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 @@ -68,7 +68,7 @@ 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) +Grayscale 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) **When in doubt, use PNG.** 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 @@ -90,7 +90,7 @@ Within both we can identify the following color spaces: Device spaces - Device spaces are those describing your monitor, and have to be made using a little device that is called "colorimeter". This device, in combination with the right software, measures the strongest red, green and blue your screen can produce, as well as the white, black and grey it produces. Using these and several other measurements it creates an ICC profile unique to your screen. You set these in Krita's color management tab. + Device spaces are those describing your monitor, and have to be made using a little device that is called "colorimeter". This device, in combination with the right software, measures the strongest red, green and blue your screen can produce, as well as the white, black and gray it produces. Using these and several other measurements it creates an ICC profile unique to your screen. You set these in Krita's color management tab. By default we assume sRGB for screens, but it's very likely that your screen isn't exactly fitting sRGB, especially if you have a high quality screen, where it may be a bigger space instead. Device spaces are also why you should first consult with your printer what profile they expect. Many printing houses have their own device profiles for their printers, or may prefer doing color conversion themselves. You can read more about colorimeter usage :ref:`here `. Working spaces @@ -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. -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.) +Overall, it is kinda useful to keep things like viewing conditions in the back of your mind. Many professional artists use a mid-gray 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: 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 @@ -61,7 +61,7 @@ Hue The tint of a color, or, whether it's red, yellow, green, etc. Krita's Hue is measured in 360 degrees, with 0 being red, 120 being green and 240 being blue. Saturation - How vibrant a color is. Saturation is slightly different between HSV and the others. In HSV it's a measurement of the difference between two base colors being used and three base colors being used. In the others it's a measurement of how close a color is to grey, and sometimes this value is called **Chroma**. Saturation ranges from 0 (grey) to 100 (pure color). + How vibrant a color is. Saturation is slightly different between HSV and the others. In HSV it's a measurement of the difference between two base colors being used and three base colors being used. In the others it's a measurement of how close a color is to gray, and sometimes this value is called **Chroma**. Saturation ranges from 0 (gray) to 100 (pure color). Value Sometimes known as Brightness. Measurement of how much the pixel needs to light up. Also measured from 0 to 100. Lightness @@ -76,8 +76,8 @@ Grayscale --------- -This color space only registers grey-values. -This is useful, because by only registering grey values, it only needs one channel of information, which in turn means the image becomes much lighter in memory consumption! +This color space only registers gray values. +This is useful, because by only registering gray values, it only needs one channel of information, which in turn means the image becomes much lighter in memory consumption! This is useful for textures, but also anything else that needs to stay grayscale, like Black and White comics. 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 @@ -17,7 +17,7 @@ ================ Now, the situation we talk about when talking theory is what we would call 'linear'. Each step of brightness is the same value. -Our eyes do not perceive linearly. Rather, we find it more easy to distinguish between darker greys than we do between lighter greys. +Our eyes do not perceive linearly. Rather, we find it more easy to distinguish between darker grays than we do between lighter grays. As humans are the ones using computers, we have made it so that computers will give more room to darker values in the coordinate system of the image. We call this 'gamma-encoding', because it is applying a gamma function to the TRC or transfer function of an image. The TRC in this case being the Tone Response Curve or Tone Reproduction Curve or Transfer function (because color management specialists hate themselves), which tells your computer or printer how much color corresponds to a certain value. @@ -118,5 +118,5 @@ Even if you do not paint much, but are for example making textures for a videogame or rendering, using a linear space is very beneficial and will speed up the renderer a little, for it won't have to convert images on its own. -The downside of linear space is of course that white seems very overpowered when mixing with black, because in a linear space, light greys get more room. In the end, while linear space is physically correct, and a boon to work in when you are dealing with physically correct renderers for videogames and raytracing, Krita is a tool and no-one will hunt you down for preferring the dark mixing of the sRGB TRC. +The downside of linear space is of course that white seems very overpowered when mixing with black, because in a linear space, light grays get more room. In the end, while linear space is physically correct, and a boon to work in when you are dealing with physically correct renderers for videogames and raytracing, Krita is a tool and no-one will hunt you down for preferring the dark mixing of the sRGB TRC. 