[gimp-web/gimp-web-static] Added a bunch more tutorial ports
- From: Pat David <patdavid src gnome org>
- To: commits-list gnome org
- Cc:
- Subject: [gimp-web/gimp-web-static] Added a bunch more tutorial ports
- Date: Fri, 28 Aug 2015 21:46:06 +0000 (UTC)
commit 640c2648bdcbbfc4b9a45f7e4c9d33100a1bfbc5
Author: Pat David <patdavid gmail com>
Date: Fri Aug 28 16:45:53 2015 -0500
Added a bunch more tutorial ports
content/about/meta/file-list.md | 15 +-
.../Blown_Out_Highlights/after-512x384.jpg | Bin 0 -> 54467 bytes
content/tutorials/Blown_Out_Highlights/after.jpg | Bin 0 -> 42492 bytes
.../tutorials/Blown_Out_Highlights/airbrush.jpg | Bin 0 -> 685 bytes
.../Blown_Out_Highlights/before-512x384.jpg | Bin 0 -> 84377 bytes
content/tutorials/Blown_Out_Highlights/before.jpg | Bin 0 -> 57054 bytes
.../tutorials/Blown_Out_Highlights/brushes1.jpg | Bin 0 -> 13270 bytes
.../tutorials/Blown_Out_Highlights/brushes2.jpg | Bin 0 -> 13682 bytes
.../tutorials/Blown_Out_Highlights/brushes3.jpg | Bin 0 -> 16283 bytes
.../tutorials/Blown_Out_Highlights/brushes4.jpg | Bin 0 -> 14629 bytes
.../tutorials/Blown_Out_Highlights/channels1.jpg | Bin 0 -> 22350 bytes
.../tutorials/Blown_Out_Highlights/channels2.jpg | Bin 0 -> 24131 bytes
.../tutorials/Blown_Out_Highlights/channels3.jpg | Bin 0 -> 24186 bytes
content/tutorials/Blown_Out_Highlights/clone.jpg | Bin 0 -> 724 bytes
.../tutorials/Blown_Out_Highlights/colorpicker.jpg | Bin 0 -> 669 bytes
.../Blown_Out_Highlights/colorpicker1.jpg | Bin 0 -> 6645 bytes
.../Blown_Out_Highlights/colorpicker2.jpg | Bin 0 -> 6813 bytes
.../tutorials/Blown_Out_Highlights/convolve.jpg | Bin 0 -> 649 bytes
.../Blown_Out_Highlights/featherselection.jpg | Bin 0 -> 7206 bytes
.../Blown_Out_Highlights/image-channel-paste.jpg | Bin 0 -> 40385 bytes
.../Blown_Out_Highlights/image-channel.jpg | Bin 0 -> 39607 bytes
content/tutorials/Blown_Out_Highlights/image2.jpg | Bin 0 -> 52796 bytes
content/tutorials/Blown_Out_Highlights/image3.jpg | Bin 0 -> 51456 bytes
content/tutorials/Blown_Out_Highlights/image4.jpg | Bin 0 -> 35615 bytes
content/tutorials/Blown_Out_Highlights/image5.jpg | Bin 0 -> 34869 bytes
content/tutorials/Blown_Out_Highlights/index.md | 198 ++++++++++++++++++++
content/tutorials/Blown_Out_Highlights/layers1.jpg | Bin 0 -> 24506 bytes
content/tutorials/Blown_Out_Highlights/layers2.jpg | Bin 0 -> 20563 bytes
.../Blown_Out_Highlights/newchanneloptions.jpg | Bin 0 -> 9559 bytes
.../tutorials/Blown_Out_Highlights/original.jpg | Bin 0 -> 51444 bytes
content/tutorials/Blown_Out_Highlights/smudge.jpg | Bin 0 -> 693 bytes
.../Blown_Out_Highlights/threshold-image.jpg | Bin 0 -> 25837 bytes
.../tutorials/Blown_Out_Highlights/threshold.jpg | Bin 0 -> 11490 bytes
.../Blown_Out_Highlights/tooloptions-airbrush.jpg | Bin 0 -> 14434 bytes
.../Blown_Out_Highlights/tooloptions-clone.jpg | Bin 0 -> 15930 bytes
.../tooloptions-colorpicker.jpg | Bin 0 -> 9849 bytes
.../Blown_Out_Highlights/tooloptions-convolve.jpg | Bin 0 -> 12417 bytes
.../Blown_Out_Highlights/tooloptions-smudge.jpg | Bin 0 -> 10334 bytes
content/tutorials/Blur_Overlays/addmaskoptions.jpg | Bin 0 -> 10141 bytes
content/tutorials/Blur_Overlays/after.jpg | Bin 0 -> 34832 bytes
content/tutorials/Blur_Overlays/anchor.jpg | Bin 0 -> 898 bytes
content/tutorials/Blur_Overlays/before.jpg | Bin 0 -> 32744 bytes
content/tutorials/Blur_Overlays/editlayerattr.jpg | Bin 0 -> 6411 bytes
content/tutorials/Blur_Overlays/example2-after.jpg | Bin 0 -> 34555 bytes
.../tutorials/Blur_Overlays/example2-before.jpg | Bin 0 -> 54738 bytes
content/tutorials/Blur_Overlays/example3-after.jpg | Bin 0 -> 36580 bytes
.../tutorials/Blur_Overlays/example3-before.jpg | Bin 0 -> 50782 bytes
content/tutorials/Blur_Overlays/fill.jpg | Bin 0 -> 693 bytes
content/tutorials/Blur_Overlays/gaussblur.jpg | Bin 0 -> 9141 bytes
content/tutorials/Blur_Overlays/gaussblur2.jpg | Bin 0 -> 9108 bytes
content/tutorials/Blur_Overlays/image-final.jpg | Bin 0 -> 54261 bytes
content/tutorials/Blur_Overlays/image-original.jpg | Bin 0 -> 52028 bytes
.../tutorials/Blur_Overlays/image-overlay-blur.jpg | Bin 0 -> 54219 bytes
content/tutorials/Blur_Overlays/image-overlay.jpg | Bin 0 -> 57855 bytes
.../Blur_Overlays/image-threshold-blur-invert.jpg | Bin 0 -> 22931 bytes
.../Blur_Overlays/image-threshold-blur.jpg | Bin 0 -> 23022 bytes
.../image-threshold-marqueeselect.jpg | Bin 0 -> 35675 bytes
.../tutorials/Blur_Overlays/image-threshold.jpg | Bin 0 -> 34283 bytes
content/tutorials/Blur_Overlays/index.md | 193 +++++++++++++++++++
content/tutorials/Blur_Overlays/layerdup.jpg | Bin 0 -> 931 bytes
.../tutorials/Blur_Overlays/layers-duplicate.jpg | Bin 0 -> 21084 bytes
content/tutorials/Blur_Overlays/layers1.jpg | Bin 0 -> 21201 bytes
content/tutorials/Blur_Overlays/layers2.jpg | Bin 0 -> 22712 bytes
content/tutorials/Blur_Overlays/layers3.jpg | Bin 0 -> 22508 bytes
content/tutorials/Blur_Overlays/layers4.jpg | Bin 0 -> 22487 bytes
content/tutorials/Blur_Overlays/layers5.jpg | Bin 0 -> 22621 bytes
content/tutorials/Blur_Overlays/layers6.jpg | Bin 0 -> 23052 bytes
content/tutorials/Blur_Overlays/layers7.jpg | Bin 0 -> 22797 bytes
content/tutorials/Blur_Overlays/levels.jpg | Bin 0 -> 20392 bytes
content/tutorials/Blur_Overlays/paint.jpg | Bin 0 -> 679 bytes
content/tutorials/Blur_Overlays/selectrect.jpg | Bin 0 -> 655 bytes
content/tutorials/Blur_Overlays/threshold.jpg | Bin 0 -> 11847 bytes
.../Borders_On_Selections/img13_tools.png | Bin 0 -> 9044 bytes
.../Borders_On_Selections/img14_step1.png | Bin 0 -> 11689 bytes
.../Borders_On_Selections/img15_brushes.png | Bin 0 -> 5610 bytes
.../Borders_On_Selections/img15b_stroke.png | Bin 0 -> 10975 bytes
.../Borders_On_Selections/img16_step2.png | Bin 0 -> 5730 bytes
.../Borders_On_Selections/img17_result.png | Bin 0 -> 11949 bytes
.../Borders_On_Selections/img18_example1.png | Bin 0 -> 10797 bytes
.../Borders_On_Selections/img19_example2.jpg | Bin 0 -> 20819 bytes
