While production on the animation is still going full-steam, we thought we could show what exactly this is about. How do you go from static images to animated ones? Well this is all like progress layers, one step after another.
The Storyboard, then the Animatics
We have already talked about these at length so we won’t do it again. Feel free to check out our previous blog posts on the topic. These are the first 2 layers: comics-like static images (storyboard), and static images displayed in video (animatics).
In the digital world, “keyframes” is used with different meaning. On video formats, it is usually used to distinguish a standalone image in the stream with partial images which cannot be displayed by themselves. On 3D or vector animation software nowadays, it is usually used as extreme points in smooth transition which are computed by algorithm (interpolation). This is more or less the definition given by Wikipedia: “A key frame in animation and filmmaking is a drawing that defines the starting and ending points of any smooth transition.”
This definition is a little too “mechanic” and tied to modern way of animating with vector or 3D (actually it is not entirely true even in 3D and vector but this is what one might think when discovering interpolation magic). Key frames are actually simply “important images” as determined by the animator in a purely judgemental way. Keyframing is part of the art of the animator, more than a science. It is true that they are often starting/ending points of movements, but this is not a necessity. Also called sometimes “key poses”, these are what the animator feels make the movement good or not, in one’s guts as an artist.
Pose to Pose vs Straight Ahead animation
When animating, there are 2 main techniques. The first method is to decompose the movement in key poses (keyframes) as a first step. Then later, when it looks good, you complete with intermediate frames (inbetweens). This is the pose to pose method and demonstrated a bit in the above video.
When you are a big studio, keyframes would usually be drawn by the main animators, and the inbetweens would be left to the assistants (less experienced animators). This allows to share the work with more multitasking. In ZeMarmot‘s case unfortunately, Aryeom does everything, since we don’t have the funds to hire more artists as of yet.
The other method is called “Straight Ahead” and consists on doing all frames one after another without prior decomposition. Timing is much harder to plan with such a technique and you may end wasting more drawing. On the other hand, some animators prefer the freedom it gives and by making movements less perfect, you can also avoid them being too mechanical (in other words, perfect movement are not always what you are looking for when you want to represent living being in their whole perfect imperfection).
Observing Aryeom, she uses both methods, depending on the cuts, as is the case for many animators.
Hopefully you appreciate this insight on the work behind animating life, and this small video where we display the same pieces of a scene at different steps in the work-in-progress, first one after another, then side by side.
You will notice that we mostly show always pieces of the same scene since we really want to try and avoid any spoiler as much as possible. 🙂
This is spring, time of cherry blossoms and warmer weather (well for people in north hemiphere only!). So Aryeom drew a new header image for our blog (as usual drawn in GIMP under Creative Commons by-sa).
Last week, the core GIMP team has been meeting for Wilber Week, a week-long meeting to work on GIMP 2.10 release and discuss the future of GIMP. The meeting place was an Art Residency in the countryside, ~50km from Barcelona, Spain, with pretty much nothing but an internet access and a fire place for heating. Of course, both Aryeom and I were part of this hacking week. I personally think this has been a very exciting and productive time. Here is our personal report (it does not include the full result for everyone, only the part we have been a part of).
Software Hacking, by Jehan
GIMP on Flatpak
I’ve wanted to work on an official Flatpak build for at least 6 months, did some early tests already back in September, but could finally make the full time only this week. The build is feature-complete (this was not the case of the original nightly builds of GIMP, used as tests by Flatpak’s main developer, back when it was still called xdg-app; also these incomplete builds seem to have not been available anymore for a few months now), or nearly (since some features are still missing in Flatpak).
I’ll talk more on this later in a dedicated post, detailing what is there or not, and why, with feedback on the Flatpak project.
Bottom line: GIMP will have an official Flatpak, at least starting GIMP 2.10!
Working on the help system, Windows build, and more…
I’ve also worked in parallel on some other topics. For instance I’ve made a new Windows build of GIMP to test a few bugs (with my cross-build tool, crossroad, which I hadn’t used for a few months!), fixed a few bugs here and there, and also spent a good amount of time working on improving language detection for the help system (in particular some broken cases when you don’t have exactly the same interface language as the help you downloaded, since we don’t have documentations for as many languages as we have GUI translations). This part is mostly not merged in our code yet because unfinished. But it should be soon.
