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Review: Purism Librem13 laptop

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Intro


Last year Purism contacted me after they read on the Pepper&Carrot blog that my laptop has been stolen in the burglary of my house. At that time, they proposed me to contribute to my Pepper&Carrot project by sending me a shiny new Librem13 laptop. So, since October 2017 I have this laptop with me and because I saw a lot of curious on social network, I thought it was good time to make a review. In the last 7 month, I accumulated experience with this hardware (I took it for my course in Paris, conference in India, in Switzerland and recently in Poland...). I also could test three GNU/Linux distribution: PureOS, Fedora GNOME and Ubuntu 17.10. The question now: is this laptop a good one for digital painting on GNU/Linux ?

Unboxing:

In the past year with my previous laptops, I was used to "no-name" unboxing experience: cardboard colored style from e-shop who were just rebranding quickly and with minimum of effort cheap Clevo; so it's a good surprise for me to see the Librem13 was packaged with care and with elegant branded black and white box and a dedicated Quick Start Guide. It feels polished. The power charger is standard size as what we could see on the market since the last 15 years;  still too big for a modern slim PC laptop, in my opinion. The PC boot at first with dialogs to configure a preinstalled PureOS (Purism in-house GNU/Linux distro; very similar to Debian-testing with GNOME desktop).



General


Here is the spec of my Librem13:

CPU: Intel Processor, Two Cores, Four Threads, 3.10GHz i7-6500U.
GPU: Sixth Generation Intel HD Graphics 520.
RAM: Fast Memory Galore, 16GB, DDR4.
Storage: 250GB M.2 SSD.
Monitor: 13.3″ Matte IPS Display.
Case: Anodized Aluminium Chassis.
Video output: HDMI output.
Bios: SeaBIOS

O.S. for the test: Ubuntu GNOME 17.10



External case: It's a slim, minimalistic and beautiful object. The anodized aluminum case feels really high quality. I really like how the case is not branded with obtrusive logos or texts. It is just written on the bottom of the laptop.


  

Usability

The laptop is simple to use, there is no surprise from the hardware to software. Installing a new GNU/Linux distro on it is a breeze: everything just work and the SeaBios makes everything so simple (far, far away all the horrors of the modern UEFI!). I had no problem with Ubuntu or Fedora on it; it's clearly the type of hardware that has this potential of not being affected by many bugs related to hardware support. That's probably because Purism have all their in-house dev porting directly fix into Debian testing. I also like the fact it has almost the same size than my tablet Wacom Intuos4 Medium (see photo under) ; it's a good pair of hardware when I'm traveling. The laptop doesn't suffer particularly of being very hot and keep relatively silent all the time (I tested in the hot days in India). The sound of the fan is even not really loud while using all the power of the CPUs (eg. when compiling Krita or rendering scene with Blender).I also experienced opening the case to add or remove a SSD, something possible to do in 5 min without damaging the unit and with a simple small screw driver.



Performances

Digital painting:
Krita 4.0.x doesn't really suffer while painting on a A4@300dpi. It's the file format and resolution I use for the page of my webcomic Pepper&Carrot. Even when using large preset and the smudge brush engine it's still possible to paint. "Instant Preview" works also pretty well with the Intel HD Graphics 520; it has even less glitch than the more powerful Nvidia card on my workstation with Nvidia proprietary driver. The performance are correct but I wouldn't probably cross the 4K or 6K resolution with this laptop. Expect little slow down here and there on complex work but that something totally acceptable for an ultraslim laptop.
 


GPU: The GPU is weak on this laptop; don't expect doing hardcore gaming with it. Here under you can read on the screenshot the result of glmark2 and the Cryptohash benchmark of hardinfo. If you have a Ubuntu based O.S,  you can easily install glmark2 and hardinfo to compare this value with your own setup.



Blender 3D: The two core/ 4 thread screamed (silently, like a subtle and long PSHHHhhhhhh ) all they could but couldn't render the BMW benchmark demo file made by Mike Pan under 27min ( a Intel Core i7-7700HQ CPU can do that in 10min ).



