[gimp-web/gimp-web-static] Ported the last few tutorials!

[Pat David <patdavid src gnome org>]

commit 9b6108f71f6bbca859a3c8b36ae446fc5bc2a6c1
Author: Pat David <patdavid gmail com>
Date:   Mon Oct 5 11:59:34 2015 -0500

    Ported the last few tutorials!

 content/about/meta/file-list.md                    |   22 +-
 content/tutorials/Sepia_Toning/addmaskoptions.jpg  |  Bin 0 -> 9293 bytes
 content/tutorials/Sepia_Toning/after.jpg           |  Bin 0 -> 43711 bytes
 content/tutorials/Sepia_Toning/before.jpg          |  Bin 0 -> 54906 bytes
 content/tutorials/Sepia_Toning/colorselection.jpg  |  Bin 0 -> 27636 bytes
 content/tutorials/Sepia_Toning/curves.jpg          |  Bin 0 -> 20559 bytes
 content/tutorials/Sepia_Toning/decor.jpg           |  Bin 0 -> 13874 bytes
 content/tutorials/Sepia_Toning/decor2.jpg          |  Bin 0 -> 13898 bytes
 .../Sepia_Toning/desaturate-final-446x512.jpg      |  Bin 0 -> 75831 bytes
 content/tutorials/Sepia_Toning/final.jpg           |  Bin 0 -> 42914 bytes
 .../Sepia_Toning/grayscale-final-446x512.jpg       |  Bin 0 -> 69669 bytes
 content/tutorials/Sepia_Toning/image-curves.jpg    |  Bin 0 -> 42736 bytes
 content/tutorials/Sepia_Toning/image-wdecorfu.jpg  |  Bin 0 -> 34625 bytes
 content/tutorials/Sepia_Toning/image2.jpg          |  Bin 0 -> 39017 bytes
 content/tutorials/Sepia_Toning/image3.jpg          |  Bin 0 -> 37628 bytes
 content/tutorials/Sepia_Toning/image4.jpg          |  Bin 0 -> 30311 bytes
 content/tutorials/Sepia_Toning/image5.jpg          |  Bin 0 -> 41003 bytes
 content/tutorials/Sepia_Toning/index.md            |  158 +++++++++++
 content/tutorials/Sepia_Toning/layers1.jpg         |  Bin 0 -> 21482 bytes
 content/tutorials/Sepia_Toning/layers2.jpg         |  Bin 0 -> 22788 bytes
 content/tutorials/Sepia_Toning/layers3.jpg         |  Bin 0 -> 22640 bytes
 content/tutorials/Sepia_Toning/layers4.jpg         |  Bin 0 -> 25547 bytes
 content/tutorials/Sepia_Toning/layers5.jpg         |  Bin 0 -> 23098 bytes
 content/tutorials/Sepia_Toning/layers6.jpg         |  Bin 0 -> 23137 bytes
 content/tutorials/Sepia_Toning/newlayeroptions.jpg |  Bin 0 -> 13714 bytes
 content/tutorials/Sepia_Toning/original.jpg        |  Bin 0 -> 48637 bytes
 content/tutorials/Sepia_Toning/toolbox2.jpg        |  Bin 0 -> 12967 bytes
 content/tutorials/Simple_Animations/apply-var.png  |  Bin 0 -> 3024 bytes
 content/tutorials/Simple_Animations/easyanim.gif   |  Bin 0 -> 3323 bytes
 .../tutorials/Simple_Animations/flower-anim.png    |  Bin 0 -> 4253 bytes
 .../tutorials/Simple_Animations/flower-banner.gif  |  Bin 0 -> 7277 bytes
 .../tutorials/Simple_Animations/flower-layers.png  |  Bin 0 -> 905 bytes
 .../tutorials/Simple_Animations/flower-text.png    |  Bin 0 -> 5165 bytes
 content/tutorials/Simple_Animations/flower.png     |  Bin 0 -> 14127 bytes
 content/tutorials/Simple_Animations/index.md       |   73 +++++
 content/tutorials/Simple_Animations/saveas.png     |  Bin 0 -> 3587 bytes
 content/tutorials/Simple_Animations/selection.png  |  Bin 0 -> 546 bytes
 content/tutorials/Sketch_Effect/01-original.jpg    |  Bin 0 -> 8988 bytes
 content/tutorials/Sketch_Effect/02-blurdialog.png  |  Bin 0 -> 5925 bytes
 content/tutorials/Sketch_Effect/02-blurred.jpg     |  Bin 0 -> 6430 bytes
 content/tutorials/Sketch_Effect/02-dupdialog.png   |  Bin 0 -> 16150 bytes
 content/tutorials/Sketch_Effect/03-inverted.jpg    |  Bin 0 -> 7026 bytes
 content/tutorials/Sketch_Effect/04-dialog.png      |  Bin 0 -> 16136 bytes
 content/tutorials/Sketch_Effect/05-dialog.png      |  Bin 0 -> 21501 bytes
 content/tutorials/Sketch_Effect/05-highpass.jpg    |  Bin 0 -> 4794 bytes
 content/tutorials/Sketch_Effect/06-dialog.png      |  Bin 0 -> 20227 bytes
 .../Sketch_Effect/06-highpass-contrast.jpg         |  Bin 0 -> 11702 bytes
 content/tutorials/Sketch_Effect/07-white.jpg       |  Bin 0 -> 14116 bytes
 content/tutorials/Sketch_Effect/08-brightened.jpg  |  Bin 0 -> 10369 bytes
 content/tutorials/Sketch_Effect/09-retouched.jpg   |  Bin 0 -> 10215 bytes
 content/tutorials/Sketch_Effect/index.md           |   85 ++++++
 content/tutorials/Smart_Sharpening/after.jpg       |  Bin 0 -> 32416 bytes
 content/tutorials/Smart_Sharpening/anchor.jpg      |  Bin 0 -> 898 bytes
 content/tutorials/Smart_Sharpening/before.jpg      |  Bin 0 -> 41236 bytes
 .../Smart_Sharpening/channeltoselection.jpg        |  Bin 0 -> 807 bytes
 content/tutorials/Smart_Sharpening/compose.jpg     |  Bin 0 -> 20764 bytes
 content/tutorials/Smart_Sharpening/decompose.jpg   |  Bin 0 -> 9696 bytes
 .../tutorials/Smart_Sharpening/edgedetection.jpg   |  Bin 0 -> 9220 bytes
 .../example1-luminosityedgesharpened-crop.jpg      |  Bin 0 -> 29254 bytes
 .../Smart_Sharpening/example1-original-crop.jpg    |  Bin 0 -> 27574 bytes
 .../example1-original-zoomed100.jpg                |  Bin 0 -> 86523 bytes
 .../example1-regularsharpened-crop.jpg             |  Bin 0 -> 40033 bytes
 .../example1-smartsharp-zoomed100.jpg              |  Bin 0 -> 69002 bytes
 .../Smart_Sharpening/example1-smartsharp.jpg       |  Bin 0 -> 86312 bytes
 .../example1-unsharpmask-zoomed100.jpg             |  Bin 0 -> 109731 bytes
 ...example1-warpsharp-luminosityonly-zoomed100.jpg |  Bin 0 -> 81294 bytes
 .../example1-warpsharp-luminosityonly.jpg          |  Bin 0 -> 91334 bytes
 .../example1-warpsharp-zoomed100.jpg               |  Bin 0 -> 80693 bytes
 .../example2-edgesharpened-384x384.jpg             |  Bin 0 -> 34118 bytes
 .../example2-regsharpened-384x384.jpg              |  Bin 0 -> 39049 bytes
 .../Smart_Sharpening/gradient-composed-hist.jpg    |  Bin 0 -> 20749 bytes
 .../gradient-composed-zoomed400.jpg                |  Bin 0 -> 12041 bytes
 .../Smart_Sharpening/gradient-composed.jpg         |  Bin 0 -> 15391 bytes
 .../tutorials/Smart_Sharpening/gradient-hist.jpg   |  Bin 0 -> 14672 bytes
 .../Smart_Sharpening/gradient-zoomed400.jpg        |  Bin 0 -> 11906 bytes
 content/tutorials/Smart_Sharpening/gradient.jpg    |  Bin 0 -> 15357 bytes
 .../tutorials/Smart_Sharpening/iirgaussianblur.jpg |  Bin 0 -> 8915 bytes
 .../Smart_Sharpening/image-compare-original.jpg    |  Bin 0 -> 69122 bytes
 .../image-compare-smartsharp-zoomed100.jpg         |  Bin 0 -> 58322 bytes
 .../Smart_Sharpening/image-compare-smartsharp.jpg  |  Bin 0 -> 74419 bytes
 .../image-compare-warpsharp-zoomed100.jpg          |  Bin 0 -> 51170 bytes
 .../Smart_Sharpening/image-compare-warpsharp.jpg   |  Bin 0 -> 68494 bytes
 .../image-edgedetect-grayscale-levels-blur.jpg     |  Bin 0 -> 39763 bytes
 .../image-edgedetect-grayscale-levels1.jpg         |  Bin 0 -> 48449 bytes
 .../image-edgedetect-grayscale-levels2.jpg         |  Bin 0 -> 41801 bytes
 .../image-edgedetect-grayscale.jpg                 |  Bin 0 -> 48587 bytes
 .../image-edgesharpened-zoomed100.jpg              |  Bin 0 -> 68736 bytes
 .../Smart_Sharpening/image-lab-composed.jpg        |  Bin 0 -> 42700 bytes
 .../Smart_Sharpening/image-lab-decomposed.jpg      |  Bin 0 -> 36220 bytes
 .../Smart_Sharpening/image-lab-pastemask.jpg       |  Bin 0 -> 34867 bytes
 .../Smart_Sharpening/image-lab-selection.jpg       |  Bin 0 -> 40945 bytes
 .../image-lab-sharpened-zoomed.jpg                 |  Bin 0 -> 25656 bytes
 ...mage-luminosityedgesharpened-zoomed100-crop.jpg |  Bin 0 -> 16971 bytes
 .../image-luminosityedgesharpened-zoomed100.jpg    |  Bin 0 -> 68803 bytes
 .../image-luminositysharpened-zoomed100.jpg        |  Bin 0 -> 79810 bytes
 .../image-original-zoomed100-crop.jpg              |  Bin 0 -> 15935 bytes
 .../Smart_Sharpening/image-original-zoomed100.jpg  |  Bin 0 -> 65894 bytes
 .../tutorials/Smart_Sharpening/image-original.jpg  |  Bin 0 -> 42026 bytes
 .../image-rededgesharpened-zoomed100.jpg           |  Bin 0 -> 67321 bytes
 .../image-redsharpened-zoomed100.jpg               |  Bin 0 -> 74145 bytes
 .../image-regularsharpened-zoomed100-crop.jpg      |  Bin 0 -> 23320 bytes
 .../image-regularsharpened-zoomed100.jpg           |  Bin 0 -> 84051 bytes
 .../image-valueedgesharpened-zoomed100.jpg         |  Bin 0 -> 68197 bytes
 .../image-valuesharpened-zoomed100.jpg             |  Bin 0 -> 78876 bytes
 content/tutorials/Smart_Sharpening/index.md        |  290 ++++++++++++++++++++
 content/tutorials/Smart_Sharpening/layers1.jpg     |  Bin 0 -> 22995 bytes
 content/tutorials/Smart_Sharpening/layers2.jpg     |  Bin 0 -> 18176 bytes
 content/tutorials/Smart_Sharpening/layers3.jpg     |  Bin 0 -> 20113 bytes
 content/tutorials/Smart_Sharpening/layers4.jpg     |  Bin 0 -> 26497 bytes
 content/tutorials/Smart_Sharpening/layers5.jpg     |  Bin 0 -> 21369 bytes
 content/tutorials/Smart_Sharpening/layers6.jpg     |  Bin 0 -> 20333 bytes
 content/tutorials/Smart_Sharpening/layers7.jpg     |  Bin 0 -> 22995 bytes
 content/tutorials/Smart_Sharpening/levels1.jpg     |  Bin 0 -> 20744 bytes
 content/tutorials/Smart_Sharpening/levels2.jpg     |  Bin 0 -> 20975 bytes
 .../Smart_Sharpening/newchanneloptions.jpg         |  Bin 0 -> 9656 bytes
 content/tutorials/Smart_Sharpening/newlayer.jpg    |  Bin 0 -> 867 bytes
 .../tutorials/Smart_Sharpening/original-hist.jpg   |  Bin 0 -> 16120 bytes
 content/tutorials/Smart_Sharpening/shortcuts.md    |  144 ++++++++++
 .../Smart_Sharpening/smartsharpened-hist.jpg       |  Bin 0 -> 16340 bytes
 content/tutorials/Smart_Sharpening/unsharpmask.jpg |  Bin 0 -> 12096 bytes
