diff --git a/contributors_manual/optimising_images.rst b/contributors_manual/optimising_images.rst --- a/contributors_manual/optimising_images.rst +++ b/contributors_manual/optimising_images.rst @@ -66,7 +66,7 @@ Images with a lot of transparency. These should use PNG. -The logic is the way how each of these saves colors. Jpeg is ideal for photos and images with a lot of gradients because it :ref:`compresses differently `. However, contrasts don't do wel in jpeg. PNG does a lot better with images with sharp contrasts, while in some cases we can even have less than 256 colors, so gif might be better. +The logic is the way how each of these saves colors. Jpeg is ideal for photos and images with a lot of gradients because it :ref:`compresses differently `. However, contrasts don't do well in jpeg. PNG does a lot better with images with sharp contrasts, while in some cases we can even have less than 256 colors, so gif might be better. Greyscale images, even when they have a lot of gradients variation, should be PNG. The reason is that when we use full color images, we are, depending on the image, using 3 to 5 numbers to describe those values, with each of those values having a possibility to contain any of 256 values. JPEG and other 'lossy' file formats use clever psychological tricks to cut back on the amount of values an image needs to show its contents. However, when we make grayscale images, we only keep track of the lightness. The lightness is only one number, that can have 256 values, making it much easier to just use gif or PNG, instead of jpeg which could have nasty artifacts. (And, it is also a bit smaller) @@ -82,14 +82,14 @@ The most commonly recommended tool for this on Windows is `IrfranView `_, but the dear writer of this document has no idea how to use it exactly. -The other options is to use PNGCrush as mentioned in the linux section. +The other option is to use PNGCrush as mentioned in the linux section. Linux ~~~~~ Optimising PNGS ^^^^^^^^^^^^^^^ -There is a whole laundry list of `PNG optimisation tools `_ available on Linux. They come in two categories: Lossy(Using psychological tricks), and Lossless(trying to compress the data more conventionally). The following are however the most recommended: +There is a whole laundry list of `PNG optimisation tools `_ available on Linux. They come in two categories: Lossy (Using psychological tricks), and Lossless (trying to compress the data more conventionally). The following are however the most recommended: `PNGQuant `_ A PNG compressor using lossy techniques to reduce the amount of colors used in a smart way. @@ -257,7 +257,7 @@ exiftool -Marked=true -License="http://creativecommons.org/licenses/by-sa/4.0" -attributionURL="docs.krita.org" attributionName="kritaManual" image.png With imagemagick you can use the profile option again. - First extract the data(if there is any):: + First extract the data (if there is any):: convert image.png image_meta.xmp diff --git a/general_concepts/colors.rst b/general_concepts/colors.rst --- a/general_concepts/colors.rst +++ b/general_concepts/colors.rst @@ -51,7 +51,7 @@ :align: center -This cube is not filled with water, or sand, or even *concrete*, but colors! Colors are pretty *abstract*, and we typically talk about cubes and other 3D objects that represent abstract ideas as **spaces**, hence we call this cube a **color space**. Because this particular cube uses red, green, and blue as it’s axes, we say that our cube is in the RGB :ref:`RGB color model `. +This cube is not filled with water, or sand, or even *concrete*, but colors! Colors are pretty *abstract*, and we typically talk about cubes and other 3D objects that represent abstract ideas as **spaces**, hence we call this cube a **color space**. Because this particular cube uses red, green, and blue as its axes, we say that our cube is in the RGB :ref:`RGB color model `. There are many more color models. For example, if we were to balance our cube on the black corner, the white corner would be right under our finger at the very top of the cube. And as geometry and maths would have it, if we were to cut the cube in half as we balanced it, the line from the white point at the top to the black point at the bottom would be the **grayscale**. 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 @@ -32,7 +32,7 @@ Let us imagine a kinder garden: -The class of 28 children is subdivided in groups of 7. Each group has their own table. +The class of 28 children is subdivided in groups of 7. Each group has its own table. The teacher gives them a painting assignment: They need to paint a red triangle, a blue square, a green circle and put a yellow border around the three. The kids are very experienced with painting already, so the teacher can confidently leave the smarter ones to their own devices, and spent more time on those who need help. @@ -221,9 +221,9 @@ :align: center -So, for example, we can chose to scale whiter-than-screen-white to our screen-white so we can see the contrasts there. +So, for example, we can choose to scale whiter-than-screen-white to our screen-white so we can see the contrasts there. -The point of this is that you can take advantage of more lightness detail in an image. While you can't see the difference between screen white and whiter-than-screen-white(because you screen can't show the difference), graphics programs can certainly use it. +The point of this is that you can take advantage of more lightness detail in an image. While you can't see the difference between screen white and whiter-than-screen-white (because your screen can't show the difference), graphics programs can certainly use it. A common example is matching the lighting between a 3d model and a real world scene. Others are advanced photo retouching, with much more contrast information available to the user. In painting itself, this allows you to create an image where you can be flippant with the contrast, and allow yourself to go as bright as you'd like. @@ -262,7 +262,7 @@ Exporting --------- -when you have finished you image and are ready to export it, you can modify the color space to optimize it: +when you have finished your image and are ready to export it, you can modify the color space to optimize it: If you are preparing an image for the web: @@ -367,7 +367,7 @@ 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). +Specular, glossiness, metalness and roughness maps are all based on linear calculations, and when you find that 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). .. seealso:: diff --git a/general_concepts/colors/color_mixing.rst b/general_concepts/colors/color_mixing.rst --- a/general_concepts/colors/color_mixing.rst +++ b/general_concepts/colors/color_mixing.rst @@ -86,13 +86,13 @@ .. image:: /images/en/color_category/Color_scumble2.gif :align: center -Like most painting programs, Krita allow you to pick a :ref:`option_brush_tip`, which can be used to create a textured effect like that of scumbling. +Like most painting programs, Krita allows you to pick a :ref:`option_brush_tip`, which can be used to create a textured effect like that of scumbling. .. image:: /images/en/color_category/Color_scumble.gif :align: center -Krita's brush engines also allows you to use :ref:`option_texture`. This allows you to create interesting and stylized screentone-like effects. +Krita's brush engines also allow you to use :ref:`option_texture`. This allows you to create interesting and stylized screentone-like effects. With glazing can get you pretty far when it comes to *defining planes and forms*, scumbling is the best method to *create texture and to break up big pasty flats* in your painting. @@ -140,9 +140,9 @@ Other Tips ---------- -Outside of making it easier to create smooth gradients, mixing has another benefit: It allows you create a cohesive piece. +Outside of making it easier to create smooth gradients, mixing has another benefit: It allows you to create a cohesive piece. -Limiting the amount of colors we use and then mixing tends to give a more cohesive palette, as we're not trying to do too much at once. This cohesive palette in turn means it will become easier to create a certain mood in an image. Sometimes, mixing in a little bit of accent color can also create unexpected results which in turn can be a little discovery for the audience to delight over as they discover the world of your image. +Limiting the number of colors we use and then mixing tends to give a more cohesive palette, as we're not trying to do too much at once. This cohesive palette in turn means it will become easier to create a certain mood in an image. Sometimes, mixing in a little bit of accent color can also create unexpected results which in turn can be a little discovery for the audience to delight over as they discover the world of your image. What we can learn from this, is that the next time we select, say, gray, instead of reaching for a random or generic gray from the Advanced Color Selector, consider using one of Krita's many wonderful mixing tools to create an interesting and fitting gray from hues that are roughly complementary (opposite each other on the hue wheel). 