GIMP艺术指南：摄影师和设计师的创意技术

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"The Artist's Guide to GIMP Effects" 是一本关于使用GIMP进行图像编辑和艺术创作的指南，作者是Michael J. Hammel。这本书的第二版提供了创意技术，旨在帮助摄影师、艺术家和设计师利用GIMP的强大功能进行照片修饰、图像合成以及从零开始创作新作品。 GIMP（GNU Image Manipulation Program）是一款开源且免费的图像编辑软件，其功能和易用性可与Adobe Photoshop相媲美。自1995年以来，GIMP已在全球范围内广泛使用，成为众多专业人士和业余爱好者处理图像的首选工具。它提供了一系列强大的工具，包括但不限于图像调整、图层管理、滤镜应用、绘画工具和脚本支持。本书详细介绍了如何在GIMP中实现各种效果，包括但不限于： 1. **照片修饰**：学习如何修复照片中的瑕疵，如去除红眼、平滑皮肤、调整色彩平衡以及修复旧照片等。 2. **图层操作**：掌握图层的使用，包括图层混合模式、蒙版和图层组，以便进行复杂的图像合成。 3. **选择和遮罩**：理解如何精确地选取图像区域，使用遮罩进行非破坏性的编辑，以及如何创建和编辑选区。 4. **绘画和绘图**：探索GIMP的画笔、铅笔、橡皮擦和其他绘画工具，以创作自由手绘的艺术作品。 5. **滤镜和效果**：学习应用各种内置滤镜，如模糊、锐化、扭曲和噪点减少，以及如何自定义和创建自己的滤镜效果。 6. **文字和形状**：了解如何添加文本和创建几何形状，以及如何将它们融入到图像设计中。 7. **脚本和自动化**：学习使用GIMP的脚本语言（如Script-Fu或Python-Fu），以实现批处理和自定义工作流程。 8. **项目实践**：通过书中提供的实例和练习，读者可以逐步学习并提升在实际项目中的应用能力。 9. **高级技术**：深入探讨高级技巧，如通道操作、路径编辑和3D渲染，以满足专业级别的需求。 10. **社区和资源**：书中可能还会介绍GIMP的用户社区、在线资源和插件，帮助读者进一步扩展GIMP的功能和知识。本书适合对图像编辑有一定基础的读者，无论是为了个人爱好还是专业工作，都能从中获得宝贵的指导。通过阅读和实践，读者将能够充分利用GIMP的强大功能，创作出令人印象深刻的图像作品。

xiv Contents in Detail

5.3 Distressed Text 236

Creating the Text ..........................................................................236

Creating a Distressed Layer ...........................................................236

Applying the Distressed Effect to the Text ........................................238

Further Exploration .......................................................................239

5.4 Frost 240

Creating the Background and Text ................................................ 240

Bringing the Text Forward .............................................................241

Adding Snow ............................................................................. 243

Creating Falling Snow ................................................................. 244

Further Exploration ...................................................................... 245

5.5 Neon Signs 246

Experimenting with the Built-in Neon Effect .................................... 246

Creating the Background ............................................................. 246

Preparing the Neon Tubes .............................................................247

Adding the Glow .........................................................................249

Adding a Glass-Edged Reﬂection ...................................................250

Further Exploration .......................................................................250

5.6 Spray Paint 251

Creating the Background ..............................................................251

Adding a Text Outline ..................................................................251

Converting the Text to Spray Paint ..................................................252

Further Exploration .......................................................................254

Tips for Type Effects 255

Make Alignment Easier .................................................................255

Find Good Fonts ..........................................................................255

Use Only the Fonts You Need ........................................................255

Use Large Type and High Resolution for Print Projects .......................255

Remember That All GIMP Text Is Rasterized .....................................255

Practice Copyﬁtting Manually ........................................................256

Edit Text Layers Wisely .................................................................256

Plan Ahead .................................................................................256

Create Font Maps ........................................................................256

6 Creative Inspiration 257

6.1 Fire Girl 259

Isolating the Girl from the Background ........................................... 259

Edge-Detecting the Girl to Create Multiple Layers ...........................261

Blending in Ornamental Elements ..................................................261

Blending to Remove Excess Details ................................................262

Adding Flame Coloring ...............................................................264

Creating the Crown of Flames .......................................................264

Further Exploration .......................................................................265

6.2 Star Field 266

Starting Small ..............................................................................266

Growing Bigger Stars ..................................................................267

Working at a Larger Scale ...........................................................268

Adding Space Voids ...................................................................269

Clustering ..................................................................................270

Coloring ....................................................................................271

Using Lens and Gradient Flares for Highlights .................................271

Adding Space Dust .....................................................................272

Further Exploration .......................................................................272

6.3 Creamsicle Love 273

Creating a Custom Gradient .........................................................273

Creating Temporary Grassy Hills ..................................................2 74

Adding a Background Sun ...........................................................274

Giving It the Retro Feel: Sunbeams ................................................275

Adding the Lovers’ Silhouette ....................................................... 277

Finishing Off the Grassy Hills ........................................................278

Further Exploration .......................................................................279

6.4 Mobsterville 280

Establishing the Base Image .........................................................280

Making It Rain .............................................................................281

Adding a Background Building and Lamp Posts ...............................282

Adding Lamps and Lights ..............................................................283

Retrieving a Red Tie ....................................................................284

Further Exploration .......................................................................285

Index 287

aCknowleDgments

There’s no such thing as a one-man project, and this book is no

exception. While the tutorials are mine, the ideas and motiva-

tions come from all over the world, from many artists and design-

ers with much greater talent that I’ll ever possess. To them, I owe

my modest artistic accomplishments.

