www.archivc.org
`415.561.6767
`415.8-40-0391 c—fax
`
`Internet Archive
`300 Funston :\vcnuc
`
`San Francisco, (IA 94118
`
`AFFIDAVIT OF CHRISTOPHER BUTLER
`
`l. I am the Office Manager at the Internet Archive, located in San Francisco,
`California. I make this declaration of my own personal knowledge.
`2. The lntemet Archive is a website that provides access to a digital library of
`Internet sites and other cultural artifacts in digital fonn. Like a paper library, we provide
`free access to researchers, historians, scholars, and the general public. The Internet
`Archive has partnered with and receives support from various institutions, including the
`Library of Congress.
`3. The Internet Archive has created a service known as the Wayback Machine. The
`Wayback Machine makes it possible to surf more than 450 billion pages stored in the
`Internet Archive's web archive. Visitors to the Wayback Machine can search archives
`by URL (i.e., a website address). If archived records for a URL are available, the visitor
`will be presented with a list of available dates. The visitor may select one of those
`dates, and then begin surfing on an archived version of the Web. The links on the
`archived files, when served by the Wayback Machine, point to other archived files
`(whether HTML pages or images). Ifa visitor clicks on a link on an archived page, the
`Wayback Machine will serve the archived file with the closest available date to the page
`upon which the link appeared and was clicked.
`4. The archived data made viewable and browseable by the Wayback Machine is
`compiled using software programs known as crawlers, which surf the Web and
`automatically store copies of web files, preserving these files as they exist at the point of
`time of capture.
`5. The Internet Archive assigns a URL on its site to the archived files in the format
`http://web.archive.org/web/[Year in yyyy][Month in mm][Day in dd][Time code in
`hhzmmzss]/[Archived URL]. Thus, the Internet Archive URL
`http://web.archive.org/web/19970I26045828/http://www.archive.org/ would be the
`URL for the record ofthe lntemet Archive home page HTML file
`(http://www.archive.org/) archived on January 26, 1997 at 4:58 a.m. and 28 seconds
`(1997/01/26 at 04:58:28). A web browser may be set such that a printout from it will
`display the URL of a web page in the printout’s footer. The date assigned by the Internet
`Archive applies to the HTML file but not to image files linked therein. Thus images that
`appear on a page may not have been archived on the same date as the HTML file.
`Likewise, if a website is designed with "frames," the date assigned by the Internet
`Archive applies to the frameset as a whole, and not the individual pages within each
`frame.
`
`6. Attached hereto as Exhibit A are true and accurate copies of printouts of the
`Internet Archive's records of the HTML files for the URLs and the dates specified in the
`footer of the printout.
`7. I declare under penalty of perjury that the foregoing is true and correct.
`
`DATE: cl /7/?/[ (la
`
`‘L,
`
`Christopher Butler
`
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`CALIFORNIA JURAT
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`See Attached Document.
`
`A notary public or other officer completing this
`certificate verifies only the identity of the
`individual who signed the document to which this
`certificate is attached, and not the truthfulness,
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`accuracy, or validity of that document.
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`State of California
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`County of San Francisco
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`lVNN?%“‘%'§;
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`Subscribed and sworn to (or affirmed) before me on
`this
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`91*”, day of Ségégfi
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`, 743/b, by
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`Christopher Butler,
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`proved to me on the basis of satisfactory evidence to be
`the person who appeared before me.
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`."’=*"- " 4" v"‘=;r.‘>sr;§ra:z-~'.‘xa;§::-.¢:x3~o—‘;.¢?,,,:___rA-uax r
`Lit-IDA WONG
`Commission # 2086421
`Notary Public - California
`San Francisco Court"
`I
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`My Comm. Expires $93317, 2018
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`Color Models
`
`1 of 3
`
`Color Models
`
`The search for a comprehension of exactly what color is and how it functions has been going on for hundreds of years.
`
`Numerous models and systems have been developed, and the following is an attempt to summarize some of the major leaps
`that have been made to bring our understanding to its current level.
