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 @@ -36,7 +36,7 @@ Lighting is the other component of the viewing condition which can have dramatic effects. Lighting in particular affects the way how all colors look. For example, if you were to paint an image of sunflowers and poppies, print that out, and shine a bright yellow light on it, the sunflowers would become indistinguishable from the white background, and the poppies would look orange. This is called `metamerism `_, and it's generally something you want to avoid in your color management pipeline. -Examples where metamerism could become a problem is when you start matching colors from different sources together. +An example where metamerism could become a problem is when you start matching colors from different sources together. .. figure:: /images/en/color_category/White_point_mix_up_ex1_01.svg 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 @@ -25,7 +25,7 @@ A .csv file as a spreadsheet in :program:`LibreOffice Calc` -Krita can both export and import this format. It is recommended to use 8bit sRGB colour space because that's the only colour space for :program:`TVPaint`. Layer groups and layer masks are also not supported. +Krita can both export and import this format. It is recommended to use 8bit sRGB color space because that's the only color space for :program:`TVPaint`. Layer groups and layer masks are also not supported. TVPaint can only export this format by itself. In :program:`TVPaint 11`, use the :guilabel:`Export to...` option of the :guilabel:`File` menu, and on the upcoming :guilabel:`Export footage` window, use the :guilabel:`Clip: Layers structure` tab. 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 @@ -59,9 +59,9 @@ .. image:: /images/en/category_projection/projection_image_01.png :align: center -I always start with the side, and then extrapolate the front view from it. Because you are using Krita, set up two parallel rulers, one vertical and the other horizontal. To snap them perfectly, drag one of the nodes after you have made the ruler, and press :kbd:`Shift` to snap it horizontal or vertical. In 3.0, you can also snap them to the image borders if you have :menuselection:`Snap to image borders` active via :kbd:`Shift` + :kbd:`S` +I always start with the side, and then extrapolate the front view from it. Because you are using Krita, set up two parallel rulers, one vertical and the other horizontal. To snap them perfectly, drag one of the nodes after you have made the ruler, and press :kbd:`Shift` to snap it horizontal or vertical. In 3.0, you can also snap them to the image borders if you have :menuselection:`Snap Image Bounds` active via :kbd:`Shift` + :kbd:`S` -Then, by moving the mirror to the left, you can design a front-view from the sideview, while the parallel preview line helps you with aligning the eyes (which in the above screenshot are too low). +Then, by moving the mirror to the left, you can design a front view from the side view, while the parallel preview line helps you with aligning the eyes (which in the above screenshot are too low). Eventually, you should have something like this: @@ -75,7 +75,7 @@ .. tip:: - When you are using Krita, you can just use transform masks to rotate the side view for drawing the top-view. + When you are using Krita, you can just use transform masks to rotate the side view for drawing the top view. The top view works as a method for debugging your orthos as well. If we take the red line to figure out the orthographics from, we see that our eyes are obviously too inset. Let's move them a bit more forward, to around the nose. @@ -89,7 +89,7 @@ We fix the top view now. Much better. -For faces, the multiple slices are actually pretty important. So important even, that I have decided we should have these slices on separate layers. Thankfully, I chose to colour them, so all we need to do is go to :menuselection:`Layer --> Split Layer` +For faces, the multiple slices are actually pretty important. So important even, that I have decided we should have these slices on separate layers. Thankfully, I chose to color them, so all we need to do is go to :menuselection:`Layer --> Split Layer` . .. image:: /images/en/category_projection/projection_image_06.png @@ -112,17 +112,17 @@ .. 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 its visible frame on frame 0 and an empty-frame on frame 23. +* Both front view and side view are set up as 'visible in timeline' so we can always see them. +* Front view 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 :align: center -Krita can't animate a transformation on multiple layers on multiple frames yet, so let's just only transform the top layer. Add a semi-transparent layer where we draw the guide-lines. +Krita can't animate a transformation on multiple layers on multiple frames yet, so let's just only transform the top layer. Add a semi-transparent layer where we draw the guidelines. -Now, select frame 11 (halfway), add new frames from frontview, sideview and the guide-lines. And turn on the onion skin by toggling the lamp symbols. We copy the frame for the top-view and use the transform tool to rotate it 45°. +Now, select frame 11 (halfway), add new frames from front view, side view and the guidelines. And turn on the onion skin by toggling the lamp symbols. We copy the frame for the top view and use the transform tool to rotate it 45°. .. image:: /images/en/category_projection/projection_image_11.png :align: center @@ -147,7 +147,8 @@ .. image:: /images/en/category_projection/projection_animation_01.gif :align: center -(Because our boy here is fully symmetrical, you can just animate one side and flip the frames for the other half) -(While it is not necessary to follow all the steps in the theory section to understand the tutorial, I do recommend making a turn table sometime. It teaches you a lot about drawing 3/4th faces. +Because our boy here is fully symmetrical, you can just animate one side and flip the frames for the other half. + +While it is not necessary to follow all the steps in the theory section to understand the tutorial, I do recommend making a turn table sometime. It teaches you a lot about drawing 3/4th faces. How about… we introduce the top view into the drawing itself? diff --git a/general_concepts/projection/perspective.rst b/general_concepts/projection/perspective.rst --- a/general_concepts/projection/perspective.rst +++ b/general_concepts/projection/perspective.rst @@ -38,16 +38,16 @@ .. image:: /images/en/category_projection/projection-cube_13.svg :align: center -… to get three-point projection, but this is a bit much.(And I totally made a mistake in there…) +… to get three-point projection, but this is a bit much. (And I totally made a mistake in there…) Let’s setup our perspective projection again… .. image:: /images/en/category_projection/projection_image_31.png :align: center We’ll be using a single vanishing point for our focal point. A guide line will be there for the projection plane, and we’re setting up horizontal and vertical parallel rules to easily draw the straight lines from the view plane to where they intersect. -And now the workflow in gif-format…(don’t forget you can rotate the canvas with 4 and 6) +And now the workflow in gif-format… (don’t forget you can rotate the canvas with :kbd:`4` and :kbd:`6`) .. image:: /images/en/category_projection/projection_animation_03.gif :align: center @@ -75,7 +75,7 @@ .. image:: /images/en/category_projection/projection_image_34.png :align: center -And from this, like with the shearing method, we start drawing.(don’t forget the top-views!) +And from this, like with the shearing method, we start drawing. (Don’t forget the top-views!) Which should get you something like this: @@ -94,6 +94,6 @@ .. image:: /images/en/category_projection/projection_image_37.png :align: center -(above sculpted in blender using our orthographic reference) +(The image above is sculpted in blender using our orthographic reference) So let us look at what this technique can be practically used for in the next part... 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 @@ -134,7 +134,7 @@ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Similar to lighten, but specific to tone. -Checks whether the upper layer's pixel has a higher tone than the lower layer's pixel. If so, the intensity is increased, if not, the lower layer's tone is maintained. +Checks whether the upper layer's pixel has a higher tone than the lower layer's pixel. If so, the tone is increased, if not, the lower layer's tone is maintained. .. figure:: /images/blending_modes/Blending_modes_Increase_Intensity_Sample_image_with_dots.png :align: center