Some drawing I have been doing lately, but never posted.
For a moment I thought my browser woes would be restricted to shitty mobile browsers. But no, Microsoft came back with a vengeance!
My new project didn’t work in my IE. So of course, I checked which version of IE I had. I had 10. Briefly I was like “got to check if I can install 11” but the…
Bastion is really borked on ubuntu.
The sound is okay, the graphics effects are okay, but for some reason the hero moves like molasses, the controls are irresponsive, and inexplicably, the mouse is over reactive because they are measuring mouse data over a small portion of the screen instead of the full screen.
The later also means I can’t use my tablet for mousing either. Plus as a lefty I would have to switch around all the controls, because wasd :((((
I’m really annoyed because it seemed like such a fun pretty game, and it’s also the second humble bundle game I had to quit playing because of dumb control-issues :(
The fact that the ALA shared this link is so gloriously bitter and angry and I love it.
Is there a portmanteau for that? Angritter? Bangry?
My library card already gets me multiple “real” books, e-books, audiobooks, magazines and movies per month. For free.
Kindle Unlimited offers nothing from big presses, and no guarantee the authors will get paid fairly for their work. Libraries buy the book up front for a higher price (and a better binding). Kindle Unlimited offers the authors a variable percentage of a as-yet-undetermined-and-unannounced amount of money.
While Amazon touts Kindle Unlimited at “Netflix For Books!” the reality is Netflix signed contracts with everyone whose work they offer so that actors, screen writers, best boys, and the rest of those people get paid for the shows and movies you watch. Amazon does not.
That means your favorite author isn’t being compensated for their time or work. If you love a book series and want to see the next one get published: buy the book or hit the library. Starving authors quit writing because they like eating.
I couldn’t hit the reblog button fast enough.
So much reblog.
Touts…as “Netflix For Books!”
…you mean…A LIBRARY?
This makes me sick.
Signal boosting this in the hopes that someone decides to join their local library instead of supporting selfish, money-grubbing companies with no regard for a community. Please join me, this is important for our future.
Imagine if we had no libraries, and this $150 a month was your only choice.
That’s where we’re headed. Support your local library, not greedy corporate monsters.
JOIN YOUR LOCAL LIBRARY, USE YOUR LOCAL LIBRARY, THERE IS SO MUCH COOL SHIT IN LIBRARIES ours has an electric piano and language lessons and an art gallery and fucking cafe run by a pirate.
Kinda tempted to start playing dwarf fortress, but at the same time it’s 30 past midnight, and I know I’ll be facing crashes and bugs…
Crossposted from http://wolthera.info/?p=726
HSI and HSY for Krita’s advanced colour selector.
So, in the past few weeks, I spent some time hacking a new feature into Krita that I had wanted for a long time, and this monday I actually commited it. So, I figured it be best to make a little post about the new functionality.
The inspiration, no doubt, was a combination of MyPaint’s HCY’ and the artistic colour selector’s HSI and HSY.
Yes, that’s right, the artistic colour selector had these features al ready. However, the artistic colour selector did not update.
What is HSI and HSY’/HCY.
We’ll borrow an image from Wikipedia for this:
Image B, the HSV, we all know: The most colorfull colour is equal to white in this system. It more or less seems a definition of how bright a given pixel-component is shining.
This is not a great system to use for artists. It you want to make a tone ramp from black to blue to white, you first need to only adjust the value slider, until you hit blue, and from there you need to adjust the saturation till you hit white.
No, much more comfortable is image C, HSL. In this system you can adjust the lightness slider only to have a black-to-colour-to-white tone ramp. Saturation in this case is only reserved for going from a colorfull colour to grey.
But there’s still something weird about HSL: If you have yellow, which need both the red and green lights to be fully lit, and blue, which only need the blue light to be fully lit, then one is obviously brighter than the other? Yet, HSL sets both at 50% lightness.
So we get to our next system, the first of the added options:
Image A, component avarage, or HSI. This determines the Intensity of a colour by adding up all the components. So white(r+g+b) is lighter than yellow(r+g) is lighter than blue(b), which in turn is lighter than black(everthing at zero).
