Travis

Welcome back, everybody. This lesson should be an interesting one. Many of you will find the lesson frustrating, but the process exciting. Why frustrating? Well, because I'm not really going to be teaching you how to do anything! What!? What kind of class is this? One thing about creating scroll saw portrait patterns is that it relies heavily on your own interpretation. You'll have to make a lot of judgment calls about what you want to include in the pattern and what you do not. So there really is no right or wrong way to do this. So instead, I'll be showing you how to use the brush tool, and we'll be discussing elements of what makes up a scroll saw portrait pattern. Let's begin! Working With Brushes We're only going to be using only one tool to finish off our portrait pattern. We'll be using the brush tool to paint in the dark areas, and white-out everything else. Start by selecting the brush tool from your toolbox. You'll notice you have brush options that show up below (if not, dock your Tool Options dialog box covered in lesson 3). We have several options, most of which we won't use. The only option we may be interested in is the brush palette flyout window. This is where you choose your brush size. What I prefer to do is open up a Brushes dockable dialog, and dock it next to the tool options. So go to Windows>Dockable Dialogs>Brushes. This gives you easy access to all of the brushes. We'll be using two colors to create our pattern; black and white. Black will indicate the areas that need to be cut out. White indicates the remaining wood. We'll be going through our base pattern and using the paintbrush to color in the areas we wish to cut with black, and using white to paint out everything else. If you have other colors selected in the foreground/background area, you can reset them to black and white by clicking the tiny icon below the foreground/background selector. The foreground color will always be the color you're painting with. To switch between the foreground and background color, click the arrow above the foreground/background selector to swap the colors. While you are painting your pattern, this is the perfect opportunity to use shortcut keys. Pressing the 'x' button will switch your foreground color with the background color. This way you can work on an area and quickly switch colors without going back to your tool palette. Custom Brushes You can create your own custom brushes. Although we already have the two brush sizes we need already installed, it is beneficial to look at custom brushes so you can understand them a bit better. Make sure your Brushes dialog box is open, then click the flyout menu (triangle to the top right of the dialog box), choose Brushes Menu>New Brush. This will open a Brush Editor dialog box. You'll find an area to name your brush near the top. Below that is a preview pane where you can preview the size and shape of your brush. Below the preview pane, we can choose a brush shape. You can choose a circle, square, or diamond. We'll be using the circle shape. Then we have a bunch of slider options. Radius indicates the size of the brush. Remember back in math class that radius is the distance from the center to the edge. So a radius of 5 pixels is 10 pixels wide. A radius of 2.5 pixels is 5 pixels wide. I wish they'd measure brush size by overall width, but they don't. So, keep this in mind when choosing your brush size. Spikes only refers to the square and diamond-shaped brushes. These basically turn the brush into a polygon or a star. I doubt you'd use them in pattern making, but the option is there. Hardness refers to the edges of the brush. A soft brush will be a solid color in the center but fade out toward the edge of the brush. These brushes are handy in working with photographs or illustrations. But as pattern makers, we prefer hard-edged brushes to create nice crisp lines. So max that out to 1.0. Aspect Ratio will squash your brush and Angle will rotate your brush. A squashed circle with an angle will create a really nice calligraphy-style brush. Lastly, we have Spacing. I don't really know what this is. I think it refers to the space between the jitters when using the jitter option in the tool options dialog box. We don't need it at any rate. So what can we take from this window? Three things, really. We want a circular brush so we get consistent brushstrokes throughout the pattern. We want to be working with the correct brush size. We can determine the brush size by looking at the radius and doubling the value. So a brush radius of 1.5 will give us a brush width of 3 pixels. Lastly, look at the hardness of the brush. We want crisp lines, so the brush hardness should be set at 1.0. Keep these three things in mind and you'll do just fine. Brush Size In lesson 4, I mentioned I like working at 150 pixels per inch when creating my document. The reason I like this size is that I know that a 3-pixel wide brush is about the same size as the kerf of a scroll saw blade. A 5-pixel wide brush is about the size of the kerf of a spiral scroll saw blade (#5 size spiral). Knowing this makes a really nice reference. I prefer using my 5-pixel brush for doing the majority of my work because I know the detail won't be too small for my cutting skills. This will be something you'll have to play around with yourself. An experienced cutter may be comfortable with details made with a 3-pixel brush, whereas a newer scroller may be comfortable with details made with a 7-pixel brush. I'd recommend working with a 5-pixel brush to start out with. You can change later if it doesn't meet your needs. Since the default brush palette already has these brush sizes preset, there is no need to create a custom brush (unless you really want to!). Dot-To-Dot If you feel like you don't have the necessary mouse control to do this kind of painting, you