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 @@ -33,7 +33,7 @@ * Or for Video games, both sprites and textures are best in RGB there. * Or for 3d rendering, visual effects and cg animation. -And for the working space. A working space is a RGB gamut that is really large and predictable, meaning it's good for image manipulation. You use this next to a profiled monitor. This way you can have precise colours while also being able to view them correctly on multiple screens. +And for the working space. A working space is an RGB gamut that is really large and predictable, meaning it's good for image manipulation. You use this next to a profiled monitor. This way you can have precise colours while also being able to view them correctly on multiple screens. Blending modes in RGB ~~~~~~~~~~~~~~~~~~~~~ @@ -127,7 +127,7 @@ In Krita, there's also the fact that the default color is a perfect black in RGB, which then gets converted to our default CMYK in a funny manner, giving a yellow look to the strokes. Again, another good reason to work in RGB and let the conversion be done by the printing house. -While CMYK has a smaller 'gamut' than RGB, however, it's still recommended to use a RGB working space profile to do your editing in. Afterwards, you can convert it to your printer's CMYK profile using either perceptual or relative colorimetric intend. +While CMYK has a smaller 'gamut' than RGB, however, it's still recommended to use an RGB working space profile to do your editing in. Afterwards, you can convert it to your printer's CMYK profile using either perceptual or relative colorimetric intent. Or you can just give the workspace rgb image to your printer and let them handle the work. .. _model_ycrcb: @@ -146,7 +146,7 @@ Cb Blue Chroma. This value measures how blue a color is versus how yellow it is. -This color space is often used in photography and in (correct) implementations of JPEG. As humans you're much more sensitive to the lightness of colors, and thus JPEG tries to compress the Cr and Cb channels, and leave the Y channel in full quality. +This color space is often used in photography and in (correct) implementations of JPEG. As a human you're much more sensitive to the lightness of colors, and thus JPEG tries to compress the Cr and Cb channels, and leave the Y channel in full quality. .. warning:: 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 @@ -22,12 +22,12 @@ :align: center -How do these affect you image, and why would you use them? +How do these affect your image, and why would you use them? The primary reason to use a large space is for three reasons: #. Even though you can't see the colors, the computer program does understand them and can do color maths with it. -#. For exchanging between programs and devices: most CMYK profiles are a little bigger than our default sRGB in places, while in other places, it's smaller. To get the best conversion, having your image in a space that encompasses both you screen profile as your printer profile. +#. For exchanging between programs and devices: most CMYK profiles are a little bigger than our default sRGB in places, while in other places, it's smaller. To get the best conversion, having your image in a space that encompasses both your screen profile as your printer profile. #. For archival purposes. In other words, maybe monitors of the future will have larger amounts of colors they can show(spoiler: they already do), and this allows you to be prepared for that. Let's compare the following gradients in different spaces: @@ -38,9 +38,9 @@ .. image:: /images/en/color_category/Basiccolormanagement_gradientsin4spaces_nonmanaged.png -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. +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 an 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. +Each of the gradients is the gradient 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. What this means for us is that when we start mixing or applying filters, Krita can output values higher than visible, but also generate more correct mixes and gradients. In particular, when color correcting, the bigger space can help with giving more precise information. 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 @@ -25,7 +25,7 @@ :align: center :figwidth: 800 - One of the most common issues people have with Krita's color management is the assigning of the right colorspace to the encoded TRC. Above, the center Pepper is the right one, where the encoded and assigned TRC are the same. To the left we have a Pepper encoded in sRGB, but assigned a linear profile, and to the right we have a Pepper encoded with a linear TRC and assigned a sRGB TRC. Image from `Pepper & Carrot `_ + One of the most common issues people have with Krita's color management is the assigning of the right colorspace to the encoded TRC. Above, the center Pepper is the right one, where the encoded and assigned TRC are the same. To the left we have a Pepper encoded in sRGB, but assigned a linear profile, and to the right we have a Pepper encoded with a linear TRC and assigned an sRGB TRC. Image from `Pepper & Carrot `_ The following table shows how there's a lot of space being used by lighter values in a linear space compared to the default sRGB trc of our modern computers and other TRCs available in our delivered profiles: 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 @@ -37,7 +37,7 @@ Starting with 16bit/channel, we already have 65536 values instead of 256, so we can use workspace profiles with higher gamut range like Wide-gamut RGB or Pro-photo RGB, or even unlimited gamut like scRGB. -But sRGB being a generic profile (even more as it comes from old CRT specifications..) , there is big chances that your monitor have actually a different color response curve, and so color profile. +But sRGB being a generic profile (even more as it comes from old CRT specifications..) , there are big chances that your monitor have actually a different color response curve, and so color profile. So when you are using sRGB workspace and have a proper screen profile loaded (see next point), Krita knows that the colors the file contains are within the sRGB color space, and converts those sRGB values to corresponding color values from your monitor profile to display the canvas. Note that when you export your file and view it in another software, this software has to do two things: @@ -53,14 +53,15 @@ Profiling devices ----------------- -Profiling devices, called Colorimeters, are tiny little cameras of a kind that you connect to your computer via an usb, and then you run a profiling software(often delivered alongside of the device). -{{Note|If you don't have software packaged with your colorimeter, or are unhappy with the results, we recommend [http://www.argyllcms.com/ Argyllcms]}} +Profiling devices, called Colorimeters, are tiny little cameras of a kind that you connect to your computer via an usb, and then you run a profiling software (often delivered alongside of the device). +.. note:: +If you don't have software packaged with your colorimeter, or are unhappy with the results, we recommend `Argyllcms `_ The little camera then measures what the brightest red, green, blue, white and black are like on your screen using a predefined white as base. It also measures how grey the color grey is. It then puts all this information into an ICC profile, which can be used by the computer to correct your colors. -It's recommended not to change the "calibration"(contrast, brightness, you know the menu) of your screen after profiling. Doing so makes the profile useless, as the qualities of the screen change significantly while calibrating. +It's recommended not to change the "calibration" (contrast, brightness, you know the menu) of your screen after profiling. Doing so makes the profile useless, as the qualities of the screen change significantly while calibrating. To make your screen display more accurate colors, you can do one or two things: profile your screen or calibrate and profile it. @@ -82,7 +83,7 @@ bad monitors as explained just before. -;multi-monitor setup +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 careful. + 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 carefully. 