All in all, that was 26 commits in GIMP (and 1 minor commit in babl) last week, and a lot more things started.
Art hacking, by Aryeom
Aryeom, ZeMarmot director, contributed a lot of smiles (as always), art and design. Since Mitch forgot our usual “Wilber Flag”, she quickly scribbled one on a big sheet of paper (see in video).
Apart from playing with Wilber stamps, created by Antenne Springborn, Aryeom also spent many hours discussing t-shirt and patch designs with Simon Budig. Here is one of her nice attempts for a very classy outlined-Wilber design:
Funny story: she chose as a base a font called montserrat, without realizing that the region we were in at the time was called Montserrat as well. Total coincidence!
She has also been working on some missing icons in GIMP, for instance the Import/Export preferences icon.
And with time permitting, she scribbled various drawings on paper, because digital painting doesn’t mean you should forget analog techniques, right?
Social hacking: interviews and merchandise
I have been wanting to bring a little more life to our communication ever since we got a new website for GIMP. We already produce more regular news. I wish we had even more. I also think we should even extend to community news. So if you’ve got cool events around the world involving GIMP, do not hesitate to tell us about them. We may be able to make it a gimp.org news when time permits.
Something else I wanted is showing the people behind GIMP: developers and contributors, but even the artists, designers and other creators making usage of GIMP as a tool in their daily creative process. I have talked about these interviews for a few months now, and Wilber Week was my first attempt to make them a reality. I interviewed Mitch, GIMP maintainer, Pippin, GEGL maintainer, Schumaml, GIMP administrator, Simon, a very early GIMP developer and Rishi, GNOME Photos maintainer and GEGL contributor.
All these interviews soon to be featured on gimp.org!
And that’s only a start! I am planning on interviewing even more contributors (developers and non-developers) and also artists. 🙂
We regularly have requests about t-shirts or other merchandising featuring Wilber/GIMP. So we sat down and discussed on what should be exactly GIMP’s official position on this topic. As you know, I, personally, am all for Libre Art, so this was my stance. And I am happy that we are currently willing to be quite liberal.
Yet we have a lot of values and that was our main concern: how nice is your design? Is your merchandising using good material? Is it produced with ecologically-conscious techniques? Do you give back to the community?… So many questions and this is why Simon Budig will work on a ruleset of what will be acceptable GIMP merchandising that we will “endorse”. Endorsement from the GIMP project will mean that we will feature your selling page link on gimp.org and also that you will be allowed to feature on your own page some “endorsed by GIMP” text or logo. I’ve been quite inspired by this system which Nina Paley uses for Sita Sings the Blues movie.
Well that’s the current status, but don’t take it as an official position and wait for an official news or page on gimp.org (as a general rule, nothing I write is in any way an official GIMP statement unless confirmed on the main website by text validated by peers).
The one you’ve all been waiting for, so I kept it for the end, or close: what about GIMP 2.10 release? We finally decided that it is time to get 2.10 going. We still have a few things that we absolutely need to fix before the release, but the main decision is that we should stop being blocked by unfinished cool features.
We have got many very awesome features which are “nearly there”, but mostly untouched for years. Usually it means that it globally works but is either extremely slow (like the Seamless Clone or n-point deformation tools), or that it is much too instable (up to the crash), often also with unfinished GUI…
Well we will have to do a pass through our feature list and will simply disable whatever is deemed non-releasable. The code will still be here for anyone to fix, but we just can’t release half-finished unstable features. Sorry.
The good news is that it suddenly divides our blocker list by 10 or so! And that should make GIMP 2.10 coming along pretty soon.
