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GIMP 2.4 Released
Enselic writes "After almost three years since the release of GIMP 2.2, the GIMP developers have just announced the release of GIMP 2.4. The release notes speak of scalable bitmap brushes, redesigned rectangle/ellipse selection tools, redesigned crop tool, a new foreground selection tool, a new align tool, reorganized menu layouts, improved zoomed in/zoomed out image display quality, improved printing and color management support and a new perspective clone tool."
2.3 was the devel branch leading up to 2.4
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I'm guessing they have the unix version numbering, where even numbers are release, odd numbers are development.
I don't know about Paintshop, but there's a Photoshop-esque makeover for GIMP called Gimpshop. It has a couple of rough edges, but it's a testament to the modularity of design that a self-declared novice developer could take the existing GIMP framework and remake it in PS's image.
The download link can be found here.
http://www.gimpshop.com/download.shtml
The stable GIMP releases have even numbers. The last stable release before 2.4.x was GIMP 2.2.x, starting with 2.2.0 released in December 2004. So that was almost three years ago. There were several bug-fix releases in the meantime, up to 2.2.17.
The unstable 2.3.x releases ended with the last versions becoming release candidates for 2.4.
-Raphaël
Sorry all, I meant layer styles, those incredibly useful things that let you add various effects like outlines and shadows and then adjust them dynamically later. My brain was somewhere else when I wrote the original post.
If you have actual ideas for the GIMP UI go mention them at http://gimp-brainstorm.blogspot.com/ rather then just complaining here. They are aware the UI is generally disliked, they just need the best ideas of how to change it.
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"For instance, I can keep the image full-screen on one monitor while using the editing tools on a second monitor. I'd like to see a single-window app like Photoshop do that!"
Despite popular belief, Photoshop's panels aren't stuck inside of the parent window. You can do exactly as you described in Photoshop, and it's been that way for at least two years.
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CYMK (cyan magenta yellow black)IS a different colorspace model from rgb (red green blue) It is used in the print industry. These would be the color of the inks used to print ....everything. When mixed together, these colors will give a wider range of possible colors than Red Green Blue. Basically, if you are into graphic design you deal with CYMK for anything that will end up on paper.
It's not just converting from one coordinate system to another that is tricky, it's what do you do with the mismatched and non-existing colors in the other color space.
LCDs do not 'add colour': it's a substractive process. You start with white light, which contains every colour possible, and you filter it to only let through the colours you want to display (IE, if you put a red filter in front of a while light, you only let red pass, while blocking green and blue)
I think the word you are looking for is 'linux'. The even/odd numbering convention is not used by any of the *BSDs, or by Solaris, or by plenty of unix targetted software projects.
Oh please. That is not and never has been the problem. The problem is that the program was initially created with the assumption that all images would be 8-bit RGB, and then a huge amount of code was built on top of that silly assumption.
Yes, you can run into IP issues with things like Pantone, DIC, Toyo, or a particular set of CMYK transforms, etc, but that has nothing to do with the limitations of the GIMP. There are plenty of other image editors that have no problem doing color space conversions or dealing with >8-bit images because they were written by programmers who actually listen to graphics professionals.
Recursive: Adj. See Recursive.
The digital color world is slowly but steadily shifting to an RGB workflow. The one thing that has impeded this move is the use of 8-bit color, which effectively means mapping a 32-bit color space to a 24-bit space. This mapping is a cube-hypercube mapping done via an ICC colorspace conversion. The cube-hypercube mapping is subject to error. This error is trivialized once the RGB colorspace is in 16-bit. Then the conversion is 48-bit to 32-bit, relegating conversion errors to noise that is below the threshold of vision, or even of the output devices.
Furthermore, RGB colorspaces almost always have a wider gamut than standard CMYK colorspaces such as ISO, SWOP, and GRACoL. Here again, the 8-bit problem comes into play. When RGB color is converted to a standard CMYK colorspace, the conversion is not really even 24->32 bit, since part of the RGB space is outside the gamut of the CMYK colorspace. Effectively, this means that instead of getting a 256-step gradation in any given channel, you get a smaller gradation, sometimes (for instance in the case of Adobe98 RGB -> SWOP) a MUCH smaller gradation. This leads to stepping problems in gradiants and a loss of detail in images, particularly in shadows. Once more, the move to 16-bit RGB color eliminates these problems.