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 @@ -48,7 +48,7 @@ #. The high bit depth makes it easier to get smoother color mixes. #. Filters are more powerful a give nicer results in this space. It is far more easy to get nice blurring and bokeh results. #. Simple Blending Modes like Multiply or Addition are suddenly black magic. This is because Scene-Linear is the closest you can get to the physical(as in, physics, not material) model of color where multiplying colors with one another is one of the main ways to calculate the effect of light. -#. Combining painting with other image results such as photography and physically based rendering is much easier as they too work in such a type of colorspace. So you could use such images as reference with little qualms, or make textures that play nice with such a renderer. +#. Combining painting with other image results such as photography and physically based rendering is much easier as they too work in such a type of colorspace. So you could use such images as a reference with little qualms, or make textures that play nice with such a renderer. So the advantages are prettier colors, cooler filter results, more control and easier interchange with other methods. @@ -70,9 +70,9 @@ Conversely Multiply, Linear Dodge/Addition(they’re the same thing), Subtract, Divide, Darker(only compares colors’ channel values), Lighter(ditto), and Difference *are fine to use*, as long as the program you use doesn’t do weird clipping there. -Another one is HSL, HSI and HSY algorithms. They too need to assume something about the top value to allow scaling to white. HSV doesn’t have this problem. So it’s best to use a HSV color selector. +Another one is HSL, HSI and HSY algorithms. They too need to assume something about the top value to allow scaling to white. HSV doesn’t have this problem. So it’s best to use an HSV color selector. -For the blending modes that use HSY, there’s always the issue that they tend to be hardcoded to sRGB/Rec709 values, but are otherwise fine(and they give actually far more correct results in a linear space). So these are not a good idea to use with wide-gamut colorspaces, and due the assumption about black and white, not with scene linear painting. The following blending modes use them: +For the blending modes that use HSY, there’s always the issue that they tend to be hardcoded to sRGB/Rec709 values, but are otherwise fine(and they give actually far more correct results in a linear space). So these are not a good idea to use with wide-gamut colorspaces, and due to the assumption about black and white, not with scene linear painting. The following blending modes use them: * Color * Luminosity @@ -131,7 +131,7 @@ Picking really bright colors ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -Picking regular colors is easy, but how do we pick the really bright colors? There’s three way of getting access to the really bright colors in Krita: +Picking regular colors is easy, but how do we pick the really bright colors? There are three ways of getting access to the really bright colors in Krita: #. By lowering the exposure in the LUT docker. This will increase the visible range of colors in the color selectors. You can even hotkey the exposure in the canvas input settings. #. Or simply by opening the internal color selector by double clicking the dual color button and typing in values higher than 1 into the field. @@ -144,7 +144,7 @@ So, we have our typical value based workflow, where we only paint the grays of the image so that we can focus on the values of the image. We can do something similar with Scene Linear Painting. -Where with the value based workflow you paint the image as if it were a grayscale of what you intended to paint, with a lighting based workflow you paint as if all the objects are white. The effect of the color of an object can be determined by multiplying it’s base color with the color of the light. So you could paint objects as if they were white, paint the colors on a separate layer and just use the multiply blending mode to get the right colors. +Where with the value based workflow you paint the image as if it were a grayscale of what you intended to paint, with a lighting based workflow you paint as if all the objects are white. The effect of the color of an object can be determined by multiplying its base color with the color of the light. So you could paint objects as if they were white, paint the colors on a separate layer and just use the multiply blending mode to get the right colors. .. figure:: /images/en/color_category/Krita_scenelinear_cat_02.png :align: center @@ -154,7 +154,7 @@ You can even combine this with a value based workflow by opening a new view and setting the component to luminosity. That way you can see both the grayscale as well as the lighting based version of the image next to one another. -The keen minded will notice that a lighting based workflow kind of resembles the idea of a light-pass and a color pas in 3d rendering. And indeed, it is basically the same, so you can use lighting passes from 3d renders here, just save them as EXR and import them as a layer. One of the examples where scene linear painting simplies combining methods. +The keen minded will notice that a lighting based workflow kind of resembles the idea of a light-pass and a color pas in 3d rendering. And indeed, it is basically the same, so you can use lighting passes from 3d renders here, just save them as EXR and import them as a layer. One of the examples where scene linear painting simplifies combining methods. Finishing up ~~~~~~~~~~~~ diff --git a/general_concepts/colors/viewing_conditions.rst b/general_concepts/colors/viewing_conditions.rst --- a/general_concepts/colors/viewing_conditions.rst +++ b/general_concepts/colors/viewing_conditions.rst @@ -80,7 +80,7 @@ Another example where metamerism messes things up is with screen projections. -We have a presentation where we mark one type of item with red, another with yellow and yet another with purple. On a computer the difference between the colors are very obvious. +We have a presentation where we mark one type of item with red, another with yellow and yet another with purple. On a computer the differences between the colors are very obvious. .. figure:: /images/en/color_category/Krita_metamerism_presentation.svg :figwidth: 800 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 @@ -13,26 +13,26 @@ File Formats ============ -This category is for graphics file-formats. While most file-formats can be looked up on wikipedia, this doesn't always explain what the format can be used for and what it's strengths and weaknesses are. +This category is for graphics file-formats. While most file-formats can be looked up on wikipedia, this doesn't always explain what the format can be used for and what its strengths and weaknesses are. In this category we try to describe these in a manner that can be read by beginners. -Generally, there's the following features that people pay attention to in regards to fileformats: +Generally, there are the following features that people pay attention to in regards to fileformats: Compression ----------- Compression is how the file-format tries to describe the image with as little data as possible, so that the resulting file is as small as it can get without losing quality. -What we generally see is that formats that are small on disk either lose image quality, or require the computer to spent a lot of time thinking about how the image should look. +What we generally see is that formats that are small on disk either lose image quality, or require the computer to spend a lot of time thinking about how the image should look. -Vector file-formats like ``svg`` are a typical example of the latter. They are really small because the technology used to create them is based on mathematics, so it only stores maths-variables and can achieve a very high quality. The downside is that the computer needs to spend a lot of time thinking on how it should look, and sometimes different programs have different ways of interpreting the values. Furthermore, vector file-formats imply vector graphics, which is a very different way of working than Krita is specialised in. +Vector file-formats like ``svg`` are a typical example of the latter. They are really small because the technology used to create them is based on mathematics, so it only stores maths-variables and can achieve very high quality. The downside is that the computer needs to spend a lot of time thinking about how it should look, and sometimes different programs have different ways of interpreting the values. Furthermore, vector file-formats imply vector graphics, which is a very different way of working than Krita is specialised in. :ref:`Lossy file formats `, like ``jpg`` or ``webp`` are an example of small on disk, but lowering the quality, and are best used for very particular types of images. Lossy thus means that the file format plays fast and loose with describing your image to reduce filesize. :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 environment 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 intact, and keep all the layers and guides in them. Metadata -------- diff --git a/general_concepts/projection.rst b/general_concepts/projection.rst --- a/general_concepts/projection.rst +++ b/general_concepts/projection.rst @@ -14,7 +14,7 @@ Perspective Projection ###################### -The Perspective Projection tutorial is one of the Kickstarter 2015 tutorial rewards. It's about something that humanity has known scientifically for a very long time, and decent formal training will teach you about this. But I think there's very very few tutorials about it in regard to how to achieve it in digital painting programs, let alone open source. +The Perspective Projection tutorial is one of the Kickstarter 2015 tutorial rewards. It's about something that humanity has known scientifically for a very long time, and decent formal training will teach you about this. But I think there are very very few tutorials about it in regard to how to achieve it in digital painting programs, let alone open source. The tutorial is a bit image heavy, and technical, but I hope the skill it teaches will be really useful to anyone trying to get a grasp on a complicated pose. Enjoy, and don't forget to thank `Raghukamath `_ for choosing this topic! diff --git a/general_concepts/projection/axonometric.rst b/general_concepts/projection/axonometric.rst --- a/general_concepts/projection/axonometric.rst +++ b/general_concepts/projection/axonometric.rst @@ -37,9 +37,9 @@ .. image:: /images/en/category_projection/projection-cube_10.svg :align: center -(as you can see, it doesn't line up perfectly, because Inkscape, while more designed for making these kind of diagrams than Krita, doesn't have tools to manipulate the line's angle in degrees) +(as you can see, it doesn't line up perfectly, because Inkscape, while more designed for making these kinds of diagrams than Krita, doesn't have tools to manipulate the line's angle in degrees) -This is a bit of an awkward angle, and on top of that, it doesn't line up with pixels sensibly, so for videogames a an angle of 30° from the ground plane is used. +This is a bit of an awkward angle, and on top of that, it doesn't line up with pixels sensibly, so for videogames an angle of 30° from the ground plane is used. .. image:: /images/en/category_projection/projection-cube_11.svg :align: center @@ -61,7 +61,7 @@ .. image:: /images/en/category_projection/projection_image_16.png :align: center -(Tip, to resize a vector but keep it's angle, you just select it with the shape handling tool(the white arrow) drag on the corners of the bounding box to start moving them, and then press :kbd:`shift` to constrain the ratio. This'll allow you to keep the angle) +(Tip, to resize a vector but keep its angle, you just select it with the shape handling tool(the white arrow) drag on the corners of the bounding box to start moving them, and then press :kbd:`shift` to constrain the ratio. This'll allow you to keep the angle) The lower image is 'the back seen from the front', we'll be using this to determine where the ear should go. @@ -138,7 +138,7 @@ As you can see, this version both looks more 3d as well as more creepy. -That's because there's less steps involved as the previous version -- We're deriving our image directly from the orthographic view -- so there's less errors involved. +That's because there are less steps involved as the previous version -- We're deriving our image directly from the orthographic view -- so there are less errors involved. The creepiness is because we've had the tiniest bit of stylisation in our sideview, so the eyes come out HUGE. This is because when we stylise the side view of an eye, we tend to draw it not perfectly from the side, but rather slightly at an angle. If you look carefully at the turntable, the same problem crops up there as well. diff --git a/general_concepts/projection/orthographic_oblique.rst b/general_concepts/projection/orthographic_oblique.rst --- a/general_concepts/projection/orthographic_oblique.rst +++ b/general_concepts/projection/orthographic_oblique.rst @@ -106,14 +106,14 @@ Okay, now we're gonna use animation for the next bit. -Set it up as following: +Set it up as follows: .. image:: /images/en/category_projection/projection_image_09.png :align: center * Both frontview and sideview are set up as 'visible in timeline' so we can always see them. -* Frontview has it's visible frame on frame 0 and an empty-frame on frame 23. -* Side view has it's visible frame on frame 23 and an empty view on frame 0. +* Frontview has its visible frame on frame 0 and an empty-frame on frame 23. +* Side view has its visible frame on frame 23 and an empty view on frame 0. * The end of the animation is set to 23. .. image:: /images/en/category_projection/projection_image_10.png 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 @@ -56,7 +56,7 @@ I probably didn’t make as nice result images as I could have, especially if you compare it to the 3d images. However, you can still see that the main landmarks are there. The real use of this technique lies in poses though, and it allows you to iterate on a pose quite quickly once you get the hang of it. -Generally, It’s worth exploring, if only because it improves you spatial sense. +Generally, It’s worth exploring, if only because it improves your spatial sense. .. seealso:: diff --git a/reference_manual/dockers/digital_color_mixer.rst b/reference_manual/dockers/digital_color_mixer.rst --- a/reference_manual/dockers/digital_color_mixer.rst +++ b/reference_manual/dockers/digital_color_mixer.rst @@ -23,5 +23,5 @@ You have on the left side the current color. -Next to that there's six columns. Each of these column consists of three rows: +Next to that there are six columns. Each of these columns consists of three rows: The lowest row is the color that you are mixing the current color with. Ticking this button allows you to set a different colour using a palette and the mini-color wheel. The slider above this mixing color represent the proportions of the mixing color and the current color. The higher the slider, the less of the mixing color will be used in mixing. Finally, the result color. Clicking this will change your current color to the result color. diff --git a/reference_manual/dockers/overview.rst b/reference_manual/dockers/overview.rst --- a/reference_manual/dockers/overview.rst +++ b/reference_manual/dockers/overview.rst @@ -16,4 +16,4 @@ .. image:: /images/en/Krita_Overview_Docker.png -This docker allows you to see a full overview of your image. You can also use it to navigate and zoom in and out quickly.Dragging the view-rectangle allows you quickly move the view. Dragging the zoom-slider allows you quickly change the zoom. +This docker allows you to see a full overview of your image. You can also use it to navigate and zoom in and out quickly. Dragging the view-rectangle allows you quickly move the view. Dragging the zoom-slider allows you quickly change the zoom. diff --git a/reference_manual/dockers/small_color_selector.rst b/reference_manual/dockers/small_color_selector.rst --- a/reference_manual/dockers/small_color_selector.rst +++ b/reference_manual/dockers/small_color_selector.rst @@ -17,4 +17,4 @@ .. image:: /images/en/Krita_Small_Color_Selector_Docker.png -This is Krita's most simple color selector. One the left there's a bar with the hue, and on the right a square where you can pick the value and saturation. +This is Krita's most simple color selector. On the left there's a bar with the hue, and on the right a square where you can pick the value and saturation. 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 @@ -61,7 +61,7 @@ .. note:: - Starting from Krita 3.1 Beta 3 (3.0.92), the external DrMingw JIT debugger is not needed for getting the backtrace.}} + Starting from Krita 3.1 Beta 3 (3.0.92), the external DrMingw JIT debugger is not needed for getting the backtrace. Using the Debug Package ----------------------- diff --git a/reference_manual/filters.rst b/reference_manual/filters.rst --- a/reference_manual/filters.rst +++ b/reference_manual/filters.rst @@ -4,7 +4,7 @@ Filters ======= -Filters are little scripts or operations you can run on your drawing.You can visualise them as real-world camera filters that can make a photo darker or blurrier. Or perhaps like a coffee filter, where only water and coffee gets through, and the ground coffee stays behind. +Filters are little scripts or operations you can run on your drawing. You can visualise them as real-world camera filters that can make a photo darker or blurrier. Or perhaps like a coffee filter, where only water and coffee gets through, and the ground coffee stays behind. Filters are unique to digital painting in terms of complexity, and their part of the painting pipeline. Some artists only use filters to adjust their colours a little. Others, using Filter Layers and Filter Masks use them to dynamically update a part of an image to be filtered. This way, they can keep the original underneath without changing the original image. This is a part of a technique called 'non-destructive' editing. diff --git a/reference_manual/filters/emboss.rst b/reference_manual/filters/emboss.rst --- a/reference_manual/filters/emboss.rst +++ b/reference_manual/filters/emboss.rst @@ -14,7 +14,7 @@ Emboss ====== -Filters that are named by the traditional embossing technique.This filter generates highlight and shadows to create an effect which makes the image look like embossed.Emboss filters are usually used in the creation of interesting GUI elements, and mostly used in combination with filter-layers and masks. +Filters that are named by the traditional embossing technique. This filter generates highlight and shadows to create an effect which makes the image look like embossed. Emboss filters are usually used in the creation of interesting GUI elements, and mostly used in combination with filter-layers and masks. Emboss Horizontal Only ---------------------- diff --git a/reference_manual/instant_preview.rst b/reference_manual/instant_preview.rst --- a/reference_manual/instant_preview.rst +++ b/reference_manual/instant_preview.rst @@ -14,7 +14,7 @@ Instant Preview =============== -Instant Preview(Previously known under the code name Level Of Detail/LOD strokes) is Krita's special speed-up mechanism that was funded by the 2015 Kickstarter. Krita slows down with really large images due the large amount of data it's crunching in painting these images. Instant Preview works by taking a smaller version of the canvas, and drawing the feedback on there while Krita calculates the real stroke in the background. This means that if you have a 4k screen and are working on a 4k image at 100% zoom, you won't feel any speed up. +Instant Preview(Previously known under the code name Level Of Detail/LOD strokes) is Krita's special speed-up