But even before these tutorials could be created, someone

had to build the tools. To the GIMP Development Team, with

speciﬁc thanks to Sven Neumann and Michael Natterer for keep-

ing the project going for many years, I thank you for your years of

dedication and hard work.

I owe the staff at Linux Format (past and present) a heartfelt

thanks for publishing my GIMP tutorials series long enough for

me to come up with the ideas in this book.

Of course, my biggest thanks are due to Bill Pollock at No

Starch Press for eagerly accepting the idea for this book. And

extra thanks go to the rest of the gang at No Starch Press:

Alison Law and Tyler Ortman for their editing, and Leigh

Poehler and Rachel Waner on the sales and marketing team.

Thanks to Rolf Steinort from Meet The Gimp! (http://meetthegimp

.org/) for his technical reviews, video clariﬁcations, and assis-

tance with learning new features in GIMP 2.8. Without all their

great help this would be nothing more than a bunch of text ﬁles

and screenshots.

Thanks to Greg Martin for graciously allowing me to create a

GIMP version of his original Photoshop star ﬁeld tutorial (http://

www.gallery.artofgregmartin.com/tuts_arts/making_a_star_ﬁeld.html).

Additional thanks to my mom for once again letting me use

a photo of her from her high school days in the photo restoration

chapter. I know I wouldn’t want my high school pictures used for

anything except ﬁreplace kindling.

Credits

Selected images appear from the following royalty-free

collections:

BigStockPhoto.com http://www.bigstockphoto.com/

iStockphoto.com http://www.istockphoto.com/

PDPhoto.org http://pdphoto.org/

morgueFile http://www.morgueﬁle.com/

Stock.XCHNG http://www.sxc.hu/

Links to all the stock images used in the book are available at

the companion website:

http://www.artistsguidetogimp.com/

Many of this book’s tutorials are inspired by tutorials pre-

sented in countless Photoshop texts. My knowledge of how to use

tools like GIMP was born from those early Photoshop tutorials;

I learned to translate and reimagine those techniques into the

button sequences and pixel pushing required to reproduce the

concepts using GIMP. Despite this extensive reading, I never actu-

ally used Photoshop until many years later, when my wife started

using it. Though I know “where everything is” in Photoshop, I

ﬁnd myself happily using GIMP instead. We all have our comfort

zones; use what makes you happy.

introDuCtion

I’ve been writing about Linux and GIMP in particular since

1996. I’ve written for every kind of publication, ranging from

countless print articles and magazine columns to website mus-

ings and multiple books. In 2001, I wrote about how Linux and

GIMP were starting to make waves in the special-effects industry

with the article “Linux Goes to the Movies” in Salon.com. Open

source has come a long way since then. And so has GIMP.

When GIMP was ﬁrst started as a class project at the Univer-

sity of California, Berkeley, it was built on top of the venerable

Motif toolkit, which at the time was really the only full-featured

software library for X11-based windowing systems. Version 0.54

was my ﬁrst taste of the GIMP in this form. Later, the GIMP Tool-

kit (GTK+) was born, and it replaced Motif for various techni-

cal reasons. Somewhere between version 0.54 and version 0.99,

I ported John Beale’s Sparkle code to a GIMP plug-in. For that

ancient yet still meaningful work, I’m listed as a contributor to

the project. It even got me into the Red Hat “friends and family”

plan when they had their IPO (I should’ve sold when it was at its

peak—silly me). Eventually, my association with the project led

me to write for the Linux Gazette and later Linux Journal, the latter

of which led to my ﬁrst book on GIMP, in fact the ﬁrst book on

GIMP, called The Artists’ Guide to the GIMP. You might say I’ve fol-

lowed Linux and GIMP from day one.

Of course, after all these years I’m no longer the only one

writing on this subject, and GIMP is no longer just a class project.

Plenty of texts exist that show you which button opens which dia-

log. In the ﬁrst edition of this book, I hoped to go where no one

else had attempted, beyond the application itself and into what

it can do. In this second edition, I’m updating the old tutorials,

tossing in some new ones, and giving you a look at how GIMP is

evolving.

Linux and GIMP have grown up together, and they are no

longer youngsters in the computing world. Linux comes with a

serious desktop, and GIMP is a serious application. It’s time to

get down to business: the business of graphic design. This book is

about learning techniques applicable to the real world.

