How To Make A Gradient In Firealpaca? The 128 Correct Answer

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printing process

This article is about graphics technology. For the musical interval, see Semitone. For the musical note, see Half note

Left: grid points. Right: Example of how the human eye would see the points from a sufficient distance.

Halftone is the reprographic technique that simulates halftone images by using dots that vary in either size or spacing, creating a gradient-like effect.[1] “Halftone” can also be used to refer specifically to the image created by this process.[1]

When halftone images contain an infinite range of colors or shades of gray, the halftoning process reduces visual reproductions to an image printed with just one color of ink in dots of varying size (pulse width modulation) or spacing (frequency modulation). or both. This rendition relies on a basic optical illusion: when the halftone dots are small, the human eye interprets the patterned areas as if they were smooth tones. At a microscopic level, developed black and white photographic film also consists of only two colors and not an infinite series of halftones. See Film Grain for details.

As color photography has evolved with the addition of filters and layers of film, color printing is made possible by repeating the halftoning process for each subtractive color – most commonly using what is known as the “CMYK color model”.[2] The semi-opaque nature of ink allows halftone dots of different colors to create another optical effect: full-color images.[1]

history [edit]

The first printed halftone photograph in a Canadian magazine, October 30, 1869

A multicolored postcard (1899) printed from handmade halftone plates.

While there were earlier mechanical printing processes that could imitate the tone and subtle details of a photograph, notably the Woodbury type, cost and practicality prevented their use in mass commercial printing that used relief printing.

In the past, most newspaper images were woodcuts or wood engravings made from hand-carved blocks of wood, often copied from photographs but more akin to hand-drawn sketches. Commercial printers wanted a practical way to reproduce photos realistically on the printed page, but most common mechanical printing processes can only print areas of ink or leave blank areas on the paper and no photographic tonal area; only black (or colored) ink or nothing. The halftoning process overcame these limitations and became the staple of the book, newspaper, and other magazine industries.[3]

William Fox Talbot is credited with the idea of ​​halftone printing. In an 1852 patent he proposed using “photographic screens or veils” in conjunction with a photographic intaglio process.

Various types of screens have been proposed over the following decades. One of the first attempts was made by William Leggo with his Leggotype while he was working for the Canadian Illustrated News. The first halftone photograph to be printed was a picture of Prince Arthur published on October 30, 1869.[6] The New York Daily Graphic later published March 4, 1880, “the first full-tone reproduction of a photograph in a newspaper” (entitled “A Scene in Shantytown”), with a coarse halftone screen.

The first truly successful commercial method was patented by Frederic Ives of Philadelphia in 1881.[5][7] Although he found a way to break down the image into dots of different sizes, he didn’t use a screen. In 1882 the German Georg Meisenbach [de] patented a halftoning process in Germany which he called Autotype. His invention was based on the earlier ideas of Berchtold and Swan. He used simply lined screens rotated during exposure to create cross line effects. He was the first to achieve commercial success with relief halftones.[5]

Shortly thereafter, Ives, this time in collaboration with Louis and Max Levy, further improved the process with the invention and commercial production of high quality crossline screens.[5]

The relief screening method proved to be a success almost immediately. The use of halftone blocks in popular periodicals became regular in the early 1890s.

The development of halftone printing processes for lithography seems to have taken a largely independent path. In the 1860s, A. Hoen & Co. focused on methods that allowed artists to manipulate the tones of hand-cut printing stones.[9] In the 1880s, Hoen worked on halftoning methods that could be used in conjunction with hand-worked or photolithographic stones.

Halftone photo screening [ edit ]

Before the digitization of images, special photographic techniques were developed to break down grayscale images into discrete points. The earliest of these was “screening”, in which a coarsely woven cloth screen was hung in front of the camera plate to be exposed, breaking up the incoming light into a dot pattern through a combination of disruption and diffraction effects. The photographic plate could then be developed using photoetching techniques to create a printing plate.

Other techniques used a “screen” composed of parallel bars (a Ronchi scheme) which was then combined with a second exposure using the same screen oriented at a different angle. Another method was to expose through a screen plate, etching crossing lines into the surface. Later, either photographic contact screens were used, or sometimes no screens at all, exposed directly onto lithographic (high contrast) film with a pre-exposed halftone pattern.