 content/tutorials/Smart_Sharpening/warp-sharp.md   |  186 +++++++++++++
 content/tutorials/Straight_Line/blankimage.png     |  Bin 0 -> 5633 bytes
 content/tutorials/Straight_Line/draggedline.png    |  Bin 0 -> 6290 bytes
 content/tutorials/Straight_Line/drawnline.png      |  Bin 0 -> 6334 bytes
 content/tutorials/Straight_Line/exp1.png           |  Bin 0 -> 3202 bytes
 content/tutorials/Straight_Line/exp2.png           |  Bin 0 -> 3227 bytes
 content/tutorials/Straight_Line/exp3.png           |  Bin 0 -> 7834 bytes
 content/tutorials/Straight_Line/exp4.png           |  Bin 0 -> 43522 bytes
 content/tutorials/Straight_Line/exp5.png           |  Bin 0 -> 2115 bytes
 content/tutorials/Straight_Line/index.md           |  106 +++++++
 content/tutorials/Straight_Line/mouse.png          |  Bin 0 -> 17121 bytes
 content/tutorials/Straight_Line/shiftkey.png       |  Bin 0 -> 25426 bytes
 content/tutorials/Straight_Line/startdot.png       |  Bin 0 -> 5706 bytes
 .../Straight_Line/straight_line_example.png        |  Bin 0 -> 10992 bytes
 content/tutorials/Straight_Line/toolbox.png        |  Bin 0 -> 8949 bytes
 content/tutorials/The_Basics/index.md              |  115 ++++++++
 content/tutorials/The_Basics/tut-basic-1.gif       |  Bin 0 -> 572 bytes
 content/tutorials/The_Basics/tut-basic-2.gif       |  Bin 0 -> 2243 bytes
 content/tutorials/The_Basics/tut-basic-3.gif       |  Bin 0 -> 8467 bytes
 content/tutorials/The_Basics/tut-basic-4.gif       |  Bin 0 -> 8007 bytes
 content/tutorials/The_Basics/tut-basic-5.gif       |  Bin 0 -> 3459 bytes
 content/tutorials/The_Basics/tut-basic-6.gif       |  Bin 0 -> 2926 bytes
 content/tutorials/The_Basics/tut-basic-7.gif       |  Bin 0 -> 3593 bytes
 content/tutorials/The_Basics/tut-basic-dia-1.gif   |  Bin 0 -> 2232 bytes
 content/tutorials/The_Basics/tut-basic-dia-2.gif   |  Bin 0 -> 2509 bytes
 content/tutorials/The_Basics/tut-basic-dia-3.gif   |  Bin 0 -> 3669 bytes
 content/tutorials/The_Basics/tut-basic-dia-4.gif   |  Bin 0 -> 2588 bytes
 content/tutorials/The_Basics/tut-basic-dia-5.gif   |  Bin 0 -> 3047 bytes
 content/tutorials/The_Basics/tut-basic-dia-6.gif   |  Bin 0 -> 7688 bytes
 content/tutorials/The_Basics/tut-basic-dia-7.gif   |  Bin 0 -> 9149 bytes
 content/tutorials/The_Basics/tut-basic-dia-8.gif   |  Bin 0 -> 5334 bytes
 content/tutorials/The_Basics/tut-basic-dia-9.gif   |  Bin 0 -> 5236 bytes
 content/tutorials/Tileable_Textures/grad1.jpg      |  Bin 0 -> 8601 bytes
 .../Tileable_Textures/grad_brush_dialog.png        |  Bin 0 -> 16020 bytes
 .../tutorials/Tileable_Textures/grad_example_1.jpg |  Bin 0 -> 8643 bytes
 .../tutorials/Tileable_Textures/grad_example_2.jpg |  Bin 0 -> 8814 bytes
 .../tutorials/Tileable_Textures/grad_example_3.jpg |  Bin 0 -> 8367 bytes
 .../tutorials/Tileable_Textures/grad_example_4.jpg |  Bin 0 -> 8366 bytes
 content/tutorials/Tileable_Textures/grad_text1.jpg |  Bin 0 -> 11422 bytes
 content/tutorials/Tileable_Textures/grad_text2.jpg |  Bin 0 -> 6189 bytes
 content/tutorials/Tileable_Textures/index.md       |   80 ++++++
 content/tutorials/Tileable_Textures/texture1.jpg   |  Bin 0 -> 9573 bytes
 content/tutorials/Tileable_Textures/texture2.jpg   |  Bin 0 -> 5704 bytes
 content/tutorials/Tileable_Textures/texture3.jpg   |  Bin 0 -> 5626 bytes
 content/tutorials/Tileable_Textures/texture4.jpg   |  Bin 0 -> 6708 bytes
 content/tutorials/Using_GAP/gap-big.png            |  Bin 0 -> 60101 bytes
 content/tutorials/Using_GAP/gap2-big.png           |  Bin 0 -> 50247 bytes
 content/tutorials/Using_GAP/gap3-big.png           |  Bin 0 -> 28279 bytes
 content/tutorials/Using_GAP/gap4-big.png           |  Bin 0 -> 21139 bytes
 content/tutorials/Using_GAP/index.md               |   66 +++++
 content/tutorials/template/index.htrw              |   31 ++
 content/tutorials/template/index.md                |   24 ++
 172 files changed, 1369 insertions(+), 11 deletions(-)
---
diff --git a/content/about/meta/file-list.md b/content/about/meta/file-list.md
index 1c9fe51..579d495 100644
--- a/content/about/meta/file-list.md
+++ b/content/about/meta/file-list.md
@@ -206,17 +206,17 @@ The main page links go to legacy WGO, the link icon (if there) will go to the po
 <del><http://www.gimp.org/tutorials/Reducing_CCD_Noise/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Reducing_CCD_Noise/index.md)  
 <del><http://www.gimp.org/tutorials/Selective_Color/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Selective_Color/index.md)  
 <del><http://www.gimp.org/tutorials/Selective_Gaussian_Blur/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Selective_Color/index.md)  
-<http://www.gimp.org/tutorials/Sepia_Toning/index.html>  
-<http://www.gimp.org/tutorials/Simple_Animations/index.html>  
-<http://www.gimp.org/tutorials/Sketch_Effect/index.html>  
-<http://www.gimp.org/tutorials/Smart_Sharpening/index.html>  
-<http://www.gimp.org/tutorials/Smart_Sharpening/shortcuts.html>  
-<http://www.gimp.org/tutorials/Smart_Sharpening/warp-sharp.html>  
-<http://www.gimp.org/tutorials/Straight_Line/index.html>  
-<http://www.gimp.org/tutorials/template/index.html>  
-<http://www.gimp.org/tutorials/The_Basics/index.html>  
-<http://www.gimp.org/tutorials/Tileable_Textures/index.html>  
-<http://www.gimp.org/tutorials/Using_GAP/index.html>  
+<del><http://www.gimp.org/tutorials/Sepia_Toning/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Sepia_Toning/index.md)  
+<del><http://www.gimp.org/tutorials/Simple_Animations/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Simple_Animations/index.md)  
+<del><http://www.gimp.org/tutorials/Sketch_Effect/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Sketch_Effect/index.md)  
+<del><http://www.gimp.org/tutorials/Smart_Sharpening/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Smart_Sharpening/index.md)  
+<del><http://www.gimp.org/tutorials/Smart_Sharpening/shortcuts.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Smart_Sharpening/shortcuts.md)  
+<del><http://www.gimp.org/tutorials/Smart_Sharpening/warp-sharp.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Smart_Sharpening/warp-sharp.md)  
+<del><http://www.gimp.org/tutorials/Straight_Line/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/Straight_Line/index.md)  
+<del><http://www.gimp.org/tutorials/template/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/template/index.md)  
+<del><http://www.gimp.org/tutorials/The_Basics/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/template/index.md)  
+<del><http://www.gimp.org/tutorials/Tileable_Textures/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/template/index.md)  
+<del><http://www.gimp.org/tutorials/Using_GAP/index.html></del> [<i class="fa 
fa-link"></i>]({filename}../../tutorials/template/index.md)  
 
 <del><http://www.gimp.org/unix/fonts.html></del> [<i class="fa fa-link"></i>]({filename}../../unix/fonts.md) 
 
 <del><http://www.gimp.org/unix/gimprc.html></del> [<i class="fa 
fa-link"></i>]({filename}../../unix/gimprc.md)  
diff --git a/content/tutorials/Sepia_Toning/addmaskoptions.jpg 
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diff --git a/content/tutorials/Sepia_Toning/index.md b/content/tutorials/Sepia_Toning/index.md
new file mode 100644
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--- /dev/null
+++ b/content/tutorials/Sepia_Toning/index.md
@@ -0,0 +1,158 @@
+Title: Sepia Toning
+Date: 2002
+Modified: 2015-10-05T10:19:55-05:00
+Author: Eric R. Jeschke
+
+
+Text and images Copyright (C) 2002 [Eric R. Jeschke](mailto:ericNOSPAM redskiesatnight com) and may not be 
used without permission of the author.
+
+## Intention
+
+<figure>
+<img src="before.jpg" alt="before.jpg"/>
+<img src="after.jpg" alt="after.jpg"/>
+</figure>
+
+In this tutorial I'll show you how to sepia tone a color or black and white image. This technique is modeled 
on the traditional darkroom method of sepia toning in that the sepia color is applied "unevenly" to areas of 
different tonality. It works much better than most of the simple methods I've seen for image editors and 
provides great control!  
+The basic technique is to create a "Sepia Mask" that will apply a sepia color layer according to a layer 
mask that is based on the tonality of the image.  
+Giving credit where credit is due: I did not come up with this method. I adapted it for GIMP from [a 
Photoshop tutorial on the RetouchPRO web site](http://www.retouchpro.com/tutorials/lum-mask-sepia.html).
+
+## The Procedure
+
+<figure>
+<img src="original.jpg" alt="original.jpg"/>
+</figure>
+
+Here is the original image, loaded into GIMP. It has a bit of an old-time look, so I thought it might work 
well as a sepia-toned image.
+
+## Step 1
+
+<figure>
+<img src="decor.jpg" alt="decor.jpg"/>
+<img src="image-wdecorfu.jpg" alt="image-wdecorfu.jpg"/>
+</figure>
+
+You can compare the result we will get below to GIMP's built-in Script-Fu for sepia toning (<span 
class="filter"><Image> Script-Fu -> Decor -> Old Photo</span>) as shown at right.  
+Come back and compare to this when you get to the end of the tutorial.
+
+## Step 2
+
+<figure>
+<img src="image2.jpg" alt="image2.jpg"/>
+</figure>
+
+Duplicate the original image (<span class="filter"><Image> Image -> Duplicate</span> or <kbd>Ctrl+D</kbd>). 
