diff --git a/404.rst b/404.rst --- a/404.rst +++ b/404.rst @@ -9,7 +9,7 @@ This might be because of the following: -* We moved the manual from MediaWiki to Sphinx and with that came a lot of reorganisation. +* We moved the manual from MediaWiki to Sphinx and with that came a lot of reorganization. * The page has been deprecated. * Or a simple typo in the url. diff --git a/contributors_manual/krita_manual_conventions.rst b/contributors_manual/krita_manual_conventions.rst --- a/contributors_manual/krita_manual_conventions.rst +++ b/contributors_manual/krita_manual_conventions.rst @@ -28,7 +28,7 @@ * `Directives `_ * `Roles `_ Sphinx specific docs: - * `Sphinx' page on restrucutred text `_ -- This is useful for the specific sphinx directives and roles it uses to generate for example table of contents. + * `Sphinx' page on restructured text `_ -- This is useful for the specific sphinx directives and roles it uses to generate for example table of contents. There's between the official reStructuredText and the sphinx docs multiple ways to do things. This document specifies the suggested conventions to go with. @@ -57,7 +57,7 @@ :license: GNU free documentation license 1.3 or later. 3. Indexing terms. - These are comma-seperated terms under which the page will be indexed in :ref:`genindex`. The generated index is quite useful for both pdf as well as people who are not sure what the exact name is of the term they are looking for. They are defined as following:: + These are comma-separated terms under which the page will be indexed in :ref:`genindex`. The generated index is quite useful for both pdf as well as people who are not sure what the exact name is of the term they are looking for. They are defined as following:: .. index:: Keyword, Keyword with Spaces, ! Main Definition Keyword @@ -135,7 +135,7 @@ .. [CIT2002] This is the citation. It's just like a footnote, except the label is textual. -Citaton can also be referenced with `citation `_ +Citation can also be referenced with `citation `_ We don't actually use footnotes in the manual due to the fact that it is a little bit too academical for our readers. However, we do collect documents and links that give a little bit more information on a topic at the end of a page. Sphinx has the ``.. seealso::`` directive for linking to external links, while reStructuredText suggests to use ``.. rubic:: Footnotes`` for specifically collecting footnotes as that plays nice with LaTeX. @@ -182,7 +182,7 @@ You can :sub:`subscript text` and :sup:`superscript text` by using ``:sub:`text``` and ``:sup:`text``` -However, use these super-sparingly! It is preffered to use the existing semantic markup in sphinx in any case, because that makes it easier for translators to make decisions about the nature of the text:: +However, use these super-sparingly! It is preferred to use the existing semantic markup in sphinx in any case, because that makes it easier for translators to make decisions about the nature of the text:: :menuselection:`settings --> configure Krita` :guilabel:`File` @@ -287,20 +287,20 @@ Definition Lists ~~~~~~~~~~~~~~~~ -A favourite! Definition lists are especially useful when dealing with ennumerating all the options in a docker and trying to add a simple explaination behind them. +A favourite! Definition lists are especially useful when dealing with enumerating all the options in a docker and trying to add a simple explanation behind them. Definition - explaination. + explanation. Another option - Explaination. + Explanation. To make them. You can make them like this:: Definition - explaination. + explanation. Another option - Explaination. + Explanation. Tables ------ @@ -352,7 +352,7 @@ .. note:: - Admonishments are sort of like a seperate section that the reader needs to pay attention to. + Admonishments are sort of like a separate section that the reader needs to pay attention to. Admonishments that can be used are the following(in order of seriousness): @@ -426,9 +426,9 @@ Only use them when you think the subject is too minor to have a proper heading. Topic - When the text is seperated from the flow, so it goes into a different subject than the text itself is naturally going to. + When the text is separated from the flow, so it goes into a different subject than the text itself is naturally going to. Rubric - When the text isn't seperated from the flow, but it does not need a