Selection from paths where strokes are not disjoint follows an 'even-odd' rule.Coordinates of anchors and handles are not restricted to integer pixels.A path can have points that lie outside of the canvas.The path is associated to the canvas, not to a specific layer.Gimp processes the path as a whole, there is no way to restrict its action to specific strokes.In uppercase, 'HOBBIT' is 11 strokes, since the 'B's have one more loop but the 'I' loses the dot. Two strokes for the 'i', one for the body and one for the dot (a.k.a.Two strokes for each "b", the outer outline and the inside for the loops.Two strokes for the "o", the outer outline and the inner hole.For instance, the word "hobbit" is made of 10 strokes: Enter the paths, that are nothing more than a bunch of strokes taken together. So, a single stroke is not powerful enough to describe complex curves such as the one needed to describe text. Strokes are powerful, but have a restriction: they are continuous lines. But you have little control on the direction of strokes generated by Gimp ( Layer>Text to path, or Select>To path).īut there are scripts available to help with this. It just happens that Gimp doesn't usually change a stroke direction, so the first point of the stroke is usually the one you created first. Well, tough luck, there is nothing in out-of-the-box Gimp that will tell you the stroke direction, or let you change it. Rendering the stroke by painting it with a gradient.But there are cases where the direction counts, for instance: The stroke 1-to-4 above has the very same shape as the stroke obtained from the same triplets, ordered 4-to-1. Sometimes, the direction of the stroke is important. Then use the technique above, removing and adding a segment that ends on that new anchor. Just add an anchor on the path by Control-licking the path where you want the stroke to start. This technique can be generalized to have the stroke start on any point.So more arbitrary curves are implemented by stringing together Bézier curves, the ending anchor of a curve also being the starting anchor of the next: (*) The perspective transform isn't an affine transform, and in some cases, the two methods above would yield slightly different results, but in practice this still works most of the time, especially with paths obtained by Layer>Text to path.Īs elegant as they are, Bézier curves are not powerful enough to describe real-life curves such as the outline of characters.
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