issue95:inkscape
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue95:inkscape [2015/04/21 06:53] – d52fr | issue95:inkscape [2015/04/23 14:42] (Version actuelle) – andre_domenech | ||
---|---|---|---|
Ligne 3: | Ligne 3: | ||
As usual, we'll start by drawing a simple parent shape – our familiar round-cornered square. But, rather than fill it with color, we'll unset it either by using the “?” button in the Fill tab of the Fill & Stroke dialog, or by right-clicking on the color swatch in the bottom-left of Inkscape' | As usual, we'll start by drawing a simple parent shape – our familiar round-cornered square. But, rather than fill it with color, we'll unset it either by using the “?” button in the Fill tab of the Fill & Stroke dialog, or by right-clicking on the color swatch in the bottom-left of Inkscape' | ||
- | Rappelez-vous | + | Rappelez-vous la partie 30 de la série quand j'ai introduit la notion de remplissage « indéfini », qui permet à chaque clone d' |
- | Comme d' | + | Comme d' |
**The general layout of this should be familiar by now, but the details differ a little when compared to the tabs we've looked at previously. The first change is the addition of the “Initial colour” field at the top. Clicking the swatch there opens a color picker from which to choose the initial color that your clones will take. It's “initial” because the rest of the fields can subsequently change the color quite drastically. With everything else in this tab set to zero, clicking the Create button will produce an array of clones, all taking on that initial color. The visual effect will be no different to cloning a solid-colored parent object, so, in this case, we end up with an array of red squares. I've moved the parent out from under the first clone a little, so you can see that its own color remains unset. | **The general layout of this should be familiar by now, but the details differ a little when compared to the tabs we've looked at previously. The first change is the addition of the “Initial colour” field at the top. Clicking the swatch there opens a color picker from which to choose the initial color that your clones will take. It's “initial” because the rest of the fields can subsequently change the color quite drastically. With everything else in this tab set to zero, clicking the Create button will produce an array of clones, all taking on that initial color. The visual effect will be no different to cloning a solid-colored parent object, so, in this case, we end up with an array of red squares. I've moved the parent out from under the first clone a little, so you can see that its own color remains unset. | ||
Ligne 11: | Ligne 11: | ||
Hue, the first of our three values, represents a position on the outside circle. You might expect a value from 0° to 360° – or the equivalent in radians if you're more mathematically inclined – but that would be too sensible. Instead the range of values available varies in different parts of the Inkscape interface. Within the HSL tab, for example, the numbers run from 0 to 255. Within the Tiled Clones dialog, however, they run from 0% to 100%. In either case, 0 represents pure red with increasing numbers progressing anti-clockwise through yellow, green, blue and purple before the end of the scale brings you back around to red.** | Hue, the first of our three values, represents a position on the outside circle. You might expect a value from 0° to 360° – or the equivalent in radians if you're more mathematically inclined – but that would be too sensible. Instead the range of values available varies in different parts of the Inkscape interface. Within the HSL tab, for example, the numbers run from 0 to 255. Within the Tiled Clones dialog, however, they run from 0% to 100%. In either case, 0 represents pure red with increasing numbers progressing anti-clockwise through yellow, green, blue and purple before the end of the scale brings you back around to red.** | ||
- | Sa disposition générale devrait vous être familière maintenant, mais les détails diffèrent un peu à comparer aux onglets vus précédemment. Le premier changement est l' | + | Sa disposition générale devrait vous être familière maintenant, mais les détails diffèrent un peu, comparés |
- | Les champs restants de l' | + | |
- | Hue (Teinte), la première des trois valeurs, représente une position sur le cercle extérieur. Vous pourriez vous attendre à une valeur entre O° et 360° - ou l' | + | Les champs restants de l' |
+ | |||
+ | La Teinte, la première des trois valeurs, représente une position sur le cercle extérieur. Vous pourriez vous attendre à une valeur entre O° et 360° - ou l' | ||
