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