header either. + When the text isn't separated from the flow, but it does not need a header either. Admonishments Only when they fit semantically. This is especially necessary for the danger and warning admonishments, as seeing them too often can make users blind to them. @@ -441,7 +441,7 @@ This is a paragraph, and we define a preformated snippet like so:: - Be sure to add a white space and a tab afterwards befor starting the snippet. + Be sure to add a white space and a tab afterwards before starting the snippet. You can also use the ``.. code::`` directive. If you add the language name after it, it'll do the appropriate syntax highlighting:: diff --git a/contributors_manual/krita_manual_readme.rst b/contributors_manual/krita_manual_readme.rst --- a/contributors_manual/krita_manual_readme.rst +++ b/contributors_manual/krita_manual_readme.rst @@ -224,7 +224,7 @@ Changing Pages ~~~~~~~~~~~~~~ -If you fully rewrite a page, as opossed to proofreading it, the resulting page should be reviewed. +If you fully rewrite a page, as opposed to proofreading it, the resulting page should be reviewed. If you change a page because a feature has changed, and you have commit access, the change can be pushed without review(unless you feel more comfortable with a review), but you should add:: diff --git a/general_concepts/colors/bit_depth.rst b/general_concepts/colors/bit_depth.rst --- a/general_concepts/colors/bit_depth.rst +++ b/general_concepts/colors/bit_depth.rst @@ -56,7 +56,7 @@ 8bit per channel Also known as "True Color", "Millions of colors" or "24bit/32bit". The standard for many screens, and the lowest bit-depth Krita can handle. 16bit per channel. - One step up from 8bit, 16bit per channel allows for colors that can't be displayed by the screen. However, due to this, you are more likely to have smoother gradients. Sometimes known as "Deep Color". This color depth type doesn't have negative values possible, so it is 16bit precision, meaning that you have have 65536 values per channel. + One step up from 8bit, 16bit per channel allows for colors that can't be displayed by the screen. However, due to this, you are more likely to have smoother gradients. Sometimes known as "Deep Color". This color depth type doesn't have negative values possible, so it is 16bit precision, meaning that you have 65536 values per channel. 16bit float Similar to 16bit, but with more range and less precision. Where 16bit only allows coordinates like [1, 4, 3], 16bit float has coordinates like [0.15, 0.70, 0.3759], with [1.0,1.0,1.0] representing white. Because of the differences between floating point and integer type variables, and because Scene-referred imaging allows for negative values, you have about 10-11bits of precision per channel in 16 bit floating point compared to 16 bit in 16 bit int(This is 2048 values per channel in the 0-1 range) Required for HDR/Scene referred images, and often known as 'half floating point'. 32bit float diff --git a/general_concepts/colors/color_managed_workflow.rst b/general_concepts/colors/color_managed_workflow.rst --- a/general_concepts/colors/color_managed_workflow.rst +++ b/general_concepts/colors/color_managed_workflow.rst @@ -53,7 +53,7 @@ :align: center -Group 2 had magenta red, citron yellow and cerulean blue. Magenta is a type of red that is closer to pink, opossed to vermillion, which is closer to orange. However, their green looks nice because cerulean is a much lighter blue. +Group 2 had magenta red, citron yellow and cerulean blue. Magenta is a type of red that is closer to pink, opposed to vermillion, which is closer to orange. However, their green looks nice because cerulean is a much lighter blue. .. figure:: /images/en/color_category/Krita_2_9_colormanagement_group3.png @@ -61,7 +61,7 @@ :align: center -Group 3 had vermillion red, citron yellow, edmerald green and cerulean blue. They didn't mix their green, and thus ended up with a purer colour. +Group 3 had vermillion red, citron yellow, emerald green and cerulean blue. They didn't mix their green, and thus ended up with a purer colour. .. figure:: /images/en/color_category/Krita_2_9_colormanagement_group4.png :figwidth: 500 @@ -79,7 +79,7 @@ Color management is, dryly put, a set of systems that tries to have the same colour translate properly between color devices. -It usually works by attempting to covert a colour to the reference colour space