content/tutorials/Borders_On_Selections/index.md | 69 +++++++
.../tutorials/Changing_Background_Color_1/dnd.png | Bin 0 -> 30378 bytes
.../tutorials/Changing_Background_Color_1/index.md | 103 ++++++++++
.../Changing_Background_Color_1/layer_create.png | Bin 0 -> 21194 bytes
.../Changing_Background_Color_1/layer_move.png | Bin 0 -> 23890 bytes
.../tutorials/Changing_Background_Color_1/menu.png | Bin 0 -> 57203 bytes
.../Changing_Background_Color_1/picker_button.png | Bin 0 -> 743 bytes
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.../Changing_Background_Color_1/select_bg.png | Bin 0 -> 2105 bytes
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.../Changing_Background_Color_2/img8_step6.png | Bin 0 -> 41691 bytes
.../tutorials/Changing_Background_Color_2/index.md | 78 ++++++++
content/tutorials/Color2BW/after-384x288.jpg | Bin 0 -> 34034 bytes
content/tutorials/Color2BW/before-384x288.jpg | Bin 0 -> 52175 bytes
.../tutorials/Color2BW/channelmixer-481x307.jpg | Bin 0 -> 32985 bytes
.../tutorials/Color2BW/decompose-cmyk-186x265.jpg | Bin 0 -> 11107 bytes
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.../tutorials/Color2BW/decompose-rgb-186x265.jpg | Bin 0 -> 10812 bytes
.../tutorials/Color2BW/example2-after-384x288.jpg | Bin 0 -> 33330 bytes
.../tutorials/Color2BW/example2-before-384x288.jpg | Bin 0 -> 38617 bytes
content/tutorials/Color2BW/image-black-481x397.jpg | Bin 0 -> 55763 bytes
content/tutorials/Color2BW/image-blue-481x397.jpg | Bin 0 -> 56570 bytes
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.../Color2BW/image-desaturate-zoom100-481x397.jpg | Bin 0 -> 39574 bytes
.../tutorials/Color2BW/image-grayscale-481x397.jpg | Bin 0 -> 53893 bytes
.../Color2BW/image-grayscale-zoom100-481x397.jpg | Bin 0 -> 38486 bytes
content/tutorials/Color2BW/image-green-481x397.jpg | Bin 0 -> 55432 bytes
.../Color2BW/image-green-zoom100-481x397.jpg | Bin 0 -> 39845 bytes
.../tutorials/Color2BW/image-lightness-481x397.jpg | Bin 0 -> 47777 bytes
.../tutorials/Color2BW/image-original-481x397.jpg | Bin 0 -> 58657 bytes
content/tutorials/Color2BW/image-red-481x397.jpg | Bin 0 -> 56273 bytes
.../Color2BW/image-red-zoom100-481x397.jpg | Bin 0 -> 41141 bytes
content/tutorials/Color2BW/image-value-481x397.jpg | Bin 0 -> 55632 bytes
content/tutorials/Color2BW/index.md | 187 ++++++++++++++++++
.../tutorials/Color2BW/middlesister-384x259.jpg | Bin 0 -> 22220 bytes
.../tutorials/Color2BW/middlesister-bw-384x259.jpg | Bin 0 -> 19584 bytes
.../tutorials/Coloring_A_BW_Sketch/hikachan_t0.jpg | Bin 0 -> 5150 bytes
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.../tutorials/Coloring_A_BW_Sketch/hikachan_t5.jpg | Bin 0 -> 5469 bytes
content/tutorials/Coloring_A_BW_Sketch/index.md | 63 ++++++
145 files changed, 899 insertions(+), 7 deletions(-)
---
diff --git a/content/about/meta/file-list.md b/content/about/meta/file-list.md
index bbf35dc..e5bf2ca 100644
--- a/content/about/meta/file-list.md
+++ b/content/about/meta/file-list.md
@@ -165,13 +165,14 @@ The main page links go to legacy WGO, the link icon (if there) will go to the po
<del><http://www.gimp.org/tutorials/Basic_Scheme2/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Basic_Scheme2/index.md)
<del><http://www.gimp.org/tutorials/Bezier_Selections/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Bezier_Selections/index.md)
<del><http://www.gimp.org/tutorials/Blending_Exposures/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Blending_Exposures/index.md)
-<http://www.gimp.org/tutorials/Blown_Out_Highlights/index.html>
-<http://www.gimp.org/tutorials/Blur_Overlays/index.html>
-<http://www.gimp.org/tutorials/Borders_On_Selections/index.html>
-<http://www.gimp.org/tutorials/Changing_Background_Color_1/index.html>
-<http://www.gimp.org/tutorials/Changing_Background_Color_2/index.html>
-<http://www.gimp.org/tutorials/Color2BW/index.html>
-<http://www.gimp.org/tutorials/Coloring_A_BW_Sketch/index.html>
+<del><http://www.gimp.org/tutorials/Blown_Out_Highlights/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Blown_Out_Highlights/index.md)
+<del><http://www.gimp.org/tutorials/Blur_Overlays/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Blur_Overlays/index.md)
+<del><http://www.gimp.org/tutorials/Borders_On_Selections/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Borders_On_Selections/index.md)
+<del><http://www.gimp.org/tutorials/Changing_Background_Color_1/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Changing_Background_Color_1/index.md)
+<del><http://www.gimp.org/tutorials/Changing_Background_Color_2/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Changing_Background_Color_2/index.md)
+<del><http://www.gimp.org/tutorials/Color2BW/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Color2BW/index.md)
+<del><http://www.gimp.org/tutorials/Coloring_A_BW_Sketch/index.html></del> [<i class="fa
fa-link"></i>]({filename}../../tutorials/Coloring_A_BW_Sketch/index.md)
+
<http://www.gimp.org/tutorials/ContrastMask/index.html>
<http://www.gimp.org/tutorials/Creating_Icons/index.html>
<http://www.gimp.org/tutorials/Custom_Brushes/index.html>
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@@ -0,0 +1,198 @@
+Title: Salvaging Blown Out Highlights
+Date: 2002
+Modified: 2015-08-28T15:01:29-05:00
+Author: Eric R. Jeschke
+
+<small>Text and images Copyright (C) 2002 [Eric R. Jeschke](mailto:ericNOSPAM redskiesatnight com) and may
not be used without permission of the author.</small>
+
+## Intention
+
+<figure>
+<img src="before.jpg" alt="Before">
+<img src="after.jpg" alt="After">
+</figure>
+
+In this tutorial I'll show you how to salvage an image that has blown out highlights. This is a problem that
is familiar to photographers shooting transparency film, which has an effective contrast range of about 5
stops. If you are not careful with your exposure you can easily lose all detail in your highlight areas, with
no way to get it back: they "blow out" to clear (white).
