine is coming in September
29:55 5 Years – a summary.
Download the Video! (24:08 48.1MB)
A week of news: GIMP 2.8 is out, we have again a modern stable version of GIMP. Gratulation to the developers, this was good and hard work. But instead of relaxing a bit they threw at the same moment Version 2.9 into the world. High bit depth, not only the 16 bits everybody wanted, 32 bits integer and floating point modes are suddenly available. But be aware, this is a field of bugs and crashes, don’t expect any productive results yet.
In a first look at 2.8 I show the shiny new brushes, explain how to use the new sliders and the tagging system for brushes, gradients and patterns. For the lazy I add a bit of calculations in input fields.
Then nachbarnebenan takes you for a tour through 2.9, presenting the lossless operation of the layer stack and other stuff. But again, this is not for the faint at heart. If you want to compile 2.9 on Debian, here is a How To in our Wiki. (The link address says still 2.7, but it is 2.9….)
00:20 News about 2.8 and 2.9
04:40 Starting GIMP 2.8.0
05:00 Single Window Mode
05:25 A new brush set – brush controls
07:10 The new slider controls
08:10 Ressource tagging for brushes, gradients and patterns
10:45 Calculations in input fields
11:45 Goat Invasion! Outlook to 2.9 (nachbarnebenan)
11:50 A layer stack in 2.8 – 8 Bit depth
14:50 The same in 2.9 – 32? Bit Floating Point
18:20 Soft Light and Overlay – the Bug is gone!
19:20 Not all is using GEGL yet
22:30 Final words from Rolf
Tuxpaint is a painting software for kids between 3 and 100+. Well, the targeted audience ends at an age of 12, but it is still fun to use when you are older. Tuxpaint is available for Linux, Mac OS X and all Windows flavours. Of course it is under the GPL and so free to get and to be shared. The ease of use beats everything I have seen in the professional educational market and I am considering to get it into my school.
The user interface and availability of tools in Tuxpaint can be configured to adapt to the skill level of the user and the level of annoyance the environment is willing to tolerate. There are nice sound effects, but how often can you stand
Also printing can be disabled because space on the fridge and ink cartridges have limits. The configuration is done with a separate program which can be kept outside of the reach of the little end-user.
The show starts and ends with some information about the upcoming GIMP Magazine. I am somehow involved in the team now but I promise to keep my priorities on this project here.
If you want to become a member of the forum, just drop me a mail at email@example.com and tell me your intended user name.
01:00 GIMP Magazine
02:00 Goat Invasion – GIMP will get a lot of progress soon
03:00 16 and 32 Bit already running in the Goat Invasion branch
05:55 Setting Tuxpaint up
09:00 The Toolset
10:00 Painting and brushes
11:45 New canvas
17:30 Magic! (scripts and filters in a mixed bag)
20:20 Saving and recovering images
20:40 Templates for coloring
22:50 GIMP Magazine
Download the Video! (9:03 18.0MB)
I am on my way to a class trip an so you get only a short episode about the corners and edges around the canvas. There is a menu button, a zoom mode button, a navigator and the quick mask for selections. And of course there are the rulers with the guides and control points to pull out.
All this after a quick update on the histogram from the last show.
UPDATE Mar 18: There is a nice way to use the histogram with selections. Select the dark region and look at the histogram – it shows only the data from the selection. The histogram tool is “selection-sensitive”.
00:30 The Stasi Headquarter
05:00 Start of the image processing
05:20 Rotate the image – what is vertical?
09:40 Planning where to work on the shadows
10:00 Measure the darkness with curves tool
10:45 A quick try with the curves tool
11:30 A layer in Overlay Mode to brighten shadows up
12:00 Decomposing the image to get the “L” from LAB
14:30 Invert the colours
14:50 Generate a layer mask
15:50 Constructing the “Lighten Only” layer
17:00 Optimizing the effect
17:50 Blurring the overlay layer improves the effect
22:30 Compare to simple burning
27:45 http://darktable.org gave the idea to this
Download the Video! (22:22 44.6MB) Download the companion file from Episode 176!
Nachbarnebenan continues his tutorial from the last episode. He isolated his model from the a bit to vivid background by making two images from his RAW file. One is crisp and colourful – best for the model. The other one is soft and a bit dull – this tones the background down.
In this episode he combines them to one image with a layer mask.
Did you know that there is a filter in GIMP to emulate the look of an image for colour blind people? Nachbarnebenan shows how to use it. It’s no so important for photography – but think of all the graphics work done with GIMP. By using this filter you can make a difference in accessibility
Download the Video! (34:04 67.9MB) Download the companion file! (97.8MB)
It’s time for a guest again. Nachbarnebenan shows how to process a RAW image in the current (well, it was November…) version of Photivo. Photivo has a very different approach to image processing from GIMP and others. It’s more stacking up and tweaking of algorithms instead of making a series of changes one after the other. Fully non destructive and very powerful.
To isolate the model from the a bit to vivid background Nachbarnebenan produces two images from his RAW file. One is crisp and colourful – best for the model. The other one is soft and a bit dull – this tones the background down.
In the next episode he will show how to combine these two images in GIMP into one.