diff --git a/general_concepts/colors/viewing_conditions.rst b/general_concepts/colors/viewing_conditions.rst index bbbb0d033..975f577a3 100644 --- a/general_concepts/colors/viewing_conditions.rst +++ b/general_concepts/colors/viewing_conditions.rst @@ -1,93 +1,93 @@ .. meta:: :description: What are viewing conditions. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. .. index:: Viewing Conditions, Metamerism, Color .. _viewing_conditions: ================== Viewing Conditions ================== We mentioned viewing conditions before, but what does this have to do with 'white points'? A lot actually, rather, white points describe a type of viewing condition. So, usually what we mean by viewing conditions is the lighting and decoration of the room that you are viewing the image in. Our eyes try to make sense of both the colors that you are looking at actively (the colors of the image) and the colors you aren't looking at actively (the colors of the room), which means that both sets of colors affect how the image looks. .. figure:: /images/en/color_category/Meisje_met_de_parel_viewing.png :figwidth: 800 :align: center **Left**: Let's ruin Vermeer by putting a bright purple background that asks for more attention than the famous painting itself. **Center**: a much more neutral backdrop that an interior decorator would hate but brings out the colors. **Right**: The approximate color that this painting is displayed against in real life in the Maurits House, at the least, last time I was there. Original image from wikipedia commons. This is for example, the reason why museum exhibitioners can get really angry at the interior decorators when the walls of the museum are painted bright red or blue, because this will drastically change the way how the painting's colors look. (Which, if we are talking about a painter known for their colors like Vermeer, could result in a really bad experience). .. figure:: /images/en/color_category/Krita_example_metamerism.png :figwidth: 500 :align: center 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 :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. .. figure:: /images/en/color_category/White_point_mixup_ex1_02.png :figwidth: 300 :align: center But when you get the t-shirt from the printer, you notice that all your colors look off, mismatched, and maybe too yellowish (and when did that T-Shirt become purple?). This is where white points come in. You probably observed the t-shirt in a white room where there were incandescent lamps shining, because as a true artist, you started your work in the middle of the night, as that is when the best art is made. However, incandescent lamps have a black body temperature of roughly 2300-2800K, which makes them give a yellowish light, officially called White Point A. Your computer screen on the other hand, has a black body temperature of 6500K, also known as D65. Which is a far more blueish color of light than the lamps you are hanging. What's worse, Printers print on the basis of using a white point of D50, the color of white paper under direct sunlight. .. figure:: /images/en/color_category/White_point_mix_up_ex1_03.svg :figwidth: 500 :align: center So, by eye-balling your t-shirt's color during the evening, you took its red color as transformed by the yellowish light. Had you made your observation in diffuse sunlight of an overcast (which is also roughly D65), or made it in direct sunlight light and painted your picture with a profile set to D50, the color would have been much closer, and thus your design would not be as yellowish. .. figure:: /images/en/color_category/White_point_mixup_ex1_03.png :figwidth: 500 :align: center Applying a white balance filter will sort of match the colors to the tone as in the middle, but you would have had a much better design had you designed against the actual color to begin with. Now, you could technically quickly fix this by using a white balancing filter, like the ones in G'MIC, but because this error is caught at the end of the production process, you basically limited your use of possible colors when you were designing, which is a pity. 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 differences between the colors are very obvious. .. figure:: /images/en/color_category/Krita_metamerism_presentation.svg :figwidth: 800 :align: center However, when we start projecting, the lights of the room aren't dimmed, which means that the tone scale of the colors becomes crunched, and yellow becomes near indistinguishable from white. Furthermore, because the light in the room is slightly yellowish, the purple is transformed into red, making it indistinguishable from the red. Meaning that the graphic is difficult to read. In both cases, you can use Krita's color management a little to help you, but mostly, you just need to be ''aware'' of it, as Krita can hardly fix that you are looking at colors at night, or the fact that the presentation hall owner refuses to turn off the lights. That said, unless you