I am implementing a new type of crossword puzzle in GNOME Crosswords this summer. The current options are static crosswords of ‘known’ location. My project does the opposite, where it takes the words and places them wherever we can get the maximum amount of connections between the words. The pinnacle of this is a DFS backtracking algorithm because we want the words on the grid to be malleable in their placements in order to include the next word going down the list.

Previously, what I had done was attempt to erase the word letter-by-letter recursively writing NULL to each cell. However, this removed every element in the string, including the letter shared at a node between two words, leaving a gap in the word left in place.

My most current version instead focuses on state preservation. Before we even write a new word to the grid, we read the existing state of cells with focus on those connections. Now when the recursive function attempts to place a word that ends up being impossible to connect with the current setup, we look for those ‘?’ characters, erase the string, and rewrite the cushioned letter to leave the other word fully intact.

Imagine a board with CAT written across the center, and we want to place MACAW on the grid vertically. Before the algorithm writes MACAW, it inspects the board at the calculated intersection point(s) and reviews the cells of the string length.

Cell 1: Empty, Cell 2: Empty, Cell 3: C, Cell 4: Empty, Cell 5: Empty.

The board saves this state in memory using a ‘?’ in place of the empty cells as ‘? ? C ? ?’. Hypothetically this makes our board look temporarily like this in memory:

?

?

C A T

?

?

MACAW is written to the grid and then checked in the next recursive function call to ensure if it can be kept or not in that hypothetical place. If it runs successfully, we leave it as is:

M

A

C  A  T

A

W

If it returns false, we need to backtrack and erase MACAW. Rather than totally erasing the word like before, we send the ? ? C ? ? state back to our overlay function – which is responsible for writing to the grid. If it sees a ‘?’, it empties the cell. If it sees a letter, it rewrites it. That way we are only backtracking and erasing the word creating an obstacle in our program. MACAW is erased, CAT remains there for the next word to be attempted.

It’s been 4 months since I was officially laid off . It’s been good and I can honestly say I’m doing my best work.

Icons for Demostage, Gitte, ChiPass, and Wardrobe

What I’ve been up to

• Bobby has been accepted into GNOME Circle
  • I’m back as a GNOME Foundation member
• Started the weekly app icon initiative
  • 20 app icons created so far
• Good progress on the SparkleShare reboot in Rust
  • The new CLI mode is ready for testing

Happy to announce that with your help I’ve reached the first milestone of 64 monthly sponsors .

Thank you! More good stuff is coming. :)

// TODO : Introduction //

This interview took place over April 21 - 23, 2017. In addition to Jehan and Liam , Simon Budig , Aryeom Han , and Americo Gobbo were also involved and asked questions.

IMAGE SUGGESTION : Head shot/profile picture of Liam

---

Jehan: Hello Liam!

Liam : Good evening.

Jehan: First of all, could you introduce yourself?

Liam : My name is Liam Quin. What do you want to know about me? I’ve been using GIMP for over 300 years, since 1997 or 1998. I’m not sure – ‘98 I think.

Jehan [laughing]: Not very good with mathematics.

Liam : Not very good with mathematics, numbers, no - I’ve heard of them. Computer science, got that – don’t need to be very good at maths to get a degree in computer science. Although I should have specialized in maths – and digital typography is my background, and I think my first love.

I work today for the World Wide Web Consortium, the W3C , where I’ve been in charge of our XML work. Now I do CSS and accessibility and some payment stuff and some SVG stuff, all sorts of things.

Jehan: Okay, so what has been your involvement with GIMP ?

Liam : I’m just a hanger-on, a time-waster. I throw bricks from the side, I make suggestions. For a while I was the official spiritual advisor to the GNOME project, but I believe I had to give that up when Bush was elected. I was, actually, if you look at the foundation page you’ll see me there. I just met the people at a GNOME GUADEC conference years ago, and decided they were really good people.

I’ve been using GIMP professionally. I run a small stock image company and the images, both photographs and scanned images from old books, I clean them up with GIMP and do creative work with them and sell them. The GIMP team has been responsive when I needed changes or when I wanted changes, and very occasionally I’ve even made some patches, although not very many.

Jehan: Maybe you can tell us what you like about GIMP , what you don’t like about GIMP ?

Liam : What I like least about GIMP is the name, because I work in accessibility. So for example, I can’t wear the GIMP shirt at work because there will be people who are upset.

[Editor’s note: More information about the name and where things currently stand ]

But I like most about it is that is Free Software. That I have a right to change the code, or to pay someone else to change the code if I can’t. That it runs on free platforms, such as GNU /Linux systems. I like that it’s in a language I can read. I particularly like that it’s got a lot of functions, it does a lot. It does pretty much everything I need. I can imagine it doing more, I can imagine a program that I would just say, “Scan this image and clean it up for me”, but we’re not there yet. I actually have to do work, including creative work, to repair image. GIMP is actually the best program I have used for that, and I’ve used both commercial and other free software – free in both senses. I’ve found that GIMP has features that are really good for cleaning up scanned images.

IMAGE SUGGESTION : Picture of Liam in GIMP shirt or with GIMP banner?

Americo: What do you think about artists using GIMP ?

Liam : I think artists, people approach art from all sorts of different angles and direction. And some people want something very immediate, which you might find in MyPaint for example, where you open MyPaint and you don’t even have to do File → New , it’s just there, and you can start drawing.

And at the other extreme, there are people who plan a drawing for a long time, maybe draw careful pencil sketches and build something up over a period of hours, days, months, even years. And within those, there’s people who are very precise, work with numerical angles, will write a little programming script to create a particular effect – and there’s other people who will want to do lots of experiments and choose the one that works best.

I think what we’ve been seeing is that the user interface of GIMP has been changing. There’s been a move towards supporting the spontaneity a lot more. The early GIMP was really aimed at the people who thought about their art more than – as I see it – more than just sitting down and painting. That’s actually why I think my husband would prefer MyPaint to GIMP . He said he hated GIMP , and part of that was because he was taught Photoshop at university. Universities shouldn’t be teaching specific programs, they should be teaching the underlying skills, they should teach image editing, not a particular version of a particular program. But you spend so long learning one program that you get really tied to it.

But we also have the fact that GIMP has been more – um, people have this left-brain, right-brain categorization which turns out to not have much basis in reality, our brains don’t actually work that way – but GIMP is more “left-brain” than “right-brain”. Not as extreme as Inkscape or Illustrator for example, where you can’t even do a brush stroke, you do an outline really, unless you fight the tool.

So there’s people doing fabulous, professional artwork - really good quality artwork with GIMP . It doesn’t suit everyone, but if it does suit you, it’s absolutely awesome. It’s got lots of features. I don’t know of any other art program where you can control the brush size with a MIDI keyboard, right. That might sound really weird, and yet, I can imagine holding a MIDI device in one hand, or using one foot to control a MIDI device, because it exists, a pedal for example, and wiring that to brush size and that could be really interesting.

So yeah, GIMP is fine for doing professional art, but as an artist you’ve got to figure out which tools you’re going to use. When you walk into a gallery and you see paintings by the old masters, you look at them and they stand out. They’re called masters because they’ve mastered the technique, and they think about what they want to do, and the technique becomes – as far as the observer is concerned, watching them work – they’re not thinking about how to achieve the effect they want, it just happens. In actual fact, some of them probably spent a long time thinking about the effect they want, but it doesn’t seem that way.

Some people say it takes about 10,000 hours of work to become a master in something if you practice it. I think you can become a master in digital painting, in multiple tools, and GIMP is one of them. It’s a strong one, but it doesn’t have to be the end of it.

Jehan: Does your work in W3C have maybe any relationship or link with GIMP ?

Liam : We have stronger links to Inkscape actually. The strongest link to GIMP a long time ago was the PNG support, because the PNG image format was jointly developed with W3C and IETF . The Inkscape work, SVG , is on-going, and even though it hasn’t been implemented the same way the programs, it’s already pretty useful. But there have been other overlaps such as color management and compositing, for example.

IMAGE SUGGESTION : Image of Liam at W3C ?

At one point I reached out to someone from Adobe who was working on CSS compositing, and who knew about the internals of Photoshop, and he came and joined the GIMP IRC channel and talked with people there about color models and compositing. So in some ways I’ve tried to encourage communication. And I think the culture of the web, the web has really done a lot for free and open source software. More people are using free software now than ever before, because of free web browser and free web tools. So the work that we’re doing at W3C certainly relates to the GNU project, the GNOME project, the GIMP project – both technically, legally, socially. So there’s links in that kind of way. But I don’t think we have a whole lot of direct contact.

