issue96:inkscape
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue96:inkscape [2015/05/10 08:32] – d52fr | issue96:inkscape [2015/05/15 10:09] (Version actuelle) – auntiee | ||
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To demonstrate, | To demonstrate, | ||
- | Le dernier onglet de la boîte de dialogue des Clones en pavage est libellé « Calquer » et, sans surprise, il est utilisé pour calquer des dessins existants ou des images bitmap dans la création d'un ensemble de clones reliés par certains aspects à l' | + | Le dernier onglet de la boîte de dialogue des Clones en pavage est libellé « Calquer » et, sans surprise, il est utilisé pour calquer des dessins existants ou des images bitmap dans la création d'un ensemble de clones reliés par certains aspects à l' |
- | Après avoir utilisé le bouton R-à-z de la boîte de dialogue, la plupart des champs de l' | + | Après avoir utilisé le bouton R-à-z de la boîte de dialogue, la plupart des champs de l' |
• Quel aspect de l' | • Quel aspect de l' | ||
- | • Comment voulez-vous | + | • Comment voulez-vous |
• A quelles caractéristiques des clones voulez-vous appliquer ces valeurs ? | • A quelles caractéristiques des clones voulez-vous appliquer ces valeurs ? | ||
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The Randomise field, as you might expect, just modifies each value from section 1 by a random number. The value in this field represents the maximum amount of randomness that is allowed. The Invert checkbox swaps low values for high values, and vice versa. It's used when you want low numbers from your light areas, and high numbers from the dark areas, for example.** | The Randomise field, as you might expect, just modifies each value from section 1 by a random number. The value in this field represents the maximum amount of randomness that is allowed. The Invert checkbox swaps low values for high values, and vice versa. It's used when you want low numbers from your light areas, and high numbers from the dark areas, for example.** | ||
- | Dans la section 1, nous devons indiquer à Inkscape quelle valeur extraire. Vous pouvez choisir une valeur générale de couleur ou une des composantes fondamentales de cette couleur | + | Dans la section 1, nous devons indiquer à Inkscape quelle valeur extraire. Vous pouvez choisir une valeur générale de couleur ou une des composantes fondamentales de cette couleur |
- | Dans la section 2, c'est l' | + | Dans la section 2, vous pouvez |
- | Le champ Hasard, comme vous pouvez vous y attendre, | + | Le champ Hasard, comme vous pouvez vous y attendre, |
**Finally, section 3 is where we tell Inkscape what to do with the extracted, adjusted values. For each clone, you can use the corresponding number to modify any combination of Presence (the probability that the clone is created or not), Colour, Size and Opacity. The latter two are the easiest to explain: in both cases the original parent element represents the maximum value that is allowed. None of your clones can get any larger, or more opaque, than the parent. Instead, the generated values are used to reduce the size of the clone, or reduce its opacity (making it more transparent). | **Finally, section 3 is where we tell Inkscape what to do with the extracted, adjusted values. For each clone, you can use the corresponding number to modify any combination of Presence (the probability that the clone is created or not), Colour, Size and Opacity. The latter two are the easiest to explain: in both cases the original parent element represents the maximum value that is allowed. None of your clones can get any larger, or more opaque, than the parent. Instead, the generated values are used to reduce the size of the clone, or reduce its opacity (making it more transparent). | ||
Let's take a look at an example. I've traced the Lightness values of La Giaconda, adjusting them with a Gamma of -1.0, and finally applying the results to the Size and Opacity of the clones. The parent object is in the top left, and you can see that dark areas (where “L” is low) result in small reductions of size and opacity. Light areas (where “L” is large) result in much bigger reductions. Checking the Invert control would have resulted in the opposite effect: large, opaque clones in the light areas and small, transparent ones in the dark areas.** | Let's take a look at an example. I've traced the Lightness values of La Giaconda, adjusting them with a Gamma of -1.0, and finally applying the results to the Size and Opacity of the clones. The parent object is in the top left, and you can see that dark areas (where “L” is low) result in small reductions of size and opacity. Light areas (where “L” is large) result in much bigger reductions. Checking the Invert control would have resulted in the opposite effect: large, opaque clones in the light areas and small, transparent ones in the dark areas.** | ||
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+ | Enfin, dans la section 3, nous indiquons à Inkscape quoi faire des valeurs extraites et ajustées. Pour chaque clone, vous pouvez utiliser le nombre correspondant pour modifier toute combinaison de Présence (la probabilité qu'un clone soit créé ou non), de Couleur, de Dimensions ou d' | ||
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+ | Prenons un exemple. J'ai calqué les valeurs de Luminosité de la Joconde, je les ai ajustées avec un Gamma de -1,0 et, enfin, j'ai appliqué les valeurs résultantes aux Dimensions et à l' | ||