You may want to minimize the original now (or close it) so you don't choose it by mistake.
+
+Using whatever technique you like best, convert the duplicate to B&W. I recommend the channel mixer for best 
results, but you can also convert to grayscale (<span class="filter"><Image> Image -> Mode -> 
Grayscale</span>) or desaturate (<span class="filter"><Image> Image -> Colors -> Desaturate</span>).
+
+Whatever technique you use, convert the B&W image back into RGB mode when you're done (<span 
class="filter"><Image> Image -> Mode -> RGB</span>).  
+In this case I simply did a mode change to grayscale, then back to RGB mode.
+
+## Step 3
+
+<figure>
+<img src="colorselection.jpg" alt="colorselection.jpg"/>
+<img src="toolbox2.jpg" alt="toolbox2.jpg"/>
+</figure>
+
+Double-click on the foreground color swatch to bring up the Color Selection dialog. Dial in the color 
RED=162, GREEN=138 and BLUE=101 (you can experiment with this color too; this is a good starting point 
though.)
+
+## Step 4
+
+<figure>
+<img src="layers1.jpg" alt="layers1.jpg"/>
+<img src="newlayeroptions.jpg" alt="newlayeroptions.jpg"/>
+<img src="layers2.jpg" alt="newlayeroptions.jpg"/>
+</figure>
+
+Bring up the Layers dialog (<kbd>Ctrl+L</kbd>) and click on the button for a new layer. Give it the name 
"Sepia Mask" and choose the option to fill it with the foreground color. Click OK.  
+You should see nothing but the color now in the image window, since it obscures the image in the layer 
below. We are going to selectively apply this color to the image.
+
+## Step 5
+
+<figure>
+<img src="addmaskoptions.jpg" alt="addmaskoptions.jpg"/>
+<img src="layers3.jpg" alt="layers3.jpg"/>
+</figure>
+
+Right-click on the Sepia Mask layer and select Add Layer Mask. In the Add Mask Options dialog, choose White 
(Full Opacity).
+
+## Step 6
+
+<figure>
+<img src="layers4.jpg" alt="layers4.jpg"/>
+<img src="image3.jpg" alt="image3.jpg"/>
+</figure>
+
+In the Layers dialog, click on (select) the Background layer. Go up to the image window, select all and copy 
(<kbd>Ctrl+A</kbd> then <kbd>Ctrl+C</kbd>). In the Layers dialog, click on the layer mask icon in the Sepia 
Mask layer (the little white square). Then go back up to the image window and paste (<kbd>Ctrl+V</kbd>)
+
+## Step 7
+
+<figure>
+<img src="layers5.jpg" alt="layers5.jpg"/>
+<img src="image4.jpg" alt="image4.jpg"/>
+</figure>
+
+In the Layers dialog, click the Anchor button to anchor the pasted image into the layer mask.  
+In the image window, invert the color (<span class="filter"><Image> Image -> Colors -> Invert</span>). This 
layer mask insures that the shadow parts of the image receive most of the color, the mid-tones a little less, 
and the highlights little to none, much the way a print sepia-toned the traditional way would be.
+
+## Step 8
+
+<figure>
+<img src="layers6.jpg" alt="layers6.jpg"/>
+<img src="image5.jpg" alt="image5.jpg"/>
+</figure>
+
+In the Layers dialog, change the Mode (blending mode) of the layer to "Color". This applies the color from 
the Sepia Mask layer according to the layer mask to the image.  
+You now have your base result. It might be a good idea to save this under a new name at this point.
+
+## Step 9
+
+<figure>
+<img src="curves.jpg" alt="curves.jpg"/>
+<img src="image-curves.jpg" alt="image-curves.jpg"/>
+</figure>
+
+Once you've got the base image, you can duplicate it (Ctrl+D), flatten the duplicate (<span 
class="filter"><Image> Layers -> Flatten Image</span>) and then experiment with:
+
+*   Hue and Saturation (<span class="filter"><Image> Image -> Colors -> Hue..Saturation</span>)
+*   Color Balance (<span class="filter"><Image> Image -> Colors -> Color Balance</span>)
+*   Levels or Curves (<span class="filter"><Image> Image -> Colors -> Levels|Curves</span>)
+*   etc. etc!
+
+You can always compare the result to the base image. If you want to start over, just duplicate the base 
image again and off you go.
+
+**Hint:** if GIMP had adjustment layers, like Photoshop, we'd just create one of those to experiment with 
further adjustments. Since GIMP does not have those, we have to flatten the image to apply some of the 
standard controls and filters. Ergo, work on a duplicate or save the base image..
+
+Here I decided that the image was a little flat and so I punched up the contrast using curves.
+
+## Step 10
+
+<figure>
+<img src="decor2.jpg" alt="decor2.jpg"/>
+<img src="final.jpg" alt="final.jpg"/>
+</figure>
+
+As a final touch, I ran the "Old Photo" Script-Fu without the "sepia" and "mottle" options. Here is the 
final image.
+
+## Tips and Tweaks
+
+*   You can reduce the effect of the sepia toning by adjusting the opacity of the Sepia Mask layer.
+*   Try adding some grain or noise to the image (probably before you desaturate).
+*   We used a single, flat color for the sepia color. Experiment with different colors, multiple colors or a 
color gradient for the Sepia Mask layer.
+*   You can apply levels, curves or other adjustments to the contrast mask to increase or decrease 
"absorbency" of the sepia color into different areas of the image.
+*   The method by which you get a black and white image makes a big difference in how the sepia toning comes 
out.
+
+<figure>
+<img src="grayscale-final-446x512.jpg" alt="grayscale-final-446x512.jpg"/>
+<img src="desaturate-final-446x512.jpg" alt="desaturate-final-446x512.jpg"/>
+</figure>
+
+The one on the left was from a grayscale conversion (<span class="filter"><Image> Image -> Mode -> 
Grayscale</span>); the one on the right started as a desaturate (<span class="filter"><Image> Image -> Colors 
-> Desaturate</span>). Notice that there is a lot more blue-channel noise in the right-hand one. This can add 
a nice "grain" effect (see tip above also) if that is what you are looking for. For this particular image, I 
prefer the smoother tonality and darker contrast of the left-hand image.
+
+## Further Reading on Sepia Toning
+
+*   Doing this same process with Photoshop ([Part 
I](http://www.retouchpro.com/tutorials/lum-mask-sepia.html), [Part 
II](http://www.retouchpro.com/tutorials/lum-mask-sepia2.html))
+*   [Stepwise Sepia Toning Using Adobe Photoshop](http://www.photo.net/photo/sepia/index). This method, 
using Duotones and Tritones, seems to be quite popular.
+
+The original tutorial used to appear on 
[gimpguru](https://web.archive.org/web/20140704035654/http://gimpguru.org/tutorials/sepiatoning2/).
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+Title: Simple Animations
+Date: 2002
+Modified: 2015-10-05T10:19:55-05:00
+Author: Jakub Steiner
+
+
+Text and images Copyright (C) 2002 [Jakub Steiner](mailto:jimmacNOSPAM ximian com) and may not be used 
without permission of the author.
+
+## Intention
+
+In this tutorial, you'll learn how to use GIMP's layers in a different manner. Unlike it's default composite 
function, using GIMP as an animation package requires you to think of every layer as of an animation frame. 
We'll discuss the two different frame disposal methods later on. For now let us think about every layer as of 
a separate frame.
+
+## Step 1
+
+<figure>
+<img src="flower.png" alt="flower.png"/>
+<img src="flower-layers.png" alt="flower-layers.png"/>
+</figure>
+
+We'll create a very simple web banner. Let's start with a new image **468x60 px**. Use white as the 
background color. Create new transparent layer. Select the whole image with <kbd>Ctrl+A</kbd> and fill it 
with black (<kbd>Ctrl+,</kbd>). Shrink the selection by **1 px** (`Selection → shrink`) and delete the 
selection with <kbd>Ctrl+K</kbd>. We created a 1 px frame around out banner.
+
+Now it's time to put our logo or the main theme picture into the banner. I have prepared a masked-out flower 
you see on the picture on the left. I just pasted the flower below the border frame, used **alpha to 
selection**, created an empty layer below it and filled the selection with black using <kbd>Ctrl+,</kbd>. 
After that I blurred the shadow using **Gaussian blur RLE** and offset it by 2px to bottom right. I couldn't 
resist adding the interlace effect using `Filters → Render → Grid` and a layer mask. In that layer mask i 
applied a b/w gradient, so that the left of the flower is not interlaced.
+
+This part of the tutorial is not the key element, so feel free to experiment. Once you're ready flatten the 
image using the `Image → Flatten Image`.
+
+## Step 2
+
+<figure>
+<img src="flower-text.png" alt="flower-text.png"/>
+</figure>
+
+Now we're ready for the actual animation work. We will be creating a banner consisting of, say three lines 
of text being animated. Each frame will consist of the flower image and accompanied by some text. I don't 
want to make this boring, so lets make it three frames. The first step will naturally be to copy our 
flattened image two times using the **duplicate layer** button in the layers window.
+
+Then we'll use the standard text tool to put a small text note on every frame. After typing the text onto 
the frame, GIMP will create a floating selection, that you need to position right using the **move** tool and 
anchor using <kbd>Ctrl+H</kbd>. The positioning might be crucial for the final animation, so you can use the 
following trick to make the positioning a piece of cake. Before using the text tool, set the layer (frame) 
transparency to a lower value, so you could see the layer below it. That way you can position the newly 
created text acording to the text below (on the previous frame).
+
+## Step 3
+
+<figure>
+<img src="flower-anim.png" alt="flower-anim.png"/>
+</figure>
+
+In every GIF animation you are allowed to specify the delay between frames. That way you can create a 12 
second animation using only a few frames, because the delay does not have to be constant. In GIMP you specify 
the delay as a layer comment. Just double-click the layer comment in the layers' window and a delay in **ms** 
enclosed in brackets **()**.
+
+To check if the timing is good, you can preview the animation using the `Filters → Animation → Animation 
Playback`. You can even drag the preview around your desktop.
+
+## Step 4
+
+<figure>
+<img src="selection.png" alt="selection.png"/>
+<img src="apply-var.png" alt="apply-var.png"/>
+<img src="easyanim.gif" alt="apply-var.png"/>
+</figure>
+
+In the last step, we'll use a very handy function for _applying a filter to multiple layers_. This function 
is provided by GAP, the GIMP Animation Package. Please go to the "[Using GAP](/tutorials/Using_GAP/)" 
tutorial to learn more about the tool.
+
+Before we can apply this effect, we need to create a new image out of the third frame. This is as simple as 
dragging the layer preview from the layers window to the toolbar. Now duplicate the image _four times_. With 
a rectangular select tool, draw a selction around the text. Now we're ready to apply a **gaussian blur** 
filter on every layer using varying parameters. Use the `Filters → Filter All Layers` function and select 
**plug-in-gauss-rle2** from the list and press the **apply varying** button. The blur dialog pops up. Now we 
need to specify parameters for the lowest layer in the stack, ie. our first frame.
+
+We want to blur the text away in time, so for the first frame, let's specify a lower value. We'll blur in 
horizontal direction only, so let's make it **v:0 h:2**. After you click **OK** another dialog shows up. 
Here, choose **continue** and specify parameters for the last frame. We'll go for **20 px** horizontal blur. 
You can backup the progress, but for now we will make the filter apply on all layers inbetween by clicking on 
**continue** in the next dialog. All we need to do now is to drag the layers back to the original image.
+
+## Step 5
+
+<figure>
+<img src="saveas.png" alt="saveas.png"/>
+</figure>
+
+Now we only need to save our animation as GIF. Before we do that, let's optimize the animation using the 
`Filters → Animation → Animation Optimize` function. This will create a new image using a different mode than 
what we have now. You can use two different modes for every frame of your animation. You can either use the 
**replace** mode (default), which will replace the old frame with the new one. It's like taking the frame out 
before adding a new one. The other is the **combine** method, in which the new frame is added to the previous 
frame. That way only changes need to be updated. That's what **animation optimize** basically does. The file 
size gets tremendously smaller. Now we need to index the image using <span class="filter"><Image>Image→ Mode 
→ Indexed</span> function (<kbd>Alt+I</kbd>).