Jehan: What do you see in the future of GIMP ?

Liam : I suspect that the long term future of GIMP is that these native toolkits are going to get replaced with webpages and Javascript.

Jehan: So you mean GTK +?

Liam : I expect eventually there will be a Javascript to replace GTK . In ten years time, I think GIMP will be running in a web browser as a web app in some way.

Jehan [laughing]: Seriously, or is that a joke?

Liam : No, I was completely serious. And the reason I think that is, what the web has done is it’s assimilated – like the famous Borg – it’s taken over all sorts of things. Native clients for particular applications have gone away whenever it was feasible to replace them with a web app. 25 years ago – can that be right? In 1995, how long ago was that? 22 years ago… I was in a conference in Ottawa, for document management systems. And these all had proprietary desktop clients that were basically GitHub. That you loaded a proprietary client, and it had a button to check out a file, another one to check it back in, open it in editor, show differences.

And there still are proprietary clients for git and CVS on Windows, for example, there’s TortoiseCVS and friends, but I wouldn’t want to bet my business on something like that today. Because someone else would come along and make a web-based one, and it would work almost as well as mine, as best as I could do. And it would cost them a tenth a cost to develop it. They could sell it for much less than I could sell mine, it would be easier to support – I’d be out of business. And in fact, almost all of those document management companies have gone out of business. I think there’s two left of the ones that was at that show, and one of them has been bought by AutoCAD. So, I think we’re going to be replaced – the question is when, not whether.

Jehan: So we will be replaced, or GIMP will go to that format?

Liam : One way or another. That will depend on the people, whether the people are willing to do that change, and they’re around when it happens.

Jehan: And so GIMP would run remotely on some server?

Liam : It’ll run in your web browser.

Jehan: So still locally, but on your web browser?

Liam : Yeah, I think so.

Simon: So this is my question. When you say Web page or Web browser, you’re not talking about Software as a Service.

Liam : No, I’m actually talking about a program written in Javascript or something that compiles into Javascript, more likely. What they call a transpiler these days.

Simon: But users doesn’t necessarily have to realize it’s doing this, right?

Liam : No, correct. They’d look identical for all we know, because every GIMP window would just be a browser window.

Jehan: It’s funny because Mitch had basically a question about this. Did you read Mitch’s message?

Liam : Yes I did.

Jehan: He had a question about Javascript, and we kind of laughed about it.

Simon: Yeah, but this was a different Javascript approach.

Jehan: Javascript for the UI .

Simon: Yes, but not necessarily via a browser.

Liam : I’m expecting gegl.js to happen, let’s put it that way.

Simon: In some ways I think it’s even already happened.

Liam : It has already, because people have done the automatic translation. But what you really want is something written to take advantage of the browser’s own image processing capabilities whereever it can, so it actually goes fast.

Simon: And, for example, having a WebGL backend or something.

Liam : Yeah. I mean, things written in the browser, in Javascript, can actually be reasonably performant now, they can go reasonably fast. I just think it will happen. If it doesn’t happen, what will happen is someone will write – people are already writing – one of the many photo-editing applications and art applications that are happening as web apps now, will take over. Because there will be 20 million users of the one, and 5,000 users of the other, probably. But that would be sad because there’s so much work that’s gone into GIMP . I would like to see it carry on, but I just think that the future may be running in web browsers.

I don’t know for sure. I mean I’m not sure I like it. I’m not saying drop everything and do this now, but I am saying “ keep your sword at your side, for you know not when the hour will come ”. That’s a Biblical quote – they’re actually referring to the end of the world [laughing] .

Jehan: Is there something regarding your work with GIMP , for your stock image company - is there anything in GIMP that you’re really looking forward to? A feature or planned change, to really help your daily work?

Liam : Yeah, actually. I think that non-destructive editing when that happens will really help me. Because the ability to go back and conceptually edit the graph, for example, to have a check box – not saying you’d do it this way – but imagine having a checkbox by each entry in the undo history, and being able to deselect one of them and see what the image would be like if I didn’t do this. You can’t actually implement it like that inside GIMP , but that’s a way of thinking about how it might look.

IMAGE SUGGESTION : Image from Liam’s stock image website?

Because quite often I would do something like a 10, 15, 20 pixel radius blur to get rid of screening artifacts, and then I have to do several other operations and scale the image down and sharpen before I get an image I can sell. I can’t sell a blurry image, but I can’t sell one that’s made up of lots of dots either. So I have to get rid of the dots and I do that either by blurring or wavelet decompose or something like that. And then I do other operations, and I discover some time later that I didn’t use the right radius for my blur, because the challenge is to use the smallest radius that gets rid of all the dots. If I use too big a radius, I get an image that’s too blurry to sell. If I use too small a radius, when I scale the image down, the dots come back when I sharpen it. So I can imagine being able to go back and just change that radius, and have GIMP show me the result of the scaled down image, and I can see “Yes, great, that was the right number!”.

So the non-destructive editing will be a big plus for me.

Jehan: You also have a very interesting use case, which is that you work on very, very big images.

Liam : I hear that a lot from GIMP people. I hear it a lot from photography people. I never hear it from print people. People doing graphic design with print, are not surprised if an image says it takes a gigabyte of memory for one layer.

[Audible gasp of shock from the audience]

We have people who come to the GIMP IRC channel, say they do work for print, and they’re editing a 20,000 by 15,000 pixel image in RGB mode and it’s going a bit slowly, and what should they do about this?

Jehan: Yes, of course you always have people who have bigger images, but what is a typical size for you?

Liam : Well, that is a typical size. I was editing one yesterday that was 3.6 gigabytes when I first opened it, just one layer. And I scan in high resolution because people typically want a detail of an image at large size, and also because I can produce higher quality images than most other people. And if you’re a small company, you’ve got to have an advantage over the big companies. The big companies have millions of mediocre images and I’ve got thousands of really good ones, so people come to me. And it works.

IMAGE SUGGESTION : Another example of Liam’s stock images?

There are some issues with GIMP . I mean, 16 gigabytes of memory is a minimum. My laptop’s not really good enough for the larger images, it has 8 gigabytes. My desktop has 32 gigabytes and that’s okay, as long as you don’t use multiple layers. You start using too many layers then you have to be careful.

Jehan: Do you think that GIMP handles the images well?

Liam : Pretty well. I understand that compared to two or three other image editors that I’ve use, it seems very slow with these images. An example is if I do Curves , after pressing Okay I might have to wait 5 minutes, whereas in the other editors I don’t have to wait at all.

The reason for that though is that they’re doing the work in the background, and they’re just showing me the preview image, what I can see on the screen, and then they’re applying curves in the background to the full image. And every now and again you catch up and the program tells you to wait for no obvious reason, so it’s a trade-off.

Jehan: So do you think it’s better what we’re doing, or do you think…?

Liam : I actually think in most cases it’s better to do the work in the background, because after I’ve done Curves, I probably want to look at the image and think for a minute about what to do next, and the program could make use of that time. But I’m also aware that there’s a lot of optimizations that has not been done to GEGL yet, and it could well be that the bottlenecks could be improved a lot. So I’m not too worried about it right now. It’s usable, there are places where it’s slow, and I’m not too worried.

Aryeom: I want to hear about your typography.

Liam : Yeah, I have a background in typography.

IMAGE SUGGESTION : Example of Liam’s typography

Aryeom: And you have another art style.

Liam : I do, I’ve done other art, yes. I do calligraphy as well. But the calligraphy I do is done with pen and ink and gouache and paper. That’s partly because I don’t have a tablet. So this week I actually got to try graphics tablets, thank you, although I discovered it didn’t work with GIMP 2.9 properly, the preview version. It did work with 2.8, and I think I could get use to drawing with a tablet. So that was quite interesting – I wasn’t sure before. And it would be quite interesting to do some calligraphy with a tablet. But with calligraphy I’m use to looking at the pen, positioning it between pencil lines and thinking about each stroke. I think working with a tablet would be more like brush calligraphy than paint calligraphy, but I don’t know.

The hardest thing I’ve found is that the tablet’s surface is too smooth. So the bite of the paper, as they call it, which slows you down when you’re drawing, is an important part of calligraphy.