Keyboard

At the time I received it, the Librem13 was available only with a QWERTY U.S. keyboard layout (recently, Purism added the German and Qwerty U.K layouts ). I type things since I'm a kid on French AZERTY keyboards. It's too hard to remove a so deep habit; so I opted for a little customization of the U.S. layout and I added Azerty stickers. The stickers are extra thin and I don't feel them under the fingers when I type, they just are glossier than the original plastic. After the transformation, it took me only two or three hour to type as fast as on my favorite keyboard and I really like the quality of it. Also, I like the Purism logo by default on the "super" key.


    click to enlarge    
(Up) While adding the stickers ; there is two plastic protection to them: one on top to peel after sticking it. They appear thick on the photo above because it was before peeling the overlay. (Under) The final transformation: I can switch easily the two layout and the keyboard looks special now and original. Notice also the two "Killswitch" on the top of the keyboard to interrupt on a physical level the webcam, microphone, wifi or blue-tooth (a very smart and effective privacy feature. )



The retro light in action.



Monitor

The 13'' ISP 1920x1080pixels monitor is not glossy and the anti-reflect coating on it is smooth and not grainy. So, all the artworks and graphics looks always sharp (and side note: it's easy to stick my Pantone Huey Pro calibrator on it).
 


The maximum light measured is around 220 cd/m² , very good for a laptop but the default colors are way too greenish out-of-the-box. It's possible to calibrate it to get something healthier and better color, because with default like that you can't paint any good colored artworks. This monitor definitely needs profiling.



Color space: a quick profiling ( software: Displaycal ) with simple settings reveals slightly truncated oranges and reds in comparison with sRGB ( normal if the monitor tends to be super green ). Another surprise: this monitor is able to display certain type of deep blue outside the human perception of colors. So, the ultra-orange color branding palette of Ubuntu doesn't look so fruity on this laptop while Fedora wallpapers will look really deep. But it's possible to create a profile to correct it. Especially if you worry about the effect of the blue light on the health of eyes.



DPI: the 1920x1080 pixels compressed into a 13'' offer 147ppi (pixels per inch). It is dense. Application like Inkscape needs to be setup with 170% in order to represents centimeters correctly on screen. Fonts looks really sharps on this screen and it's pleasant to do digital painting because it's easy to forget the pixels. It's always hard when I'm back traveling to re-adapt to my workstation with my 23'' monitor and the same 1920x1080pixels; it looks like pixel-art in comparison to the crystal clear rendering of the Librem13.



Misc

Battery:
The battery is really good for a GNU/Linux laptop. I was used to laptops with two hours maximum while typing and 30min while painting. This one can go almost to four hours while typing and 1h30 while painting. Sometime even more, it depends the backlight settings and your activity with it.

Video output:
The laptop is modern and proposes only one HDMI output. If you are used to connect your laptop to video projectors (for conferences/workshop) you'll need this type of active HDMI to VGA adaptator always on your bag.



Fingerprints and dust:
The black aluminum case looks gorgeous, but also really attract quickly fingerprints and dust. I don't consider it as a disadvantage as it force me to maintain the laptop clean when I travel.

LED:
The LED indicator for charging/power/wi-fi are on top of the keyboard; So if you fold the laptop, it's hard to see if it's charging or not. But I appreciate at the same time when I'm traveling the possibility to fold it and not be bothered by colored LED in the dark.



Conclusion


The Librem13 already has this charisma of a collectible-hardware; especially because it screams "made for GNU/Linux, privacy and freedom" from every aspect. This speaks hard to my heart of libre geek. But for my heart of artist, it is just a OK laptop: nothing less, nothing more. You can paint reasonably sized document on it, you can profile the monitor to get a 85% of sRGB. Nothing really special on this side except it works well: the Intel GPU driver collaborate well with Krita's openGL canvas and the two core / four threads CPU renders the stroke pretty quickly. All in all, I really like my Librem13 as my travel/conference laptop: I can still color artwork with it when I'm not at home, trigger the renderfarm of Pepper&Carrot and do all the task I can do with my workstation. I also appreciate how peaceful it is to reinstall a GNU/Linux distro on it, the silence and the design. So yes, this laptop is good for digital painting on GNU/Linux, without super performances -sure- , but good... and stylish!

Thanks again Purism (especially François Téchéné -creative director- and Todd Weaver -Founder, CEO- ) for the help after the burglary of my house; it quickly helped me to recover my tools and move forward for Pepper&Carrot conferences and digital painting workshop with this hardware. I hope you had pleasure to read this review on my blog; if you have more question about it or suggestion, feel free to leave a comment bellow.

External links:
- Purism website
- Librem13 page




Brush preset duo bundle for Krita

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Video with a quick description/demo of the brushes.

Here is a small brush bundle with two new presets I developed on the way of production of Pepper&Carrot episodes. I keep creating dozen of new brush on the way but they rarely survive two month or more without receiving tweaks. This two are stable, became favorites for a long period. So it was time to share them!