`
`The first known studies of color were done in ancient Greece by Aristotle, who theorized that color existed in the form of
`
`rays sent down from the heavens by God. His theory was not disputed until the Renaissance when more sophisticated color
`systems were developed by Aguilonius and Sigfrid Forsius. Aguilonius's system was the first attempt at defining all colors
`and was based on his observations of the changing color of the sky from dawn to dusk, (see below).
`
`In 1660, Sir Issac Newton developed a more logical color order based on his scientific observation from experiments. Using
`
`a prism, Newton acknowledged that white light could be broken down into the colors of the rainbow, and as such had a clear,
`set order. Newton's work in optics led to his creation of the color wheel.
`
`The next big jump in color theory did not come until the early 1800's, when Johanes Wolfgang Goethe challenged
`
`Newton's ideas and created his own color system. Newton's and Geothe's approaches were very different. Newton's studies
`in color were scientifically based, while Goethe's interest was more in the psycological effects of color. He wished to
`investigate whether rules could be found to govern the artistic use of color. Originally he planned on creating an improved
`color wheel, but later Goethe found his ideas were best expressed within an equilateral triangle. (see below) Goethe's
`theories and his triangle will be explored further in the Goethe's Triangle section of this page.
`
`Also around this time Phillip Otto Runge developed a three dimensional color model in
`
`the form of a sphere. His theory was revolutionary at the time, and it attempted to arrange
`colors based on hue (red,cyan,orange,etc..), whiteness, and blackness. You can see from
`the two top views in the example, that the pure hues on the outside of the sphere lighten
`and darken as they reach the two poles. Horizontal and vertical cross-sections are shown
`below them.
`
`In 1872 a Scottish physicist, Sir James Clerk Maxwell,
`
`developed a chart in the form of an equilateral triangle from
`his studies of the electromagnetic theory of light. His triangle is very similar to Goethe's, both
`are equilateral and both choose three primaries which are combined to produce the inner
`
`https://web.archive.org/web/20000124152013/http://www.cs.brown.edu/courses/cs092/VA10/HTML/ColorModels.html
`
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`Color Models
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`2 of 3
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`colors. Maxwell, however, believed that he could produce all the known colors within his
`triangle, and he choose red, green, and blue as primaries.
`
`In 1915, Albert H. Munsell, an American art teacher, used the work of Runge as a basis for
`
`the development of his own 3D color space. This space is based on pigment, not light. He
`begins with Runge's sphere, but he works from two observations that he has made as a painter.
`The first is that pure hues vary in their degree of lightness, and therefore all the pure hues (red,
`yellow, green, blue, violet) should not be on the same horizontal plane. The second
`observation is that some colors(red) are more vivid than others(green), and therefore,they
`should be further away from the axis. These observations all pointed Munsell toward a color
`space whose shape was very irregular and asymmetric, as shown below. Munsell's color solid
`has remained very useful, and is used by paint manufacturers, artists and designers.
`
`In 1931, an attempt was made to establish a world standard for the measurement of color by the Commission Internationale
`
`de l'Eclairage (CIE). They generated a version of Maxwell's triangle, choosing a particular red, green, and blue from which
`to generate all the colors. The result became known as the CIE chromaticity chart, the updated version of which is used to
`measure and quantify the light produced by computer phospor guns today.
`
`With the advent of the computer age, many attempts have been made to create an ideal color space model based on
`
`the red, green, and blue primaries of the computer screen. The simplest model is the RGB Cube, with corners of black, the
`three primaries(red, green, blue), the three secondary mixes(cyan, magenta, yellow), and white. Although this creates an
`accurate representation of the colors that can be produced on a computer or television screen, it is only intuitive to someone
`already familiar with RGB mixing. Other models, that were created to describe a color space that would be more natural to
`the user, include HSV space(hue, saturation, value) and HSL space(hue, lightness, saturation).
`
`For this site, we have created a model of the HSL Double Cone and of the RGB Cube. We choose the HSL Double Cone
`
`because we felt it was the most easily understood, and it corresponded in many ways to pigment-based models. We choose
`to include the RGB Cube model to allow you to become more familiar with mixing red, green, and blue color values, and to
`emphasize the differences between pigment-based, artistic models, and electronic, science-based models. On the next page
`you will find an example of the color chooser, containing both HSL and RGB spaces, that you can explore. You will also be
`using this to choose colors in the upcoming exercises.