mechanism that was funded by the 2015 Kickstarter. Krita slows down with really large images due to the large amount of data it's crunching in painting these images. Instant Preview works by taking a smaller version of the canvas, and drawing the feedback on there while Krita calculates the real stroke in the background. This means that if you have a 4k screen and are working on a 4k image at 100% zoom, you won't feel any speed up. Activating Instant Preview -------------------------- diff --git a/reference_manual/main_menu/settings_menu.rst b/reference_manual/main_menu/settings_menu.rst --- a/reference_manual/main_menu/settings_menu.rst +++ b/reference_manual/main_menu/settings_menu.rst @@ -72,7 +72,7 @@ Manage Resources ---------------- -Manage the resources.You can read more about it :ref:`here `. +Manage the resources. You can read more about it :ref:`here `. .. index:: Language diff --git a/reference_manual/preferences/canvas_only_mode.rst b/reference_manual/preferences/canvas_only_mode.rst --- a/reference_manual/preferences/canvas_only_mode.rst +++ b/reference_manual/preferences/canvas_only_mode.rst @@ -15,4 +15,4 @@ Canvas Only Mode ================ -Canvas Only mode is Krita's version of full screen mode. It is activated by hitting TAB on the keyboard. Select which parts of Krita will be hidden in canvas-only mode -- The user can set which UI items will be hidden in canvas-only mode. Selected items will be hidden. +Canvas Only mode is Krita's version of full screen mode. It is activated by hitting :kbd:`Tab` on the keyboard. Select which parts of Krita will be hidden in canvas-only mode -- The user can set which UI items will be hidden in canvas-only mode. Selected items will be hidden. diff --git a/reference_manual/preferences/general_settings.rst b/reference_manual/preferences/general_settings.rst --- a/reference_manual/preferences/general_settings.rst +++ b/reference_manual/preferences/general_settings.rst @@ -121,13 +121,13 @@ Allows you to set a picture background for subwindow mode. Window Background Set the colour of the subwindow canvas area. -Don't show contents when moving subwindows. +Don't show contents when moving sub-windows This gives an outline when moving windows to work around ugly glitches with certain graphics-cards. Show on-canvas popup messages Whether or not you want to see the on-canvas pop-up messages that tell you whether you are in tabbed mode, rotating the canvas, or mirroring it. Enable Hi-DPI support Attempt to use the Hi-DPI support. It is an option because we are still experiencing bugs on windows. -Allow only once instance of Krita +Allow only one instance of Krita An instance is a single entry in your system's task manager. Turning this option makes sure that Krita will check if there's an instance of Krita open already when you instruct it to open new documents, and then have your documents opened in that single instance. There's some obscure uses to allowing multiple instances, but if you can't think of any, just keep this option on. Tool options diff --git a/reference_manual/render_animation.rst b/reference_manual/render_animation.rst --- a/reference_manual/render_animation.rst +++ b/reference_manual/render_animation.rst @@ -42,7 +42,7 @@ ---------------- Render As - The file format to render to. All except gif have extra options that can be manipulated via {{MenuChoice|...}}. + The file format to render to. All except gif have extra options that can be manipulated via :guilabel:`...`. File Location and name of the rendered animation. FFMpeg diff --git a/reference_manual/resource_management.rst b/reference_manual/resource_management.rst --- a/reference_manual/resource_management.rst +++ b/reference_manual/resource_management.rst @@ -78,7 +78,7 @@ Creating your own Bundle ~~~~~~~~~~~~~~~~~~~~~~~~ -You can create your own bundle from the resources of your choice. Click one the create bundle button, This will open a dialog box as shown below +You can create your own bundle from the resources of your choice. Click on the create bundle button, This will open a dialog box as shown below .. image:: /images/en/Creating-bundle.png diff --git a/reference_manual/tools/colorize_mask.rst b/reference_manual/tools/colorize_mask.rst --- a/reference_manual/tools/colorize_mask.rst +++ b/reference_manual/tools/colorize_mask.rst @@ -76,7 +76,7 @@ Now, the colorize mask, being a mask, can also be added to a group of line art layers. It will then use the composition of the whole group as the line art. This is perfect for our background which has two separate line art layers. It also means that the colorize mask will be disabled when added to a group with pass-through enabled, because those have no final composition. You can recognise a disabled colorize mask because it's name is stricken through. -To add a colorize mask to a group, select the group and {{MouseButton|left` the canvas with the Colorize Mask editing tool, or |mouseright| the layer to :menuselection:`Add --> Colorize Mask`. +To add a colorize mask to a group, select the group and |mouseleft| the canvas with the Colorize Mask editing tool, or |mouseright| the layer to :menuselection:`Add --> Colorize Mask`. .. image:: /images/en/Krita_4_0_colorize_mask_usage_08.png :width: 800 diff --git a/reference_manual/tools/gradient_draw.rst b/reference_manual/tools/gradient_draw.rst --- a/reference_manual/tools/gradient_draw.rst +++ b/reference_manual/tools/gradient_draw.rst @@ -17,7 +17,7 @@ |toolgradient| -The Gradient tool is found in the Tools Panel. Left-Click dragging this tool over the active portion of the canvas will draw out the current gradient. If there is an active selection then, similar to the :ref:`fill_tool`, the paint action will be confined to the selection's borders. +The Gradient tool is found in the Tools Panel. Left-Click dragging this tool over the active portion of the canvas will draw out the current gradient. If there is an active selection then, similar to the :ref:`fill_tool`, the paint action will be confined to the selection's borders. Tool Options ------------ diff --git a/reference_manual/tools/gradient_edit.rst b/reference_manual/tools/gradient_edit.rst --- a/reference_manual/tools/gradient_edit.rst +++ b/reference_manual/tools/gradient_edit.rst @@ -21,5 +21,5 @@ This tool has been removed in Krita 4.0, and it's functionality has been folded into the :ref:`shape_selection_tool`. -This tool allows you to edit the gradient on canvas, but it only works for vector layers. If you have a vector shape selected, and draw a line over the canvas, you will be able to see the nodes, and the stops in the gradient. Move around the nodes to move the gradient itself. Select the stops to change their colour in the tool options docker, or to move their position in the on canvas gradient.You can select preset gradient in the tool docker to change the active shape's gradient to use those stops. +This tool allows you to edit the gradient on canvas, but it only works for vector layers. If you have a vector shape selected, and draw a line over the canvas, you will be able to see the nodes, and the stops in the gradient. Move around the nodes to move the gradient itself. Select the stops to change their colour in the tool options docker, or to move their position in the on canvas gradient. You can select preset gradient in the tool docker to change the active shape's gradient to use those stops. diff --git a/resources_page.rst b/resources_page.rst --- a/resources_page.rst +++ b/resources_page.rst @@ -116,7 +116,7 @@ https://github.com/qeshi/henriks-onscreen-krita-shortcut-buttons/tree/master/henriks_krita_buttons -Spine FIle Format Export +Spine File Format Export https://github.com/chartinger/krita-unofficial-spine-export diff --git a/user_manual/animation.rst b/user_manual/animation.rst --- a/user_manual/animation.rst +++ b/user_manual/animation.rst @@ -289,7 +289,7 @@ Indicates the difference between the imported animation and the document frame rate. This animation is 8 frames big, and the fps of the document is 24 frames, so there should be a step of 3 to keep it - even. As you can see, the window gives feedback of how much fps the + even. As you can see, the window gives feedback on how much fps the imported animation would be with the currently given step. Press OK, and your animation should be imported as a new layer. diff --git a/user_manual/drawing_tablets.rst b/user_manual/drawing_tablets.rst --- a/user_manual/drawing_tablets.rst +++ b/user_manual/drawing_tablets.rst @@ -32,7 +32,7 @@ A drawing tablet is a piece of hardware that you can plug into your machine, much like a keyboard or mouse. It usually looks like a plastic -pad, with a stylus. Another popular format is a computer monitors with +pad, with a stylus. Another popular format is a computer monitor with stylus used to draw directly on the screen. These are better to use than a mouse because it’s more natural to draw with a stylus and generally better for your wrists. diff --git a/user_manual/getting_started.rst b/user_manual/getting_started.rst --- a/user_manual/getting_started.rst +++ b/user_manual/getting_started.rst @@ -10,7 +10,7 @@ If you are new to digital art, just start with :ref:`installation`, which deals with installing Krita, and continue on to :ref:`starting_with_krita`, which helps with making a new document and saving