XYZ. XYZ is a coordinate system that has a spot for all colours that the avarage human eye can see. +It usually works by attempting to covert a colour to the reference colour space XYZ. XYZ is a coordinate system that has a spot for all colours that the average human eye can see. From XYZ it can then be translated back into another device space, such as RGB(for screens), or CMYK(for printers). @@ -140,7 +140,7 @@ Similarly, Krita, as a program intended to make images from scratch, doesn't really worry about assigning workspaces after having made the image. But because you are using the screen as a binocular to look at your image, and to pick colors, you can see your screen's device space as an input space to the image. Hence why profiling your monitor and giving the profile to Krita in the settings can help with preparing your work for print and future ventures in the long run. -Overal, it is kinda useful to keep things like viewing conditions in the back of your mind. Many professional artists use a mid-grey color as their default canvas background because they find they create much more dynamic images due to having improved their viewing conditions. It is also why a lot of graphics programs, including Krita, come with a dark theme nowadays. (Though, of course this might also be because dark themes can be considered cool, who knows.) +Overall, it is kinda useful to keep things like viewing conditions in the back of your mind. Many professional artists use a mid-grey color as their default canvas background because they find they create much more dynamic images due to having improved their viewing conditions. It is also why a lot of graphics programs, including Krita, come with a dark theme nowadays. (Though, of course this might also be because dark themes can be considered cool, who knows.) .. _icc_profiles: @@ -211,7 +211,7 @@ Black similarly, is brighter on a LCD display than a LED one, and incomparable with the black of a carefully sealed room. -This means that there's potentially blacker blacks than screen black, and white whites than screen white. However, for simplicity's sake we still assign the black-point and the white-point to certain values. From there, we can determine whether a white is whiter than the white point, or a black black than the black-point. +This means that there's potentially blacker blacks than screen black, and white whites than screen white. However, for simplicity's sake we still assign the black-point and the white-point to certain values. From there, we can determine whether a white is whiter than the white point, or a black blacker than the black-point. The LUT docker allows us to control this display-filter and modify the distortion. This is useful when we start modifying images that are made with scene referred values, such as HDR photos, or images coming out of a render engine. @@ -323,7 +323,7 @@ Use the sRGB-elle-V2-srgbtrc.icc for going between inkscape, photoshop, painttool sai, illustrator, Gimp, mypaint, mangastudio, paintstorm studio, mypaint, artrage, scribus, etc. and Krita. -If you are using a larger space via ICC, you will only be able to interchange it between Krita, Photoshop, Illustrator, GIMP 2.9, mangastudio and scribus. All others asume sRGB for your space, no matter what, because they don't have color management. +If you are using a larger space via ICC, you will only be able to interchange it between Krita, Photoshop, Illustrator, GIMP 2.9, mangastudio and scribus. All others assume sRGB for your space, no matter what, because they don't have color management. If you are going between Krita and Blender, Nuke or Natron, use OCIO and set the input space to 'sRGB', but make sure to select the sRGB profile for icc when creating a new file. @@ -365,7 +365,7 @@ While game engines need to have optimised content, and it's recommended to stay within 8bit, future screens may have higher bitdepths, and when renderers will start supporting those, it may be beneficial to develop a workflow where the working-space files are rather unnecessarily big and you run some scripts to optimise them for your current render needs, making updating the game in the future for fancier screens less of a drag. -Normal maps and heightmaps are officially supossed to be defined with a 'non-color data' working space, but you'll find that most engines will not care much for this. Instead, tell the game