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Grokking the GIMP
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2.1 Layers and the Role They Play in Images
Figure 2.1 will be used to describe some of
Figure 2.1
the fundamental features of layers. Although this image is constructed of three layers, this is not evident
from looking at it in the image window. To understand and work with the layer structure of an image you
must use the Layers dialog. However, before describing this important tool, let's look at Figure 2.2, which is
a
Figure 2.2
useful illustration of how layers are used to make up images.
Figure 2.2 shows a 3D break-out of how the three-layer stack relates to the 2D image shown in Figure 2.1.
The bottom layer is a picture of a gopher couple; this layer is fully opaque. The middle layer has the same
dimensions as the bottom layer and is completely transparent except for a small white rectangular region.
The white rectangle itself is partially transparent (thus, the bottom layer can be perceived through it). Finally,
the top layer's dimensions are smaller than either the bottom or middle layers. The top layer is also
transparent except for the text Prairie Pranks. The vertical red dashed lines in Figure 2.2 show that the text
in the top layer is positioned directly over the white rectangle in the middle layer. The black frames shown in
the figure have been drawn in to show the positions of the text and the white rectangle but are not actually
part of the image (refer to Figure 2.1).
The 3D layer stack shown in Figure 2.2 is a useful mental model for understanding how layers work in an
image. It also underscores the utility of having image components on layers. Because the text is on a layer,
it can be positioned independently of the lowest layer. Because the white rectangle is on a layer, its partial
transparency can be adjusted without affecting the text.
2.1.1 The Layers Dialog
It is impossible to work with images without knowing their layer structure. This information is provided by the
Layers dialog, which is part of the Layers & Channels window. The Layers & Channels window can be
found in the Image:Layers menu, the Image:Dialogs menu, or can be invoked by simply typing C-l in the
image window. Figure 2.3(a)
Figure 2.3
shows the multilayer image from Figure 2.1, and Figure 2.3(b) shows the associated Layers dialog.
The Layers dialog has many components. Let's take a moment to briefly describe each one. Figure 2.4
illustrates the dialog's
Figure 2.4
various components. The most important feature of the Layers dialog is the Layers Palette . This
region of the dialog consists of horizontal strips, each representing a single layer in the image. It
can be seen from Figure 2.4 that this is the Layers dialog for an image with three layers. Note that
each strip displays a thumbnail image of its layer's contents. The strips are organized vertically in a
stack, and this stack shows the 3D relationship of the layers in a 2D manner. The top, middle, and
bottom layers of the stack represent the layers analogously to the conceptual 3D view shown in
Figure 2.2.
In addition to showing the layer ordering structure of an image, the Layers Palette provides useful
information and tools for working with the image. As shown in Figure 2.4, the area to the far left of the Layer
Thumbnail contains the Eye icon. If this icon is visible, the corresponding layer is visible in the image
window. The Eye icon can be toggled off by clicking on it. This makes the corresponding layer invisible in
the image window. Toggling it again brings the layer back.
The region of the strip just to the left of the thumbnail and to the right of the Eye icon is the position of the
Layer Link icon. Clicking in this area makes a four-way arrow appear, as shown in two of Figure 2.4's layer
strips. When this icon is activated for several layers at once, they are linked together with respect to the
Move tool. These layers will now move together as a single unit (the Move tool is covered in Section 2.6.1).
To the right of the thumbnail is the Layer Title Area, which, for a new image, is named Background by
default. The title can be changed by double-clicking in the Layer Title Area. This brings up a dialog box
where the new title can be entered.
The middle layer strip in Figure 2.4 is highlighted in blue, indicating that it is the active. layer GIMP tools
applied to the image window are applied to this layer. This is very important, so read these last two
sentences again! The GIMP tools and filters are applied to the active layer. Not knowing which layer is
active is a formula for confusion and frustration. The identity of the active layer can only be reliably
determined by having the Layers dialog open. Any layer can be made active by clicking on its thumbnail or
Title Area. Only one layer can be active at a time.
Outside of the Layers Palette area are several other important features of the Layers dialog. First, there are
two pull-down menus labeled Image and Mode. The Image menu is used to specify the context of the
Layers dialog. The GIMP can have many image windows open simultaneously. When there is more than
one image window open, this menu is used to select the one whose layers are displayed in the Layers
Palette area. If the Auto Context button is toggled on (which it is by default), any keystroke in an image
window will change the Layers Palette context auto-magically to that window. I like to use the space bar for
this.
The Mode menu selects how the pixels of the active layer are visually blended with those beneath it. Each
layer has a blending mode context that is specified using this menu. Blending modes are described in more
detail in Chapter 5.
The remaining features of the Layers dialog consist of the Opacity slider, the Keep Trans. toggle button,
and, at the bottom of the dialog, a row of function buttons that I call the button bar. These are all discussed
in more detail later. However, of these features, the Opacity slider is of immediate interest because it is
used in the example shown in Figure 2.3. Figure 2.3(b) shows that the the middle layer strip is highlighted,
indicating that this layer, containing the small white rectangle, is active. Careful examination of the Layers
dialog shows that the Opacity slider is set to 60.0% for this layer. This means that the layer below can be
seen through the white rectangle because the rectangle's layer is only partially opaque. Like for the blending
modes, opacity can be independently set for each layer.