it, :ref:`basic_concepts`, in which we'll try to quickly cover the big categories of Krita's functionality, and finally, :ref:`navigation`, which helps you find basic usage help, such as panning, zooming and rotating. -When you have mastered those, you can look into the dedicated introduction pages for functionality in the :ref:`user_manual`, read through the over arching concepts behind (digital) painting in the :ref:`general_concepts` section, or just search the :ref:`reference_manual` for what a specific button does. +When you have mastered those, you can look into the dedicated introduction pages for functionality in the :ref:`user_manual`, read through the overarching concepts behind (digital) painting in the :ref:`general_concepts` section, or just search the :ref:`reference_manual` for what a specific button does. .. toctree:: :maxdepth: 1 diff --git a/user_manual/getting_started/basic_concepts.rst b/user_manual/getting_started/basic_concepts.rst --- a/user_manual/getting_started/basic_concepts.rst +++ b/user_manual/getting_started/basic_concepts.rst @@ -248,7 +248,7 @@ Masks are a type of sub-effect applied to a layer, usually driven by a grayscale image. -The primary type of mask is a :ref:`transparency_masks`, which allows you to use a grayscale image to determine the transparency, where black makes everything transparent and white makes the pixel fully opaque. +The primary types of mask are :ref:`transparency_masks`, which allow you to use a grayscale image to determine the transparency, where black makes everything transparent and white makes the pixel fully opaque. You can paint on masks with any of the brushes, or convert a normal paint-layer to a mask. The big benefit of masks is that you can make things transparent without removing the underlying pixels. Furthermore, you can use masks to reveal or hide a whole group layer at once! @@ -316,7 +316,7 @@ Transformations --------------- -**Transformations** are kind of like filters, in that these are operations done on the pixels of an image. We have regular image and layer wide transformations in the image and layer top menus, so that you may resize, flip and rotate the whole image. +**Transformations** are kind of like filters, in that these are operations done on the pixels of an image. We have a regular image and layer wide transformations in the image and layer top menus, so that you may resize, flip and rotate the whole image. We also have the :ref:`crop_tool`, which only affects the canvas size, and the :ref:`move_tool` which only moves a given layer. However, if you want more control, Krita offers a :ref:`transform_tool`. @@ -363,7 +363,7 @@ Krita's vanishing point assistants in action :ref:`grids_and_guides_docker` - Very straightforward guiding tools which shows grids or guiding lines that can be configured. + Very straightforward guiding tool which shows grids or guiding lines that can be configured. :ref:`snapping` You can snap to all sorts of things. Grids, guides, extensions, orthogonals, image centers and bounding boxes. :ref:`painting_with_assistants` diff --git a/user_manual/getting_started/installation.rst b/user_manual/getting_started/installation.rst --- a/user_manual/getting_started/installation.rst +++ b/user_manual/getting_started/installation.rst @@ -142,7 +142,7 @@ - You can follow the development of Krita on the foot. If you compile Krita regularly from the development repository, you will be able to - play withall the new features that the developers are working on. + play with all the new features that the developers are working on. - You can compile optimized for your processor. Most pre-built packages are built for the lowest-common denominator. - You will be getting all the bug fixes as soon as possible as well. diff --git a/user_manual/introduction_from_other_software/introduction_from_photoshop.rst b/user_manual/introduction_from_other_software/introduction_from_photoshop.rst --- a/user_manual/introduction_from_other_software/introduction_from_photoshop.rst +++ b/user_manual/introduction_from_other_software/introduction_from_photoshop.rst @@ -123,7 +123,7 @@ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ The group blending mode in Krita has priority over child layers and overrides it. This can be surprising for Photoshop users. On Photoshop you can use groups to just clean your layer stack and keep blending mode of your layer compositing through all the stack. In Krita the compositing will happen at first level inside the group, then taking into account the blending mode of the group itself. -Both system have pros and cons. Krita’s way is more predictable according to some artists, compositing-wise. The PS way leads to a cleaner and better ordered layer stack visually wise. +Both systems have pros and cons. Krita’s way is more predictable according to some artists, compositing-wise. The PS way leads to a cleaner and better ordered layer stack visually wise. Multi Layer Transform or Move ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ @@ -176,7 +176,7 @@ Tools ^^^^^ -In Krita, there is a totally different paradigm for defining what ‘tools’ are compared to PS. Unlike in PS, you will not find the brush, eraser, clone, blur tool, etc. Instead, you will find the *way to trace* your strokes on the canvas: freehand, line, rectangle, circle, multiple brush, etc. When you have selected the ‘way to trace’ you can choose the *way to paint*: erasing / cloning / blurring, etc are all part of *way it paint* managed by the brush-engines options. These brush engine options are saved into so called *presets*, which you can find on ‘Brush presets’. You can fine tune, and build your own presets using the ‘Edit Brush Settings’ icon on the top tool bar. +In Krita, there is a totally different paradigm for defining what ‘tools’ are compared to PS. Unlike in PS, you will not find the brush, eraser, clone, blur tool, etc. Instead, you will find a *way to trace* your strokes on the canvas: freehand, line, rectangle, circle, multiple brush, etc. When you have selected the ‘way to trace’ you can choose the *way to paint*: erasing / cloning / blurring, etc are all part of *way it paint* managed by the brush-engines options. These brush engine options are saved into so-called *presets*, which you can find on ‘Brush presets’. You can fine tune, and build your own presets using the ‘Edit Brush Settings’ icon on the top tool bar. Erasing ^^^^^^^ @@ -188,7 +188,7 @@ * :kbd:`Shift`: Grow or Shrink the brush size (or :kbd:`[` and :kbd:`]`). * /: Switch last preset selected and current (ex: a pencil preset, and an eraser preset). -* :kbd:`K` and :kbd:`L`: increment Darker and Lighter value of active color +* :kbd:`K` and :kbd:`L`: increment Darker and Lighter value of the active color * :kbd:`I` and :kbd:`O`: increment opacity plus or minus. * :kbd:`D`: Reset color to black/foreground and white/background * :kbd:`X`: Switch background and foreground colors @@ -235,12 +235,12 @@ Brush Engines ~~~~~~~~~~~~~ -Krita has a lot of different so called brush engines. These brush engines define various methods on how the pixels end up on your canvas. Brush engines with names like Grid, Particles, Sketch and others will bring you new experiences on how the brushes work and a new landscape of possible results. You can start customizing brushes by using the brush-settings editor, which is accessible via the toolbar, but it's much easier to just press :kbd:`F5`. +Krita has a lot of different so-called brush engines. These brush engines define various methods on how the pixels end up on your canvas. Brush engines with names like Grid, Particles, Sketch and others will bring you new experiences on how the brushes work and a new landscape of possible results. You can start customizing brushes by using the brush-settings editor, which is accessible via the toolbar, but it's much easier to just press :kbd:`F5`. Tags for brush presets ~~~~~~~~~~~~~~~~~~~~~~ -This is very useful way to configure brush presets. Each brush can have any amount of tags and be in any group. You can make tag for blending brushes, for texture brushes, for effect brushes, favorites etc. +This is a very useful way to configure brush presets. Each brush can have any amount of tags and be in any group. You can make tag for blending brushes, for texture brushes, for effect brushes, favorites etc. Settings curves ~~~~~~~~~~~~~~~ @@ -256,7 +256,7 @@ .. image:: /images/en/Krita-popuppalette.png :align: center -Easily to be found on |mouseright|, the pop-up palette allows you to quickly access brushes, a color history and a color selector within arm's reach. The brushes are determined by tag, and pressing the lower-right configure button calls a drop-down to change tags. This allows you to tag brushes in the preset docker by workflow, and quickly access the right brushes for the workflow you need for your image. +Easily to be found on |mouseright|, the pop-up palette allows you to quickly access brushes, color history and a color selector within arm's reach. The brushes are determined by tag, and pressing the lower-right configure button calls a drop-down to change tags. This allows you to tag brushes in the preset docker by workflow, and quickly access the right brushes for the workflow you need for your image. Transformations ~~~~~~~~~~~~~~~ @@ -291,7 +291,7 @@ Many Blending