But so what of all these cool features? Will we have to wait until GIMP 3 now? Not necessarily! We decided to relax the release rules, which come from a time where all free software released major versions with new features and minor versions with bug fixes only (some kind of semantic versioning applied to end software). So now, if any cool new feature comes along or if the currently deactivated features get finished, we are willing to make minor releases with them! Yes you read it well. This makes it much more exciting for developers since it means you won’t have to wait for years to see your changes in GIMP. But it also means that our contribution process gets much more robust to the unfinished-patch-dropping issue. Of course the libgimp API (used by plugins) still stays stable. Changes does not mean breaking stability!
This was also summed-up in an official gimp.org news recently.
I am so happy about this because I have been pushing for this change in our release process for years. Actually the first time I proposed this was in Libre Graphics Meeting 2014, Leipzig (as I explained in my report back then). I call it a rolling release, where we can release very regularly new stuff, even if just a little. This time though, the topic was brought up by Mitch himself.
The conclusion of this week is that it was very nice. As Simon Budig put it in his interview: I mostly stay for the people. I think this is the same for us, and these kind of social events are the proof of it. The GIMP project is — before all — made of people, and not just any people, even nice people! Such event is a good occasion for meeting physically, from time to time, and not just with pixels and bits exchanged through the internet.
We also spent a few hours visiting Barcelona, in particular Sagrada Familia, and doing a few hikes in Montserrat.
Financial hacking: ZeMarmot
As a conclusion, we remind you that ZeMarmot would be the way for me to work full-time on GIMP software development! We could do nearly as much every week if our project had the funding which allowed us to sustain ourselves while hacking Free Software. So if you wish to see GIMP be released faster with many cool features, don’t hesitate to click our Patreon links (for USD funding) or the Tipeee one (EUR funding).
2017 starts well for ZeMarmot, with many new contributors and joy of life!
We recently found a former project, lost in old hard drives, dating from either end-of-2014, or early 2015 (before ZeMarmot), when we were still searching for a fun project to keep us busy. As you know, we haven’t chosen this project, called “Ouhlala“, which explains this small 30-sec episode was getting forgotten somewhere in a hard drive. A little sad; therefore we now release it.
Obviously this serie is on indefinite standby since we now focus on ZeMarmot and this is the first time we publicly release this episode (it was only shown once during a very small talk, 2 years ago)!
The early concept of the serie was to illustrate various idioms from all over the world with short animations (not necessarily in an intellectual way, more with funny views). The pilot episode focused on the French idiom “Jamais 2 sans 3” (~ things always go in 3).
How are going your last days of 2016 so far? It’s been a strange year? Well let’s not diverge, and focus on ZeMarmot, then, shall we? First be aware that our dear Director, Aryeom Han, is getting a lot better. She was also really happy to get a few “get well” messages and say thanks. Her hand is still aching sometimes, in particular on straining or long activities, but on the whole, she says she can draw fine now.
Reminding the project
I will discuss below what was done in the last months, but first — because it is customary to do so at end of year — I remind that ZeMarmot is a project relying on the funding by willing individuals and companies, with 2 sides: art and software.
I am a GIMP developer, the second biggest contributor in term of number of commits in the last 4 years and I also develop a plugin for digital 2D animation with GIMP, which Aryeom is using on ZeMarmot. I want to get my plugin to a releasable state by GIMP 2.10.
Aryeom is using the software to fully animate, draw and paint a movie, based on an original story which I wrote a few years ago, about a marmot who travels the world for reasons you will know when the film will be released. 🙂 Oh and the movie will be Creative Commons by-SA of course!
Up to now, our initial crowdfunding (~ 14 000 €) has allowed to pay several months of salary to Aryeom. I have chosen to not earn anything for the time being (not because I don’t like being paid but because we cannot afford it with current funding). Some of it is remaining but is kept to pay the musicians.
Now we are mostly relying on the monthly crowdfunding through the Patreon (USD funding) and Tipeee (EUR funding) platforms. But all combined, that’s about 180 € a month, which amounts to barely more than a day of salary (and with non-wage labour costs, that’s not all of it for Aryeom). 1 day per month to make a movie, that’s far from enough, right?
My dream? I wish we could some day consider ourselves a real studio, with many paid artists, producing cool Libre Art movies going to the cinema (yes in my crazy dream, Creative Commons by-sa films are on the big screen!), and developers paid to improve Free Software so that our media-making ecosystem gets even better and for everybody to use!