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 @@ -59,7 +59,7 @@ 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. +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 gray the color gray is. It then puts all this information into an ICC profile, which can be used by the computer to correct your colors. 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 @@ -43,7 +43,7 @@ :figwidth: 500 :align: center -For example, if you are designing a print for a red t-shirt that's not bright red, but not super greyish red either. And you want to make sure the colors of the print match the color of the t-shirt, so you make a dummy background layer that is approximately that red, as correctly as you can observe it, and paint on layers above that dummy layer. When you are done, you hide this dummy layer and sent the image with a transparent background to the press. +For example, if you are designing a print for a red t-shirt that's not bright red, but not super grayish red either. And you want to make sure the colors of the print match the color of the t-shirt, so you make a dummy background layer that is approximately that red, as correctly as you can observe it, and paint on layers above that dummy layer. When you are done, you hide this dummy layer and sent the image with a transparent background to the press. .. figure:: /images/en/color_category/White_point_mixup_ex1_02.png diff --git a/general_concepts/file_formats/lossy_lossless.rst b/general_concepts/file_formats/lossy_lossless.rst --- a/general_concepts/file_formats/lossy_lossless.rst +++ b/general_concepts/file_formats/lossy_lossless.rst @@ -25,7 +25,7 @@ *Lossy* compression techniques are for when we want to *permanently* reduce the file size of an image. This is necessary for final products where having a small filesize is preferable such as a website. That the image will not be edited anymore after this allows for the use of the context of a pixel to be taken into account when compressing, meaning that we can rely on psychological and statistical tricks. -One of the primary things JPEG for example does is chroma sub-sampling, that is, to split up the image into a greyscale and two color versions (one containing all red-green contrast and the other containing all blue-yellow contrast), and then it makes the latter two versions smaller. This works because humans are much more sensitive to differences in lightness than we are to differences in hue and saturation. +One of the primary things JPEG for example does is chroma sub-sampling, that is, to split up the image into a grayscale and two color versions (one containing all red-green contrast and the other containing all blue-yellow contrast), and then it makes the latter two versions smaller. This works because humans are much more sensitive to differences in lightness than we are to differences in hue and saturation. Another thing it does is to use cosine waves to describe contrasts in an image. What this means is that JPEG and other lossy formats using this are *very good at describing gradients, but not very good at describing sharp contrasts*. diff --git a/reference_manual/blending_modes/arithmetic.rst b/reference_manual/blending_modes/arithmetic.rst --- a/reference_manual/blending_modes/arithmetic.rst +++ b/reference_manual/blending_modes/arithmetic.rst @@ -39,7 +39,7 @@ Left: **Normal**. Right: **Addition**. -Red(1, 0, 0) + Grey(0.5, 0.5, 0.5) = Pink(1, 0.5, 0.5) +Red(1, 0, 0) + Gray(0.5, 0.5, 0.5) = Pink(1, 0.5, 0.5) .. figure:: /images/blending_modes/Blending_modes_Addition_Red_plus_gray.png :align: center @@ -119,7 +119,7 @@ White(1,1,1) x White(1, 1, 1) = White(1, 1, 1) -White(1, 1, 1) x Grey(0.5, 0.5, 0.5) = Grey(0.5, 0.5, 0.5) +White(1, 1, 1) x Gray(0.5, 0.5, 0.5) = Gray(0.5, 0.5, 0.5) Darker Gray(0.4, 0.4, 0.4) x Lighter Gray(0.5, 0.5, 0.5) = Even Darker Gray (0.2, 0.2, 0.2) @@ -149,7 +149,7 @@ White(1, 1, 1)_White(1, 1, 1) = Black(0, 0, 0) -White(1, 1, 1)_Grey(0.5, 0.5, 0.5) = Grey(0.5, 0.5, 0.5) +White(1, 1, 1)_Gray(0.5, 0.5, 0.5) = Gray(0.5, 0.5, 0.5) Darker Gray(0.4, 0.4, 0.4)_Lighter Gray(0.5, 0.5, 0.5) = (-0.1, -0.1, -0.1) → Black(0, 0, 0) 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 @@ -21,14 +21,14 @@ HSI is a color coordinate system, using Hue, Saturation and Intensity to categorize a color. Hue is roughly the wavelength, whether the color is red, yellow, green, cyan, blue or purple. It is measure in 360°, with 0 being red. -Saturation is the measurement of how close a color is to grey. +Saturation is the measurement of how close a color is to gray. Intensity, in this case is the tone of the color. What makes intensity special is that it recognizes yellow (rgb:1,1,0) having a higher combined rgb value than blue (rgb:0,0,1). This is a non-linear tone dimension, which means it's gamma-corrected. HSL ~~~ HSL is also a color coordinate system. It describes colors in Hue, Saturation