gimp intersect layers

So I'll come over here and grab my paintbrush tool and I'll switch over to black for this example. It opens a dialog window to set the initial properties of the mask. So I hit the enter key. So this is going to be the opposite of the white layer mask in that is going to hide all of the pixels on our layer or make our layer totally transparent. And let's say you're creating a white full of passing a layer mask. But you can bring pixels back when this is a totally black or transparent layer mask. It's an exact black and white replica of our active layer that we're on right now, and we can get a better look at this by right clicking and going to show layer mask. Let me just go with white full opacity for now and click add. I'll just turn this all the way back up to 100. So as long as both of these have the layer mode set to lighten, only it doesn't actually matter which one is on top. Remember that right now I have my entire layer mask filled in with white, and you could see that over here in the layer mask thumb. So just keep that in mind Whenever you are importing images as layers, it's just going to place that image as a layer on top of whatever your previous active layer was in this case, that was the background layer, making this the middle layer in our layers stack. I start with an introduction to Layers, followed by a more advanced discussion on this topic in the first lecture. This is just proving that we don't truly have transparency on the Slayer. Of course, there are also a bunch of different shapes you can use with the Grady and tools, so we just covered linear and radio you have by a linear Square co Nicole shaped spiral, etcetera. They are totally opaque. Click Create a new layer again. Now I will come over and I'll grab the Grady in tool, and I'll come down to the shape option, and in this case, I'll just go with by linear. And here's the hard light, much harsher light, and it looks more like a spotlight there. To simplify all that craziness from that formula, the values are inverted, divided and then inverted again. So this is going to be this right here. So sometimes you want to bring a photo into a composition that already has layers, and maybe it already has designs on those layers or whatever it is, but it's actually really easy to bring in an image as a layer. I'll change the color of this to a blue color and click OK, and I've got the opacity set up all the way to 100 for my brush. © Copyright 2011-2018 www.javatpoint.com. Are you'll see now the color in the lips that we selected with our color picker tool has been erased. So when I erase it using the eraser tool that will also display the checkerboard background , and you may have noticed when I was switching between the model and red share in the background layers when both of these were hidden, we did only have the transparent checkerboard background here, and that's because layer one is also transparent. So let me come over here and demonstrate all of those. We also have the size of the photos, and this one is one megabyte, and we also have the dimensions, which are going to be 1920 by 12 80 pixels. It will not scale the image and define the layer's size, offset, transparency, etc. So remember, the backdrop is going to be our bottom layer, so clipped a backdrop basically means that only the pixels from the bottom layer and the overlapping pixels from where the top layer in the bottom layer intersect are going to be kept. And as you could see because it is nondestructive, our original image is intact. And so basically, the burn tool is emulating that through its formula, and the final result is going to be an overall. It's back to what it was when I painted it with the brush, and that was about two lectures ago if you're following along in sequential order. We decrease the opacity of using this slider. So let me change this to soft light. If I click on the background layer that will be our active layer. It will add at the top the layer stack. I'm gonna change this back to normal. Thes pixels here are pretty light And then if I, um, hide this layer, these pixels are pretty light. Technically speaking, a layer mode is only going to interact with the layer below it. This is actually very similar to the multiply layer mode, so you'll see the difference is only a very slight here between the two. The layer cannot be raised If it is the lowest layer (bottom layer), and it does not have an alpha channel. Add layer mask If I select white, fill opacity and click add. They all have hard edges, and the reason for that is that this layer mode does not have anti Elias ing anti Elias ing is an effect within gift that smooths rounded edges. They're trying to emulate that dodging process by brightening your photo right. I created this short (two minutes, thirty seconds) Gimp video to demonstrate the steps described above: for instance, I have a GIMP file with layers in different sizes and positions. So what this does is it keeps the saturation of our top layer while keeping the hue in the value of the bottom layer. So instead of brightening the images going to darken it so again. Let me take control Z. And if I come over to my layer mass thumbnail, you'll see that now all those transparent areas are showing up as black on my layer mask. So you guys will remember from earlier lectures where I covered the opacity slider that that was only allowing us to adjust the opacity of the entire layer as a whole. And now I'm going to draw this grading from the top left to the bottom, right. So now that's completely hidden. And in the previous lectures, this had a blue squiggle in it. And I'm gonna come over to my toolbox and grab my paintbrush tool. And the reason I mention the midpoint is weaken dragged the midpoint out. So all of this is now opacity, and that's because all of this in the Grady it is white. To group layers, select this option from the layer menu. Or if the layer above is smaller than the layer below or has any sort of transparency. And let me change is back to normal, and I'm going to create a new layer. This area is a lighter grey. And so as it stands right now, we cannot do that. These two are grayed out. And you can lock the Alfa, which means if you try to do anything to the transparent portion of the layer. So that just created this on top of my active layer, making it the top most layer in the stacking order. Or, you can also use the