Bilderverzeichnis

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Bilderverzeichnis

1 Convention for Describing Paths to Functions Found in the Image Menu
2 Conventions for Describing Paths for Functions Found in the Toolbox
3 Names of the Toolbox Icons
4 Specifying GIMP Memory Usage
5 Graphic Interface for Web Mirroring Software: GetWeb
1.1 The Toolbox Window
1.2 The Image Window
1.3 The Layers, Channels, and Paths Dialogs
1.4 The Color Selection Dialog
1.5 The Brush Selection Dialog
1.6 The Pattern Selection Dialog
1.7 The Gradients Dialog
1.8 The Color Palette Dialog
1.9 Loading Images into the GIMP
1.10 Saving Images
1.11 Creating New Images
1.12 Setting the Number of Undo Levels
1.13 Working with the Undo History Dialog
1.14 Using the Copy Named Buffer
1.15 Using the Paste Named Buffer
1.16 Using Zoom
1.17 Using Zoom with the Navigation Window
1.18 Using New View
1.19 The Help System Browser
2.1 A Three-Layer Image
2.2 Visualizing the Layer Stack in 3D
2.3 Layers Dialog
2.4 Layers Dialog Detail
2.5 Layers Menu
2.6 Image Component Hierarchy: Each Layer Consists of a Matrix of Pixels, and Each Pixel is Constructed of an R, G, B, and A Channel
2.7 Channels Dialog
2.8 Two Images to Illustrate the Use of Copy and Paste
2.9 Importing the First Pasted Image
2.10 Creation of New Layer
2.11 Importing the Second Pasted Image
2.12 A Moved Selection Becomes a Float
2.13 Images to be Aligned with Guides
2.14 Images Aligned with Guides
2.15 Image Scaling
2.16 Image Resizing (Original Becomes Smaller)
2.17 Resizing Using the Crop Tool
2.18 Image Resizing (Original Becomes Larger)
2.19 Resizing a Layer Smaller: Floating a Rectangular Selection
2.20 Resizing a Layer Smaller: Anchoring the Float to a New Layer and Deleting the Old Layer
2.21 The Resulting Resized Layer
2.22 Using the Flip tool
2.23 Image and Layer Rotate Menus
2.24 Transform Tool Dialog
2.25 Initiating the Rotation Transformation
2.26 Finalizing the Rotation Transformation
2.27 The Scaling Transformation
2.28 The Shear Transformation
2.29 The Perspective Transformation
3.1 Toolbox Selection Tools
3.2 The Rectangle Select and Ellipse Select Tools
3.3 Making Perfectly Square and Circular Selections with the Rectangle Select and Ellipse Select Tools
3.4 A Lasso Selection
3.5 A Magic Wand Seed Pixel and Selection
3.6 Using the Bezier Control Points and Handles: (a) A Bezier path, (b) Simultaneously manipulating two control handles of a control point, (c) Manipulating an individual control handle, and (d) Moving a control point.