Conventional screening[ edit ]

Halftone screen resolution[ edit ]

Typical screen resolutions Screen printing 45-65 lpi Laser printer (300 dpi) 65 lpi Laser printer (600 dpi) 85-105 lpi Offset printing (newsprint) 85 lpi Offset printing (coated paper) 85-185 lpi

The resolution of a halftone screen is measured in lines per inch (lpi). This is the number of rows of dots in an inch measured parallel to the angle of the screen. A screen’s resolution, known as its screen ruling, is written with either the suffix lpi or a hash mark; For example, “150 lpi” or “150#”.

The higher the pixel resolution of a source file, the more detail it can reproduce. However, such an increase requires a corresponding increase in screen ruling or the output will suffer from posterization. Therefore, the file resolution will be adjusted to the output resolution.

Multiple screens and color grids[ edit ]

Three examples of modern color screening with CMYK separations. From left to right: The cyan separation, the magenta separation, the yellow separation, the black separation, the combined halftone pattern and finally how the human eye would perceive the combined halftone pattern from a sufficient distance.

This close-up of a halftone print shows that magenta appears as orange/red on yellow and cyan appears as green on yellow.

When different screens are combined, a number of annoying visual effects can appear, including overly emphasized edges and a moiré pattern. This problem can be reduced by rotating the screens relative to each other. This screen angle is another common measurement used in printing, measured in degrees clockwise from a line running to the left (9 o’clock is zero degrees).

Halftones are also commonly used to print color images. The basic idea is the same, by varying the density of the four secondary printing colors cyan, magenta, yellow and black (abbreviation CMYK) any hue can be reproduced.[12]

In this case, an additional problem may arise. In the simplest case, one could create a halftone using the same techniques used to print shades of gray, but in this case the different inks must remain physically close together to trick the eye into thinking they are a single color. To do this, the industry has standardized a number of well-known angles that cause the dots to form into small circles or rosettes.

The dots are not easy to see with the naked eye, but can be seen through a microscope or magnifying glass.

Dot Shapes [ edit ]

Although round points are the most commonly used, many point types are available, each with their own characteristics. They can be used simultaneously to avoid the moiré effect. In general, the preferred dot shape also depends on the printing process or the printing plate.

Round dots: most common, suitable for light images, especially skin tones. They meet at a tone value of 70%.

Elliptical dots: suitable for images with many objects. At the 40% (pointed ends) and 60% (long side) tonal values, elliptical dots meet, so there is a risk of a pattern.

Square dots: best for detailed images, not recommended for skin tones. The corners meet at a tone value of 50%. The transition between the square dots can sometimes be visible to the human eye.[13]

Digital screening[ edit ]

Digital screening has replaced photographic screening since the 1970s, when “electronic dot generators” were developed for the film recorders connected to color drum scanners manufactured by companies such as Crosfield Electronics, Hell, and Linotype-Paul.

In the 1980’s, screening became available in the new generation of film and paper imagesetters for imagesetters that had evolved from earlier “laser imagesetters”. Unlike pure scanners or pure typesetters, image typesetters could produce all elements on a page, including type, photographs, and other graphic objects. Early examples were the widely used Linotype Linotronic 300 and 100, which were introduced in 1984 and were also the first to offer PostScript RIPs in 1985.[14]

Early laser printers from the late 1970s could also produce halftones, but their original 300 dpi resolution limited screen ruling to around 65 lpi. This was improved as higher resolutions of 600 dpi and above and dithering techniques were introduced.

All screening uses a high frequency/low frequency dichotomy. In photographic halftoning, the low-frequency attribute is a local area of ​​the source image called a halftone cell. Each cell of equal size relates to a corresponding area (size and location) of the input halftone image. Within each cell, the high-frequency attribute is a variable-sized, centered halftone dot composed of ink or toner. The ratio of the colored area to the non-colored area of ​​the output cell corresponds to the luminance or gray level of the input cell. At a suitable distance, the human eye averages both the high-frequency apparent gray level, which is approximated by the intra-cell ratio, and the low-frequency apparent gray level changes between adjacent equally spaced cells and centered dots.