Download:

2018-11-09_Deevad-duo-brush-preset.zip

Install:

In short: download, extract, open Krita and go to Setting > Manage Ressources, press the Import Bundles button, and target the extracted bundle file, press Ok, restart Krita. Compatible with Krita 4.0 and up.

License:

This brushes are licensed under the Creative Commons Attribution 4.0  to "David Revoy, www.davidrevoy.com".
This attribution is necessary in case of redistributing, commercializing, or modifying the brushes.
This attribution is not necessary in case of usage (you can paint any artwork you want with it, you still own totally your artwork).
This attribution is not necessary in case of doing screenshot/screenrecording of Krita and have the brushes visible.

Krita alternate themes

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Seven years ago I distributed a set of theme for Krita that became the defaults. You can switch between a dark, a darker, a bright and a neutral already by just going into the top menu of your Krita, Settings → Themes.

But today, I share a new set of alternates themes I created for various reasons. I kept them so far on my install but today I made cleanup and kept five that merit to be shared. You'll find them under along with a description and a screenshot. The install and download instruction are at the bottom of this post.

Krita bright neutral

A theme a bit brighter than the Krita bright default and with a neutral gray selection color.
That's a color theme I use system wide on my Plasma desktop, but more rarely with Krita itself.



Krita midgray bright ice

This is a derivation over the default "Krita bright" theme. Slightly darker, this theme blend the background of the preset icons into the background of the user interface. I find this theme very convenient to draw my sketches or to do line-art, when working over white or bright gray backgrounds.



Krita midgray focus teal

A theme I created for a friend who liked a lot the default dark theme with teal highlight of the software "Clip Paint Studio" (eg: clip paint screenshot ). The colors differs a bit, because the user interface elements of Krita are really different but I think I did a correct work "eye-balling" the general mood.


Krita midgray focus blue

A derivation of the previous theme I did for myself but this time using blue as a color for highlight. I finally adopted it on long term. You probably saw this one since monthes on the screenshot I share on social network. The value is slightly darker than a pure midgray and it gives a "dark room ambiant" to create shiny color effect. Perfect for the colors I work on Pepper&Carrot.



Krita dark high contrast gold

This one was a request I get two weeks ago on the Krita IRC channel: a dark theme with strong gold color highlight on the selected elements to help in case of visual impairment with a strong contrast while keeping a dark user interface. After discussions with the requester of the theme to get an idea of what type of theme was efficient; we found an example and I took inspiration to the Yellow theme made by Mrtz found on this wonderfull thread the Blender Community made with many theme.



Install

1. Download the zip containing the five themes here: 2019-01-04_krita4-alternate-color-schemes.zip, 4KB
2. Open Krita, go to the top menu: Settings → Manage Resources and click the Open Resource Folder button.
3. Your file explorer now should open at the location of where Krita store your preferences
    (eg. Dolphin opens /home/deevad/.local/share/krita for me, deevad on GNU/Linux).
4. In this folder create a new folder named: color-schemes
5. Extract the five *.colors files you found on the zip inside the color-schemes directory. Like that:



That's all. When you are done, close Krita and re-open it. Now you can switch to the new theme going to the top menu Settings → Themes (tested on GNU/Linux and a Krita 4.1.x,  I can't test on Windows or Mac).

I hope you'll like them!

Licence: the zip and *.color files are CC-0 ressources, public domain.

Adding a Code of Conduct to Pepper&Carrot

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Over the years, the community around Pepper&Carrot has grown a lot. It has grown so much that nowadays the project has 44 members on Framagit (our main tool to manage the translations, renderfarm, website and also many other P&C projects) and our discussion channel on IRC (bridged with channels on Telegram, Riot/Matrix and Framateam) is followed by dozens of contributors from all around the world. This virtual place for Pepper&Carrot's contributors rarely sleeps and there is always someone awake around the globe to chat on it, 24 hours a day, 7 days a week. If I look back at the time when I started the project...this is just unbelievable and great! Thank you all for your presence...
But in the last months, we started to notice situations between contributors. What would we do when someone starts using bad words repeatedly? Some members of Pepper&Carrot's audience are quite young. Who would we contact in case of an act of racism or sexism? How to manage if we would have someone coming to our cool place with bad feelings? How to proceed to moderate this type of situation?