`
`able to flip between these two spaces on the chooser by clicking the "Change Color Picker" button.
`
`Below, you will see a static version of the color chooser, displaying both the RGB and the HSL color spaces. You will be
`In the RGB color space, you may use the red, green, and blue sliders to change your color. A rectangle containing you
`
`current color selection is shown on the left. The amounts of red, green , and blue (on a scale from 0 to 255) are indicated in
`the text box beside the slider, and a visual representation of the amounts are shown on the sliders themselves. Experiment
`with mixing different amounts of red, green, and blue to create different colors and notice how different it is from
`pigment-based mixing.
`
`https://web.archive.org/web/20000124152013/http://www.cs.brown.edu/courses/cs092/VA10/HTML/ColorModels.html
`
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`Color Models
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`In the HSL color space a horizontal slice of the shape is shown on the left and a three-dimensional representation of the
`
`shape is shown on the right. As in the RGB chooser, a rectangle containing your current color selection is shown on the left.
`The color can be chosen from the 'slice' by clicking on the black out-lined circle and moving it around in the space. Also,
`different slices can be choosen from the shape by clicking and dragging the slice up and down. By manipulating these, you
`can navigate through the shape to find your desired color.
`
`Note: You may need to resize your browser window.
`
`Electronic Color
`
`Color Chooser applet
`
`https://web.archive.org/web/20000124152013/http://www.cs.brown.edu/courses/cs092/VA10/HTML/ColorModels.html
`
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`Gimp Documentation
`
`1 of 7
`
`The Blend Tool
`
`The Blend Tool documentation was contributed by Steve Harvey (ej345@cleveland.freenet.edu)
`
`Introduction
`The Blend tool allows the creation of gradients, or blended slopes of color. It makes
`possible a number of different effects, ranging from dramatic psychedelic poster art, to
`subtle shading effects, to sleek polished chrome and perfectly shaded 3D geometric
`figures. With this versatility comes a certain amount of complexity, of course, and while
`the Blend tool isn't difficult to use, it does require a little time to become familiar with its
`numerous options.
`Where it's at
`The Blend tool may be accessed from the main GIMP toolbar; it looks like a rectangle
`shaded with bands of grey. It is located beneath the Text tool and next to the Bucket Fill
`tool. The Blend tool may also be selected from the right-click Tools menu, or by keyboard
`shortcut ('L' by default).
`Fundamentals
`The Blend tool is used by clicking & dragging between two points, which draws a vector
`defining the direction and width of the blend. Drawing a short line will cause the resulting
`gradient to be a narrow band, with lots of solid color on the edges. Drawing a longer line
`will produce a wider, smoother blend (this behavior does not hold true for the Conical or
`Shapeburst gradients; see the explanation of the Gradient menu item below).
`Blend acts upon an area defined with one of the selection tools, or covers the entire image
`layer if no selection has been defined (although read about the FG to Transparent option
`in the Blend menu item, for an explanation of how the tool can be used to quickly "draw"
`3D solids, lighting effects, etc.)
`The Tool Options dialogue for the Blend tool has more options than any other item in the
`GIMP's toolbox.
`OPACITY
`This slider controls (via a percentage) how opaque or transparent the drawn gradient
`will be when applied to the underlying image. 100% Opacity (the default) will
`totally cover up what's underneath, while 0% is totally invisible (and therefore not
`very useful). Intermediate values can produce a number of interesting effects, such
`as mimicking the luminous glaze effects found in traditional media such as
`watercolor and acrylics (see Examples below for more details).
`The Opacity slider is identical in function to the Opacity control on the Layers
`dialogue. Sometimes it is useful to draw a gradient on its own layer, and adjust the
`Opacity in the Layers dialogue, rather than using the Blend tool's own Opacity
`control. Using a seperate layer allows easier fine-tuning of the blend effect, and
`preserves the original image in case you later change your mind.