2.1.2 The Layers Menu
In addition to the features described in the previous section, the Layers dialog has a hidden menu. This
menu is displayed by right-clicking on the highlighted active layer in the Layers Palette. This is called the
Layers menu. Figure 2.5(a)
Figure 2.5
illustrates the Layers dialog, and the Layers menu is shown in Figure 2.5(b) and (c). The functions provided
by the Layers menu are described shortly, but before covering them we need to take a slight detour to
discuss another element of images: channels.
2.2 Channels and Their Relationship to Layers
Recall that images are constructed from layers and layers from pixels. However, there is another important
component in the image structure hierarchy. Layers can be decomposed into sublayers called channels.
Layers are constructed of one to four channels. In this book almost all our work is performed on RGB
images. For these types of images each layer consists of four channels known as R, G, B, and A. These are
the red, green, blue, and alpha components of a layer, respectively. The R, G, and B channels contain the
color information about the layer, and the A channel describes how opaque the layer is to what is behind it.
An exception to this rule is that the default, background layer of a newly created or freshly opened RGB
image contains no alpha channel.
A complete diagram of the image component hierarchy is illustrated in Figure 2.6.
Figure 2.6
In the standard distribution of the GIMP, channels are eight bits deep, meaning that each pixel in a layer is
represented by up to 32 bits. However, there is a special development version of the GIMP that uses
channels that are 16 bits deep, making for layers with pixels represented by up to 64 bits. This is known as
the Hollywood branch of the GIMP because it is useful for film and high-quality studio production imagery.
More on Hollywood can be found at http://film.gimp.org.
2.2.1 The Channels Dialog
Like for layers, there is a dialog for viewing channels called the Channels dialog . This is accessed by
clicking on the Channels tab in the Layers & Channels window (see Figure 2.4). The Channels dialog is
shown in Figure 2.7.
Figure 2.7
Here the Red, Green, and Blue channels are labeled. They can be seen in the Channels Palette area, which
is analogous to the Layers Palette discussed in the previous section. Note that unlike the Layers palette,
more than one channel can be active at a time. In fact, all three channels are active at once, meaning that
all operations performed in the image window are applied to all three channels.
Also note that there are just three channels in this dialog, not three channels for each layer. These channels
represent the global red, green, and blue of the image. For multilayer images, the R, G, and B channels of
each individual layer are not accessible in the Channels dialog. They can be extracted for an individual layer
by deleting the other layers or by copying and pasting the layer to a separate image window. Another
possibility for accessing the individual color channels of a layer is to use the Decompose function, which is
discussed in Section 4.5.3.
Any of the R, G, and B channels can be made inactive by clicking on the channel title. Doing so means that
subsequent operations in the image window affect only the remaining active channels . The visibility of the
channels, like for layers, can be toggled using the Eye icons.
The Channels dialog can be used to create additional channels for an image. These are called Channel
Masks, and a discussion of these is deferred to Section 4.1. As a final note, Figure 2.6 suggests that the
alpha component of a layer should be found somewhere in the Layers or Channels dialogs. This is indeed
correct, but this topic is deferred to Section 4.2.
2.3 Layer Creation, Deletion, Duplication, and Organization
We now return to the functions contained in the Layers menu shown in Figure 2.5. The most basic layer
operations are those of creation, deletion, duplication, and organization. These functions are controlled with
the menu entries shown in Figures 2.5(b) and (c) but are more easily accessed using the button bar located
at the bottom of the Layers dialog.
2.3.1 Creating New Layers
The first entry in the Layers menu is New Layer . Clicking on this function brings up a dialog that allows the
user to name the new layer and choose its dimensions. The default dimensions are those of the existing
image. Also, the user can choose whether the created layer is white, the foreground or background colors,
or transparent. The foreground and background colors are those displayed in the Active Foreground Color
and Active Background Color patches in the Toolbox window. The new layer is inserted just above the
active layer, becoming immediately apparent in the Layers Palette. The New Layer function is also provided
by the button in the button bar depicting the single sheet of paper.
2.3.2 Raising Layers
The order of layers in the Layers Palette controls how the layers are perceived in the image. The Raise
Layer entry, shown in Figure 2.5(c), shifts the active layer up by one, if possible, in the layer stack. The
function Layer to Top puts the active layer at the top of the stack.
Raise Layer and Layer to Top are also available from the button bar. The upward-pointing arrow icon
provides these functions. Clicking on this button raises the active layer, and Shift-clicking raises the layer to
the top of the stack. Note that if the lowest layer of the stack does not have an alpha channel, it cannot be
raised.
2.3.3 Lowering Layers
The Lower Layer entry in the Layers menu shifts the active layer down by one in the layer stack, and Layer
to Bottom moves it to the bottom of the stack. The same functions are provided by the downward-pointing
arrow icon in the button bar. Clicking on the icon lowers the active layer once, and Shift-clicking puts it to the
bottom of the stack. Note that if the lowest layer of the stack does not have an alpha channel, another layer
cannot be made lower than it.
2.3.4 Duplicating Layers
The active layer can be duplicated by clicking on the Duplicate Layer entry in the Layers menu. The
duplicated layer is positioned just above the active layer. This function is also provided by the button
depicting the two sheets of paper in the button bar.