But right now, that’s no more than an experiment mostly done voluntarily.
Do you like my dream? Do you want to help us make it real? You can by helping the project financially! It can be the symbolic coin as the bigger donation, any push is actually helping us to make things happen!
Not sure yet? Feel free to read more below and to pitch in at any time later on!
Note that not only the money but also the number of supporters is of great help since it shows supports to bigger funders; and for us that’s good for morale too! A good monthly crowdfunding can also help us find producers without having to abandon any of the social and idealistic aspects of the project (note that we have already been contacted by a production who were interested by the film after the crowdfunding but we refuse to compromise too much on the ideal).
We illustrated Aryeom’s work by 2 videos presenting extracts of her work-in-progress. In this first video, she shows different steps in animating a few cuts of the main character:
In this second video, we examine some cuts of another character, the Golden Eagle, main predator of the marmot:
There are a lot which can be said on these few minutes shown about the work of “animator”. Many pages of books on the art of animating life could be filled from such examples! We will probably detail these steps in longer blog posts but I will still explain the basics here.
Animating = giving life
Aryeom says it in the first video and you can see it in several examples in both videos. When your character moves from A to B, you are not just “moving” it. You have to give the impression that the character is acting on oneself, that it is alive, inhabited, in other words: animated.
This is no surprise one of the most famous book on animation is called “The illusion of life” (by Frank Thomas and Ollie Johnston), also the bedside book of Aryeom. Going this way has a lot of ramifications on the animator job.
Believable, not realistic
Before we continue, I have to make sure I am understood. Even though realistic animation is also a thing (Disney comes to mind), making a good animation is otherwise not necessarily about making it “realistic”, but instead about making it “believable”.
It is very common to exaggerate some movements for various reasons (often because it is funnier, but also sometimes because exaggerating it may sometimes look even more believable than the realistic version!), or the opposite (bypassing anatomically-correct movements). There are no bad reasons, only choices to achieve what you want.
Now that this thing is clear, let’s continue.
You can’t just “move an arm”
The very classical example beginners will be given is often: “lift your right arm up”. That’s it? Did you only move your arm and the rest of the body stayed unchanged? Of course not. To stay in balance, your body shifted to the left as a counterweight; the right shoulder lifted whereas the left shoulder lowered; and so on.
A lot of things will change in your body with this simple action. Even your feet and legs may move to compensate the shift of the center of gravity. As a consequence, you don’t “move your arm”, you “move your whole body” (in a configuration where your arm is up).
This is one of the first reason why to just move a single part in a body, you cannot reuse previous drawings and change just this part. No, you will properly redraw the whole body because if you are to fake life, you may as well do it well.
Note: when you say “animation” to computer people, their brain usually immediately wires to “interpolation“, which is the mathematics to compute (among other things) intermediate positions. Because of what I said above, in reality, this mathematical technique is barely used in traditional (even when digital) animation. It is used a lot more in vector and 3D animation, but its role should definitely be minimized compared to the animator work even on these fields. In vector/3D, I would say that interpolation only replaced the inbetweener role (some kind of “assistant” who draw non-keyframe images) from the traditional animation world.
Timing, silence and acceleration
You often hear it from actors, poets, writers, singers, anyone who gives some kind of life: the silence is as important as the noise for their art. Well I would also add the acceleration and the symmetrical deceleration.
You can see this well on this first example of the video 1 (at 0’41). Aryeom was unhappy with her running marmot which was nearly of linear speed. Marmot arrived too fast on the flower. Well he slowed down, but barely. Her finale version, Marmot would arrive much faster with a much more visible slowdown, making the movement more “believable” (we get to the bases!).
The eagle flight in video 2 (at 1’09) is another good example of a difficult timing as Aryeom went through 2 stages before finding the right movements. With the wrong timing, her flying eagle feels heavy, like it has difficulty to lift itself into the air (what she called her “sick” eagle in the video); then she got the opposite with an eagle she felt more sparrow-like, too light and easy-lifted. She was quite happy with the last version (obtained after 8 attempts) though, and in particular of this very last bit in the cut, when the eagle gets in glider mode. Can you spot it? This is the kind of difference which just lasts for a few hundredth of seconds, barely noticed, yet on which an animator can spend a significant amount of time.