This also results in slightly more intuitive colour picking. But. It’s still a little weird.
Once you start to do measurements of how bright certain colours are, you end up with yellow being even brighter than it is in intensity. When doing so, you get Luminosity(Y). However, unless you have your screen fully colour managed, you can not really use this information: The RGB of your screen does not know where it is in the full extent of visible colour. To map this knowledge to RGB space anyway, image D, HSY’, Luma(Y’) was designed. Luma takes the components, and weights them before adding up.
This makes it even more intuitive than HSI. Though not as powerful as a system that maps to luminance correctly. Such a system, commonly LCH, can be made at this time, but to genuinely give proper feedback, we’ll need to implement colour-management aware colour mixing, also known as perceptual gradients. This will take a lot of work, so until now we stop right here.
Note of HSY: This is exactly the same as MyPaint’s HCY’. The difference between using C(chroma) or S(saturation) is not very clear to me. Officially, Chroma the colourful need relative to the lightning, and our cylindrical HSY’ formula would be justified in being called a HCY’ formula in that case. However, some say that only conical formulas are allowed to use Chroma. To explain, we needed to convert the conical formula to a cylindrical one so the colour selection would actually make sense. In the end I went with the artistic colour selector’s convention.
So what is the point?
If you followed the previous explaination, you should have a vague idea what it’s about.
But I’ll show you anyway:
The above shows the difference between colours at the same hue as two reds. Where in HSL the colours remain the most colourful colour possible in that hue, in HSI and HSY, the shifts try to maintain the relative lightness of a colour in exchange for it’s saturation being different. As humans are more sensitive to lightness contrasts than colourful-ness contrasts, these selectors are much more intuitive to use when painting.
So where can I find them?
In the advanced colour selector options:
Right now it’s a little difficult to figure out which is which, hence the little guide above. There will be a better choosing system in the future, but for now this works.
Triangle, here, is named wildcard, because while internally it maps to HSL, it is, in fact for all shapes the same! To have a difference between HSL, HSI and HSY’ triables, you’d need to dynamically change the proportions per hue.
You can also find them in the mypaint shade selector, which before could only do HSV. This is partially because it was the easiest place to implement them, but also because it is actually pretty useful to use the shade selector in these colour models.
I hope you will be able to enjoy the new selector options as much as I do!
It may not seem much, but I’m really proud of the above :3
Basically, it’s some code added to Krita to make for neater colour selectors. I’ll be writing a better explaination soonish.
Demo of the new Stablizer Smoothing option.
Another new thing in the build I just linked to… A new brush stabilizer algorithm, by Juan Luis Boya García. As demoed by Wolthera, one of our resident artists:
Try out the feature with the new build here: https://www.kickstarter.com/projects/krita/krita-open-source-digital-painting-accelerate-deve/posts/878909
Running a kickstarter campaign can be quite exhausting! But that doesn&#039;t mean that coding stops — here is one new Krita 2.9 feature that we prep…
After the successful release of Krita 2.8, the advanced open source digital painting application, the we’re kicking off the work on the next release with a kickstarter campaign!
Krita 2.8, released on Linux and Windows, has been a very successful release, with hundreds of thousands of downloads. The buzz has simply been insane! And of course, Krita 2.8 really was a very good release, polished, full of productivity enhancing features.
Part of the secret was Dmitry Kazakov’s full-time work sponsored by the Krita Foundation which provided Krita with an insane number of productivie and innovative features.
So for Krita 2.9, we are going for a repeat performance! And we’re going to try and double it, too, and have two people work on Krita full-time. Next to Dmitry, there’s Sven, who’s just finished university. Sven’s been working on Krita for about ten years now. That’s the first stretch goal.
And as a super-stretch goal, we intend to port Krita to OS X, too!
Together with our artist community we created a set of goals to work on, ranging from improved compatibility with Photoshop to making the transform tool the most awesome ever seen. Check out the work package for Krita 2.9 on the kickstarter campaign page.