2.3.5 Deleting Layers
The active layer can be deleted by selecting the Delete Layer entry from the Layers menu. This function is
also provided by the button in the button bar depicting a Trash Can.
2.4 Layer Export and Import
Collecting separate, raw image elements into a single image window is one of the most-used layer
operations in this book. This is a fundamental component of compositing, a subject discussed in great depth
in Chapter 7. However, it is also useful for a wide range of core and advanced techniques in the GIMP.
The importation of layers into an image is accomplished using the Copy , Cut, and Paste editing functions
(see Section 1.7). The technique for importing a layer is so important that this section develops an example
in detail to illustrate the methodology. Study it well, because this technique is used often in this book.
To illustrate the process, we begin with the two images shown in Figure 2.8. Each image consists of a
Figure 2.8
single layer, and each will be imported into a third image that, on completion of the procedure, will contain
three layers.
To begin, a new image is created that has width and height sufficient to accommodate the two single-layer
images. Once open, the eagle image in Figure 2.8(a) is copied and pasted into it. This is accomplished by
moving the mouse cursor into the eagle image window and selecting the Copy function from the Image:Edit
menu. This can also be accomplished by simply typing C-c in the image window. This copies the active
layer of the eagle image into the default buffer. Note that for multiple-layer images, it is the active layer that
is copied into the buffer. Thus, it would be prudent to verify which layer is active by inspecting the Layers
dialog before copying. The whole procedure could also be performed by cutting the image instead of
copying. Cutting puts a copy of the layer in the buffer and then deletes it from the image window. To cut the
image, use the Cut function from the Image:Edit menu. This function can be more easily employed by
typing C-x in the image window.
Now that the eagle image is in the buffer, it can be pasted into the new image. This is done by moving the
mouse cursor into the new image window and using the Paste function found in the Image:Edit menu, which
can be more expeditiously accomplished by typing C-v in the image window. The result of the paste is
shown in Figure 2.9(a).
Figure 2.9
The Layers dialog for this image is shown in Figure 2.9(b), and it shows that the pasted layer appears as a
floating selection. The Background layer, the only other layer in the dialog, is grayed out, meaning that it
cannot be selected as the active layer.
The pasted layer appears in Figure 2.9(a) as a selection with a moving dashed line around it. These moving
dashes are referred to as the Marching Ants. This floating selection can be positioned in the new image
with the Move tool from the Toolbox.
Once the layer is positioned, it can be anchored to the underlying layer by bringing up the Layers menu and
selecting the Anchor Layer function from the Layers menu or by typing C-h in either the Layers & Channels
or image windows. It is also possible to simply click on the Anchor button in the Layers dialog. For this
example, however, the layer is not anchored to the layer below it. Rather, it is converted into a new layer.
This is done by using the New Layer function found in the Layers menu. Figure 2.10
Figure 2.10
illustrates the result of the conversion. Figure 2.10(a) shows how the converted layer is smaller than the
image window. Figure 2.10(b) illustrates the corresponding Layers dialog showing that the float was
converted to a layer. A floating selection can also be converted to a new layer by typing C-n in the Layers &
Channels window or by clicking on the New Layer icon in the button bar.
The sequence just described for importing the eagle image is used so often that it deserves to be
memorized. Let's concisely recap the steps required...then bookmark this page! The following list of steps
slightly generalizes the procedure by assuming that there is a multilayer source image window containing a
layer to be exported and another multilayered destination image that will import it:
1.
2.
3.
4.
5.
6.
In the source image window, type C-l to bring up the Layers dialog.
In the Layers dialog, make the source layer active by clicking on its thumbnail in the Layers Palette.
Back in the source image window, type C-c to copy the active layer to the default buffer.
In the destination image window, type C-v to paste the buffer contents into a floating selection. (Note
that the context of the Layers dialog automatically changes to the destination image window when Cv is typed there.)
Position the floating selection as desired with the Move tool.
Type C-n in the Layers dialog (or click on the New Layer button) to anchor the float to a new layer.
Otherwise, type C-h or click the Anchor button to anchor it to the last active layer of the destination
image.
By the way, when the floating selection is converted to a new layer, the resulting dimensions of the layer are
just large enough to contain the contents of the pasted layer. As shown in Figure 2.10(a) the resulting
pasted eagle image layer is smaller than the image window. It is easy to put the pasted image into a
separate layer having the same dimensions as the destination image window. Just create a new layer in the
destination image before pasting from the buffer. After pasting, anchor the floating selection to this new
layer by clicking the anchor icon in the button bar.
Repeating the import procedure for the airplane in Figure 2.8(b) produces the result shown in Figure 2.11.
Figure 2.11
Note that the boundary of the active layer in Figure 2.11(a) is visible as a black-and-yellow dashed line.
Typically we are not aware of layer boundaries because often all the layers have the same dimensions.
When this is the case, the layer boundary is coincident with the window edge. However, for the case
illustrated in Figure 2.11(a), the layer boundary is apparent because the pasted layer is smaller than the
image window.