Living still images (aka “line boil”)
A common and interesting effects you find in a lot of animation is about a shaking still image. You can see it in the second video (at 0’33), first cut presenting the proud eagle still on his mountain. Sometimes you want to show a non-moving situation, but just sticking to a still image feels too weird because in real life, there is no perfect stillness. Even if you make all efforts to stay still for a few seconds, you will imperceptibly move, right? So how do you reproduce this? The attempt to stay perfectly still while this being impossible? Well commonly animators will just redraw the same image several times because as much as you can’t stay still, you can’t draw perfectly identical images twice either (you can get very close by trying hard though) and you loop them.
You usually don’t do this for everything. Typically, elements of the background, you accept them to be still much more easily. But this is common for your living character or sometimes to pull main elements which you want to tick out of the background.
Now, loops are very usual in animation. But the higher quality you aim for, the less you have loops. Same as stillness does not exist in life, you never repeat exactly the same movement twice. So even though loops seems to be the first thing many animators will teach (the famous “walking cycles”), you don’t actually use these in your most beautiful animations. When your main character walks, you will likely re-animate every step.
Of course, it is up to you to decide where to stops. Maybe for this flock of birds in the background, far away, just looping (and even copy-pasting the birds to multiply them!) may be enough. Though this is all a matter of taste, time, and money ready to spent on animator-time obviously.
This part has not really started yet, even though it has already been planned (from the storyboard step). But since Aryeom started (first video at 1’06), let’s give some more infos.
Panning and tilting
In animation, where the movement is by essence 2D as well, these refers to respectively a horizontal and vertical camera movement. Why do I need to say “in 2D animation”? Because in more traditional cinema, these will rather correspond to a tracking shot done on rails, whereas panning and tilting refer to angle movements of a static camera. Different definitions for different references. Note that even though 3D animation could be using one or the others, they mostly kept the animation vocabulary.
This gives you a good hint on how characters and background are separately managed. If you have a character walking, you will usually create a single image of the background, much bigger than the screen size, and your camera will move on it, along with the character layers. With fully digital animation, this usually means working on image files of much higher sizes than the expected display size; in traditional physically-drawn animations, it means using very large papers (or often even sticking papers together). As an example, at a Ghibli exhibition, they would display the background for a flying cut of “Kiki’s delivery service” and it would take a full wall in a very large room.
Animation is a lot of drawing
I will conclude the section on animation by saying: that’s a bloody lot of drawing!
As you can see, Aryeom spends time redrawing the same cuts so many times to get the perfect movement that sometimes she becomes crazy and thinks that she is just drawing the wrong animal. The story about the pigeon is a true story and I am the one who told her to add it to the video because that was so funny. Some day, she comes to me and show me her cut she has been working on for days. Then she asks me: “doesn’t it look like a pigeon?”
Hadn’t I stopped her, she was ready to start over.
This is an art where you even draw again when you want to show stillness, and you forbid yourself from using too much shortcuts like using loops. So what do you want: you probably have to be a little crazy from the start, no? 😉
There are actually several “schools”, and some of them would go for simplicity, shortcut and reusage. Japan is well known for the studio Ghibli which goes the hard way as we do, but this is quite a contradiction in the country industry. The whole rest of Japan’s animation industry is based on animating as little as possible. Haven’t they proved so many times that it is possible to show a single still image for 30 seconds, add sounds and voices, then call it an animation?
Sometimes it is just a choice or a focus. Some animation films focus on design rather than believable movements, or scenario rather than wonderful images. For instance, I don’t think you can say that The Simpsons has a wonderful graphics appeal and realistic animation (they even regularly makes meta-jokes inside episodes about the quality of their animation!), but they have the most fantastic scripts, and that’s what makes their success.
So in the end, there is no right choice. Every one should just go the way they wish for a given project.
