List of Figures

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• 1 Convention for Describing Paths to Functions Found in the Image Menu
• 2 Conventions for Describing Paths for Functions Found in the Toolbox
• 3 Names of the Toolbox Icons
• 4 Specifying GIMP Memory Usage
• 5 Graphic Interface for Web Mirroring Software: GetWeb
• 1.1 The Toolbox Window
• 1.2 The Image Window
• 1.3 The Layers, Channels, and Paths Dialogs
• 1.4 The Color Selection Dialog
• 1.5 The Brush Selection Dialog
• 1.6 The Pattern Selection Dialog
• 1.7 The Gradients Dialog
• 1.8 The Color Palette Dialog
• 1.9 Loading Images into the GIMP
• 1.10 Saving Images
• 1.11 Creating New Images
• 1.12 Setting the Number of Undo Levels
• 1.13 Working with the Undo History Dialog
• 1.14 Using the Copy Named Buffer
• 1.15 Using the Paste Named Buffer
• 1.16 Using Zoom
• 1.17 Using Zoom with the Navigation Window
• 1.18 Using New View
• 1.19 The Help System Browser
• 2.1 A Three-Layer Image
• 2.2 Visualizing the Layer Stack in 3D
• 2.3 Layers Dialog
• 2.4 Layers Dialog Detail
• 2.5 Layers Menu
• 2.6 Image Component Hierarchy: Each Layer Consists of a Matrix of Pixels, and Each Pixel is Constructed of an R, G, B, and A Channel
• 2.7 Channels Dialog
• 2.8 Two Images to Illustrate the Use of Copy and Paste
• 2.9 Importing the First Pasted Image
• 2.10 Creation of New Layer
• 2.11 Importing the Second Pasted Image
• 2.12 A Moved Selection Becomes a Float
• 2.13 Images to be Aligned with Guides
• 2.14 Images Aligned with Guides
• 2.15 Image Scaling
• 2.16 Image Resizing (Original Becomes Smaller)
• 2.17 Resizing Using the Crop Tool
• 2.18 Image Resizing (Original Becomes Larger)
• 2.19 Resizing a Layer Smaller: Floating a Rectangular Selection
• 2.20 Resizing a Layer Smaller: Anchoring the Float to a New Layer and Deleting the Old Layer
• 2.21 The Resulting Resized Layer
• 2.22 Using the Flip tool
• 2.23 Image and Layer Rotate Menus
• 2.24 Transform Tool Dialog
• 2.25 Initiating the Rotation Transformation
• 2.26 Finalizing the Rotation Transformation
• 2.27 The Scaling Transformation
• 2.28 The Shear Transformation
• 2.29 The Perspective Transformation
• 3.1 Toolbox Selection Tools
• 3.2 The Rectangle Select and Ellipse Select Tools
• 3.3 Making Perfectly Square and Circular Selections with the Rectangle Select and Ellipse Select Tools
• 3.4 A Lasso Selection
• 3.5 A Magic Wand Seed Pixel and Selection
• 3.6 Using the Bezier Control Points and Handles: (a) A Bezier path, (b) Simultaneously manipulating two control handles of a control point, (c) Manipulating an individual control handle, and (d) Moving a control point.
• 3.7 Creating a Bezier Path
• 3.8 Manipulating the Control Handles of a Bezier Control Point
• 3.9 Selection Created from the Bezier Path
• 3.10 The Required Number of Bezier Control Points?