**The Presence option in section 3 is, in my opinion, broken. A sensible way for this to work would be for values above a certain threshold to result in a clone being drawn, with values below that threshold producing no clone. That's not what happens though. Rather the value is used to adjust the probability that a clone will be drawn. Whether it actually is drawn or not then comes down to (weighted) luck. With “L” selected in section 1, it becomes likely that clones will be drawn in dark areas, and less likely they' | **The Presence option in section 3 is, in my opinion, broken. A sensible way for this to work would be for values above a certain threshold to result in a clone being drawn, with values below that threshold producing no clone. That's not what happens though. Rather the value is used to adjust the probability that a clone will be drawn. Whether it actually is drawn or not then comes down to (weighted) luck. With “L” selected in section 1, it becomes likely that clones will be drawn in dark areas, and less likely they' | ||
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The Colour checkbox is perhaps the most useful of all the options in section 3. To use it you first have to unset the fill of your parent object, just as we did last time when using the “Colour” tab. This option is a little different to the others because it doesn' | The Colour checkbox is perhaps the most useful of all the options in section 3. To use it you first have to unset the fill of your parent object, just as we did last time when using the “Colour” tab. This option is a little different to the others because it doesn' | ||
This effect usually works best with a large number of fairly small clones. That combination can bring a lesser computer to its knees fairly quickly, though, so be careful before you hit the Create button.** | This effect usually works best with a large number of fairly small clones. That combination can bring a lesser computer to its knees fairly quickly, though, so be careful before you hit the Create button.** | ||
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+ | De mon point de vue, l' | ||
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+ | La case à cocher Couleur est peut-être la plus utile des options de la section 3. Pour l' | ||
**One limitation of this dialog is that each of the four options in section 3 is tied to a single set of manipulations in section 2. You can't have Opacity set directly by the “L” value, whilst also having Size modified by the inverted value, or use a different gamma for the Colour and Presence. It's not usually a problem, but if you do need such combinations then you've little choice but to use the Tiled Clones dialog as a starting point, then manually adjust each clone afterwards. | **One limitation of this dialog is that each of the four options in section 3 is tied to a single set of manipulations in section 2. You can't have Opacity set directly by the “L” value, whilst also having Size modified by the inverted value, or use a different gamma for the Colour and Presence. It's not usually a problem, but if you do need such combinations then you've little choice but to use the Tiled Clones dialog as a starting point, then manually adjust each clone afterwards. | ||
The Trace tab can be used in conjunction with the other tabs if you want to add some rotation to your clones, or perhaps adjust their size or spacing. The latter can be especially useful if you need to tighten up the array when using the Size checkbox in section 3. You should also bear in mind that the examples I've given here are deliberately simplistic. Your parent object can be almost any shape or group. The background you're tracing, similarly, can be a collection of objects rather than a bitmap image. Just remember that cloning complex parents takes more processing power and memory, so prepare for slowdowns or even crashes if you push the complexity or number of clones too high.** | The Trace tab can be used in conjunction with the other tabs if you want to add some rotation to your clones, or perhaps adjust their size or spacing. The latter can be especially useful if you need to tighten up the array when using the Size checkbox in section 3. You should also bear in mind that the examples I've given here are deliberately simplistic. Your parent object can be almost any shape or group. The background you're tracing, similarly, can be a collection of objects rather than a bitmap image. Just remember that cloning complex parents takes more processing power and memory, so prepare for slowdowns or even crashes if you push the complexity or number of clones too high.** | ||
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+ | Une des limitations de ces choix est que chacune des quatre options de la section 3 est liée à un ensemble unique de manipulations dans la section 2. Vous ne pouvez pas avoir l' | ||
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+ | L' | ||