And this is the way we are going for ZeMarmot!
Just a very short note on music. We have started working with the musicians, remotely and on a physical meeting on December 1st. We have a few extracts of “first ideas” but they won’t do justice to the quality of the work.
I think this will have to wait for much later.
I went so long about animation that I hope I have not lost half of the readers already! If you are still reading, I’ll say what I worked on these last months.
I am trying to do my share on GIMP, to improve it globally, speed up the release of 2.10 and because I love GIMP. So I count 259 commit authorship in 2016 (60 in the last 3 months) + 48 as committers only (i.e. I am not the author, but the main reviewer of a patch which I pushed into our codebase). I commented on 352 bug reports in 2016, making it a habit to review patches when possible.
I have a lot of projects for GIMP, some of the grander being for instance a plugin management system (to install, uninstall and update them easily from within GIMP, and a backend side for plugin developpers to propose extensions), but also a lot of ideas about the evolution of the GUI (this should be discussed topic-per-topic on later blog posts).
Also I have been starting to experiment with Flatpak so that GIMP can provide an official release for GIMP. For years, our official stance has always been to provide a Windows installer, a OSX package, and GNU/Linux… yeah grab the source and compile or use the outdated version from your package manager! I think this situation can be considerably improved with Flatpak and similar technologies which were born these years.
Animation in GIMP
As explained already, I took the path of writing it as a plugin rather than a core feature. Anyway GIMP is only missing a single feature which would make it nearly as powerful: bi-directional notification (basically currently plugins don’t get notified when pixels are updated, layers are renamed, moved or deleted, images closed…). That’s actually something I’d like to work on (I already have a stash somewhere with WIP code for this).
The animation plugin currently has 2 views:
This actually corresponds to the very basic animation logic of 1 layer = 1 frame, which is very common by people making animated GIF (or MNG/WebP now), except with a nice UI to set each image duration (instead of tagging the layer names, a very nasty user experience, feature hidden and found only on some forums or old tutorials), do basic compositing and even comments on vignettes if-need-be. All this with a nice preview in real-time!
This is the more powerful view where you can compose a frame from several images, often at least a background and a character. In the above example, the cut is made from 3 elements composed together: the background, the eagle and the marmot.
You may usually know more of the “timeline” style of view, which is basically the same thing except that frames are displayed as horizontal tracks. I tried this too, but quickly shifted to this much more traditional view in the animation world, which is usually called an x-sheet (eXposure sheet). I found it much more practical, allowing commenting more easily too, easy scroll, and especially more organized. There is a lot you don’t see in this screenshot, but this view is really targetting a professional and organized workflow. In particular with layers properly named, you can create animation loops and line tests of dozens of images, with various timings, in a few clicks.
I am also working on keyframing for effects (using animated GEGL operations) and camera movements.
Well there is a lot done but definitely a lot more I am planning to do there, which takes time. I will post more detailed blog posts and will push the code on a branch very soon (probably before Libre Graphics Meeting this year).
That’s all, folks!
And so that’s it for this end-of year report from ZeMarmot team! I hope you appreciate the project. And if so and can spare the dime (or haven’t done so yet), I remind the project accepts any amount on the links given above. Some people just give 1 Euro, others 15 Euro per month. In the end, you are all giving life to ZeMarmot!
The past month report will be short. Indeed Aryeom sprained the thumb from her drawing hand, as we already told a month ago. What we did not plan is that it would take that long to get better (the doctor initially said it should be better within 2 weeks… well she was wrong!). Aryeom actually tried to work again after 2-week rest (i.e. following doctor advice), but after a few days of work, the pain was pretty bad and she had to stop.
Later Aryeom has started working from the left hand. Below is her first drawing with her left hand:
I personally think it is very cool but she says it is not enough for professional work. Also she is a few times slower with this hand for the moment. Yet for ZeMarmot, she started animating again with the left hand (wouhou!), but not doing finale painting/render. She is waiting the right hand to get better for this.
In the meantime, she has regular sessions with a physiotherapist and Friday, she’ll do a radiograph of the hand to make sure everything is OK (since pain lasted longer than expected).