have a display profile that uses LUTs, such as an OCIO lut or a cLUT icc profile, white point won't matter much when choosing a working space, due to weirdness in the icc v4 workflow which always converts matrix profiles with relative colorimetric, meaning the white points are matched up. diff --git a/general_concepts/file_formats/file_csv.rst b/general_concepts/file_formats/file_csv.rst index 663c105b1..6a66515d0 100644 --- a/general_concepts/file_formats/file_csv.rst +++ b/general_concepts/file_formats/file_csv.rst @@ -1,44 +1,44 @@ .. meta:: :description: The CSV file format as exported by Krita. .. metadata-placeholder :authors: - Lazlo Fazekas :license: GNU free documentation license 1.3 or later. .. index:: *.csv, CSV, Comma Separated Values .. _file_csv: ====== \*.csv ====== .csv is the abbreviation for Comma Separated Values. It is an open, plain text spreadsheet format. Since the .csv format is a plain text itself, it is possible to use a spreadsheet program or even a text editor to edit the .csv file. Krita supports the .csv version used by TVPaint, to transfer layered animation between these two softwares and probably with others, like Blender. This is not an image sequence format, so use the document loading and saving functions in Krita instead of the :guilabel:`Import animation frames` and :guilabel:`Render Animation` menu items. The format consists of a text file with .csv extension, together with a folder under the same name and a .frames extension. The .csv file and the folder must be on the same path location. The text file contains the parameters for the scene, like the field resolution and frame rate, and also contains the exposure sheet for the layers. The folder contains :ref:`file_png` picture files. Unlike image sequences, a key frame instance is only a single file and the exposure sheet links it to one or more frames on the timeline. .. figure:: /images/en/Csv_spreadsheet.png :align: center 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. .. figure:: /images/en/Csv_tvp_csvexport.png :align: center Exporting into .csv in TVPaint To import this format back into TVPaint there is a George language script extension. See the "Packs, Plugins, Third party" section on the TVPaint community forum for more details and also if you need support for other softwares. Moho/Anime Studio and Blender also have plugins to import this format. .. seealso:: - `.csv import script for TVPaint `_ - `.csv import script for Moho/Anime Studio `_ - `.csv import script for Blender `_ diff --git a/general_concepts/projection/orthographic_oblique.rst b/general_concepts/projection/orthographic_oblique.rst index 839a28a25..5fe4f817b 100644 --- a/general_concepts/projection/orthographic_oblique.rst +++ b/general_concepts/projection/orthographic_oblique.rst @@ -1,153 +1,154 @@ .. meta:: :description: Orthographics and oblique projection. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. So let's start with the basics... .. index:: Projection, Orthographic .. _projection_orthographic: Orthographic ============ Despite the fancy name, you probably know what orthographic is. It is a schematic representation of an object, draw undeformed. Like the following example: .. image:: /images/en/category_projection/projection-cube_01.svg :align: center This is a rectangle. We have a front, top and side view. Put into perspective it should look somewhat like this: .. image:: /images/en/category_projection/projection-cube_02.svg :align: center While orthographic representations are kinda boring, they're also a good basis to start with when you find yourself in trouble with a pose. But we'll get to that in a bit. .. _projection_oblique: Oblique ======= So, if we can say that the front view is the viewer looking at the front, and the side view is the viewer directly looking at the side. (The perpendicular line being the view plane it is projected on) .. image:: /images/en/category_projection/projection-cube_03.svg :align: center Then we can get a half-way view from looking from an angle, no? .. image:: /images/en/category_projection/projection-cube_04.svg :align: center If we do that for a lot of different sides… .. image:: /images/en/category_projection/projection-cube_05.svg :align: center And we line up the sides we get a… .. image:: /images/en/category_projection/projection-cube_06.svg :align: center But cubes are boring. I am suspecting that projection is so ignored because no tutorial applies it to an object where you actually might NEED projection. Like a face. First, let's prepare our front and side views: .. 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: .. image:: /images/en/category_projection/projection_image_02.png :align: center And of course, let us not forget the top, it's pretty important: .. image:: /images/en/category_projection/projection_image_03.png :align: center .. 