issue83:inkscape_partie_23
Différences
Ci-dessous, les différences entre deux révisions de la page.
Prochaine révision | Révision précédente | ||
issue83:inkscape_partie_23 [2014/09/08 15:17] – créée andre_domenech | issue83:inkscape_partie_23 [2014/09/11 15:05] (Version actuelle) – andre_domenech | ||
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+ | ===== 1 ===== | ||
+ | ** | ||
Previously we looked at using Inkscape' | Previously we looked at using Inkscape' | ||
Ligne 6: | Ligne 8: | ||
• It doesn' | • It doesn' | ||
• If it's used on an object, such as a circle or rectangle, that object will be converted to a path. | • If it's used on an object, such as a circle or rectangle, that object will be converted to a path. | ||
+ | ** | ||
+ | Précédemment, | ||
+ | |||
+ | Comme ces réglages modifient les nœuds d'un chemin, notre ensemble d' | ||
+ | • L' | ||
+ | • Il ne fonctionne pas bien sur des chemins droits ou des segments de chemin. | ||
+ | • Il ne fonctionne pas bien sur les chemins avec seulement deux nœuds, même si ces chemins sont courbes. | ||
+ | • S'il est utilisé sur un objet, comme un cercle ou un rectangle, cet objet sera converti en chemin. | ||
+ | |||
+ | ** | ||
So our example really needs to be a closed, curvy path with more than two nodes. A quick option is to use the Star tool with the Roundness parameter turned up a little to produce a rounded star which will be turned into a path when we start to tweak it. | So our example really needs to be a closed, curvy path with more than two nodes. A quick option is to use the Star tool with the Roundness parameter turned up a little to produce a rounded star which will be turned into a path when we start to tweak it. | ||
Ligne 14: | Ligne 26: | ||
It's pretty clear what has happened: parts of the path have been pushed away from the tool as it moved across the shape. First the left side was pushed into the middle then, as the tool passed over the boundary of the shape, the right side was pushed further out. Essentially the path is distorted in the direction that the tool is moved, and this tweak actually feels a lot like pushing watercolor paint around on a page by blowing through a drinking straw. The amount of distortion depends not only on the Width and Force parameters, but also on the speed at which you move the tool. If you move it slowly enough you can even cut an object into separate pieces. | It's pretty clear what has happened: parts of the path have been pushed away from the tool as it moved across the shape. First the left side was pushed into the middle then, as the tool passed over the boundary of the shape, the right side was pushed further out. Essentially the path is distorted in the direction that the tool is moved, and this tweak actually feels a lot like pushing watercolor paint around on a page by blowing through a drinking straw. The amount of distortion depends not only on the Width and Force parameters, but also on the speed at which you move the tool. If you move it slowly enough you can even cut an object into separate pieces. | ||
+ | ** | ||
+ | Ainsi, notre exemple a vraiment besoin d' | ||
+ | |||
+ | Comme d' | ||
+ | |||
+ | Notre étoile arrondie sélectionnée et l' | ||
+ | |||
+ | Ce qui s'est passé est assez clair : des parties du chemin ont été repoussées par l' | ||
+ | |||
+ | ===== 2 ===== | ||
+ | ** | ||
At this point it's worth introducing the Fidelity parameter, over on the right of the tool control bar. This controls the number of nodes that are created as you tweak. Manually converting this rounded star to a path results in 10 nodes. The example above had the Fidelity set to 10, and resulted in the final path having 41 nodes. Increasing Fidelity to 50 and re-tweaking the original gave 59 nodes, while a fidelity of 80 gave over 150 nodes. Increasing the Fidelity to 100 created many thousands of nodes, and slowed my computer down to a crawl. I recommend keeping this value to 50 or below – the accuracy created by the extra nodes is rarely worth the trade-off, in my experience. | At this point it's worth introducing the Fidelity parameter, over on the right of the tool control bar. This controls the number of nodes that are created as you tweak. Manually converting this rounded star to a path results in 10 nodes. The example above had the Fidelity set to 10, and resulted in the final path having 41 nodes. Increasing Fidelity to 50 and re-tweaking the original gave 59 nodes, while a fidelity of 80 gave over 150 nodes. Increasing the Fidelity to 100 created many thousands of nodes, and slowed my computer down to a crawl. I recommend keeping this value to 50 or below – the accuracy created by the extra nodes is rarely worth the trade-off, in my experience. | ||
The next button on the tool control bar is the Shrink/Grow mode. This doesn' | The next button on the tool control bar is the Shrink/Grow mode. This doesn' | ||