3.7 Creating a Bezier Path
3.8 Manipulating the Control Handles of a Bezier Control Point
3.9 Selection Created from the Bezier Path
3.10 The Required Number of Bezier Control Points?
3.11 How Antialiasing Works
3.12 A Practical Example of Using Antialiasing
3.13 The Effect of Feathering
3.14 The Sample Merged Option
3.15 Combining Selections
3.16 The Effect of Border
3.17 Saving a Selection to a Channel
3.18 The By Color Selection Tool
3.19 Converting a Selection to a Bezier Path
3.20 The Effect of Stroke
3.21 The Bezier Paths Dialog
3.22 Making a Path Visible in the Image Window and Changing a Path Title
3.23 Applying the Transform Lock to a Path
3.24 The Paths Menu
3.25 Selection Tool Teamwork
3.26 Using Zoom to Aid with Selections
3.27 Positioning an Elliptical Selection Using the Guides
4.1 The Channels Dialog
4.2 Saving a Selection to a Channel Mask
4.3 Viewing a Raw Channel Mask in the Image Window
4.4 Viewing an Image Layer Through the Channel Mask
4.5 Changing a Channel Mask's Color, Opacity, and Title
4.6 The Channels Menu
4.7 Two Channel Masks
4.8 Converting the First Mask to a Selection
4.9 Converting the Second Mask to a Selection and Adding it to the First
4.10 Creating the Combined Channel Mask
4.11 The Layers Menu
4.12 The Creation of a Layer Mask
4.13 Toggling from an Active Layer Mask to an Active Layer Image
4.14 Editing a Layer Mask Edits the Image Layer's Alpha Channel
4.15 Viewing Only the Mask in the Image Window
4.16 Suppressing the Effect of the Layer Mask in the Image Window
4.17 Using Painting Tools on a Channel Mask
4.18 Using Selection Tools on a Channel Mask: Addition
4.19 Using Selection Tools on a Channel Mask: Subtraction
4.20 Two Images
4.21 Pasting and Positioning the Shuttle Over the Lunar Module
4.22 Two Images Blended Using a Gradient in a Layer Mask
4.23 The Brush Selection Dialog and the Mode Menu
4.24 Using Blending Modes to Combine Gradients
4.25 Custom Blending in the Upper Portion of the Image by Combining Additional Gradients Using the Multiply and Screen Modes