Jehan: Someone was telling me about Wacom tablets, and other tablets I think, where you can put paper on the tablet and you actually draw on it. Have you seen that kind of stuff?

Liam : I see! I hadn’t thought of that, that would be really interesting. And the computer would record the drawing while I made it.

Jehan: You can even do it while the tablet is unplugged, because it will record it and then later you can plug it in.

Aryeom: Yes, but it’s vector.

Jehan: Maybe vector, yeah.

Aryeom: Can you send us your work?

Liam : Yes I can. I can send you some pictures, yeah. Some of it has been published so that’s quite nice. I had a calligraphy piece that was used on the front cover of Time magazine, so that was quite nice. I don’t often get phone calls from the art director of Time magazine, so that was a surprise.

IMAGE SUGGESTION : Cover of the Time Magazine with Liam’s work on it

Americo: I have a question. Do you have any advice for users, artists, photographers who think about or consider using GIMP ? Do you have any advice on how we should approach it?

Liam : I suppose it depends on what you’re trying to achieve and your personality. So if your personality is that you just like to go and do things quickly, as I said earlier. If you want the MyPaint style where you just go and do, but you want more richness, which GIMP gives you. For example, you might make a set of images which are blank or mostly blank, and basically use them like templates. You just double-click on an image and GIMP comes up with that blank image, and then you start. Which is much easier than doing File → New and using a GIMP template . Then you can just start painting.

I mean you could ask people who paint. We have people like Americo here, who is doing fabulous stuff with making his own brushes from patterns in the clipboard and with paint dynamics, and really spending a lot of thought into exploring the tool and what it can do.

And you have other people who say, “All I want is something like a charcoal stick with undo”. Or you have people who want things more like an engineering drawing. I occasionally do text-based art with GIMP . I’m more likely to use Inkscape because it has slightly better typography. And these days I’m more likely to use a web browser and CSS , because I can get the OpenType features which I can’t in GIMP or Inkscape. If you’re a typographer, being able to use the font properly is important to you. GIMP is very, very limited at this time, it really is. But it has it, and it’s the only thing you can go back and edit afterwards. So from that point of view… [laughing]

I think the biggest two problems I hear with people using GIMP , one of them is they haven’t found Single Window Mode. If you’re not someone who grew up with XWindows and applications having 25 windows, you might it really cluttered and difficult to manage. So then you get switched to Single Window Mode, which I use. Even though I used XWindows as early as 1988 I think.

Simon: It’s the default now, at least for 2.9.

Liam : I’m glad it’s the default. It’s not perfect, it was never finished, but it’s more approachable.

The other default that people often have to change is the tile cache size . If you’re working with print images especially, then you need to change the tile cache size to be three-quarters of your physical memory or maybe more, depending on what else you’ve got running. You want as much in memory as possible without crashing your system, and it can be a hard trade-off.

Americo: Something I often discover is that people try to “get” GIMP by trial and error, and I’m not sure if this is the right approach to software as complex as GIMP . I’ve tried this with Paint Shop Pro and also Photoshop, and I didn’t get far either. I always have to turn to the manual.

Liam : I believe it’s deliberate that you can’t in Photoshop. Paint Shop Pro I don’t know about, it’s been years since I used it. But I suspected – don’t know this for sure – I suspect that in Photoshop, what they’re trying to do – you use to get this from the Debian community as well – the idea is to make something hard enough, it’s a trial by fire. You make something hard enough, that people have to put real emotional effort into learning it. And then they’ll stick with it through thick and thin. Because they’ve put so much emotional effort into learning something so hard.

Photoshop and Illustrator have an interface where there’s hidden buttons in the toolbox. You hold down the mouse pointer over one of the little squares in the toolbox and eventually a hidden secret drawer opens and more tools appear. There’s no way you would discover something like that, right, it’s not discoverable. The way that you find it is the manual or a tutorial.

So for GIMP , probably the best of the books I’ve seen for learning GIMP is called “ The Artist’s Guide to GIMP ”, and I love that guy’s tutorials. He says things like, “To start with, press D on the keyboard to get the black and white default colors. Now press X to exchange them. Now you’re drawing with white.”. And telling you things like that, mean that the tutorial will work regardless of your previous settings. He’s teaching you a way of using GIMP where you don’t mess yourself up, and if you don’t mess yourself up, you have much more confidence to explore.

IMAGE SUGGESTION : Cover of The Artist’s Guide to GIMP ?

So I really love his tutorials. He explains, he says how you can do things by clicking, or by using the keystroke or by using the menu. It’s really, really well done. So that’s what I have suggested to people who want to learn GIMP , is that particular book. But other people prefer video tutorials. I don’t have patience for video tutorials – just tell me! But a lot of other people like them.

Aryeom: If I want to make a tutorial, is there any advice on the best way?

Liam : I’ve done some tutorials that people didn’t like, and some that they really did like. And the tutorials that people really did like are the ones where you’re teaching, and at the same time you’re not assuming. So you don’t assume that people know jargon, you don’t assume that people know special names. If you start off in a tutorial saying “The first thing you’ve got to do is add an alpha channel to your image, and then divide the hypotenuse by the cosine of the vertex”, you’ve lost three-quarters of your audience.

IMAGE SUGGESTION : Screenshot from Liam’s teaching sessions, online or in-person?

If instead you say, “We need our layer to be transparent so that we can see things in the lower layers through it, and to do this, we have to use a menu item called Add Alpha Channel ”, then what you’ve done is you’ve taught someone what alpha channel means and why they want to use it. So instead of just saying “Do this, do this, do this”, if you teach people a little while, you’re also writing a tutorial that’s more robust. Because it might be that in a future version of GIMP , the menu moves. So you can build in notes. You can do things like say, “If you can’t find this, you can use the slash key to search for things in the new release. This is how you do that”. And then you might make a tutorial that’s robust and that people follow. Because people get really upset if they find a tutorial for GIMP version 1.2 and they try to follow it and it doesn’t work. So then they find a tutorial for some other image editor and they try to follow that and it doesn’t work, obviously. And they get angry and swear at us, and maybe they come to IRC and say your program is full of worms and your mother was a raspberry tart! And we say, “Why are you saying this?” and they say this tutorial doesn’t work!

You can’t write something that’s going to be proof against future completely, but you can write something that’s going to be a little bit robust, and that teaches people and keeps the sense of delight and fun. And if you do that, people will enjoy using your tutorial and learn from it, and you’ll have fun.

Aryeom: Thank you for the advice!

Liam : I’m hoping to do some tutorials this year for scanning images, working on scanning images from books, old books, published, printed books.

Jehan: That’s good – for gimp.org?

Liam : Yeah, I hope so. One of the things I’m really hoping for is the XSane project makes a version of their GIMP plug-in that works with the new release, with 2.9, to do high bit depth images. Right now it’s restricted to 8 bits per channel. My scanner can do 16 bits per channel, RGB , it’s A4 or Tabloid size. But in fact XSane crashes if I try to do that.

Jehan: So you scan with another software?

Liam : I scan with XSane, but I have to save it to a file and then I have to open the file in GIMP . And that’s actually a pain for me, because the point at which I choose the file name, the book is still on the scanner, and my file names are usually the page number in the book and the caption as the file name. But if the book is on the scanner then I can’t see what page number it’s on, so I have to remember beforehand to write down the page name, so it’s a pain. So if I’m scanning six images or something at once with the plug-in, it arrives one after the other in GIMP . And a fabulous GIMP feature, not in any of the other software I’ve used, is that I can be scanning one image with a progress bar going along, cleaning up another one, and saving a third one, all at the same time. And that’s three times the throughput that I get with other software.

IMAGE SUGGESTION : Picture of Liam’s scanner setup?

I’ve been to places where they’re scanning books professionally, and they have three, four, five computers in a row, with multiple scanners. So you start scanning on one, then you move to the next one, start scanning on that, go back to the first one, start cleaning it up, go to the next one, start that one scanning, go this one, start saving the image – because that other proprietary software could only do one of those things at a time. That’s still true today.

So by using the plug-in I get much more throughput, so I can have the scanner going – and it can take up to 20 minutes to scan an image, and it can take up to 5 or 10 minutes to save an image. For GIMP to export an image to PNG for example, can take 5 or 10 minutes if it’s a several gigabyte image going to a hard drive. So, it’s really nice to be able to work effectively with multiple threads. I like that.

So I should write some tutorials because GIMP really is better than anything else I’ve used.