can use the dot-to-dot method instead. First, place a dot somewhere on your canvas. Hold down the Shift key and you'll see a straight line that appears from the first dot to your cursor. Click once again and it will create a straight line from the first dot to the second one you just placed. Move your mouse somewhere else while holding down the Shift key and place another dot. Again, another straight line. To make curved lines, just keep your dots closer and they'll appear curved. This is a great way to keep control of your paintbrush. I often use freehand painting in combination with the dot-to-dot technique. Elements of a Pattern Patterns rely on basic elements to create a scroll saw portrait. By using a land/water analogy, we can break down the elements into lakes, peninsulas, islands, and bridges. These elements are conceptional and will happen naturally as you develop your pattern. But it is nice to recognize these elements for what they are, especially when you're looking at other artist's patterns. Look how different artists approach these elements. By looking at their approach, you can learn a lot about how to create your own patterns. Lakes The first thing most people will notice is the lakes, or cut-out sections. Because of the extreme contrast between the cut-out areas and the wood, this is where most people will look first. Often lakes will indicate the shadow of your subject and where the large majority of your detail resides. Lakes help define the shapes of peninsulas which reinforce the details you're trying to convey. Lakes can be as large or as small as you'd like. If you prefer a pointillism approach to patterns, your lakes will be small. If you prefer the deep shadow look, large lakes are in order. If you like line-art, long and thin lakes are what you need. Peninsulas To me, peninsulas are what make patterns interesting. Just like the landmass, these are the areas that jut out into cut-out voids. I work hard to make these shapes interesting. Long and thin peninsulas are delicate and will certainly impress all of your friends. Unusual shapes add interest. Curved and flowing lines can add energy to the pattern. While lakes are what most gravitate toward, I find peninsulas the most interesting and most subtle of the details. Islands The exact opposite of lakes are islands. These are sections of wood surrounded by lakes. This can be a very bad thing when working with scroll saw patterns. If you cut around the island, there is nothing there to hold the island in place and will only fall to your shop floor in a random mess. What makes scroll saw patterns unique is the fact it is completely cut from a single piece of wood. All of the details are magically supported by the surrounding wood. This is not to say you can't use islands in your design. There have been times when I chose to include an island in my pattern (see below). But I would say that 99% of the time, islands are a bad thing to have in your pattern. Bridges Lastly, bridges are the savior of scroll saw patterns. These are the elements that connect the islands to the motherland and turn them into peninsulas. They can also be used to support delicate areas. If you have a very long peninsula that is at risk of breaking during cutting or handling, you can add a bridge to reinforce that area. Starting Your Pattern Now that you have a basic understanding of how brushes work, and we understand the elements of a scroll saw pattern, go ahead and start working on your portrait pattern. Be sure to duplicate your photocopy layer first and rename the new layer to 'pattern.' Start by using the 5-pixel paintbrush to darken the areas you wish to cut out and white-out the areas you want to remain as wood. Remember that we only want black and white. The gray tones left by our photocopy filter must be converted to black or white by painting. It'll be a little frustrating at first, but the more you do, the easier it becomes. Soon, you'll see your pattern coming to life, and that's where it gets exciting. If you feel that in you're over your head or a bit overwhelmed, don't worry about it. Just play with it right now. Next lesson we'll be talking about facial features (eyes, nose, mouth, and hair). You'll be able to pick up a few tips for working with these parts. I'll also put together a bonus video demonstrating how I'd go about creating this portrait pattern. This way you can pick up a few tips as I work this pattern from beginning to end. This supplemental demonstration will probably be published on Wednesday. But until then, I want you to tackle the pattern on your own. If you have any questions, I'd be glad to help. If you want to upload your picture for feedback or questions, choose File>Save As, then save your file with the extension .jpg. It will pop up a message saying that it wants to flatten the image. Click Export, then you'll get a new window about quality. Keep the default at 85 and click Save. You can now attach the .jpg to your post using the attach function in your compose window (blue box below your compose window). Important Note: If you save your project as a .jpg so you can upload it, your project settings will change. So before you close down your program, be sure to save your document again with the .xcf extension. Hopefully, GIMP will fix this for future releases so we won't risk losing our work. But until then, we have to be extra careful. Have fun with it and experiment! That's what pattern-making is all about. Assignment Start making your pattern. Go as far as you can and really get a feel for it. Your pattern will start taking shape right before your eyes. Ask questions if you get stuck, or ask for feedback. We're here to help. Look through the Pattern Library or pattern archives from other scroll saw communities and look how the artists deal with these pattern elements.