and Lightness. -Lightness specifically puts both yellow (rgb:1,1,0), blue (rgb:0,0,1) and middle grey (rgb:0.5,0.5,0.5) at the same lightness (0.5). +Lightness specifically puts both yellow (rgb:1,1,0), blue (rgb:0,0,1) and middle gray (rgb:0.5,0.5,0.5) at the same lightness (0.5). HSV ~~~ diff --git a/reference_manual/blending_modes/mix.rst b/reference_manual/blending_modes/mix.rst --- a/reference_manual/blending_modes/mix.rst +++ b/reference_manual/blending_modes/mix.rst @@ -86,7 +86,7 @@ Grain Extract ~~~~~~~~~~~~~ -Similar to subtract, the colors of the upper layer are subtracted from the colors of the lower layer, and then 50% grey is added. +Similar to subtract, the colors of the upper layer are subtracted from the colors of the lower layer, and then 50% gray is added. .. figure:: /images/blending_modes/Blending_modes_Grain_Extract_Sample_image_with_dots.png :align: center @@ -99,7 +99,7 @@ Grain Merge ~~~~~~~~~~~ -Similar to addition, the colors of the upper layer are added to the colors, and then 50% grey is subtracted. +Similar to addition, the colors of the upper layer are added to the colors, and then 50% gray is subtracted. .. figure:: /images/blending_modes/Blending_modes_Grain_Merge_Sample_image_with_dots.png :align: center 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 @@ -34,9 +34,9 @@ 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 black and the most colorful color. + Stands for Hue, Saturation, Value. Saturation determines the difference between white, gray, 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. + Stands for Hue, Saturation, Lightness. All saturated colors are equal to 50% lightness. Saturation allows for shifting between gray and color. HSI This stands for Hue, Saturation and Intensity. Unlike HSL, this one determine the intensity as the sum of total rgb components. Yellow (1,1,0) has higher intensity than blue (0,0,1) but is the same intensity as cyan (0,1,1). HSY' diff --git a/reference_manual/dockers/artistic_color_selector.rst b/reference_manual/dockers/artistic_color_selector.rst --- a/reference_manual/dockers/artistic_color_selector.rst +++ b/reference_manual/dockers/artistic_color_selector.rst @@ -32,7 +32,7 @@ Absolute -------- -This changes the algorithm around so it gives proper values for the grey. Without absolute, it'll use HSV values for grey to the corresponding hue and lightness. +This changes the algorithm around so it gives proper values for the gray. Without absolute, it'll use HSV values for gray to the corresponding hue and lightness. Usage ----- diff --git a/reference_manual/dockers/channels_docker.rst b/reference_manual/dockers/channels_docker.rst --- a/reference_manual/dockers/channels_docker.rst +++ b/reference_manual/dockers/channels_docker.rst @@ -21,15 +21,15 @@ Editing Channels ---------------- -If you want to edit individual channels by their greyscale component, you will need to manually separate a layer. This can be done with a series of commands with the layer docker. +If you want to edit individual channels by their grayscale component, you will need to manually separate a layer. This can be done with a series of commands with the layer docker. #. Select the layer you want to break apart. #. Go to :menuselection:`Image --> Separate Image` #. Select the following options and click :guilabel:`OK`: #. Source: Current Layer #. Alpha Options: Create separate separation from alpha channel - #. Output to Greyscale, not color: unchecked + #. Output to Grayscale, not color: unchecked #. Hide your original layer #. Select All of the new channel layers and put them in a group layer (:menuselection:`Layer --> Quick Group`) diff --git a/reference_manual/filters/adjust.rst b/reference_manual/filters/adjust.rst --- a/reference_manual/filters/adjust.rst +++ b/reference_manual/filters/adjust.rst @@ -63,7 +63,7 @@ .. image:: /images/en/Levels-filter.png -This is very useful to do an initial cleanup of scanned lineart or greyscale images. If the scanned lineart is light you can slide the black triangle to right to make it darker or if you want to remove the grey areas you can slide the white slider to left. +This is very useful to do an initial cleanup of scanned lineart or grayscale images. If the scanned lineart is light you can slide the black triangle to right to make it darker or if you want to remove the gray areas you can slide the white slider to left. Auto levels is a quick way to adjust tone of an image. If you want to change the settings later you can click on the :guilabel:`Create Filter Mask` button to add the levels as a filter mask. @@ -126,23 +126,23 @@ Desaturate ---------- -Image-wide desaturation filter. Will make any image Greyscale. -Has several choices by which logic the colors are turned to grey. The default shortcut for this filter is :kbd:`Ctrl + Shift + U` . +Image-wide desaturation filter. Will make any image Grayscale. +Has several choices by which logic the colors are turned to gray. The default shortcut for this filter is :kbd:`Ctrl + Shift + U` . .. image:: /images/en/Desaturate-filter.png Lightness - This will turn colors to grey using the HSL model. + This will turn colors to gray using the HSL model. Luminosity (ITU-R BT.709) - Will turn the color to grey by using the appropriate amount of weighting per channel according to ITU-R