Aryeom: I will translate it to Korean because I’ve seen someone on a Korean website asking how to scan in GIMP like this.

Liam : Okay! Maybe they’ve already written a better tutorial than I will, we’ll see. I’ve been doing it for more than ten years. 1999, I think, I started my website, fromoldbooks.org . So it’s going to be coming up to 20 years old before too long. Some of the books are 500 years old.

Jehan: And you’ve been using GIMP since the beginning?

Liam : I used GIMP early on. I had a period when I was writing a book and the publisher required me to use Microsoft Office, so I was on Windows. For a lot of that time I was using other software. I actually end up using Paint Shop Pro because it had something like, what GIMP calls a corrective or reverse transformation.

Jehan: And GIMP did not have it?

Liam : GIMP had it, but GIMP wasn’t doing well on Windows at the time. And the other software I had, Photoshop, did not have anything like a corrective mode that was as useful. GIMP ’s corrective mode is actually better because it’s a grid and not just a line. The Photoshop one, as I recall, you draw a line on something that should be horizontal or vertical. But in most scanned images I’ve got, they’re hand-made engravings, there isn’t going to be a definite horizontal or vertical, because it’s an artist’s sketch. So I have to choose what looks best. I start out by getting the grid roughly right, clicking rotate and seeing what happens. Flatten the image to get rid of the corner artifacts and seeing what it looks like. And if it looks okay – with experience you can most of the time do it first time.

One of my few patches to GIMP in fact, was to change the undo history to say what the angle was. This way, I can do an undo, even half an hour later, I can see what the angle was and I can say, “Well, that was just a bit too much, I’ll try reducing it just a bit and try again”, and usually second go I get it right. And that’s an example of it being an open source free/libre software. I was able to contribute a patch, which Mitch kindly rejected, and I was able to redo it, and get it in the right format. And he incorporated it – and then I think he wrote it even more. Looking at the code yesterday I discovered – it’s a year or two since I did the patch – I looked at the patch and discovered it’d been rewritten even more, which is good. But that simple patch has saved me, cumulatively, hours and hours of work, just knowing that information. Because I might do two or three rotations in a sequence, then go back and undo them and do a single rotation, because you degrade the image slightly when you rotate it. And if it takes 10, 15 minutes to do a rotate of a large image, then saving two or three attempts at rotation everyday has saved me a lot of time, you know.

IMAGE SUGGESTION : Screenshot of GIMP workspace with undo history showing the angles?

So that’s all part of why GIMP is so fabulous. That, and being able to come onto the IRC channel and say a particular thing is really slow. The first time I did that, it was Sven at the time years ago, he couldn’t believe it was taking me 20, 25 minutes to rotate an image. He looked at the code, and he had me do some profiling, and then he said “Oh”, and made a one line fix. And it went down from 20 minutes to 2 minutes the next time I recompiled GIMP , ten minutes later. Same day! A fix on the same day. In the libre graphics world, in the free software world, that’s not unusual. In the “I’ll make a support ticket with my vendor” world, it’s not unheard of but it’s pretty rare. So that’s been a real plus.

Sometimes the developers will say “No, we can’t make that faster because…”, or “We won’t, because we’re going to replace it”. But there’s been a few occasions when GIMP has been faster because I’ve gone into the IRC channel and said I profiled this, or here’s a patch, or can someone fix that. So it’s been fabulous.

Jehan: I think we’ve asked most questions. Is there anything you’d like to say that we didn’t ask you?

Liam : Yeah. The biggest thing I think we have to do, is get a message out to the world that GIMP is perfectly suitable for professional use. It’s aimed at professional use, and people are using it professionally, successfully. It’s not a second choice, it’s a first choice. It’s not because I can’t afford this other program, or because my principles say I don’t eat meat, or I don’t use programs beginning with P. It’s a first choice – it’s actually better for what I’m doing then any other program I’ve used, and I’ve used a lot.

So we need to get that message out a lot more, and we need to have more confidence in talking about GIMP . We’re close to it, we see all the problems, we have visions that we know are not happening, and yet, we forget sometimes that we’ve got something really really good there. And we need not be ashamed to say that.

Aryeom: Why do you think people are sometimes ashamed or don’t have confidence to use GIMP ?

Liam : I knew a chemist once who worked in a jam factory, where they made marmalade and jam. And he saw what the jam did to the steel containers where they mixed it. And they had huge steel vats like the size of a small building, like a big mixing bowl. And the jam is highly acidic, and it would eat the steel. And he said he would never eat jam again, after seeing how jam was made. But you know, if you make jam at home it’s no better. It’s no better than any other food, or worse – alright, it may have too much sugar in it. Or it’s like the sausage maker who knows what goes in the sausage.

We’re aware of all the problems, and we’re aware that we have visions of how GIMP could be in some other universe, and it isn’t. But that’s okay, it’s what it is. The fact we can say, the text tool could be improved so that after you scale the image, text is still text for example. We can look at that and say “Yeah, that’d be fairly easy to fix but we’re busy”. But we still have a better text tool than a lot of other programs, you know, even without making any other changes. We’re too busy to go look at other programs – and perhaps worried too about intellectual property, about using someone else’s design. But the truth is, GIMP is better than, in many ways – not perfect, not saying that – but it’s better in many ways than we realize.

IMAGE SUGGESTION : Liam’s artwork

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Links

Update on what happened across the GNOME project in the week from July 3 to July 10.

GNOME Core Apps and Libraries

Glycin ↗

Sandboxed and extendable image loading and editing.

Sophie (she/her) announces

Version 2.2.alpha.6 of glycin is now available. The version brings support for reading and writing the pixel density in JPG, PNG, and TIFF images. The data is now also accessible via the “Image Properties” in Loupe. A prominent application of this feature is to store the DPI used when scanning an image, which then allows users to print the scanned image in the same physical size as the original document. This has been one of the last features that was missing to achieve feature parity with gdk-pixbuf, which we plan to replace with glycin. Support via gdk-pixbuf glycin loaders will be added soon.

Glycin now also reads OpenEXR images that use half precision floats into the same memory format, saving half of the memory compared to the previously used single precision floats. Support for the Radiance HDR format has been added as well.

The lcms2 library has been dropped in favor of moxcms , which is written in safe Rust and improves the performance for images with ICC profiles noticeably. Internally, there is now a mechanism for a loader to report if ICC profiles or CICP (HDR instructions) should be preferred, since this differs between image formats.

Sophie’s work is funded by the GNOME Fellowship program. You can support the fellowship program via a donation .

GLib ↗

The low-level core library that forms the basis for projects such as GTK and GNOME.

Philip Withnall says

The default network monitor in GLib, a netlink implementation of GNetworkMonitor , has been significantly updated by Sorah Fukumori to improve its performance. This will particularly help on systems with large routing tables (like servers), but should benefit all users. More details in https://gitlab.gnome.org/GNOME/glib/-/merge_requests/5222 .

Emmanuele Bassi says

GLib now requires a C11 toolchain to build itself, and to build projects that depend on GLib. All supported compilers—GCC, Clang, MSVC—are compliant enough already, so nothing should change for GLib users. More details, and future plans, in https://gitlab.gnome.org/GNOME/glib/-/merge_requests/3574 . Also, you can always check the toolchain requirements in the GLib repository.

Miscellaneous

Sophie (she/her) announces

July is Disability Pride Month! I used the occasion to write a blog post share my thoughts on accessibility in GNOME and the current state and potential ways forward, like establishing a Accessibility Team.

• Accessibility in GNOME

GNOME OS ↗

The GNOME operating system, development and testing platform

verdre reports

We published a blog post announcing a new project as part of this year’s Prototypefund to improve testing and development workflows on image-based OSes like GNOME OS.

As part of this we’ll build a new app (tentatively called Test Center), to install and manage experimental versions of apps and system components (think Apple TestFlight, or the old Mozilla Labs), along with a number of other improvements to the system component developer story.

If you’re a developer using GNOME OS we’d love to hear your input on this! What is currently most annoying when developing and testing your software, which workflows are awkward in a fully image-based world, what are tools you’re missing, etc.

https://modal.cx/blog/image-based-for-developers

Third Party Projects

Sjoerd Stendahl announces

This week I released on update to Lockpicker, a new application to recover passwords from their hash. On top of some minor UI tweaks, Lockpicker now allows you to import multiple rule files simultaneously. Also, a nice new quality of life update is that you can now undo your action when you removed a module, rule or wordlist.

