Plant the Tree 4. Final Touch-Ups 4. Summary 5. Selection 5. Working with Selections 5. Marching Ants 5. The Select Menu 5. Moving Selections 5. Select by Color and Fuzzy Select 5. Select Contiguous Regions 5. Bezier Paths 5.
Defining a Path 5. The Paths Dialog 5. Creating a Selection from a Path 5. Curved Paths 5. Adding Nodes or Segments and Moving Paths 5.
Moving or Modifying an Existing Path 5. The Intelligent Scissors 5. Modifying Selections with Selection Modes 5. The QuickMask 5. Highlighting Foreground Objects 5. Using Channels to Save a Selection 5. Layer Masks 5. Summary 6. Erasing and Touching Up 6. Darkroom Work with Dodge and Burn 6. Dodging 6. Burning 6. Smudging Blemishes Away 6. Setting the Clone Source 6. Fine-tuning a Clone Job 6.
Clone Tool Options 6. Copying Small Regions 6. The Heal Tool 6. Perspective Cloning 6. Sharpening with the Convolve Tool 6. Blurring with the Convolve Tool 6. Blurring Backgrounds with Gaussian Blur 6. Summary 7. Filters and Effects 7. Image Window Filters vs. Toolbox Xtns 7. Filters for Images 7. Tools vs. Plug-ins 7. The Filters Menu 7. Blur 7. Enhance 7. Distorts 7. Light and Shadow 7.
Flares and Sparkles 7. Shadows 7. Lens and Glass Effects 7. Noise Filters 7. Edge-detection Filters 7. Combine 7. The Artistic Filters 7. GIMPressionist 7. The Map Filters 7. Bump Map 7. Displace 7. Some Mapping Toys 7. Tiling 7. Warp 7. Adding Patterns to a Layer 7. Clouds 7. Nature 7. Pattern 7. Fractal Explorer 7. Other Patterns 7. Filters to Help Make Web Pages 7. Animation Helpers 7. Alpha to Logo 7. Decor 7. Summary 8. Color 8. Additive Colors 8. Subtractive Colors 8. Color Depth 8. The Indexed Palette 8.
Working in HSV 8. Why Use HSV? The Triangle Color Selector 8. The Watercolor Selector 8. Correcting Color Balance 8. Hue-Saturation 8. Color Balance 8. Using Curves or Levels for Balancing Colors 8. Levels 8. Curves 8. Working with Grayscale or Black and White 8. Methods of Measuring Brightness 8. Grayscale Mode 8. Desaturate 8. Decompose 8. Channel Mixer 8. Automatic Conversion with the "Old Photo" Filter 8.
Manual Conversion for Fine Control 8. Colorify 8. Colorize 8. Sample Colorize 8. Layer Modes 8. Indexed Color 8. Dithering an Indexed Image 8. Flatten for Better Dithering 8. Redesigning for Better Indexed Results 8.
Editing the Palette 8. Picking Colors from the Image 8. The Color Channels 8. Selection Using Color Decomposition 8. Decomposing to HSV 8. Some Color-mapping Toys 8. Color Profiles 8. Embedded Color Profiles 8.
Summary 9. Advanced Drawing 9. Useful Mask Tricks 9. Making Text "Fade Out" 9. Making a Fuzzy Border 9. Even Bigger Fuzzy Borders 9. Layer Modes 9. Addition, Subtract, and Difference 9. Multiply and Divide 9. Dodge and Burn, Screen and Overlay 9. Hard and Soft Lights 9. Darken or Lighten Only 9. Grain Extract and Grain Merge 9.
Hue, Color, Saturation, and Value 9. Creating Depth: Drawing with Layer Modes 9. Drawing Realistic Shadows 9. Transparency: Add the Final Tweak 9. Realism and Multipoint Perspective 9. Single-Point Perspective 9. Two-Point Perspective 9. Adding Reflections and Shading 9. Making Brushes, Patterns, and Gradients 9. Making Brushes 9. The Clipboard Brush 9. Explore the interface and configuration options.
Prepare your camera images for use on the Web, including rescaling, cropping, and balancing color. Learn basic techniques such as drawing lines and shapes, utilizing patterns, and making use of gradients.
Master advanced techniques such as layers, paths, and masks. Create your own brushes, patterns, and gradients. Discover tricks for fixing blemishes, removing redeye, and stitching together panoramic images. Who this book is for This book is for graphics designers, digital photographers, and hobbyists. Its is aimed at those who need to utilize a fullfeatured image manipulation program but dont have hundreds of dollars to pay for Photoshop.