keyboard shortcut by pressing the E key on keyboard. We'll hit the X key to switch over to my black color, fill in that background layer and now we have a nice background. So if I set this back to normal, this was a pretty dark image compared to what the final result was and let me set this back to screen. So I'm going to start by coming over here and grabbing my rectangle selectable. You want to be transparent, but I'm gonna right click and delete the layer mask. I'll come back here to create a new layer So those air the pixels that are right at 50% gray. I'm just gonna mask out everything outside of this portion of the photo. It just throws the colors off because, for example, were hiding the Green color Channel here, which is all of the greens in the image. So let me just show that real quick. And when I release my mouse, this will create what's called a dropped buffer layer. So typically, when the pixel value is closer to zero, it's a darker pixel. So let me just demonstrate by coming over here right clicking and going to disable layer mask. And so let me go ahead and create this layer mask to show you guys what this looks like. Except in this case, it is more applied to the contrast of these colors. This is gonna bring up our open image dialog box here, and I'm actually already in the folder where I want to use my image. But layer masks are a nondestructive way of adding transparency to your images or your layers. But you'll see here we have red, green blue in Alfa. Pretty good. And we've created a new layer by going to d create a new layer icon within the layers panel . And then, if the pixel values are lower than 1 28 in that top layer, it's going to use another equation. So basically all this does is it takes the colors from the top layer, and it erases those same colors from the bottom layer. And this is useful when you're re coloring black and white photos So a lot of those tutorials on how to re color a black and white photograph are going to use this letter mode . And here we have our composition we've been working on throughout the past few lectures, the top portion of which is massed out, and you could see that over here in the layer mask thumbnail. So if I said this to a race is going to erase everything within the bottom layer because there's the same number of pixels in the top layer as the bottom. It's going to merge this grain extract layer with the original bottom image layer, and that is just basically going to create a grainy looking image. And you can actually manually set the opacity value here. But just keep in mind that you can use this as a layer mode, but gimp actually recommends using it in a tool instead. Mask those air all the layer mass types. So it's to simplify everything. So I can actually change the layer stacking order. And there's a technical reason for this selection. And this was the example we used as the noncommunicative layer mode because the order of this does matter for the final result. GIMP’s tools only work on images, whether that’s a photo that you opened, or a new image that you created by going to File > New in the Main Menu. So that is going to be more so. Something else I can do is hover over the great line and I can click, and that's going to add what's called a stop. And I'm just gonna fill this with transparency for now on click. So the important thing to note here is that only the top player in this composition layer one, contains transparency. Contrast Layer Mode Types: All right, so next we're gonna get into the contrast layer types. The top layer is instrumental in how the layer mode causes the two layers to interact with one another, although in some cases in what is called a commune Tate of layer mode, the order of the layer most doesn't matter. OK, so we're back to two layers and here are icons are showing again. So if you think about that for a second, what effect do you think that's going to create well, it's going to create a black layer mask, so it's gonna create complete transparency here instead of complete opacity. But the pixels from the shadow of the nose or actually darker. The Gimp Layers are a stack of slides. So the L stands for lightness, so this takes the hue and saturation from your top layer and combines that with the lightness of the bottom layer. In the background layer is the bottom most layer in the stacking order and we can change the stacking order. So when I brought in that new layer, it placed it on top of my active layer, which was my background layer, making this the second layer in the stacking order as opposed to the top layer in the stacking order. In fact, that will be the only layer mask option that has enabled here inside of the layer context menu until I enable that layer mask So you'll see here that all of those other options air great out right now. And what this layer mode does is only keeps the one pixel in that single location that is the lighter of the two pixels. So if I click that now, we have swapped our layers stack here by moving layer one below the background layer. We're gonna cover it in the next lecture, but that's it for this lecture. So our layer name is new layer and this is always gonna show up as the last letter name you created. And let me actually just change this real quick toe hiker and will change this one to wheat . It is primarily employed as an image retouching and editing tool. So up until this point, we have created a new layer in two ways. Or, of course, just use the add layer mask icon right here and now under channel. So this is going to be similar to hs l color except instead of hue, saturation lightness were using lightness, Kromah and Hugh. But if we use the same image, so let me just duplicate this top layer, and I'm going to change the original layer back to normal. So I'll take a minute here on this important point, which is that opacity and transparency have what's called an inverse relationship. But with this option, I can scroll down, and I can say that I only want JPEG images to be shown in my search box here. So I'll click to create the lair, and I'll name this background hit the enter key. But just for the sake of simplicity. Or I can hit control Shift A and that will also de select my selection area. You also actually have layer modes in some of your tools and gimp. But I'll come back over here and delete this layer and come back to create a new layer. I'm gonna take control Z until we