`
`OFFSET
`
`https://web.archive.org/web/20000817022351/http://www.gimp.org/core_blend_tool.html
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`Gimp Documentation
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`
`The Offset slider controls the weight of the foreground color in a drawn gradient. A
`low Offset will have relatively little foreground color, and a wide area of
`surrounding blend. An high Offset will give the foreground color a stronger
`presence, with less surrounding blend area. The Offset control is useful for fine
`tuning lighting & chrome type effects. Offset has no effect when used with the
`Linear and Shapeburst gradient types (see Gradient menu below).
`
`MODE
`Blends may be drawn using one of fifteen modes which determine how the gradient
`will interact with any existing pixels on the same layer. These modes work the same
`as the modes in the Layers dialogue, and are as follows:
`Normal
`New pixels simply overpaint existing pixels, ignoring what's already there.
`
`Dissolve
`When the Opacity of the blend is < 100%, it will be drawn with a speckled effect, similar to
`drybrush effects in painting. If Opacity is 100%, Dissolve mode looks the same as Normal.
`
`Behind
`The gradient will be drawn only on partially or fully transparent parts of the layer, leaving
`opaque pixels intact (think of drawing on the back side of a painted piece of glass). If Behind
`mode is used on a layer with no areas of transparency, nothing will be drawn.
`
`Multiply
`Darkens all pixels of the existing image, increasing the tonal density. Selecting part of an image
`and coloring it with a Multiply blend is a good way to create areas of shadow.
`
`Screen
`Screen: Screen mode is the opposite of Multiply, and lightens the value of existing pixels. It is
`good for creating areas of pale, bleached-out color.
`
`Overlay
`A combination of the Multiply and Screen modes, Overlay will make dark pixels darker and
`light pixels lighter, adding greater contrast to the image.
`
`Difference
`Subtracts the color of the drawn pixel from the underlying color (or vice versa), causing
`dramatic shifts in color. The result is similar to looking at a photographic negative.
`
`Addition
`Addition mode acts by adding the RGB values of the newly drawn pixel to the underlying color.
`The result is similar to Screen mode, and sometimes produces a "clipping" effect which causes a
`loss of tonal detail.
`
`Subtract
`The opposite of Addition, this mode works by subtracting the RGB value of the underlying pixel
`from the newly-drawn color. Subtract mode produces dark, shadowy effects like viewing the
`image through a piece of thick, heavily tinted glass.
`
`Lighten Only
`If the underlying pixel is darker than the new pixel, it will be made lighter. If the underlying
`pixel is lighter than the new pixel, it will be unchanged. Lighten Only mode is similar to Screen
`mode, except Screen lightens all pixels, while Lighten Only just affects those which are darker
`than the target color. Therefore, Screen will typically produce a more noticeable effect.
`
`Darken Only
`
`https://web.archive.org/web/20000817022351/http://www.gimp.org/core_blend_tool.html
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`The opposite of Lighten Only. If the underlying pixel is lighter than the new pixel, it will be
`made darker; if the underlying pixel is already darker than the new pixel, it will be left alone.
`Darken Only is similar to Multiply mode, except where Multiply darkens all pixels, Darken
`Only just changes those which are lighter than the target color.
`
`Hue
`
`The hue of the underlying pixel is changed, but its saturation and value are left unchanged.
`
`Saturation
`The saturation level of the underlying pixel (the intensity of the color) is changed; the hue and
`value (luminosity) are left unchanged.
`
`Color
`The hue and saturation of the underlying pixel are changed, while the value is unchanged. Color
`mode is similar to applying an Hue gradient immediately followed by a Saturation gradient.
`
`Value
`Modifies the luminosity of the underlying pixel, without changing hue or saturation.
`
`BLEND
`Selects which method will be used to create the colors of the blend. There are four
`choices:
`FG to BG(RGB)
`The default blending method, this creates a gradient between the current foreground and
`background colors. The effect is similar to taking two dabs of paint and smoothly blending them
`together; mixing red and blue gives a gradual series of purple tones.
