thegoodfellas/blogset-br huggingface dataset:
alla mostra allo spazio degli esordienti: Jeunes Talents.Nestes breves paragrafos da Sagramola sobre a producao independente o que ressaltou aos meus olhos foi o tipo comum de organizacao... em muitos casos sao associacoes, coletivos e ateliers. Em 2012, estive conversando com o Mozart Couto sobre como autoproduzir comics aqui no Brasil.Eu estive, na epoca, imaginando os processos e workflows de fanzines e pequenos livros ilustrados feitos em casa mesmo, mas com grande esmero e profissionalidade.O projeto nao foi em frente, por falta de tempo e organizacao logistica... mas lendo este relato e relembrando o recente post do IdeaFixa sobre o Narval Comix: http://www.ideafixa.com/narval-comix-no-calor-dos-quadrinhos, voltei a pensar que vale a pena repropor a coisa... quem sabe trocando experiencias entre os quadrinistas da nova geracao.Interessante tambem e vale uma atenta visao do site Feira Plana 2 [Feira de publicacoes independentes, ficticias, guerrilheiras e zines] e visitar o evento no MIS de Sao Paulo nos dias 8 e 9 Marco proximos, com dois interessantes workshops gratuitos (se for selecionado para o workshop... vou de seguro fazer um artigo aqui!).Leiam tambem o artigo do ideafixa: http://www.ideafixa.com/a-feira-plana-investiga-1 sobre o evento com analise de alguns fanzines.
deste trabalho tem propriedades bem interessantes, por exemplo, eles misturam com a cor propria (smudge) mantendo niveis adequados de transparencia (opacity) com um resultado aceitavel de mistura (empasto) da cor propria com aquela vizinha, ou aquela inferior ou a de cobertura (Color). Como escrevi no post anterior... tenho um texto de referencia para alguns do parametros dos pinceis do MyPaint... mas os parametros que usei na tecnica umida nao foram ainda realizados... mas vai ser necessario escrever algo pra facilitar as coisas no futuro e nas revisoes destes pinceis.Os atuais sets do MyPaint incluindo alguns alternativos disponiveis na Web nao conseguem resolver o problema a pintura umida com mistura de cores transparentes... tive a pachorra de testar e analisar todos estes sets e dai foi que pensei em comecar a projetar algo inicialmente pra mim... mas que no futuro tentarei disponibilizar os pinceis chaves destes conceitos sem fazer um set muito grande. Muitos destes sets atuais resolvem somente o conceito do smudge com a cor propria e com bons efeitos de watering... mas sem produzir nenhum efeito de mistura ou glazing de cores vizinhas ou de cores inferiores ou das de cobertura... para isto temos pinceis que em parte produzem o blend... mas sinceramente eu os achei bastante dificeis de usar... na pintura real o efeito da mistura e direto e imediato e isto torna as coisas mais divertidas e incontrolaveis... mas ao mesmo tempo controlaveis dentro do mesmo processo. Tendo instrumentos separados tudo fica mais chato de realizar e o efeito final, muitas vezes ressente o fato. Para pintura umida monocromaticas estes pinceis, no entanto, sao mais que ideais.Exemplo de pintura umida realizada no MyPaint com os pinceis default para este tipo de tecnica.Serie de pinceis nos quais estou trabalhando para pintura digital e acessorios afins.Exemplo icone no tamanho real.Estive tambem trabalhando na criacao de um set icones para os meus pinceis... mas que ainda estao em fase de estudo... queria poder realizar algo diferente e com um gosto mais classico. Os textos para nomear os icones estou usando alguns estudos sobre o sub-pixel, que ajuda bastante a dar definicao em textos minusculos... mas ainda precisa melhorar muito!O caminho e bastante longo e lento mas ja estou usando estes pinceis, ainda em forma provisoria, em alguns trabalhos andei publicando na web (veja o post anterior). O rough mais recente publiquei no g+, que tento resolver com maior coerencia e incidencia a questao do empasto da cor.Pincel redondo simples com algumas qualidades de empasto,transparencia e mistura de cor.