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. .. image:: /images/en/category_projection/projection_image_04.png :align: center If you want to do precision position moving in the tool options docker, just select 'position' and the input box for the X. Pressing down then moves the transformed selection left. With Krita 3.0 you can just use the move tool for this and the arrow keys. Using transform here can be more convenient if you also have to squash and stretch an eye. .. image:: /images/en/category_projection/projection_image_05.png :align: center 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 :align: center This'll give you a few awkwardly named layers… rename them by selecting all and mass changing the name in the properties editor: .. image:: /images/en/category_projection/projection_image_07.png :align: center So, after some cleanup, we should have the following: .. image:: /images/en/category_projection/projection_image_08.png :align: center Okay, now we're gonna use animation for the next bit. 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 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 So, we draw our vertical guides again and determine a in-between... .. image:: /images/en/category_projection/projection_image_12.png :align: center This is about how far you can get with only the main slice, so rotate the rest as well. .. image:: /images/en/category_projection/projection_image_13.png :align: center And just like with the cube, we do this for all slices… .. image:: /images/en/category_projection/projection_image_14.png :align: center Eventually, if you have the top slices rotate every frame with 15°, you should be able to make a turn table, like this: .. 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 index 6586d9ebe..cff945233 100644 --- a/general_concepts/projection/perspective.rst +++ b/general_concepts/projection/perspective.rst @@ -1,99 +1,99 @@ .. meta:: :description: Perspective projection. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier :license: GNU free documentation license 1.3 or later. This is a continuation of the :ref:`axonometric tutorial `, be sure to check it out if you get confused! .. index:: Projection, Perspective, Perspective Projection .. _projection_perspective: Perspective Projection ---------------------- So, up till now we’ve done only parallel projection. This is called like that because all the projection lines we drew were parallel ones. However, in real life we don’t have parallel projection. This is due to the lens in our eyes. .. image:: /images/en/category_projection/Projection_Lens1_from_wikipedia.svg :align: center Convex lenses, as this lovely image from `wikipedia `_ shows us, have the ability to turn parallel lightrays into converging ones. The point where all the rays come together is called the focal point, and the vanishing point in a 2d drawing is related to it as it’s the expression of the maximum distortion that can be given to two parallel lines as they’re skewed toward the focal point. As you can see from the image, the focal point is not an end-point of the rays. Rather, it is where the rays cross before diverging again… The only difference is that the resulting image will be inverted. Even in our eyes this inversion happens, but our brains are used to this awkwardness since childhood and turn it around automatically. Let’s see if we can perspectively project our box now. .. image:: /images/en/category_projection/projection-cube_12.svg :align: center That went pretty well. As you can see we sorta ‘merged’ the two sides into one (resulting into the purple side square) so we had an easier time projecting. The projection is limited to one or two vanishing point type projection, so only the horizontal lines get distorted. We can also distort the vertical lines .. 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 Result: .. image:: /images/en/category_projection/projection_image_32.png :align: center Looks pretty haughty, doesn’t he? And again, there’s technically a simpler setup here… Did you know you can use Krita to rotate in 3d? No? .. image:: /images/en/category_projection/projection_image_33.png :align: center Well, now you do. The ortho graphics are being set to 45 and 135 degrees respectively. We draw horizontal lines on the originals, so that we can align vanishing point rulers to them. .. 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: .. image:: /images/en/category_projection/projection_image_35.png :align: center But again, the regular method is actually a bit easier... But now you might be thinking: gee, this is a lot of work… Can’t we make it easier with the computer somehow? Uhm, yes, that’s more or less why people spent time on developing 3d graphics technology: .. image:: /images/en/category_projection/projection_image_36.png :align: center .. 