Planet GNOME

Introduction

The Linux desktop has an upstream maintenance problem due to many reasons for it, such as the lack of paid work. No one is entitled to a volunteer’s free time apart from the volunteer themself. This is especially true to volunteers working on upstream projects, as they are at the mercy of downstream distributions, who have the final say.

As an upstream contributor, you have no choice but to meticulously plead for any reasonable request to be granted by difficult downstreams, treating them as if they are some kind of deity. Not doing so with the utmost respect can get you on their naughty list, which they can then use against you just because the license ‘allows’ it and they can get away with it; even shamelessly use the ‘you chose the wrong license’ card when they have nothing else to add.

We have seen several instances of downstreams misusing their power while simultaneously abusing upstreams’ generosity and free time to do whatever they want. This was especially true with XScreenSaver and Debian in the past, which Debian has since changed its policies to communicate better with upstreams, and more recently Bottles, OBS Studio, and Fedora. This article is specific to an even more recent incident we at GNOME Calendar have had with Linux Mint.

Technical Definitions

There are a few technical definitions that should be understood before reading the rest of the article:

• Upstream: A group of individuals authoring software, for example GNOME Calendar.
• Downstream: A group of individuals building, curating, and redistributing these software to end users, for example Linux Mint.

The distribution model works until it impacts upstream

Distribution model refers to an established model that the Linux desktop has been practicing for decades, where an end user is expected to report issues to downstream, and, if necessary, downstream relays said issue to upstream.

The adage that users report issues to downstream holds true up until these users start reporting them to upstream without reporting to downstream beforehand. In reality, many distributions advertise themselves as user-friendly. Users of these distributions are unaware of the distribution model, so, in good faith, they report issues to upstream without ever knowing that they should be contacting downstream.

Often, downstream issues have already been resolved in previous releases; however, since these issues are being reported to upstream, upstream has to regularly triage and close these invalid issues. This creates an additional burden for them because they end up spending their limited volunteer time managing these issues when it should have been downstream’s responsibility to ensure that the user is reporting to them first.

Contacting downstream is a burden in itself

Whenever the upstream project reaches out to the hostile downstream and asks for a change, the response is usually met with the downstream bluffing by pretending to look for a solution for a nonexistent request, such as adapting the issue tracker with the implication that upstream will have to write the template(s) themselves, and then regularly update when the message is misinterpreted, just so downstream can avoid doing any actual work. That is called moving the goalposts.

If upstream objects to these ‘suggestions’, this is usually done with a shift in tone, as these one-sided discussions occur in the span of weeks, if not months, if not years, which quickly drains upstream’s remaining energy. When it shifts to a harsh(er) tone, the hostile downstream takes the easy way out by making remarks on that tone and acting like they are the only one being dignified; when they can, they end the discussion just because they do not like the tone and can use that tone to justify their (lack of) decision, without taking any appropriate action to remedy the underlying request.

As a result, they continue to mislead users into reporting issues to upstream, but this time intentionally and out of spite simply because free software licenses do not disallow abusing people’s generosity and free time. However, you will see later that this has nothing to do with free software.

Linux Mint and GNOME Calendar

For years, we have been dealing with users reporting Linux Mint’s broken packaging of GNOME Calendar to us, that were either never present or addressed releases ago.

To name a few examples:

• https://pouet.chapril.org/@parrot_33/116374864921983890(Archive)
• https://vmst.io/@doctroid/116542487573304110 (dead link)
• https://gitlab.gnome.org/GNOME/gnome-calendar/-/work_items/300
• https://gitlab.gnome.org/GNOME/gnome-calendar/-/work_items/1562
• https://gitlab.gnome.org/GNOME/gnome-calendar/-/work_items/1535
• https://gitlab.gnome.org/GNOME/gnome-calendar/-/work_items/1526
• https://gitlab.gnome.org/GNOME/gnome-calendar/-/work_items/1429
• https://matrix.to/#/!koZzDOwNHEzEoeuNok:matrix.org/$174759788212004HiyFg:gnome.org?via=gnome.org&via=matrix.org&via=fedora.im

There were a couple of discussions regarding this in the past, in chat and without my involvement, but none of them ended up being productive. Eventually, we got fed up by it and I opened ticket #1 on Linux Mint’s “gnome-calendar” repository, asking them to remove all links pointing to upstream GNOME Calendar and rebranding the app:

Remove/replace links pointing to GNOME Calendar, and update branding

Being one of the core developers of GNOME Calendar, we do not support any of the versions provided and held back by Linux Mint. We would really appreciate if you could remove or replace every link, especially support links, targeting to GNOME Calendar, as well as rebranding the app icon.