4.26 Compare Darken Only and Lighten Only with Multiply and Screen in Figure 4.24
4.27 Image with Two Layers and a Layer Mask
4.28 Decreasing the Opacity of the Top Layer and the Selection Obtained Using the Bezier Path Tool
4.29 The Result of Editing the Layer Mask
4.30 An Image and a Mask
4.31 Aliased Mask Edge Softened Using Blur Filter
4.32 Applying the Waves Filter to the Wood Duck Mask
4.33 Applying the Glass Tile Filter to the Wood Duck Mask
4.34 Applying the Spread Filter to the Wood Duck Mask
4.35 Selections, Channel Masks, Alpha Channels, and Layer Masks: Table of Conversions
4.36 Image Illustrating a Selection
4.37 A Mask Converted from the Selection
4.38 Illustrating the Three Basic Selection Problems
4.39 Introducing the Airbrush Tool
4.40 Solving the Three Basic Selection Problems with the Airbrush Tool
4.41 Using the Quick Mask
4.42 Quick Mask Options
4.43 Pasting the Image into Its Own Channel Mask
4.44 Applying Threshold to the Channel Mask
4.45 The Resulting Mask Defects as Seen in the Image Window
4.46 Using the Lasso Tool to Remove Defect Regions
4.47 Using the Paintbrush Tool to Fill in Missing Regions
4.48 Converting the Mask to a Selection
4.49 A Flower Image and the Decompose dialog
4.50 The RGB and HSV Decompositions of the Flower
5.1 Representing a Color with an RGB Triple: Purple= 172^R 83^G 232^B
5.2 The RGB Color Cube
5.3 Hue, Saturation, and Value
5.4 Decomposing a Color Image into its HSV Components
5.5 Planes of Constant Brightness in the RGB Cube
5.6 Different Projections Onto the Neutral Axis
5.7 Cones of Constant Saturation in the RGB Cube
5.8 Wedges of Constant Hue in the RGB Cube
5.9 The HSV Coordinates in the RGB Color Cube
5.10 The Three Methods for Converting to Grayscale
5.11 The Blending Mode Menus
5.12 The Dissolve Blending Mode
5.13 The Behind Blending Mode
5.14 Addition and Subtraction in the RGB Cube
5.15 Using the Addition Blending Mode
5.16 Using the Subtract and Difference Blending Modes
5.17 The Multiply and Screen Modes in the RGB Cube
5.18 An Example of Multiply, Divide, Screen, and Overlay Modes
5.19 An Example of Darken Only and Lighten Only Modes
5.20 An Example of Hue Mode
5.21 An Example of Saturation Mode
5.22 An Example of Value Mode
5.23 An Example of Color Mode
5.24 Explanation of Opacity in the RGB Cube
5.25 An Example Application of Transparency
5.26 Image Whose Color Is to Be Changed
5.27 Making the Kitten's Coat Tabby-Colored
5.28 Making the Kitten's Eyes Blue
5.29 Making the T-shirt a Khaki Green Using Multiply Mode
5.30 Original Circle with Measured Colors Shown in Color Selection Dialogs
5.31 Screening a Diffuse Highlight
5.32 Multiplying in a Diffuse Shadow
6.1 Highlights and Shadows in a Grayscale Image
6.2 Limited Tonal Range
6.3 The Levels Tool
6.4 Image of Deep Sea Turtle Having Compressed Tonal Range
6.5 Levels for R, G, and B Channels
6.6 Levels for R, G, and B Channels with Adjusted Input Control Arrows
6.7 Deep Sea Turtle with Maximized Tonal Range
6.8 The Curves Tool
6.9 Adding and Moving a Control Point
6.10 Image with Shadow-to-Midtone and Midtone-to-Highlight Gradients
6.11 Improving the Contrast of the Midtone-to-Highlight Gradient
6.12 Improving the Contrast of the Shadow-to-Midtone Gradient
6.13 Image with a Color Cast? The Measured Pixels Say Yes!
6.14 Using the Measured Pixel Values to Modify the Red Curve
6.15 Using the Measured Pixel Values to Modify the Blue Curve
6.16 Comparison of the Original and Color Corrected Images
6.17 Using the Threshold Tool to Find Shadows and Highlights: (a) Original Photo (b) Darkest Shadows (c) Lightest Highlights
6.18 Implementation of the Perturbation Technique: (a) Placing the Shadow, Midtone, and Highlight Region Control Points (b) Perturbation of the Midtone Control Point
6.19 Image with a Color Cast. Can you see it?
6.20 The Three Adjusted Curves Using the Perturbation Technique
6.21 The Color Corrected Image
6.22 Original and Color Corrected Images
6.23 Using Threshold to Find the Correct Value Range
6.24 Using Curves to Improve Contrast in the Subject Value Range
6.25 Comparing Color Balance to the Curves Tool
6.26 Comparing Brightness-Contrast with the Curves Tool
6.27 The Hue-Saturation Tool
6.28 Hue-Saturation
6.29 Image with Unwanted Content
6.30 Zoom of Image Showing (a) Clone Reference Point and (b) Application of Clone Tool to Unwanted Image Area
6.31 Original Image and Final Image with Unwanted Image Content Removed
6.32 Understanding the Unsharp Mask
6.33 Illustrating the Effect of Applying the Unsharp Mask
6.34 An Example of Applying the Unsharp Mask
6.35 Example of Unsharp Mask Provoking a Color Shift
6.36 Circumventing the Unsharp Mask Color Shift Problem by Sharpening only the Value Channel
6.37 Original Image
6.38 Tonal Range Maximized and Midtones Adjusted with the Levels Tool: (a) Original Image and (b) Result of Levels Tool
6.39 Color Cast Correction with Curves: (a) Previous and (b) Color Corrected Image
6.40 Blemish Removed with Clone Tool
6.41 Selection of Background
6.42 Background Lightened with Curves: (a) Before and (b) After
6.43 Comparison of Original and Enhanced Photos
7.1 Collection of Selected Sea Creatures
7.2 Pasting an Image Component into the Holiday Scene Background
7.3 Scaling the Angel Fish
7.4 The Beginnings of a Composition