The visible boundary of a layer can be a problem, especially when you're trying to adjust the relative
position of two layers or when you're trying to carefully match colors at layer edges (for a particularly good
example of this problem, see Section 7.5). When it is desirable to suppress the layer boundary, its visibility
can be turned off with the function Toggle Selection, found in the Image:View menu or by typing C-t in the
image window.
2.5 Floats
In the previous section we came across a special layer called a floating selection, often simply referred to as
a float. A float is a temporary layer that gets created automatically under certain circumstances and that can
be explicitly created if needed. A float is a special type of layer. All other layers are disabled when a float is
created, and nothing can be done with the other layers until the float is anchored. Although the other layers
are disabled, almost all GIMP operations can still be performed on the floating layer.
Floats are sort of a throwback, a vestige of prehistoric times when the GIMP had not yet evolved into a
layer-based tool. Back then, it was necessary to have floats because that was the only way to selectively
process parts of an image. Now it is more effective to separate various image components into different
layers, allowing you to more conveniently and effectively process and combine them. Nevertheless, as
already noted, they are created automatically, so it is important to know how they work and what to do with
them. There are basically three things about floats that you need to know: when they are automatically
created, how they can be explicitly created, and how they are anchored.
2.5.1 Automatic Creation of Floats
There are two circumstances under which floats are created. The first occurs after you make a selection.
After the selection is made, it becomes immediately possible to move it (even without selecting the Move
tool). This is done by placing the mouse cursor inside the selection (the cursor becomes a four-way arrow)
and by clicking and dragging. After you release the selection, it automatically becomes a floating selection.
Figure 2.12(a)
Figure 2.12
illustrates a selection that has been moved. The corresponding Layers dialog, shown in Figure 2.12(b),
shows the new layer, entitled Floating Selection. Also note that the original layer is grayed out, indicating
that it has been disabled from other GIMP operations.
The second way that a floating layer is automatically created is after a copy and paste or a cut and paste
operation. Whether the default buffer contains a selection or an entire layer, pasting from the buffer
produces a float.
2.5.2 Explicit Creation of Floats
A selection can be explicitly made into a float without moving it. This is done by using the Float function
found in the Image:Select menu or by simply typing C-S-l in the image window. A good use for the explicit
creation of a float is described in Section 2.6.2.
2.5.3 Anchoring Floats
After a float has been created, normal operations cannot continue in the GIMP until the float is anchored.
Anchoring is just the operation of depositing the float into a normal layer. Once this is done, the other layers
become available for GIMP operations again. A layer can be anchored either to a new layer or to the last
active layer before the float was created. A float is anchored to a new layer by selecting New Layer from the
Layers menu or by clicking on the New Layer button in the Layers dialog. A float is anchored to the
previously active layer by using the Anchor Layer function from the Layers menu, by typing C-h in the
image window, or by clicking on the Anchor button in the Layers dialog.
2.6 Manipulating Layers
As already discussed, layers are the most important image components for image manipulation. They are
the basic raw materials you want to work with and combine. In most every GIMP project, layers need to be
moved, resized, positioned, transformed, cut, pasted, and so on. These types of layer operations are
discussed in this section.
2.6.1 Positioning Layers
One of the most basic layer operations is positioning. Compositing from a set of raw image materials
requires that the various components, each on a separate layer, be appropriately positioned. This section
describes several techniques for layer positioning.
2.6.1.1 Moving Layers
Moving a layer is accomplished using the Move tool. This tool is invoked by clicking on the Toolbox button
displaying the four-way arrow icon. Clicking on this tool changes the mouse cursor to a four-way arrow
when it is in the image window. Clicking and dragging while the cursor is in the image window causes the
layer underneath the mouse cursor to move. The layer affected is the one that is highest in the layer stack
and has pixels more than 50% opaque under the mouse cursor (see Section 5.7 for more on opacity and
transparency). This means that if the top layer is transparent at the mouse cursor position, it is not moved.
This also means that if the active layer is transparent at the mouse cursor position it is not moved. Rather, it
is the first layer from the top that has more than 50% opaque pixels under the mouse cursor that is moved.
Alternatively, the active layer can be forced to move by Shift-clicking and dragging. This moves the active
layer regardless of its visibility, degree of transparency, or position with respect to the cursor.
2.6.1.2 Aligning Layers with Guides
Sometimes a layer needs to be positioned more carefully than can be easily judged by eye. Under these
circumstances, it is often convenient to use guides to facilitate their placement. Guides are useful because
they have a snapping property . A layer released sufficiently near a guide will jump to the guide position.
The snapping property of guides is controlled by the Snap to Guides checkbox in the Image:View menu.
The checkbox must be toggled on for the snapping property to work.
To illustrate how guides are useful for layer positioning, the three planet images shown in Figures 2.13(a),
(b), and (c)
Figure 2.13
were each copied and pasted to new layers in a larger image window with a black background. This is
shown in Figure 2.14.
Figure 2.14
The objective is to organize the planets on a diagonal, but with a uniform black border between them and
the window edge. This was done by placing two horizontal and two vertical guides in the image window,
each positioned exactly three ruler tick marks from the edge. Where do the guides come from? Well, they
are hidden inside the rulers at the left and top edges of the image window. Clicking on a ruler and then
dragging the mouse into the image window drags a guide along with it. Releasing the mouse button
positions the guide. Any number of guides can be created in this way. Once the guides are positioned, their
visibility can be toggled on or off with the Toggle Guides function, found in the Image:View menu, or by
typing C-S-t in the image window.