• 3.11 How Antialiasing Works
• 3.12 A Practical Example of Using Antialiasing
• 3.13 The Effect of Feathering
• 3.14 The Sample Merged Option
• 3.15 Combining Selections
• 3.16 The Effect of Border
• 3.17 Saving a Selection to a Channel
• 3.18 The By Color Selection Tool
• 3.19 Converting a Selection to a Bezier Path
• 3.20 The Effect of Stroke
• 3.21 The Bezier Paths Dialog
• 3.22 Making a Path Visible in the Image Window and Changing a Path Title
• 3.23 Applying the Transform Lock to a Path
• 3.24 The Paths Menu
• 3.25 Selection Tool Teamwork
• 3.26 Using Zoom to Aid with Selections
• 3.27 Positioning an Elliptical Selection Using the Guides
• 4.1 The Channels Dialog
• 4.2 Saving a Selection to a Channel Mask
• 4.3 Viewing a Raw Channel Mask in the Image Window
• 4.4 Viewing an Image Layer Through the Channel Mask
• 4.5 Changing a Channel Mask's Color, Opacity, and Title
• 4.6 The Channels Menu
• 4.7 Two Channel Masks
• 4.8 Converting the First Mask to a Selection
• 4.9 Converting the Second Mask to a Selection and Adding it to the First
• 4.10 Creating the Combined Channel Mask
• 4.11 The Layers Menu
• 4.12 The Creation of a Layer Mask
• 4.13 Toggling from an Active Layer Mask to an Active Layer Image
• 4.14 Editing a Layer Mask Edits the Image Layer's Alpha Channel 
• 4.15 Viewing Only the Mask in the Image Window
• 4.16 Suppressing the Effect of the Layer Mask in the Image Window
• 4.17 Using Painting Tools on a Channel Mask
• 4.18 Using Selection Tools on a Channel Mask: Addition
• 4.19 Using Selection Tools on a Channel Mask: Subtraction
• 4.20 Two Images
• 4.21 Pasting and Positioning the Shuttle Over the Lunar Module
• 4.22 Two Images Blended Using a Gradient in a Layer Mask
• 4.23 The Brush Selection Dialog and the Mode Menu
• 4.24 Using Blending Modes to Combine Gradients
• 4.25 Custom Blending in the Upper Portion of the Image by Combining Additional Gradients Using the Multiply and Screen Modes
• 4.26 Compare Darken Only and Lighten Only with Multiply and Screen in Figure 4.24
• 4.27 Image with Two Layers and a Layer Mask
• 4.28 Decreasing the Opacity of the Top Layer and the Selection Obtained Using the Bezier Path Tool
• 4.29 The Result of Editing the Layer Mask
• 4.30 An Image and a Mask
• 4.31 Aliased Mask Edge Softened Using Blur Filter
• 4.32 Applying the Waves Filter to the Wood Duck Mask
• 4.33 Applying the Glass Tile Filter to the Wood Duck Mask
• 4.34 Applying the Spread Filter to the Wood Duck Mask
• 4.35 Selections, Channel Masks, Alpha Channels, and Layer Masks: Table of Conversions
• 4.36 Image Illustrating a Selection
• 4.37 A Mask Converted from the Selection
• 4.38 Illustrating the Three Basic Selection Problems
• 4.39 Introducing the Airbrush Tool
• 4.40 Solving the Three Basic Selection Problems with the Airbrush Tool
• 4.41 Using the Quick Mask
• 4.42 Quick Mask Options
• 4.43 Pasting the Image into Its Own Channel Mask
• 4.44 Applying Threshold to the Channel Mask
• 4.45 The Resulting Mask Defects as Seen in the Image Window
• 4.46 Using the Lasso Tool to Remove Defect Regions
• 4.47 Using the Paintbrush Tool to Fill in Missing Regions
• 4.48 Converting the Mask to a Selection
• 4.49 A Flower Image and the Decompose dialog
• 4.50 The RGB and HSV Decompositions of the Flower
• 5.1 Representing a Color with an RGB Triple: Purple= 172^R 83^G 232^B
• 5.2 The RGB Color Cube
• 5.3 Hue, Saturation, and Value
• 5.4 Decomposing a Color Image into its HSV Components
• 5.5 Planes of Constant Brightness in the RGB Cube
• 5.6 Different Projections Onto the Neutral Axis
• 5.7 Cones of Constant Saturation in the RGB Cube
• 5.8 Wedges of Constant Hue in the RGB Cube
• 5.9 The HSV Coordinates in the RGB Color Cube
• 5.10 The Three Methods for Converting to Grayscale
• 5.11 The Blending Mode Menus
• 5.12 The Dissolve Blending Mode
• 5.13 The Behind Blending Mode
• 5.14 Addition and Subtraction in the RGB Cube
• 5.15 Using the Addition Blending Mode
• 5.16 Using the Subtract and Difference Blending Modes
• 5.17 The Multiply and Screen Modes in the RGB Cube
• 5.18 An Example of Multiply, Divide, Screen, and Overlay Modes
• 5.19 An Example of Darken Only and Lighten Only Modes
• 5.20 An Example of Hue Mode
• 5.21 An Example of Saturation Mode
• 5.22 An Example of Value Mode
• 5.23 An Example of Color Mode
• 5.24 Explanation of Opacity in the RGB Cube
• 5.25 An Example Application of Transparency
• 5.26 Image Whose Color Is to Be Changed
• 5.27 Making the Kitten's Coat Tabby-Colored
• 5.28 Making the Kitten's Eyes Blue
• 5.29 Making the T-shirt a Khaki Green Using Multiply Mode
• 5.30 Original Circle with Measured Colors Shown in Color Selection Dialogs
• 5.31 Screening a Diffuse Highlight
• 5.32 Multiplying in a Diffuse Shadow
• 6.1 Highlights and Shadows in a Grayscale Image
• 6.2 Limited Tonal Range
• 6.3 The Levels Tool
• 6.4 Image of Deep Sea Turtle Having Compressed Tonal Range
• 6.5 Levels for R, G, and B Channels
• 6.6 Levels for R, G, and B Channels with Adjusted Input Control Arrows
• 6.7 Deep Sea Turtle with Maximized Tonal Range
• 6.8 The Curves Tool
• 6.9 Adding and Moving a Control Point
• 6.10 Image with Shadow-to-Midtone and Midtone-to-Highlight Gradients
• 6.11 Improving the Contrast of the Midtone-to-Highlight Gradient
• 6.12 Improving the Contrast of the Shadow-to-Midtone Gradient
• 6.13 Image with a Color Cast? The Measured Pixels Say Yes!