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 index 2ac357a2c..fafd15b29 100644 --- a/reference_manual/blending_modes/hsx.rst +++ b/reference_manual/blending_modes/hsx.rst @@ -1,370 +1,370 @@ .. meta:: :description: Page about the HSX blending modes in Krita, amongst which Hue, Color, Luminosity and Saturation. .. metadata-placeholder :authors: - Wolthera van Hövell tot Westerflier - Maria Luisac :license: GNU free documentation license 1.3 or later. .. index:: Hue, Saturation, Lightness, Luma, Luminosity, Intensity, Value, Brightness .. _bm_cat_hsx: HSX --- Krita has four different HSX coordinate systems. The difference between them is how they handle tone. HSI ~~~ 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. Intensity, in this case is the tone of the color. What makes intensity special is that it recognises 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). HSV ~~~ HSV, occasionally called HSB, is a color coordinate system. It measures colors in Hue, Saturation, and Value (also called Brightness). Value or Brightness specifically refers to strength at which the pixel-lights on your monitor have to shine. It sets Yellow (rgb:1,1,0), Blue (rgb:0,0,1) and White (rgb:1,1,0) at the same Value (100%) HSY ~~~ HSY is a color coordinate system. It categorizes colors in Hue, Saturation and Luminosity. Well, not really, it uses Luma instead of true luminosity, the difference being that Luminosity is linear while Luma is gamma-corrected and just weights the rgb components. Luma is based on scientific studies of how much light a color reflects in real-life. While like intensity it acknowledges that yellow (rgb:1,1,0) is lighter than blue (rgb:0,0,1), it also acknowledges that yellow (rgb:1,1,0) is lighter than cyan (rgb:0,1,1), based on these studies. HSX Blending Modes ~~~~~~~~~~~~~~~~~~ .. _bm_color: .. _bm_hsv_color: .. _bm_hsl_color: .. _bm_hsi_color: .. _bm_hsy_color: Color, HSV, HSI, HSL, HSY ^^^^^^^^^^^^^^^^^^^^^^^^^ This takes the Luminosity/Value/Intensity/Lightness of the colors on the lower layer, and combines them with the Saturation and Hue of the upper pixels. We refer to Color HSY as 'Color' in line with other applications. .. figure:: /images/blending_modes/Blending_modes_Color_HSI_Gray_0.4_and_Gray_0.5.png :align: center Left: **Normal**. Right: **Color HSI**. .. figure:: /images/blending_modes/Blending_modes_Color_HSI_Light_blue_and_Orange.png :align: center Left: **Normal**. Right: **Color HSI**. .. figure:: /images/blending_modes/Blending_modes_Color_HSI_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Color HSI**. .. figure:: /images/blending_modes/Blending_modes_Color_HSL_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Color HSL**. .. figure:: /images/blending_modes/Blending_modes_Color_HSV_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Color HSV**. .. figure:: /images/blending_modes/Blending_modes_Color_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Color**. .. _bm_hue: .. _bm_hsv_hue: .. _bm_hsl_hue: .. _bm_hsi_hue: .. _bm_hsy_hue: Hue HSV, HSI, HSL, HSY ^^^^^^^^^^^^^^^^^^^^^^ Takes the saturation and tone of the lower layer and combines them with the hue of the upper-layer. Tone in this case being either Value, Lightness, Intensity or Luminosity. .. figure:: /images/blending_modes/Blending_modes_Hue_HSI_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Hue HSI**. .. figure:: /images/blending_modes/Blending_modes_Hue_HSL_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Hue HSL**. .. figure:: /images/blending_modes/Blending_modes_Hue_HSV_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Hue HSV**. .. figure:: /images/blending_modes/Blending_modes_Hue_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Hue**. .. _bm_increase_value: .. _bm_increase_lightness: .. _bm_increase_intensity: .. _bm_increase_luminosity: Increase Value, Lightness, Intensity or Luminosity. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ 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 Left: **Normal**. Right: **Increase Intensity**. .. figure:: /images/blending_modes/Blending_modes_Increase_Lightness_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Increase Lightness**. .. figure:: /images/blending_modes/Blending_modes_Increase_Value_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Increase Value**. .. figure:: /images/blending_modes/Blending_modes_Increase_Luminosity_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Increase Luminosity**. .. _bm_increase_saturation: .. _bm_increase_hsv_saturation: .. _bm_increase_hsl_saturation: .. _bm_increase_hsi_saturation: .. _bm_increase_hsy_saturation: Increase Saturation HSI, HSV, HSL, HSY ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Similar to lighten, but specific to Saturation. Checks whether the upper layer's pixel has a higher Saturation than the lower layer's pixel. If so, the Saturation is increased, if not, the lower layer's Saturation is maintained. .. figure:: /images/blending_modes/Blending_modes_Increase_Saturation_HSI_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Increase Saturation HSI**. .. figure:: /images/blending_modes/Blending_modes_Increase_Saturation_HSL_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Increase Saturation