engine not to do any conversion on the file when importing. +Normal maps and heightmaps are officially supposed to be defined with a 'non-color data' working space, but you'll find that most engines will not care much for this. Instead, tell the game engine not to do any conversion on the file when importing. Specular, glossiness, metalness and roughness maps are all based on linear calculations, and when you find that a certain material has a metalness of 0.3, this is 30% gray in a linear space. Therefore, make sure to tell the game engine renderer that this is a linear space image(or at the very least, should NOT be converted). diff --git a/general_concepts/colors/color_models.rst b/general_concepts/colors/color_models.rst --- a/general_concepts/colors/color_models.rst +++ b/general_concepts/colors/color_models.rst @@ -185,7 +185,7 @@ b\* b\* in this case is a measurement of how yellow a color is versus how blue a color is. -L\*a\*b\* is supossed to be a more comprehensible variety of XYZ and the most 'complete' of all color spaces. It's often used as an in between colour space in conversion, but even more as the correct color space to do color-balancing in. It's far easier to adjust the contrast and color tone in L*a*b*. +L\*a\*b\* is supposed to be a more comprehensible variety of XYZ and the most 'complete' of all color spaces. It's often used as an in between colour space in conversion, but even more as the correct color space to do color-balancing in. It's far easier to adjust the contrast and color tone in L*a*b*. L\*a\*b\* is technically the same as Photoshop's LAB. Photoshop specifically uses CIELAB d50. diff --git a/general_concepts/colors/color_space_size.rst b/general_concepts/colors/color_space_size.rst --- a/general_concepts/colors/color_space_size.rst +++ b/general_concepts/colors/color_space_size.rst @@ -38,7 +38,7 @@ .. image:: /images/en/color_category/Basiccolormanagement_gradientsin4spaces_nonmanaged.png -On the left we have an artefact-ridden color managed jpeg file with an ACES sRGBtrc v2 profile attached(or not, depending on mediawiki's mood, if not then you can see the exact different between the colors more clearly). This should give an approximation of the actual colors. On the right, we have a sRGB png that was converted in Krita from the base file. +On the left we have an artifact-ridden color managed jpeg file with an ACES sRGBtrc v2 profile attached(or not, depending on mediawiki's mood, if not then you can see the exact different between the colors more clearly). This should give an approximation of the actual colors. On the right, we have a sRGB png that was converted in Krita from the base file. Each of the gradients are gradients from the max of a given channel. As you can see, the mid-tone of the ACES color space is much brighter than the mid-tone of the RGB colorspace, and this is because the primaries are further apart. diff --git a/general_concepts/colors/linear_and_gamma.rst b/general_concepts/colors/linear_and_gamma.rst --- a/general_concepts/colors/linear_and_gamma.rst +++ b/general_concepts/colors/linear_and_gamma.rst @@ -70,7 +70,7 @@ Green 0.0 1.0 0.0 ===== === ===== ==== -We then avarage these coordinates over three mixes: +We then average these coordinates over three mixes: +-------+-----+------+------+------+-------+ | | Red | Mix1 | Mix2 | Mix3 | Green | @@ -82,7 +82,7 @@ | Blue | 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | +-------+-----+------+------+------+-------+ -But to figure out how these colours look on screen, we first put the indvidual values through the TRC of the color-space we're working with: +But to figure out how these colours look on screen, we first put the individual values through the TRC of the color-space we're working with: .. image:: /images/en/color_category/Basicreading3trcsv2.svg diff --git a/general_concepts/colors/profiling_and_callibration.rst b/general_concepts/colors/profiling_and_callibration.rst --- a/general_concepts/colors/profiling_and_callibration.rst +++ b/general_concepts/colors/profiling_and_callibration.rst @@ -85,4 +85,4 @@ ;multi-monitor setup when using several monitors, and specially in mirror mode where both monitor have the same content, you can't have this content color-managed for both screen profiles. In such case, calibrating both screens to match sRGB profile (or another standard for high-end monitors if they