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[J MASTHEAD
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int-F urniu . : .“l’ll' 'J
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Masthead
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Editorial Team
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Ana (liruilhu
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gmger twins
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Ritardo Lat-Liente
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Copy editor
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Margaret Burnett
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Pubfisher
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ginger (001’!g
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Community Board
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Dave Crossland
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Louis Desmrdms
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AVTTIt'TlL Hansoux
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Alexandre Prokoudine
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Femke Snelting
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Contributors
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Daxe Crossland. Maria Figueiredo, Nelson Concalves. Eric de
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Haas Richard Hugheslonathan Puckey, Eric behriiver
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Printed in Port. by Crornotema (http: troinotemapt) and in
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T: into M Green Printer (http’ v.wwgreenprinteronlinc-.4 om‘l
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in rerwled paper
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Lli ensed under at redinek ummons Attril-u’iioi‘i-Rhare Alike
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lli r‘l'lv: N l rmrsm '\|l . (Intent \hlluld be attributed to II\
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iridiuidiial lUlhIlT all . ante-m \titl‘i-iut :1 stated author 4 (iii lm
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'TE‘dlir-diiiLilitf‘lrir.1[il]ii\ Hagar”):-
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Contacts
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»\ Hi" to u .1! Hlllllllilv“.iiI‘lll11{"L“i.jplili trying i an:
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HTTP: LIBRFl iRAl’Hll 'beU i.( HM
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Images under a ( (' Attribution Sharr- Aliki- “1 Nine
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l’lmii- mi piii‘gvi Vll‘l’)‘, lit, lii-i- all
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I'll ill. u-l Iv’u ii-lu l .illll‘lil“ liv. "\im‘ .ir'..illi<I
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l'li. ll "i|.i‘ .1i‘ ,illii l-'. llll‘ i JIIIJHlI-I
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Hit It .-l Iran-I i l.lllll lit ‘n‘Jl‘, i iii-.-.l.iiul
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l'lwim ml l Iii llll‘iu‘l ll, llllil‘4‘l,
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lllll'ill iii-iii‘ HI l,[n‘ ! l4“.l1'll li.l'l «l 'Ill lii‘L'H m ”nape l-v lli- LI H‘J'l lili i-.-'\ill.i
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liill‘liJ'lvill' m li“.l‘.llv ll In“: .‘H l:, him. lmi llhli, .mvl lliigu l'i-iii-Im
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H i 'm 'wil4‘lw HI Hlili'l w! ,iI'lii‘alJH»! ll. l'lwli‘rl .H'lJlIH lliiiimli-iiminli-u
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'llld‘l i vin H .mvl . in “'-I‘_illl'i‘ ”ll )vlmlna .Lllll lliv v-m'i-liuii ml ylliiyyi I-HIII‘. iiliuiw.
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. .iii lu' linHliil .il l lii Li ill Illl' pl.” min-am 'il ilh‘ \l‘l'l ii'ulimli iilliilmlllii’llall-i
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“>“lllliv li-llll‘ ’i "il'|' .Iiililll<.llllil‘dllillilllt‘illl‘llH‘ili‘JluIi‘ iiu-iiliniiiul
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ilu'iu-m ".li ~lli ll‘l'll’l'll'l l‘vi Milt Ilii l'ul'lillilll ml llIV'.|Vl lilgliliinni lll lll" .llllv ll‘
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lei.‘ ,t‘miiln. .l‘li‘ it il l 'lliltlllI‘ R‘.lll\ ll yr lli rim .1 lllltll‘l (i H»
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lllii‘,li,illlili'. iii Jul-la Illil“".lll-lll,i1llil 5pm. .m lllll'l\ll .\ .'.llll loin | l'r lmri
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li, l'llll l l i lllll'l
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l'li I- ill ' “l'4ll||l)_ lilliii ' llii l l"|i|-ii‘llilli \.ilil-I.iliiiii \‘rlil lix l-'ii ll-Illl lllll‘lllv“.
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Lin, lump- “it l‘-i .) ml I. .II' Ill-Ill | Via ii'nlii-rl‘il Ill i ill|ll|ll|ll\‘l'-
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. . , Linn-1.; u“...
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A Reader’s Guide to Libre Graphics Magazine
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In this magazine. you may find concepts. words. ideas and
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things which are new to you. Good. That means your
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horizons are expanding. The problem with that, of course. is
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that sometimes things with steep learning curves are less fun
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than those without.
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That's why we're trying to flatten the learning curve. If. while
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reading Libre Graphics magazine. you encounter an unfami ar
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word. project name. whatever it may be. chances are good
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there's an explanation.