+
+Many digital cameras have similar issues, especially consumer level ones. With these kinds of cameras it is
worth paying attention to the old adage: "expose for the highlights". I find that if I treat my digital
camera as if I were shooting slide film the exposure rules are about the same.
+
+## The Procedure
+
+The basic technique is to graft matching areas of the image into the burned out parts using the clone tool
and then to use several additional tools to blend the seams of the cloned areas.
+
+## Step 1
+
+<figure>
+<img src="original.jpg" alt="original.jpg"/>
+</figure>
+
+Here is the original image.
+
+I saw my cat go up into a lemon tree. Thinking there might be an interesting shot there, I grabbed the
camera and shot him from several angles, including this shot through a hole in the foliage. When I saw the
image later on the monitor I realized what a nice natural three-dimensional frame I had.
+
+The camera was set on automatic exposure. While it did a great job of exposing for the dark cat in the shade
of the tree, there are several spots where specular reflections of the bright sunshine overhead blew out. The
worst and most noticable is the one off of the leaf at the top of the image. There are some less
objectionable, but bothersome burned out areas to the lower right of the cat's face.
+
+Great image...could I rescue it?
+
+## Step 2
+
+<figure>
+<img src="colorpicker1.jpg" alt="colorpicker1.jpg"/>
+</figure>
+
+Using the color picker tool, you can see that there is no usable information left in the highlight. Pure
white, of course, is 255/255/255.
+
+If there had been some detail left here I might have tried a variation on the contrast masking technique or
the "digital" neutral density filter first.
+
+## Step 3
+
+<figure>
+<img src="threshold.jpg" alt="threshold.jpg"/>
+<img src="threshold-image.jpg" alt="threshold-image.jpg"/>
+</figure>
+
+
+The first step is to create a channel mask to be able to mask out parts of the image we don't want to
affect. I'll use this for the main "pixel graft".
+
+Duplicate the original image (<span class="filter"><Image> Image -> Duplicate</span> or <kbd>Ctrl+D</kbd>).
+
+In the duplicate, select <span class="filter"><Image> Image -> Colors -> Threshold</span>. In the threshold
dialog box, drag to select the very right (extreme highlights) portion of the histogram. Alternatively, you
can type in the lower bound, as I did here (250).
+
+This causes all the pixels in the image from 250-255 to go white and all the others to go black.
+
+## Step 4
+
+<figure>
+<img src="channels1.jpg" alt="channels1.jpg"/>
+<img src="newchanneloptions.jpg" alt="newchanneloptions.jpg"/>
+</figure>
+
+<figure>
+<img src="channels2.jpg" alt="channels2.jpg"/>
+<img src="image-channel.jpg" alt="image-channel.jpg"/>
+</figure>
+
+Go back to the original image, and bring up the Layers and Channels dialog (<span class="filter"><Image>
Layers -> Layers, Channels & Paths</span>, or <kbd>Ctrl+L</kbd>). Click on the Channels tab and add a new
channel by clicking on the new channel button.
+
+## Step 5
+
+<figure>
+<img src="image-channel-paste.jpg" alt="image-channel-paste.jpg"/>
+</figure><figure>
+<img src="channels3.jpg" alt="channels3.jpg"/>
+</figure>
+
+<figure>
+<img src="layers1.jpg" alt="layers1.jpg"/>
+</figure><figure>
+<img src="layers2.jpg" alt="layers2.jpg"/>
+</figure>
+
+Go back to the threshold image, <span class="filter"><Image> Select -> All</span> (<kbd>Ctrl+A</kbd>) and
<span class="filter"><Image> Edit -> Copy</span> (<kbd>Ctrl+C</kbd>).
+
+<span class="filter"><Image> Edit -> Paste</span> it into the original image (it should go into the new
channel).
+
+Click on the Layers tab and anchor the floating selection.
+
+You can close the threshold image now.
+
+## Step 6
+
+<figure>
+<img src="featherselection.jpg" alt="featherselection.jpg"/>
+</figure><figure>
+<img src="image2.jpg" alt="image2.jpg"/>
+</figure>
+
+Click on the Channels tab again, and right click on the new channel and select Channel to Selection
(<kbd>Ctrl+S</kbd>). You may want to also click on the eye beside the channel to turn off visibility of the
channel.
+
+Now feather the selection (<span class="filter"><Image> Select -> Feather</span>). I used a value of 15
pixels or so in this case.
+
+Finally (important!), click back on the Layers tab and select the Background layer, so the selection and
further operations will apply to the image and not the channel mask.
+
+## Step 7
+
+<figure>
+<img src="tooloptions-clone.jpg" alt="tooloptions-clone.jpg"/>
+</figure><figure>
+<img src="brushes1.jpg" alt="brushes1.jpg"/>
+</figure><figure>
+<img src="image3.jpg" alt="image3.jpg"/>
+</figure>
+
+Now the real work begins.
+
+We've lost these pixels entirely, so we're going to have to graft some on from somewhere nearby using the
clone tool. A description of how to use this tool is beyond the scope of this document (see the [GIMP
savvy](http://gimp-savvy.com/BOOK/index.html) to find out more about this tool).
+
+I cloned from the light part of the leaf just beyond the dark band to the right of the blown out area. This
gave me a similar light-dark-light transition. You can see the clone tool options and the brush (<span
class="filter"><Image> Dialogs -> Brushes</span>) I selected (at right).
+
+Zoom in and clone until you have the area filled with a realistic facimile of the missing detail. Most
likely it will have a noticable transition around the edges. That's OK, we'll fix that up next.
+
+<span class="filter"><Image> Select -> None</span> and zoom out to inspect your work.
+
+## Step 8
+
+<figure>
+<img src="tooloptions-colorpicker.jpg" alt="tooloptions-colorpicker.jpg"/>
+<img src="colorpicker2.jpg" alt="colorpicker2.jpg"/>
+<img src="tooloptions-airbrush.jpg" alt="tooloptions-airbrush.jpg"/>
+</figure>
+
+<figure>
+<img src="brushes2.jpg" alt="brushes2.jpg"/>
+<img src="tooloptions-smudge.jpg" alt="tooloptions-smudge.jpg"/>
+<img src="tooloptions-convolve.jpg" alt="tooloptions-convolve.jpg"/>
+</figure>
+
+<figure>
+<img src="brushes3.jpg" alt="brushes3.jpg"/>
+<img src="brushes4.jpg" alt="brushes4.jpg"/>
+</figure>
+
+<figure>
+<img src="image4.jpg" alt="image4.jpg"/>
+<img src="image5.jpg" alt="image5.jpg"/>
+</figure>
+
+This step is where the most difficult work occurs. I must by necessity abbreviate this step, since it
involves iterations of applying the following tools:
+
+*  smudge
+*  clone
+*  airbrush (w/color picker)
+*  convolve (blur)
+
+Basically, smudge is your friend after a serious cloning job like this to clean up the transitions. Smudge
around all the edges of the clone. The clone tool can also be used again here and there for "mop-up" work.