+
+Try to use as little colors as possible and avoid dithering. Both number of colors and dithering tend to 
enlarge the filesize dramaticaly. I used no color dithering and generated 32 color pallette. The file size of 
the banner is about 7kB. If you now save the image as GIF, GIMP will ask whether it should save the image as 
an animation, which is exactly what we need. In the save as GIF dialog, you can specify the default delay (in 
our example it will be used for the blured frames) and disposal method. You can use your WWW browser to check 
the animation, or you can use the **animation playback** function in the **animation** section of the image 
menu.
+
+<figure>
+<img src="flower-banner.gif" alt="flower-banner.gif"/>
+</figure>
+
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+Title: Vidar's GIMPy high pass filter sketch effect
+Date: 2004
+Modified: 2015-10-05T10:19:55-05:00
+Author: Vidar Madsen
+
+
+Text and images Copyright (C) 2004 [Vidar Madsen](mailto:vidarNOSPAM gimp org) and may not be used without 
permission of the author.
+
+## Intention
+
+Meet Marius, my son. :)
+
+
+<figure>
+<img src="01-original.jpg" alt="01-original.jpg"/>
+<img src="09-retouched.jpg" alt="09-retouched.jpg"/>
+</figure>
+
+
+## 1. High pass filtering
+
+High pass filtering means that we filter away the low frequencies of something, and let the high frequency 
bands pass. In image terms, this means that the detail of an image is kept, while the larger scale gradients 
are removed. Luckily, it's not as complicated as it sounds.
+
+First, duplicate the layer.
+
+<figure>
+<img src="02-dupdialog.png" alt="02-dupdialog.png"/>
+</figure>
+
+Then Gaussian Blur the top layer with an appropriate radius.
+
+You need to experiment to find good values, but roughly speaking one can say that the larger the radius, the 
wider the high pass filter's frequency response, and the "fatter" the lines in the final sketch. In this 
example I used 7 pixels, giving this result;
+
+<figure>
+<img src="02-blurdialog.png" alt="02-blurdialog.png"/>
+<img src="02-blurred.jpg" alt="02-blurred.jpg"/>
+</figure>
+
+Now we have a low pass filtered version of our image; all gradients and no detail. Exactly the opposite of 
what we wanted. So, how do we obtain a high pass filtered version? Why, we subtract it from our original, of 
course. A good way to do that is to simply Invert the image, and blend it 50-50 with the original. First, 
`Image → Colors → Invert`;
+
+<figure>
+<img src="03-inverted.jpg" alt="03-inverted.jpg"/>
+</figure>
+
+Then, to blend the two, we adjust the Layer's Opacity slider to 50%, and our high pass filtered image 
appears;
+
+<figure>
+<img src="04-dialog.png" alt="04-dialog.png"/>
+<img src="05-highpass.jpg" alt="05-highpass.jpg"/>
+</figure>
+
+Now it's time to Merge the two layers, so that we can continue to process them as one. Right-click on the 
top layer and pick Merge Down.
+
+Now, back to the image. Was the effect a bit too subtle, perhaps? While not necessary, we can apply the 
Levels tool (<span class="filter">Layer->Colors->Levels</span>) to increase the contrast a bit, so that it's 
easier to inspect visually. In this example, I set Input Levels to 100-155;
+
+<figure>
+<img src="05-dialog.png" alt="05-dialog.png"/>
+<img src="06-highpass-contrast.jpg" alt="06-highpass-contrast.jpg"/>
+</figure>
+
+## 2. The sketch part
+
+Now it's time to make the image background white. First, <span 
class="filter">Layer->Colors->Desaturate</span> the image, and fire up that Levels tool again. Here you need 
to experiment a bit to find the best values for your image. But you will most likely want to set max Input 
Level (the right value) to 128 or thereabout. This makes the 50%-grey part of the image go white, which is a 
good start. (If you look at the Levels histogram, you should notice a strong peak in the middle. This is 
where we want the Max Input Level.)
+
+The primary target of experimentation would be the gamma value field in the middle (the grey triangle just 
below the histogram). With a bit of tweaking, you could end up with something like this;
+
+<figure>
+<img src="06-dialog.png" alt="06-dialog.png"/>
+<img src="07-white.jpg" alt="07-white.jpg"/>
+</figure>
+
+That's pretty much it. I tend to want to hand-polish my images to get rid of various imperfections, though. 
Below is the result of softening the contrast on the lower right region, which is where the bright skin fell 
against the black background; The higher the contrast, the stronger the lines. I also fine-tuned the overall 
contrast (with Levels) to get rid of some of the noise in the face;
+
+<figure>
+<img src="08-brightened.jpg" alt="08-brightened.jpg"/>
+</figure>
+
+Finally I wanted to remove the annoying shadow below his chin and some of the specks scattered around his 
face, so I manually hand-brushed away parts of it, giving the final result;
+
+<figure>
+<img src="09-retouched.jpg" alt="09-retouched.jpg"/>
+</figure>
+
+Voila. That's it. Hope you liked it. :)
+
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+Title: "Smart" Sharpening
+Date: 2004
+Modified: 2015-10-05T10:19:55-05:00
+Author: Eric R. Jeschke
+
+
+Text and images Copyright (C) 2002 [Eric R. Jeschke](mailto:ericNOSPAM redskiesatnight com) and may not be 
used without permission of the author.
+
+## Intention
+
+<figure>
+<img src="before.jpg" alt="before.jpg"/>
+<img src="after.jpg" alt="after.jpg"/>
+</figure>
+
+In this tutorial I'll show you how to do smart sharpening of your images. Applying an unsharp mask to an 
entire image is not always appropriate. A really good example of this is when you have an image with a lot of 
high ISO noise or film grain; applying across-the-board sharpening will enhance the noise/grain and make it 
even more visible, especially in large prints. Often there will be large areas of the image that you know you 
don't want to sharpen (e.g. a blue sky--the blue channel tends to get a lot of noise).
+
+This technique does two "smart" things to avoid sharpening noise:
+
+1.  sharpen only the luminosity channel, and
+2.  create a channel mask that contains only the edges in the image. Then you can load the channel mask as a 
selection and apply the unsharp mask to just the edges.
+
+Giving credit where credit is due: I did not come up with this method. I adapted it for GIMP from a 
Photoshop tutorial on the luminous-landscape.com photography web site (great web site BTW, I recommend it).
+
+[New information and comparison with the "warp sharp" script!](warp-sharp.html)
+
+## The Procedure
+
+You may want to maximize your browser window to properly see this tutorial. I didn't want to shrink the 
image windows down like I usually do for the other tutorials since sharpening and noise are subtle and really 
show up better at these larger sizes.
+
+## Step 1
+
+<figure>
+<img src="image-original.jpg" alt="image-original.jpg"/>
+</figure>
+
+Here's the original image loaded into GIMP. It is noticeably soft, probably due to bad autofocus. It really 
shows up in prints.
+
+**Note:** be sure to do any other editing that you want to on the image first, especially downsampling or 
upsampling (resizing). Sharpening should always be the last step that you do.
+
+## Step 2
+
+<figure>
+<img src="decompose.jpg" alt="decompose.jpg"/>
+<img src="layers1.jpg" alt="layers1.jpg"/><br/>
+<img src="image-lab-decomposed.jpg" alt="image-lab-decomposed.jpg"/>
+</figure>
+
+Duplicate the image by pressing <kbd>Ctrl+D</kbd> or right-click and select <span class="filter"><Image> 
Image -> Duplicate</span>. It might be wise to minimize the original image window now. You can open it later 
to compare to the result.
+
+Right-click on the duplicate image and select <span class="filter"><Image> Image -> Mode -> 
Decompose</span>. In the decompose dialog box, select LAB (or HSV; see Note 1). Check the "As layers" 
checkbox (see Note 2) and click OK.
+
+This will create a new window with the image decomposed into the Luminosity ("brightness"), A and B channels 
as 3 layers. This will allow us to isolate and sharpen the luninosity channel which is a) the most important, 
and b) should be the cleanest in terms of noise.
+
+At this point I usually turn off visibility of the A and B layers in the Layers dialog by clicking on the 
"eyes".
+
+**Note 1:** if you happen to have an older version of the compose/decompose plug-in it may not have the LAB 
option. In that case use HSV (hue/saturation/value) instead. For any reference to the "LAB" image or 
"luminosity" channel below, substitute the "HSV" image/"value" window. The LAB option was not in my initial 
version of GIMP (ver 1.2.1), but I got the newer version of the plug-in at the [GIMP Plug-in 
Registry](http://registry.gimp.org/) and compiled it myself. Don't worry if you don't have it; HSV works 
great too.
+
+**Note 2:** in the older version of the decompose plug-in there is no "As layers" checkbox; instead it will 
create the three channels as separate windows rather than three layers in one window. It really doesn't 
matter if you do it this way; the layers way just reduces the clutter on your screen. If you don't have the 
"As layers" option, I suggest you minimize (but not close) the hue and saturation (or A and B) windows. We'll 
need them later, but you don't want to accidentally pick one of them in the next few steps.
+
+## Step 3
+
+<figure>
+<img src="edgedetection.jpg" alt="edgedetection.jpg"/>
+<img src="image-edgedetect-grayscale.jpg" alt="image-edgedetect-grayscale.jpg"/>
+</figure>
+
+Go to the duplicate image. Right-click and select <span class="filter"><Image> Filters -> Edge Detect -> 
Edge</span>. In the Edge Detect dialog box, select a parameter value of the appropriate size for the edges in 
your image. You may need to experiment with this. For the example image I chose 6.
+
+Now convert the edges image to grayscale by right clicking on it and selecting <span class="filter"><Image> 
Image -> Mode -> Grayscale</span>. This image is going to become our sharpening mask.
+
+**Note:** in some tutorials they recommend converting to greyscale and then running the edge detection 
filter. The premise there (my guess) is that perhaps you don't want to find noise as edges. My thinking is 
that there may be an edge in color, but not tonality (e.g. transition between two light colors). Once you 
have converted to greyscale you may not be able to detect that edge any more. Besides, with a high enough 
edge detection parameter (here 6) you will avoid detecting random CCD noise as edges.
+
+## Step 4
+
+<figure>
+<img src="levels1.jpg" alt="levels1.jpg"/>
+<img src="image-edgedetect-grayscale-levels1.jpg" alt="image-edgedetect-grayscale-levels1.jpg"/>
+</figure>
+
+The next step is to adjust the tonality a little so that areas that need sharpening are really white and 
anything that doesn't need sharpening at all is really black.
+
+Open the Levels dialog (<span class="filter"><Image> Image -> Colors -> Levels</span>). Bring the black 
point up and the white point down to filter out any insignificant edges. You may need to play around with the 
exact positions of the sliders. Click OK when the image outlines the significant edges in white and most 
everything else is black.
+
+How much you'll need to tweak this really depends on the image. There wasn't a lot of spurious edges shown 
here, so a small adjustment was all that was necessary.
+
+## Step 5
+
+<figure>
+<img src="iirgaussianblur.jpg" alt="iirgaussianblur.jpg"/>
+<img src="image-edgedetect-grayscale-levels-blur.jpg" alt="image-edgedetect-grayscale-levels-blur.jpg"/>
+</figure>
+
+Now apply a gaussian blur (<span class="filter"><Image> Filters -> Blur -> Gaussian Blur</span>) to smooth 
out the edges a little. A radius of between 3 and 10 pixels (horizontal and vertical) should be enough. In 
the example I used 7.