In order to answer these questions, two months ago we decided to start the quest to adopt a Code of Conduct. Craig Maloney (who leads the Pepper&Carrot Wiki, proofreads the English webcomics and helps at script doctoring) took this task upon him and invited the community to interact with his proposal of a CoC on Framagit. The thread, of course, quickly became a long debate and you can still read the archived comments of our internally famous issue 21 on Framagit.

But after weeks and probably hundreds of comments, the thread reached consensus and Craig finally pushed our CoC online yesterday. He made it into a very creative work and I advice you all to read it, I'm quoting here one of my favorite paragraphs:
"Hereva brings together a myriad of diverse creatures and cultures. Dragon Cows fly overhead, while fierce Phandas lurk in the forests. Spider Admins create a literal web of connectivity, and uplifted ants build rockets to explore their environment. We welcome this diversity in our own community, and bring our own unique backgrounds and preferences to help build this world. We recognize that we are all unique and we respect and celebrate that uniqueness in each of us without diminishing the uniqueness of others. We are committed to providing a friendly, safe and welcoming environment for all."
You can read the full version of our Code of Conduct in the documentation section of the website. Again, thanks a lot to Craig for writing this text and for the great management during the discussion phase. I'd also like to thank all the contributors who gave feedback on this text. It was mentally exhausting but we still managed to keep discussing with, as Craig put it, exemplary kindness.

Craig Maloney, Midgard, Valvin, and I are now the four moderators of the Pepper&Carrot project and you can check our profile and contact us on the moderator page. I've always seen unique kindness, peace, and a good mood in the P&C community since the beginning. Let's hope the CoC will help us protect it for years to come!

David.

Scientific Publication: Deep Normal Estimation for Automatic Shading of Hand-Drawn Characters by Trinity College Dublin

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M Hudon, R Pagés, M Grogan, and A Smolić  at Trinity College Dublin (Ireland) published last September a beautiful paper: "Deep Normal Estimation for Automatic Shading of Hand-Drawn Characters" and they decided to use the hand-drawn sources of Pepper&Carrot to run their test and illustrate the paper. I was very flattered to see Pepper and Carrot featured in this well-made study!  This research made me think of the 'Illuminate 2D shape' GMIC filter we have already in the FLOSS community since May (something I never really played with).

While this new auto-shading method might not be useful for me for shading characters (I prefer to do it myself), it might be super useful for a large scene with crowd, particles (stones, drop of water, magical effect, clouds), or many small objects (like my episode with hundreds of flying potions). In the conclusion, the authors wish to see their method (with more training of the neural network to reach a higher quality) being incorporated into the animation pipelines to increase productivity of high quality series and movies. For sure, these types of tools have a lot of potential.

You can read the full paper as PDF, watch a demo video and see the code (open-source but proprietary license) at this address:

Dream To-Do List progress: 100 fan-arts!

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Yaaaaaay! Yesterday you made this dream from my Dream To-Do List come true!

Fan-art #100 was sent by the therapist of a nine years old boy with dyslexia. The boy started to get interest in books while reading Pepper&Carrot with the therapist, who then bought the French version of the book during a trip to France. They played together trying to guess the text. She sent me very touching and detailed feedback along with this artwork, and that's why this fan-art feels so special to me :)

Anyhow, If I look at all the fan-arts, they all have a special place in my heart and all have unique backstories.So, a special thanks again to all the artists who sent them: Yalyn Vinkindo, Anastasia Mayzhegisheva, Arne, Tharinda Divakara, Coyau, RJQuiraltæ, Cfdev, Kari Lehto, Jesse Chris, Mei Yeom, Mei Yeom, Magda, Uncle night, Tessou, Will, Minh, JRocky, Neotheta, Chalo, Jana Kusch, Tyson Tan, Jana Kusch, Nicolas Artance, Stephan Bored, Aetoras, Burton Benj, Fabian Roque, Joern Konopka, Eirexe, Alca Torda, M1dgard and M1dori, Ismael Rojas, Cj Kolobok, Jay Wenegieme, Lucas Gelves, Bollebib, CupcakeAmande, Bruno Bellamy, Antti Hakosaari, Nikolai Mamashev, Alex Dalt, jean f, Patridb, Alice, Chloe, Baptiste Gavalda, Cmaloney, Raccoon Sama, Uyen Duong, Moochacinno, Ponder studio net, Roderick Gladwish, O J Fidelino, Damar Indra, heki9, Tom Doyle, Lal Kek, Jazambuja, Loentar, Pierre Sanchez, white fox 331, Jules, Schmuzart, Gucun, Sira313, Yalyn Vinkindo, Crecs, Saskia, Valvin, Caio Santos, markpajo, Seth Richard, flutterbest, Alina The Hedgehog, Chloé H, Lenialdz, John Wheel, Lilbooktopus, Ota Sam, SLywnow, Viraelin, Bazza, Nina, SLywnow, Lucie, Fabian Roque, and an anonymous 9-year-old boy!