The guides can be seen in Figure 2.14 as blue dashed lines. The Jupiter and Earth layers were positioned
with the Move tool so that their corners were aligned at the cross-hairs of the guides. It can be seen that the
active layer, designated by the yellow dashed boundaries shown in Figure 2.14, are perfectly aligned with
the guides. That the layers snapped to the guides simplified the positioning operation. When no longer
needed, the guides can be moved off the image by first activating the Move tool from the Toolbox and then
using the mouse to drag the guides back into the rulers.
2.6.1.3 Toggling the Layer Boundary
Careful alignment or color matching between layers is often required for layer edges that are overlapping or
abutting. The layer boundaries of the active layer can be seen in the image window, even when the layer
contents cannot be seen. This boundary, consisting of a black-and-yellow dashed line, can impede the
precision with which alignment and color matching work is performed. Under these circumstances it is
useful to visually toggle off the layer boundaries, which is easily done with the Toggle Selection function,
found in the Image:View menu. Alternatively, C-t can be typed in the image window. The visibility of the
layer boundaries is restored by toggling a second time.
2.6.2 Resizing and Scaling
As was seen in Figures 2.2 and 2.10(a), the layers in an image need not all be the same size. Furthermore,
changing a layer's dimensions can be quite useful. In the parlance of the GIMP, a layer can beresized,
which means that its boundaries are shrunk or enlarged without changing the dimensions of the image's
contents. Alternatively, a layer can be scaled, which means that the dimensions of the layer are changed
and the image contents are stretched or squeezed to exactly fit within the new layer boundaries. Six
functions in the GIMP resize or scale layers and images:
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Layer Boundary Size, found in the Layers menu
Scale Layer, found in the Layers menu
Canvas Size, found in the Image:Image menu
Scale Image, found in the Image:Image menu
The Crop tool from the Toolbox
The Transform tool from the Toolbox
Each of these are discussed and compared in the following sections.
2.6.2.1 Image Scaling
Scaling an image results in changing the dimensions of all the layers at once, while simultaneously
stretching or squeezing the image contents to fit. The function Scale Image , found in the Image:Image
menu, is the tool that accomplishes this. Figure 2.15(a)
Figure 2.15
shows an example image, and Figure 2.15(b) shows the Scale Image dialog. The new width and height of
the image can be specified in pixels or as a percentage of the current dimensions. The default is to scale
the two dimensions proportionally, but this can be changed by toggling the chain icon next to the Ratio X
and Y entry boxes. The result of scaling down the image shown in Figure 2.15(a) by 75% is shown in
Figure 2.15(c). The result of scaling it up by 125% is shown in Figure 2.15(d).
2.6.2.2 Image Resizing
At first blush it would seem that the Canvas Size function found in the Image:Image menu should work in a
similar fashion to Scale Image. However, there is an important difference between resizing an image and
scaling it. Because the image contents do not change with the image boundaries, there is a non-unique
choice in how they are positioned within the resized image window. Thus, when resizing to a smaller image
window, the position of the image within the new window depends on the values for the new width, height,
and X and Y offsets
Figure 2.16
illustrates how using Canvas Size can give rise to an inconvenient problem. Figure 2.16(a) shows the
original image, and Figure 2.16(b) shows the Set Canvas Size dialog. In the dialog the X and Y ratios have
been set to 50% of the original image size. The result is shown in Figure 2.16(c). As can be seen, the image
is poorly positioned within the new window. This can be compensated for by using the Move tool to
reposition the image inside the window. The result of doing this is shown in Figure 2.16(d). However, the
result still leaves the image subject, the wolf's head, poorly framed. The problem is that there is no easy
way to enter numbers into the Set Canvas Size dialog to obtain an aesthetically pleasing result.
A better solution is to resize the image interactively using the Crop tool. Figure 2.17
Figure 2.17
illustrates how the original image can be resized smaller this way. The tool is applied by clicking on the Crop
tool icon in the Toolbox and then clicking and dragging in the image window to create the crop rectangle.
Once drawn, the dimensions of the crop rectangle can be adjusted by clicking and dragging either the
upper-left or lower-right corners of the rectangle. The rectangle can also be repositioned by clicking and
dragging the upper-right or lower-left corners.
The result of using the Crop tool to nicely frame the wolf's head is shown in Figure2.17(a). When using this
tool, the Crop dialog appears, as shown in Figure 2.17(b). It is possible to crop the image by clicking on the
Crop button in the dialog or by simply clicking inside the crop rectangle in the image window. This makes
the image smaller and simultaneously discards the image parts outside of the window. Alternatively, the
image can be resized by clicking on the Resize button in the Crop dialog. This makes the image window
smaller without discarding the image parts outside the resulting window.
Figure 2.17(c) shows the result of cropping the image to the crop rectangle seen in Figure 2.17(a). From the
above discussion, it should be clear that there is really no reason to use Canvas Size to make an image
window smaller. It is simply more convenient to do it with the Crop tool.
Although Canvas Size is not optimum for making an image smaller, it is quite useful for making it larger.