• 6.14 Using the Measured Pixel Values to Modify the Red Curve
• 6.15 Using the Measured Pixel Values to Modify the Blue Curve
• 6.16 Comparison of the Original and Color Corrected Images
• 6.17 Using the Threshold Tool to Find Shadows and Highlights: (a) Original Photo (b) Darkest Shadows (c) Lightest Highlights
• 6.18 Implementation of the Perturbation Technique: (a) Placing the Shadow, Midtone, and Highlight Region Control Points (b) Perturbation of the Midtone Control Point
• 6.19 Image with a Color Cast. Can you see it?
• 6.20 The Three Adjusted Curves Using the Perturbation Technique
• 6.21 The Color Corrected Image
• 6.22 Original and Color Corrected Images
• 6.23 Using Threshold to Find the Correct Value Range
• 6.24 Using Curves to Improve Contrast in the Subject Value Range
• 6.25 Comparing Color Balance to the Curves Tool
• 6.26 Comparing Brightness-Contrast with the Curves Tool
• 6.27 The Hue-Saturation Tool
• 6.28 Hue-Saturation
• 6.29 Image with Unwanted Content
• 6.30 Zoom of Image Showing (a) Clone Reference Point and (b) Application of Clone Tool to Unwanted Image Area
• 6.31 Original Image and Final Image with Unwanted Image Content Removed
• 6.32 Understanding the Unsharp Mask
• 6.33 Illustrating the Effect of Applying the Unsharp Mask
• 6.34 An Example of Applying the Unsharp Mask
• 6.35 Example of Unsharp Mask Provoking a Color Shift
• 6.36 Circumventing the Unsharp Mask Color Shift Problem by Sharpening only the Value Channel
• 6.37 Original Image
• 6.38 Tonal Range Maximized and Midtones Adjusted with the Levels Tool: (a) Original Image and (b) Result of Levels Tool
• 6.39 Color Cast Correction with Curves: (a) Previous and (b) Color Corrected Image
• 6.40 Blemish Removed with Clone Tool
• 6.41 Selection of Background
• 6.42 Background Lightened with Curves: (a) Before and (b) After
• 6.43 Comparison of Original and Enhanced Photos
• 7.1 Collection of Selected Sea Creatures
• 7.2 Pasting an Image Component into the Holiday Scene Background
• 7.3 Scaling the Angel Fish
• 7.4 The Beginnings of a Composition
• 7.5 Using a Layer Mask to Create the Illusion of Depth
• 7.6 The Final Composition
• 7.7 A Tin Can Discarded as Trash
• 7.8 A Flower and a Visiting Friend
• 7.9 The Flower Layer Pasted and Oriented over the Tin Can Layer
• 7.10 Using the Measure Tool to Compute the Correct Angle of Rotation
• 7.11 Using a Bezier Path to Delineate the Insect's Outline, and Toggling On the Path Transform Lock
• 7.12 Bezier Path Outline Rotating with Transform Grid
• 7.13 Making a Selection of the Tin Can
• 7.14 Flower Layer Masked by Tin Can
• 7.15 Using the Multiply Blending Mode on the Flower Layer
• 7.16 Final Composition
• 7.17 Original Image of Saturn
• 7.18 Original Image of Shuttle Launch
• 7.19 Assembling the Pieces
• 7.20 A First Attempt to Blend the Shuttle Launch and Saturn Layers
• 7.21 Creating a Mask of the Space Shuttle Layer
• 7.22 Application of the Space Shuttle and Launch Equipment Layer Mask
• 7.23 The Final Blended Image
• 7.24 Original Images of the Young Woman and the Fish
• 7.25 Using Threshold and the Lasso to Create a Mask for the Woman
• 7.26 Using the Paintbrush to Finish the Mask of the Woman
• 7.27 Applying a Layer Mask to the Woman
• 7.28 Uniting the Pieces
• 7.29 Flipping and Positioning the Tail Fin
• 7.30 Fusing the Tail Fin to the Woman's Lower Legs
• 7.31 Fusing the Remainder of the Tail and Correcting for Image Inconsistencies
• 7.32 The Mermaid Placed into an Underwater Scene
• 7.33 Using Border and Gaussian Blur (IIR) to Soften the Cut-Out Look of the Mermaid's Edge
• 7.34 The Final Mermaid Composition
• 7.35 Collection of Positioned Images
• 7.36 Initial Geometric Distortion Corrections
• 7.37 Initial Color and Brightness Matching
• 7.38 Construction of a Gradient in a Layer Mask to Blend Away the Boundary Between Two Layers