both support it) can be a good solution. soft-proofing - when you need to match an exact rendering context for soft-proofing, calibrating can help getting closer to the expected result. Though switching through several monitor calibration and profiles should be done extremely carefuly. + when you need to match an exact rendering context for soft-proofing, calibrating can help getting closer to the expected result. Though switching through several monitor calibration and profiles should be done extremely careful. diff --git a/general_concepts/colors/scene_linear_painting.rst b/general_concepts/colors/scene_linear_painting.rst --- a/general_concepts/colors/scene_linear_painting.rst +++ b/general_concepts/colors/scene_linear_painting.rst @@ -7,7 +7,7 @@ :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. -.. index:: Color, HDR, High Dynamic Range, Scene Linear, Scene Reffered, Scene Linear Painting +.. index:: Color, HDR, High Dynamic Range, Scene Linear, Scene Referred, Scene Linear Painting .. _scene_linear_painting: ===================== diff --git a/general_concepts/file_formats.rst b/general_concepts/file_formats.rst --- a/general_concepts/file_formats.rst +++ b/general_concepts/file_formats.rst @@ -32,7 +32,7 @@ :ref:`Non-lossy or lossless formats `, like ``png``, ``gif`` or ``bmp`` are in contrast, much heavier on disk, but much more likely to retain quality. -Then, there's proper working file formats like Krita's ``.kra``, Gimp's ``xcf``, Photoshop's ``psd``, but also interchange formats like ora and exr. These are the heaviest on the hard-drive and often require special programs to open them up, but on the other hand these are meant to keep your working enviroment in tact, and keep all the layers and guides in them. +Then, there's proper working file formats like Krita's ``.kra``, Gimp's ``xcf``, Photoshop's ``psd``, but also interchange formats like ora and exr. These are the heaviest on the hard-drive and often require special programs to open them up, but on the other hand these are meant to keep your working environment in tact, and keep all the layers and guides in them. Metadata -------- diff --git a/general_concepts/file_formats/file_csv.rst b/general_concepts/file_formats/file_csv.rst --- a/general_concepts/file_formats/file_csv.rst +++ b/general_concepts/file_formats/file_csv.rst @@ -7,7 +7,7 @@ :authors: - Lazlo Fazekas :license: GNU free documentation license 1.3 or later. -.. index:: *.csv, CSV, Comma Seperated Values +.. index:: *.csv, CSV, Comma Separated Values .. _file_csv: ====== diff --git a/general_concepts/file_formats/file_gih.rst b/general_concepts/file_formats/file_gih.rst --- a/general_concepts/file_formats/file_gih.rst +++ b/general_concepts/file_formats/file_gih.rst @@ -35,7 +35,7 @@ Random This'll draw the images randomly. This is good for image-collections used in speedpainting as well as images that generate texture. Or perhaps more graphical symbols. Angle - This'll use the draging angle to determine with image to draw. + This'll use the dragging angle to determine with image to draw. When exporting a krita file as a .gih, you will also get the option to set the default spacing, the option to set the name(very important for looking it up in the UI) and the ability to choose whether or not to generate the mask from the colors. diff --git a/general_concepts/file_formats/file_jpeg.rst b/general_concepts/file_formats/file_jpeg.rst --- a/general_concepts/file_formats/file_jpeg.rst +++ b/general_concepts/file_formats/file_jpeg.rst @@ -23,4 +23,4 @@ But for images with a lot of sharp contrasts, like text and comic book styles, png is a much better choice despite a larger file size. For grayscale images, png and gif will definitely be more efficient. -Because jpeg uses lossy compression, it is not adviced to save over the same jpeg multiple times. The lossy compression will cause the file to reduce in quality each time you save it. This is a fundamental problem with lossy compression methods. Instead use a lossless file format, or a working file format while you are working on the image. +Because jpeg uses lossy compression, it is not advised to save over the same jpeg multiple times. The lossy compression will cause the file to reduce in quality each time you save it. This is a fundamental problem with lossy compression methods. Instead use a lossless file format, or a working file format