Mind you, this is the first issue ever opened in the history of Linux Mint’s package repository (8 years ago)! Based on the links above, I think it is safe to say that the app was broken throughout these years despite the lack of tickets.

This ticket had no response for six months, in other words half a year, all the while we were still getting bug reports about their broken package.

We eventually got fed up (again!) and pinged the packager. The packager replied and asked which modifications we did not like, conveniently ignoring our actual request.

So, I stated that we do not have the time to look through the code just to pinpoint specific issues, so I loosely said “everything”; then followed up by stating that the only solution to this is to rebrand or drop the package.1 (Of course, it should not be our responsibility as an upstream to pinpoint issues to downstream’s mispackaging.)

Then, the packager responded with “I reviewed the changes. None of them are problematic.”, ignoring the essence of my comment once again, and followed with a whataboutism:

[…] [GNOME Calendar] 46 and 48 are used by millions of people right now in Ubuntu LTS and Debian Stable. Are you going to request Debian and Ubuntu stop shipping GNOME apps?”

In other words: “what about Ubuntu LTS and Debian Stable?”, essentially roping Ubuntu and Debian into Linux Mint’s problem. As a bonus, they also twisted my words and changing the subject from “GNOME Calendar” to “GNOME apps”.

So, once again, I reminded that this is not what the issue is about, and Debian and Ubuntu LTS have nothing to do with this.

As a side note: no, never would we go after Debian or Ubuntu over this. If the distribution in question is doing its job properly by simply not bothering the people writing the software that they package, then why should we go after them? They are not the ones misleading users into opening in the wrong place, so there is no reason for us to be upset about. In this case, Linux Mint is leeching off of Debian, pushing their responsibility onto us, and roping Debian into their problems.

The packager then explained the following:

If we were to stop packaging GNOME Calendar, Mint users would end up with the exact same version 46 as now. You understand that? It wouldn’t magically upgrade their version of GNOME Calendar to 50+.

Very clear signs of strawman to make points against a proposal/demand that was never made, by arguing against ‘stop packaging GNOME Calendar’ rather than the original ‘rebrand GNOME Calendar’.1

Then:

Mint 22.x is built on top of Ubuntu 24.04 LTS. Packages come from both repositories. If there’s no gnome-calendar in Mint 22.x repositories, Mint 22.x users get it from the Ubuntu 24.04 repositories. The version in both repositories is 46. Removing gnome-calendar from our repositories would basically make our users switch to Ubuntu’s version, which is 46 as well.

Same goes for LMDE and Debian Stable, same principle, same bug fix, with version 48.

The only way to make it so Mint doesn’t have a frozen version of gnome-calendar would be to remove it from Debian. It would then disappear from future versions of Ubuntu and Mint which are based on it. If you got it removed from there we’d obviously oblige with your request not to re-add it and wouldn’t do so.

These are, again, unrelated problems to the essence of the request, as the request is about rebranding, not dropping the package altogether.

So, I again reminded them that this is not our responsibility as an upstream to fix their problems.

They then ‘suggested’ us to add code to check if the user is running an outdated version, and then ‘offered’ that they will patch their existing packages and potentially Debian’s and Ubuntu’s as well, essentially moving the goalposts once again. They’re expecting us to either phone home or somehow keep track of releases every six months.

If we were to phone home, we would need to cover more cases, such as bothering designers to find an appropriate way to display a warning to the user when they are not connected to the network or when the “gnome.org” domain is unreachable. This adds another dependency on the network for no reason.

This also adds more burden to translators: this is not a typical string where one needs to translate one word into another; the tone and vocabulary of a warning depends on the region, so translators need to adapt the vocabulary to ensure that the underlying meaning is not misinterpreted. In any case, I think it is fair to say that this is an absurd suggestion to a problem that has nothing to do with the upstream.

I lost my patience; I hostily replied that we as upstream do not care about how distributions operate, and, once again, reminded that all we want is for them to rebrand; a very simple request that was continuously red herred with bikeshedding, strawmen, whataboutisms, and moving goalposts.

When I posted that comment, I misinterpreted the message as I thought their ‘offer’ was them asking us to do their work, hence me stating that we do not care about how distributions operate.