`
`FG to BG (HSV)
`Creates a blend between the current foreground and background colors, using the HSV (Hue,
`Saturation, Value) color model. Rather than simply blending the colors together as if they were
`pigments, this method will create a blend of all colors of the spectrum between the foreground
`and background colors. Blending between red and blue with this method produces a nice
`rainbow effect, with orange, yellow, and green in the middle (think of your old pal Roy G. Biv)
`If one or both of the colors are low in saturation (black, white, or grey), this blending method
`will look the same as the RGB blend above.
`
`FG to Transparent
`FG to Transparent: Uses the foreground color as one end of the blend, which gradually fades to
`transparency. This can be used to add a smoothly faded tint to an image. By setting the Gradient
`type to Radial or Square, it offers a quick & dirty way to instantly create nicely-shaded spheres
`or box shapes.
`
`Custom (from editor)
`Draws a gradient based on a selected preset from the GIMP's Gradient Editor (which can be
`accessed with Ctrl-G, or selected from the Dialogs right-click menu). The Gradient Editor is a
`powerful tool with which custom gradients with any number of colors and transparencies can be
`created. It also contains a large number of presets which give a good idea of its capabilities.
`
`GRADIENT
`Nine different gradient "shapes" may be drawn with the Blend tool, as follows:
`Linear
`The default option, the Linear gradient produces a smooth blend angled in the direction of the
`drawn vector. A large distance between the start & end points of the gradient will result in a
`wider area of blended color. The Offset control (see above) has no effect with a linear gradient.
`
`Bi-Linear
`
`https://web.archive.org/web/20000817022351/http://www.gimp.org/core_blend_tool.html
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`Looks like two mirror-image Linear gradients placed back to back (i.e. a blend from the FG
`color to BG, then back to FG). Bi-Linear gradients are a good way to draw constructs which
`look like metal pipe.
`
`Radial
`Creates a circular gradient, with the FG color at the center of the circle (first drawn point), and
`the BG color at the circle's perimeter (second drawn point). With an Offset of zero, it produces a
`perfectly-shaded sphere. Higher Offsets look more like a planet with a foggy atmosphere, or an
`oncoming headlight.
`
`Square
`Creates a square-shaped gradient with the FG color at the center. The length of the drawn line
`controls the size of the circle, but the direction of the line is irrelevant: the Square gradient will
`always be drawn with its edges parallel to the edges of the screen. Looks a little like looking
`down on the top of a pyramid with a truncated top, or staring down a ventilation shaft.
`Increasing the Offset results in a larger central area (i.e. a more heavily truncated pyramid or a
`shorter ventilation shaft).
`
`Conical (symmetric)
`Draws a gradient similar to looking down onto a shaded cone. The direction of the drawn vector
`determines the shading of the cone (the foreground color points in the direction of the line
`between the two points). The length of the drawn vector is irrelevant; a Conical gradient will
`always fill the entire selection or layer.
`
`Conical (asymmetric)
`Like looking down onto a cone with one sharp edge (think of a boat rudder, round on one side
`and tapered to an edge on the other). This gradient type is similar to taking a Linear gradient and
`stretching it into a circle or party hat shape, with pure FG color at one edge of the seam and pure
`BG color at the other.
`
`Shapeburst
`The three Shapeburst gradients all neatly create a bevel-like effect around the edges of a
`complex selection (or if there is no active selection, they will fill the entire image layer with a
`blend similar to the Square gradient). Shapeburst is very handy for creating effects like engraved
`lettering or frames around an image. The Shapeburst (angular) option creates an effect like
`raised lettering, with the FG color at the top of the ridge and the BG color at the base.
`Shapeburst (spherical) is rounder, and makes the selection look like a puffy sticker. Shapeburst
`(dimpled) is similar to the angular option, only it looks as if the bevel were recessed into the
`surface, rather than protruding outwards. Since a Shapeburst will fill all available space, the
`direction and distance between the two drawn points of the gradient are irrelevant.
`
`REPEAT
`Causes the drawn gradient to be repeated several times, rather than leveling off to a
`solid color at either edge. Sawtooth wave causes the gradient to repeat in stripes of
`FG to BG, FG to BG, etc. (like several Linear gradients stacked side to side).