+
+## Step 6
+
+<figure>
+<img src="levels2.jpg" alt="levels2.jpg"/>
+<img src="image-edgedetect-grayscale-levels2.jpg" alt="image-edgedetect-grayscale-levels2.jpg"/>
+</figure>
+
+If you want to you can use Levels again to adjust the white and black points of the mask. I find this is 
usually a good idea after the blur.
+
+In this example I pulled the white point slider down a bit.
+
+## Step 7
+
+<figure>
+<img src="layers2.jpg" alt="layers2.jpg"/>
+<img src="newchanneloptions.jpg" alt="newchanneloptions.jpg"/><br/>
+<img src="layers3.jpg" alt="layers3.jpg"/>
+</figure>
+
+Open the Layers dialog. Select the LAB image (if HSV, value) in the drop down box at the top and then click 
on the Channels tab.
+
+Click on the new channel button (![newlayer](newlayer.jpg)) at the bottom of the dialog to create a new 
channel. Name it "Sharpening Mask".
+
+## Step 8
+
+<figure>
+<img src="layers4.jpg" alt="layers4.jpg"/>
+</figure>
+
+<figure>
+<img src="layers5.jpg" alt="layers5.jpg"/>
+<img src="image-lab-pastemask.jpg" alt="image-lab-pastemask.jpg"/>
+</figure>
+
+Right-click in the blurred/edges image window and <span class="filter"><Image> Select -> All</span>. 
Right-click again and select <span class="filter"><Image> Edit -> Copy</span>. (Alternatively you can use 
keyboard shortcuts <kbd>Ctrl+A</kbd> and <kbd>Ctrl+C</kbd> in succession).
+
+In the Layers dialog, make sure the Sharpening Mask channel is selected. Go back to the LAB (value) window 
and paste (<span class="filter"><Image> Edit -> Paste</span> or <kbd>Ctrl+V</kbd>).
+
+Select the Layers tab in the Layers dialog and click on the anchor button (![anchor](anchor.jpg)) to anchor 
the floating image.
+
+## Step 9
+
+<figure>
+<img src="layers6.jpg" alt="layers6.jpg"/>
+<img src="image-lab-selection.jpg" alt="image-lab-selection.jpg"/>
+</figure>
+
+Click on the Channels tab in the Layers dialog. You should see a tiny version of the sharpening mask in the 
channel icon, indicating that you properly pasted the sharpening mask into the new channel. At this point you 
may wish to click on the eye icon to make the sharpening mask invisible.
+
+Select the Sharpening Mask channel and click the "Channel to Selection" button 
(![](channeltoselection.jpg)). You should see "marching ants".
+
+You can experiment with feathering the selection here if you want; I usually don't.
+
+## Step 10
+
+<figure>
+<img src="layers7.jpg" alt="layers7.jpg"/>
+<img src="unsharpmask.jpg" alt="unsharpmask.jpg"/><br/>
+<img src="image-lab-sharpened-zoomed.jpg" alt="image-lab-sharpened-zoomed.jpg"/>
+</figure>
+
+**Important:** in the Layers dialog, click on the Layers tab and make sure the luminosity layer (if HSV, 
Background layer of Value window) is selected, and is the only one selected. We only want to sharpen the 
luminosity channel.
+
+Apply an unsharp mask (<span class="filter"><Image> Filters -> Enhance -> Unsharp Mask</span>). You may want 
to experiment with the settings here. You will find that you can use much higher amounts of sharpening (than 
if the entire image were selected) without significantly degrading the image.
+
+In the example here I used Radius=1, Amount=2.0 (200% ?), Threshold=0.
+
+Now get rid of the selection (right-click and <span class="filter"><Image> Select -> None</span>) and zoom 
in (<kbd>=</kbd> key) to examine the results. If you're not happy with the results, undo and try the sharpen 
step again with different parameters.
+
+## Step 11
+
+<figure>
+<img src="compose.jpg" alt="compose.jpg"/>
+<img src="image-lab-composed.jpg" alt="image-lab-composed.jpg"/>
+</figure>
+
+It's time to reconstruct our original image from the LAB (HSV) components.
+
+Right-click in the luminosity (value) window and select (<span class="filter"><Image> Image -> Mode -> 
Compose</span>). In the Compose Options dialog, make sure that you have selected LAB (HSV) on the left and on 
the right that the Luminosity, A and B (Hue, Saturation and Value) components are matched up with their 
respective images.
+
+Click OK; this should create a new composite image.
+
+## Final Step
+
+<figure>
+<img src="image-original-zoomed100-crop.jpg" alt="image-original-zoomed100-crop.jpg"/>
+<img src="image-luminosityedgesharpened-zoomed100-crop.jpg" 
alt="image-luminosityedgesharpened-zoomed100-crop.jpg"/><br/>
+<img src="image-regularsharpened-zoomed100-crop.jpg" alt="image-regularsharpened-zoomed100-crop.jpg"/>
+</figure>
+
+Examine the resulting image, zooming in to examine edge detail.
+
+It may help to unminimize the original image for comparison. If you feel your image needs more/less 
sharpening, then go back to the LAB window, undo twice and redo the unsharp mask step above.
+
+When you are satisfied with the result you can close all the extraneous windows.
+
+The images on the right are zoomed to 100% and cropped:
+
+*   Left image: original image
+*   Center image: smart-sharpened image
+*   Right image: sharpened with a typical unsharp mask filter (Radius=1, Amount=1.0 (100% ?), Threshold=0)
+
+The smart sharpened image hardly shows any additional noise over the original image. Notice how the 
"regular" unsharp masked version at half the sharpening amount has much more visible noise, especially in the 
shadows on the side of the face and in the door frame of the car.
+
+Check out the shadow noise in the larger images on the [smart sharpening shortcuts and variations 
page](shortcuts.html).
+
+## Tips
+
+*   If this seems like too long and complicated of a process, you might be interested in looking at some 
shortcuts and variations that are still better than a simple sharpening step.
+*   Some very well-respected experts on image manipulation (e.g. Real World Photoshop, Blatner and 
Fraser--great book) suggest that mode changes in and out of RGB are not to be taken lightly. You can lose a 
suprising amount of information. For example, try the following experiment:
+
+1.  Open a new blank image.
+2.  Using the gradient tool, create a gradient from black to white across it.
+3.  Convert it to RGB (<span class="filter"><Image> Image -> Mode -> RGB</span>).
+4.  Look at it's histogram (<span class="filter"><Image> Image -> Colors -> Histogram</span>).
+5.  Convert it to LAB, by decomposing to LAB (<span class="filter"><Image> Image -> Mode -> 
Decompose</span>), then do a compose on the LAB image back to RGB (<span class="filter"><Image> Image -> Mode 
-> Compose</span>).
+6.  Look at the new image's histogram.
+
+Here is what you'll see if you compare them:
+
+<figure>
+<img src="gradient.jpg" alt="gradient.jpg"/>
+<img src="gradient-composed.jpg" alt="gradient-composed.jpg"/>
+</figure>
+
+Left image: Gradient in RGB  
+Right image: RGB -> LAB -> RGB
+
+<figure>
+<img src="gradient-hist.jpg" alt="gradient-hist.jpg"/>
+<img src="gradient-composed-hist.jpg" alt="gradient-composed-hist.jpg"/>
+</figure>
+
+Left image: Histogram of the RGB image.  
+Right image: Histogram of the RGB -> LAB -> RGB image.
+
+<figure>
+<img src="gradient-zoomed400.jpg" alt="gradient-zoomed400.jpg"/>
+<img src="gradient-composed-zoomed400.jpg" alt="gradient-composed-zoomed400.jpg"/>
+</figure>
+
+Left image: Zoom 400% of the RGB image.  
+Right image: Zoom 400% of the RGB -> LAB -> RGB image.
+
+Look at all the information that has been lost in the converted image! There is obvious posterization in the 
zoomed close up.
+
+You are now thinking to yourself, "Good grief! Why on earth would he suggest changing modes to sharpen the 
luminosity channel if it has this kind of effect?"
+
+Look at the histograms of the original image and the one smart sharpened on the luminosity channel:
+
+<figure>
+<img src="original-hist.jpg" alt="original-hist.jpg"/>
+<img src="smartsharpened-hist.jpg" alt="smartsharpened-hist.jpg"/>
+</figure>
+
+Left image: Histogram, original image  
+Right image: Smart-sharpened on luminosity channel
+
+You can see that in practice, changing modes does not always have this drastic of an effect.
+
+What should you do? I suggest trying it and look at the histogram! This is the beauty of the digital 
darkroom. If your image is not that noisy anyway, then no need to change modes, as suggested in the 
[shortcuts](shortcuts.html). However, this does point out a general piece of advice, which is to use the 
histogram regularly. It is a great tool to monitor what is happening to your image "numerically" as you edit 
it.
+
+## Other Examples
+
+<figure>
+<img src="example1-original-crop.jpg" alt="example1-original-crop.jpg"/>
+</figure>
+
+<figure>
+<img src="example1-regularsharpened-crop.jpg" alt="example1-regularsharpened-crop.jpg"/>
+<img src="example1-luminosityedgesharpened-crop.jpg" alt="example1-luminosityedgesharpened-crop.jpg"/>
+</figure>
+
+First image: Original (pretty noisy)  
+Left image: Standard unsharp mask  
+Right image: Smart sharpened
+
+This example is kind of contrived. It doesn't really need much sharpening in the first place, and the 
smart-sharpened version looks over-sharpened. I include it here mainly because it is pretty noisy, so it 
really shows what happens when you sharpen noise, and how the smart sharpening technique doesn't affect the 
noise. For details on reducing CCD noise (using this image as an example), [see this 
tutorial](/tutorials/Reducing_CCD_Noise/).
+
+<figure>
+<img src="example2-edgesharpened-384x384.jpg" alt="example2-edgesharpened-384x384.jpg"/>
+<img src="example2-regsharpened-384x384.jpg" alt="example2-regsharpened-384x384.jpg"/>
+</figure>
+
+Left image: Edge sharpened (Amt=1.25)  
+Right image: Standard unsharp mask (Amt=0.50)
+
+## Further Reading
+
+*   [Almost Everything You Wanted to Know About Sharpening in 
Photoshop](http://www.creativepro.com/printerfriendly/story/11242.html)
+*   Follow-up article to the above, [A Two-Pass Approach to Sharpening in 
Photoshop](http://www.creativepro.com/printerfriendly/story/12189.html)
+*   Fred Miranda: [The Ultimate Sharpening Technique](http://www.fredmiranda.com/article_3/index.html)
+
+The original tutorial used to appear on 
[gimpguru](https://web.archive.org/web/20140704073236/http://gimpguru.org/tutorials/smartsharpening/).
+
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+Title: "Smart" Sharpening Shortcuts
+Date: 2004
+Modified: 2015-10-05T11:26:57-05:00
+Author: Eric R. Jeschke
+
+<p>
+  Text and images Copyright (C) 2002 <a href="mail:People-Jeschke_Eric_R">Eric R. Jeschke</a> and may not be 
used without permission of the author.
+</p>
+
+<h2>Intention</h2>
+<p>
+  Maybe you think the smart sharpening method is too complicated, or too lengthy, 
+  or just not worth it for the benefit. There are many variations on this technique, 
+  some of which are not as lengthy as the "full" technique, but may still produce better results than a 
straightforward unsharp mask operation.
+</p>
+
+<h2>Possible combinations</h2>
+<ol>
+  <li>Decompose into LAB, and prepare a sharpening mask. Only the edges in the luminosity channel are 
sharpened. 
+  This is the full procedure described in the tutorial.</li>
+  <li>Decompose into HSV, and prepare a sharpening mask. Only the edges in the value channel are sharpened. 