7.5 Using a Layer Mask to Create the Illusion of Depth
7.6 The Final Composition
7.7 A Tin Can Discarded as Trash
7.8 A Flower and a Visiting Friend
7.9 The Flower Layer Pasted and Oriented over the Tin Can Layer
7.10 Using the Measure Tool to Compute the Correct Angle of Rotation
7.11 Using a Bezier Path to Delineate the Insect's Outline, and Toggling On the Path Transform Lock
7.12 Bezier Path Outline Rotating with Transform Grid
7.13 Making a Selection of the Tin Can
7.14 Flower Layer Masked by Tin Can
7.15 Using the Multiply Blending Mode on the Flower Layer
7.16 Final Composition
7.17 Original Image of Saturn
7.18 Original Image of Shuttle Launch
7.19 Assembling the Pieces
7.20 A First Attempt to Blend the Shuttle Launch and Saturn Layers
7.21 Creating a Mask of the Space Shuttle Layer
7.22 Application of the Space Shuttle and Launch Equipment Layer Mask
7.23 The Final Blended Image
7.24 Original Images of the Young Woman and the Fish
7.25 Using Threshold and the Lasso to Create a Mask for the Woman
7.26 Using the Paintbrush to Finish the Mask of the Woman
7.27 Applying a Layer Mask to the Woman
7.28 Uniting the Pieces
7.29 Flipping and Positioning the Tail Fin
7.30 Fusing the Tail Fin to the Woman's Lower Legs
7.31 Fusing the Remainder of the Tail and Correcting for Image Inconsistencies
7.32 The Mermaid Placed into an Underwater Scene
7.33 Using Border and Gaussian Blur (IIR) to Soften the Cut-Out Look of the Mermaid's Edge
7.34 The Final Mermaid Composition
7.35 Collection of Positioned Images
7.36 Initial Geometric Distortion Corrections
7.37 Initial Color and Brightness Matching
7.38 Construction of a Gradient in a Layer Mask to Blend Away the Boundary Between Two Layers
7.39 The Result of Blending Two Layers
7.40 Using the Rectangle Select Tool to Create a Custom Gradient Mask
7.41 The Cropped and Layer Merged Panorama
7.42 The Molding Corrected and Final Panorama
8.1 Using the Bucket Fill Tool
8.2 Using the Threshold and Opacity Options
8.3 Filling with Image Patterns
8.4 The Different Gradient Types
8.5 Examples of Conical, Bi-Linear, and Shapeburst Gradients
8.6 Creating Text to be Used in Gradient Rendering Example
8.7 Rendering a Beveled Look
8.8 The Beveled Text on a Rendered Background
8.9 The Emboss Filter Dialog
8.10 Geometric View of the Emboss Filter Options
8.11 How Emboss is Applied to a 2D Image: Magnitudes of the Gradient Vectors
8.12 How Emboss is Applied to a 2D Image: Directions of the Gradient Vectors
8.13 Example of Using the Emboss Filter
8.14 Cape Cod from Space and a Pattern Texture
8.15 Applying the Bump map Filter to Cape Cod
8.16 A Daisy Selection
8.17 Filling, Blurring, and Offsetting Creates the Shadow
8.18 The Final Drop Shadow
8.19 Lightning Strike!
8.20 Placing Some Text
8.21 Creating the Layer Mask
8.22 The Final Punchout
8.23 Original Image and Color Corrected Selection of Astronaut
8.24 Making a Gray-Blue Background Layer and Creating a Channel Mask from the Astronaut's Alpha Channel
8.25 Starting the Punchout
8.26 Finishing the Punchout
8.27 Jazzing up the Punchout with a Pattern Image Background
8.28 The Final Rendered Image
8.29 The Two Layers Used to Create the Carved Rendering Effect
8.30 Creating an Inset
8.31 Creating the Carved Effect Using Bump map
8.32 Making the Punchout Effect
8.33 Using the Multiply Mode and the Opacity Slider to Obtain the Final Carved Effect
8.34 Creating the Background, Text, and Drop Shadow for the Chiseled Effect
8.35 Using the Shapeburst Gradient on the Text Layer
8.36 Creating the Chiseled Effect Using Bump map
8.37 Copying and Pasting the Chiseled Text to the Top Layer
8.38 Lightening the Text with the Levels Tool to Produce the Final Chiseled Effect
9.1 Example of Some GIMP Animation Features
9.2 Example of Replace Mode
9.3 Converting to Indexed
9.4 Saving an Animation as a GIF File
9.5 Clockwise from the Top Left, Four Views of the Space Shuttle: (a) Rear, (b) 2/3 Profile, (c) 1/3 Profile, and (d) Full Profile
9.6 Image to Be Used as Background to Shuttle Landing
9.7 Preparation of the Raw Shuttle Images and Creation of the Shuttle Image Clip Book
9.8 Sequence of Shuttle Layers Used to Make the Animation Sequence
9.9 Adding the SuperNova Light Effect
9.10 Merging Each Shuttle Frame with a Background
9.11 The IWarp Filter
9.12 Using the IWarp Automated Animation Feature
9.13 The ImageMap Plug-in
9.14 Selecting a Polygon Region
9.15 Managing the Selected Regions
9.16 Map of the Southeast United States and the ImageMap Dialog
9.17 The Image Map Reloaded onto a White Background
9.18 Map of the Southeast United States Seen in Netscape
9.19 The Collection of Script-Fu Text Effect Scripts
9.20 The 3D Outline Script and Helper Dialogs
9.21 Result of Running the 3D Outline Script-Fu Script
9.22 Using the Plug-in Make Seamless
9.23 Clipping and Dithering Color Distortions
9.24 Illustration of Using Dithering to Simulate a Color
9.25 Web-Safe Color Palette
9.26 The VisiBone2 Web-Safe Color Palette
9.27 The Indexed Color Conversion Dialog
9.28 Choosing the Type of Color Distortion for Images with Smooth Color Variations
9.29 Choosing for Images with Large Uniform Color Regions
9.30 Antialiased Text After Conversion to Indexed...Yeeeks!
9.31 Using Semi-Flatten to Preserve the Effect of Semi-Transparency