Note that you are going to have to provide your own hashcat rule files to Lockpicker, these are widely available at different Github repos. A future update in Lockpicker will focus on creating rules yourself straight from the UI.

Get lockpicker from Flathub!

Phosh ↗

A pure wayland shell for mobile devices.

Guido reports

Phosh 0.56 is out:

Phosh now supports hiding and disabling applications. This is useful on immutable systems where software from the base images can’t be uninstalled. We also added a load meter status bar plugin that can be enabled to show the current system load as a small graph. The Wayland compositor phoc now uses wlroots 0.20.1 and the on-screen keyboard now allows to set keyboard layouts per application. This can be used to e.g. force a terminal layout for the text editor you’re using for programming on your phone 🤓. We also added key-repeat for keys in the shortcuts bar like ⬅️⬆️⬇️➡️.

There’s more — see the full details here .

Flare ↗

Chat with your friends on Signal.

schmiddi announces

Flare version 0.21.0 was released this week. Besides fixing linking (which broke on the latest version of Signal), this release contains a new backend-library for the Signal integration, flare-backend . This should make maintenance as well as developing new features for Flare a lot easier in the future. As an example, this release fixes some weird behavior with edit messages, and adds support for group labels. I have written a short blog-post introducing flare-backend if you are interested in reading more about it.

Shell Extensions

amritashan says

Automatic Theme Switcher ↗

Automatic Theme Switcher is a GNOME Shell extension that switches between light and dark themes based on the sun at your location - sunrise/sunset, dawn/dusk, golden hour, or your own custom times. Set your location manually or detect it approximately with one click.

This week version 11 landed on extensions.gnome.org, adding support for GNOME 50 (the extension now covers GNOME 45 through 50). It follows a major update that brought per-monitor brightness control, including external monitors via DDC/CI, gradual brightness transitions that ramp your screens gently down for the night and back up for the day, a manual override that respects your Quick Settings toggle instead of fighting it, Night Light synchronization, and a live countdown to the next switch in the preferences window.

Source, issues and feedback: https://github.com/amritashan/gnome-shell-extension-auto-theme-switcher

Christian W reports

OmniPanel is an extension that provides advanced Multi-Monitor window management to improve productivity.

It features smart-autoplacement of windows in configurable zones. It also renders the Gnome top bar on every screen (something that is not yet native to Gnome today)

Features:

• Top bar on every active screen, including active Extensions
• Window tiling with Zone designing and auto-placement
• Stack specific windows in Zones
• Auto-tiling capability without needing to draw zones
• Use either the mouse or hotkeys for switching/moving

To install, find it via “OmniPanel” in Extension Manager natively.

Source: https://github.com/cwittenberg/omnipanel

Install via Gnome extensions page here: https://extensions.gnome.org/extension/10049/omnipanel/

Youtube demo (with audio): https://www.youtube.com/watch?v=c7JNV20OV8k

That’s all for this week!

See you next week, and be sure to stop by #thisweek:gnome.org with updates on your own projects!

GIMP is Free and Libre Open Source Software , but none of it is possible without the people who create with and contribute to it. Our project maintainer Jehan wanted to interview the volunteers who make GIMP what it is, and share their stories so you can learn more about the awesome people behind GIMP !

Early interviews from co-maintainer Michael Natterer and Michael Schumacher were published shortly after the first Wilber Week . The remaining interviews from this event, about Simon Budig and Øyvind Kolås were published years later as a revival of the series. While these interviews are a bit old and reference outdated versions and features of GIMP , we believe they still have value and show the evolution of our community.

This next interview is the first one recorded at the 2017 Libre Graphics Meeting in Rio de Janeiro, Brazil. The subject is Nara Oliveira , co-founder of Estudio Gunga . She is a Brazilian artist and advocate who uses free software exclusively to develop professional works in many fields, including design, illustration, and animation.

This interview took place over April 21 - 23, 2017. In addition to Jehan and Nara , Simon Budig , and Aryeom Han were also involved and asked questions.

Nara Oliveira, CC - BY - SA

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Jehan: Hello Nara. Can you introduce yourself to the people?

Nara : My name is Nara Oliveira. I am a Brazilian designer. I am from Brasília, the capital. The city name is Taguatinga. I study design and today I work with free software. I have my own company with some partners and we work in audio, video, design, and animation.

Jehan: What is the name of your company?

Nara : Gunga . Gunga is an instrument from Capoeira. We have the berimbau with the “calabash”, I think – it’s an instrument from Capoeira.

Jehan: Okay. From what we understood, you mainly use free software

Nara : Yes.

Jehan: Mainly, or only?

Nara : Only.

Jehan: And which ones in particular?

Nara : I use GIMP , Inkscape , MyPaint , sometimes Krita – I’ve tried it – Scribus , FontForge , FontMatrix , and others like everybody uses.

Jehan: Do you use Linux?

Nara : Yes, Arch Linux .

Jehan: So full free software from start to end! Okay, and why do you do this?

Nara : When I heard about free software and Linux, I was working in a cultural space. I was working with theater and with drawing, and we already have that culture of sharing things and sharing knowledge. So when I met these guys in free software, they told me about what GNU and Linux were and the philosophy – and when I heard about it I fell in love with it. Because I already think that way, and so free software is applying what I think is right onto software and onto technology. So for me it just makes sense.

So I started to use this software. In the beginning it was difficult to make the transition, but with some time I got into it.

Jehan: So you made a transition from proprietary software?

Nara : Yes, from proprietary software to Linux.

Farid: When was this?

Nara : When? Ah, let me count…

[group laughter]

I was not finished studying then, so like around 2006 or 2007 I started. I really started to use Linux and everything for working in 2008, for everything.

Jehan: So you studied design in university?

Nara : Yes, in university.

Jehan: With proprietary software?

Nara : Yes, with proprietary software only. But my university was not so focused on software. In five years of studying, we only had one class about software. And as the class went on, everyone already knows how to use it! So it’s like a class that has to be on the curriculum, but it’s not like you have to use – it’s more like conceptual.

Estudio Gunga Presentations and Workshops, by Nara Oliveira, CC - BY - SA - 2025

Simon: Something I do a lot is that - I’m a software developer mainly, so I do a lot of my own tool development. Like I have a specific problem and I know there is an algorithm in my mind that I know would solve the problem (or might solve the problem), so I start implementing my own tools for very specific, very weird tasks, because I can’t do it with GIMP .

Nara : I would like to do that!

Simon: So this is what I wanted to ask – do you have programming experience? Do you have an idea of what it means to develop software?

Nara : No, but I think I have an idea – but I do not develop programs. I’ve studied a little, but it’s not like I can do something. I can see the code lines and know more or less what’s happening, but I can’t write lines by myself.

Jehan: You’ve told me that sometimes you will see some scripts and guess what it can be, and change the numbers…

Nara : Yeah, but more in insights and not in the programming itself.

Jehan: Since we’re doing this interview for gimp.org, what can you tell us about GIMP ? How do you like it? How do you hate it? Tell us everything!

Nara : [Laughing] The first thing is, I like GIMP . I use it a lot. My work and style is more vector, but I use GIMP a lot and I like it.

When I made the transition to free software, until today one thing I didn’t like is that you don’t see the effects. You have do something, turn back, “Oh no!” - I have to change two, three points here, then I have to undo and do it again and come back. For me, it’s one of the things that makes the work not fluid.

I’m so happy to see GEGL on-canvas effects.

[Editor’s note: This feature was already implemented in the development version of GIMP 2.10, officially released about a year after this interview.]

Jehan: So, some other comments on GIMP ?

Nara : Yeah, I really like it but, for example, I have some problems with my tablet. When I bought my first tablet, it simply didn’t work on GIMP . And I think it’s because of that, I use MyPaint. Because I have to work, and I have to work right now and the pressure doesn’t work, so what can I do with my tablet – so I found MyPaint, and I started to work with MyPaint, and it’s because of that I use it. Not because I think it’s more powerful than GIMP – it’s just because of that. At the time I liked it, and today I still use it.

[Editor’s note: GIMP 3.0 improved many issues with tablet support that were mentioned here.]

Jehan: So MyPaint is your main software?

Nara : For drawing, yeah. Because I am a designer, but I’m an illustrator too. So for illustration I use MyPaint, just for that. For small drawings, I use vectors in Inkscape, and so on.