`Triangle wave causes the gradient to repeat in a pattern of FG to BG to FG to BG,
`etc. (like several parallel Bi-linear gradients.). Using the Repeat feature with a
`Linear gradient produces a series of colored stripes, while using it with Radial or
`Square gradients results in a number of concentric circles/squares (like an archery
`target). Repeat has no effect with the Conical or Shapeburst gradients.
`
`ADAPTIVE SUPERSAMPLING
`When this check box is enabled, the GIMP will smooth the color transitions to
`reduce "jaggies" and color banding. Adaptive supersampling is mostly useful when
`applied to complex custom gradients created with the Gradient Editor, and even then
`the effect is generally fairly subtle. Adaptive supersampling works by dividing each
`pixel into N x N sub-pixels (where N is determined by the Max depth slider), and
`performing a process similar to anti-aliasing to blend smoothly with surrounding
`pixels. The Threshold slider controls how sensitive this process is to color changes
`between pixels (similar to the Bucket Fill's Threshold control). The effects of
`
`https://web.archive.org/web/20000817022351/http://www.gimp.org/core_blend_tool.html
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`Adaptive supersampling can be seen most easily by filling a small-ish area with a
`custom gradient such as Mexican Flag (which contains dramatic color shifts) and
`looking at the result at a high level of magnification. WARNING: Using Adaptive
`supersampling is slower and more CPU-intensive than leaving the feature disabled.
`In particular, setting a high Max depth and a low Threshold, and plotting a gradient
`on a large image, is a reliable way to bring the GIMP to its knees for quite some
`time.
`
`Cheat Sheet
`Action
`Click & drag with first
`mouse button:
`
`Result
`Draws a vector (line segment) defining the start & end
`points of the gradient.
`
`Uses
`The Blend tool has so many combinations of options that it would be difficult to list all of
`its possible applications. For illustrators, Blend may be used to make a flat image
`background more interesting, and to add depth to areas of solid color. Similarly, Blend
`should be given serious attention by web designers or anyone interested in designing user
`interface widgets (buttons, window controls, etc.) with a shaded or 3D look.
`The Blend tool is also of use to anyone doing photo retouching, to add a professional-
`looking polish to an image. Those interested in using the GIMP for image composition or
`creating artwork from scratch will find Blend useful for creating countless effects, from
`sunsets and geometric figures to weird never-before-seen abstract effects.
`Example:
`Example #1 (simple project): A popular trend these days is to design GUIs with interchangable "themes" or
`"skins", to customize the look of an application to fit in with the rest of the user's desktop (playing with such
`customizations is also a convenient way to avoid doing actual work). The .MP3 player X11Amp is a good
`example of this phenomenon, where the appearance of the program can be changed radically by just plugging
`in a different bitmap graphic.
`As you might expect, the GIMP makes it easy to design such gadgets. Let's pretend a programmer friend visits
`us one day, asking us to design some sleek-looking menu graphics for her latest application. Create a new file
`by typing CTRL-N or selecting File -> New. Set the Width to 320, Height 200, and make sure Image Type is
`set to the default of RGB. Our friend's application, whatever it does, has a simple enough interface that it'll fit
`in a fairly small window.
`Choose the Rectangular selection tool (it's in the upper left corner of the GIMP toolbox, or you can get to it
`from the right button pop-up Tools menu, or just type "R"). Click & drag to draw a rectangle that covers about
`a quarter of the image, leaving a margin of around a quarter inch (about 10-20 pixels) from the edge of the
`image. This rectangle will define the space where some particular control or button group will go in the
`application.
`Draw two or three more rectangular selections to represent areas for other sub-controls. To add to an existing
`selection, hold down shift, click at one corner of the new rectangle, release shift, and drag the mouse to the
`other corner of the rectangle. If you don't release shift before you start dragging, it will constrain the selection
`to an equal-sided square (try it for yourself). This dual use of the shift key is confusing at first, but becomes
`second nature after you've done it a few times.