Welcome to Lesson 5. We're rolling up our sleeves and starting to get into the meat of the class. This time we'll be learning to create a base pattern on which we build our scroll saw pattern. There's a fair amount to cover, so let's get started. Understanding Layers OK. Before we get started, one more lesson in fundamentals. This is an important one because it is the very cornerstone of using programs like GIMP and Adobe Photoshop. Below, I've attached a GIMP project file that illustrates the concepts I'll be covering. Go ahead and download it and open the file. Imagine you're looking down on your desk. What might you see? You'll see the desktop, perhaps a piece of paper, a pencil, your coffee cup, and maybe a used tissue (eww). Consider each item as its own layer. Each item has its order. One item is placed upon another (ie, the coffee cup is placed upon the paper, and both are on top of the desk). If you notice on your layer's palette the order of each item. As if you were looking down, the top layer (first) is in front of everything below it. Then the next layer is on top of what's below that and so-on until you reach the desktop. But what if we wanted to reorder the items/layers? Click and drag your layer to whichever layer position you want it to be. You'll notice a dark line appears between two layers. This is where your repositioned layer will reside. So let's take the piece of paper and put it above the coffee cup. Notice how the paper hides the coffee cup and anything else below it. Try bringing the pencil to the top of the cup and paper. You can easily see that we can alter the visibility of layers depending on what layers are above them. Next to each layer is an icon that looks like an eye. This toggles the visibility of that layer. Try clicking a few of the eyes and toggle each layer off so none of the layers are visible. You'll notice that all you see is a checkerboard pattern. This basically shows you that these sections are transparent. Toggle the paper layer so that it is visible now. You'll notice you can see the paper just fine, and everything around it is transparent. Each of these layers has a section that is transparent, except for the desk layer, which covers the entire surface. One nice thing about layers is that you can manipulate one layer without affecting the other layers. Choose the used tissue layer and resize it (resizing is covered in Lesson 4). Notice it didn't resize anything else except the tissue layer. You can manipulate this layer to your heart's content with filters, color correction, resizing, drawing, etc. No other part of your design will be affected if it isn't apart of that layer! How cool is that? I'm sure you can see the advantage of keeping elements on their own layer. layers_tut.xcf A Tour of the Layer's Palette Now that we understand the basics of layers, let's take a look at the Layer's Palette. At the top right corner of the layer's dialog box, you'll see a small triangle. This is the flyout menu we discussed in previous lessons. You'll find several options in here that you may or may not need. Read through them and keep these options in mind. They might come in handy later. Below that, you'll find a pulldown menu next called Mode. These are blending modes that create various effects. We won't be dealing with blending modes in this class, but they are fun to play around with. Feel free to experiment with them. Below Mode, we have Opacity. This slider bar goes from 0-100% where you can set the level of transparency of a layer. This is nice if you want to see through one layer to the next for either reference or to achieve a certain effect. Below that is Lock. This could be confusing as we think it might lock a layer from being modified. This is not true. This actually locks the alpha channel. An alpha channel is what defines what is transparent and what is opaque. When you lock an alpha channel for a layer, you're only allowed to modify the object on that layer and not the area around that object. Try locking a layer and grabbing your paintbrush and paint around your canvas. You'll notice you can only mark up the object itself, and not the transparent areas around the object. Then we have the layers themselves. We already know how to reorder the layers and toggle the visibility of the layers. Next to the eye is a box. Click it and it will show a little chain. This is how you link one object to another object. Click the tissue layer, click the box next to the eye so it becomes a chain. Then select the coffee layer, then choose that linking chain. Grab your move tool and move that object. You'll notice the tissue layer and the coffee cup move as one object because they are linked. You can rename a layer by double-clicking the layer name and typing