+  A variation on the full procedure described in the tutorial.</li>
+  <li>Don't decompose into LAB, but do prepare a sharpening mask. Only the edges in all RGB channels are 
sharpened. 
+  A good method if losing information due to mode changes is a concern.</li>
+  <li>Don't decompose into LAB, but do prepare a sharpening mask. Only the edges in the red channel are 
sharpened.
+  <br /><br />
+  The red channel is used since it usually contains most of the luminosity information for the image. 
+  Once you have the sharpening mask created as described earlier 
+  and have converted it into a selection, go to the Layers dialog, click on the Channels tab and unselect 
the Green and Blue channels. Now apply the filter.</li>
+  <li>Don't decompose into LAB, and don't prepare a sharpening mask. The entire image is sharpened, but only 
in the red channel. 
+  We can't use as large an amount of sharpening, or it will exacerbate the noise.</li>
+  <li>Decompose into LAB, but don't prepare a sharpening mask. The entire image is sharpened, but only in 
the luminosity channel. 
+  We can't use as large an amount of sharpening, or it will exacerbate the noise.</li>
+  <li>Decompose into HSV, but don't prepare a sharpening mask. The entire image is sharpened, but only in 
the value channel. 
+  We can't use as large an amount of sharpening, or it will exacerbate the noise.</li>
+  <li>Sharpen the entire image, all RGB channels.</li>
+</ol>
+
+<h2>Results</h2>
+<p>
+  Compare for yourself!
+  <br />
+  Here are the results for the combinations listed above. Look for the sharpness in the eye lines, 
+  and CCD noise in the shadows of the face and in the door frame of the car.
+</p>
+
+<p class="images">
+  <img src="image-luminosityedgesharpened-zoomed100.jpg" alt="image-luminosityedgesharpened-zoomed100.jpg" />
+</p>
+<p>
+  1. Sharpening mask (edges only), luminosity channel only (LAB decompose/compose).
+  <br />
+  (Radius=1, Amount=2.0, Threshold=0)
+</p>
+
+<p class="images">
+  <img src="image-valueedgesharpened-zoomed100.jpg" alt="image-valueedgesharpened-zoomed100.jpg" />
+</p>
+<p>
+  2. Sharpening mask (edges only), value channel only (HSV decompose/compose).
+  <br />
+  (Radius=1, Amount=2.0, Threshold=0)
+</p>
+
+<p class="images">
+  <img src="image-edgesharpened-zoomed100.jpg" alt="image-edgesharpened-zoomed100.jpg" />
+</p>
+<p>
+  3. Sharpening mask (edges only), all RGB channels (no decompose/compose). First of the "shortcuts".
+  <br />
+  (Radius=1, Amount=2.0, Threshold=0)
+  <br />
+  This does nearly as good a job as the "full" smart sharpening technique. If your image is not particularly 
noisy, this is the way to go.
+</p>
+
+<p class="images">
+  <img src="image-rededgesharpened-zoomed100.jpg" alt="image-rededgesharpened-zoomed100.jpg" />
+</p>
+<p>
+  4. Sharpening mask (edges only), red channel only (no decompose/compose).
+  <br />
+  (Radius=1, Amount=2.0, Threshold=0)
+  <br />
+  At first you'd think that this would produce a better result than #3. It's very good as far as not 
enhancing noise, but it's clearly not as sharp.
+</p>
+
+<p class="images">
+  <img src="image-redsharpened-zoomed100.jpg" alt="image-redsharpened-zoomed100.jpg" />
+</p>
+<p>
+  5. No sharpening mask (entire image), red channel only (no decompose/compose).
+  <br />
+  (Radius=1, Amount=1.0, Threshold=0)
+  <br />
+  This one is a toss-up with shortcut #6. There is more noise than in shortcuts #3 and #4, but less than in 
#6. It's also less sharp than #6.
+</p>
+
+<p class="images">
+  <img src="image-luminositysharpened-zoomed100.jpg" alt="image-luminositysharpened-zoomed100.jpg" />
+</p>
+<p>
+  6. No sharpening mask (entire image), luminosity channel only (LAB decompose/compose).
+  <br />
+  (Radius=1, Amount=1.0, Threshold=0)
+  <br />
+  Sharper than #5, but with more visible noise. Noise is barely, perceptibly less than in #7 &amp; #8.
+</p>
+
+<p class="images">
+  <img src="image-valuesharpened-zoomed100.jpg" alt="image-valuesharpened-zoomed100.jpg" />
+</p>
+<p>
+  7. No sharpening mask (entire image), value channel only (HSV decompose/compose).
+  <br />
+  (Radius=1, Amount=1.0, Threshold=0)
+  <br />
+  Hardly seems worth the decompose/compose steps, noise is as bad as in #8.
+</p>
+
+<p class="images">
+  <img src="image-regularsharpened-zoomed100.jpg" alt="image-regularsharpened-zoomed100.jpg" />
+</p>
+<p>
+  8. No sharpening mask (entire image), all RGB channels (no decompose/compose).
+  <br />
+  (Radius=1, Amount=1.0, Threshold=0)
+  <br />
+  This is a regular unsharp mask operation.
+</p>
+
+<p class="images">
+  <img src="image-original-zoomed100.jpg" alt="image-original-zoomed100.jpg" />
+</p>
+<p>
+  9. Unsharpened original.
+</p>
+
+<p>
+  You may also be interested in another shortcut technique: <a 
href="/tutorials/Smart_Sharpening/warp-sharp.html">the "warp sharp" script</a>.
+</p>
+
+<p>
+The original tutorial used to appear on gimpguru.org.
+</p>
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+Title: "Warp" Sharpening
+Date: 2004
+Modified: 2015-10-05T11:26:57-05:00
+Author: Eric R. Jeschke
+
+
+<p>
+  Text and images Copyright (C) 2002 <a href="mail:People-Jeschke_Eric_R">Eric R. Jeschke</a> and may not be 
used without permission of the author.
+</p>
+
+<h2>Intention</h2>
+<p>
+  Thanks to Branko Collin for bringing to my attention <a 
href="http://www.home.unix-ag.org/simon/gimp/warp-sharp.html";>Simon Budig's "warp sharp" script</a>. 
+  This is a Script-Fu script that you can put in your GIMP folder and run straight from GIMP. 
+  This is a very impressive script and a nice tool to have in your GIMP toolbox.
+</p>
+<p>
+  I haven't yet had a chance to experiment with it too much beyond the default settings, 
+  but I have tried it on a couple of the images used in my full smart sharpening tutorial. 
+  Here are the results:
+</p>
+
+<h2>First image</h2>
+<p class="images">
+  <img src="example1-original-zoomed100.jpg" alt="example1-original-zoomed100.jpg" />
+</p>
+<p>
+  1. Original image, zoomed 100%.
+</p>
+
+<p class="images">
+  <img src="example1-unsharpmask-zoomed100.jpg" alt="example1-unsharpmask-zoomed100.jpg" />
+</p>
+<p>
+  2. Standard unsharp mask filter, all RGB channels.
+  <br />
+  (Radius=1, Amount=1.0, Threshold=0) Yuk. This is why you want to smart sharpen.
+</p>
+
+<p class="images">
+  <img src="example1-warpsharp-zoomed100.jpg" alt="example1-warpsharp-zoomed100.jpg" />
+</p>
+<p>
+  3. Warp sharp script, all RGB channels.
+  <br />
+  (default parameters: Edge detection=7.0, Blur radius=3.0, Bump depth=2, Displace intensity=2.5)
+</p>
+
+<p class="images">
+  <img src="example1-warpsharp-luminosityonly-zoomed100.jpg" 
alt="example1-warpsharp-luminosityonly-zoomed100.jpg" />
+</p>
+<p>
+  4. Warp sharp script, luminosity channel only.
+  <br />
+  (default parameters: Edge detection=7.0, Blur radius=3.0, Bump depth=2, Displace intensity=2.5)
+</p>
+<p>
+  I don't see much difference between this and #3. I wouldn't really expect to, since the warp sharp script 
appears to operate on edges only. 
+  I did find that the edges are not as "squeezed" here--they are slightly ragged, 
+  more like the other, non-warp sharpening techniques. See the discussion below for more on this.
+</p>
+
+<p class="images">
+  <img src="example1-smartsharp-zoomed100.jpg" alt="example1-smartsharp-zoomed100.jpg" />
+</p>
+<p>
+  5. Smart sharpened (edges, luminosity channel only).
+  <br />
+  The full technique from <a href="/tutorials/Smart_Sharpening/">the tutorial</a>. 
+  I think this one still has less noise, or at least the noise is more "smoothed out" and less objectionable 
than in #4.
+</p>
+
+<p class="images">
+  <img src="example1-warpsharp-luminosityonly.jpg" alt="example1-warpsharp-luminosityonly.jpg" />
+</p>
+<p>
+  Warp sharp script, luminosity channel only (same as #4--unzoomed).
+  <br />
+  Here the difference is more visible and striking. Compare to below.
+</p>
+
+<p class="images">
+  <img src="example1-smartsharp.jpg" alt="example1-smartsharp.jpg" />
+</p>
+<p>
+  Smart sharpened (edges, luminosity channel only; same as #5--unzoomed).
+  <br />
+  To my eye this one is definitely better. Notice the arm, the face and the white wall in the upper left and 
compare to above.
+</p>
+
+<h2>Tutorial image</h2>
+<p>
+  Here's the main test image from the tutorial:
+</p>
+<p class="images">
+  <img src="image-compare-original.jpg" alt="image-compare-original.jpg" />
+</p>
+<p>
+  1. Original image.
+  <br />
+  Examine the seam between the driver's window frame and the rear window frame.
+</p>
+
+<p class="images">
+  <img src="image-compare-warpsharp.jpg" alt="image-compare-warpsharp.jpg" />
+</p>
+<p>
+  2. Warp sharpened.
+  <br />
+  (default parameters: Edge detection=7.0, Blur radius=3.0, Bump depth=2, Displace intensity=2.5) Compare 
the seam to the above image. Very similar.
+</p>
+
+<p class="images">
+  <img src="image-compare-smartsharp.jpg" alt="image-compare-smartsharp.jpg" />
+</p>
+<p>
+  3. Smart sharpened (edges, luminosity channel only).
+  <br />
+  Note how the seam contrast is exaggerated, along with every nick and cut along the seam.
+</p>
+
+<p class="images">
+  <img src="image-compare-warpsharp-zoomed100.jpg" alt="image-compare-warpsharp-zoomed100.jpg" />
+</p>
+<p>
+  Warp sharpened, zoomed to 100%.
+  <br />
+  Examine the catchlight in the eyes, the edge of the iris, and the edge of the cheek/chin on the left.
+</p>
+
+<p class="images">
+  <img src="image-compare-smartsharp-zoomed100.jpg" alt="image-compare-smartsharp-zoomed100.jpg" />
+</p>
+<p>
+  Smart sharpened, zoomed to 100%.
+  <br />
+  Compare the catchlights and the iris/chin/cheek edges.
+</p>
+
+<h2>Discussion</h2>
+<p>
+  Obviously this is a very preliminary and cursory examination, and further experimentation 
+  with the warp sharp script parameters is necessary before making any substantive 
+  judgements about the quality of warp sharping. What follows are my first impressions only.
+</p>
+<p>
+  In the noisy image, the smart sharpened image appears noticeably better to my eye 
+  than the warp sharpened image, at least viewed on screen and zoomed out. Noise is noticeably less visible.
+</p>
+<p>
+  On the less noisy image the results are not so clear cut. The two things that stand out to me in 
+  comparing the warp sharpened version to the smart sharpened version are that
+</p>
+<ol>
+  <li>the warp sharpening appears not to increase the contrast as much (e.g. in the window seam). 
