Remove krita* in preparation for name switch from Krita to Chalk

git-svn-id: svn://anonsvn.kde.org/home/kde/branches/trinity/applications/koffice@1238361 283d02a7-25f6-0310-bc7c-ecb5cbfe19da

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diff --git a/krita/doc/background_paper.txt b/krita/doc/background_paper.txt
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-Background, paper, layers, blobs
-
-An image in Krita is imposed upon a plane. Perhaps, using OpenGL,
-we'll be able to rotate and elevate that plane at the users' whim.
-If we can elevate the plane, there will be a direction of gravity
-that naturalistic media can play with. Note: Wet & Sticky make it
-possible to "paint" gravity. This looks like a fun feature, but
-that needs to be done per-layer, and not for the whole image.
-
-The plane is represented by the checkered background. Ideally,
-we'd be able to set the color of the checks & the size, and the
-size shouldn't change with the zoomlevel. The checks are one
-pattern, repeated for the whole image:
-
-O#
-#O
-
-Placed on the plane is optionally the substrate -- a naturalistic
-representation of canvas, linen, paper, board, wood, levkas. Or
-something weird, kopper, rock, sand... There is one substrate
-per image. The substrate can be a small texture repeated for the
-whole image, or as big as the image -- the latter is important
-if we want to make it possible to perturb the substrate (think scoring
-lines into levkas or erasing through the paper).
-
-Provisionally, the substrate has the following properties:
-
-height
-smoothness
-absorbency
-reflectiveness
-
-(Of course, layers below the current layer can influence these values
-for layers on top of them.)
-
-I have a hunch that the effect of these properties are really easy to 
-render using OpenGL, but not so easy using plain QPainter. In any case,
-media layers will need to know these values at every pixel. We need
-a really easy & fast way to acquire them.
-
-We need to avoid the Corel Painter feature where you can use a naturalistic
-paper and then paint away the paper structure, mixing the color of the paper
-with your paint as if the paper were paint. So, we need to separate paper
-and paint thoroughly.
-
-On top of the substrate and background are the layers themselves.
-Some layers are just color; others contain media. Media means color,
-but possibly in a kubelka-munk colorspace, and properties like:
-
-height
-graininess
-viscosity
-wetness
-smoothness
-absorbency
-stickiness (i.e, charcoal isn't sticky at all, acryl paints very
-sticky)
-
-Note: Impasto models thick, 3-d paint, where tufts of thick oipaint can
-cast shadows...
-
-Ordinary color layers (Shoup layers in the terminology of Cockshott) can
-make use of the substrate parameters using special paint ops, and ordinary
-color can be painted on a media layer, but the ordinary color paintops
-do not deposit the above properties. Media paint just leaves color on the 
-color layers. We need to avoid at all costs the Corel Painter effect where
-trying to use a pencil on a watercolor layer causes a nasty flow-impeding
-useless error box to popup.
-
-Media and ordinary layers can be grouped and mixed at will, together with adjustment
-layers. Adjustment layers can also be attached to selection tqmasks, per layer.
-
-The composited layers is either scaled and color corrected, or color corrected and
-then scaled, depending on whether the zoom > 100% or < 100%.
-
-Note: do we need a visualisation layer on top of the layers for things
-like wetness, reflectiveness, height? Perhaps this is the right place for that.
-We need perhaps to add a light source or two, in OpenGL mode... I think
-we do.
-
-On top of the layers are what Xara calls blobs: the temporary droppings of
-tools, like rubber bands, vector paths, brush tqshape cursors.
-
-