This is especially valuable when compositing several raw images. Typically you discover, after positioning
various imported layers, that the resulting image window is not large enough to adequately frame the
composition. When this happens, Canvas Size is the tool that fixes the problem. Figure 2.18
Figure 2.18
illustrates the result of resizing an image.
Figure 2.18(a) shows the original image, and Figure 2.18(b) shows the Set Canvas Size dialog box. This
time the X and Y ratios are scaled to 125% of the original. The result is shown in Figure 2.18(c). Once the
image window has been resized it is possible to reposition the image layer or layers using the Move tool.
2.6.2.3 Layer Scaling
As has already been discussed in this section, it is possible to scale an entire image. However, it is also
possible to scale a single layer within an image. There are two tools for doing this in the GIMP: the Scale
Layer function, found in the Layers menu, and the Transform tool in the Toolbox.
As for entire images, a layer can be scaled either smaller or larger. The most typical use of layer scaling is
to adjust the relative size of an image on one layer with respect to an image in another. This is needed for
almost every compositing project (for examples, see Chapter 7). When it is necessary to scale a layer
smaller, either the Scale Layer function or the scaling option of the Transform tool will do the trick. However,
the Transform tool might be preferable because it provides interactive control of the scaling process. Scale
Layer relies on entering numbers into entry boxes in a dialog. It is difficult to choose the correct dimensions,
which leads to repeatedly applying Scale Layer and Undo until the desired effect is achieved.
The problem of finding the right dimensions to scale a layer can sometimes be solved using the Measure
tool, which is discussed in more detail in Section 2.6.5. A good example of using the Measure tool to
determine the appropriate amount to rescale a layer is given in Section 7.5. Alternatively, the Transform tool
provides interactive visual feedback of the scaling process. In addition, it can be used in conjunction with the
Bezier Path tool and the Transform Lock icon in the Paths dialog to get very fine, interactive scaling
control. The technique for this is discussed in Section 3.4.1, and a relevant example is shown in Section 7.2.
Scaling a layer larger should be avoided if possible, because this operation requires the interpolation of
pixel values. Interpolation is an approximation process that creates pixels where there were none before
and that, consequently, partially degrades the layer's image quality. Thus, when adjusting the relative sizes
of several image components on different layers, it is preferable to scale down the larger components to
match the size of the smaller ones rather than vice versa.
In the event that it is necessary to scale a layer larger, it is important to know that a layer cannot be scaled
to dimensions larger than those of the existing image boundaries. To scale a layer to dimensions greater
than these limits, the image window must first be resized larger using the function Canvas Size, previously
discussed.
2.6.2.4 Layer Resizing
As with scaling, a layer can be resized smaller or larger. This is done with Layer Boundary Size, found in
the Layers menu. Typically you resize a layer to a smaller dimension to eliminate undesirable parts.
However, resizing a layer smaller has the same problem as resizing an image. That is, the subject matter of
the layer must be properly positioned within the resulting layer boundaries. For images, the positioning
problem was solved using the Crop tool, but this will not work for resizing layers. Fortunately there is a
simple procedure that produces the same effect and allows for the interactive positioning of the layer
contents within the smaller layer boundaries.
Figures 2.19 and 2.20 illustrate
Figure 2.19
Figure 2.20
how this is done. The method consists of a four-step procedure:
1.
2.
3.
4.
The region to be framed in the layer is selected with the Rectangle Select tool (see Chapter 3 for
more on selections). Figure 2.19(a) shows how a rectangular selection has been made in an image
window.
The selection is then converted to a floating selection using the function Float from the Image:Select
menu or by typing C-S-l in the image window. Figure 2.19(b) shows the Layers dialog after the
selection has been converted to a float.
The floating selection is then made into a new layer by choosing the New Layer function in the Layers
menu or by clicking the New Layer button in the Layers dialog. Figure 2.20(a) shows the Layers
dialog corresponding to this step.
The old layer is made active, as shown by the Layers dialog in Figure 2.20(b), and is deleted by
clicking on the trash can icon in the button bar.
The result of resizing the layer smaller is shown in Figure 2.21.
Figure 2.21
In Figure 2.21(a) the layer has been resized smaller, which can be seen by the black-and-yellow dashed
layer boundary. Figure 2.21(b) shows the resulting Layers dialog. The procedure, as described, allows the
layer contents to be carefully positioned within the resized layer.
Although there are good reasons to resize an image larger, it is difficult to imagine a good reason for
resizing a layer larger. However, due probably to a rationale of symmetry, a layer can be resized larger. It
should be noted that, as for layer scaling, the GIMP does not allow a layer to be resized to dimensions
larger than the window boundaries of an image. To resize a layer larger than the current image boundaries,
the image must first be resized to accommodate it.
2.6.3 Flipping
The active layer can be flipped around its vertical or horizontal axes with the Flip tool from the Toolbox. A
flip is performed by clicking on the Flip tool icon, represented by a two-way arrow in the Toolbox, and then
by clicking in the image window. When in the image window, the mouse cursor appears as a two-way arrow
that is oriented horizontally for horizontal flips and vertically for vertical flips.