+  Since I am not sure what constitutes a comparable "amount" of sharpening in 
+  the warp sharpen parameters, the contrast could be simply due to the fact that I cranked 
+  the smart sharpened amount parameter up to 2.0, and that this is much greater than 
+  the default level of "amount" in the warp sharpen (I did in fact compare with an 
+  amount of 1.0 also and found that the contrast was still greater than in the warp sharpened version). 
+  In any case, in this image the seam between the windows is more pleasing in the warp sharpened version.
+  </li>
+  <li>the warp sharpening appears to have a pronounced effect in "squeezing" the edges (as in fact it is 
advertised to do), which results in less "ragged" edges 
+  (e.g. in the cheek/iris edges). I'm not sure what to think about this. My initial reaction is that the 
edges do not look quite as natural. For example, 
+  the iris outline is just not naturally that smooth of an edge. It seems like the sharpening process should 
increase contrast between edges, 
+  but that shrinking the edges is not necessarily a desirable byproduct. However, the zoomed warp sharpened 
image looks sharper than the zoomed smart 
+  sharpened image because of the less ragged edges throughout. Zoomed out it is not as apparent.
+  </li>
+</ol>
+
+<h2>Conclusion</h2>
+<p>
+  More experimentation is necessary! For now, I am convinced that the warp sharpen script is a useful 
addition to the GIMP toolbox. 
+  Certainly as a convenience sharpening option it is unmatched: just run the script.
+</p>
+
+<h2>Getting the warp-sharp script</h2>
+<p>
+  Here is a <a href="http://www.home.unix-ag.org/simon/gimp/warp-sharp.html";>link to the script authors 
site</a>. 
+  Download the script and put it into your .gimp-2.2/scripts folder. 
+  Restart GIMP and you should see warp sharpen as an option off of the "Alchemy" script-fu menu.
+</p>
+
+<p>
+    The original tutorial used to appear on <a 
href="https://web.archive.org/web/20140704043127/http://gimpguru.org/tutorials/smartsharpening/warp-sharpening/";>gimpguru</a>.
+</p>
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+Title: Straight Line Tutorial
+Date: 2004
+Modified: 2015-10-05T10:19:55-05:00
+Author: Seth Burgess
+
+
+Text and images Copyright (C) 2002 [Seth Burgess](mailto:sjburgesNOSPAM gimp org) and may not be used 
without permission of the author.
+
+## Intention
+
+<figure>
+<img src="straight_line_example.png" alt="straight_line_example.png"/>
+</figure>
+
+This tutorial shows you how you can do straight lines with GIMP, using a feature called the Shift Key. 
Straight lines are a convenient way to make things that aren't so terribly affected by the imprecision of a 
mouse or tablet, and to take advantage of the power of a computer to make things look neat and orderly. This 
tutorial doesn't use Straight Lines for complex tasks; its intended to show how you can use it to create 
quick and easy line effects.
+
+## Step 1
+
+<figure>
+<img src="shiftkey.png" alt="shiftkey.png"/>
+<img src="mouse.png" alt="mouse.png"/>
+</figure>
+
+The invention called the typewriter introduced the Shift Key. You generally have 2 of them on your keyboard. 
They look something like the picture on the left. They are located on the left and right sides of your 
keyboard.  
+The other invention, called the Mouse, was invented by Douglas C. Engelbart in 1970. These come in different 
varieties, but always have at least one button located on them. They are located on your desk, or sometimes 
on a mouse pad.
+
+## Step 2
+
+<figure>
+<img src="blankimage.png" alt="blankimage.png"/>
+</figure>
+
+First, create a new image. Any size will do.
+
+## Step 3
+
+<figure>
+<img src="toolbox.png" alt="toolbox.png"/>
+</figure>
+
+Then click on the paintbrush. Any of the red-highlighted tools on the above toolbox can do lines.
+
+## Step 4
+
+<figure>
+<img src="startdot.png" alt="startdot.png"/>
+</figure>
+
+After you click the paintbrush tool, you can click the image. A single dot will appear on the screen. The 
size of this dot represents the current brush size, which you can change in the Brush Dialog.  
+Now, lets start drawing a line. Hold down the Shift button, and keep it down.
+
+## Step 5
+
+<figure>
+<img src="draggedline.png" alt="draggedline.png"/>
+</figure>
+
+After you have a starting point, and have held down the Shift Key, you'll see a line like above if you're 
running GIMP version 1.2.x or later. This feature was not present in GIMP version 1.0.4. However, the next 
step works the same way.  
+Press the first button on the Mouse (the leftmost one usually) and then let it go. During that whole "click" 
of the Mouse button, you need to keep the Shift Key held down.
+
+## Final
+
+<figure>
+<img src="drawnline.png" alt="drawnline.png"/>
+</figure>
+
+See how the line is drawn on top of the preview? This is a powerful feature of the Paint Brush. You can use 
it with any of the tools shown in step 4, or even draw more lines at the end of this one.  
+Our last step is to let go of the Shift key. And there you have it. Some more examples are shown below. 
Questions? Comments? Let me know.  
+Happy GIMPing!  
+Seth
+
+## Examples
+
+<figure>
+<img src="exp1.png" alt="exp1.png"/>
+</figure>
+
+This one I turned on gradient in the Paint Brush Tool.
+
+<figure>
+<img src="exp2.png" alt="exp2.png"/>
+</figure>
+
+This one I rendered a grid, and then used the Smudge Tool with a low spacing and a slightly larger brush.
+
+<figure>
+<img src="exp3.png" alt="exp3.png"/>
+</figure>
+
+This one I used the Clone tool, and set the source to "Maple Leaves" pattern.
+
+<figure>
+<img src="exp4.png" alt="exp4.png"/>
+</figure>
+
+This one I rendered a plasma cloud, and used the Erase Tool with a square brush.
+
+<figure>
+<img src="exp5.png" alt="exp5.png"/>
+</figure>
+
+This one I used the Dodge tool on the top and left of a blue box, then used the burn tool on the right and 
bottom.
+
+The original tutorial can be found [here](http://classic.gimp.org/~sjburges/straightline/straightline.html).
+
+
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+Title: The Basics Tutorial
+Date: 2002
+Modified: 2015-10-05T10:19:55-05:00
+Author: Jens Lautenbacher
+
+
+Text and images Copyright (C) 2002 [Jens Lautenbacher](mailto:jtlNOSPAM gimp org) and may not be used 
without permission of the author.
+
+## Intention
+
+On this page, the first section of our ever growing (?) collection of tutorials, I will demonstrate the 
basic operation you will need to perform over and over again in your life as a computer artist: Generate 
isolated parts of a picture and combine them with a random background. What we want to achieve in this 
example is to generate a 3-dimensional text logo flying (and movable) over the background (a simple uni-color 
layer in our case, but you will easily see that you could use any other (stack of) layers/images instead. 
Start with a plain white picture, black as the foreground color and open the layer dialog!
+
+## Adding text
+
+<figure>
+<img src="tut-basic-1.gif" alt="tut-basic-1.gif"/>
+</figure>
+
+Use the text tool to add some text. You will get a new text layer which you can also see if you look at the 
layers dialog. You can use the move tool to move the text where you like to have it. Then merge it with the 
white layer below by choosing _Merge Down_ from the Layer menu. You should now have one layer with black text 
on white background. Using <span class="filter"><Image> Colors → Invert</span> you will achieve something 
like the picture above.
+
+## Adding colors
+
+<figure>
+<img src="tut-basic-2.gif" alt="tut-basic-2.gif"/>
+<img src="tut-basic-3.gif" alt="tut-basic-3.gif"/>
+</figure>
+
+First of all: Blur the image a bit using <span class="filter"><Image> Filters → Blur → Gaussian Blur</span> 
(a value of 5 may be a good start). Now add a new layer to the image with the help of the New Layer button in 
the layers dialog. Choose it to be white. It will be created above the just made text layer effectively 
hiding it. It will be active which can be seen from the fact that it has a blue background in the layers 
dialog. Click some times on the eye symbol to see how you can make a layer invisible and make the other layer 
active by clicking on its small preview in the layer dialog. At the end, leave the new white layer visible 
and active. Use the plasma plugin to make this layer a little colorful: <span class="filter"><Image> Filters 
→ Render → Clouds → Plasma</span> (Yes, you are invited to experiment with the parameters...). The layer 
dialog should look something like this now:
+
+<figure>
+<img src="tut-basic-dia-1.gif" alt="tut-basic-dia-1.gif"/>
+</figure>
+
+## Bumpmapping
+
+<figure>
+<img src="tut-basic-4.gif" alt="tut-basic-4.gif"/>
+</figure>
+
+It's getting funny now: Use the bumpmap plugin with the blurred text layer as a bumpmap on the plasma layer. 
You can play with the other parameters, but they have sensible defaults. You'll get an image like the one 
above. Now (still on the plasma layer) choose Add layer mask from the layer dialog menu. Choose the mask to 
be white. Nothing will change on the image for now, but the layer dialog will look like this:
+
+<figure>
+<img src="tut-basic-dia-2.gif" alt="tut-basic-dia-2.gif"/>
+</figure>
+
+You can toggle whether a layers mask or the actual picture is active by clicking on their previews in the 
layers dialog.
+
+## Using the layer mask
+
+<figure>
+<img src="tut-basic-5.gif" alt="tut-basic-5.gif"/>
+</figure>
+
+Now activate the text layer again. (you don't have to make the layers on top invisible to work on this 
layer. It's enough that you activate it in the layers dialog.) Now do <span class="filter"><Image> Edit → 
Copy</span>. Make sure you have the mask of the top layer selected and the layer is activated. Choose <span 
class="filter"><Image> Edit → Paste</span>. You will again get a floating selection, shown in the layer 
dialog like this:
+
+<figure>
+<img src="tut-basic-dia-3.gif" alt="tut-basic-dia-3.gif"/>
+</figure>
+
+Use the layer dialog menu to Anchor Layer, which will anchor the floating selection into the previous 
activated layer (which is the mask of the plasma layer in our case). This will leave you with the following 
scenario:
+
+<figure>
+<img src="tut-basic-dia-4.gif" alt="tut-basic-dia-4.gif"/>
+</figure>
+
+## Adjusting the levels
+
+<figure>
+<img src="tut-basic-6.gif" alt="tut-basic-6.gif"/>
+</figure>
+
+Now add a new layer and fill it with some color (e.g. with the help of the bucket fill tool) and use Raise 
Layer or Lower Layer from the layer dialog menu to achieve something like this:
+
+<figure>
+<img src="tut-basic-dia-5.gif" alt="tut-basic-dia-5.gif"/>
+</figure>
+
+Now you'll see that the image of the logo isn't very sharp. We'll change this now. Make sure you have 
selected the plasma layer's mask and open <span class="filter"><Image> Layers → Colors → Levels</span>. This 
tool is one of the most important tools you have! Play with the little triangles you'll see in the two grey 
gradients and watch their effect on the image. For now, try to achieve something like the following:
+
+<figure>
+<img src="tut-basic-dia-6.gif" alt="tut-basic-dia-6.gif"/>
+</figure>
+
+What we do here is making the border of the mask sharper, and by that means, sharpening the whole picture 
(the area which is neither 100% opaque nor transparent will become smaller). But we can easily avoid the 
picture getting pixel-steps by leaving still a smooth transition between opaque and transparent parts of the 
layer. (If you didn't realize it by now - I bet you did - the layer mask works in such a way that all black 
parts of the mask will become transparent parts of the layer and all white parts will stay opaque (with 
smooth transitions realized by values of grey).