**Having picked a base Hue, the triangle in the center is used to select a combination of the Saturation and Lightness values. With the hue set at 0 (pure red), the triangle is oriented as shown in the screenshot. Now imagine a pair of axes, one running from the pure colored corner of the triangle to its opposite edge (a horizontal line in this case) and another running along this edge between the two other corners (a vertical line). Saturation is the position along the first line, and defines the amount of the pure color that's present in the final swatch – how “washed out” it appears. Lightness is the position on the second line, representing how dark or light the color is. When Saturation is zero there is none of the pure color present, so the result is a shade of gray that can run from pure black (when Lightness is zero) to pure white (when Lightness is at its maximum). The ranges for Saturation and Lightness also run from 0 to 255 on the HSL tab, or 0% to 100% in the Tiled Clones dialog. | **Having picked a base Hue, the triangle in the center is used to select a combination of the Saturation and Lightness values. With the hue set at 0 (pure red), the triangle is oriented as shown in the screenshot. Now imagine a pair of axes, one running from the pure colored corner of the triangle to its opposite edge (a horizontal line in this case) and another running along this edge between the two other corners (a vertical line). Saturation is the position along the first line, and defines the amount of the pure color that's present in the final swatch – how “washed out” it appears. Lightness is the position on the second line, representing how dark or light the color is. When Saturation is zero there is none of the pure color present, so the result is a shade of gray that can run from pure black (when Lightness is zero) to pure white (when Lightness is at its maximum). The ranges for Saturation and Lightness also run from 0 to 255 on the HSL tab, or 0% to 100% in the Tiled Clones dialog. | ||
Ligne 19: | Ligne 21: | ||
The important thing to realize is that the Hue can wrap round – a value of 50% gives you exactly the same pure cyan as 150% or 250%. Saturation and Lightness don't wrap: values above 100% won't suddenly wrap round to lower values, but neither will they result in extra saturation or extra lightness. Values less than 0% behave similarly.** | The important thing to realize is that the Hue can wrap round – a value of 50% gives you exactly the same pure cyan as 150% or 250%. Saturation and Lightness don't wrap: values above 100% won't suddenly wrap round to lower values, but neither will they result in extra saturation or extra lightness. Values less than 0% behave similarly.** | ||
- | Ayant choisi une teinte | + | Ayant choisi une teinte |
- | Il est important de comprendre que la Teinte (H) s' | + | Il est important de comprendre que la Teinte (T) s' |
**With all that in mind, let's put a value of 25% in the Per Column “H” field. We've got four columns, so the colors will be picked from our color wheel at positions of 0, 25%, 50% and 75%, working anti-clockwise from your selected Initial Color – pure red in this example. It should be easy to see that this gives us red, green, cyan and purple for the columns of our clones. | **With all that in mind, let's put a value of 25% in the Per Column “H” field. We've got four columns, so the colors will be picked from our color wheel at positions of 0, 25%, 50% and 75%, working anti-clockwise from your selected Initial Color – pure red in this example. It should be easy to see that this gives us red, green, cyan and purple for the columns of our clones. | ||
Ligne 28: | Ligne 30: | ||
Now try putting a value of -50% into the Per Row “S” field. With each row you'll get less and less of the pure color included. Given that our starting color is already pure red at 100% saturation, this gives us values for our three rows of 100%, 50% and 0%, resulting in rows that are pure colors, washed out colors, and completely gray. Given that the Saturation value doesn' | Now try putting a value of -50% into the Per Row “S” field. With each row you'll get less and less of the pure color included. Given that our starting color is already pure red at 100% saturation, this gives us values for our three rows of 100%, 50% and 0%, resulting in rows that are pure colors, washed out colors, and completely gray. Given that the Saturation value doesn' | ||
- | Avec tout ça en tête, mettons une valeur de 25% dans le champ « H » Par colonne. Nous avons quatre colonnes, donc les couleurs, ainsi les couleurs vont être choisies à 0, 25%, 50% et 75%, dans le sens anti-horaire, | + | Avec tout ceci en tête, mettons une valeur de 25 % dans le champ « T » Par colonne. Nous avons quatre colonnes, donc les couleurs |
- | Pouvez-vous imaginer ce qui se passera si vous changez | + | Pouvez-vous imaginer ce qui se passera si vous remplacez |
+ | |||
+ | Maintenant, essayez avec une valeur de -50 % dans le champ « S » Par ligne. Ligne après ligne, vous devrez avoir de moins en moins de couleur pure. Étant donné que votre couleur de départ est déjà un rouge pur à 100 % de saturation, cela nous donne pour les trois lignes des valeurs de 100 %, 50 % et 0 %, avec comme résultat des lignes en couleur pure, à demi-délavée et complètement grise. Etant donné que la Saturation ne peut pas s' | ||