BT.709. + Will turn the color to gray by using the appropriate amount of weighting per channel according to ITU-R BT.709. Luminosity (ITU-R BT.601) - Will turn the color to grey by using the appropriate amount of weighting per channel according to ITU-R BT.601. + Will turn the color to gray by using the appropriate amount of weighting per channel according to ITU-R BT.601. Average Will make an average of all channels. Min - Subtracts all from one another to find the grey value. + Subtracts all from one another to find the gray value. Max - Adds all channels together to get a grey-value + Adds all channels together to get a gray value .. index:: Invert, Negative diff --git a/reference_manual/filters/artistic.rst b/reference_manual/filters/artistic.rst --- a/reference_manual/filters/artistic.rst +++ b/reference_manual/filters/artistic.rst @@ -38,7 +38,7 @@ Index Color ----------- -The index color filter maps specific user selected colors to the grey scale value of the artwork. You can see the example below, the strip below the black and white gradient has index color applied to it so that the black and white gradient gets the color selected to different values. +The index color filter maps specific user selected colors to the grayscale value of the artwork. You can see the example below, the strip below the black and white gradient has index color applied to it so that the black and white gradient gets the color selected to different values. .. image:: /images/en/Gradient-pixelart.png diff --git a/reference_manual/filters/colors.rst b/reference_manual/filters/colors.rst --- a/reference_manual/filters/colors.rst +++ b/reference_manual/filters/colors.rst @@ -28,7 +28,7 @@ .. image:: /images/en/Color-to-alpha.png The Threshold indicates how much other colors will be considered mixture of the removed color and non-removed colors. -For example, with threshold set to 255, and the removed color set to white, a 50% grey will be considered a mixture of black+white, and thus transformed in a 50% transparent black. +For example, with threshold set to 255, and the removed color set to white, a 50% gray will be considered a mixture of black+white, and thus transformed in a 50% transparent black. .. image:: /images/en/Krita-color-to-alpha.png :align: center diff --git a/reference_manual/layers_and_masks/filter_masks.rst b/reference_manual/layers_and_masks/filter_masks.rst --- a/reference_manual/layers_and_masks/filter_masks.rst +++ b/reference_manual/layers_and_masks/filter_masks.rst @@ -33,4 +33,4 @@ Unlike filter layers, filter masks apply only to the area you have selected (the mask). -You can edit the settings for a filter mask at any time by double clicking on it in the Layers docker. You can also change the selection that the filter mask affects by selecting the filter mask in the Layers docker and then using the paint tools in the main window. Painting white includes the area, painting black excludes it, and all other colors are turned into a shade of grey which applies proportionally. +You can edit the settings for a filter mask at any time by double clicking on it in the Layers docker. You can also change the selection that the filter mask affects by selecting the filter mask in the Layers docker and then using the paint tools in the main window. Painting white includes the area, painting black excludes it, and all other colors are turned into a shade of gray which applies proportionally. diff --git a/tutorials/common_workflows.rst b/tutorials/common_workflows.rst --- a/tutorials/common_workflows.rst +++ b/tutorials/common_workflows.rst @@ -50,7 +50,7 @@ .. image:: /images/en/Levels-filter.png :alt: level filter dialog -You can clean the unwanted greys by moving the white triangle in the input levels section to left and darken the black by moving the black triangle to right. +You can clean the unwanted grays by moving the white triangle in the input levels section to left and darken the black by moving the black triangle to right. If you draw in blue pencils and then ink your line art you may need to remove the blue lines first to do that go to :menuselection:`Filters --> Adjust --> Color adjustment` curves or press shortcut :kbd:`Ctrl + M`. @@ -81,7 +81,7 @@ .. image:: /images/en/Color-to-alpha.png :alt: color to alpha dialog box -This will convert the white color in your line art to alpha i.e. it will make the white transparent leaving only the line art. Your line art can be in greyscale color space, this is a unique feature in Krita which allows you to keep a layer in a color-space independent from the image. +This will convert the white color in your line art to alpha i.e. it will make the white transparent leaving only the line art. Your line art can be in grayscale color space, this is a unique feature in Krita which allows you to keep a layer in a color-space independent from the image. Laying in Flat Colors ^^^^^^^^^^^^^^^^^^^^^ @@ -169,7 +169,7 @@ This method finds its origins in old oil-painting practice: You first make an under-painting and then paint over it with color, having the dark underground shine through. -With Krita you can use blending modes for this purpose. Choosing the color blending mode on a layer on top allows you to change the colors of the image without changing the relative luminosity. This is useful, because humans