Percentual relativa de usuarios de Photoshop e GIMP nas principais redes sociais.Ultimamente tenho estado bastante ocupado em tarefas bem esquisitas e fora do contexto da ilustracao... mas mesmo assim estive estudando uma serie de temas para os proximos posts no Forks.Um destes esta relacionado com o GIMP e o futuro deste programa de edicao de imagens mas tambem de pintura digital. No qual, estou tentando participar ativamente da discussao nas mailings lists e de vez em quando arrisco algumas coisas no IRC. Mas sinceramente, tanto as mailings lists quanto o IRC sao coisas bem dificeis de engolir para pessoas que tem uma atividade mais criativa ou artistica... nao sao as ferramentas naturais destas areas.Entender o que pensam e como pensam os artistas e profissionais, poucos e sempre minguados, que usam software livre e com metodos mais atuais e uma necessidade sempre mais evidente e principalmente depois do surgimento das redes sociais.Entao para tentar provocar uma discussao sobre o do GIMP... eu andei fazendo uma pequena pesquisa nas redes sociais. Procurando os numeros que pudessem dar a nocao de usuarios que seguem os canais do GIMP nas principais redes sociais.A minha ideia, pode parecer bastante simploria (em parte o e ;-), mas como nao existe, que eu conheca, estimativas sobre os usuarios do GIMP, talvez as redes sociais, poderiam dar uma nocao da ordem de grandeza. Claramente e aproximada... mas na falta de algo mais confiavel e exato... pode ser um primeiro passo pra entender... o quanto GIMP e conhecido, seguido e talvez usado (o numero real de usuarios e complicado de achar com tal metodo).Eu usei este mesmo sistema para referenciar os usuarios de Photoshop... entao na ordem de grandeza e na relacao existente com o GIMP... o metodo parece ter alguma validade.O primeiro grafico que produzi foi pra investigar o total de seguidores de GIMP e do Gnome nas redes sociais [ver abaixo].Numero de usuarios de GIMP e GNOME nas redes sociais.Precisa ressaltar que no caso do Facebook, Twitter e do Flickr, o GIMP Oficial nao tem um account. Por exemplo o dado do Facebook e produzido por um search aonde o Facebook diz que existiriam um numero de possiveis seguidores ou interessados na palavra GIMP.Informando: desde de 27 de novembro de 2015, e presente no Facebook a pagina oficia. Este artigo foi feito no final de outubro e depois de um mes foi criada uma presenca oficial nesta rede social.No G+ existe a page... mas ela e pouco usada pra vincular novidades e tao pouco tentar incentivar a discussao em torno de temas espinhosos :-). O Krita tem muito menos presenca na rede, que o proprio GIMP e, no entanto, parece perceber com maior eficacia o quanto e importante a relacao com usuario... isto parece estar sendo feito muito bem com o site oficial deles. Na minha opiniao e necessario ter paginas oficiais nas principais redes sociais e manter informados os possiveis interessados e seguidores... e talvez o unico modo de criar massa critica, para que um bom numero destes interessados possam virar usuarios e por ventura colaboradores e ou
disseminadores do aplicativo. Temos que estar aonde os usuarios estao... dificilmente, na rua sem saida... mas muita conhecida pelos ja experimentados frequentadores... nao sera o point da maioria de usuarios e provavelmente nem caberao todos ali :-).As redes sociais sao um grande mergulho na heterogeneidade e dentro destas estarao todos os tipos de usuarios... aqueles amadores e ou hobistas... e aqueles profissionais e de alto nivel que dao brilho e lustro ao aplicativo.Com relacao ao Photoshop, considerado por muitos o rival... mas que sinceramente dados os numeros que estive analisando... tem muito chao ainda pra virar rival ;-)Numero de seguidores de Photoshop e GIMP nas principais redes sociais.Acho que era de se esperar um tal contraste (tipo no facebook o Photoshop possui 7 milhoes de seguidores contra os 54 mil de GIMP)... mas tambem serve pra dizer... que uma tal diferenca e tao grande... alguma coisa tem que ser pensada. Escutando e lendo o pessoal que usa GIMP... se da a entender uma relacao mais paritaria ou quanto menos nao tao critica como posso notar aqui destes numeros. Precisa pensar e tomar ato que as vezes as coisas nao sao como a gente imagina ou gostaria que fosse. Isto nao quer dizer que GIMP seja melhor ou pior... mas e util entender que se colocamos A em relacao a B... temos que ter ideia da ordem de grandeza no contexto que estamos usando A e B.Finalizando, os dados falam por si so... mas muitas vezes podem ser interpretados como a gente bem entende e quer... entao no meu caso... eu acho que a gente nao esta com essa bola toda e e bom mostrar o quanto na plateia somos em numero, e como tal, temos que bater bater palmas mais fortemente... pode ser que nao seja importante... pode ser importante, sei la... mas se quisermos ser escutados... primeiro alguem vai ter que escutar nossas palmas :-)Errata e corrige: onde se le 'Users' nos graficos e mais correto usar e entender no sentido de 'Followers' ou seguidores.