get rid of our layer mask. White, on the other hand, so I'll just turn this value over the white. This is going to be a series of lectures for this topic because this is a pretty advanced, an important topic for gimp. Does it just merges your layer mask directly with the original image? So next layer mode is H SL color, and it's easy to overlook the fact that this is a chess L color, not HSV color. This is a darker grave, and then up here near the clouds, we almost have pure white. This selection is intersected with the existing selection: only common parts of both selections are kept. If you want two layers to add their contents together pick Union, or just where they intersect, choose Intersection. If you don't have your layers panel open, you can go to Windows recently closed docks and we'll be right here or if it's not there, you go to Doc Bull dialogues. Of course, white is full opacity. So the further demonstrate this, I'll click and drag the hiker photo back into the layer group, so I'm just going Teoh. So this transparency is fading. Versace. The blend space will always be great out here, so this is just always gonna be set to auto. So I want to merge these two together, but I don't want there to be any pixels missing in the middle. On the left, the original image with a selection. So let me just delete this layer. And like any other selection area, Aiken de select this by going to select none. The transform sub-menu contains the following entries: To use these tools, select them from the layer-> Transform sub-menu. The bottom layer is the background of the image. Here are all 38 layer modes. Here’s how… Image > Guides > New Guide (by Percent) Create a horizontal and vertical guide at 50%. It would cause an increase in exposure in the final photo and hearing gimp. It opens a scale layer dialog to define the scale values. You are performing what's called destructive editing because you are erasing the pixels directly on the layer and you can't go back if you perform a bunch of actions and undo that action. The more I paint on here, the more black shows up over here in the thumbnail. You can, of course, change the unit here that is going to offset our new layer by 200 pixels from the X axis. So if I look over here at my layer mass thumbnail, you could see the areas I painted white and relative to the original image. I'm gonna go over each one of these layer context menu options now, so let's start off by clicking off here of the layer context menu. Let me show you an example where it's larger. While I am at it, is there a feature that is sorely missed? We can only turn up or down the opacity of the entire layer. So this is my foreground. I'm going to right click on this and go to delete layer. Now, there is this gray and dark raid checkerboard background that indicates transparency and gimp. So just exit out of that lightened only is actually our first commune, Tate of layer. And I just want to point out here that I hate control Z. So if I create a new layer, keep the name color and I'm gonna change the fill with theaux white and click. So in this case, the effect is kind of strange, and that's because the lightness of this red, I suppose, is not super light. The smallest photo. And this equation is a combination of multiply and screen. It highlights the layer and makes it as active. 6. When you're using a color like white with this limos, let me add a new layer here. But in essence for both the multiply and the linear burned lair modes, you are getting a darker image. So if I hide this white layer, you'll see that the photo is a little bit darker. And any pixel values from that equation that exceed 2 55 are going to be turned into a pure white pixel. If I delete this layer here, I can actually use the color race just with the paint brush tool by itself. Okay, Nothing will happen right now because there's no pixels on here. And we're gonna change this now to LCH lightness. The layer properties such as transparency are transferred to the layer's alpha channel, and the mask will be deleted. The main difference, though, is you could see it in the thumbnail here. Nothing has changed. 20. So this is going up by 1% each time I click it, and on the other hand, I can click the down arrow, and that is going to decrease the opacity by 1% as well. Except instead of keeping the saturation of our top layer, which is our red color, it's going to keep the chroma or the purity of that red color. Right now, this is set to 100% which means this is going to be fully opaque or will not contain any transparency. Apply layer mask. The Intersect with Selection command creates a selection in the current layer from the Alpha Channel. So, in my opinion, this is a very useful option for the layer masks. So let me exit out of that. There is no restriction on the number of layers. Click on here, go to show layer mask. 4. My name is Michael Davies, and in today's tutorial, I'll be going over a comprehensive look at all of the layer modes found a gimp. It's not based on all three channels combined. So this layer mode is useful when you want to change the intensity of the colors within the image without changing the actual colors or the lightness or darkness of the colors within that image. This again is going to be the most popular composite mode because this is typically what layer modes use. I could right. Nothing happens. Because this photo is smaller than the two photos below it, you'll see that it only partially obstructs the photos, blow it and thats being depicted here inside of the layer group thumb now. So there's a few ways of adjusting the opacity. I'm gonna hit the enter key. Layer to Top: This tool is used to raise the active layer to the top of the layer stack. So now I'm going to click on that left color changing toe white, and you could see what happens there and the right color as well. This limo was born from the technique used in the dark room film days when you were trying to in this case, decreased the exposure in your final image by increasing the exposure in your film negative . One last thing I want to point out for this lecture is that any time you are erasing directly on an image layer or any layer for that matter. But you could see how useful this H SL color layer mode can really be when you're trying to re color your black and white artwork. So here's HSV Hugh, so it's almost like a darker red. So I'm hitting X again. Anything