You can check the full fan-art gallery here
(PS: you can still send new ones!)

Happy Holidays!

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I drew this sketch yesterday and posted it with my mobile on Framapiaf/Mastodon. I'm re-posting it here today for those who follow the project via RSS. I'll try to write a little update about the future episode 28 soon. Again thank you for following Pepper&Carrot and have all a good time in the end of year 2018.

Happy New Year 2019!

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A new year, a new cauldron; a new chance to do better potions!
I wish you all a Happy New Year 2019!


Krita alternate themes

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Seven years ago I distributed a set of theme for Krita that became the defaults. You can switch between a dark, a darker, a bright and a neutral already by just going into the top menu of your Krita, Settings → Themes.

But today, I share a new set of alternates themes I created for various reasons. I kept them so far on my install but today I made cleanup and kept five that merit to be shared. You'll find them under along with a description and a screenshot. The install and download instruction are at the bottom of this post.

Krita bright neutral

A theme a bit brighter than the Krita bright default and with a neutral gray selection color.
That's a color theme I use system wide on my Plasma desktop, but more rarely with Krita itself.



Krita midgray bright ice

This is a derivation over the default "Krita bright" theme. Slightly darker, this theme blend the background of the preset icons into the background of the user interface. I find this theme very convenient to draw my sketches or to do line-art, when working over white or bright gray backgrounds.



Krita midgray focus teal

A theme I created for a friend who liked a lot the default dark theme with teal highlight of the software "Clip Paint Studio" (eg: clip paint screenshot ). The colors differs a bit, because the user interface elements of Krita are really different but I think I did a correct work "eye-balling" the general mood.


Krita midgray focus blue

A derivation of the previous theme I did for myself but this time using blue as a color for highlight. I finally adopted it on long term. You probably saw this one since monthes on the screenshot I share on social network. The value is slightly darker than a pure midgray and it gives a "dark room ambiant" to create shiny color effect. Perfect for the colors I work on Pepper&Carrot.



Krita dark high contrast gold

This one was a request I get two weeks ago on the Krita IRC channel: a dark theme with strong gold color highlight on the selected elements to help in case of visual impairment with a strong contrast while keeping a dark user interface. After discussions with the requester of the theme to get an idea of what type of theme was efficient; we found an example and I took inspiration to the Yellow theme made by Mrtz found on this wonderfull thread the Blender Community made with many theme.



Install

1. Download the zip containing the five themes here: 2019-01-04_krita4-alternate-color-schemes.zip, 4KB
2. Open Krita, go to the top menu: Settings → Manage Resources and click the Open Resource Folder button.
3. Your file explorer now should open at the location of where Krita store your preferences
    (eg. Dolphin opens /home/deevad/.local/share/krita for me, deevad on GNU/Linux).
4. In this folder create a new folder named: color-schemes
5. Extract the five *.colors files you found on the zip inside the color-schemes directory. Like that:



That's all. When you are done, close Krita and re-open it. Now you can switch to the new theme going to the top menu Settings → Themes (tested on GNU/Linux and a Krita 4.1.x,  I can't test on Windows or Mac).

I hope you'll like them!

Licence: the zip and *.color files are CC-0 ressources, public domain.

Episode 28: The Festivities

Derivation: Pepper&Carrot Mini by Nartance

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Pepper&Carrot mini is a derivative webcomic of the Pepper&Carrot official. The story and artworks are made by Nartance who has also been contributing for years to the episodes, proof-reading and helping with the French translations. Nartance also wrote three long stories in French, hosted on the scenario repository (but this deserves its own entry on the blog, stay tuned).

Nartance works with Free/Libre Open Source Software: Krita and Inkscape, and you can also contribute to Pepper&Carrot Mini by translating via the dedicated Framagit repo. More information about Nartance on his profile on deviantArt, where you can also follow Pepper&Carrot Mini (and also on Mastodon or Twitter.)



Websites update «The Big Merge»

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Ten days ago, I woke up with both of my blogs (davidrevoy.com and peppercarrot.com) dying under thousands of spams (comment section) on both of them... a sunday morning... yay... I then decided to put in high priority a cleaning of all my articles published here since 2006 and update the CMS PluXML I was using on both. With over 485 articles and over 8000 comments it wasn't easy and I worked hard every days to update both of my two blogs... into this single one.