+
+I use the airbrush and convolve/blur tools to do fine touch up on the smudge job and make it totally
seamless with the rest of the leaf.
+
+Tips:
+
+* Make small changes so you can undo easily without having to redo a lot of work.
+* Experiment with the tool options, especially opacity, rate and pressure (double-click on a tool to see
the tool options). Some examples I used here are shown at right.
+* Vary your brushes! You generally want a nice feathered edge for smoothing seams. Some examples I used
here are shown at right.
+* When using the airbrush, use the color picker first to sample a pixel. I average a pixel value as shown
in the color picker options, right.
+* Periodically, zoom in and out to examine your work. The zoom keys are incredibly handy for this ("=" key
to zoom in, "-" key to zoom out). When you really think you are done, examine the image at full-screen.
Remember that when you print something at 16x20 or 20x30 you may expose flaws in your retouching that you
didn't see at small sizes.
+
+Right Image: zoomed view after the clone (previous step) and after this step.
+
+## Step 9
+
+<figure>
+<img src="before-512x384.jpg" alt="before-512x384.jpg"/>
+<figcaption>
+Original
+</figcaption>
+</figure>
+
+<figure>
+<img src="after-512x384.jpg" alt="after-512x384.jpg"/>
+<figcaption>
+Finished
+</figcaption>
+</figure>
+
+I went on to address the specular highlights to the lower right of the cat's face: spots of sunlit grass
that burned out. These are not as bad, but I noticed them on a 16x20 print I had made and they bothered me,
so toned them down a little.
+
+Here are the original (left image) and finished images (right image).
+
+The original tutorial used to appear on gimpguru.org.
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+Title: Gaussian Blur Overlays
+Date: 2002
+Modified: 2015-08-28T15:01:29-05:00
+Author: Eric R. Jeschke
+
+
+<small>Text and images Copyright (C) 2002 [Eric R. Jeschke](mailto:ericNOSPAM redskiesatnight com) and may
not be used without permission of the author.</small>
+
+## Intention
+
+<figure>
+<img src="before.jpg" alt="before"/>
+<img src="after.jpg" alt="after"/>
+</figure>
+
+In this tutorial I'll show you how to do gaussian blur overlays using GIMP. This is an interesting technique
that intensifies and saturates the colors in the image, increases contrast, and adds a slightly hazy,
"dreamy" feel to the image.
+
+The basic technique is to create a duplicate layer in the image, lighten it and blur it, and combine it
using a layer mode with the original.
+
+Giving credit where credit is due: I did not come up with this method. I adapted it for GIMP from a
Photoshop tutorial on the [luminous-landscape.com web site](http://www.luminous-landscape.com/) (great
photography web site BTW; I recommend it).
+
+## The Procedure
+
+<figure>
+<img src="image-original.jpg" alt="image-original.jpg"/>
+</figure>
+
+Here is the original example image, loaded into GIMP.
+
+## Step 1
+
+<figure>
+<img src="layers1.jpg" alt="layers1.jpg"/>
+<img src="layers2.jpg" alt="layers2.jpg"/>
+</figure>
+
+Open the Layers dialog (if it is not already open, it can be accessed through: <span class="filter"><Image>
Windows → Dockable Dialogs → Layers</span>). Right-click on the Background layer and select Duplicate (there
is also a button for this in the bottom button bar of the Layers dialog ().
+
+## Step 2
+
+<figure>
+<img src="editlayerattr.jpg" alt="editlayerattr.jpg"/>
+<img src="layers3.jpg" alt="layers3.jpg"/>
+</figure>
+
+Now double-click on the duplicate layer and rename the new layer "Blur Overlay". This step is not strictly
necessary, but it is helpful to prevent confusion about what is on each layer, especially if you add some
additional layers for other editing purposes, or more importantly, if you save the file with layers and open
it six months later.
+
+## Step 3
+
+<figure>
+<img src="layers4.jpg" alt="layers4.jpg"/>
+</figure>
+
+<figure>
+<img src="levels.jpg" alt="levels.jpg"/>
+<img src="image-overlay.jpg" alt="image-overlay.jpg"/>
+</figure>
+
+In the Layers dialog, select the Blur Overlay layer. In the "Mode" drop-down box, select "Overlay".
+Now go back to the image window and apply a Levels (<span class="filter"><Image> Image -> Colors ->
Levels</span>) or Curves (<span class="filter"><Image> Image -> Colors -> Curves</span>) and adjust it until
the overall image has the proper brightness. You'll usually find it necessary to adjust the gamma slider
(middle slider in Levels) down. You are only adjusting the upper layer, but you are viewing the cumulative
effect of the layer blend.
+
+**Tip:** If you don't get a good effect with Overlay mode, try Multiply mode (you can even change this while
the Levels dialog is active).
+
+**Tip #2:** while the Levels dialog is active you can toggle visibility of the upper layer to see the
original image and compare to the blend. Just click on the "eye" next to the upper layer.
+
+## Step 4
+
+<figure>
+<img src="gaussblur.jpg" alt="gaussblur.jpg"/>
+<img src="image-overlay-blur.jpg" alt="image-overlay-blur.jpg"/>
+</figure>
+
+Go back to the image window and right click, selecting <span class="filter"><Image> Filters -> Blur ->
Gaussian Blur</span>. You will need to experiment to find the best value, but typically a value between 10
and 30 will do nicely.
+
+Voila! If you don't like the effect, you can undo the blur (<kbd>Ctrl+Z</kbd>) and redo it
(<kbd>Shift+Alt+F</kbd>) with a different value.
+
+Click on the "eye" next to the Blur Overlay layer in the Layers dialog to rapidly compare the image with and
without the overlay. Similarly, turn off the Background layer if you want to view the overlay to do further
work on it.
+
+## Tip: Protecting Highlights with a Layer Mask
+
+Although I like the effect, there is one problem with this technique and that is that it also increases
contrast: the shadows get darker and the highlights get lighter.
+
+You might be able to apply a contrast mask to counteract this effect, but in most cases it is the highlights
that are the most troublesome in that they have lost detail. Fortunately we can apply a simple extension to
the above technique to protect the highlights.
+
+## Step 5
+
+<figure>
+<img src="layers-duplicate.jpg" alt="layers-duplicate.jpg"/>
+</figure>
+
+Duplicate the image (<kbd>Ctrl+D</kbd>).
+Flatten the duplicate (<span class="filter"><Image> Layers -> Flatten Image</span>).
+
+## Step 6
+
+<figure>
+<img src="threshold.jpg" alt="threshold.jpg"/>
+<img src="image-threshold.jpg" alt="image-threshold.jpg"/>
+</figure>
+
+In the duplicate, run a threshold filter (<span class="filter"><Image> Image -> Colors -> Threshold</span>).
+
+In the threshold histogram, click and drag to the right to select all the pixels at the upper end of the
scale. Retry or adjust the selection using the number controls in the dialog box until the display shows most
of the pixels you want to preserve as white and all the rest black.
+
+You only need to approximate this, since we're going to clean up the mask anyway.