HSL**. .. figure:: /images/blending_modes/Blending_modes_Increase_Saturation_HSV_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Increase Saturation HSV**. .. figure:: /images/blending_modes/Blending_modes_Increase_Saturation_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Increase Saturation**. .. _bm_intensity: Intensity ^^^^^^^^^ Takes the Hue and Saturation of the Lower layer and outputs them with the intensity of the upper layer. .. figure:: /images/blending_modes/Blending_modes_Intensity_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Intensity**. .. _bm_value: Value ^^^^^ Takes the Hue and Saturation of the Lower layer and outputs them with the Value of the upper layer. .. figure:: /images/blending_modes/Blending_modes_Value_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Value**. .. _bm_lightness: Lightness ^^^^^^^^^ Takes the Hue and Saturation of the Lower layer and outputs them with the Lightness of the upper layer. .. figure:: /images/blending_modes/Blending_modes_Lightness_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Lightness**. .. _bm_luminosity: Luminosity ^^^^^^^^^^ As explained above, actually Luma, but called this way as it's in line with the terminology in other applications. Takes the Hue and Saturation of the Lower layer and outputs them with the Luminosity of the upper layer. The most preferred one of the four Tone blending modes, as this one gives fairly intuitive results for the Tone of a hue .. figure:: /images/blending_modes/Blending_modes_Luminosity_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Luminosity**. .. _bm_saturation: .. _bm_hsv_saturation: .. _bm_hsl_saturation: .. _bm_hsi_saturation: .. _bm_hsy_saturation: Saturation HSI, HSV, HSL, HSY ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Takes the Intensity and Hue of the lower layer, and outputs them with the HSI saturation of the upper layer. .. figure:: /images/blending_modes/Blending_modes_Saturation_HSI_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Saturation HSI**. .. figure:: /images/blending_modes/Blending_modes_Saturation_HSL_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Saturation HSL**. .. figure:: /images/blending_modes/Blending_modes_Saturation_HSV_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Saturation HSV**. .. figure:: /images/blending_modes/Blending_modes_Saturation_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Saturation**. .. _bm_decrease_value: .. _bm_decrease_lightness: .. _bm_decrease_intensity: .. _bm_decrease_luminosity: Decrease Value, Lightness, Intensity or Luminosity ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Similar to darken, but specific to tone. Checks whether the upper layer's pixel has a lower tone than the lower layer's pixel. If so, the tone is decreased, if not, the lower layer's tone is maintained. .. figure:: /images/blending_modes/Blending_modes_Decrease_Intensity_Gray_0.4_and_Gray_0.5.png :align: center Left: **Normal**. Right: **Decrease Intensity**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Intensity_Light_blue_and_Orange.png :align: center Left: **Normal**. Right: **Decrease Intensity**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Intensity_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Intensity**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Lightness_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Lightness**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Value_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Value**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Luminosity_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Luminosity**. .. _bm_decrease_saturation: .. _bm_decrease_hsv_saturation: .. _bm_decrease_hsl_saturation: .. _bm_decrease_hsi_saturation: .. _bm_decrease_hsy_saturation: Decrease Saturation HSI, HSV, HSL, HSY ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Similar to darken, but specific to Saturation. Checks whether the upper layer's pixel has a lower Saturation than the lower layer's pixel. If so, the Saturation is decreased, if not, the lower layer's Saturation is maintained. .. figure:: /images/blending_modes/Blending_modes_Decrease_Saturation_HSI_Gray_0.4_and_Gray_0.5.png :align: center Left: **Normal**. Right: **Decrease Saturation HSI**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Saturation_HSI_Light_blue_and_Orange.png :align: center Left: **Normal**. Right: **Decrease Saturation HSI**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Saturation_HSI_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Saturation HSI**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Saturation_HSL_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Saturation HSL**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Saturation_HSV_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Saturation HSV**. .. figure:: /images/blending_modes/Blending_modes_Decrease_Saturation_Sample_image_with_dots.png :align: center Left: **Normal**. Right: **Decrease Saturation**.