in a new name and pressing return. It's a good habit to name your layers so you can see at a glance what you're working on. Right-clicking on the layer brings up a menu of other options that will become useful too. In the bottom left corner, we have an icon that looks like a piece of paper. Click that to create a new layer. It will pop up a dialog box with some options. Click OK when you're satisfied with your options and you'll have a new layer. The inverse of a new layer is deleting the layer. In the bottom right corner, you'll see a trash can icon. Click that button and it will delete your selected layer. To the left of the trash icon is an icon that looks like an anchor. This anchors floating layers or selections. I have not found a benefit to this tool yet. If you have a floating layer or selection, just click the New Layer icon instead to anchor the floating layer to the new layer. To the left of that is the Duplicate Layer button. It looks like two boxes on top of each other. We'll be using this tool a lot to create duplicate copies (we'll discuss that in the next section). And lastly, you have two arrows. One pointing up and one pointing down. This is another way of rearranging your layer order rather than dragging and dropping the layers. Using Layers I'm sure you can see the benefit of having the layers functions. While they're very powerful when illustrating or doing photo work. But we'll be using layers as a way to back up our work. Before we manipulate our image, we'll duplicate that layer and work on the duplicate instead, thereby retaining the original image. For example. We have our original color image. We want to make that black and white, so we'll duplicate the color image and turn the duplicate into black and white. Next, we want to change the brightness/contrast of the black and white image. So we duplicate the black and white image and change the brightness/contrast of our duplicate layer. Woops...we messed up! Well, instead of starting completely over, we can delete the layer we goofed up on and take the previous version of the image and duplicate that and try it again! We'll also be using layers as reference material. After we create our base pattern, we'll take a copy of the color image and put it to the top of our layers palette. We'll toggle the visibility of the color image back and forth and we can see how our pattern compares to the original photograph. This is a great way to check our work and help us with the pattern-making process. Creating Our Base Pattern OK. Enough of the fundamental stuff. Let's start designing. Open up your project file that we created last time. You should see two layers in your layers palette. We should have a white background layer and the picture layer. Our guidelines should also be visible. If you don't see any of these, chances are you saved your document as something other than XCF. If that is the case, I'd go back to the previous lesson and create your document again (saving your file is covered in the written instructions, not in the video). Remember that XCF format retains all of our layer and guideline information. Let's rename our original image layer to "original". Grayscale Since we work in black and white anyway, it only makes sense to create our pattern in black and white. Working in black and white will also make seeing the shadows much easier and it will work better with the filters we'll be using in the next sections. So we must remove the color from the image. Go ahead and duplicate the original layer and rename it to "bw" (for black and white). In the menu across the top, choose Colors>Desaturate. This will pop up a dialog box that gives you 3 options; Lightness, Luminosity, and Average. Click each one of these options and watch what it's doing to the image. Find an option that is the most pleasing to your eye. I chose Luminosity because the shadows and highlights seem to be richer and have more depth. Levels In the next step, we'll play around with the color balance/brightness & contrast. We want the shadows to be a bit darker, but not black. We also want the highlight to be brighter, but not white. The tones in between we want to ramp up so the transition is quicker, thereby giving a bit more contrast in general. There are several ways to do this in the Color menu on the top (color balance, hue/saturation, colorize, brightness/contrast, levels, and curves). I prefer using Curves. Duplicate your "bw" layer and rename the new layer to "curves." Choose Colors>Curves. This will pop up a dialog box that has a grid with a diagonal line. The lower-left corner is your true black, and the upper right corner is your true whites. The diagonal line indicates how the black transitions into the white. Across the bottom, you'll see the