Because of this, the month was slow. We also decided to refuse a few conferences, and in particular the upcoming Capitole du Libre, quite a big event in France in November, because we wanted to focus on ZeMarmot instead, especially because of the lateness which this sprain generated on the schedule. We will likely participate to no public event until next year.
Probably now is a time when your support will matter more than ever because it has been pretty hard, on Aryeom in particular, as you can guess. When your hand is your main work tool, you can imagine how it feels to have such an issue. :-/
Do not hesitate to send her a few nice words through comments!
Next month, hopefully the news will be a lot better.
I can try and do more coding, more code reviewing, revive designing discussions… that’s cool, yet never enough. GIMP needs more people, developers, designers, community people, writers for the website or the documentation, tutorial makers… everyone is welcome in my grand scheme!
Many of my actions lately have been towards gathering more people, so when I heard about the GNOME newcomers initiative during GUADEC, I thought that could be a good fit. Thus a few days ago, I had GIMP added in the list of newcomer-friendly GNOME projects, with me as the newcomers mentor. I’ll catch this occasion to remind you all the ways you can contribute to GIMP, and not necessarily as a developer.
Coding for GIMP
GIMP is not your random small project. It is a huge project, with too much code for any sane person to know it all. It is used by dozen of thousands of people, Linux users of course, but also on Windows, OSX, BSDs… A flagship for Free Software, some would say. So clearly coding for GIMP can be scary and exciting in the same time. It won’t be the same as contributing to most smaller programs. But we are lucky: GIMP has a very sane and good quality code. Now let’s be clear: we have a lot of crappy pieces of code here and there, some untouched for years, some we hate to touch but have to sometimes. That will happen with any project this size. But overall, I really enjoy the quality of the code and it makes coding in GIMP somewhat a lot more enjoyable than in some less-cared projects I had to hack on in my life. This is also thanks to the maintainer, Mitch, who will bore you with syntax, spaces, tabs, but also by his deep knowledge of GIMP architecture. And I love this.
On the other hand, it also means that getting your patch into GIMP can be a littler more complicated than in some other projects. I saw a lot of projects which would accept patches in any state as long as it does more or less what it says it does. But nope, not in GIMP. It has to work, of course, but it also has to follow strict code quality, syntax-wise, but also architecture-wise. Also if your code touches the public API or the GUI, be ready for some lengthy discussions. But this is all worth it. Whether you are looking for improving an already awesome software, adding lines to your resume, improving your knowledge or experience on programming, learning, you will get something meaningful out of it. GIMP is not your random project and you will have reasons to be proud to be part of it.
How to choose a first bug?
Interested already? Have a look at bugs that we think are a good fit for newcomers! Now don’t feel obligated to start there. If you use GIMP and are annoyed by specific bugs or issues, this may well be a much better entrance. Personally I never contributed to fix a random bug as first patch. Every single first patch I did for Free Software was for an issue I experienced. And that’s even more rewarding!
Oh and if you happen to be a Windows or OSX developer, you will have an even bigger collection of bugs to look into. We are even more needing developer on non-Linux platforms, and that means we have a lot more bugs there, but also most likely a good half of these are probably easy to handle even for new developers.
Finally crashes and bugs which output warnings are often pretty easy since you can usually directly investigate them in a debugger (gdb for instance), which is also a good tool to learn if you never used. Bugs related to a graphical element, especially with text, are a good fit for new developers too since you can easily grep texts to search through the code.
Now there are whole other areas where you could contribute. These are unloved area and less visible, which is sad. And I wish to change this. One of these is infrastructure! GIMP, as many big projects, have a website, build and continuous integration servers, wikis, mailing lists… These are time-consuming and have few contributors.
So we definitely welcome administrators. Our continuous integration regularly encounters issue. Well as we speak, the build fails, not because of GIMP, instead because minimum requirements for our dev environment are not met. At times, we have had a failing continuous integration for months. The problem is easy: we need more contributors to share the workload. Currently Sam Gleske is our only server administrator but as a volunteer, he has only limited time. We want to step up to next level with new people to co-administrate the servers!