is zero, and you can't divide in zero. Layers are essentially the backbone of GIMP – with every edit or design happening on some kind of layer. The next option here is to show layer mask, and if I click on that, you'll see what that does is it takes whatever you see here in the thumbnail. The Mask menu contains the following tools: Add Layer Mask: The Add Layer Mask tool is used to add a layer mask to the current layer. But if you click this drop down, you'll see that you do have all 38 layer mode options in here that you could set this to. So I just type in 25 that will set the opacity of 25%. If I hide this layer, create a new layer and I'm gonna set this mode to erase, and I'll fill it with transparency. So this is the effect created by this greedy in using this pin light layer mode and actually let me just demonstrate this with the vivid light layer mode since I didn't do that before, So here you'll see the bottom right corner. OK, so now we have a black and white car here. And of course, I'll go into what each of these different layer most does, and that's gonna help simplify what those layer mode types actually are. I’m on Mac OS 10.15.7 (Catalina), GIMP 2.10.14. RGB stands for red, green and blue, and each one of those colors is going to have its own channel. All they have to do is click this icon here, which is label lower this layer one step in layers stack. But I can drag this into our layer, gripped by just clicking and dragging the layer and hovering it over the layer. So keep that in mind when you are working with J Pegs so I know this is the photo I want to use whole click open. You'll see that when I disable a layer mask, the transparent areas are still visible here on our layer. Aaron your image because again it's making those dark starker and those lights lighter. I've just used the eraser tool here to get rid of those blue squiggles. They don't give me that dotted line, and we'll just place this at the very top of the layer group so you'll see the thumbnail will update there. But we're going to change the layer mode here too hard mix and click OK, and now let's change our blend here or our foreground in our background color. So here we have our original nature photos layer group. So that is only going to keep the pixels from the top layer and the portion where the two layers intersect. To delete the current layer, select the delete layer option from the layer sub-menu. If the guides aren’t visible… View > Show Guides. So again, no change here and let me now actually switch this to a layer mo that is not communicative just for demonstration purposes. Grady in, I should say. So when you're using a color like white, it's essentially creating a diffused light so you'll see that. Let me just run hide this layer. When it's closer to 2 55 it is a lighter pixel, and when you're plugging these numbers into the formulas. If I release that will now place my layer one back down here in this stacking order, and I can click and drive this upward and the same thing will happen here. After going through this tutorial, we will generate channels in GIMP corresponding to these six different luminosity regions in the image: Example luminosity masks. I could do the same thing, change its white click. 22. 9. I can also offset based on the Y axis. So here's what are layer mask looks like right now. And so I can just rename this green extract layer. If there is no layer mask, this tool will be insensitive and grayed out. So all these pixels are square, so just creates this look like this photo is dissolving into the next photo. GIMP Layer Menu contains the following sub-menu: Let's understand each part of the layers in detail: The New Layer tool is used to add a new empty layer to the image layer stack. That's exactly what happened there. There's something over here called switches. First, let me hit em to grab my move tool because I don't want my eraser selected right now. So it does just produced a slightly different effect, although the effects are very similar. Once we're done doing whatever we need to do with our original image, we can just turn it back on. So come over here and grab migrating tools from my tool walks. So here we have the option to add a mask to the layer and you'll see here it says initialized. The stack sub-menu provides the following options: Select Previous Layer: This tool is used to select the layer just above the current layer in the layer stack. And again, I'm in the D Drive and the downloads folder here. So the areas that are closer to white will be closer to full opacity in areas that are closer to black will be near areas of full transparency. So next up when I click to add a layer mask is the option to add a layer mask based on the layers Alfa Channel. It will not crop the partially selected area. And you can always tell where your layer boundary is by these dotted yellow lines right here that go around the outside of your layer, and that's going to show up on the layer that your clicked on or your active layer. It's also called the active layer and the mask layer. So after it multiplies, those two values then takes that value and divide it by 2 55 and you'll remember to 55 is the value assigned toe white, and the inverse is then taken from that final value. And now you could see the effect of all those black and white areas on here. Let me increase the size of this brush head. Now what I'm gonna do is click on the backdrop layer and I'm gonna come over and grab my paintbrush tool. So let's dive into the first layer mode, which is the LCH you. So again, I can use my move tool to move this around. It was gonna move this up, this down all they control I and that'll invert my selection area there. You have this plain white thumbnail. So both of our layers were created with transparent backgrounds and we've hidden the background layer. Switching the white hitting X switching to black Hold control. So everything that you could see down below here is going to be the transparent area. This name that's shown up for our background layer, That's your layer name. It will turn the image invisible. So we have our layer mask back again, right? So these pixels will not show up. You'll also notice that when I have my layer clicks as usual, it's going to have a yellow and black dotted line around the edges here versus when I click on the layer group itself.

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