GIMP is also the preferred image manipulation application for the open source advocate. Once youve installed the application, youll learn about the interface and configuration options, and then jump into a quickandsimple project to familiarize yourself even further.
With fourcolor graphics and screenshots throughout, youll learn how to prepare camera images for display on web pagesincluding functions like rescaling, cropping, and balancing color. The book also explains with great detail how to utilize layers, paths, and masks. You know your text is on a layer by itself, but a drop shadow makes it look like a separate layer to everyone else! A drop shadow has another useful property: it adds a dark edge to light-colored text or vice versa. This helps if you need to show text against a complex background that includes both light and dark colors.
Transparency is how GIMP decides where the shadow will be. You can also generate a drop shadow based on a selection. This brings up the Drop Shadow dialog Figure If you decide later that you want a larger or smaller offset, you can use the Move tool to drag the shadow layer toward or away from the text layer. If you increase the offset, the shadow may not look right unless you increase the blur as well.
Hold your hand above a table and observe its shadow. Notice how it gets sharper as you move your hand closer to the table, and blurrier as you move your hand higher. Our brains expect shadows to act this way.
Color controls surprise! Usually you want a black or dark gray shadow, but tinting it slightly using a very dark blue, for instance can sometimes add an impression of richness.
Opacity controls whether the shadow will be opaque or partially transparent. With a real shadow you can often see the pattern underneath. Less opacity creates a similar effect by letting you see a bit of the layer below.
The opacity number is a percentage, from 0 fully transparent to fully opaque. Figure shows the effect of drop shadow with the default settings. Text with drop shadow added The first time you make a drop shadow, I recommend using the default settings. If you decide you need an adjustment, you can always undo and try again with different settings. You can keep the Light and Shadow menu up and click Drop-Shadow… over and over as you adjust parameters. The Layers dialog has another nifty feature: you can turn layers on and off to try alternate versions of the same effect.
This is a button controlling visibility of the layer. Click on the eyeball next to the Drop-Shadow layer, and the shadow vanishes.
When you save as XCF, the invisible layers will also be saved, just like other layers. Make first one, then the other visible.
Try them all! Fortunately, GIMP offers a solution: you can link several layers together. Chain-linking layers together When you turn on chain link icons for several layers, they will be linked together. Select any one of the layers and drag with the Move tool, and they will all move together.
If you have several alternate drop shadows, as in Figure , go ahead and link them all. The drop shadow is a fine example. The Rotate tool you used in Chapter 2 actually works on layers, not the whole image.
But when you have multiple layers, you can use that to your advantage. For instance, you can rotate just a text layer Figure Just the text layer rotated Whoops! What happened here? In this case, GIMP rotated the text layer—but the drop shadow layer is still in the same place. There are a couple of ways you could solve this.
Or you could make a note of the number of degrees you rotated the text, and then apply the same rotation to the drop shadow layer. Computers are supposed to handle repetitious tasks for us. Fortunately, if you chain-link several layers together, the Rotate tool will treat them as one.
Those operations generally work only on the active layer. A few operations can work either on a layer or on the whole image. Scale and the Transform submenu appear in both the Image menu and the Layer menu.
Depending on which menu you use to call them, they will work on either the active layer or the whole image all layers. In the exercise at the end of Chapter 1, you dragged a small image on top of a larger one, creating a new layer.
That was straightforward. What would the poodle look like with Mars for a nose? To do that, use the Ellipse Select tool just as you did in Chapter 2. Fortunately, GIMP 2. It works a lot like the Crop tool back in Chapter 2: drag from a side or corner to adjust the size, or from near the center to move the whole selection.
The easiest way to move a selection without moving its contents is by holding the Alt key and dragging. But on some systems, Alt-drag already has another function, such as moving the whole window. If that happens to you, try holding the Shift key as well as Alt when you drag. In addition, the Move tool in both 2. The key is the Affect: set of buttons Figure The second tab with a tooltip of Selection makes the Move tool move only the selection, not the layer.
Otherwise, the next time you use the Move tool, it will still be in Affect Selection mode and may give you a puzzling surprise. Shrink Selection dialog Grow is similar Shrink from image border only matters if the selection goes all the way to the image edge.
If this box is not checked, the part of a selection at the edge will not be shrunk, even when the rest of the selection shrinks. What is a floating selection?