While we got a new website recently (thanks to Patrick David especially!), more frequent news (here I feel we have to cite Alexandre Prokoudine too), we’d still welcome new hands. That could be yours!
We need documentation for GIMP 2.10 coming release, but also real good quality tutorials under Free/Libre licenses. The state of our tutorials on gimp.org were pretty sad before the new website, to say the least. Well now that’s pretty empty.
Of course translations are also a constant need too. GIMP is not doing too bad here, but if that’s what you like, we could do even better! For this, you will want to contact directly the GNOME translation team for your target language.
And finally my pet project, I repeat this often, but I think a lot of GIMP workflow would benefit from some designer view. If you are a UX designer and interested, be welcome to the team too!
So here it is. All the things which you could do with us. Don’t be scared. Don’t be a stranger. Instead of being this awesome project you use, it could be your awesome project. Make GIMP! 🙂
mrxvt is a cool light-weight terminal emulator, not tied to a specific desktop environment and with minimal dependency. This was also one of my very first bigger contributions to Free Software. Well I had patches here and there before, but that’s one project where I stuck around longer and where I was quickly given commit rights. So it is dear to my heart. It was also my first big feature attempt since I started a branch to add UTF-8 support (actually any-encoding support), which is the normal way of things now but at the time, many software and distributions were still not working with UTF-8 as a default. Then I left for years-long wandering our planet on a motorcycle (as people who know me are aware) and because of this, drastically slowed down FLOSS contributions until a few years ago. Back as a contributor, mrxvt is not my main project anymore (you know which these are: GIMP and ZeMarmot!). I moved on.
Now I have to admit the awful truth: I don’t use mrxvt much anymore. My main reason is actually because I need dearly UTF-8 and even though I’d love to finish whatever I started on this topic years ago, I don’t have the opportunity to do this anymore. Whatever terminal I use now* is good for me.
Yet mrxvt is still used, and we have regularly people asking about its development. So this is just a small call, if not too late:
if anyone is interested into taking over mrxvt, you are welcome to do so!
I have recently moved the code from subversion (on Sourceforge) to git on gitlab. So consider this new repository as the new official upstream of mrxvt. But be it know that my goal here is not to take back active development. I just can’t make the time to it. I can only assure that I would maintain it with GI (historical maintainer who also has commit right on the new repo as well) and would review and merge any patch which makes sense. If any developer who previously had commit rights on our subversion repository asks me for, I can give you commit rights there too.
Last but not least: if anyone wants to take over, we will gladly give ownership. But please send a few patches first. We had a few people who wanted to become the upstream without even showing a piece of code. Well we want to give the baby, but making sure first we give it to someone who cares. So just make a few patches that we can review, and we’ll happily give over mrxvt.
* Full disclosure: my current terminal of choice is Guake. Well it has unfortunately its share of bugs, but I really love the “making it appear and disappear in a click”. Considering that the terminal emulator is undoubtly the software I use the most daily, making it a special one, with its own windowing (not lost in alt-tab hell) is a very good trick to me.
This month has been very active, both for the drawing, animating and coloring of several cuts of the pilot, as well as for the plugin development.
Just as we came back from GUADEC though, the graphics tablet of Aryeom — a Wacom Intuos 5 M — failed to work. This is bad news since these are pretty expensive. We were seeing it coming since the connection was having regular issues, but Aryeom is extra cautious with her material, so we hoped it would last longer. It did not. For a week, Aryeom had been drawing on a very old Wacom Bamboo (MTE-450, nearly 10 year old model, which Aryeom was using during her university years). Finally we found a solution saving us from having to buy a whole new tablet!
But as a bad news does Aryeom sprained her right hand’s thumb (i.e. her drawing hand) just around the end of the month! :-/ Probably she worked too much.
So that’s a bad news which requires her to rest her hand a bit now. Send her all the love you can, everyone!
That’s it for now. We’ll send more news soon, hopefully better ones.
We hope that you appreciate our project, and if this is the case, don’t forget that you can always support us either through Patreon (USD) or Tipeee (EUR).