+
+## Creating a drop-shadow
+
+<figure>
+<img src="tut-basic-7.gif" alt="tut-basic-7.gif"/>
+</figure>
+
+Using the layer menu you will have noticed the entry Duplicate Layer. Use this now. Then use Apply Layer 
Mask and Lower Layer which should leave you with something like this:
+
+<figure>
+<img src="tut-basic-dia-7.gif" alt="tut-basic-dia-7.gif"/>
+</figure>
+
+Make sure you check the Keep Transparency option (the little box next to the layer mode) and then fill that 
duplicated layer with black. You can paint over the text with a paint tool or simply drag a black color from 
the color selector and drop it over the image. You do not have to be careful: the Keep Transparency button 
will let you paint only on opaque parts of the image. This will give you:
+
+<figure>
+<img src="tut-basic-dia-8.gif" alt="tut-basic-dia-8.gif"/>
+</figure>
+
+Now make sure you uncheck the button again and move the layer some pixels to the right and downwards. You 
can move it with the Move tool while pressing Shift so that it moves the current layer instead of picking a 
new one. (Alternatively, can use <span class="filter"><Image> Layer → Transform → Offset</span> and enter a 
small offset for both X and Y: this will offset the contents of the layer without moving the layer itself.) 
Then blur your layer and adjust the transparency with the slider so the background will shine through: You've 
just generated a so-called drop shadow, which greatly enhances the 3D effect and is used in very many places.
+
+<figure>
+<img src="tut-basic-dia-9.gif" alt="tut-basic-dia-9.gif"/>
+</figure>
+
+That's it! Now have a lot of fun making flying logos!
+
+An updated version of this tutorial can be found here: [Simple Floating Logo](../Floating_Logo)
+
+The original tutorial can be found [here](http://classic.gimp.org/tut-basic.html).
+
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+Title: Tilable Textures
+Date: 2002
+Modified: 2015-10-05T10:19:55-05:00
+Author: Adrian Likins
+
+
+Text and images Copyright (C) 2002 [Adrian Likins](mailto:adrianNOSPAM gimp org) and may not be used without 
permission of the author.
+
+## Intention
+
+The GIMP 1.2 series have a nice new feature I refer to as gradient brushes. Essentially, this is just the 
regular paint tool, but instead of painting with a constant color, it gets its color from a gradient and 
rotates through the gradient as you paint.
+
+## Using Gradient Brushes
+
+<figure>
+<img src="grad_brush_dialog.png" alt="grad_brush_dialog.png"/>
+</figure>
+
+Gradient brushes can be accessed from the standard paintbrush dialog. Just check the option "Use Color from 
Gradient" and start painting. You can also press the Gradient button to change the current gradient. Try 
"German flag smooth", for instance.
+
+<figure>
+<img src="grad1.jpg" alt="grad1.jpg"/>
+
+<img src="grad_text1.jpg" alt="grad_text1.jpg"/>
+
+<img src="grad_text2.jpg" alt="grad_text2.jpg"/>
+</figure>
+
+Just filling in an image with a gradient brush is a good start for interesting textures, and you can make 
some nice ones that way.
+
+But that gets a little boring after a while. To really spice thigns up a bit, you need some more interesting 
brushes. So called "grunge brushes" work quite well for this use. A very nice set can be found in the June 
1999 edition of thegimp.com, in the brushes section. Get these for real fun with gradient brushes.
+
+Basically, just select one of those brushes, and se the spacing to something reasonable (most default to 10 
or so). I would suggest setting the spacing to about 80-120 or so. Of course, please experiment.
+
+For example, lets choose the "Grunge 15" brush. Set its spacing to about 70 or so. Now choose a gradient 
from the the gradient selector (<span class="filter"><Image> Dialogs -> Gradients</span>). Just about any of 
them will do fine. Pick one at random, you can get nice results from any of them. For this particular 
example, I used "Caribbean_Blues".
+
+Now for the easy part. Draw random stuff on the image. Or not random. It doesnt really matter. If you want 
to stick to a very set pattern, your texture might look a bit more orderly. Fill the image completely if you 
dont want alpha poking though. Nice eh?
+
+<figure>
+<img src="grad_example_1.jpg" alt="grad_example_1.jpg"/>
+</figure>
+
+The hard part is making the image tilable. The easiest way to do this is to offset your image by half its 
height, and half its width. Select <span class="filter"><Image> Layer -> Transform -> Offset</span>. Then 
choose the convient "x/2, y/2" option, and hit OK. Your image will now show what used to be at its edges at 
the center of the image. The secret to making tileable images is to make this transition smooth.
+
+<figure>
+<img src="grad_example_2.jpg" alt="grad_example_2.jpg"/>
+
+<img src="grad_example_3.jpg" alt="grad_example_3.jpg"/>
+</figure>
+
+For gradient painting with grunge brushes, this typicaly just means painting along those lines. You 
probabaly want to give it a bit of character so it looks more natural. You will probabaly want to avoid 
painting at the edges of the image when you do this. But if you do, just repeat the above steps again and you 
should be fine.
+
+<figure>
+<img src="grad_example_4.jpg" alt="grad_example_4.jpg"/>
+</figure>
+
+Offset that image one more time (or not,actually...), and your ready to go.
+
+## Things to tweak
+
+Of course changing the gradient type, and the brush will have a big effect on the look of the texture, but 
so will more subtle things like the opacity of the brush, and the paint mode can make for some interesting 
effects. These type of textures also seem to work well for layering two or three textures together with 
different layer modes.
+
+All in all, this is nice and simple, and fast way to create some colorful textures.
+
+## Examples
+
+<figure>
+<img src="texture1.jpg" alt="texture1.jpg"/>
+
+<img src="texture2.jpg" alt="texture2.jpg"/>
+
+<img src="texture3.jpg" alt="texture3.jpg"/>
+
+<img src="texture4.jpg" alt="texture4.jpg"/>
+</figure>
+
+Just some examples whipped up in a few minutes.
+
+The original tutorial can be found [here](http://adrian.gimp.org/texture_tut/).
+
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+Title: Using GAP
+Date: 2002
+Modified: 2015-10-05T10:19:55-05:00
+Author: Jakub Steiner
+
+
+Text and images Copyright (C) 2002 [Jakub Steiner](mailto:jimmacNOSPAM ximian com) and may not be used 
without permission of the author.
+
+## Intention
+
+GAP is an advanced tool to be able to create animations, this guide should give you some sort of view of how 
GAP works and what you can do with it. For a good tutorial of how to make an animation with GAP then take a 
look at the "[Advanced Animation](/tutorials/Advanced_Animations/)" tutorial.
+
+## Main Interface
+
+<figure>
+<img src="gap-big.png" alt="gap-big.png"/>
+</figure>
+
+**Source Image/Layer** specifies, which layer you want to animate on top of the current image. If you select 
a layer from a multilayer image, make sure you don't forget to specify the **stepmode** as well.
+
+The **stepmode** is there to define how you want to animate the multilayered image you specified in the 
**source image** drop down.
+
+**Mode** defines what mode should be GIMP using for the layer in the final layer stack.
+
+In the **modifier section** you specify placement, dimension and opacity values for the current key. You can 
navigate in time by adding time points as shows the **timeline** section.
+
+At the bootom of the dialog you'll find some inportant sliders. The duration of the animation is specified 
using the **start frame** and **end frame** sliders or input boxes. Preview frame renders frame # specified 
when the **update preview** button is pressed. **Layerstack** defines where the inserted objects will go in 
the layer stack of the final image. **0** means top of the layer stack, while lower values move the layer 
towards bottom of the image.
+
+## Stepmode
+
+<figure>
+<img src="gap2-big.png" alt="gap2-big.png"/>
+</figure>
+
+Stepmode defines how you want the source multi-layer image to be animated withing the final animation render.
+
+**Loop** will suprisingly loop all the layers/frames of the source animation endlessly, while **loop 
reverse** will do the same, but for the opposite direction. **Once** is a simple one-time loop of the source 
animation, **once reverse** does it in the opposite direction. **Pingpong** will create a looping animation, 
but once it reaches the bottom of the source image stack, it moves the opposite direction. Use the last mode 
(**none**) if you only want to use a single layer out of a multi-layered source image.
+
+The animation will start from the specified layer, so make sure you don't miss out some frames. If a source 
image is a one-layered one, stepmode will not have any effect on the result whatsoever.
+
+<figure>
+<img src="gap3-big.png" alt="gap3-big.png"/>
+</figure>
+
+If you want the final rendered layer to be different mode than the default **normal** specify it in the 
**mode** popup.
+
+The **handle** option is used for exact placement of the source object into the final image. Select whatever 
option you wish to use to place the object in respect to the crosshair on the image preview (and it's **x** 
and **y** coordinates).
+
+In the middle section of the dialog, you can define **placement** and **dimensions** of the rendered object. 
You can also set **opacity** and **rotation** of the object. You do this for every **animation point** (see 
later on). Gimp will compute the values between those points.
+
+Every animation should at least have two animation points. For every animation point you define values for 
position, rotation, scale and opacity. In the animation point section you can add points and move within 
those to set the mentioned attributes for a particular point.
+
+Every animation point is shown on the image preview acording to his x,y position.
+
+<figure>
+<img src="gap4-big.png" alt="gap4-big.png"/>
+</figure>
+
+At the bottom of the dialog, you can specify the segment on the animation to render the current source image 
animation to.
+
+The **preview frame** slider is used in conjuction with the **update preview** button. You can use it to get 
the backroung image from a particular frame of the animation to be able to position the source object 
precisely. It will not have any effect on the final rendering.
+
+**Layerstack** is used to place the source image into a particular position in the final rendering layer 
stack. **0** means top of the stack (covering everything below it, also depending on the **mode**).
+
+**Force visibility** vill toggle all layers in the source image to visible, so that the final rendering does 
not have "holes" in it. **Clip to frame** will crop anything thats outside of the image dimensions. It will 
reduce file size, but you'll be unable to move the object on the final rendering to alter the animation.
+
diff --git a/content/tutorials/template/index.htrw b/content/tutorials/template/index.htrw
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+<!--#include virtual="/includes/wgo-xhtml-init.xhtml" -->
+<title>GIMP - Title goes here</title>
+<!--#include virtual="/includes/wgo-look-feel.xhtml" -->
+<!--#include virtual="/includes/wgo-page-init.xhtml" -->
+<h1>Title goes here</h1>
+<p>
+  Text and images Copyright (C) 2002 <a href="mail:People-Author_Name">Author name</a> and may not be used 
without permission of the author.
+</p>
+
+<h2>Subtitle goes here</h2>
+<p class="images">
+  <img src="someimage.jpg" alt="" />
+  <img src="someotherimage.jpg" alt="" />
+</p>
+<p>
+  Text goes here
+</p>
+
+<p>
+  The original tutorial can be found <a href="#">here</a>.
+</p>
+<!--#include virtual="/includes/wgo-page-fini.xhtml" -->
+    <div>
+      <span id="footerleft">
+        Tutorial &copy; 2002 <a href="home:Author_Name">Author Name</a>
+      </span>
+      <span id="footerright">
+        <a href="mail:People-Author_Name">webmaster gimp org</a>
+      </span>
+    </div>
+<!--#include virtual="/includes/wgo-xhtml-fini.xhtml" -->
diff --git a/content/tutorials/template/index.md b/content/tutorials/template/index.md
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+Title: TITLE GOES HERE
+Date: 2015
+Modified: 2015-10-05T10:19:55-05:00
+Author: Pat David
+
+
+<del>Text and images Copyright (C) 2002 [AUTHOR NAME](mailto:AUTHOR DOMAIN NAME) and may not be used without 
permission of the author.</del>
+
+Please use only permissive licensing, such as [CC-BY](http://creativecommons.org/licenses/by/4.0/) or 
[CC-BY-SA](http://creativecommons.org/licenses/by-sa/4.0/).
+
+## Sub-heading
+
+<figure>
+<img src="src.png" alt="alt text"/>
+<figcaption>
+A caption
+</figcaption>
+</figure>
+
+Text goes here.
+
+The original tutorial can be found [here](http://www.gimp.org/tutorials).
+
+