In future versions of GIMP, pasting may create a normal layer, just like drag and drop did in the project at the end of Chapter 1, rather than a floating selection. In the meantime, click the New Layer button at the bottom of the Layers dialog, Figure to turn the floating selection into a normal layer. I strongly recommend doing one or the other: every time you paste into an image, click either New Layer or Anchor afterward.
Older GIMP versions used to float selections automatically if you dragged from inside an existing selection. Version 2. The Scale tool in the Toolbox might be just the ticket. But if you want to make sure Mars keeps its correct aspect ratio, you might want to use the Scale dialog. Scaling a layer is just the same, except that you call Scale from the Layer menu, not the Image menu.
But how do you figure out how big it needs to be? At the bottom of the image window, the Measure tool will report the distance between the two points, the angle, and in GIMP 2. So I should scale the Mars layer to 75 pixels if I want it to be about the same size as the current nose. Figure shows the poodle with Mars for a nose. You can align just one layer, or several at a time.
To choose a layer to align, click on it: GIMP should draw dots in the four corners of the layer. To operate on more layers, Shift-click on each additional layer. Or you can choose several layers at once by dragging out a rectangular box big enough to encompass all of your chosen layers.
Under the menu are two sets of buttons. The Align tool The second set of buttons, marked Distribute, lets you specify an offset. What if you just want to center a single layer? Cutting and then pasting automatically puts the pasted layer in the center of the currently active layer. The Layers dialog with all features labeled Title Area At the top of the dialog is the name of the current image, along with a small preview of it.
This is a drop-down menu: you can switch to a different image using this menu. Next to it, on the right, is a toggle for making GIMP automatically update the Layers dialog whenever you switch to another image. You only have one Layers dialog, so it can only show the layers in one image at a time. Usually this is what you want, but everyone has different styles of working, and some people may prefer to turn this off.
Some versions of GIMP may not show this title area by default. To turn it on or off, click on the icon for the Docking menu see the next section , and choose Show Image Selection. Typically Channels, Paths, and Undo History are docked in the same window with Layers, though Layers is by far the most commonly used. Other dialogs may be docked there too. The Docking menu, on the right just below the tabs, lets you close or undock the dialog, or configure the dialog window in other ways.
Some versions may also show an x button next to the Docking menu, a shortcut to remove the dialog from the window. The rest of the dialog applies to whichever layer is currently active. However, layers can be combined in many other ways, such as Overlay, Multiply, Dodge, or Burn, in which you see the two layers combined according to various mathematical functions.
See Chapters 9 and 10 for more information on how to use the other modes. Opacity Next is the Opacity slider. In addition to having transparent areas, a layer can be entirely transparent, entirely opaque, or anything in between.
Try changing the opacity, and watch the effect it has on the appearance of the shadow. You can use the opacity slider to create all sorts of useful effects. For example, you can render a text layer translucent and make it float over an image.
Keep Transparent The button labeled Lock is more often known as Keep transparent. Its position varies with the GIMP version: it may be to the right of the Layer mode menu or below it, but look for the checkerboard icon. When Keep transparent is checked, you will not be able to draw anywhere that the current layer is transparent.
This is useful for drawing, but is also a common source of confusion. Layers List Below the opacity slider is the list of layers in the image with a scrollbar if needed , one layer per line. This is also called the layer stack, because the layers are stacked one above the other.
Shift-clicking makes only that layer visible; another Shift-click brings all the other layers back. When several layers display this icon, they are linked together.
Moving or transforming any one of the layers via tools such as Rotate will work on all of them together. Shift-clicking on the chain link removes any layers that were already linked. This can offer a shortcut if you have a lot of layers linked and want to unlink them.
A second Shift-click will select all the layers in the image. The Layer Preview The Layer preview shows a small thumbnail image of what the layer looks like. Clicking on the layer preview is one way to select the layer make it active.
It also ensures that if you draw, you will draw on the layer and not its mask. Its mask? Layer Masks To the right of the layer preview is the Layer mask preview if there is a layer mask. A mask controls which part of the layer is visible. Where the mask is black, the layer will be invisible transparent even if that part of the layer has something in it. On a selected layer, the border of either the layer preview or the layer mask preview will be highlighted to indicate which one is active.
A layer mask is another way of representing transparency. Layer Name To the right of the layer and mask previews is the name of the layer. You can change layer names at any time. Layer Buttons Finally, at the bottom of the Layers dialog is a row of buttons that can create or delete layers, or change the order of existing ones.
