![]() This was done by copying the text layer, filling it with gray and applying Gaussian blur (with Keep Transparent unchecked). Finally, a gray glow was added to emphasize the shape of the letters. Next, a quick touch-up with Image/Brightness-Contrast. The text was filled with a black/white shapeburst gradient, the tonal range was adjusted with Image/Levels and the whole thing was bumpmapped. ![]() The pressed steel text was generated by using a deliberately jagged (not antialiased) font. A copy of the splash was then pasted to a transparent layer, filled with a colorful pattern and set to Lighten Only Mode. The result was blurred and bumpmapped and the background was cut away. I then applied the Distort/Value Propagate plug-in, choosing more white. To make the multi-color splash, I started by drawing a simple black sun shape on a white background, using a medium pencil tip. The pen shadow (as well as the engraved emblem shadow) was made with the Perspective Shadow Script-Fu, cleared of color and filled with an FG to transparent linear gradient. The metal pen tip was adjusted with Brightness-Contrast to achieve the metallic look. In this case, I used Bilinear FG to BG with medium opacity, and also a number of FG to Transparent gradients on several cylinder-shaped selections. The pen was made by filling selection shapes with different gradients. Finally, a pale fluorescent shape of the figure was added to enhance the shape of the woman inside the waterwheel. The side parts needed to be more visible, so they were pasted separately in Multiply Mode. To accentuate the water or ghostlike appearance, the original twisted shape was added to a layer, desaturated and set to Overlay. The middle copy was twisted, trimmed and set to Saturation Mode, and the top layer was set in Difference Mode. The blue ghost emblem was made using three copies of the original yellow-tint image. The pale outline of the non-twisted parts was painted with a low opacity airbrush and blurred within a sharp-edged selection. ![]() The gold emblem was created by running the Gradient Map filter on the twisted figure (using the custom Golden gradient). Finally, the yellow layer was applied in Difference Mode on top of the twisted layer. The figure was further adapted to supply an interesting surface for the Distorts/Twist plug-in to work on. I reopened the selection used to change the background, inverted it and used it again to isolate the figure, which was copied to a white layer. The image was rotated vertically and tinted yellow with Image/Hue-Saturation. The background was isolated with the Bezier tool, removed and replaced with a gradient fill. To create the statue emblem I started out with a black-and-white photo. ![]() There are many ways to create astonishingly convincing images directly in Gimp. You don't always need to import a photo, drawing or 3-D image of an object. Because the images in this chapter are printed in black and white, we recommend that you look them up in the Color Section starting on page 379 to be able to follow the discussion. In some of the following examples, color will be mentioned. This is more a gallery than a tutorial, and the object of this chapter is not to give detailed instructions, but rather to demonstrate the great versatility and power of Gimp to beginners (and maybe to give more experienced users insights on new ways of using Gimp). We also can't teach you how to be an artist, but we've included a few examples that will hopefully inspire you to try new things and help you get the most out of Gimp. ![]() There are probably as many Gimp tricks and tips as there are Gimp users, and even if we wanted to, we couldn't include them all in this book. This manual describes the many functions, plug-ins and options Gimp has to offer, but it doesn't describe how to create great digital art or designs. ![]()
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