What This Book Is About

This book is about process, not buttons or menu paths. My goal is

to show you that the processes required to perform a task can be

done with GIMP as easily as with any other graphics editor. It isn’t

the tool that’s important, it’s understanding the process. It’s far

easier to grasp that a mask is a black region blocking out a sec-

tion of an image than it is to ﬁnd a use for an alpha channel and

a black background. Don’t get bogged down in the mechanics

of the tool. Focus on the task at hand. I’ll point you to the GIMP

components necessary to ﬁnish the job. By the time you’re done

with these tutorials, you won’t need any more pointing.

If you can’t ﬁnd a dialog referenced in the text, just open

the Dockable Dialogs menu, available from the Windows menu.

Clicking a menu entry jumps to that dialog quickly if it’s already

open or opens it if necessary.

This book was written during the development of GIMP 2.8,

so it’s most relevant to that particular version of GIMP. But I’ve

tried to keep my advice general enough that the book remains

useful even as newer versions of GIMP are released.

What This Book Is Not About

In this book, you won’t ﬁnd manual pages for each ﬁlter, menu,

or feature. I won’t be explaining each icon you ﬁnd or why some

dialogs look like they do. Instead, the tutorials presented here

show how to use ﬁlters as if they were a set of tools in a toolbox.

xviii Introduction

You seldom need just a hammer for a project. GIMP provides the

hammer, the saw, the drill, even the kitchen sink. With this book,

I hope you’ll learn to use all the tools in the toolbox.

How This Book Is Organized

The book has six chapters, each consisting of multiple tutorials.

Each chapter covers a different area of graphic design: Funda-

mental Techniques, Photographic Effects, Web Design, Advertis-

ing and Special Effects, Type Effects, and Creative Inspiration

(advanced projects). Each tutorial opens with introductory mate-

rial on the subject at hand and includes a set of tips related to

that area of design.

Chapter 1 provides a set of core tips laid out in an introduc-

tory fashion, from the toolbox to common tasks like drawing and

text manipulation. Users new to GIMP should read this chapter

thoroughly, while more advanced users may glance through it or

skip it altogether. Each tutorial after Chapter 1 is an independent

project, so try to ﬁnd a project that strikes your fancy. These tuto-

rials can be completed in any order.

Chapter 2 is for photographers. GIMP’s raster processing is

ideal for working with photographs and stock imagery. The num-

ber of effects you can create is limitless, but this chapter will help

you get started with some often-used photographic techniques.

Chapter 3 is all about graphic design for the Web. In many

areas of the Web, static images still play key roles. Features like

background images, menus and buttons, and logos are all part

and parcel of everyday GIMP work.

Chapter 4 will take you to the world of advertising design

and special effects. In this chapter, you’ll ﬁnd techniques to

create 2-D and 3-D designs for products ranging from posters

to cell phones to underwater adventures.

Chapter 5 covers type effects. GIMP is wonderful at turning

boring fonts into fantastic logos and 3-D designs. This chapter

will walk you through re-creating some commonly used text

effects.

Chapter 6 is new to this edition of the book. It provides sev-

eral advanced tutorials whose primary purpose is to inspire you

to new creative heights. Use this chapter as your springboard to

advanced use of GIMP.

Each tutorial starts with a project summary, accompanied by

reasons for using the technique. The tutorials are designed to

allow you to quickly re-create them step by step using the default

tools and features that come with GIMP.

A Few More Hints

I won’t be referencing keyboard shortcuts very often—with a

few exceptions like Select All (ctrl-A) or Deselect All (ctrl-

shift-A)—because GIMP allows you to customize the shortcuts

any way you like. Instead, I’ll reference the default menu loca-

tions where necessary. If the feature has a keyboard shortcut, it’ll

be listed next to that option in the menu. Learn those to speed

your work through these tutorials.

Note that the use of the ctrl and alt keys are shown as they’re

used with Linux. Users of Windows or Mac can map these key-

strokes to their appropriate platform equivalents.

Also note that key presses for the keyboard are always listed

with uppercase letters to make the key sequence easier to read.

Unless shift is speciﬁcally listed with the keystroke, the shift key

need not be used.

A Useful Package

GIMP Paint Shop (http://code.google.com/p/gps-gimp-paint-studio/)

is a package providing additional brushes, palettes, patterns, and

excellent tool presets that provide simulated artist’s tools and tech-

niques. It’s a must-have if you plan on taking your GIMP skills to

the next level.

You can check out more ways to extend the power of GIMP at

registry.gimp.org.

About the Canvas

Unless otherwise noted, assume a default canvas size of 640 ×

400 pixels to make the tutorials easier to produce on slower sys-

tems. This size works ﬁne on the Web, but you’ll need to scale up

the process if you intend to use a technique for a print project:

increase the amount of blur, adjust the number of pixels to offset

a layer, and so forth. The thing to remember in each tutorial is

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