**Finally, let's reset our initial color to pure red, and play with the Per Row “L” field. You might expect that putting -50% in here would have a similar effect to the Saturation, giving values of 100%, 50% and 0% for rows that are bright, dark, then black. Instead you get this: | **Finally, let's reset our initial color to pure red, and play with the Per Row “L” field. You might expect that putting -50% in here would have a similar effect to the Saturation, giving values of 100%, 50% and 0% for rows that are bright, dark, then black. Instead you get this: | ||
The issue is that the Lightness scale runs from 0% (black) to 100% (white) – pure red, of course, has neither too much white nor too much black, so its value is actually 50%. Thinking of Lightness as running along a vertical line in the earlier color wheel image, it's easy to see that the red corner of the triangle lies 50% of the way up. Checking the HSL tab will also show that your pure red color has a Lightness of 128 (out of 255). Now you should be able to see that a value of -50% in the field leads to rows of 50%, 0%, 0% (Lightness doesn' | The issue is that the Lightness scale runs from 0% (black) to 100% (white) – pure red, of course, has neither too much white nor too much black, so its value is actually 50%. Thinking of Lightness as running along a vertical line in the earlier color wheel image, it's easy to see that the red corner of the triangle lies 50% of the way up. Checking the HSL tab will also show that your pure red color has a Lightness of 128 (out of 255). Now you should be able to see that a value of -50% in the field leads to rows of 50%, 0%, 0% (Lightness doesn' | ||
Try creating a larger array of clones with small values in the fields to get gently sweeping changes in color or tone. Or use bigger values – especially in the “H” field – to get bold differences between the clones. Finally, try drawing a simple leaf with veins but an unset fill. Group the parts, then use the tiled clones dialog to create an array of them. With a little use of the Random fields in each of the tabs we've discussed so far – plus some negative offsets in the Shift tab to pull everything together a little – you can quickly and easily create an autumnal forest floor background.** | Try creating a larger array of clones with small values in the fields to get gently sweeping changes in color or tone. Or use bigger values – especially in the “H” field – to get bold differences between the clones. Finally, try drawing a simple leaf with veins but an unset fill. Group the parts, then use the tiled clones dialog to create an array of them. With a little use of the Random fields in each of the tabs we've discussed so far – plus some negative offsets in the Shift tab to pull everything together a little – you can quickly and easily create an autumnal forest floor background.** | ||
+ | |||
+ | Enfin, revenons à notre couleur initiale rouge pur et jouons avec le champ « L » Par ligne. En saisissant -50 %,vous pourriez vous attendre à un effet similaire à la Saturation, donnant des valeurs de 100 %, 50 % et 0 % pour les lignes, devenant brillante, sombre et noire. À la place, vous obtenez ceci : | ||
+ | |||
+ | Le problème est que l' | ||
+ | |||
+ | Essayez un plus large ensemble de clones avec de petites valeurs dans les champs pour obtenir des changements progressifs de couleur ou de ton. Ou utilisez des valeurs plus grandes - particulièrement dans le champ T - pour obtenir des variations marquées entre les clones. Enfin, essayez de dessiner une simple feuille avec des nervures et une couleur indéfinie. Groupez les éléments, puis utilisez la boîte de dialogue des Clones en pavage pour créer un ensemble. En utilisant un peu le champ Aléatoire dans chacun des onglets que nous avons abordés jusqu' | ||
**You may recall that it's possible to unset the stroke of a parent object as well as its fill. This also works with the Tiled Clones dialog, but, as there is only one Colour tab, there' | **You may recall that it's possible to unset the stroke of a parent object as well as its fill. This also works with the Tiled Clones dialog, but, as there is only one Colour tab, there' | ||
I had promised to cover the Trace tab in this instalment, but the Color tab ended up being a more nuanced topic than I had previously expected, so the Trace tab has been postponed until next time.** | I had promised to cover the Trace tab in this instalment, but the Color tab ended up being a more nuanced topic than I had previously expected, so the Trace tab has been postponed until next time.** | ||
+ | |||
+ | Vous vous souvenez peut-être qu'il est possible de rendre indéfini le contour d'un objet parent, comme son remplissage. Ceci fonctionne aussi pour les Clones en pavage, mais, comme il n'y a qu'un onglet Couleur, il n'y a pas moyen de générer des couleurs différentes pour le contour et le remplissage : vous pouvez rendre indéfinie la couleur du contour, celle du remplissage ou les deux, mais de toute façon, la couleur générée sera la même. En outre, il n'y a pas moyen de régler d' | ||
+ | |||
+ | J' |
issue95/inkscape.1429591986.txt.gz · Dernière modification : 2015/04/21 06:53 de d52fr