Digital halftoning uses a raster image or bitmap in which each monochrome picture element or pixel can be on or off, ink or no ink. Consequently, in order to emulate the photographic halftone cell, the digital halftone cell must contain groups of monochrome pixels within the same cell area. The fixed position and size of these monochrome pixels detracts from the high-frequency/low-frequency dichotomy of photographic halftoning. Clustered multi-pixel dots cannot “grow” incrementally, but in jumps of one pixel. Also, the placement of this pixel is slightly off-center. In order to minimize this trade-off, the digital continuous-tone monochrome pixels must be fairly small, ranging from 600 to 2,540 or more pixels per inch. However, digital image processing has also made it possible for more sophisticated dithering algorithms to decide which pixels should go black or white, some of which produce better results than digital halftoning. Recently, digital halftoning based on some modern image processing tools such as nonlinear diffusion and stochastic flipping has also been proposed.[15]

modulation [edit]

The most common method of creating rasters, amplitude modulation, creates a regular raster of dots of different sizes. The other method of creating screens, frequency modulation, is used in a process also known as stochastic screening. Both modulation methods are named in analogy to the use of the terms in telecommunications.[16]

Inverse screening[ edit ]

Original image Dithered image Descreened image

Inverse halftoning or descreening is the process of reconstructing high quality halftone images from the halftone version. Inverse halftoning is an ill-posed problem because different source images can produce the same halftone image. Consequently, a halftone image has several plausible reconstructions. In addition, information such as tones and details are discarded during screening and are thus irretrievably lost. Due to the large number of different halftone patterns, it is not always obvious which algorithm to use for the best quality.

Dots in the sky due to spatial aliasing caused by a halftone size changed to a lower resolution

There are many situations in which reconstruction is desirable. It is a challenging task for artists to edit halftone images. Even simple modifications like changing the brightness usually work by changing the hues. In the case of continuous tone images, this also requires the maintenance of the regular pattern. The same applies to more complex tools such as retouching. Many other image processing techniques are designed to work with continuous tone images. For example, image compression algorithms are more efficient for these images.[17] Another reason is the visual aspect, since halftoning degrades the quality of an image. Sudden tonal changes in the original image are removed due to the limited tonal variations in halftone images. It can also introduce distortion and visual effects like moiré patterns. Especially when printing on newsprint, the halftone pattern becomes more visible due to the properties of the paper. Scanning and reprinting these images emphasizes moiré patterns. Therefore, it is important to reconstruct them before reprinting to achieve reasonable quality.

Spatial and frequency filtering [ edit ]

The main steps of the process are the removal of halftone patterns and the reconstruction of tonal changes. In the end, it may be necessary to restore details to improve image quality. There are many halftoning algorithms that can be classified mainly into ordered dithering, error diffusion, and optimization-based methods. It is important to choose an appropriate descreening strategy as they produce different patterns and most inverse halftoning algorithms are designed for a specific type of pattern. Time is another selection criterion since many algorithms are iterative and therefore rather slow.

The easiest way to remove the halftone patterns is to apply a low-pass filter in either the spatial or frequency domain. A simple example is a Gaussian filter. It discards the high-frequency information that blurs the image while reducing the halftone pattern. This is similar to the blurring effect our eyes have when looking at a halftone image. In any case, it is important to choose the right bandwidth. A bandwidth that is too limited blurs edges, while a high bandwidth creates a noisy image because the pattern is not completely removed. Because of this trade-off, it is not possible to reconstruct reasonable edge information.

Further improvements can be achieved by edge enhancement. The decomposition of the halftone image into its wavelet representation makes it possible to extract information from different frequency bands.[18] Edges are usually made up of high-pass energy. By using the extracted high-pass information, it is possible to treat areas around edges differently to emphasize them, while preserving low-pass information between smooth regions.

Optimization-based filtering[ edit ]

Another possibility for inverse screening is the use of machine learning algorithms based on artificial neural networks.[19] These learning-based approaches can find the descreening technique that is as close to perfect as possible. The idea is to use different strategies depending on the current halftone. The strategy should also be varied with different content within the same image. Convolutional neural networks are well suited for tasks such as object recognition, which enables category-based descreening. In addition, they can perform edge detection to enhance detail around edge areas. The results can be further improved by Generative Adversarial Networks.[20] This type of network can artificially generate content and recover lost details. However, these methods are limited by the quality and completeness of the training data used. Unseen halftone patterns not represented in the training data are quite difficult to remove. Also, the learning process can take some time. In contrast, computing the inverse halftone image is fast compared to other iterative methods, requiring only a single computation step.