The packager then replied: “If you don’t care, then neither do we.”; here, they are explicitly confirming that they do not care about Debian and the situation altogether. In a later comment, they stated: “probably requires GNOME Calendar to move away from free licenses” and locked the issue, which, once again, completely ignored the essence of this entire issue, but this time concluding with the ‘you chose the wrong license’ card.

Now, they were explicitly told what the problem was, have refused to act on it by continuing to shove their responsibilities onto us. The attitude went from doing something ‘just because they can’ to ‘that should show upstream for hurting my feelings!’, never mind the fact that we and Debian are the ones doing the hard work, which they are leeching off.

Note

If you read through the entire ticket, you may notice a part where the packager makes a comment regarding some serious accusations. This is a response to a banned user’s comment that is now deleted, who originally made these accusations.

Trademark and free software

As explained above, this actually has nothing to do with free software; rather, this is a question about trademarks: Linux Mint is allegedly2 (mis)using GNOME’s name by redistributing unsupported builds while pretending that they are supported by us, and is actively misleading users to avoid supporting them.

Offending distributions use the ‘you chose the wrong license’ card because it is simultaneously very difficult to correct them as a non-lawyer, while being looked positively throughout the free software community. However, they know very well that looking at the situation from the perspective of trademark usage rather than software licensing would make it significantly harder to defend themselves, so naturally they opt into using (the incorrect) free software licensing as a gotcha.

Tone is irrelevant

The issue itself was originally calm and straight to the point. Half a year passed by and there was no response. Then, the packager was pinged, they chimed in, and changed the subject immediately. The tone shifted, and they took the easy way out by locking the issue and misleadingly stating that this is an upstream problem for choosing the wrong license.

In other words, you have two choices:

1. You kindly ask, and nothing happens apart from your own time and energy getting wasted for a considerable amount of time, with constant red herring or silence.
2. You start acting like a ‘dick’, and now they use this as an excuse to no longer communicate with you, all the while still refusing to address the underlying issue.

As an upstream, it is a lose-lose situation with hostile downstreams such as Linux Mint and Fedora. Once they start packaging your software, they immediately burn their bridges implicitly. In order to show that they are ‘good’, they only pretend to care about the problem, and keep proposing ‘solutions’ that 1. have nothing to do with the underlying problem, and 2. put on significantly more burden to upstream without putting an equal amount of effort themselves.

The reason there are so little undocumented cases is because many maintainers who deal with hostile downstreams are usually indie-developers that have very little resources and energy to deal with these problems, and have very little to no understanding with trademarks and legality.

They get burned out, stop developing and contributing to free software, and (rightfully) lose hope for the Linux desktop. They do not make any of it public or make a fuss about the situation because they do not feel comfortable to be in the middle of a conflict publicly. All they want is to just enjoy providing goods to the world, but are unfortunately bullied by repackaging fetishists whenever they raise a legitimate issue.

Conclusion

To summarize all this, hostile downstreams have already gone as far as to burn their bridges with upstreams. Any upstream is at a lose-lose position no matter how kind or unkind they are. If they are kind, they will be on the waiting list for as long as governments put patients on the waiting list for medical care. If they are ‘rude’, hostile downstreams will use this tone against them. If upstream sends out a cease and desist letter, the free software community will start seeing them as the Nintendo of free software and conflate volunteers who are fed up with hostile downstreams, with corporations that sue every sentient being that breathes.

1. While dropping the package was mentioned, the entire essence of the issue was about rebranding it ↩ ↩2

2. For some reason, “allegedly” is a common term used in legal contexts, even when there is all kinds of evidence pointing to something ↩

Since the release of GIMP 3.2.4, we’ve been hard at work behind the scenes. We’ve been making fixes that will be included in the upcoming 3.2.6 stable release and adding tons of new features for the first 3.4 development version.

In addition, we’ve been mentoring our four Google Summer of Code (GSoC) students as they’ve been working on their projects. Since we just completed their midpoint evaluation, we wanted to share their progress with you all!

In alphabetical order:

Akascape¶

Project Description

Akascape started off their early work for GSoC by creating a new Vibrance filter in GEGL. This filter combines the existing Hue-Chroma and Saturation filters to more selectively adjust the less saturated sections of an image without increasing others. It was released in GEGL 0.4.68, so you can use it right now in GIMP!