So, here's the point: By working in a 16-bit RGB color space, one can effectively do anything that they could in a CMYK colorspace. (Yes, the extra channel is nice for color correction, but not necessary). The final step, conversion to CMYK, has already been implemented in at least two open source engines: ArgyleCMS and LCMS. The conversion to CMYK in an RGB workflow, is the final step. (Unless, of course, you are printing to a lightjet, lamba, etc). The CMYK colorspace that would be used is the colorspace of the output device.
In professional color, this is not even an issue, for the most part, since most modern RIPs do this conversion for you. 16-bit color support is now starting to become universal in the RIP world. As that happens, the Gimp becomes a viable tool for professional color work.
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Those are some awful, needlessly complicated directions directions for drawing a circle.
1) Use the ellipse drawing tool while holding down Shift to define the circle.
2) Under the Select menu, choose "To Path"
3) Under the Edit menu choose "Stroke Path..." where you can define line width, brush style, etc.
You could replace steps 2 and 3 with Edit -> Stroke Selection, but converting to a path results in a smoother line.
Still to complex? You only need to get the location and size of the circle right once. Then you can experiment with line, color, etc. with the stroke menu.
Since printing presses print with CMYK and not RGB, and CMYK is not equivalent to RGB, it makes perfect sense to use the same colour space, and hence it doesn't make sense to adopt a tool that can't do that.
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No, that's not the problem.
CMYK and spot colors by themselves are not patent encumberd. They are actually part of the open published standards for Postscript and PDF. Anyone saying anything different is clueless or spreading FUD and/or openly demonstrating their ignorance of the fact. http://rants.scribus.net/2006/06/03/why-no-cmyk-in-gimp-is-a-good-thing-now/The Gimp developers do intend to bring CMYK to the app, but the underlying graphics engine is based around 8bpp RGB. Rather than hack the old engine to work with CMYK and higher bit depths, they decided to build the future Gimp on a generic graphical library called GEGL. That meant waiting until GEGL had a stable API and worked well enough to be better than the existing 8bpp engine in production use.
GEGL will most likely be in 2.6, along with the new MMIWorks-designed UI UI
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No. CMYK are subtractive colors, RGB are additive colors.
With a piece of paper, you're reflecting light off the paper, and some of that is absorbed by the paper or by ink. The colors of the ink are determined using CMYK, because it measures absorption.
On a display, you're blasting light at the user in the desired colors, which are specified using RGB. This is additive color, because it measures emission.
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Oh, you mean like this?
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Nine: One day I will kill him. Then, I will be Ten.
there is a CYMK plugin for the gimp called separate+ @
http://cue.yellowmagic.info/softwares/separate.html
it is, as many solo projects, has always been in beta, but it worked well for me (though I am not really a graphic artist).
And as screwed up as the whole patent system is, you still can't patent something like CYMK because it is something fundamental to nature. What would be patentable would be the process. Two things can have the same end result as long as they don't use the same method, unless of course that method is fundamental to nature.
So yeah and stuff. Enjoy.
What I really want to see in TheGimp is a Python script recording tool! Since the toolkit itself is the fundamental part of the program with a graphical front-end, shouldn't a macro recorder be insanely simple to implement?
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You can create CMYK TIFF files with GIMP (Separate plug-in), doing a color separation based on the printer's ICC profile Shouldn't that be enough to get your work printed?
There are other advantages of 16+ bits. 8-bit RGB images are usually in sRGB space, which means that the luminance of a pixel is not proportional to the pixel value, but rather something like the 2.2'th power except for a small range near zero. That is convenient for encoding a large contrast range in just 256 values, but sucks for operations that are inherently linear operators on the luminance, such as background substraction and blurring. With 16+ bits, all operations can be done in linear space without loss of resolution at the darker colors.
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We design outside the range of what our RGB monitors can display. The monitor just gives us a rough idea of what we're going to get. We go by the CMYK values and Pantone chip books. Pantone colors are specific, specially mixed colors -- not halftoned like CMYK. Color correction is a huge issue to say the least.
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