Lookup table[ edit ]

In contrast to other approaches, the lookup table method does not involve any filtering.[21] It works by computing a neighborhood distribution for each pixel in the halftone image. The lookup table provides a halftone value for a given pixel and its distribution. The corresponding lookup table is obtained before using histograms of continuous tone images and their corresponding originals. The histograms provide the distribution before and after halftoning and allow an approximation of the halftone value for a given distribution in the halftoned image. For this approach, the halftone strategy must be known in advance in order to choose an appropriate lookup table. In addition, the table must be recalculated for each new grid pattern. Generating the rasterized image is fast compared to iterative methods because it requires one search per pixel.

See also[edit]

Major Academic Research Groups[ edit ]

You have many options for adding gradients, from simple built-in gradients to gradients you create yourself. You can add gradients to simple shapes and text boxes, as well as shapes that are part of charts, SmartArt, and WordArt. You can quickly apply preset gradients or create your own gradient fill with custom colors and set brightness, transparency, gradient direction, and positioning.

The easiest way is to click on the shape to select it and then click on the Format tab that appears:

For shapes, text boxes, and WordArt, the Format tab appears under Drawing Tools.

For chart shapes, the Format tab appears under Chart Tools.

For SmartArt shapes, the Format tab appears under SmartArt Tools.

On the Format tab, click Shape Fill, click Gradient, and choose the one you want.

Tip: To quickly apply this gradient fill to other shapes, use the Format Painter.

Not good enough? You can take a few more steps and apply a built-in gradient.

I’ve followed all the recommendations above and this isn’t working for me.

I create a new document and draw a rectangle:

I want to fill this rectangle with a gradient, but I can’t:

If I add a layer mask as suggested by MonkeyNoob I can paste the gradient into the layer mask:

But that’s not what I want. I still can’t fill the rectangle with a gradient:

Here is the fastest solution. Draw my rectangle in Illustrator:

Fill with the required gradient:

Import this AI file into Photoshop:

As someone who has been using Photoshop for over 20 years, it seems that doing such a simple task right in Photoshop shouldn’t be that difficult. But creating the file in Illustrator and importing it took a lot less time than fiddling around in Photoshop, wondering what I could be doing wrong, trying different things, and then researching online. (I would say it took no more than 30 seconds to get the result with AI)

Illustrator has gotten so much easier to use over the years, while Photoshop seems to have gone in the opposite direction. However, if someone can explain what I’m doing wrong with what seems to be a very simple task in Photoshop, I’d appreciate the knowledge.

Specifies a range of positional colors

A linear or axial gradient

In computer graphics, a gradient specifies a range of position-dependent colors that are typically used to fill an area.[1] For example, many window managers allow setting the screen background as a gradient. The colors created by a gradient vary continuously with position, creating smooth color transitions.

A gradient is also known as a gradient or gradient. In assigning colors to a range of values, a gradient is a continuous map of colors, a type of color scheme.

Definitions[edit]

Gradient is a series of colors arranged (ordered) in a linear sequence

A continuous colormap is a curve through a color space

Curve through the RGB color space

Gray

cube helix [2]

HSV rainbow

divergent[3]

Strict definition[ edit ]

A colormap[4] is a function that takes a real value r with a point c in color space C {\displaystyle C}

f : [ r m i n , r m a x ] ⊂ R → C {\displaystyle f:[r_{min},r_{max}]\subset \mathbf {R} \to C}

which is defined by:

a color space C

an increasing sequence of sample points r 0 < . . . < r m ∈ [ r m i n , r m a x ] {\displaystyle r_{0}<...

What is gradient drawing?

A smooth blending of shades from light to dark or from color to color. Also called a “fountain fill,” in 2D drawing programs and paint programs, gradients are used to create colorful backgrounds and special effects as well as to simulate light and shadows.

So I discovered the gradient tool in FireAlpaca by NitaShinori on DeviantArt

What is a gradient tool?

The gradient tool creates a continuous, even blend of colors. It can also be used to blend color and transparency. There are various forms of this tool you can choose from depending on how you want to use the gradient tool in Photoshop.

So I discovered the gradient tool in FireAlpaca by NitaShinori on DeviantArt

[FireAlpaca] #6 – Gradients and More Complex Layer Functions

[FireAlpaca] #6 – Gradients and More Complex Layer Functions

[FireAlpaca] #6 – Gradients and More Complex Layer Functions

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FireAlpaca Ver. 2.7.0 is released.

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Category Categoryを選択 Tutorial Techniques Basics of the original FireAlpaca brush

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Firealpaca Gradient Tutorial ( how to fill) Pt.2 by RHAcmy2k on DeviantArt

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