State of Libre Graphics
Smart Colorization and Extension Manager in GIMP
For a few months, I have been working with the CNRS (French National Center for Scientific Research), in the GREYC lab at ENSICAEN, on some improvements in GIMP, which I will present to you. In particular, I have implemented a new „“Fill by line art detection““ alternative algorithm (a.k.a. „“Smart Colorization““) in the Bucket Fill tool, allowing to easily colorize possibly not-well closed line art zones (based on the G’Mic algorithm). I am also continuing the „“Extension Management““ project I started as developer for „“ZeMarmot““ Open Movie.
Jehan – Engineer at CNRS in the GREYC Lab at ENSICAEN and main developer of „ZeMarmot“ Open Movie. I develop GIMP and I love it.
Commandlines, CMYK, touch and non-destructive editing with GEGL
To refine new features and capabilities in GEGL – GIMPs new engine – the gegl binary has a commandline and accompanying viewer / parameter tweaking UI that has been a useful development and validation aid. This presentation will demonstrate the syntax for creating arbitrary graphs from the commandline as well as use of the same syntax for interactive live manipulation of GEGL processing chains. Through these demonstrations we will see some GEGL capabilities not yet exposed by GIMP, like RGB and CMYK ICC handling, mipmap preview rendering and various forms of non-destructive editing.
Øyvind Kolås is the maintainer of GIMPs next generation non-destructive engine GEGL, and a free software contributor for mroe than two decades.He has worked in academic color science research, mobile/embedded interfaces and in user interface technology development for open source industry. His continued work on GEGL, GIMP and more can be supported through patreon at https://pippin.gimp.org/patreon/
14:00 – 16:00
Life cycles and sustainability of open source arts projects
Helen Varley Jamieson, Vicki Smith & Paul Rohrlach
UpStage is ancient. The browser-based online platform for cyberformance (live online artistic performance) was initiated in 2003, launched in 2004, and regularly used until about 5 years ago when technological developments overtook our ability to keep up. Still functioning although with more bugs than ever, the project is now undergoing a complete rebuild. How has it survived so far, why has it persisted, and what does the future hold for UpStage? Two of the founders and the lead developer of the new Limelight platform (to replace UpStage) invite others working with arts, community or social open source software projects to discuss life cycles and sustainability, to reflect on our experiences, and to share insights and ideas for the future. What could we do better and what other models exist? What best practices can we adopt with regard to sustainable software development? Where might future funding sources come from? What insights can we gain from sharing experiences within the LGM community? With Helen Varley Jamieson (in person), Vicki Smith (online from Aotearoa/New Zealand) and Paul Rohrlach (online from Canada).
Helen Varley Jamieson and Vicki Smith are digital artists who have collaborated on cyberformance projects since 2001. They were half of the globally distributed cyberformance troupe Avatar Body Collision, which initiated UpStage, and they have been active in other projects such as the CyPosium, a one-day online seminar on cyberformance held in 2012 on the Waterwheel Tap and UpStage. Helen is also a writer and theatre artist, and Vicki makes socially engaged artwork to connect communities with water. Paul Rohrlach – is a web developer and systems administrator who has been part of the UpStage team since 2010.
14:00 – 16:00
When in Doubt, Print it Out – Screenless Interface Techniques
The Screenless Office is a system for working with media and networks without using a pixel-based display. It is an artistic operating system. The office presents a radically alternative form of everyday human interaction with media. It is constructed using free/libre/open hard- and software components, especially for print, databases, web-scraping and tangible interaction.
This workshop will mostly revolve around showing users how to set up their own instance of the Screenless Office for bar-code input and printed output. I will bring a few bar-code scanners and a receipt printer for participants to experiment with. Advanced participants will be shown how to make your own customized „bureaux“ for the office.
Brendan Howell was born in Manchester, CT, USA in 1976. He is an artist and a reluctant engineer who has created various software works and interactive electronic inventions. Currently, he lives in Berlin, Germany and teaches at the Hochschule für Bildende Künste in Braunschweig.