+
+## Step 7
+
+<figure>
+<img src="image-threshold-marqueeselect.jpg" alt="image-threshold-marqueeselect.jpg"/>
+</figure>
+
+<figure>
+<img src="gaussblur2.jpg" alt="gaussblur2.jpg"/>
+<img src="image-threshold-blur.jpg" alt="image-threshold-blur.jpg"/>
+</figure>
+
+To clean up the mask, I switched to the paintbrush (), hit "x" in the mask image to
switch the foreground and background colors (Black/White to White/Black), selected a nice opaque brush in the
Brushes dialog and painted the few pixels of the sky white that hadn't been turned white (the darkest parts
of the clouds).
+
+Now the black parts. I switched the fg/bg colors back to (Black/White). I could have painted black all over
the lake, but I had a faster idea in mind. I used the marquee selection tool ()
to select the whole area and then using the fill tool () I just clicked in the selection to
fill it black in one fell swoop.
+
+I then "feathered" the mask so that it will blend the layers without a harsh transition by applying a 6
pixel gaussian blur to the mask.
+
+## Step 8
+
+<figure>
+<img src="image-threshold-blur-invert.jpg" alt="image-threshold-blur-invert.jpg"/>
+</figure>
+
+Invert the mask (<span class="filter"><Image> Image -> Colors -> Invert</span>), so that the white parts
correspond to the parts of the combined layers that you want to keep and the black parts correspond to the
parts that should only reflect the original image (the highlights).
+
+## Step 9
+
+<figure>
+<img src="addmaskoptions.jpg" alt="addmaskoptions.jpg"/>
+<img src="layers5.jpg" alt="layers5.jpg"/>
+</figure>
+
+<figure>
+<img src="layers6.jpg" alt="layers6.jpg"/>
+<img src="layers7.jpg" alt="layers7.jpg"/>
+</figure>
+
+Go to the Layers dialog. Select the overlay blur image in the "Image" drop down box (if it is not selected
already).
+
+Right-click on the Blur Overlay layer and select Add Layer Mask. In the Add Mask Options dialog, select
White (Full Opacity) and click OK.
+
+Now go back to the blurred threshold image, select all and copy (<kbd>Ctrl+A</kbd> then <kbd>Ctrl+C</kbd>).
Go back to the overlay blur image and paste (<kbd>Ctrl+V</kbd>). Go to the Layers dialog and click the anchor
button () to anchor the mask.
+
+**Tip:** <kbd>Ctrl-click</kbd> on the layer mask icon in the Layers dialog to toggle the effect of the layer
mask to compare the image with and without the highlight mask.
+
+## Step 10
+
+<figure>
+<img src="image-original.jpg" alt="image-original.jpg"/>
+<figcaption>
+Original
+</figcaption>
+</figure>
+
+<figure>
+<img src="image-final.jpg" alt="image-final.jpg"/>
+<figcaption>
+Final
+</figcaption>
+</figure>
+
+
+Here's the result. Compare to the original image. I would flatten and apply a smart sharpening (edges) to
finish it out.
+
+## Tips
+
+* Try other layer blending modes. "Multiply" often works well, but creates an even darker image than
"Overlay"; you may have to really crank up the levels on the upper layer. One nice thing about Multiply is
that you probably won't need the highlights mask.
+ "Screen" has a milder effect than either "Overlay" or "Multiply" and will generally just intensify the
colors/saturation. You may not want to lighten the upper layer at all, or perhaps even darken it. Experiment
to see what effects you can get.
+
+## Other Examples
+
+<figure>
+<img src="example2-before.jpg" alt="example2-before.jpg"/>
+<img src="example2-after.jpg" alt="example2-after.jpg"/>
+</figure>
+
+Using "Multiply" for the blending mode. (Final image on the right)
+
+<figure>
+<img src="example3-before.jpg" alt="example3-before.jpg"/>
+<img src="example3-after.jpg" alt="example3-after.jpg"/>
+</figure>
+
+Using "Overlay" for the blending mode, plus a highlight mask for the sky and waterfall. (Final image on the
right)
+
+The original tutorial used to appear on
[gimpguru](https://web.archive.org/web/20140704080338/http://gimpguru.org/tutorials/bluroverlays/).
+
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+Title: Borders On Selections
+Date: 2002
+Modified: 2015-08-28T15:01:29-05:00
+Author: Francisco Bustamante Hempe
+
+
+<small>Text and images Copyright (C) 2002 [Francisco Bustamante Hempe](mailto:bit-at-mospan-bitbit-dot-org)
and may not be used without permission of the author.</small>
+
+## Intention
+
+Since GIMP is an image manipulation program and not a painting program it doesn't include tools to draw
shapes like squares and circles. However this doesn't mean you can't paint them, in fact there are some
interesting options regarding this subject when it comes to GIMP. The solution is to use the selection
stroking capabilities of GIMP.
+
+<figure>
+<img src="img14_step1.png" alt="img14_step1.png"/>
+</figure>
+
+This option can be accesed on the image menu (right button click on the image), by going to <span
class="filter"><Image> Edit -> Stroke Selection</span>.
+
+## Step 1
+
+<figure>
+<img src="img13_tools.png" alt="img13_tools.png"/>
+</figure>
+
+Before doing that however we need to make a selection with the shape we want. There are several ways to make
a selection, including all the tools in red shown above and select by color as explained on Selecting and
removing one color . When using the tools, holding shift at the beggining of the selection process will add
the selection to what is already selected, while holding the control key will substract from it.
+
+## Step 2
+
+<figure>
+<img src="img16_step2.png" alt="img16_step2.png"/>
+</figure>
+
+Use the selection tools to create a selection with the desired shape.
+
+## Step 3
+
+<figure>
+<img src="img15_brushes.png" alt="img15_brushes.png"/>
+</figure>
+
+After you have the selection, choose a brush from the brush selection dialog. Choose also a color and you
can play with the spacing option for the brush. Brush selection dialog
+
+## Step 4
+
+<figure>
+<img src="img15b_stroke.png" alt="img15b_stroke.png"/>
+</figure>
+
+When all the options are selected you can click on <span class="filter"><Image> Edit -> Stroke</span>. You
will get a dialog allowing you to set many options for stroking your selection, including dashed lines and
other fancy features. If you select Stroke Using a Paint Tool, you will be able to use the brush that you
have selected.
+
+## Step 5
+
+<figure>
+<img src="img17_result.png" alt="img17_result.png"/>
+</figure>
+
+When all the options are selected you can finally click on OK. Using a fuzzy brush and selecting a blue
color here is the result for the selection made above.
+
+## Examples
+
+<figure>
+<img src="img18_example1.png" alt="img18_example1.png"/>
+<img src="img19_example2.jpg" alt="img19_example2.jpg"/>
+</figure>
+
+Playing around with the spacing options in the brush selection dialog, the color or using one of the
animated brushes you can get very interesting results.. here are some examples.
+
+The original tutorial can be found [here](http://bitbit.org/cms.php/gimp/tutorials/stroke_selection.html)
(dead link).
+
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+Title: Changing Background Color 1
+Date: 2002
+Modified: 2015-08-28T15:01:29-05:00
+Author: Seth Burgess
+
+<small>Text and images Copyright (C) 2002 [Seth Burgess](mailto:sjburgesNOSPAM gimp org) and may not be used
without permission of the author.</small>
+
+## Intention
+
+ to 
+
+This tutorial shows you how you can efficiently replace the background of an image with another in GIMP,
through the use of the color to alpha plug-in. The aim is to show the advantages of using the color to alpha
plug-in over selection-based techniques. To illustrate this, this tutorial will use the above images as
source and destination. This tutorial doesn't address the complexities of handling real-world photos in this
manner, but does briefly discuss it at the end.