What's new:
  1. A table of content for my brushes/tutorials/extras.
  2. A portfolio with my best artworks proposed in very high-resolution.
  3. Three choices of RSS to follow all, the webcomics or the tutorials.
  4. A footer at the end of all pages proposes to filter my post by licenses.
  5. I added more than 10 tutorials posted previously only on Patreon or on Youtube.
  6. I worked for a compatibility with phones/tablets/computers.
  7. I added a special page to detail the available options to patron my work.
  8. Pepper&Carrot website was a bit simplified (a good thing).

( PS: If you received this message via your RSS along a lot of notifications of unread articles, sorry about that it is a side effect of updating the database. Also, if you followed the RSS of the comments, the adress has changed: check the new RSS adress here.)

Character design

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Here is a character design I had in my sketchbook. I like this type of small and chuby characters we could see on the old-school RPGs on consoles; they had this specific design with big shapes to be still iconic with the constrain of low resolution and low color palette. I tried to depict that type of character, a sort of hybrid between force and magic. By the way, the hammer is magical and doesn't weight anything (that's how artists justifies bad management of weight in their drawings... mea culpa :P ).

I decided to color this sketch to test my inking and coloring process before the production of the next episode of Pepper&Carrot. I'm trying to improve. I'll write certainly more about the details later.

Flight of Spring

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It is soon spring and I have the first flowers growing in the garden. It feels good! This artwork is at origin a very wide 7578x2922 pixels artwork (picture under). I designed  it to update the wide cover pictures on the website and on social-networks as well. I cropped it for the web because I can predict all the auto-crop algorythm will only crop the center of the picture and the resulting thumbnail will be weak and unactractive. The scene is supposed to just express the main theme of Pepper&Carrot: good mood, nature, a witch and her cat. You can download all the sources (Krita file with layers) and version for printing for free on the Source page of Pepper&Carrot website.


The original wide and extended version

In my previous blog post, I mentioned I was doing researches to improve my drawing and painting process for the future episode 29. My taste shifted a bit recently: at episode 28 I was really into the painterly lines but now I'm more and more interested into a rendering style that expose the backstage of the artwork: the line-art. So I need a coloring style that work well with my new lines. The previous test (a single character design) was promising for my research; but it wasn't really a complex scene. I made a mistake in November; the fan-art of Popoi I posted on social-networks was meant to be the rendering style I was targeting for episode 28 of Pepper&Carrot. The speedpainting was quick to do and it gave me a false feedback when I adapted the workflow to a full episode. A real test needs everything: perspective, background, characters, a composition and more work on the ambiant of the scene and shading... and that's how I decided to spend the last two days on this illustration 'Flight of Spring'.  My workflow is now ready and is in my opinion clean enough and predictible to also share: I recorded a video of the whole process and a commented making-of video will surely follow (as soon as I find time to edit the video rush).

Signing Session at Caramanga 2019

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Photo: Me during a signing session at Japan-Impact in 2018, CC-By.

For the one living in the south of France; I'll be at Caramanga 2019 on Saturday 9 March (next week, during the afternoon). Caramanga is a free event for the lovers of Anime and Manga in the city of Caraman. You'll find me on the booth of the Touhoppai team and if you have a Pepper&Carrot comic with you, I'll be happy to draw something on it for you. Touhoppai is the team behind the French dubbing of Pepper&Carrot motion-comic done by the Morevna team, they also dubbed Sintel and host all my video tutorials. You'll find this videos quickly on their Peertube server. The event is not so far of my home and I hope to meet some of my (local?) readers at this event.

Links:

Timelapse video: "Flight of Spring"

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It took me time to derush the eight hours of videos recorded during the creation of the illustration "Flight of Spring", but here is the result. I added caption on the corner to comment the key steps. I hope you'll like this editing!

Music: Sabae Sunrise by Fabian Measures, cc-by (listen full album here). Video edited with Kdenlive 18.12~appimage on GNU/Linux Kubuntu 18.04.

It will be soon mirrored on Peertube here: https://peertube.touhoppai.moe/ (thanks Touhoppai team!).




The visit at Creative Commons France

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A photo of me(left) with Betty Merhi(center) and Daniel Bourcier(right) in the meeting room.