Their main focus has been on improving the user experience with the Keyboard Shortcuts dialog. They plan to both improve usability while also adding new features.

In-progress updates to Keyboard Shortcut UI, by Akascape

Akascape’s in-progress work already includes several big improvements such as a category list to quickly jump to relevant shortcuts, the ability to import and export shortcut “profiles”, and efforts to make the dialog more friendly for a future GTK4 port.

In addition, Akascape did some early work on adding more adjustment layers to our PSD import plug-in, building off in-progress work by several contributors. His work would allow for importing Vibrance, Black & White, Photo Filter, and Exposure PSD adjustment layers.

Blezecon¶

Project Description

Blezecon has taken on the task of building the online infrastructure for a GIMP Extensions platform. Originally planned as part of GIMP 3.0, the Extensions platform would allow users to download third-party themes, brushes, plug-ins, and more via a package manager directly in GIMP. The local infrastructure has been in place for several years - this GSoC project is about developing the online submission process.

Blezecon has been working in the Extension repository and making great progress. His initial work involved cleaning up and correcting issues with the initial YAML script.

He then created a comment-based approval system in the repo. This will allow community moderators to easily inspect and approve new extensions through the same interface they use for responding to issue reports and review merge requests. Blezecon next developed a scheduler script that will monitor pending extensions, and once they have received the required approvals, automatically merge them into the Extensions repository for user access.

While infrastructure work is often not as visible to end users, Blezecon’s GSoC project is an essential effort to getting the Extensions repository up and running for future releases of GIMP!

v4vansh¶

Project Description

v4vansh did some early bugfixes and improvements in GIMP beforehand. He fixed a problem where the thumbnail wouldn’t update after changing image modes, and he corrected missing information in our manual page generation.

Since the start of GSoC, he has been focused on improving text handling in GIMP. His current big project is grouping fonts by family in the text widgets. In addition to better organization (especially with the infamous Noto fonts which have hundres of variants), this patch significantly reduces lag on systems with large numbers of fonts, as v4vansh’s mentor Liam can attest. This feature is in final testing, and we hope it will be merged into the main codebase soon!

Early UI tests for OpenType fonts, by v4vansh

v4vansh has also begun experimenting with adding support for OpenType variable fonts. This would allow for much more sophisticated font and text work in GIMP. The initial work involves exploring both the functionality and the user interface to interact with it, and both will develop further as he continues to work with OpenType fonts.

Waris Maqbool¶

Project Description

Before GSoC began, Waris contributed some early work to GIMP. He updated our OpenEXR import code to load YUV images in color instead of in grayscale. The main focus of his project though has been with GEGL, our color processing engine.

His first project was implementing a GEGL version of the Sharpen filter. Sharpen is a simpler version of the Unsharpen Mask filter, a popular method of correcting blurry images. It was unfortunately removed from GIMP 3.0 due to it not being maintained and only working on 8 bit images. Waris has created a GEGL filter of Sharpen by doing comparisons with the 2.10 version. The recreated Sharpen filter will be non-destructive and will have an on-canvas preview, both improvements over the original.

Handwritten calculations to recreate the Sharpen Filter, by Waris Maqbool

You can see the in-progress merge request for comparison. We’re doing some final reviews for optimization, but we expect it to be ready for a future release of GEGL and GIMP.

Waris has also begun working on a new Inner Glow filter for our PSD support improvement project. While GEGL already has an inner glow feature, it was not designed to be compatible with how it looks in Photoshop. As part of his work, he is also creating a generic curve editing widget to use for editing the PSD Inner Glow’s settings.

We unfortunately had more great GSoC applicants than we were awarded available spaces. One student in particular continued contributing, so we’d like to highlight their work as well.

Harsh Verma¶

Harsh has been focusing on several different areas of GIMP. His initial proposal involved improving our unit testing suite. He is currently working to implement automated UI testing for GIMP. This is a challenging task, as interacting with the UI varies across platforms. He’s already developed several tests that work on Wayland, which you can see at his in-progress merge request.

He’s also improved our contributor infrastructure that integrating CI-Fairy into our pipeline. This feature checks to make sure contributor commits follow the proper format before merging, which makes our commit history easier to read and understand.

Harsh has also been working on more user-visible changes. He recently took on a user request to add more version information to our About dialog. This follows standard practice with other software, and makes it easier for users to find information that helps us troubleshoot problems. In addition, there’s a handy Copy feature to easily grab the information for sharing. The code and UI have gone through several revisions based on developer and designer feedback, and it will likely be merged soon!