`Keep at it until you're happy with your rectangles, making sure there is a margin of at several pixels between
`rectangles, and from the border of the image on all sides. When you're satisfied, choose Select -> Invert from
`the right-button menu, or just type CTRL-I. (TIP: Keyboard shortcuts in the GIMP are your friend. They take a
`little while to learn, but once you do, they *will* help you work faster and save you the minor distraction of
`hunting for things on a menu or toolbox). As the name suggests, this command inverts the selection, so instead
`of several seperate rectangles, the selected area now covers the entire image, with several rectangular holes cut
`in the middle.
`Choose the Blend tool, set Blend to FG to BG, and pick one of the Shapeburst Gradient types (they all look
`good - each of the three variants gives a slightly different effect. For this project, I like the dimpled variant).
`Using the color picker, select a bright, pale foreground color (or white), and a very dark background color (or
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`https://web.archive.org/web/20000817022351/http://www.gimp.org/core_blend_tool.html
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`Legend3D, Inc. Ex. 2016-0011
`PRIME FOCUS V. LEGEND3D
`IPR2016-01243
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`Gimp Documentation
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`just black). With the Blend tool, click and drag a line anywhere within the image - the Shapeburst gradient
`always fills the entire selection, so the length or direction of the line don't matter. Instant chrome trim! (If you'd
`like, you can even hit CTRL-I to re-invert the selection, making your original rectangles active again, and use
`the Pattern Fill option of the Bucket Fill tool to put a nice marble or wood background in the sub-windows).
`Of course, in a real project, you'd have to be more exact in your placement of the rectangles (since the
`application would have to know precisely where to place the menu widgets), but the basic method remains the
`same. This technique also works well for creating image maps or "button bars" for the web, and is a good
`candidate for the GIMP's powerful scripting capabilities (studying and adapting the many Script-Fu examples
`that come with the standard GIMP distribution is a good starting point).
`
`Example:
`Example #2 (more involved project): One day, we receive a phone call from another friend, who is the
`organizational mastermind for a local user group. He explains that the user group is planning a benefit to
`promote the cause of free software, and is in desperate need of someone to create some web page artwork to
`promote the event. The event will feature the usual guest speakers, CD giveaways, etc., but it won't be a boring
`lecture-hall affair; there will also be food, drinks, and dancing to make it a festive, upbeat evening. Our friend
`asks us to design some artwork which reflects the lively spirit of the event, and requests we "use lots of
`gradients" in the artwork (a strange request, but we are up to the challenge).
`Begin by finding a picture which is suitable as a background image for our artwork. This might be a
`photograph of some people dancing, or a "party animal" wildebeest, or something entirely different. The only
`prerequisite is that it should be a photographic image of some sort, rather than a line drawing, so you can get
`the full effect of following this example.
`Once you've got a suitable image, scale it to a managable size - around 400 x 300 pixels. The exact dimensions
`don't matter, but we want something that'll be eye-catching on a web page without being ridiculously large or
`taking forever to load. From the right-click menu, select Image -> Scale, make sure the Constrain Ratio box
`is selected (it is by default), and type 400 into the Width box (assuming the image is wider than it is tall;
`otherwise you may want to set the Height to 400 instead.) The Constrain Ratio checkbox insures the height &
`width of the re-scaled image will remain proportional - you won't inadvertendly get any "spaghetti western"
`effects.
`Next, from the pop-up menu, select Image -> Greyscale, followed immediately by Image -> RGB. This
`changes the image to black & white (if it wasn't already), so we can add colors on top without everything
`looking too busy or crowded.
`The next step is to add an interesting tint or wash to the background image. The Blend tool has its own built-in
`Opacity and Mode controls, but we're going to create the blend on a layer of its own, so it will be easier to
`experiment with different effects, and to preserve the underlying image in case we want to change something
`later on. Call up the Layers & Channels dialogue by selecting Dialogues -> Layers & Channels from the
`pop-up menu (or just type CTRL-L). In the Layers dialogue, right-click on the background layer (highlighted
`in blue) and select New Layer. Name the layer "Gradient", to be nice and