while you are working on the image. diff --git a/general_concepts/projection/practical.rst b/general_concepts/projection/practical.rst --- a/general_concepts/projection/practical.rst +++ b/general_concepts/projection/practical.rst @@ -46,7 +46,7 @@ .. image:: /images/en/category_projection/projection_animation_06.gif :align: center -Here you can see that the the misalignment of the vanishing point to the projection plane causes skewing which was then fixed by Krita’s transform tools, technically it’s of course correct, but what is correct doesn’t always look good. (I also mess up the position of the shoulder for a good while if you look closely.) +Here you can see that the misalignment of the vanishing point to the projection plane causes skewing which was then fixed by Krita’s transform tools, technically it’s of course correct, but what is correct doesn’t always look good. (I also mess up the position of the shoulder for a good while if you look closely.) .. image:: /images/en/category_projection/projection_image_40.png :align: center diff --git a/locale/fr/LC_MESSAGES/reference_manual/preferences/python_plugin_manager.po b/locale/fr/LC_MESSAGES/reference_manual/preferences/python_plugin_manager.po --- a/locale/fr/LC_MESSAGES/reference_manual/preferences/python_plugin_manager.po +++ b/locale/fr/LC_MESSAGES/reference_manual/preferences/python_plugin_manager.po @@ -31,7 +31,7 @@ #: ../../reference_manual/preferences/python_plugin_manager.rst:22 msgid "" -"The python plugin manager can be accesed from :menuselection:`Settings " +"The python plugin manager can be accessed from :menuselection:`Settings " "--> Configure Krita --> Python Plugin Manager`. It allows you decide " "which of the Python Plugins are active." msgstr "" diff --git a/reference_manual/blending_modes/hsx.rst b/reference_manual/blending_modes/hsx.rst --- a/reference_manual/blending_modes/hsx.rst +++ b/reference_manual/blending_modes/hsx.rst @@ -34,7 +34,7 @@ ~~~ HSV, occasionally called HSB, is a color coordinate system. It measures colors in Hue, Saturation, and Value(also called Brightness). -Value or Brightness specifically reffers to strength at which the pixel-lights on your monitor have to shine. It sets Yellow(rgb:1,1,0), Blue(rgb:0,0,1) and White(rgb:1,1,0) at the same Value(100%) +Value or Brightness specifically refers to strength at which the pixel-lights on your monitor have to shine. It sets Yellow(rgb:1,1,0), Blue(rgb:0,0,1) and White(rgb:1,1,0) at the same Value(100%) HSY ~~~ diff --git a/reference_manual/blending_modes/negative.rst b/reference_manual/blending_modes/negative.rst --- a/reference_manual/blending_modes/negative.rst +++ b/reference_manual/blending_modes/negative.rst @@ -56,7 +56,7 @@ Left: **Normal**. Right: **Difference**. -.. index:: ! Equivelance +.. index:: ! Equivalence .. _bm_equivalence: Equivalence diff --git a/reference_manual/brushes/brush_engines/curve_engine.rst b/reference_manual/brushes/brush_engines/curve_engine.rst --- a/reference_manual/brushes/brush_engines/curve_engine.rst +++ b/reference_manual/brushes/brush_engines/curve_engine.rst @@ -68,7 +68,7 @@ * Set line width to a higher value (ex.: 5), then turn line width dynamics on: * If you're a tablet user, just set this to Pressure (this should be selected by default so just turn on the Line Width dynamics). I can't check myself, but a tablet user confirmed to me that it works well enough with Draw Dynamically. - * If you're a mouse user hoping to to get variable line width, set the Line Width dynamics to Speed. + * If you're a mouse user hoping to get variable line width, set the Line Width dynamics to Speed. .. image:: /images/en/Krita-tutorial6-I.2-2.png diff --git a/reference_manual/brushes/brush_engines/shape_brush_engine.rst b/reference_manual/brushes/brush_engines/shape_brush_engine.rst --- a/reference_manual/brushes/brush_engines/shape_brush_engine.rst +++ b/reference_manual/brushes/brush_engines/shape_brush_engine.rst @@ -39,5 +39,5 @@ Winding Fill This gives you the option to use a 'non-zero' fill rules instead of the 'even-odd' fill rule, which means that where normally crossing into the shape created transparent areas, it now will not. Hard Edge - Removes the ant-anliasing, to get a pixelized line. + Removes the anti-aliasing, to get a pixelized line. diff --git a/reference_manual/brushes/brush_engines/spray_brush_engine.rst