are much more sensitive to tonal differences than the difference in saturation and hue. This'll allow you to work in greyscale before going into color for the polishing phase. +With Krita you can use blending modes for this purpose. Choosing the color blending mode on a layer on top allows you to change the colors of the image without changing the relative luminosity. This is useful, because humans are much more sensitive to tonal differences than the difference in saturation and hue. This'll allow you to work in grayscale before going into color for the polishing phase. You can find more about this technique `here `_. @@ -188,19 +188,19 @@ .. image:: /images/en/common-workflows/Layer-docker-pixelart.png :alt: Layer stack setup for pixel art -The index color filter maps specific user-selected colors to the grey scale value of the artwork. You can see the example below, the strip below the black and white gradient has an index color applied to it so that the black and white gradient gets the color selected to different values. +The index color filter maps specific user-selected colors to the grayscale value of the artwork. You can see the example below, the strip below the black and white gradient has an index color applied to it so that the black and white gradient gets the color selected to different values. .. image:: /images/en/common-workflows/Gradient-pixelart.png - :alt: color mapping in index color to greyscale + :alt: color mapping in index color to grayscale You can choose the required colors and ramps in the index color filter dialog as shown below. .. image:: /images/en/common-workflows/Index-color-filter.png :alt: index color filter dialog Dithering can be used to enhance the look of the art and to ease the banding occurred by the index color filter. Krita has a variety of dithering patterns by default, these can be found in pattern docker. You can use these patterns as fill layer, then set the blend mode to **overlay** and adjust the opacity according to your liking. Generally, an opacity range of 10% - 25% is ideal. -Paint the artwork in greyscale and add an index color filter layer at the top then add the dithering pattern fill layer below the index color filter but above the artwork layer, as shown in the layer stack arrangement above. You can paint or adjust the artwork at any stage as we have added the index color filter as a filter layer. +Paint the artwork in grayscale and add an index color filter layer at the top then add the dithering pattern fill layer below the index color filter but above the artwork layer, as shown in the layer stack arrangement above. You can paint or adjust the artwork at any stage as we have added the index color filter as a filter layer. You can add different groups for different colors and add different dithering patterns for each group. diff --git a/tutorials/making_an_azalea_with_the_transformation_masks.rst b/tutorials/making_an_azalea_with_the_transformation_masks.rst --- a/tutorials/making_an_azalea_with_the_transformation_masks.rst +++ b/tutorials/making_an_azalea_with_the_transformation_masks.rst @@ -25,7 +25,7 @@ I got an image from Wikipedia for reference, mostly because it’s public domain, and as an artist I find it important to respect other artists. You can copy it and, if you already have a canvas, :menuselection:`Edit --> Paste into New Image` or :menuselection:`New --> Create from Clipboard`. -Then, if you didn’t have a new canvas make one. I made an A5 300dpi canvas. This is not very big, but we’re only practicing. I also have the background color set to a yellow-greyish color (#CAC5B3), partly because it reminds me of paper, and partly because bright screen white can strain the eyes and make it difficult to focus on values and colors while painting. Also, due to the lack of strain on the eyes, you’ll find yourself soothed a bit. Other artists use #c0c0c0, or even more different values. +Then, if you didn’t have a new canvas make one. I made an A5 300dpi canvas. This is not very big, but we’re only practicing. I also have the background color set to a yellow-grayish color (#CAC5B3), partly because it reminds me of paper, and partly because bright screen white can strain the eyes and make it difficult to focus on values and colors while painting. Also, due to the lack of strain on the eyes, you’ll find yourself soothed a bit. Other artists use #c0c0c0, or even more different values. So, if you go to :menuselection:`Window --> Tile`, you will find that now your reference image and your working canvas are side by side. The reason I am using this instead of the docker is because I am lazy and don’t feel like saving the wikipedia image. We’re not going to touch the image much. 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 @@ -104,7 +104,7 @@ Also, in the :guilabel:`Select` menu there are more classical options to grow, shrink, feather, border, etc. -If you enable :guilabel:`Show Global Selection Mask` (:guilabel:`Select` menu) you can scale/rotate/transform/move or paint on selection like on regular greyscale layer. +If you enable :guilabel:`Show Global Selection Mask` (:guilabel:`Select` menu) you can scale/rotate/transform/move or paint on selection like on regular grayscale layer. * :kbd:`Ctrl + H`: Show / Hide selection (same shortcut) * :kbd:`Ctrl + A`: Select All