issue152:krita
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue152:krita [2020/01/08 14:49] – d52fr | issue152:krita [2020/01/10 09:26] (Version actuelle) – auntiee | ||
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In this part of this series, we will commence work with a simple landscape, a photo of the castle of Foix in southern France about the turn of the century. With the passage of time, this photo is now stated to fall within the public domain, has already been digitized by the Rosalis project of the municipal public library of Toulouse, and may be downloaded from Wikicommons at address: https:// | In this part of this series, we will commence work with a simple landscape, a photo of the castle of Foix in southern France about the turn of the century. With the passage of time, this photo is now stated to fall within the public domain, has already been digitized by the Rosalis project of the municipal public library of Toulouse, and may be downloaded from Wikicommons at address: https:// | ||
- | Comme nous en avons parlé précédemment, | + | Comme nous en avons parlé précédemment, |
- | Dans cette partie de la série, nous commencerons notre travail par un simple paysage, une photo du château de Foix dans le sud de la France, au début | + | Dans cette partie de la série, nous commencerons notre travail par un simple paysage, une photo du château de Foix dans le sud de la France, au début |
**A cursory visual inspection shows us that this picture has some of the rather typical imperfections often associated with photographs of its time: more than a century old, the original was no doubt a glass plate using the dry (gelatin) process. These include: physical loss of parts of the image around the edges due to wear-and-tear while handling or storing the image, a completely washed-out sky that shows no relief at all, an improbably darkened castle and parts of the surrounding vegetation as well as the trees to the right of the image, and a patch of light-colored discoloration in the left-bottom corner. Luckily, the image itself is sharp and well-focused. Details are easily visible, except where excess brightness has washed them out such as on light-colored window shutters. Some dark defects (spots) may be seen, mostly against the clear sky. | **A cursory visual inspection shows us that this picture has some of the rather typical imperfections often associated with photographs of its time: more than a century old, the original was no doubt a glass plate using the dry (gelatin) process. These include: physical loss of parts of the image around the edges due to wear-and-tear while handling or storing the image, a completely washed-out sky that shows no relief at all, an improbably darkened castle and parts of the surrounding vegetation as well as the trees to the right of the image, and a patch of light-colored discoloration in the left-bottom corner. Luckily, the image itself is sharp and well-focused. Details are easily visible, except where excess brightness has washed them out such as on light-colored window shutters. Some dark defects (spots) may be seen, mostly against the clear sky. | ||
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Once we have this file opened in Krita, the first thing I like to do is to rename and save it in Krita’s internal format. We will be using layers, which are not supported by the picture’s original JPEG format. By changing the format, we can ensure that layers are kept separate (and not fused together). We also make sure we are working on a new copy and not on the original file, which may be stored for further reference if needed — or if disaster strikes for whatever reason.** | Once we have this file opened in Krita, the first thing I like to do is to rename and save it in Krita’s internal format. We will be using layers, which are not supported by the picture’s original JPEG format. By changing the format, we can ensure that layers are kept separate (and not fused together). We also make sure we are working on a new copy and not on the original file, which may be stored for further reference if needed — or if disaster strikes for whatever reason.** | ||
- | Une inspection visuelle sommaire nous montre que cette image a quelques-unes des imperfections plutôt typiques souvent associées aux photographies de cette époque : vieille | + | Une inspection visuelle sommaire nous montre que cette image a quelques-unes des imperfections plutôt typiques souvent associées aux photographies de cette époque : vieux de plus d'un siècle, l' |
- | Une fois que nous avons ouvert le fichier dans Krita, la première chose que j'aime faire est de le renommer et de le sauvegarder dans le format interne de Krita. Nous utiliserons des calques, qui ne sont pas supportés par le format jpeg de l' | + | Une fois que nous avons ouvert le fichier dans Krita, la première chose que j'aime faire est de le renommer et de le sauvegarder dans le format interne de Krita. Nous utiliserons des calques, qui ne sont pas supportés par le format jpeg de l' |
**Returning to layers, I then set up a new layer. It will, initially, be transparent. All modifications that imply adding color -- painting, spraying -- will be done to this layer, and not to the original image. If any serious errors are made, they can be wiped off on the new layer, without affecting the original. Giving each layer a (significant) name may be of help. Please note in the screen capture that the new layer is placed above the original, so that changes will be readily apparent. Also, note that any changes made will be to the layer that is currently active — the new layer in this capture. | **Returning to layers, I then set up a new layer. It will, initially, be transparent. All modifications that imply adding color -- painting, spraying -- will be done to this layer, and not to the original image. If any serious errors are made, they can be wiped off on the new layer, without affecting the original. Giving each layer a (significant) name may be of help. Please note in the screen capture that the new layer is placed above the original, so that changes will be readily apparent. Also, note that any changes made will be to the layer that is currently active — the new layer in this capture. | ||
Let us begin with the picture borders. Most defects are to be seen around the top edge, and affect the sky. We can cover them with a paint color similar to the sky itself, making them disappear. Choose any brush you feel comfortable with; Krita has a large selection, comprising both pencils, felt-tips, and an airbrush. This latter is my personal choice, with a low opacity setting and relatively small size — both of these are configurable with horizontal bars set just beneath the top menu bar. ** | Let us begin with the picture borders. Most defects are to be seen around the top edge, and affect the sky. We can cover them with a paint color similar to the sky itself, making them disappear. Choose any brush you feel comfortable with; Krita has a large selection, comprising both pencils, felt-tips, and an airbrush. This latter is my personal choice, with a low opacity setting and relatively small size — both of these are configurable with horizontal bars set just beneath the top menu bar. ** | ||