As an example of using the Flip tool, Figure 2.22(a)
Figure 2.22
shows an image of a pelican and Figure 2.22(b) shows the result after flipping the image horizontally. Note
that the Horizontal radio button is selected in the Tool Options dialog, as shown in Figure 2.22(c). Selecting
the Vertical radio button, as shown in Figure 2.22(e), produces the result in Figure 2.22(d).
Note that if the Horizontal radio button is selected in the Tool Options dialog the flip option can be
momentarily toggled to Vertical by Control-clicking in the image window. Similarly, if the Vertical radio button
is selected in the dialog, the option can be toggled to Horizontal option by Control-clicking in the image
window.
2.6.4 Rotating in 90o Increments
An image or layer can be rotated in 90o increments using the Rotate menus. For an image, use the
Image:Image/Transforms/Rotate menu shown in Figure 2.23(a).
Figure 2.23
For a layer, use the Image:Layers/Rotate menu shown in Figure 2.23(b). As you can see, these menus can
be used to rotate either the entire image or the active layer by by 90, 180, or 270o.
2.6.5 The Transform Tool
General transformations of a layer can be done using the Transform tool from the Toolbox. This tool can
perform rotation, scaling, shearing, and perspective transformations of the active layer. As usual, care must
be taken to specify the active layer before applying this tool.
Figure 2.24
illustrates an image layer contained in a somewhat larger window. Shown in Figure 2.24(b) is the Tool
Options dialog, which is obtained by double-clicking the Transform tool icon in the Toolbox window. The four
radio buttons in the Transform area of the dialog are used to select the desired transformation type, which
can be Rotation, Scaling, Shearing, or Perspective.
Transforming a layer requires interpolation of pixel values, and this can introduce some jagged-edge
artifacts into the result. The toggle button labeled Smoothing diminishes this effect, which is why it is on by
default. It does tend to make the image a little less sharp, though (see Section 6.4.1 for a discussion of how
to recover some of the lost sharpness).
The Tool paradigm area of the dialog has two options. The default is Traditional, which maps the image to a
transformed grid (see Figure 2.26). For those who like to go against the grain, the Corrective option maps
the transformed grid to the image, thus producing an inverse transformation. For example, rotating the
transform grid in one direction with the Corrective option maps the grid back to the image, making the image
itself rotate in the opposite direction. Sound complicated? It isn't. Just try it yourself and you'll see.
2.6.5.0.1 Rotation
Figure 2.25
Figure 2.26
illustrate the use of the Rotation option of the Transform tool. Figure 2.25(a) shows the image layer, and
Figure 2.25(b) the Rotation Information dialog that appears when the left mouse button is clicked in the
image window. The Rotation Information dialog has entry boxes that can be used to give a specific angle of
rotation as well as the position of the point that will be the center of rotation. By default, the center of
rotation is the geometric center of the active layer.
For each of the Transform options, Rotation, Scaling, Shearing, or Perspective, the first mouse click on the
image brings up a dialog specific to the chosen option. This mouse click also displays a grid superimposed
on the active layer in the image window. The number of grid lines can be controlled from the Tool Options
dialog (see Figure 2.24(b)). The grid lines can be seen in Figure 2.25(c). Placing the mouse cursor within
the active layer in the image window changes the cursor in accordance with the type of transformation to be
performed. The image outline and grid can then be transformed by clicking and dragging. The
transformation of the grid can be adjusted as many times as desired because the transformation of the
image is not initiated until the option transform button is clicked. For example, the Rotate button in
Figure 2.26(b) must be clicked to cause the actual rotation of the image.
As the grid is rotated for the Rotate option of the Transform tool, the angle is interactively reported in the
Rotation Information dialog. The rotated outline for an angle of 25o is shown in Figure 2.26(a). As already
stated, once the desired angle of rotation is found, the image itself is rotated by clicking on the Rotate
button, seen in the dialog shown in Figure 2.26(b). The resulting rotated layer is shown in Figure 2.26(c).
As an alternative to interactively rotating the grid with the mouse, the rotation can also be performed by
entering a value into the Angle entry box or by using the slider in the Rotation dialog. Useful values of
rotation can be determined with the Measure tool. An example of this is illustrated in Section 7.2.
2.6.5.0.2 Scaling
Figure 2.27
illustrates the Scaling option of the Transform tool. Like for rotation, scaling can be performed interactively
with the mouse or by entering values into the Width and Height entry boxes in the Scaling dialog.
Values can be entered into the Scaling dialog in a number of units, the default being pixels. It is often
convenient to perform scaling as a percentage of the original dimensions (which are shown at the top of the
Scaling dialog as the Original Width and Height). This can be done by choosing the % option from the pulldown menu in the dialog. Figure 2.27(b) shows that this choice was used to scale the grid in Figure 2.27(a)
by 50% in both dimensions. When the Scale button in the dialog is clicked, this produces the result shown in
Figure 2.27(c).
It is useful to be able to constrain the X and Y scale ratio so as to maintain their aspect ratio when scaling a
layer with the Transform tool. This is done by pressing both the Control and Alt keys while using the mouse
to scale the transform grid. Useful values for scaling can be determined using the Measure tool. Section 7.5
illustrates an example of this.