**To conclude our look at the Tiled Clones dialog, I'm going to return to a couple of controls that I skipped over previously. The first is the “Use saved size and position of the tile” checkbox at the bottom of the dialog. Remember how Inkscape uses the bounding box of the parent as the basic unit of measurement throughout this dialog? This checkbox overrides that default to instead use the “saved” bounding box dimensions – where “saved” just means “the last value used before you checked this box”. | **To conclude our look at the Tiled Clones dialog, I'm going to return to a couple of controls that I skipped over previously. The first is the “Use saved size and position of the tile” checkbox at the bottom of the dialog. Remember how Inkscape uses the bounding box of the parent as the basic unit of measurement throughout this dialog? This checkbox overrides that default to instead use the “saved” bounding box dimensions – where “saved” just means “the last value used before you checked this box”. | ||
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One obvious solution is to reduce just the number of rows and columns, but that still leaves me with big gaps between the tiles. I could tweak the values in the Shift tab to compensate, but as I already had a tile placement that suited my needs, it's easier just to tell Inkscape to “save” that and re-use it for subsequent tiled clones.** | One obvious solution is to reduce just the number of rows and columns, but that still leaves me with big gaps between the tiles. I could tweak the values in the Shift tab to compensate, but as I already had a tile placement that suited my needs, it's easier just to tell Inkscape to “save” that and re-use it for subsequent tiled clones.** | ||
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+ | Pour conclure notre examen de la boîte de dialogue des Clones en pavage, je vais revenir sur quelques réglages que j'ai sauté précédemment. Le premier est la case à cocher « Utiliser les dimensions et position enregistrées du pavage » en bas de la boîte de dialogue. Vous souvenez-vous comment Inkscape utilise la boîte englobante du parent comme unité de base des mesures tout au long de cette boîte de dialogue ? Cette case à cocher écrase la valeur par défaut pour utiliser à la place les dimensions enregistrées de la boîte englobante - où « enregistrées » signifie seulement « la dernière valeur enregistrée avant que vous cochiez cette option ». | ||
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+ | Reprenez le calque coloré de la Joconde. En utilisant 16 lignes et 11 colonnes, mon carré à bords arrondis couvre assez bien la surface. Mais que se passe-t-il si je décide de tourner le carré pour créer un losange ? En faisant cela, j' | ||
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+ | Une solution évidente est de réduire simplement le nombre de lignes et de colonnes, mais ça laisse beaucoup de trous entre les pavés. Je peux modifier les valeurs dans l' | ||
**Returning to the image as it was previously (by pressing CTRL-Z a few times) gets me back to a tile layout I'm happy with. At this point I can tick the “Use saved size...” checkbox to use that layout even while I change other parameters in the dialog, or make modifications that will alter the size of the parent' | **Returning to the image as it was previously (by pressing CTRL-Z a few times) gets me back to a tile layout I'm happy with. At this point I can tick the “Use saved size...” checkbox to use that layout even while I change other parameters in the dialog, or make modifications that will alter the size of the parent' | ||
The last control to cover in the Tiled Clones dialog is actually the first one. It's the pop-up menu on the Symmetry tab, which determines how the tiles are initially arranged, prior to any adjustments from the other tabs. Mathematically speaking, there are 17 possible symmetries for a two-dimensional pattern – see the Wikipedia page for “Wallpaper group” for more technical details. These symmetries are based on translating (moving), rotating and reflecting the parent object to create a repeating pattern, and the pop-up lists each symmetry by its mathematical title in “short” notation (such as “P1”) followed by a description of the symmetry (such as “simple translation”).** | The last control to cover in the Tiled Clones dialog is actually the first one. It's the pop-up menu on the Symmetry tab, which determines how the tiles are initially arranged, prior to any adjustments from the other tabs. Mathematically speaking, there are 17 possible symmetries for a two-dimensional pattern – see the Wikipedia page for “Wallpaper group” for more technical details. These symmetries are based on translating (moving), rotating and reflecting the parent object to create a repeating pattern, and the pop-up lists each symmetry by its mathematical title in “short” notation (such as “P1”) followed by a description of the symmetry (such as “simple translation”).** | ||
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+ | Je suis revenu à l' | ||
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+ | La dernier paramètre à voir dans la boîte de dialogue des Clones en pavage est en fait le premier. C'est le menu déroulant de l' | ||
**So far, I've only used P1 for this tutorial, because it's the simplest to understand when used with the other tabs in the dialog. Other symmetries can quickly lead to complex (and confusing) results, but they can be useful if you want to create tiled patterns or kaleidoscopic art. Some work best with triangular arrangements of objects, others with more rectangular parents. | **So far, I've only used P1 for this tutorial, because it's the simplest to understand when used with the other tabs in the dialog. Other symmetries can quickly lead to complex (and confusing) results, but they can be useful if you want to create tiled patterns or kaleidoscopic art. Some work best with triangular arrangements of objects, others with more rectangular parents. | ||
Unfortunately, | Unfortunately, | ||
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+ | Jusqu' | ||
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+ | Cependant, malheureusement, |
issue96/inkscape.1431239560.txt.gz · Dernière modification : 2015/05/10 08:32 de d52fr