A week ago, I had the honor of being invited to the Creative Commons France offices in Paris to talk about my experience about Pepper&Carrot and the license I'm using for it: the Creative Commons Attribution 4.0. We wanted to meet for a long time and we had already exchanged on the phone before that but never long enough. It was interesting meet "in real-life" and take the time to cross our opinions because Pepper & Carrot remains a rather particular case of large-scale use of the license: with the community, the translations and a growing number of derivations of which one is commercial and popular (mainly the edition of Glénat in French). The talk led us to share the lunch together and we spent most of the afternoon talking. I was eager to talk about my concerns, constraints, limitations and my opinions on the future of licenses in the context of artistic creation. Thanks again to Betty Merhi, Daniel Bourcier and Primavera De Filippi for their welcome and all their work on this wonderful set of licenses.

Ps: If you are in Paris this weekend, do not miss the evening organized by Creative Commons France for their fifteen years with many guests. I paste the event poster here with all the info in:



Production report: episode 29, part 1

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Here is the first production report about the future episode 29 of Pepper&Carrot, an insight into the work behind the scene of next episode.

Spoilers alert: I'll not reveal in this page any plot elements which threaten to give away important details about the story of the next episode. But, because I open all the process, if you follow the link on the Framagit discussion and thread, you'll access to the full story, storyboard, etc.

Scenario

The work on the scenario started in September 2018; at the same time as all other episodes related to the trilogy of the Coronation of Coriander. But between September and January, I had the time to change my mind about the mini climax I wanted. The base concept of ep29 never really changed: a giant monster attacks the party and an original take on the classic "A heros save the world". So, I rewrote the episode from scratch in January (proofing to myself writing episodes ahead was useless) and I posted the new English version on a new thread on Framagit to collect feedback.


The first public version of ep29 scenario. Markdown format, Ghostwriter editor.

Production research

The previous episode of Pepper&Carrot was -again- too long for my taste to produce and not enough fun. It took me hundreds of hours to complete details of episode 28 because I went into a paint-over workflow and I clearly understimated the work between the base artwork at the "beta" release and the quality I had in mind for the final (paint-over).


Episode 28 process: On left, beta version; on right final (paint-over).

This technique of paint-over is a lovely one and quick for a single illustration where you are free to stop the details at any time; it works if you leave area undetailed as I made on episode 1. A thing I learned, it becomes very time consuming when this technique is used in a series of panels with consistent lighting and colors. The problem being; you need to match the same level of details each time and the same color palette and values. I even had at one point to remove details of some panels on ep28. The eight pages took a full month of detailing full time . I had time to meditate on that. That's why I started to look back at the more classic workflow with line-art, flat coloring, shading and decided to run more experiments with them (even if I dropped them in the past for being exhausting too and long). Now, I'm looking at simplifying: keeping details thanks to the drawing; and simplify the hours of painting.


Experimentation of various inking presets and simplifications (click to enlarge)


Experimentation using colorize-mask over detailed line-arts. It works surprisingly well.

As my tests started to be more robust, I decided to test the full workflow on more complex illustration ("Flight of Spring", process captured in a video). I developped new rules for inking, for flatting and for shading this way. I started to write video tutorials about it and I hope I'll have time to record them and video edit them before the end of the month.

Storyboard:

After collecting feedbacks from the scenario release on Framagit, I started to rewrite the story. My plot had a big flaw and it was necessary to adapt the script and fix it. That's why this step is precious and I thank my beta-audience for that.

Making this storyboard marked a turn for me in the production of Pepper&Carrot: I was sharing previously my storyboards and all my process in English but even with talented correctors and proofreaders to enhance my English I felt the dialogues were still suffering of that process compare to what I had in mind, especially when English was backported to French. So, I decided to author back my storyboards into French at the root, so I can better sync the little subtle intention of each characters, the no-spoken words, emotions of certains words or expression. I don't have the skill to do that in English (as you can probably read right now on this article if you are a native speaker).

It was also a complex task to compress the epic arc of episode 29 into only eight pages. The scenario cut on the markdown text format never really succeed at cutting exactly good looking pages. For the short format of my episodes; each speechbubble, each word has an important meaning for the whole structure. I drew the storyboard in a long Krita document to easily insert panels, move them from the previous to the next page, taking notes on margin, etc...  This way I can scroll the document and re-read the story and fix it on the fly and get an idea of how I use the zoom of my virtual camera to frame what character at what time.


The very rough storyboard of the eight pages was done this way in Krita.