2.6.5.0.3 Shearing
Figure 2.28
shows the application of the Shearing option of the Transform tool. As with the other options, shearing can
be applied interactively with the mouse or by entering values into the Shear Information dialog. Shearing
can be applied either horizontally or vertically, but not in both directions simultaneously. If applied using the
mouse, the direction of shear is determined by the mouse's initial direction of movement. Otherwise, it
depends on the first entry box used in the dialog.
2.6.5.0.4 Perspective
Perspective is perhaps the most intriguing option of the Transform tool. This option is illustrated in
Figure 2.29.
Figure 2.29
This is the only transform option where values cannot be directly entered into a dialog. As shown in
Figure 2.29(b), there is numerical feedback about how the Perspective transform option is applied to the
image, but this is not particularly valuable because it is unclear how to reuse the information. The
consequence is that the Perspective option may only be applied interactively with the mouse.
Figure 2.29(a) shows that the grid line feature provides very useful feedback for this particular tool. The
lines help visualize the perspective warping that will take place once the Transform button is clicked in the
Perspective Transform dialog. The perspective transform allows each of the four corners of the layer to be
independently repositioned. The resulting image is warped to a general quadrilateral. Figure 2.29(c) shows
the result of applying the perspective transform specified by the grid shown in Figure 2.29(a).
It should be noted that all the transforms can be used in conjunction with the Transform Lock option of the
Paths dialog. This is extremely useful and is discussed in more detail in Section 3.4.1. A relevant example is
shown in Section 7.2
2.7 Combining Layers
It is often necessary to combine several layers into one. This is particularly useful prior to saving an image
to a non-GIMP format such as JPEG or GIF. There are two ways of combining layers in the GIMP. The
method to use depends on the final use of the resulting image.
2.7.1 Merging
It is possible to merge a subset of layers from an image into a single layer. This is accomplished by
choosing Merge Visible Layers from the Layers menu or by simply typing C-m in the image window.
Alternatively, it is sometimes convenient to merge just two adjacent layers in the layer stack. This can be
done with Merge Down, found in the Layers menu. The use of this function merges the active layer with the
next visible layer down in the stack. Merge Down can be conveniently invoked by typing C-S-m in the
Layers dialog. A nice use of Merge Down is illustrated in Section 9.1.4.
2.7.2 Flattening
The function Flatten Image, found in the Layers menu, is an alternative to Merge Visible Layers. This
function merges all the layers regardless of their visibility in the image window. In addition, Flatten Image
applies all the layer masks to their respective layers (for more on layer masks, see Section 4.2) and deletes
any remaining alpha values in the image. In fact, Flatten Image is the only function in the GIMP that can
remove the alpha channel from an image. Channel masks, however, are neither applied nor deleted (see
Section 4.1 for more on channel masks). Typically an image is flattened in order to save it in an image
format that does not support layers or transparency. The JPEG format is an example of this.
2.8 Common Problems and Frequently Asked Questions
Layers can be tricky, and it is sometimes possible to run into what seem like incomprehensible difficulties
while using them. The following list of problems addresses some common difficulties with layers. In a
nutshell, the information in the Layers dialog almost always contains the solutions to these problems.
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I am trying to draw, paint, select, or apply some other operation on the image window, and
repeated efforts just don't seem to produce any results. What's going on?
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GIMP operations are applied to the active layer. A common problem with layers is that the active
layer is not visible. It is possible that the active layer is blocked by layers above it or that the visibility
of the active layer is not turned on. To solve the problem, make sure that the Eye icon of the active
layer is on, and turn off the Eye icon of the layers above it.
I am trying to paint in a transparent part of a layer, and I am getting no results. Why?
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If you are trying to draw or paint on a transparent part of a layer, and nothing seems to leave a
mark, the problem is that the Keep Trans. button is on in the Layers dialog. Toggle this button off
and your problem will...disappear.
I want to add a layer mask to my image, but it is grayed out in the Layers menu. Why isn't
this option available?
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Background layers and flattened images (see Section 2.7.2) have no alpha channels and so cannot
have a layer mask. This problem is easily solved, though, by applying the Add Alpha Channel
function from the Layers menu.
The top layer of my image is labeled Floating Selection, all my other layers are grayed out,
and I can't make any of my layers active except the top one. What's wrong?
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A floating selection disables all the other layers until it is anchored to a new layer or to the last
active layer. To anchor to a new layer choose New Layer from the Layers menu or click on the New
Layer button in the Layers dialog. To anchor to the previously active layer, choose Anchor Layer
from the Layers menu, or type C-h in the image or dialog window, or click on the Anchor button in
the Layers dialog.
I saved a finished project's image to disk, but when I try to view the saved image in another
image display program, it's missing elements and it doesn't look like the one I saved. Why is
this?
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Not all image formats support layers or transparency (JPEG, is one example). For finished projects
that are saved to formats supporting alpha channels, use the Merge Visible Layers function from the
Layers menu before saving. If alpha is not supported, use Flatten Image from the Layers menu
instead. Also, read the next item.
I spent hours working on an image with multiple layers, channel masks, layer masks, and
paths and then saved it. But when I tried to reload my image back into the GIMP, everything
but a single layer was gone! What happened!?
Work in progress and finished projects should be saved in the GIMP's native XCF format.This is
the only format that saves all the information about layers, masks, and paths