Samples of my gih sample matrix with 2 dimensions and the first brushseries based in this tutorial. The brushes are thought as bristle kind.IntroductionThe more important thing to build dynamic brushes with more than one dimension, is to imagine how it must works and the kind stains variations. To make dynamic brushes with many dimensions without this study, for me, don't make sense... because two things in special: is very difficulty to control and organize the brushes by kind, the effect is very randomly and is better simplify... all an unique dimension with random behavior.Dynamic raster gimp brush - the gih matrix in shortExplaining in short an way to understand how to build a n dimensions gih matrix and the final layers on gimp. For that Ill write few examples of matrix, with two and three dimensions.First case - 2 dimensions gih matrixTo understand better is interesting imagine the aspects as a possible change state... normally the aspects of 1st dimension modify the aspect of 2nd dimension, in this sense the 1st dimension aspects are a kind modifier of the 2nd dimension aspects.I've imagined a matrix with 2 dimensions, the first dimension with 2 aspects (random) and 2nd dimension with 4 aspects (angular). To calculate the number of necessary layers on gimp we must multiplied the ranks of two dimensions => 1st(2) x 2nd(4) = 8 layers.But is useful to explain a bit more how we can transform the aspects in the correct order on layers. When we talk about aspects... we are talking about the number of variations of the these aspects could have in stroke brush sequence. In many cases is useful to draw a sketch on paper to imagine how it works and mainly how it will be build.Box gih matrix array metaphor.The 1st dimension is formed by 2 aspects random (without and with up-down lines), each of them is a variation of 2nd second dimension aspects, in my case, without and with two lines that are up and down of stains of 2nd dimension.Aspects of my gih matrix sample.The 2nd dimension is formed for 4 aspects (Angular = 0, 90, 180 and 270 degrees), each one is different stain, in my case, I've make 4 images (one for each aspect):- - - | Hyphen dash line => 0. . . | Point dash line) => 90/ / / | (slash kind line) => 180\ \ \ | Backslash kind line => 270 - -90To make the combination of these aspects and to combine a precise layer order in gimp is normally the difficulty, so make a sketch of it. In my example is very easy to imagine... the lines up and down (without and with) that can be together of 2nd dimension image aspects can be exemplified so:Organizing the layers on Gimp.The sequence of layer is ordered by the first dimension aspects and applied in the aspects of the 2nd dimension:First aspect of 1st dimension1st layer: 1st aspect of 2nd dim (hyphen dash lines) without lines up and down. => 02rd layer: 2nd aspect of 2nd dim (point
dash lines) without lines up and down. => 903th layer: 3rd aspect of 2nd dim (slash lines) without lines up and down. => 1804th layer: 4th aspect of 2nd dim (backslash lines) without lines up and down. => 270 | -90Second aspect of 1st dimension5nd layer: 1st aspect of 2nd dim (hyphen dash lines) with lines up and down. => 06th layer: 2nd aspect of 2nd dim (point dash lines) with lines up and down. => 907th layer: 3rd aspect of 2nd dim (slash lines) with lines up and down. => 1808th layer: 4th aspect of 2nd dim (backslash lines) with lines up and down. => 270 | -90We need organize the layer by groups, those of 1st dimension and 2nd dimension.Explained in another way the general rule is:Groups of 1st dimension = Total layers / 1st dimension aspects = Layers per groupWill be 8/2=4 => this imply that we have 2 groups with 4 layers (the are the aspects of 2nd dimension).Each group of 1st dimension is divided by the number of aspects of the 2nd dimension, in this case 4/4=1, then we have one layer for each angular position, in total 4.How it worksThe first dimension is Random, so the aspects of 2nd dimension will be printed randomly, without or with the lines up-down, in all aspects of 2nd dimension:- - - | . . . | / / / | \ \ \The 2nd dimension is Angular, so the aspects are printed following the angular variation of stylus... in my gih matrix example this behavior have only 4 states > 0, 90, 180 and 270. Then the aspects- - - correspond to 0;. . . to 90; \ \ \ to 180 and / / / to 270 = -90.The gih array for angular behavior on gimp begins always with 90 layers, in my example are the 2nd and 6th layers.Sample of tests with gih matrix brush.The array isnt very precise with a short numbers of ranks to angular behavior... but is sufficient to use in the major part the correct stain aspects.Angular precision of angular gih with more steps.This sample was made with 8 layers... with 45 steps, is possible to see that the angular behavior precision depends by number of layers.Sample only to make a sample ;-)The brush is not created to drawing or painting... only to make a practical example of a 2 dimensions gih matrix, but the even so Ive made a sample ;)A few samples with the gih matrix brush example... only to have a picture ;-)ConclusionsIve been making gih brushes since 2008... and the gih matrix is a thing very difficult to understand... you need to be a developer or a mathematician ;-) I dont know but Ive studied this matrix many times in different periods... and is always a bit complex to remember all aspects. Then I thought to write this document, to make a big picture to help decide when we can to use this resource. In past, very recent, I was bit convict that dont have sense the gih brushes