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At the back of this magazine. you'll find a glc ary and
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resource list. The glossary aims to define we 5 that are
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unique to the world ofLibre Graphics. The resource list
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provides valuable information about tools. licenses. whatever
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items we may be mentioning.
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Practically. this means that if. for example. you're reading an
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article about Paper.js (see pages 30 and '31). you can alwc
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flip to the back of the magazine. look up Paperjs in the
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resource list and become quickly informed about it. This
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provides some instant gratification. giving you the resources
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you need to understand. in a moment. just what we‘re tallxii ‘
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about.
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We hope you like our system.
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Images under other li- (‘ll\1‘\
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l’linlu‘. HI [lepaii ls" l“ ,‘l lx\ lniiiiim Harlem-s .iir iiIi-ler\ \‘ \k’ \-\ Him ueic‘
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['lll‘ll‘.'ll‘il lll'll' \\lllt lllt’ llt'HlIHsIUH iii ilu‘ll .nillini
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«minim- ~. lil'yI‘ imagi- iiml m'liml .il Mil' l-x \\ Ikiiiietlm iisei llieiimli lion-(i l\ in (he
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lllll'llk ilniimiii .llhl l .Iii ln‘ imiinl .ii
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llll" A:vll|ilh‘ll\ \\|l\lll\l'\l|.l wig \\iki tile“ \lnilviil Nautical (”lupin Row pm:
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t-i-m'ml
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‘\-l\l'lilv(‘lll1'l|l\ \\|lll llic r‘\i(‘|rlll'll n! Hui-.r' “Tie-muting l il-ic \liaplin s Hagaluw. .Ils‘
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iml IN“ i‘-.Illl\ -iv\('1l'\| lu the blanket i L in \~\ il: ruse ll h lit-st in \ hei L \ulii the
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'llil’K‘l I» lln‘v ll'l'lr'd‘lll lic‘lI-n‘ ir'uullig llH‘llI
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in
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” EDITOR'S LETTE
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i.i.i: Liruii If" ’
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Editor's letter
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ginger coons
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\K'e so often draw a strong distinction between the physical
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and the digital. acting as ifthe one is solid. staid and reliable.
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while the other is born in ether. unreal and untouchable. This
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is far from the case. Not only on occasion. but always. the
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physical and the digital are intimately intertwined.
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The digital is merely a subset of the physical. It is a land we've
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come to view as different and distinct. despite its reliance on
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the physical. Regardless ot‘our perceptions. the two tick along.
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happily o-operating and relying on one another. As the
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digital fails to esCape the bounds of the physical. the physical
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comes to embrace its part in the success of the digital.
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I vraphic design and media arts are fields Well atquainted with
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the obvious areas oi overlap between the phv. cal and the
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digital. From the days of air brushing and drafting by hand.
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to the bringing of those same metaphors into the realm of
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digital production. designers :tllCl media artists are at the
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l'orvlront of both the conilicts and the embraces ol the digital
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and the ['ilI\“sI(.'.il,
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\‘x'l‘n-thr-r it lI‘Idl]lli“--l‘-fi itsr-ll' III .1 worktlow innirporatiiig lmilI
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(ll‘c‘Iiul .ii‘nl [il'iVHIMIl I'i‘Ii'llimlS. lo ilIHi‘I'i‘lit Hills HI' WllcllM'I' It Is
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.i lI'.II‘i‘-l|iI‘II‘IiiiIiIH which takes plan- iii the slim c lH‘th‘i‘lI tlic
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l’i.‘.‘«i I‘i‘.ilI’I’i:-.. llll' point til IIIii'I‘m‘lIliII llt‘lWi'I'II tllt' tllLL’JiJl .Ill(l
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the physical is a special place. And it bears exploring.
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F Loss graphics and art fields are taking up that exploration in
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magnificent ways. In the world of F toss. the space where the
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digital and the physical collide is becoming beautifully
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populated.
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This issue of Litre Graphics magazine is about border caSes.
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the role ofintentionality and happy ' cident in the mingling
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of physical and digital. and any and a .l points of intersection.
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We're exploring the translation from the digital to the
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physical. the phys' ‘al to the digital and the careful mapping of
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the two. We're looking at the pl‘dkt‘ oi history and the promise
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of the future in harmoniously melding our media.
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We‘re looking at tolds. sprays. cuts and prints. We‘re looking
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.it mapping worlds onto each other. In short, in this issue.
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we're looking .it collisions:
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