Page 1, storyboarded, without speechbubbles


Getting feedback on this French storyboard was more difficult; because English contributors had to read it side by side with a text file in English (a quick English translation proposed by M1dgard and enhanced by CalimeroTeknik). I have to improve the workflow next time.

Too ease correction and translation to English; it was time for me to split all the storyboard into individual Krita pages and split the speechbubble to Inkscape. So I made this long step: Adapting the project to the translation system of Pepper&Carrot, vectorisation of speechbubbles and retyping all the text.  It was hard to guess at this early step the best design for the onomatopia using the Filter Editor of Inkscape and get dynamic effect so the translator can still translate them. I'll certainly have to adapt the artworks colors to match with the onomatopia.


Inkscape Filter Editor in action to decorate onomatopia

After that, the French artworks and SVG were sent on Framagit and the discussion about the English translation is still running right now in a Merge Request (but also almost ending).

Preproduction and Concept-Art

In this episode we have an action happening accross the street of Qualicity and a giant dragonish creature coming from another dimension. It wasn't possible to start drawings without doing a round or two of research.


Research for the creature.


Research for props, and secondary characters.


Mockup for a part of Qualicity in Blender (Eevee, yay!), click to enlarge


... and rendering the shots with a quick shading to ease background creation, click to enlarge

Production: inking

The production started two days ago, so right now I only did the inking of the most difficult page of the eight; a page with a lot of panels about a dialog. I'm evaluating if this inking is matching the research I made or if I'll have to redraw it. The size and resolution differs and brush, stabilizer, reacts really differently depending that. So,I'm typing this production report to take a little bit of distance and get an overview of what was done since episode 28.


An overview of the process:
top inked, blue pencil in middle and storyboard still visible (click to enlarge)


A screenshot while inking a panel on the Cintiq13HD, (click to enlarge)



The setup of my desk right now and my tiny wood furniture I made on
top of my desk to increase the comfort of using the Cintiq 13HD

That's all for this report about the production of episode 29. I hope you liked this post! Next part will be posted when I'll complete inking, flatting colors and when the episode will be receive the "beta" label (meaning ready for all translations before the release). I hope to reach the beta by the end of March.

Signing session and conference at JdLL

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Illustration: a cameo to this song, CC-By. (click for full-res)

I'm happy to announce I'll be in Lyon for the JdLL!  The JdLL (French acronym for  "Days of Free/Libre Software") is a weekend of conferences over the 6 and 7 April at Maison Pour Tous - Salle des Rancy, 249 rue Vendôme, Lyon - France (here).

You will meet me there:
  • On Saturday afternoon on the booth of the Framasoft authors with Stéphane Crozat, Gee and Yann Kervran. I'll sign and draw on your Pepper&Carrot comics books if you take them with you (I'll not bring comic books to buy with me). I'll propose you to buy my original Inktober 2017 drawings and I'll also print Pepper&Carrot Ex-Libris for this event. It will be for those who forgot or don't have their comic-books.
  • On Sunday morning, 11h to 13h, I'll be the guest of a conference on the subject of "Free culture and its financing" within a panel of guests. Are announced; the president of the Association Wikimedia France and a sociologist to speak about this theme with me, but hard to say or quote names as I'm not finding this item on the official schedule yet. But I'm confident it will appear within the next days.
So, see you in Lyon? Link and more information on the JdLL official website.

Tutorial: Coloring with "Colorize-mask" in Krita

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I'm positing today a full step by step video tutorial about the Colorize Mask feature; you'll find in it everything to get started and extras tips to not fall into commons traps and get productive with it. The colorize mask is not new, it came in April 2018 with the release of Krita 4.0 and was inspired by the work of the GMIC developpers but it took me a year to adapt to use it in production of comic pages: I had to adapt my line-art, the resolution of my drawings and be more confident with the tool.

Note: it will be soon mirrored on Peertube here: https://peertube.touhoppai.moe/ (thanks Touhoppai team!).

License:
This video is released under the Creative Commons Attribution 4.0 license: https://creativecommons.org/licenses/by/4.0/

Attribution:
Video and artworks by David Revoy
Musics:
- (Timelapse) "Perspective" by Kevin McLeod
http://www.incompetech.com / (CC-By)
- (Intro) "New Age B" by Frank Nora (Public Domain)

Tools:
Edited with Kdenlive 18.12appimage on GNU/Linux Kubuntu 18.04, Mars 2019. I'm using Krita 4.1.5appimage on the video with a Cintiq13HD. Microphone: a Samson Meteor condenser. Webcam: a Logitech Pro C920. Recording software OBS studio (from ppa).

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