I use GIMP more for photos, for editing, composing, correcting photos.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC - BY - SA - 2025

Jehan: Yesterday when we spoke, you had this nice example of a job you did with Scribus. Like your first job with free software, I think?

Nara : No, my first book.

Jehan: Ah, your first book, not your first job with free software. Could you tell it again, now that we’re recording?

Nara : I was called on to make a big book, like three hundred pages. There was little time to do it, like three, two weeks. I am from Brasília, and they said you have to do it here with us to get it quicker. I traveled to Bahia to do it, and when I arrived there, there were two other designers. It was funny because I worked in Scribus, one worked in Corel Draw, and the other one in InDesign. So you had three designers, three different software.

Jehan: And three different operating systems.

Nara : Yeah, and three different operating systems, and we had to do one book, the same book!

So we met each other and said “Okay, let’s do it!”. We separated the book into pages, so I would do the first one to 100, the other designer would do 101 to 200, and so on. And we together figured out how the design of the book would be, and the rules to make each part feel like the same book.

So we started, and just like that, I finished first! I was worried, because I had not used Linux for too long, and if there was something wrong in the software or in the distribution, I would not know how to fix it. One of the designers had Mac and the other had Windows and I was so worried.

But it went well and I finished first – and it was very encouraging for me. It’s just a tool you know? I can do it, he can do it, she can do it – everyone can make it, so I was very happy. Because in the beginning I was worried about everything going wrong, and that there would be problems when I saved the PDF and printed it, but it was all okay.

The book was about experiences with, we call it here “ apprentice to Griô ”. It’s from the French language, because it came from Africa but a country that speaks French.

It’s like an old master who teaches the people around them, the community, something – knowledge about herbs, which can be medicinal herbs, or teaches about techniques about how to construct instruments, or make music, or dancing – like masters of Brazil, of all Brazil. So it’s because of that it’s a big book!

Years later, in the north of Brazil, when the waters came and filled the houses in the city – a flood. I was seeing that on the TV there was an old lady with her flooded house beside her, everything destroyed. And she had that book in her hand. She was crying because her house was destroyed, but she had the book, and she was happy she still had the book even though she didn’t have her house anymore.

So it was a meaningful project, and it was the beginning of my using Scribus.

Jehan: Are there things sometimes you feel you are not able to do with free software? You already answered this yesterday, so I’m just asking again to hear you saying it.

Nara : When I see art – art is everything, design is everywhere – I can’t see something and think about “I can’t it do with free software”. I can do it – maybe I can’t do it because of my creativity or because I don’t think about it, but technically I can do it, you know. We have the tools to do it. We have other ways, but we have the tools I think – in my area of design.

Simon: What would interest me is, you mention that you use quite a lot of different tools, like GIMP , Inkscape, Blender, Scribus -

Nara : Blender not yet, though I started animating in the timeline. In the movie that we showed , the first one that was in 2D, I animated parts of that.

Simon: But there are a lot of different tools that you and your colleagues use. When you start a project, do you pick one of the tools and stick to it, or is more like you start using one tool then transfer the result to a different tool?

Nara : Yes, it was like each tool was like a room of a house. I live in the house, there’s a lot of rooms, and sometimes I’m in the living room, other times I’m in the bed room, other times I go to the kitchen. It’s like I have a bottle, and I take the bottle here and there.

I don’t choose the software. I plan the project, I think about it, and think “How am I going to make this?” So I will start drawing in MyPaint. But I need it to be a vector, so I save it, open in Inkscape and add a vector. But ah, I need an image in the background. So I open the image in GIMP , I work with the image there, then import into Inkscape, okay. But oh, now I have to print it. So I save what I can save in vector I save in vector, and what I can’t save, I export. And I go to GIMP , transform it and edit it, and I take everything, go to Scribus, put them together, and make a PDF . More or less like this. I’m always going back and forth between the programs.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC - BY - SA - 2025

I think it’s very complicated, but for me it’s very simple. But when I teach things like that it sounds very complicated.

Jehan: Do you have any questions, Aryeom?

Aryeom: I feel like I am in her head. I totally understand – I work the same way. Maybe later if I have any questions I’ll ask.

Nara : I learned everything by myself. So I don’t like tutorials, you know?

Aryeom: You don’t like tutorials?

Nara : Yeah, I don’t have the mind to read or watch them. I learn all by myself. I think my way of working is just my way, because I learn by myself. And sometimes I get in touch with people who use the software too, I like to watch them because people do things very different that I do, and things more easily. And sometimes I teach the software to someone, and in two weeks or three, I go to see what the people are doing. “Oh my God, I’d never think of that way!”. It’s very fun because of this.

I don’t like to do workshops because of that. I think my style of work is very crazy. But we can talk about it!

Jehan: So right now you have a big animation project. So maybe can you speak about it?

Nara : Well, Farid is the director. He writes the script. I am the art director, but I also help him with the script and doing all the storyboards. I do it in MyPaint. I was a little worried because I’ve never done a storyboard before. So I study a little, see other’s storyboards, and make it for the animation. And we are talking with people who want to work with us on the animation – and I was happy because people always say “You have a beautiful storyboard!”. I was worried about that.

I think we are, I don’t know, opening ways. Because we are not a 3D studio but we want to do 3D animation, so we have to contact on a lot of other people in Brazil and Latin America, and even in Europe. It’s been like a dream to make it. And we want to make it very fine, very good, because today if you are seeing bad 3D, then you don’t watch it. Because you have Pixar, you have Disney, you have a lot of others. I don’t think that we’ll be like Pixar, but we have to do something very good and great to be seen, you know? I think this is our goal. We want to make something very nice, very good that everyone wants to see.

We’re telling Brazilian history of Quilombo , when there was slavery. Some slaves ran away and made a tribe, a community of their own and lived there. And these communities survive until today. And some of them have a lot of different cultures. It’s like they’re isolated. And the story is about one of these communities. In Brazil the agriculture is taking the lands of these people, because they have a paper that says “We own these lands”, but actually these peoples have been there for 300, 400 years.

So we are telling the story of a girl who lived in a community like this. And they’re being pressured to go out and leave their lands. The story is a fiction, but it’s based on real facts. This is the history. It’s going to be like 10 minutes, it’s a short one, but it’s a real movie and after it’s finished, we want to continue it. Make like episodes or a long movie – it’s just like a pilot. But we need the pilot to get a bigger step.

Aryeom: I feel so moved, because our ZeMarmot project is also like this.

Nara : Here in Brazil there’s a law, I’m not quite sure, that for free television and private television, 50% of programs have to be Brazilian programs. Because it’s all foreign programs, so the government says that 50% have to be produced here in Brazil. So I have a lot of opportunities in that way for animated series.

Jehan: So you plan to distribute on TV .

Nara : Yeah.

Aryeom: Why did you choose 3D? Why not 2D?

Nara : Because we love it! We really love 3D, we’re really passionate. We started using Blender, even for 2D, but we want to go to 3D you know. We have some experiences, and we like the visuals of the movie – we actually don’t work with 3D, but we want to. A lot of people do that – I think 2D is less expensive and -

Jehan & Aryeom [in unison and laughing]: I don’t think it’s less expensive!

Nara : No? We like 3D. We want to make it – it’s so popular for the kids, for everyone. We want this movie not to go to the festivals and stay there. A lot of good films here are made this way. The very good films go to the festivals, earn their prizes, and no one’s ever seen the movie. “Oh you’ve seen that movie? No!”. It will never go to the cinemas.

We want it to have the chance to become popular, you know, a lot of people really watching it. And 3D has this affection, people really like these.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC - BY - SA - 2025

Jehan: I know you said you also appreciate Creative Common licenses and stuff like that, so is this movie going to be under such a license?

Nara : Yes, it’s going to be an open movie! You can take the characters and make another animation by yourself. If you want to take everything, the characters, the background, everything, and animate another story, you can do this.

Jehan: Which license?

Nara : We haven’t thought about it yet, but the kind of license where you can make anything.

Simon: You said 3D. I sometimes have the impression that 3D in some way is more limited in what you can do artistically compared to 2D.

Nara : Yes, it is.

Simon: So this is not a factor for you?

Nara : No. Because in 3D, it’s like you said. If you’re doing a 2D animation, I don’t know, you can do a lot of types of techniques. Like it can be black & white, it can be color, or so many types – it’s like art in stop motion. 3D is different – you have a character, and you have the scenery, and the scenery is just the scenary. You can make some tricks with lighting and shading and colors, but it stops there. It’s an artistic limitation, I agree with that.