• 7.39 The Result of Blending Two Layers
• 7.40 Using the Rectangle Select Tool to Create a Custom Gradient Mask
• 7.41 The Cropped and Layer Merged Panorama
• 7.42 The Molding Corrected and Final Panorama
• 8.1 Using the Bucket Fill Tool
• 8.2 Using the Threshold and Opacity Options
• 8.3 Filling with Image Patterns
• 8.4 The Different Gradient Types
• 8.5 Examples of Conical, Bi-Linear, and Shapeburst Gradients
• 8.6 Creating Text to be Used in Gradient Rendering Example
• 8.7 Rendering a Beveled Look
• 8.8 The Beveled Text on a Rendered Background
• 8.9 The Emboss Filter Dialog
• 8.10 Geometric View of the Emboss Filter Options
• 8.11 How Emboss is Applied to a 2D Image: Magnitudes of the Gradient Vectors
• 8.12 How Emboss is Applied to a 2D Image: Directions of the Gradient Vectors
• 8.13 Example of Using the Emboss Filter
• 8.14 Cape Cod from Space and a Pattern Texture
• 8.15 Applying the Bump map Filter to Cape Cod
• 8.16 A Daisy Selection
• 8.17 Filling, Blurring, and Offsetting Creates the Shadow
• 8.18 The Final Drop Shadow
• 8.19 Lightning Strike!
• 8.20 Placing Some Text
• 8.21 Creating the Layer Mask
• 8.22 The Final Punchout
• 8.23 Original Image and Color Corrected Selection of Astronaut
• 8.24 Making a Gray-Blue Background Layer and Creating a Channel Mask from the Astronaut's Alpha Channel
• 8.25 Starting the Punchout
• 8.26 Finishing the Punchout
• 8.27 Jazzing up the Punchout with a Pattern Image Background
• 8.28 The Final Rendered Image
• 8.29 The Two Layers Used to Create the Carved Rendering Effect
• 8.30 Creating an Inset
• 8.31 Creating the Carved Effect Using Bump map
• 8.32 Making the Punchout Effect
• 8.33 Using the Multiply Mode and the Opacity Slider to Obtain the Final Carved Effect
• 8.34 Creating the Background, Text, and Drop Shadow for the Chiseled Effect
• 8.35 Using the Shapeburst Gradient on the Text Layer
• 8.36 Creating the Chiseled Effect Using Bump map
• 8.37 Copying and Pasting the Chiseled Text to the Top Layer
• 8.38 Lightening the Text with the Levels Tool to Produce the Final Chiseled Effect
• 9.1 Example of Some GIMP Animation Features
• 9.2 Example of Replace Mode
• 9.3 Converting to Indexed
• 9.4 Saving an Animation as a GIF File
• 9.5 Clockwise from the Top Left, Four Views of the Space Shuttle: (a) Rear, (b) 2/3 Profile, (c) 1/3 Profile, and (d) Full Profile
• 9.6 Image to Be Used as Background to Shuttle Landing
• 9.7 Preparation of the Raw Shuttle Images and Creation of the Shuttle Image Clip Book  
• 9.8 Sequence of Shuttle Layers Used to Make the Animation Sequence
• 9.9 Adding the SuperNova Light Effect
• 9.10 Merging Each Shuttle Frame with a Background
• 9.11 The IWarp Filter
• 9.12 Using the IWarp Automated Animation Feature
• 9.13 The ImageMap Plug-in
• 9.14 Selecting a Polygon Region
• 9.15 Managing the Selected Regions
• 9.16 Map of the Southeast United States and the ImageMap Dialog
• 9.17 The Image Map Reloaded onto a White Background
• 9.18 Map of the Southeast United States Seen in Netscape
• 9.19 The Collection of Script-Fu Text Effect Scripts
• 9.20 The 3D Outline Script and Helper Dialogs
• 9.21 Result of Running the 3D Outline Script-Fu Script
• 9.22 Using the Plug-in Make Seamless
• 9.23 Clipping and Dithering Color Distortions
• 9.24 Illustration of Using Dithering to Simulate a Color
• 9.25 Web-Safe Color Palette
• 9.26 The VisiBone2 Web-Safe Color Palette
• 9.27 The Indexed Color Conversion Dialog
• 9.28 Choosing the Type of Color Distortion for Images with Smooth Color Variations
• 9.29 Choosing for Images with Large Uniform Color Regions
• 9.30 Antialiased Text After Conversion to Indexed...Yeeeks!
• 9.31 Using Semi-Flatten to Preserve the Effect of Semi-Transparency

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