14:00 – 16:00
Developing nature photographs with Open Source software
With the help of a selection of my recent photographs I would like to demonstrate how I use Open Source software to develop landscape, macro and animal shots. The focus will be on RawTherapee which I use for developing about 90% of my photographs. Nature photography is highly color and noise-senstive, but Open Source software has developed professional tools for fixing problems that frequently occur in this kind of photography. The module that I use most often in RT is the Lab-module for adjusting and fine-tuning color and contrast. But the most ingenious tools in RT are probably the modules for adjusting sharpness and noise. It is crucial to find the right balance between sharpening (unsharp mask, contrast by detail levels) and the sliders and curves for gamma, luminance noise and details recovery in the noise reduction module. Indeed it is possible to produce high-ISO-shots (ISO3200 and more with micro four thirds cameras) that are even accepted by stock photography agencies. Here I would also like to have a quick look at Krita in order to explore what RawTherapee is doing „under the hood“. For some of my photos I use darktable since with this program and its masking capabilities it is possible to create highly complex manipulations.
Registration per Email to simonanna(a)gmx.net
Please install these softwares before the workshop: RawTherapee 5.6, darktable 2.6, Hugin (2018 or 2019), Krita 4.1 (+ plugin for GMIC), Gimp 2.10 (+ plugin for GMIC)
Anna Simon born 1980, independent art historian and (stock) photographer, based in Vienna; 2006 Mag. phil., University of Vienna, 2014 Dr. phil., Stuttgart State Academy of Fine Arts. As an art historian, I am specialized on Old Masters, questions of attribution and Netherlandish art; I am a regular contributor to the Journal für Kunstgeschichte. I have been involved with photography since about 25 years, specializing on nature photography; I started with digital photography between 2000 and 2005, since then I am editing my photos with all kinds of software.
14:00 – 16:00
Introduction to live coding with PraxisLIVE and Processing
Neil C Smith
PraxisLIVE is a hybrid-visual libre IDE and actor-based runtime for live programming, with a particular emphasis on live creative coding. It offers a powerful way of working with any JVM tools and libraries, including specific support for live-coding with Processing. There is also built-in support for live coding GLSL, working with GStreamer for video input / playback, and a live-recodeable audio engine with JACK bindings.
The workshop will provide an introduction to the PraxisLIVE environment, its intuitive live visual patching (a graphical representation of its actor graph), and the ability to re-code any node as it’s running, using a mixture of Processing / Java or GLSL. It will then consider various strategies to project setup for live coding graphics performances.
Topics covered will include –
• Setting up / adapting simple Processing sketches for live coding, including PraxisLIVE extensions for reactive coding, keyframe animation and patterns, as well as live video textures and mixing sketches together.
• Setting up, live-coding and mixing GLSL components, and controlling uniform values from “outside” using other code, sensors or OSC / MIDI.
• Setting up a simple audio project controlling graphics from audio data (eg. FFT)
Neil C Smith is an Artist & Technologist from Oxford, UK. An artist working with code, he builds interactive spaces & projections, and improvised & live-coded performances. A technologist with a creative edge, he is lead developer of Praxis LIVE, a hybrid visual IDE and runtime for live creative coding. He has a long term interest in exploring cyberphysical programming (real-time coding of real-time systems), particularly on the JVM. He also maintains various Java media libraries, including the Java bindings for GStreamer and JACK, and is an Apache NetBeans committer.
I choose you, font
If the free-software desktop wants to attract creative users, then it must be tailored to meet those users‘ needs. On current systems, searching for, comparing, and installing fonts is a disjointed and often clunky process — involving package managers, the web browser, the PDF viewer, and a host of test documents. That makes for a more frustrating experience whenever working on publishing or document-creation tasks. This talk will examine the sticking points and bottlenecks in the font-management lifecycle and show a few tweaks and adjustments to existing software tools could simplify and smooth out the entire process.