+ | ** | ||
+ | À ce stade, il est intéressant de vous présenter le paramètre Fidelity, sur la droite de la barre de contrôle de l' | ||
+ | |||
+ | Le bouton suivant sur la barre de contrôle de l' | ||
+ | |||
+ | ** | ||
The penultimate node tweak is Attract/ | The penultimate node tweak is Attract/ | ||
Ligne 24: | Ligne 53: | ||
The final tweak promises so much, but delivers so little. In theory the Roughen tweak should introduce some randomness and chaos into the shape of your path. What actually happens is that the randomness largely cancels itself out, leaving you with a lot of extra nodes that haven' | The final tweak promises so much, but delivers so little. In theory the Roughen tweak should introduce some randomness and chaos into the shape of your path. What actually happens is that the randomness largely cancels itself out, leaving you with a lot of extra nodes that haven' | ||
+ | ** | ||
+ | L' | ||
+ | |||
+ | Ceci est utile pour sculpter la forme d'un chemin. En déplaçant l' | ||
+ | |||
+ | Le dernier mode promet beaucoup, mais offre très peu. En théorie, le mode Roughen (Rendre rugueux) devrait introduire un peu de hasard et de chaos dans la forme de votre chemin. Ce qu'il se passe réellement, | ||
+ | |||
+ | ** | ||
I suppose the Roughen tweak is living up to its name in this case. The path certainly looks rougher in parts. But because the effect is stronger towards the center of the tool, the roughness hasn't been applied evenly around the path. Trying to draw the tool over the outline in an effort to spread the effect just results in it cancelling itself out again, producing a less rough result. To make matters worse, the rough areas now have huge numbers of nodes – this example resulted in our 10 node star growing to almost 2,000 nodes! | I suppose the Roughen tweak is living up to its name in this case. The path certainly looks rougher in parts. But because the effect is stronger towards the center of the tool, the roughness hasn't been applied evenly around the path. Trying to draw the tool over the outline in an effort to spread the effect just results in it cancelling itself out again, producing a less rough result. To make matters worse, the rough areas now have huge numbers of nodes – this example resulted in our 10 node star growing to almost 2,000 nodes! | ||
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Before we can even think about creating new nodes, we need to ensure that our object is a path. In the case of our example star, it's not. That's not a problem as we've converted plenty of shapes to paths in the past, so it should be a familiar operation by now: just select the object and use Path > Object to Path (Shift-Ctrl-C). Now we've got a star-shaped path made up of 10 nodes, but if we try to jitter those few nodes, all we'll succeed in doing is slightly distorting the shape. | Before we can even think about creating new nodes, we need to ensure that our object is a path. In the case of our example star, it's not. That's not a problem as we've converted plenty of shapes to paths in the past, so it should be a familiar operation by now: just select the object and use Path > Object to Path (Shift-Ctrl-C). Now we've got a star-shaped path made up of 10 nodes, but if we try to jitter those few nodes, all we'll succeed in doing is slightly distorting the shape. | ||
+ | ** | ||
+ | Je suppose que l' | ||
+ | |||
+ | Si vous voulez vraiment mettre du hasard sur un chemin, une meilleure option est généralement disponible dans l' | ||
+ | |||
+ | Avant même de penser à créer de nouveaux nœuds, nous devons nous assurer que notre objet est un chemin. Pour ce qui concerne notre étoile, ce n'est pas le cas. Ce n'est pas un problème, car nous avons converti beaucoup de formes en chemin par le passé, donc vous devrez maintenant bien connaître l' | ||
+ | |||
+ | ===== 3 ===== | ||
+ | ** | ||
By switching to the Node tool (F2), our 10 nodes become visible. Next we have to select them all by pressing Ctrl-A or using Edit > Select All. Press the Insert key on the keyboard and a new node will be created between each pair of selected nodes. Now we have 20 nodes, which is better, but still not enough. Fortunately the newly created nodes have automatically been added to our selection, so all we have to do is press Insert again, and again, and again. 20 nodes becomes 40, then 80, and so on. I stopped at 160 because this gave me a fairly dense arrangement of nodes for jittering, without asking Inkscape to deal with excessive numbers. | By switching to the Node tool (F2), our 10 nodes become visible. Next we have to select them all by pressing Ctrl-A or using Edit > Select All. Press the Insert key on the keyboard and a new node will be created between each pair of selected nodes. Now we have 20 nodes, which is better, but still not enough. Fortunately the newly created nodes have automatically been added to our selection, so all we have to do is press Insert again, and again, and again. 20 nodes becomes 40, then 80, and so on. I stopped at 160 because this gave me a fairly dense arrangement of nodes for jittering, without asking Inkscape to deal with excessive numbers. | ||