+
+## Why Not a Selection
+
+<figure>
+<img src="problem1.png" alt="problem1.png"/>
+<img src="problem2.png" alt="problem2.png"/>
+<img src="problem3.png" alt="problem3.png"/>
+</figure>
+
+<figure>
+<img src="problem1a.png" alt="problem1a.png"/>
+<img src="problem2a.png" alt="problem2a.png"/>
+<img src="problem3a.png" alt="problem3a.png"/>
+</figure>
+
+<figure>
+<img src="pr1.png" alt="pr1.png"/>
+<img src="pr2.png" alt="pr2.png"/>
+<img src="pr3.png" alt="pr3.png"/>
+</figure>
+
+The common approach to doing many things in GIMP is to first get a good selection. However, when removing an
anti-aliased object from its background is not a good idea, as shown above.
+
+You'll note that each of the three zoomed in selections above have varying amounts of the green-blue mix
selected. When these are filled, we are left with flat black and slightly blueish-green pixels between them,
or no transition to black at all.
+
+Compare each with the target image below. The left one has a blue border around it. This looks somewhat
neat, but not what we're going for. The middle one is close, but there are some ugly visible pixels still.
You can try getting rid of all the ugly pixels, but then you'll end up with something jagged like on the
right.
+
+You can spend hours trying to find something that will work perfectly, but you won't. Anything short of the
rightmost image has some blue in the pixel, which will stick out. You can go too far, and blend it back to
something close, but this is time consuming. Instead, may I suggest the rest of the tutorial?
+
+## Step 1
+
+<figure>
+<img src="menu.png" alt="menu.png"/>
+</figure>
+
+The first step is to activate the color to alpha plug-in. Its menu location is <span class="filter"><image>
Filters -> Colors -> Color To Alpha</span>, where <image> means to right click on the image. If its
grayed-out, it means that you have an indexed image. If its not there, upgrade your gimp to 1.2.x.
+
+## Step 2
+
+<figure>
+<img src="select_bg.png" alt="select_bg.png"/>
+</figure>
+
+Next use the Color Picker Tool to select the background color.
+
+## Step 3
+
+<figure>
+<img src="dnd.png" alt="dnd.png"/>
+</figure>
+
+When you used the color picker to select the background, a window with the color popped up. Click, hold, and
drag from the color portion of this window to the color portion of the Color To Alpha plug-in. If using Gimp
for Windows, you'll have to right-click on the destination button and select the Foreground - drag n' drop
doesn't work. Click OK after the color indicator on the Color To Alpha plug-in is changed to blue.
+
+## Step 4
+
+<figure>
+<img src="pr_alpha.png" alt="pr_alpha.png"/>
+<img src="solution_zoom.png" alt="solution_zoom.png"/>
+</figure>
+
+There should now be a nice green and alpha image with no trace of the blue left. Next add the new background.
+
+## Step 5
+
+<figure>
+<img src="layer_create.png" alt="layer_create.png"/>
+<img src="layer_move.png" alt="layer_move.png"/>
+</figure>
+
+Now create a New Layer (have Foreground set to Red when you do this). Lower the newly created layer.
+
+## Final
+
+<figure>
+<img src="pr_red.png" alt="pr_red.png"/>
+</figure>
+
+The image should now be green on red, with no trace of blue!
+
+## This may not work as well for you for 2 reasons:
+
+* Photo's don't tend to have one color you can choose like that
+* The foreground may contain portions of that color that are removed by the plug-in
+
+The work arounds, respectively, are:
+
+* Apply multiple times, or just once and touch-up by hand
+* Paint underneath the new image with the original color to bring it back to those portions that need it
+
+The original tutorial can be found
[here](http://classic.gimp.org/~sjburges/color_to_alpha/demo/color2alpha.html).
+
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+Title: Changing Background Color 2
+Date: 2002
+Modified: 2015-08-28T15:01:29-05:00
+Author: Francisco Bustamante Hempe
+
+<small>Text and images Copyright (C) 2002 [Francisco Bustamante Hempe](mailto:bit-at-mospan-bitbit-dot-org)
and may not be used without permission of the author.</small>
+
+## Intention
+
+<figure>
+<img src="img1_initial.jpg" alt="img1_initial.jpg"/>
+</figure>
+
+Many times you have an image with a colored background, like the one above and you want to take out the
background to use the image's subject in a composition. With gimp there are many ways to achieve this, one of
which is using a plug-in specifically designed for this: [Changing Background Color
1](/tutorials/Changing_Background_Color_1/).
+
+## Step 1
+
+<figure>
+<img src="img3_step1.png" alt="img3_step1.png"/>
+</figure>
+
+In this tutorial I explore the select by color option to remove a particular color from the image. The first
step, after you have loaded the image of course, is to click on the Select By Color tool.
+
+## Step 2
+
+<figure>
+<img src="img4_step2.png" alt="img4_step2.png"/>
+</figure>
+
+Like other selection tools, this one provides several options that can be modified. The top row of buttons
sets the Selection Mode. We will use the add option, which means any color we click on will be added to the
selection. You can also use the Shift key to acheive the same result.
+
+The other interesting setting is the Threshold. When you click on a color, the higher this setting is, the
more similar colors to the one you clicked on will be selected. You can start by using the default setting
and increasing it if you need to add more colors faster, or decrease it if you're selecting more then you
want.
+
+## Step 3
+
+<figure>
+<img src="img5_step3.png" alt="img5_step3.png"/>
+</figure>
+
+Now it's time to start selecting the color you want to remove. Just start clicking on the color you don't
want and watch the selection update. If that didn't select all the color you want, continue clicking on the
unselected parts until you get the desired result.
+
+## Step 4
+
+<figure>
+<img src="img6_step4.png" alt="img6_step4.png"/>
+</figure>
+
+Finally, there is one last step before you can remove the background. You have to add an alpha channel (a
common term for transparency in images) to your image. To do that you have to use the right button on the
mouse to get the image menu and go to layers and add alpha channel.
+
+## Step 5
+
+<figure>
+<img src="img7_step5.png" alt="img7_step5.png"/>
+</figure>
+
+With the selection complete and with an alpha channel just choose from the image menu <span
class="filter"><Image> Edit -> Clear</span>, and the image background will be gone.
+
+## Step 6
+
+<figure>
+<img src="img8_step6.png" alt="img8_step6.png"/>
+</figure>
+
+After the last step you should get something like this in Gimp.
+You can now use this image in a composition or in a web page with a different background like below:
+
+## Final
+
+<figure>
+<img src="img2_final.png" alt="img2_final.png"/>
+</figure>
+
+Of course you still have to take care of the details if you want to merge an image perfectly into another.
+
+The sunflower image was taken by the photographer Raymond Lofthouuse.
+
+The original tutorial can be found [here](http://bitbit.org/cms.php/gimp/tutorials/remove_one_color.html)
(dead link).
+
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+Title: Converting Color Images to B&W
+Date: 2002
+Modified: 2015-08-28T15:01:29-05:00
+Author: Eric R. Jeschke
+
+<small>Text and images Copyright (C) 2002 [Eric R. Jeschke](mailto:ericNOSPAM redskiesatnight com) and may
not be used without permission of the author.</small>
+
+## Intention
+
+<figure>
+<img src="before-384x288.jpg" alt="before-384x288.jpg"/>
+<img src="after-384x288.jpg" alt="after-384x288.jpg"/>
+</figure>
+
+In this tutorial I'll show you some different ways to convert color RGB images to B&W:
+
+* [the "standard" grayscale conversion operation](#grayscale).