- | Pour revenir aux calques, je paramètre un nouveau calque. Au début, il sera transparent. Toutes les modifications qui impliquent l' | + | Pour revenir aux calques, je paramètre un nouveau calque. Au début, il sera transparent. Toutes les modifications qui impliquent l' |
+ | Commençons avec les bordures de l' | ||
**Begin by right-clicking on a suitable piece to sky to copy that color and make it your brush’s active color, and then proceed by applying small touches. Brushing ever more lightly and with many applications to build color is the ticket. In passing, the same technique may be used to wipe the sky of its ungainly black dots. The end result is not perfect, with its very uniform appearance, but it is still rather more pleasing than in its original state. | **Begin by right-clicking on a suitable piece to sky to copy that color and make it your brush’s active color, and then proceed by applying small touches. Brushing ever more lightly and with many applications to build color is the ticket. In passing, the same technique may be used to wipe the sky of its ungainly black dots. The end result is not perfect, with its very uniform appearance, but it is still rather more pleasing than in its original state. | ||
As can be seen above, the extreme left of the image has a thin row of dark pixels running from top to bottom. Partly an artifact, and partly due to the original photographic process, this defect can be resolved in part by painting in details, thus reconstructing the scene by extending the visible part of the image left towards the edge. However, this technique is quite time-intensive, | As can be seen above, the extreme left of the image has a thin row of dark pixels running from top to bottom. Partly an artifact, and partly due to the original photographic process, this defect can be resolved in part by painting in details, thus reconstructing the scene by extending the visible part of the image left towards the edge. However, this technique is quite time-intensive, | ||
+ | |||
+ | Commencez par cliquer sur une partie convenable du ciel pour copier la couleur et faites-en la couleur active de votre pinceau ; puis procédez à une application par petites touches. Peindre toujours plus légèrement et avec de nombreuses touches est la solution. Par ailleurs, la même technique peut être utilisée pour effacer du ciel ses points noirs disgracieux. Le résultat final n'est pas parfait, avec son apparence uniforme, mais il est toujours plus agréable que l' | ||
+ | |||
+ | Comme vous avez pu le voir ci-dessus, la partie la plus à gauche de l' | ||
**All along the lower edge of the image, we find a similar dark strip that can also be cut out by cropping. We are left with a rather better edge all round, except for the dark spot in the extreme lower left corner, and the lighter blemish around it. | **All along the lower edge of the image, we find a similar dark strip that can also be cut out by cropping. We are left with a rather better edge all round, except for the dark spot in the extreme lower left corner, and the lighter blemish around it. | ||
To clear up the light-colored blemish, a natural tendency would be to use some dark color on it. But it is clear that applying color directly would only create a dark mass, with all details lost beneath it. To avoid this mishap, we can create a third layer. This time, its mode of combination with the layers beneath it should not be “Normal”, | To clear up the light-colored blemish, a natural tendency would be to use some dark color on it. But it is clear that applying color directly would only create a dark mass, with all details lost beneath it. To avoid this mishap, we can create a third layer. This time, its mode of combination with the layers beneath it should not be “Normal”, | ||
+ | |||
+ | Tout le long du bas de l' | ||
+ | |||
+ | Pour rafraîchir la partie voilée, une tendance naturelle serait d' | ||
**Now, inside this new layer, select a dark color -- or even flat black -- and slowly, lightly, use a low opacity setting to airbrush some color over the area affected. As you proceed, you should see how details such as tree limbs or the fences regain some contrast. With some application, | **Now, inside this new layer, select a dark color -- or even flat black -- and slowly, lightly, use a low opacity setting to airbrush some color over the area affected. As you proceed, you should see how details such as tree limbs or the fences regain some contrast. With some application, | ||
Unfortunately, | Unfortunately, | ||
+ | |||
+ | Maintenant, dans ce nouveau calque, sélectionnez une couleur sombre - ou même du noir - et lentement, légèrement, | ||
+ | |||
+ | Malheureusement, | ||
**In this part of our series, we have set up our image in Krita, and used two new layers, one a covering layer to hide defects beneath new paint, and the second a darkening or overlay layer to darken the original details and set the overall density of a specific area back to an acceptable average. I encourage the reader to practice some or all of these techniques on this image, or any other of your preference, and we will be back in the next part to try solve the issue of the dark castle and trees to the right of the photo. Until then, take care!** | **In this part of our series, we have set up our image in Krita, and used two new layers, one a covering layer to hide defects beneath new paint, and the second a darkening or overlay layer to darken the original details and set the overall density of a specific area back to an acceptable average. I encourage the reader to practice some or all of these techniques on this image, or any other of your preference, and we will be back in the next part to try solve the issue of the dark castle and trees to the right of the photo. Until then, take care!** | ||
+ | |||
+ | Dans cette partie de notre série, nous avons paramétré notre image dans Krita et utilisé deux nouveaux calques, l'un de recouvrement pour cacher les défauts sous une nouvelle peinture, et le second d' | ||
issue152/krita.1578491378.txt.gz · Dernière modification : 2020/01/08 14:49 de d52fr