You can either click on them to affect the active layer or drag a layer on top of them. They all have tooltips, so you can remind yourself which button does what. You can choose the layer name, size, and fill color. Dragging an existing layer onto the New layer button creates a blank new layer with the same size and position.
New layer can also convert a floating selection into a regular layer. If you want something to appear on top of something else, adjust the orders of the layers with these buttons. In GIMP prior to 2. You can also change the order of layers by dragging a layer preview directly to a new place in the layer stack. Not only that, you can drag a layer preview out of the Layers dialog into a new image, to add a copy as a new layer in that image.
You can even drag to the Toolbox, to create a new image containing only that layer. The Duplicate Layer Button Duplicate layer creates a new layer that is an exact copy of the active layer, or of any layer you drag onto the button. You can then move the layer up or down in the layer stack, or modify it in all kinds of ways. The Anchor Layer Button Anchor layer is used to merge a floating selection with whichever layer was previously active.
The Delete Layer Button Delete layer deletes the active layer. You can also drag a layer to the button to delete it. Layer Context Menus Right-clicking on any layer line brings up a context menu offering operations on that layer Figure Choosing this will display the Text Editor window.
It also activates the Text tool options in case you need to make changes to color, font, size, or other text properties. A text layer is a special type of layer, indicated by a special icon in place of the normal layer preview.
Many changes to text layers, such as drawing on them or rotating them, change the layer to a normal graphics layer. After that, you will no longer be able to edit the text in the Text Editor window nor change the text properties.
Edit Layer Attributes Edit Layer Attributes… brings up a dialog showing some properties of the layer you can change. Usually all this offers is the layer name. Any transparency is retained. Discard Text Information will only appear for a text layer. It changes a text layer to a normal graphic layer. Lots of other operations will also do this as a side effect. Layer Boundary Size Every layer has a size, which may be different from the whole image.
For example, text layers are just barely big enough to hold the text they contain. You often need to do this after increasing image size. Add Alpha Channel Alpha is a fancy term graphics people use to mean transparency. Add Alpha Channel makes the layer capable of using transparency. If you see an error when you try to raise the bottom layer in the stack, or the arrow to raise the layer is grayed out, it may be because it needs an alpha channel a common point of confusion in GIMP 2.
Alpha to Selection Alpha to Selection selects everything in the current layer that is not transparent. The name is a bit confusing, since it suggests that only the transparent parts would be selected. Merge retains any invisible layers, and shows a dialog asking what to do about the layer size of the result. If the image has transparency, it will be retained. Flatten merges all the visible layers, deletes any invisible layers, fills any transparent areas with the current background color, and gives you an image with a single layer and no alpha channel.
Flatten is sometimes done for you, temporarily, when you save to a format such as JPEG that cannot represent transparency or layers. An animation is just a set of images in which the picture changes slightly from frame to frame.
Played one after the other, they make a movie. GIMP represents each animation frame as a layer. The first frame is the lowest layer; the last frame is the top layer. I have a nice photo of a biplane Figure A biplane. You can make it fly! Create a Base Image First, you need to create an image big enough for every part of the animation.
Also, a flat single-color background will compress to a smaller file size. But first, before you create the new image, why not give it a background the color of the sky? So click on the background color swatch in the Toolbox, and choose a nice light blue similar to the background of the plane. Better still, use the exact shade of blue used in the biplane image. By default it sets the foreground color. In this case, you want it to set the background color, so check that box in the tool options.
Picking colors from the image. Notice that Set background color has been checked. Add the Animation Frames Now comes the time-consuming part: adding each frame of the animation. Paste into the new image, click the New Layer button to turn the floating selection into a regular layer, and then use the Move tool to move it to where you want it for the first frame Figure The first frame has been pasted.
Next, paste the same image again. Why not? Because GIMP pasted the second image right on top of the first. You can tell by looking at the Layers dialog that you have a new floating selection in addition to the biplane layer you pasted already. Take a look at your creation and decide if it looks like you want it. Your image may look something like Figure Save your work as an XCF now. The frames depict a biplane on a transparent background. But in the final animation, each frame will replace the previous one, so each frame needs its own copy of the sky.
Start by clicking on the bottom layer, the Background layer. That layer should already have a blue background and a single biplane on it if you want to make sure of that, click the visibility eye icon next to it and see what disappears. You need to create another blue layer above the bottom layer.