+* [the desaturate operation](#desaturate).
+* [decomposing to RGB and using any one of the channels](#decomposeRGB).
+* [decomposing to HSV and using the Value (V) channel](#decomposeHSV).
+* [decomposing to LAB and using the Lightness (L) channel](#decomposeLAB).
+* [using the Channel Mixer filter](#channelmixer).
+
+We'll examine each of these in turn.
+
+## The Procedure
+
+<figure>
+<img src="image-original-481x397.jpg" alt="image-original-481x397.jpg"/>
+</figure>
+
+Here is an example image, loaded into GIMP. I thought it might look nice as a black and white image.
+
+## <a name="grayscale">Via Grayscale</a>
+
+<figure>
+<img src="image-grayscale-481x397.jpg" alt="image-grayscale-481x397.jpg"/>
+</figure><figure>
+<img src="image-grayscale-zoom100-481x397.jpg" alt="image-grayscale-zoom100-481x397.jpg"/>
+</figure>
+
+Here is what I get if I use the standard mode change to grayscale from RGB.
+
+Duplicate the original image (<kbd>Ctrl+D</kbd>) and right-click on the copy. Select <span
class="filter"><Image> Image -> Mode -> Grayscale</span>. I don't know how this conversion works in GIMP, but
I have read that Photoshop uses a standard mix of the RGB channels for their grayscale conversion: RED=30%,
GREEN=59% and BLUE=11%. Supposedly this mix accounts for the eye's sensitivity to different colors. This
formula does a pretty nice job in the general case, but some images do not work as well with it, particularly
if the green channel component is not strong.
+
+I suspect GIMP uses a similar formula. My experiments with the Channel Mixer (more on this below) support
this.
+
+## <a name="desaturate">Via Desaturate</a>
+
+<figure>
+<img src="image-desaturate-481x397.jpg" alt="image-desaturate-481x397.jpg"/>
+</figure><figure>
+<img src="image-desaturate-zoom100-481x397.jpg" alt="image-desaturate-zoom100-481x397.jpg"/>
+</figure>
+
+Here is what I get if I use desaturate instead. Duplicate the original image (<kbd>Ctrl+D</kbd>) and
right-click on the copy. Select <span class="filter"><Image> Image -> Colors -> Desaturate</span>. Unlike the
grayscale mode change above, the channels are not remixed in different percentages, so we should expect
different results.
+
+The result is visually different; note the increased contrast in the scales. Also, compare the 100% zoom
views at right and in the previous grayscale example. You can see a lot more noise in the desaturated zoomed
view (examine the blurred area below the spikes). The reason is that we are getting more blue and red channel
noise, whereas in the grayscale mode change operation the algorithm is giving us a remix of 60% of the clean,
detailed green channel.
+
+## <a name="decomposeRGB">Via Decompose RGB</a>
+
+<figure>
+<img src="decompose-rgb-186x265.jpg" alt="decompose-rgb-186x265.jpg"/>
+</figure>
+
+<figure>
+<img src="image-red-481x397.jpg" alt="image-red-481x397.jpg"/>
+</figure><figure>
+<img src="image-red-zoom100-481x397.jpg" alt="image-red-zoom100-481x397.jpg"/>
+</figure>
+
+<figure>
+<img src="image-green-481x397.jpg" alt="image-green-481x397.jpg"/>
+</figure><figure>
+<img src="image-green-zoom100-481x397.jpg" alt="image-green-zoom100-481x397.jpg"/>
+</figure>
+
+<figure>
+<img src="image-blue-481x397.jpg" alt="image-blue-481x397.jpg"/>
+</figure><figure>
+<img src="image-blue-zoom100-481x397.jpg" alt="image-blue-zoom100-481x397.jpg"/>
+</figure>
+
+A third method is to consider the red/green/blue channels of the image. Each one can be represented as an
independent grayscale image. Right-click on the original image and select <span class="filter"><Image> Image
-> Mode -> Decompose</span>. Select the RGB option and click OK.
+
+Here you can see the three channels: red (top), green (middle) and blue (bottom). You can see that the red
channel contains most of the luminance information as well as a lot of noise, the green channel has the least
noise, and the blue channel has shadows and noise. Often the blue channel has the most noise, but not in this
case.
+
+Very often the green channel contains an excellent B&W version of the image. If nothing else, taking a look
at the RGB decomposition is important to give you an idea of where the important information is in your
image, and where the noise is.
+
+## <a name="decomposeHSV">Via Decompose HSV</a>
+
+<figure>
+<img src="decompose-hsv-186x265.jpg" alt="decompose-hsv-186x265.jpg"/>
+<img src="image-value-481x397.jpg" alt="image-value-481x397.jpg"/>
+</figure>
+
+Another possibility is to decompose to Hue/Saturation/Value components and consider the Value image (the
other two are not usually useful for this purpose). Right-click on the original image and select <span
class="filter"><Image> Image -> Mode -> Decompose</span>. Select the HSV option and click OK.
+
+## <a name="decomposeLAB">Via Decompose LAB</a>
+
+<figure>
+<img src="decompose-lab-186x265.jpg" alt="decompose-lab-186x265.jpg"/>
+<img src="image-lightness-481x397.jpg" alt="image-lightness-481x397.jpg"/>
+</figure>
+
+Yet another decompose option: LAB mode. Right-click on the original image and select Image/Mode/Decompose.
Select the LAB option and click OK.
+
+The Lightness component is a very interesting one because it contains all of the luninance information
(whereas in RGB and HSV some of that information is spread into other components). You can very often see an
expanded tonal range and discover hidden detail in the shadows by examining this component.
+
+Not often useful by itself, but it can be combined with other layers for interesting results (see Tips at
end of article).
+
+**Note:** the LAB decompose option was not distributed with the version of GIMP I got (ver 1.2.3). I don't
know whether it comes bundled with newer versions. I downloaded it from the [GIMP Plug-in
Registry](http://registry.gimp.org/) and compiled it myself.
+
+## <a name="decomposeCMYK">Via Decompose CMYK</a>
+
+<figure>
+<img src="decompose-cmyk-186x265.jpg" alt="decompose-cmyk-186x265.jpg"/>
+<img src="image-black-481x397.jpg" alt="image-black-481x397.jpg"/>
+</figure>
+
+Just for fun I tried decomposing into CMYK. The Black channel is interesting: it resembles a negative.
+
+## <a name="channelmixer">Via Channel Mixer</a>
+
+<figure>
+<img src="channelmixer-481x307.jpg" alt="channelmixer-481x307.jpg"/>
+</figure>
+
+<figure>
+<img src="image-channelmixer-481x397.jpg" alt="image-channelmixer-481x397.jpg"/>
+</figure><figure>
+<img src="image-channelmixer-zoom100-481x397.jpg" alt="image-channelmixer-zoom100-481x397.jpg"/>
+</figure>
+
+The final technique is the Channel Mixer filter. Right-click on the original image and select <span
class="filter"><Image> Filters -> Color -> Channel Mixer</span>.
+
+You'll get a dialog box like the one at right. Click the checkbox that says Monochrome. Make sure the
preview checkbox is also checked.
