by Sirko Kemter
A typical Linux distribution's main task is to collect open source software tools and package them together to provide users with an installable software collection. Some distributions have specialized in providing tools for artists; as a user, do you know which is the right one to use?
The Fedora Design Suite is a so-called "spin" of Fedora providing applications for designers and artists, collected by the Fedora Design Team. What makes it different to other distributions for artists?
Mikado is a temporary project name for an image manipulation program through a graphs and nodes interface. Most of the time image editing requires little creative skill, but a lot of technical processing. Today Computer graphics designers spend a lot of their professional time at mechanical tasks like cropping, re-sizing, optimize weight or change colorspace, and have no complete tool to reduce this time. If you know some code, maybe scripting is a way, but in most case you're reduced to repeat a same task again and again with your favourite image manipulation program. On the other hand, to be able to manage an image though the steps of its editing, seeing the history of its creation while creating it is a direction we want to explore.
With Mikado we want to try building a node and graphs interface which allow us to create half-automated scenarios of image editing : Node and graphs seems complex at first glance, but are a very powerful way to draw nonlinear scenarios (graphs), with multiples inputs and outputs, giving us great freedom. In the long run such a tool could be extended to other medias, for example to generate live video contents for public events, or to produce music.
Mikado is an idea by Cédric Gémy and Alexandre Quessy.
I want to very quickly present PyCessing to those who are not familiar with it. as well as give a brief update on recent progress and call for participants and users.
Brendan Howell is an artist and a reluctant engineer who has created various software works and interactive electronic inventions. He lives in Berlin, Germany.
For nearly three years, Libre Graphics magazine has existed with the explicit intent of producing a print magazine. In this presentation, we explore the issues and opportunities of physical F/LOSS production. From funding, to raw materials, we discuss the process of attempting to decentralize an object.
Libre Graphics magazine (ISSN 1925-1416) is a print publication devoted to showcasing and promoting work created with Free/Libre Open Source Software. Since 2010, we have been publishing work about or including artistic practices which integrate Free, Libre and Open software, standards, culture, methods and licenses.
by Dave Crossland and Ben Martin
DOOM was released 20 years ago and instantly became one of the most important and influential computer games of all time. This was not only thanks to its breakthrough graphics but also its multiplayer network game mode. Since then many games have offered a mode where game-world state is shared across the network in real-time, and some of the most compelling gameplay involves players cooperating in teams.
Real time collaboration frees designers from having to shuffle data from person to person when working together, such as with distributed version control systems. VCS are excellent for slow paced development over the Internet, but become cumbersome in a fast-paced face-to-face studio environment. Yet unlike games, most graphics applications (free and proprietary) lack such features.
We will demonstrate a new feature in FontForge for real time collaboration, and explain at a high level how it works.
As a designer, we usually think in visual terms. Let's see how we could emulate the benefits of distributed source code in the rich colors of a designer's world.
Git is a distributed version control system now wildly used in the free software world to collaborate and keep track of source code. Since designers today use more and more code to create their work, they naturally turn to Git as a tool to manage their work in progress. The aim of the project is to work on how Git can be integrated more into a graphical designers workflow and create tools that would give a visual feedback of the design changes and collaborations on a specific project.
Open podium for short presentations within the framework of Libre Graphics Meeting 2013.
by Vernon Adams
Looking at how libre fonts have driven type technology on the web. Argues that on the web, 'being free' is a vital technological aspect of a font, just like 'legibility' or 'foreign language support'. Looks at how libre fonts have been adopted in huge numbers by designers of the web, and how libre fonts can enable high levels of usage and adoption that proprietary fonts cannot allow. Looks at how libre font designers could learn a few lessons from the fashion industry to inform on "what fonts will be used the most?"
In December five people representing FontForge joined two other free software projects at Google's 2012 Documentation Camp; there the team participated in a FLOSSManuals-run book sprint and produced "Start Designing With FontForge: a guide to making type." This talk is a report on our experience with the "unconference" portion of the camp, and on what we learned during the intensive writing-sprint portion of the week (not to mention the process of maintaining the book since). The book sprint format forces participants to think about their documentation in a new light, and it offers real benefits to any project whose users are not other developers. Focusing on the reader has even helped change the conversation about FontForge development in the intervening months.
Nathan Willis is a part-time type designer, full-time free software advocate.
This talk presents the outcome of an intense 5-day graphic design workshop, during which a team of twelve students (of HEAD University of arts and design, Geneva) created a book of type specimens entirely made with libre fonts. The book has been mass-produced with cheap print-on-demand technology.
The repository is here (you can already see some first alpha tests): https://github.com/greyscalepres...
The world of libre web typography is developing at a fast pace. More and more websites and blogs benefit from using opensource typefaces. Bloggers become more experienced in tailoring properties of webfonts to suit their need. Still not everybody truly understands how these typefaces are created. This talk will throw light on the process of designing type. Producing high-quality fonts requires a team of collaborators. This includes a type designer, type director, kerner, and hinter. I will share my collaborative experience that resulted in releasing 30 opensource fonts for the Google Web Fonts library, and explain how the team interactions work. My other focus will be on the co-authorship aspect of developing opensource multiscript fonts. Recently I assisted many designers in their efforts to add Cyrillic extensions to their work. My job is to ensure that the Cyrillic forms are correct, while the designers are responsible for the graphic details of their typefaces. For this purpose I launched learncyrillic.tumblr.com — an educational blog with the aim of openly spreading knowledge on the subject, and helping designers create their first Cyrillic.
Unified Typeface Design is a proposal for the standardization of typeface design in an open source context. It also aims for the promotion of open source typography by introducing a transversal and flexible classification. Technically, UTD is a folder architecture to organize font sources, inspirations and references. It is also a JSON file containing useful meta informations about the typeface and its repository.
This talk proposal follows on the issues surrounding libre type design that we began to explore at our last LGM talk, “The awesome things that libre web type enables you to do”.
There is a premise that one must spend considerable amounts of time perfecting a typeface, with timeframes going from months to years. Besides the “creative” part of the work, there’s a significant amount of boring workhorse tasks: checking spacings, comparing glyphs, testing use cases. Another unwritten rule in conventional type design is that typefaces ought to be released only in a finished form. Because most traditional type design is, in one way or another, a commercial endeavour, there is little openness towards unfinished or speculative typeface development.
No wonder, therefore, that thousands of unfinished typefaces sit inside dark corners of designers’ filesystems and notebooks, condemned to the most perverse kind of bitrot: “Someday I’ll finish it”.
Manufactura Independente will go over how applying F/LOSS development principles can provide new paths out of this tired way of working. This will be accompanied by a set of practical examples gathered from the designers’ own experience with collaborative development and typeface design, including a first look at Manufactura’s latest project -- Oxshark Fontworks -- a proposal they’ve been developing to tackle the aforementioned issues.
10th–13th April 2013