You need to switch back to the Select tool (F1) and ensure your path is selected before launching the Jitter Nodes extension using the menu entry: Extensions > Modify Path > Jitter Nodes… Once the dialog opens, the first thing to do – and this is the case with many of Inskcape' | You need to switch back to the Select tool (F1) and ensure your path is selected before launching the Jitter Nodes extension using the menu entry: Extensions > Modify Path > Jitter Nodes… Once the dialog opens, the first thing to do – and this is the case with many of Inskcape' | ||
+ | ** | ||
+ | En prenant l' | ||
+ | |||
+ | Vous devez revenir à l' | ||
+ | |||
+ | ** | ||
The rest of the controls are fairly simple. The first two spinboxes are used to set the amount that each node or handle can be shifted in the X and Y directions. Usually you would want to set these to the same value, but there are occasions when you want more movement in one direction than the other. For example, creating a line with lots of nodes, then jittering them in only one direction, is a quick and easy way to make a fake line graph. | The rest of the controls are fairly simple. The first two spinboxes are used to set the amount that each node or handle can be shifted in the X and Y directions. Usually you would want to set these to the same value, but there are occasions when you want more movement in one direction than the other. For example, creating a line with lots of nodes, then jittering them in only one direction, is a quick and easy way to make a fake line graph. | ||
The next two controls determine whether the positions of the nodes or their handles will be shifted. Shifting the nodes gives a more distorted line; shifting the handles produces more spikes and sharp transitions; | The next two controls determine whether the positions of the nodes or their handles will be shifted. Shifting the nodes gives a more distorted line; shifting the handles produces more spikes and sharp transitions; | ||
+ | ** | ||
+ | Les autres contrôles sont assez simple. Les deux premières zones de sélection numérique sont utilisées pour fixer la distance à laquelle chaque nœud ou poignée peut être déplacé dans les directions X et Y. Généralement, | ||
+ | |||
+ | Les deux contrôles suivants déterminent si ce sont les positions des nœuds ou de leurs poignées qui seront décalées. Décaler des nœuds donne une ligne plus déformée ; décaler des poignées produit plus de pointes et des transitions aigües ; choisir les deux vous donnera une ligne plus déformée qui a aussi des pointes et des angles vifs. Le dernier contrôle détermine simplement la façon dont les changements aléatoires sont choisis. Si cette case est cochée, ils suivront la forme « courbe en cloche » d'une distribution normale, ce qui signifie que de petites variations sont plus probables que des grandes. En théorie, cela peut donner un aspect plus naturel, mais dans la pratique, la différence n'est pas vraiment perceptible dans de nombreux cas. | ||
+ | |||
+ | ** | ||
So what of our rounded star, now that we've converted it to a path, added nodes and jittered it? Well it's certainly different to the result of the Roughen tweak, but it's probably a lot closer to the result you were looking for. | So what of our rounded star, now that we've converted it to a path, added nodes and jittered it? Well it's certainly different to the result of the Roughen tweak, but it's probably a lot closer to the result you were looking for. | ||
As I mentioned last time, I rarely make use of the tweak tool. I find it too difficult to control accurately, with the effects often being far too subtle or far too strong. Using a pressure sensitive graphics tablet can certainly help, as it's easier to dynamically modify the Force as you work, but often – as in the case of the Roughen example – you can get better results using other methods. | As I mentioned last time, I rarely make use of the tweak tool. I find it too difficult to control accurately, with the effects often being far too subtle or far too strong. Using a pressure sensitive graphics tablet can certainly help, as it's easier to dynamically modify the Force as you work, but often – as in the case of the Roughen example – you can get better results using other methods. | ||
+ | ** | ||
+ | |||
+ | Bon, qu'en est-il de notre étoile arrondie, maintenant que nous l' | ||
+ | |||
+ | Comme je l'ai dit la dernière fois, j' | ||
+ |
issue83/inkscape_partie_23.txt · Dernière modification : 2014/09/11 15:05 de andre_domenech