Right-click on the airplane layer just above the sky you just created and choose Merge down. Now you have a second layer consisting of an airplane on a blue sky. Repeat for each layer. Starting on the layer you just finished, click New layer, then run Merge down from the biplane just above it.
At each stage, you can tell which layer is which by looking at the layer thumbnail. The checkerboard pattern GIMP uses to indicate transparency is visible in the thumbnails, as in Figure At each level, make a new blue layer, then merge the next biplane checkerboard layer down into it. This is because each time you add the sky background, that layer becomes opaque, so it hides the airplanes in the layers below it.
Clicking the visibility eye on a few layers should convince you that your planes are still there. Another Shift-click brings the other layers back. Now turn them all back on. But that should at least give you an idea of how well your animation is working. You can control that in the next step. This leads to the GIF Export dialog. It reminds you there are multiple layers, and asks you whether to merge all the layers into a single still image or create an animation.
Merging is the default; you will have to check the box for animation each time you save, unfortunately. You can make your animation file smaller if you convert the image to indexed mode first, as was discussed in Chapter 2.
Finally you get the important dialog: Save as GIF. This offers several animation options. Loop forever is on by default. You can make your animation play once and then stop, or loop back to the beginning once it gets to the end. Delay between frames controls the speed of the animation. If you do care, the choices are Cumulative layers combine and One frame per layer replace.
This option only makes a difference if you create an animation with transparent frames: it lets you control whether previous frames are erased before drawing the next. You saw how the layer names got lost when you merged them with copies of the background. To specify frame rate of a layer, edit the layer name by double-clicking on the layer name in the Layers dialog and give the layer a name that ends with a millisecond interval in parentheses.
Then use the Rotate tool on each layer before you move it to the right place. Summary By now you should be very comfortable with using layers to make new images. You keep your Layers dialog visible and you know how to use it. You know how to link several layers together to move them as a group, and apply transforms or other GIMP operations to a single layer. Choose a reasonable size for the image. To practice drawing techniques, use a size that fits easily on your screen and leaves room for the Toolbox and Layers dialog.
For real-world projects, you may want to use a larger canvas, in order to have high resolution for printing or for including fine details. The Template drop-down menu at the top of the New Image dialog lets you choose from a list of popular image sizes. However, the New Image dialog may not always show this size. Sometimes it reflects the dimensions of the last image you created, or of the last region you copied.
To go back to the default size you specified in Preferences, click Reset. For starters, you probably want a white background; though later you might want to use other colors for a richer effect. You can change your background color using the color swatch in the Toolbox, or for white, you can simply choose White from the Fill with menu of the New Layer dialog.
The New Image dialog showing advanced options You can also make a new image transparent. But the gray checkerboard pattern GIMP uses for transparency can be distracting. Or, of course, you can leave it blank. Using Layers for Drawing The first rule of drawing is use a new layer. You just created a new image with a perfectly clean white background. Why should you add yet another layer?
What if you want to change the background color later? Or make the background transparent? What if you decide you want to move part of your image to a different place? But try to think of your drawing in terms of functional units: the background is one layer, grass might be another, trees a third, and the sky a fourth. So, the first step is to create a new blank layer. To do that, go to the Layers dialog and click the New Layer button in the lower-left corner.
Up pops the New Layer dialog Figure The Layer Name field lets you choose a memorable name for the layer. Width and Height default to the size of the image. Layer Fill Type lets you specify whether the layer will start out transparent much like Fill with in the New Image dialog. The default is Transparency. Most often, when you add new drawing layers, transparency is just the ticket. The OK button creates the new layer and adds it to the Layers dialog.
The new layer automatically becomes the active layer. Choose a nice color using the foreground color swatch , or just leave it black. GIMP has a collection of four tools for drawing lines and freehand curves. Select it in the Toolbox, and then try scribbling by dragging on the image to see what it does. The Pencil tool will leave a trail everywhere you go, as long as you have the left mouse button pressed.
Click once where you want one end of the line to be GIMP paints a dot there the size of the brush. Notice the mouse cursor in Figure This shows the size of the current brush.
Okay, a pencil normally has a point, not a brush. However, the brush size feature is very useful: most people, except on extremely slow machines, will want this enabled. Show paint tool cursor, on the same Preferences screen, will turn off the pencil and arrow icons and show only the brush outline. Alternately you can turn off Show brush outline, turn on Show paint tool cursor, and change the cursor mode from Tool Icon to either Tool icon with crosshair or Crosshair only. This gives you a similar but perhaps more precise result.