+
+Now play around with the levels of the three channels, seeing the results in the preview window. If you
don't want to change the overall brightness of the image then the three values should add up to 100%, but
feel free to experiment (checking the "Preserve Luminosity" box will also preserve the overall brightness of
the image--see the Tips section below for more explanation of this option). Dialing in Red=30%, Green=59%,
Blue=11% ought to give you something that looks nearly identical to what you would get with a mode change to
grayscale.
+
+When you have something that looks decent in the preview, click OK. If you don't like the look of the
result, Undo (<kbd>Ctrl+Z</kbd>) and reapply the filter with different settings (<kbd>Shift+Alt+F</kbd>).
+
+The advantage of the channel mixer is (obviously) flexibility. I like to decompose and examine the
individual RGB channels, as we did earlier. That way I can see what is good and bad about each, and then use
the channel mixer to combine them accordingly. In this example, I could see that the green channel did not
really have much to offer, and had the least contrast in the iguana's scales; still, I mixed in 30% to help
with the noise. I liked the blue channel for the great contrast it adds to the scales. Red's got a lot of
noise, but I mixed in just enough to use some of the contrast and luminance information. You can see from the
close up that it isn't quite as good the grayscale version in terms of noise, but the noise isn't too bad,
and the trade-off is a lot more contrast and interest in the overall tonalities of the image.
+
+**Note:** the channel mixer plug-in was not distributed with the version of GIMP I got (ver 1.2.3). I don't
know whether it comes bundled with newer versions. I downloaded it from [the GIMP Plug-in
Registry](http://registry.gimp.org/plugin?id=1918) and compiled it myself.
+
+## Tips
+
+* Once you have a good B&W version of your image you may be interested in adding some simulated film grain.
+* If you are wondering what the "Preserve Luminosity" option does in the Channel Mixer, I have the answer.
I was curious myself, and asked the author of the Channel Mixer, Martin Guldahl, about it. This was his
reply:
+
+ Hi Eric:
+
+ The 'Preserve Luminosity' option just maintains the luminosity at the same level regardless of the
slider values.
+
+ For example, suppose the sliders were are Red:75%, Green:75%, Blue:0%. With 'Monochrome' on and the
'Preserve Luminosity' option off, the resulting picture would be at 75%+75%+0% =150%, very bright indeed. A
pixel with a value of, say, R,G,B=127,100,80 would map to 127*0.75+100*0.75+80*8=170 for each channel. With
the 'Preserve Luminosity' option on, the sliders will be scaled so they always add up to 100%. In this
example, that scale value is 1/(75%+75%+0%) or 0.667\. So the pixel values would be about 113\. The 'Preserve
Luminosity' option just assures that the scale values from the sliders always adds up to 100%. Of course,
strange things happen when any of the sliders have large negative values.
+
+## Other Examples
+
+<figure>
+<img src="middlesister-384x259.jpg" alt="middlesister-384x259.jpg"/>
+</figure><figure>
+<img src="middlesister-bw-384x259.jpg" alt="middlesister-bw-384x259.jpg"/>
+</figure>
+
+**Left image**: The original image.
+**Right image**: Converted using channel mixer (80% green, 20% red).
+
+<figure>
+<img src="example2-before-384x288.jpg" alt="example2-before-384x288.jpg"/>
+</figure><figure>
+<img src="example2-after-384x288.jpg" alt="example2-after-384x288.jpg"/>
+</figure>
+
+**Left image**: The original image.
+**Right image**: Converted using channel mixer.
+
+## Further Reading
+
+* [A discussion of what's in the red, green and blue channels of a digital
image](http://www.microweb.com/idig/content/seybold/imgchanl.htm).
+* A [Photoshop channel mixer tutorial](http://luminous-landscape.com/tutorials/b-w_better.shtml) on the
[luminous landscape](http://www.luminous-landscape.com) web site.
+* [Carl Volk's Photoshop tips for converting color images to B&W](http://www.carlvolk.com/photoshop21.htm).
+* zuga.net: [Digital RGB to Greyscale Conversions](http://www.zuga.net/printer_55.shtml)
+* Ian Lyons Computer Darkroom: [Monochrome from
Colour](http://computer-darkroom.com/tutorials/tutorial_2_1.htm)
+
+The original tutorial used to appear on
[gimpguru](https://web.archive.org/web/20140810135206/http://gimpguru.org/tutorials/color2bw/).
+
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+Title: Coloring A BW Sketch
+Date: 2002
+Modified: 2015-08-28T15:01:29-05:00
+Author: Marco (LM) Lamberto
+
+
+<small>Text and images Copyright (C) 2002 [Marco (LM) Lamberto](mailto:lmNOSPAM sunnyspot org) and may not
be used without permission of the author.</small>
+
+## Intention
+
+First of all you have to acquire through a scanner or something similar your sketch. It doesn't necessitate
to be truly a black and white image (2 colors), often a well contrasted grayscale image is better (use
contrast autosketch or/and the brightness-contrast tools).
+
+## Step 1
+
+<figure>
+<img src="hikachan_t0.jpg" alt="hikachan_t0.jpg"/>
+</figure>
+
+Create a new image of the wanted size and place below the sketch layer a pure white background layer. Now
turn the mode for the sketch layer into multiply. From now the sketch layer will stay forever over the others.
+
+## Step 2
+
+<figure>
+<img src="hikachan_t1.jpg" alt="hikachan_t1.jpg"/>
+</figure>
+
+Now let's start playing with colours!
+Create a new layer and call it "Details". In this example I've used it for painting the blue doughnut. As
you can see, thanks to the multiply mode, the black lines of the sketch are kept while the white zones are
"transparent". Don't be too afraid of going outside the shapes, in the next steps we will see that some stuff
will "disappear", covered by other layers.
+
+## Step 3
+
+<figure>
+<img src="hikachan_t2.jpg" alt="hikachan_t2.jpg"/>
+</figure>
+
+Create a "Skin" layer over the "Details" one. Here I've coloured the skin and the shoes with the paint tool
and the airbrush. For first you should fill with the base colour the shapes (use a paint tool), then apply
(with the airbrush) darker shades on the edges and brighter ones over the cheeks.
+
+## Step 4
+
+<figure>
+<img src="hikachan_t3.jpg" alt="hikachan_t3.jpg"/>
+</figure>
+
+The "Details#2" layer is used for some extra details like the white text over the blue doughnut. I've used
it because I want be able to change and retouch the doughnut shading without the white text (that should stay
as brighter as possible).
+
+## Step 5
+
+<figure>
+<img src="hikachan_t4.jpg" alt="hikachan_t4.jpg"/>
+</figure>
+
+The "Hairs" layer contains ... well, what do you think will contain a layer called "Hairs"? Yeah, right
answer! ;P Please notice only that this layer is below the sketch one but over the others, so the extra
painted zones of the "Skin" layer are covered by this one. I.e. you can add some shadows over the forehead by
painting over these zones.
+
+## Final
+
+<figure>
+<img src="hikachan_t5.jpg" alt="hikachan_t5.jpg"/>
+</figure>
+
+Finally I've added a "Shadows" layer for making the doughnut and the other elements less flat. This is the
end. Still reading here? Now it's your turn! Quickly open GIMP and start playing! ;)
+
+The original tutorial can be found [here](http://the.sunnyspot.org/slm/tut_skcol.html).
+
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