with more that 1 dimension... but was a question of my difficult to understand how to use and make them an easy way.The main reason to make a gih brush with more than 1 dimension is related with some nuances of the stains, per example, in the series Variety I think very interesting to have a small random noise on the border of line strokes... but each case is a case... sometimes is better have only a gbr or a simple gih with only 1 dimension.ReferencesVideo about Gimp Gih matrix - Dimensions versus AspectsThe Gih Dialog Box
Image made on Alchemy to my palette tests.Personally I am a fan of the work based on color palettes ... this comes from traditional painting, where is useful to have a limited range of colors and the combinations are made on the palette.One reason to like palette of colors in the digital world is that this is a way to ensure consistency during the process of one or more jobs for the same client ... and why not the one to build a own particular style where the color also it is important element.In another article I will try to take a trip into some painting masters through a few centuries ... an epoch where the range was very limited and these days it is vast.In the digital world there are several software that enables you to extract the palette from an image, whatever they may be. The Gimp and Photoshop have the resources to do this easily ... then I'll talk about some methods for GIMP ... but that can be adapted to any type of editing software and imaging.Building color palettes from RGB images on Gimp [1]In Gimp and Photoshop is very easy to do palettes from image... perhaps on Gimp a bit more easy because the feature very specialized to make it. The feature is available directly on the Palette menu, making 'Import Palette'.Import Palette of an image in Gimp.In this example I have an indexed image with only 16 colors ... in this case the interval has no reason so it is disabled. This method of indexing the images can be quite interesting to have fixed and wearable palettes in Colormap Gimp. To create indexed palettes we have to use Image > Mode > Indexed. This argument deserves absolutely different and I will address it below.Importing a Palette from a 16 colors indexed image.The interval parameter that adjusts the groups of similar colors thus reducing the range of the palette. There is not a priori a fixed rule, but the best way to reduce the color range 'to the bone' would first restrict the number of colors.The second step is to choose the columns, but this does not influence in the selection but in the appearance of the palette ... if you are thinking a palette with only 4 colors ... then use 4 columns is the most appropriate number ... this number works well for palletes with multiple of 4 (8, 12, 16, 32, ...).Now the decision interval will be interactive ... as we increase the interval are created groups of more specialized colors at maximum saturation. The screenshot below exemplifies this case where the value of the 'interval' was restored and placed at most 4 and representative colors of the image.Adjusting the range of a palette from a 8 bit RGB image.Building indexed palettes [2]As you can see the palette obtained by adjusting the range of colors in the image above is representative of the colors. But the best method, in my opinion, is indexing the image and after to extract the color palette.The method uses
as a step to further filter Colors > Posterize where is possible determine the ideal amount of posterization, which largely coincides with the number of colors that I have in indexed image ... from there I import my palette with feature available in the Palette Menu > Import Palette.Original image without posterization yet.Posterized image with 8 colors.To build the best palette I realized that is recommend to posterize the image with the number of colors that best summarizes the main and most important colors in the image ... without thereby changing it radically. The following converts the posterized RGB image in the indexed image with 8 colors (below).8 color indexed image from the image posterized to 8 colors.As you can see the image is almost identical and we can now import the palette. The figure below shows the import of an indexed palette 8 colors and previously posterized image with the same number of colors. We note that all the major colors were imported correctly.Import palette from an