b/reference_manual/brushes/brush_engines/spray_brush_engine.rst --- a/reference_manual/brushes/brush_engines/spray_brush_engine.rst +++ b/reference_manual/brushes/brush_engines/spray_brush_engine.rst @@ -61,7 +61,7 @@ Jitter Movement Jitters the spray area around for extra randomness. Gaussian Distribution - Focusses the particles to paint in the center instead of evenly random over the spray area. + Focuses the particles to paint in the center instead of evenly random over the spray area. .. _option_spray_shape: diff --git a/reference_manual/brushes/brush_settings/brush_tips.rst b/reference_manual/brushes/brush_settings/brush_tips.rst --- a/reference_manual/brushes/brush_settings/brush_tips.rst +++ b/reference_manual/brushes/brush_settings/brush_tips.rst @@ -66,7 +66,7 @@ .. image:: /images/en/Krita_2_9_brushengine_brushtips_default_3.png -(With fade seperately horizontal and vertical) +(With fade separately horizontal and vertical) Angle This changes the angle a which the brush is at. diff --git a/reference_manual/brushes/brush_settings/masked_brush.rst b/reference_manual/brushes/brush_settings/masked_brush.rst --- a/reference_manual/brushes/brush_settings/masked_brush.rst +++ b/reference_manual/brushes/brush_settings/masked_brush.rst @@ -40,7 +40,7 @@ :ref:`option_size` The size sensor option of the second tip. :ref:`option_opacity_n_flow` - The opacity and flow of the second tip. This is mapped to a sensor by default. Flow can be quite agressive on subtract mode, so it might be an idea to turn it off there. + The opacity and flow of the second tip. This is mapped to a sensor by default. Flow can be quite aggressive on subtract mode, so it might be an idea to turn it off there. :ref:`option_ratio` This affects the brush ratio on a given brush. :ref:`option_mirror` diff --git a/reference_manual/brushes/brush_settings/options.rst b/reference_manual/brushes/brush_settings/options.rst --- a/reference_manual/brushes/brush_settings/options.rst +++ b/reference_manual/brushes/brush_settings/options.rst @@ -59,7 +59,7 @@ In the above example, several applications of the parameter. -#. Drawing Angle -- A common one, usually used in combination with rake-type brushes. Especially effect because it does not rely on tablet-specific sensors. Sometimes, Tilt-Direction or Rotation is used to achieve a similar-more tablet focussed effect, where with Tilt the 0° is at 12 o'clock, Drawing angle uses 3 o'clock as 0°. +#. Drawing Angle -- A common one, usually used in combination with rake-type brushes. Especially effect because it does not rely on tablet-specific sensors. Sometimes, Tilt-Direction or Rotation is used to achieve a similar-more tablet focused effect, where with Tilt the 0° is at 12 o'clock, Drawing angle uses 3 o'clock as 0°. #. Fuzzy -- Also very common, this gives a nice bit of randomness for texture. #. Distance -- With careful editing of the Sensor curve, you can create nice patterns. #. Fade -- This slowly fades the rotation from one into another. diff --git a/reference_manual/brushes/brush_settings/texture.rst b/reference_manual/brushes/brush_settings/texture.rst --- a/reference_manual/brushes/brush_settings/texture.rst +++ b/reference_manual/brushes/brush_settings/texture.rst @@ -32,7 +32,7 @@ Multiply Uses alpha multiplication to determine the effect of the texture. Has a soft feel. Subtract - Uses substraction to determine the effect of the texture. Has a harsher, more texture feel. + Uses subtraction to determine the effect of the texture. Has a harsher, more texture feel. .. image:: /images/en/Krita_2_9_brushengine_texture_01.png diff --git a/reference_manual/dockers/advanced_color_selector.rst b/reference_manual/dockers/advanced_color_selector.rst --- a/reference_manual/dockers/advanced_color_selector.rst +++ b/reference_manual/dockers/advanced_color_selector.rst @@ -34,7 +34,7 @@ There's a small blurb explaining the characteristic of each model, but let's go into detail: HSV - Stands for Hue, Saturation, Value. Saturation determines the difference between white, grey, black and the most colorful color. Value in turn measures either the difference between black and white, or the difference between blakc and the most colorful color. + Stands for Hue, Saturation, Value. Saturation determines the difference between white, grey, black and the most colorful color. Value in turn measures either the difference between black and white, or the