Aryeom: In your team, no one had any experience making 3D animations?

Nara : I animate, but I know how to take the characters and make them move. But I’m not an expert. Farid knows that too and know how to make a 2D animation in Blender. But 3D is a new challenge for us.

Jehan: I think also the question was, you are a designer so you usually work in 2D. So we would expect something who draws would want this drawing to come to life, than just doing the drawing and give it to someone else to make the actual final thing.

Nara : I have difficulties with this. I get tired of drawing very quickly. I can’t imagine myself drawing the same character more than, I don’t know, 10 times. I think I would die if I did that.

Aryeom: Haha, I’m dying!

Nara : It’s like my style. This book was difficult to me, because I had to draw the characters the same. They have to look the same every time I draw it. I don’t like that. I like to do one drawing and it’s over. They have to repeat and be the same. I like the work, but the process of doing the same thing is difficult for me.

Jehan: So you prefer to just draw something and let someone else repeat it again and again.

Nara : Yes, like the computer!

Aryeom: To make a series, an episodic drama, it’s easier to make in 3D. For long form, it’s good I think.

Jehan: Yes, for long form, but for short movies it takes longer due to preparations.

Nara : So it’s not my kind of thing.

[Nara hands out a book]

Nara : It’s by a friend of mine who wrote the story and he asked me to make the drawings. I don’t do a lot of kid stuff, but I like it. And it invites kids to draw at the end of it. It talks about what city do kids want to live in, and what city we want for ourselves. We have a lot of problems in the cities here, and I like the idea of book, to let kids dream about the city because we want that dream to come true.

Aryeom: What about Gunga’s future?

Nara : Ehh, I expect in the future that we have more people working with us. And we have more companies work with us with free software, you know. I’d like to get larger but not too larger. Because I want my life too!

Aryeom: Wise!

Nara : But I’m happy now because last year two new people joined the studio, and it’s a lot more fun to work with more people. We exchange experiences, and I think I want to grow in that way, to get a little bigger and get more partners. And work with more cinemas! It’s more difficult because it’s expensive to work with cinemas, working with animations. We like to do more for ourselves. We make a lot of productions, videos for other companies, for the government, so we’d like to do more for ourselves – like our stories, less for them, more for us.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC - BY - SA - 2025

Jehan: Okay, maybe the last question unless someone has something. Do you have any requests for GIMP developers? Other than on-canvas preview because we already have it!

Nara : I will see the new version you talked about after this.

No, I’m okay. I think I’ve used it for such a long time that I’m so adjusted to it. In the beginning I had a lot of issues – if you gave me a paper then I would fill it with “I want this, I want that! Why do I have this? I can’t believe it!”

But today it is so natural to me that I had to think about it before coming here, because I’ll be meeting people that I want to talk about it with. And I think well, there are little things I want to change in the software. But I think that I have this because I’ve been using it for so long. People are always comparing it with propriety software, and I don’t compare it anymore because it’s been such a long time since I’ve opened something like Photoshop.

So, I’ll think about it.

Jehan : But in the end it just works!_

Nara : Yeah. I’ve written some*, but not for GIMP , for Inkscape, Scribus…

[Editor’s note: Jehan misheard the word “some” here as “song”]

Jehan: Ah! A song for everyone but us?

Nara : I used an earlier version of Inkscape which had a lot of bugs. They just changed it and so I have just bugs for Inkscape. Bugs are bugs.

Jehan: Ah, it’s bugs, not a song!

Nara : Yes, for Inkscape. For Scribus, I have some issues with development.

Aryeom: So you have bugs for them, but you have requests for us. So it’s good!

Jehan: Ah, okay. I thought you’d wrote a song.

Nara : No no – I know my letters are beautiful but it’s not a song.

And I’m happy to meet you! Very happy. I don’t go to a lot of events like here in Brazil. I don’t have a lot of time to do that. And it’s like an investment to travel here because it’s very expensive and the country is too big, haha. So my involvement with free software is like in my community. On our street where we work, a lot of people use Linux because of us. It’s like a center, you know? Time to time, someone goes there, “Oh, I bought a new notebook, I want to install Linux, let’s do it together”.

I think my part in this is more local than global – in the community. I feel better like this. Real connection, offline. I’m not so close to the development here and the other artists. And most of them, they’re just show artists. They don’t really work with design, they don’t really live from this, you know? I tend to know people who live from free software. Most of them are professionals, who are really good at one software, but they don’t put food on the table with it. It’s a little different. I learn from them, but I want to know people who have real issues.

Because when you don’t work with it, you just experiment, you make your own goals. Like “I’m going to make this girl have make-up on her face”, and then you do that. When you work, another person puts a goal on you. Like, “Make this girl have a guitar”, and you have to find a way to do that. And the process when you make a goal versus when another person makes a goal you have to achieve, it’s very different when you’re working with the software. Because you have to go somewhere you’ve never went before. And it makes you use the software in a different way.

You understand what I’m saying? Because when I see the workshops, people are very good at doing something they always do. I want to see people doing very good things they’ve never done before. These things show the real potential of the software.

Jehan: And the potential of the artist.

Nara : Yes, and the potential of the artist. Because you can show me, Inkscape or GIMP is doing this new thing. But maybe I’m not going to use it just because it’s in the software. I’m only will use it if I need it. So, there are a lot of people who are experts in the tools and what the tools can do – to make it, you have to use all the tools combined. It’s different, it’s another level.

Jehan: Well, I think that’s a good interview. Thank you Nara !

Nara : Thank you!

---

Estudio Gunga

This year was the fourth year in a row that a bunch of display driver and compositor developers met for the Display Next Hackfest , to discuss, present, and tackle issues related to displays, GPUs, and compositors. Thanks to Collabora (Robert Mader and Mark Fillion specifically) for continuing this tradition!

(Check out the 2025 edition )

This time we met in Nice, France, after Embedded Recipes and right next to the PipeWire and libcamera hackfests. I took the opportunity to have a chat with the PipeWire developers about Flatpak, Portals, and the direction we would like to take in regard to video and audio access. Arun Raghavan has a nice summary if you’re interested.

That also brings me to another point: I have mostly stopped working on compositor and color-related areas. It’s not because I lost interest, but rather that I took over Flatpak and Portals maintenance. That by itself was taking a big chunk of time, but then LLMs became good at finding security vulnerabilities and now this takes more time than I have.

Before the hackfest, I sat down for one week and hacked on Mutter (the GNOME Shell compositor) to create a prototype with all the changes I wanted to do but never found the time for:

• dropping colord
• configuring ICC profiles and white point via the display config
• splitting our color transformation code to provide a color pipeline
• offloading color transforms to the KMS color pipeline
• achieving color-accurate white point adjustment and night light

With the prototype done, I made my way to Nice, taking a sleeper train from Paris and waking up to the Côte d’Azur in the morning. Then I met with Robert in the botanic garden, where he used his deep cross-stack offloading knowledge to test a bunch of video playback scenarios.

Over the hackfest days we found some glitches in the AMD driver, which were promptly fixed by Harry Wentland. We also had some discussions on strategies to do KMS color pipeline offloading, which prompted some changes in the prototype, and now have something we can start upstreaming.

For the KMS color pipeline, we got a new fixed matrix operation for YCbCr to RGB conversion, and new named curves for important video playback cases. We talked about control over the color format on the cable (which has been merged by now), as well as control over the minimum BPC.

Another thing that we all got annoyed by was all the funky colors our in-kernel console became when our offloading worked a bit too well. We’ve wanted a reset mechanism for KMS for a few years now anyway, so we decided to prototype it and test it on Smithay. Proper patches are now on the mailing list thanks to Maxime Ripard.

Mario Limonciello managed to push out patches for backlight support via KMS before the hackfest – another thing we’ve wanted for years. We tested them on Mutter, and KWin added support for it as well.

Xaver Hugl showed that we can easily support AMD FreeSync Premium Pro, the worst name for a feature that is essentially Source-Based Tone Mapping (SBTM). We also got good news regarding SBTM on HDMI. In general, it looks like we might finally get HDR that isn’t entirely awful.

DisplayID, the replacement for EDID, is going to become much more prevalent, and we discussed how we’re going to roll out support in the kernel and in libdisplay-info.

We once again managed to put enough wayland developers in a room for a bigger protocol change to get merged. This time it was multi device dmabuf feedback which made Victoria Brekenfeld happy.