gray tones in your image graphed out. Click the diagonal line and drag the center up. You'll notice your image got brighter. Drag it the other way and you'll notice it gets darker. Try moving the lines into various positions and watch what it does to your image. This curve allows us to control the brightness and contrast of our image. Bringing the curve up or down doesn't really accomplish what we want. We don't want to lighten it, nor do we want to darken it. What we want is to darken some of the shadows and lighten some of the highlights, and make the transition between the two levels ramp up quicker, thereby increasing the contrast overall. We can accomplish this by creating an 'S' curve. We can add another node to this line to create an 'S' shape. We want one node about 1/3 up from the bottom and just below the diagonal. The next node is about 1/3 from the top right and above the diagonal (see image below). This creates a really nice contrast to the overall image. Play around with the nodes a bit and find something that looks nice to you. Then press OK when you are happy with the way it looks. Remember, we don't want solid black yet, nor solid white. We want to see the details in the shadows still, as well as in the highlights. Filters Now that we have our image looking good, it's time to work with some filters. Filters are special effects that can be applied to a layer. There are a lot of filters to play with, so be sure to check them out too. But the filter we're interested in is the Photocopy filter. But before we proceed, let's duplicate our curves layer and rename the new layer to "photocopy." Choose Filters>Artistic>Photocopy. This will pop up a dialog box. You'll see a preview pane on the top with a bunch of sliders below. One of the annoying things about GIMP is the preview window is at 100%. You can't zoom out to see how you are affecting your entire image. Hopefully, this will be changed in the next version, until then we have to work around this minor annoyance. One thing you can do is resize the window by grabbing the corner and dragging it out. Make this dialog box as large as your screen allows. This way you'll be able to see a bit more of your image in the preview window. Drag the image so you can see his eyes. We have 4 slider options; Mask Radius, Sharpness, Percent Black, and Percent White. Play around with these sliders and watch what it does to your image. Are you starting to see the beginnings of a scroll saw pattern? Pretty cool, huh? The Mask Radius is how it calculates which surrounding pixels should be darkened. A higher level will create a darker, thicker line. I like to move the mask radius all the way to the right. The Sharpness is how much detail it will retain. Low sharpness creates blurred lines, whereas high sharpness creates crisp lines. I like having my sharpness all of the ways to the right too. Percent Black will indicate how much black will be added to the image. I like to keep this at about .95 or so. Not quite maxed out, but close. Percent White is where you'll find the most control. This will indicate how much of your image will be converted to white. If you max out the white, sure your image is now in black and white, but you also lost a lot important detail in your image. I prefer having some gray tones so I can retain some of the detail in the image. I like having control over which details I think are important are not. In the next lesson, we'll decide which details remain and which details we can do without. So for my Percent White, I set mine at about .6. Pan around the image and take a look at what your image will look like. If you are happy with the results, press OK and the computer will process your filter. In the spirit of experimentation, try hiding your newly created photocopy layer and duplicate your curves layer and do this process again with different settings. Do this a few times and choose the one you like best. Whichever ones you don't want, be sure to delete them so we don't get confused later on. Well, that's pretty much it! We're getting pretty darn close to a pattern now and you can see it taking shape! Be sure to save your work (remember you want the xcf extension so we save all of our layers). Next lesson we'll be cleaning up this pattern so it's cuttable. We'll learn to work with brushes. We'll also discuss bridges, peninsulas, islands, and lakes; the cornerstone of what makes scroll saw patterns unique. This should be fun! I know I can't wait! Assignments: Play around with layers and be sure to understand how they work. Follow the above steps to create your base pattern. Apply the same techniques to any other picture you're working on alongside the class. Experiment with color adjustments and filters and see what they can do.