difference between black and the most colorful color. HSL Stands for Hue, Saturation, Lightness. All saturated colors are equal to 50% lightness. Saturation allows for shifting between grey and color. HSI @@ -93,7 +93,7 @@ The size given here, is also the size of the Main Color Selector and the MyPaint Shade Selector when they are called with :kbd:`shift + I` and :kbd:`shift`+:kbd:`M`, respectively. Hide Pop-up on click - This allows you to let the pop-up selectors called with the above hotkeys to dissapear upon clicking them instead of having to leave the pop-up boundary. This is useful for faster working. + This allows you to let the pop-up selectors called with the above hotkeys to disappear upon clicking them instead of having to leave the pop-up boundary. This is useful for faster working. Shade selector -------------- diff --git a/reference_manual/dockers/animation_curve.rst b/reference_manual/dockers/animation_curve.rst --- a/reference_manual/dockers/animation_curve.rst +++ b/reference_manual/dockers/animation_curve.rst @@ -38,7 +38,7 @@ Custom interpolation This allows you to set the section after the keyframe node as one that can be modified. |mouseleft| +dragging on the node allows you to drag out a handler node for adjusting the curving. -So, for example, making a 100% opacity keyframe on frame 0 and and a 0% opacity one on frame 24 gives the following result: +So, for example, making a 100% opacity keyframe on frame 0 and a 0% opacity one on frame 24 gives the following result: .. image:: /images/en/Ghost_linear.gif diff --git a/reference_manual/dockers/compositions.rst b/reference_manual/dockers/compositions.rst --- a/reference_manual/dockers/compositions.rst +++ b/reference_manual/dockers/compositions.rst @@ -28,7 +28,7 @@ Removing compositions The minus sign. Select a composition, and hit this button to remove it. Updating compositions - |mouseright| a composition to overwrite it with the the current configuration. + |mouseright| a composition to overwrite it with the current configuration. Rename composition |mouseright| a composition to rename it. diff --git a/reference_manual/dockers/layers.rst b/reference_manual/dockers/layers.rst --- a/reference_manual/dockers/layers.rst +++ b/reference_manual/dockers/layers.rst @@ -86,7 +86,7 @@ * :kbd:`Ctrl + Shift + G` will quickly set-up a clipping group, with the selected layers added into the group, and a new layer added on top with alpha-inheritance turned on, ready for painting! * :kbd:`ctrl + Alt + G` will ungroup layers inside a group. * :kbd:`Alt` + |mouseleft| on the thumbnail for isolated view of a layer. This will maintain between layers till the same action is repeated again. -* :kbd:`Shift` + |mouseleft| on the eye-icon for hidding all but the current layer. +* :kbd:`Shift` + |mouseleft| on the eye-icon for hiding all but the current layer. * :kbd:`Page Up` and :kbd:`Page Down` for switching between layers. * :kbd:`Ctrl + Page Up` and :kbd:`Ctrl + Page Down` will move the selected layers up and down. diff --git a/reference_manual/dockers/specific_color_selector.rst b/reference_manual/dockers/specific_color_selector.rst --- a/reference_manual/dockers/specific_color_selector.rst +++ b/reference_manual/dockers/specific_color_selector.rst @@ -29,10 +29,10 @@ ------- These change per color space. -If you chose 16bit float or 32 bit float, these will go from 0 to 1.0, with the decimals deciding the the difference between colors. +If you chose 16bit float or 32 bit float, these will go from 0 to 1.0, with the decimals deciding the difference between colors. Hex Color Selector ------------------ This is only available for the color spaces with a depth of 8 bit. -This allows you to input hex color codes, and receive the RGB, CMYK, LAB, XYZ or YCrCb equivelant, and the other way around!. +This allows you to input hex color codes, and receive the RGB, CMYK, LAB, XYZ or YCrCb equivalent, and the other way around! diff --git a/reference_manual/dr_minw_debugger.rst b/reference_manual/dr_minw_debugger.rst --- a/reference_manual/dr_minw_debugger.rst +++ b/reference_manual/dr_minw_debugger.rst @@ -42,7 +42,7 @@ .. image:: /images/en/Mingw-explorer-path.png #. Find the file ``kritacrash.log`` (it might appear as simply ``kritacrash`` depending on your settings.) -#. Open the file with Notepad and scroll to the bottom, then scroll up to the first occurance of “Error occured on