There was a lot more happening — check out Xaver’s and Louis Chauvet’s blog posts.

Even though I wasn’t as prepared as the previous times, it was very productive and there was more actual hacking this year. I also enjoyed meeting everyone again a lot, hanging out in the water while watching the 1% take off in their private jets, struggling to find an adequate Döner, and eating lots of pizza.

Until next time!

• Up too early, mail chew, plugged at stats generation. Encouraging scripting call with Stephan and others.
• Sync with Gokay, Tracie, Anna & Laser, then Tobias & Thorsten, Alex & Victor, Anna & Timur then snatched lunch.
• Published the next strip: An interview with Brigit - who wants everyone to be happy
  
• COOL TC meeting, some hacking, chat with Dave, admin.

GNOME’s Code of Conduct is our community’s shared standard of behavior for participants in GNOME. This is the Code of Conduct Committee’s periodic summary report of its activities from October 2025 to June 2026.

The current members of the CoC Committee are:

• Anisa Kuci
• Carlos Garnacho
• Christopher Davis
• Federico Mena Quintero
• Michael Downey
• Rosanna Yuen

All the members of the CoC Committee have completed Code of Conduct Incident Response training provided by Otter Tech, and are professionally trained to handle incident reports in GNOME community events.

The committee has an email address that can be used to send reports: conduct@gnome.org as well as a website for report submission .

Reports

Since October 2025, the committee has received reports on a total of 17 possible incidents. Several of these were not actionable; all the incidents listed here were resolved during the reporting period. There is currently a total of 7 incidents in process.

• We were made aware of concerns regarding online comments made on social media by a GNOME Foundation member. Upon review, we found these comments to fall outside the scope of the Code of Conduct in this instance.
• Report about messages sent to a Telegram channel. Contacted the reported person about the inappropriate nature of the messages.
• Report about unfriendliness to newcomers in a localisation team. Asked the team lead to write down documentation on their procedures.
• Question about clarification on the CoC’s text; replied suitably since the question was not actually about the CoC’s contents.
• Tech support request; redirected to discourse.gnome.org.
• Malicious question; closed without reply.
• Report about homophobia; removed privileges for the reported person.
• Report about a Mastodon post which was subsequently removed. Reminded the reported person that Mastodon posts in the context of GNOME are also under the scope of the Code of Conduct.
• Report about two Mastodon posts which were subsequently removed. Reminded the reported people that Mastodon posts in the context of GNOME are also under the scope of the Code of Conduct.
• Report about a TWIG submission, not actionable as there is no violation of the CoC.
• Report unrelated to GNOME; notified the reporter and closed as non-actionable.
• Report about an interaction in gitlab.gnome.org. Reminded the reported person about how to politely deal with disagreement.
• Tech support request; already solved.
• Report about suspicious activity in Matrix; not actionable other than to keep an eye out for the reported person.
• Report about a person exhibiting bad behavior outside of the scope of the CoC. We will keep an eye on it.

Meetings of the CoC committee

The CoC committee has two meetings each month for general updates, and weekly ad-hoc meetings when they receive reports. There are also in-person meetings during GNOME events.

Ways to contact the CoC committee

• https://conduct.gnome.org – contains the GNOME Code of Conduct and a reporting form.
• conduct@gnome.org – incident reports, questions, etc.

The website repository, and the Code of Conduct itself and the committee’s procedures, are kept at https://gitlab.gnome.org/Teams/Conduct/gnome-code-of-conduct

The Code of Conduct Committee is happy to receive questions about the CoC itself and its procedures, and we will gladly assist you. Please use the communications channels listed above.

July is Disability Pride Month . I want to use the occasion to speak about my perspective on accessibility in GNOME and what I think we should do.

For disabled people, computers are often even more important than for abled (non-disabled) people. Many areas of everyday life are currently only accessible via a computer for many disabled people. Still, accessibility is often an afterthought in software and hardware development.

GNOME is fortunate enough to have many disabled contributors in its community. We have contributors who are visually impaired, deaf, autistic, ADHD, or who live with migraines and other chronic conditions. While we have people that care about accessibility and work on improving it, the general state is far from ideal.

The reality of tech communities is that they are often ableist and elitist. Probably more so than the average population. If a user or contributor struggles with a tool, blame is shifted to a “skill issue,” if an interface is simplified to make it accessible to more people, it’s “ dumbed down ”. Assistive technologies are often developed by abled people, without involving and paying disabled people. This also leads to an attitude where contributors expect gratefulness from disabled people for providing them with the most basic needs. All these issues are also not absent from the GNOME community.

What We Already Do

The goal of this section isn’t to boast about GNOME’s accessibility efforts. I believe that accessibility is a fundamental right, and nothing any disabled person is obligated to praise contributors for. Instead, the goal is to capture where we stand, and give other projects ideas they can adopt. Equally, I would be very happy to learn how other FLOSS projects try to work towards better accessibility.

Our review criteria for Core and Circle apps require checking if keyboard navigation, screen reader support, large text, and high contrast mode work. We also require sufficient contrast in apps, which we usually use the Contrast app to check against the WCAG requirements. We have shown that we are able to enforce these requirements by delaying the inclusion or replacement of apps until accessibility issues were actually fixed. That’s also an improvement GNOME has seen over the last years, since originally, no quality criteria for apps existed.

Many of the accessibility aspects are automatically covered by using our toolkits GTK and libadwaita correctly. I witnessed that accessibility is often considered during initial design and implementation. However, we don’t have any guidelines or requirements in GNOME for the development of these libraries.

The GNOME Foundation funded work on screen reader support in GTK 4 in 2020 and 2021. In 2023 and 2024, accessibility was also one of the larger areas the GNOME STF project worked on. That means both the GNOME Foundation, and the STF organizers were willing to allocate money for accessibility, which is a good sign.

However, accessibility is so much more than screen reader support. I think that GNOME’s general design philosophy is very important to being more accessible to a broader audience. This includes the focus on simplicity with good defaults, trying to avoid the possibility of misconfiguring the system, and the attempt to distract less. Translations, while often overlooked as an accessibility aspect, are another huge factor that makes our software accessible to so many more people. This shows that accessibility is hardly a separate set of features. Instead, it has to be considered as part of every area in a project.

Among the more “traditional” accessibility tools within GNOME are the screen reader, high contrast, reduced motion, always show scrollbars, sound over-amplification, input adjustments, and magnification. But equally important are the “Dark Mode” and “Do Not Disturb” mode, which are not directly labeled as accessibility.

How We Can Improve

Disability Pride is about being proud of who you are . But, like Queer Pride, it is also about fundamentally changing the society in which we live. Hence, for this year’s Disability Pride, I am also thinking of what we can change within GNOME.

Create an Accessibility Team

Except for a dedicated accessibility chat room, there is currently very little coordination for accessibility within GNOME. My goal for this month is to establish a formal Accessibility Team. My initial ideas for the team are to prioritize voices of those with lived experience, instead of having others make decisions for us. Nothing about us without us. In more practical terms, the team should help to maintain and develop guidelines and review criteria that are especially relevant for accessibility. The team should also review larger changes in the GNOME project that affect accessibility. Ideally, we could provide and user testing on accessibility features directly from the people who rely on them.

In addition to guarding the accessibility aspects of the software we produce, the team should also advocate for accessibility in our events, workflows, and tooling.

If you are interested in contributing, please reach out via #a11y or in our issue #1 . Let us know where and how you want to contribute.

Use This Month Yourself

If you are disabled, and you want to share your experience in FLOSS communities or have accessibility issues in GNOME or other FLOSS software, report the issues and/or post about them on social media under #AccessibilityInFreeSoftware .

If you are a contributor, see if you can tackle one of the roughly 450 open issues that are labeled with “Accessibility” this month. Try to broaden your horizons by reading articles from disabled people you know less about, or follow them on a social media platform. Embrace accessibility as a fundamental human right, not something disabled people have to show gratefulness for. Try to reflect on your language. Don’t use sanist language like “sane defaults,” using “good defaults” does the job. Ask yourself if you want to keep words like “idiot” in your vocabulary, knowing that “idiocy” was the first category the Nazis used to systematically kill people .

But also, don’t be scared of disabled people. We want to and deserve to be part of the community like everyone else.

Happy Disability Pride Month! Let’s build a desktop that is accessible to as many people as possible.

This blog post represents my personal opinions and not those of any organization I work for.