Nathan Willis is a PhD candidate in Typography and a long-time champion of free software among the creative arts community.
Making fonts without font editors
Ana Isabel Carvalho & Ricardo Lafuente
Font design without a font editor? Manufactura Independente have been experimenting with this possibility and developed a font design and publishing workflow based on plain text files, Git and automated build systems. In the last years, we’ve been exploring type design methodologies from a hacker’s perspective, using non-standard tools to open up new ways of thinking libre type design workflows. This time, we’re presenting the result of years of refining our teaching methodologies in our type design workshops — a practical workflow for making bitmap fonts running on Python FontForge, GitLab, ASCII Art and Continuous Integration (CI) build systems. We’ll explain how these all work and connect while keeping the tech talk accessible to non-techies; we’ll also focus on the kind of considerations that bubble up when thinking up frameworks for teaching type design using libre principles and tools.
Manufactura Independente is a design studio based in Porto, Portugal. It was founded in 2010 by Ana Isabel Carvalho and Ricardo Lafuente as a space for both comissioned work and self-initiated projects. Their design practice orbits around the principles of free software libre culture and critical engagement with design tools.
A Rustic 2D graphics stack
Colin Rofls, Raph Levien
2D graphics is core infrastructure to most graphics software, and is needed for UI and games as well. Older techniques, primarily based on software rendering, aren’t performant in a modern GPU-based environment. Portability is also a concern, especially now that the web is emerging as a viable target for native code. When choosing 2D graphics technology for the Rust language, we have an opportunity to do things right, but also a challenge, in that none of the existing libraries are quite appropriate. This work fills that gap. At the core is piet (named after Piet Mondrian), a 2D graphics abstraction that can have multiple back-ends to implement the actual drawing. In particular, using the platform-native 2D graphics engine makes applications build fast and small. On the web, drawing is done with the web canvas. In the future, we expect high performance GPU based 2D drawing built in Rust, likely including WebRender and Pathfinder.
On top of piet is druid, a very lightweight UI toolkit, optimized for performance and suitable for games and other graphics-intensive applications. A goal is adding UI to a Rust app with minimal boilerplate, so that “cargo run” pops up a window quickly..
Raph Levien is a long-time open source developer of graphical software, with contributions including Gimp, Ghostscript, font tools, major improvements in the Android text stack, and xi-editor. His PhD from UC Berkeley is on Spiro, an interpolating spline tuned for font design. His Inconsolata font was designed using those tools. Based in Berkeley, CA, after 11 years at Google, he is now independently working on a variety of projects, including Rust graphics and sound infrastructure.
CorelDRAW bidirectional interoperability for FOSS applications
In 2007 sK1 Project announced results of CorelDRAW file format reverse engineering. It was important milestone for FOSS graphics applications because CorelDRAW ecosystem became closer to open source world. Now artworks from CorelDRAW file formats are accessible for users of Inkscape, Scribus, LO Draw etc. But there is another feature required by users. Graphics created in FOSS apps should be available for CorelDRAW users. That is we need export into native CorelDRAW file formats. Because traditionally CorelDRAW has a not perfect support for third-party file formats. Our presentation is about of success and problems in resolving this task: CMYK and Pantone color support, mapping of gradient types and document units, stroke and fill features. Working implementation of the feature will be demonstrated in UniConvertor 2.0 and sK1 2.0
The project has been established in 2003 as a Skencil fork. In 2007 we have complited CorelDRAW file format reverse engineering and announced these results on LGM2007 (Montreal) To provide this feature for other application we started UniConvertor app. Project was awarded twice on Trophees du Libre contest (France), Hackontest (Zurich, Switzerland), Best OpenSource project of Russia 2009. Since 2012 we started deep project refactoring. Both sK1 and UniConvertor were rewritten from scratch. Despite of war in Ukraine sK1 Project team achieved valuable results which we would like announcing on LGM2019.