Modes ~~~~~~~~~~~~~~~~~~~ -If you like using blending modes, Krita has a many of them -- over 70! You have plenty of room for experimentation. +If you like using blending modes, Krita has many of them -- over 70! You have plenty of room for experimentation. A special system of favorite blending modes has been created to let you have fast access to the ones you use the most. Painting Assistants @@ -355,7 +355,7 @@ Automatic healing tool ~~~~~~~~~~~~~~~~~~~~~~ -Krita does not have an automatic healing tool. It does, however, have a so called clone tool which can be used to do a healing correction, although not automatically. +Krita does not have an automatic healing tool. It does, however, have a so-called clone tool which can be used to do a healing correction, although not automatically. Macro Recording ~~~~~~~~~~~~~~~ diff --git a/user_manual/introduction_from_other_software/introduction_from_sai.rst b/user_manual/introduction_from_other_software/introduction_from_sai.rst --- a/user_manual/introduction_from_other_software/introduction_from_sai.rst +++ b/user_manual/introduction_from_other_software/introduction_from_sai.rst @@ -64,7 +64,7 @@ Transparency ~~~~~~~~~~~~~ -So one of the things that throws a lot of Paint Tool Sai users off is that Krita uses checkers to display transparency, which is actually not that uncommon. Still, if you want to have the canvas background to be white, this is possible. Just choose 'Background: As Canvas Color' in the new image dialogue and the image background will be white. You can turn it back to transparent via :menuselection:`image --> change image background color`. If you export a PNG or JPG, make sure to uncheck 'save transparency' and to make the background color white(it's black by default). +So one of the things that throw a lot of Paint Tool Sai users off is that Krita uses checkers to display transparency, which is actually not that uncommon. Still, if you want to have the canvas background to be white, this is possible. Just choose 'Background: As Canvas Color' in the new image dialogue and the image background will be white. You can turn it back to transparent via :menuselection:`image --> change image background color`. If you export a PNG or JPG, make sure to uncheck 'save transparency' and to make the background color white(it's black by default). .. image:: /images/en/Krita-color-to-alpha.png :align: center @@ -93,7 +93,7 @@ Krita has a lot of Blending modes, and thankfully all of Paint Tool Sai's are amongst them except binary. To manage the blending modes, each of them has a little check-box that you can tick to add them to the favorites. Multiple, Screen, Overlay and Normal are amongst the favorites. -Krita's Luminosity is actually slightly different from Paint Tool Sai's and it replaces the relative brightness of a color with the relative brightness of the color of the layer. +Krita's Luminosity is actually slightly different from Paint Tool Sai's and it replaces the relative brightness of color with the relative brightness of the color of the layer. Sai's Luminosity mode is actually the same as Krita's *Addition* or *linear dodge* mode. The Shade mode is the same as *Color Burn* and *Hard Mix* is the same as the lumi and shade mode. @@ -166,7 +166,7 @@ Quick Layer select ~~~~~~~~~~~~~~~~~~ -If you hold :kbd:`R` and press a spot on your drawing, Krita will select the layer underneath the cursor. Really useful when dealing with a large amount of layers. +If you hold :kbd:`R` and press a spot on your drawing, Krita will select the layer underneath the cursor. Really useful when dealing with a large number of layers. Color Management ~~~~~~~~~~~~~~~~ @@ -195,7 +195,7 @@ Pop-up palette ~~~~~~~~~~~~~~~ -This is the little circular thing that is by default on the right click. You can organize your brushes in tags, and use those tags to fill up the pop-up palette. It also keeps a little color selector and a color history, so you can switch brushes on the fly. +This is the little circular thing that is by default on the right click. You can organize your brushes in tags, and use those tags to fill up the pop-up palette. It also keeps a little color selector and color history, so you can switch brushes on the fly. .. image:: /images/en/Krita-popuppalette.png :align: center diff --git a/user_manual/layers_and_masks.rst b/user_manual/layers_and_masks.rst --- a/user_manual/layers_and_masks.rst +++ b/user_manual/layers_and_masks.rst @@ -158,7 +158,7 @@ button, Just hide the filter or mask you have your initial image. You can add various filters to a layer with Filter mask, or add Filter -layer which will affect the whole image. Layers can also be transformed non-destructively with the transformation masks, and even have portions temporarily hidden with a Transparent Mask. Non-destructive effects like these are very useful when you change your mind later, or need to make a set of variations of an given image. +layer which will affect the whole image. Layers can also be transformed non-destructively with the transformation masks, and even have portions temporarily hidden with a Transparent Mask. Non-destructive effects like these are very useful when you change your mind later, or need to make a set of variations of a given image. .. note:: You can merge all visible layers by selecting everything first :menuselection:`Layer --> Select --> Visible Layers`. Then Combine them all by merging :menuselection:`Layer --> Merge with Layer Below`. diff --git a/user_manual/loading_saving_brushes.rst b/user_manual/loading_saving_brushes.rst --- a/user_manual/loading_saving_brushes.rst +++ b/user_manual/loading_saving_brushes.rst @@ -232,7 +232,7 @@ Using sensor curves ''''''''''''''''''' -One of the big important things that makes art unique to the artist who +One of the big important things that make art unique to the artist who created it is the style of the strokes. Strokes are different because they differ in speed, rotation, direction, and the amount of pressure put onto the stylus. Because these are so important, we would want to @@ -257,7 +257,7 @@ second to last concave button, while someone who has a hard time making thick strokes should try the third button, the S shape. -Underneath the curve widget there's two more options: +Underneath the curve widget there are two more options: Share Curves across all settings This is for the list of sensors. Toggling this will make all the @@ -313,7 +313,7 @@ .. figure:: /images/en/Krita_4_0_dirty_preset_icon.png :figwidth: 450 - The icon in the top left of the first two presets indicate it is “Dirty”, meaning there's tweaks made to the preset. + The icon in the top left of the first two presets indicate it is “Dirty”, meaning there are tweaks made to the preset. Eraser Switch Size This switches the brush to a separately stored size when using the @@ -369,16 +369,16 @@ a big curve. This is the sensor curve. #. Uncheck the :guilabel:`enable pen settings` checkbox. #. Test on the scratch pad... there still seems to be something - affecting opacity. This is due the + affecting opacity. This is due to the :ref:`flow ` option. #. Select the Flow option from the list on the right hand. Flow is like Opacity, except that Flow is per dab, and opacity is per stroke. #. Uncheck the :guilabel:`enable pen settings` checkbox here as well. Test again. #. Now you should be getting somewhere towards an inking brush. It is still too small however, and kinda grainy looking. Click :ref:`Brush Tip ` in the brush engine options. -#. Here, diameter is the size of the brush-tip. You can touch the slider +#. Here, the diameter is the size of the brush-tip. You can touch the slider change the size, or right-click it and type in a value. Set it to 25 and test again. It should be much better. #. Now to make the brush feel a bit softer, turn down the fade parameter @@ -431,7 +431,7 @@ resource bundle system. We have detailed instructions on how to use them on the :ref:`resource management page `. -However, there's various old-fashioned ways of sharing brushes that can +However, there are various old-fashioned ways of sharing brushes that can be useful when importing and loading very old packs: Sharing a single preset @@ -461,7 +461,7 @@ chooser on f6 and press the folder icon there. This will give a file dialog. Navigate to the kpp file and open it to import it. -If there's brush tips and patterns coming with the file, do the same +If there are brush tips and patterns coming with the file, do the same with pattern via the pattern docker, and for the brush-tip go to the settings dropdown(f5) and then go to the “brush-tip” option. There, select predefined brush, and then the “import” button to call up the diff --git a/user_manual/painting_with_assistants.rst b/user_manual/painting_with_assistants.rst --- a/user_manual/painting_with_assistants.rst +++ b/user_manual/painting_with_assistants.rst @@ -34,7 +34,7 @@ Types: ------ -There's several types in Krita. You can select a type of assistant via +There are several types in Krita. You can select a type of assistant via the tool options docker. .. _assistant_ellipse: @@ -131,7 +131,7 @@ Like the vanishing point assistant, this assistant is per a set of parallel lines in a 3d space. So to use it effectively, use two, where -the second is at a 90 degree angle of the first, and add a vanishing +the second