Your call! You can also choose Black and White instead of Fancy for Cursor Rendering, which may help performance slightly on very slow machines. There are two ways of changing the brush.
You can click on the brush icon in Tool Options, which drops down a menu Figure Or you can click on the brush icon in the Toolbox, to the right of the color swatches, which pops up the Brushes dialog Figure The Brushes dialog docked with Layers and many other dialogs Clicking on a new brush in either the menu or the dialog changes the active brush immediately.
Brushes are like very small images. Select a small area from an image and copy it. Then look at the brush menu or the Brushes dialog. The first entry will be whatever you just copied, which you can now use like a brush. Some brushes, such as the diagonal slashes, are asymmetric.
They yield different patterns depending on the direction in which you drag. You can use this effect for calligraphy, as if you were using a classic quill pen. A few brushes are actually animated images. Why would you ever want an animated brush? A fun example is the Vine brush Figure Try it with the Vine brush to see the effect, but you can use it on non-animated brushes as well. You can specify shape, size, hardness, and related parameters.
The button at the lower left lets you save your brush by the name chosen at the top of the Brush Editor. Your new brush will then appear in the Brushes dialog every time you start GIMP, unless you delete it. You can edit it and save under a new name. Click this button after editing a brush. If you right-click on a brush, a context menu will offer some additional brush operations. Open brush as image new for GIMP 2. Creating a parametric brush with the Brush Editor Parametric Brushes vs.
Image Brushes Most brushes are images. In the Brushes dialog, each parametric brush shows a blue triangle at its lower-right corner, while animated brushes have a red corner. And a plus symbol means the brush is larger than the preview shown in the dialog.
Try a web search for gimp brushes. Sometimes that can make a drawing look more natural. Using a tool with no spacing, or drawing on top of a previous line, will make the line darker more opaque. It even works with color brushes like the Vine brush. Then do the same for a scroll-down. In addition to these options, the drawing tools can respond to pressure if you have a drawing tablet.
Wherever GIMP would have drawn partial transparency, instead it will draw a random pattern of dots. This only works when drawing onto a layer that has transparency. On an opaque layer, such as a background layer filled with white, it would make no sense. Of course, like Behind, this only works if the layer allows transparency. But what if you want to use one of those fuzzy brushes? In that case, use the Paintbrush tool Figure The Paintbrush tool The Paintbrush tool differs from the Pencil tool in two important ways.
First, it can use fuzzy-edged brushes. Second, it can use the hard-edged brushes too, but it uses them in a different way from the Pencil tool. In A, each tool is used with a large, hardedged brush. The results look similar until you look closely.
Differences between the Pencil and Paintbrush tools The Paintbrush uses a technique known as antialiasing on the edges of diagonal lines: pixels along the edges are made semitransparent, or blended into the background color, to fool the eye into seeing a smooth diagonal line. The Pencil tool does not use antialiasing, so the edges look jagged.
Then why would you ever want to use the Pencil tool? Antialiasing on a thin line can make it fade into the background. The lower Paintbrush line in B was drawn in the same black color as the upper Pencil line. Notice the Pencil line is sharp, black, and distinct as compared to the fuzzy gray Paintbrush line. For small, fine artwork, the Pencil tool is often best. The other reason is indexed images. It takes more colors to draw an antialiased line.
This means that the eventual file size will be larger. It also means the final image might not be usable for processes such as T-shirt or business-card printing that can only handle a small, fixed number of colors. Obviously, the Paintbrush tool wins here. The Pencil tool ignores any fuzzy edges in the brush, and paints a wide, fat line.
The Pencil preserves all the details of the vine leaves, while the Paintbrush creates an interesting sponge-art effect. One of them is the Airbrush tool Figure The Airbrush tool, using a large, hard-edged brush top and a slanted calligraphic brush below The Airbrush almost always draws fuzzy edges, even if you use a hard-edged brush. The slower you drag across the page, the darker the line will be, just as if you were using a real airbrush or a can of spray paint.
That means that if you stay in one place with a hard-edged brush, eventually the edges will become sharp. Painting with the Airbrush takes some practice and a deft touch… just like a real airbrush! Think of it as the amount of paint the airbrush is spraying.
The undo removes all the paint from your first endpoint but still remembers to start the line there. It emulates an old-fashioned fountain pen with replaceable nibs tips.
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