indexed 8-color previously posterizedwith the same amount of colors colors.Both methods are valid, but surely work with indexed images is the best solution, but since it is submitted before the "posterization" and creating a summary of what we consider the acceptable colors to represent the image.Indexing the RGB directly, we have several surprises, as I had the opportunity to see ... for example the orange did not appear and was replaced by a very clear tone of this color. The conversion algorithm can depend on 'n' things... so to make two passes (Posterize and after Import Palette) is better ... since the Posterize is somehow in this process is already a good preview.The method of posterization, without transforming the image into indexed, can be particularly useful to extract colors with the import function of the Palette extending or restricting the range of colors as I detailed in the first part of the method ... i.e. knowing and controlling this process as well we can build representative palletes fairly easy and practical way.Sorting the colors in a Gimp palette according to different ways.If a color palette is definitely saved in the list ... this can be edited and can even arrange the colors according to different schemes.Palettes from pixelated images - Goya Case [3]Lucientes Goya and a tentative to simplified palette.In some cases the method of simplification by the "posterization" and successive image indexing ... may not work properly in these cases I advise you to build a palette based on greater palette, as one web based ... is a solution for those cases where certain colors insist not appear.Lady in red who could not extract with the basic method.As I tried to transcribe a palette from a painting of Goya (Lucientes) and color the lady in red was not included in the indexed image with the same depth that it had posterized image.Palette extracted with the web based palette ... and red is recovered.Surely the palette is much larger than the 12 colors which originally wanted to work. We can also apply an unsharp
mask that helps to saturate the image in a balanced way, but in this case not helped resolve because the red of the lady continued not appearing.A more interesting method for these cases is to apply a "pixelate" via GEGL and then import the palette using a suitable quantity and range ... in this case I used a range of 24 colors and 62 on interval, this interval is the limit when the palette start to get the full white swatch...Technique using the GEGL pixelate and then importing the restrictedpalette of colors and proper range.Each case is unique summarizing methodsIs important to do a previous analysis of the image and to choose the more ideal method ... but we can imagine rapid methods for the most part well-saturated and represented in terms of color ... images that would be the first two methods presented here [1] and [2] for images with ... a narrow range of colors such as this painting of Goya Case [3] ... we can build a palette of web based on top or else produce pixelate and thereafter recover a color palette ... It seems that the method of Pixelate is very good and representative for this type of problem.Gradients and color palettesSample the gradient of palette rescued 4 colorsinspired by the image of this article.In some works we can use methods of painting where we have to use instruments to which it is useful to support a gradient. In Gimp currently have 3 tools that allow painting painting with gradient: Gradient, Pencil and Paintbrush.A palette created from the same image we are working or on top of a palette of colors that we are using to paint the work may be transformed on the fly into a gradient ... and this is particularly useful if we use dynamic in which the Color parameter is used. In this case the purpose of "impasto" would be much more significant than using a strange palette to work.Colormap Palettes de imagens indexadasA colormap is just a color map and it works if I open an indexed image ... the tab Colormap has some interesting features ... one of them is to rearrange the index of colors.Another significant advantage to have indexed images to build pallets is that they themselves are already a palette of colors and can be adequately treated and edited in Gimp.If for example we're working with Pixel Art or related or even design your own simple icons ... the work is already palette.This type of palette can also be saved to the traditional standard of the Gimp with the .gpl extension.Making Palettes on Photoshop and in the WebPhotoshop seems pretty interesting this howto vimeo Harry Harmenik. Saving and putting the color palette in Illustrator.There are several very interesting applications in web ... I will only deal with those that extract colors from images ... because there are great apps that build custom pallets ... but without the ability to extract them from the pictures.Schema using Degraeve Colr.org.Following this idea my favorite are the Color Palette Generator and that