is at a 90 degrees angle of the first, and add a vanishing point to the center of both. Or combine one with a parallel ruler and a vanishing point, or even one with two vanishing points. The possibilities are quite large. @@ -163,7 +163,7 @@ This tutorial below should give you an idea of how to set up the assistants for specific types of technical views. -If you want to instead do true projection, check out :ref:`the projection category `. +If you want to instead do the true projection, check out :ref:`the projection category `. Orthographic ~~~~~~~~~~~~ diff --git a/user_manual/python_scripting/krita_python_plugin_howto.rst b/user_manual/python_scripting/krita_python_plugin_howto.rst --- a/user_manual/python_scripting/krita_python_plugin_howto.rst +++ b/user_manual/python_scripting/krita_python_plugin_howto.rst @@ -20,7 +20,7 @@ You might have some neat scripts you have written in the Scripter Python runner, but maybe you want to do more with it and run it automatically for instance. Wrapping your script in a plugin can give you much more flexibility and power than running scripts from the Scripter editor. -Okay, so even if you know python really well, there's some little details to getting Krita to recognize a python plugin. So this page will give an overview how to create the various types of python script unique to Krita. +Okay, so even if you know python really well, there are some little details to getting Krita to recognize a python plugin. So this page will give an overview how to create the various types of python script unique to Krita. These mini-tutorials are written for people with a basic understanding of python, and in such a way to encourage experimentation instead of plainly copy and pasting code, so read the text carefully. @@ -51,9 +51,9 @@ X-KDE-Library This should be the name of the plugin folder you just created. X-Python-2-Compatible - Whether it is python 2 compatible. If Krita was build with python 2 instead of 3 (``-DENABLE_PYTHON_2=ON`` in the cmake configuration), then this plugin will not show up in the list. + Whether it is python 2 compatible. If Krita was built with python 2 instead of 3 (``-DENABLE_PYTHON_2=ON`` in the cmake configuration), then this plugin will not show up in the list. X-Krita-Manual - An Optional Value that will point to the manual item. This is shown in the Python Plugin manager. If it's `a HTML file it'll be shown as rich text `_, if not, it'll be shown as plain text. + An Optional Value that will point to the manual item. This is shown in the Python Plugin manager. If it's `an HTML file it'll be shown as rich text `_, if not, it'll be shown as plain text. Name The name that will show up in the Python Plugin Manager Comment @@ -134,7 +134,7 @@ "myAction" - This should be replaced with an unique id that Krita will use to find the action. + This should be replaced with a unique id that Krita will use to find the action. "My Script" This is what will be visible in the tools menu. @@ -263,7 +263,7 @@ DockWidgetFactoryBase.DockRight The location. These can be DockTornOff, DockTop, DockBottom, DockRight, DockLeft, or DockMinimized MyDocker - Replace this with class name of the docker your wanna add. + Replace this with the class name of the docker your wanna add. So, if we add our export document function we created in the extension section to this docker code, how do we allow the user to activate it? First, we'll need to do some QT GUI coding: Let's add a button! @@ -304,7 +304,7 @@ PyQT Signals and Slots ---------------------- -We've already been using pyqt signals and slots already, but there's times where you want to create your own signals and slots. +We've already been using pyqt signals and slots already, but there are times where you want to create your own signals and slots. `As pyQt's documentation is pretty difficult to understand `_, and the way how signals and slots are created is very different from C++ qt, we're explaining it here: All python functions you make in pyQt can be understood as slots, meaning that they can be connected to signals like Action.triggered or QPushButton.clicked. However, QCheckBox has a signal for toggled, which sends a boolean. How do we get our function to accept that boolean? diff --git a/user_manual/selections.rst b/user_manual/selections.rst --- a/user_manual/selections.rst +++ b/user_manual/selections.rst @@ -21,7 +21,7 @@ Creating Selections ------------------- -The most common selection tools all exist at the bottom of the toolbox. Each tool selects things slightly differently. The links for each tool go into a more detailed description with how to use it. +The most common selection tools all exist at the bottom of the toolbox. Each tool selects things slightly differently. The links for each tool go into a more detailed description of how to use it. .. csv-table:: diff --git a/user_manual/snapping.rst b/user_manual/snapping.rst --- a/user_manual/snapping.rst +++ b/user_manual/snapping.rst @@ -51,7 +51,7 @@ .. image:: /images/en/Snap-node.png Node (Vector Only) - This snaps a vector node or object to the nodes of another path. + This snaps a vector node or an object to the nodes of another path. .. image:: /images/en/Snap-extension.png diff --git a/user_manual/soft_proofing.rst b/user_manual/soft_proofing.rst --- a/user_manual/soft_proofing.rst +++ b/user_manual/soft_proofing.rst @@ -23,7 +23,7 @@ * Painting in a CMYK space doesn’t guarantee that the colors will be the same on your printer. For each combination of Ink, Paper and Printing device, the resulting gamut of colors you can use is different. Which means that each of these could have a different profile associated with them. * Furthermore, even if you have the profile and are working in the exact color space that your printer can output, the CMYK color space is very irregular, meaning that the color maths isn’t as nice as in other spaces. Blending modes are different in CMYK as well. -* Finally, working in that specific CMYK space means that the image is stuck to that space. If you are preparing your work for different a CMYK profile, due the paper, printer or ink being different, you might have a bigger gamut with more bright colors that you would like to take advantage of. +* Finally, working in that specific CMYK space means that the image is stuck to that space. If you are preparing your work for different a CMYK profile, due to the paper, printer or ink being different, you might have a bigger gamut with more bright colors that you would like to take advantage of. So ideally, you would do the image in RGB, and use all your favorite RGB tools, and let the computer do a conversion to a given CMYK space on the fly, just for preview. This is possible, and is what we call ''Soft Proofing''. diff --git a/user_manual/tag_management.rst b/user_manual/tag_management.rst --- a/user_manual/tag_management.rst +++ b/user_manual/tag_management.rst @@ -41,7 +41,7 @@ Deleting a Tag -------------- -Select the existing tag that you want to have removed from the drop-down. Press the "+" icon next to the tag.You will get an option to remove it. +Select the existing tag that you want to have removed from the drop-down. Press the "+" icon next to the tag. You will get an option to remove it. .. note:: The default brushes that come with Krita cannot have their default tags removed. diff --git a/user_manual/working_with_images.rst b/user_manual/working_with_images.rst --- a/user_manual/working_with_images.rst +++ b/user_manual/working_with_images.rst @@ -90,7 +90,7 @@ even 300 PPI for the retina devices. None the less, when making an image for computer consumption, this is the default. 120 PPI - This is often used as standard for low-quality posters. + This is often used as a standard for low-quality posters. 300 PPI This is the minimum you should use for quality prints. 600 PPI @@ -121,7 +121,7 @@ metadata. Along with the other data such as time and date of creation and modification, Krita also shows editing time of a document in the document information dialog, useful for professional illustrators, -speed-painters to keep track of the time they worked on an artwork for +speed-painters to keep track of the time they worked on artwork for billing purposes. It detects when you haven’t performed actions for a while, and has a precision of +- 60 seconds. You can empty it in the document info dialog and of course by unzipping you .kra file and @@ -147,7 +147,7 @@ Basic transforms ~~~~~~~~~~~~~~~~ -There's some basic transforms available in the image menu. +There are some basic transforms available in the image menu. Shear Image This will allow you to skew the whole image and its layers. @@ -275,4 +275,4 @@ Exports the current image as 'filename'\_XXX.kra. .. note:: - Since Krita's file format is compressed data file, in case of corrupt or broken file you can open it with archive managers and extract the contents of the layers. This will help you to recover as much as possible data from the file. On windows, you will need to rename it to filename.zip to open it. + Since Krita's file format is compressed data file, in case of a corrupt or broken file you can open it with archive managers and extract the contents of the layers. This will help you to recover as much as possible data from the file. On windows, you will need to rename it to filename.zip to open it.