About Dialog with additional version information, by Harsh Verma

We’ve very proud of our student’s contributions so far, both in code and in community! We’re looking forward to you all getting the chance to try out their work in future development releases of GIMP, which we hope to have more information to share soon.

We take advantage of loading systemd system credentials based on smbios type 11 strings and QEMU’s vsock feature. Here is the list of recognized system credentials.

The important bit passing down the following argument to qemu

$ qemu-system-x86_64 # ... -device vhost-vsock-pci,guest-cid=$cid \ -smbios type=11,value=io.systemd.credential.binary:ssh.ephemeral-authorized_keys-all=$base64_ssh_key

libvirt allows setting smbios11 as <oemStrings> and defining virtual sockets.

Under GNOME boxes, go to the VM configuration. The important bit is setting a smbios under os, adding a vsock device and the sysinfo domain. E.g.

<domain type="kvm"> <!-- ... other domains --> <os firmware="efi"> <!-- ... other os info --> <smbios mode="sysinfo"/> </os> <sysinfo type='smbios'> <oemStrings> <entry>io.systemd.credential.binary:ssh.ephemeral-authorized_keys-all=$base64_ssh_key</entry> </oemStrings> </sysinfo> <devices> <!-- ... other devices --> <vsock model="virtio"> <cid auto="no" address="$cid"/> </vsock> </devices> </domain>

Here $cid needs to be replaced by a numerical value bigger than 2 and

$base64_ssh_key is the base64-encoded public SSH key, we use $cid=3 here. One can encode a public SSH key via

<~/.ssh/id_ed25519.pub base64 -w0

Ensure you can decode it back before proceeding!!

echo -n "output from above" | base64 -d

Then inside of the VM, verify the smbios 11 key is visible,

$ run0 systemd-analyze smbios11 io.systemd.credential.binary:ssh.ephemeral-authorized_keys-all=$base64_ssh_key… 1 SMBIOS Type #11 strings passed.

on the guest’s journal one should see:

$ run0 journalctl -b -g 'ssh.ephemeral-authorized_keys-all' Jun 18 00:11:06 gnomeos-11e6-75db systemd[1]: Received regular credentials: ssh.ephemeral-authorized_keys-all

and one can verify it via:

$ run0 systemd-creds --system list NAME SECURE SIZE PATH ssh.ephemeral-authorized_keys-all secure 97B /run/credentials/@system/ssh.ephemeral-authorized_keys-all $ systemd-creds --system cat ssh.ephemeral-authorized_keys-all

Now that everything is set, and the sshd service is running inside the VM:

systemctl enable --now sshd.service

one can ssh into the VM via:

ssh $user@vsock/$cid

where $user is the username inside of the VM and $cid as above, in my example:

ssh msandova@vsock/3

This requires systemd-ssh-proxy on the host, should be included in v257 or newer.

Note that scp has a slightly different syntax, e.g.

scp $FILES msandova@vsock%3:$PATH

Greetings!

Time for a new Crosswords release. This is a massive one with over 1,000 changes from 18 different contributors, and is the biggest release I’ve done to date! This features major improvement to the appearance of the Player, and to the usefulness of the grid filling code in the Editor.

Player: Artwork and Appearance

I made a real push this cycle to improve the appearance for GNOME Circle inclusion (tracking bug). We made almost too many usability and appearance improvements to mention! The artwork also got a major improvement with a great intro screen, new icons, and a fabulous looking “How to Play” screen. Take a look:

https://blogs.gnome.org/jrb/files/2026/07/new-art.webm

The artwork also is responsive to the libadwaita accent colors. Thanks a ton to Tobias, Hylke, and Gnoman for their fantastic work on this. It makes the game look so much more professional.

Update: Also, I have to plug Hylke’s fantastic work on improving icon’s across the whole ecosystem. I’d encourage people to sponsor him if you have the means!

Mobile mode

As part of all the work for Circle we adopted more of the recent libadwaita widgets. This basically gave us “mobile mode” for free. It’s not perfect: we’re missing some gesture support and the behavior has some quirks. I could also use more support in GTK as well — we’re missing a chunk of the expected mobile API. But for something that wasn’t worked on intentionally it’s really impressive at how well the adaptive widgetry works in libadwaita.

https://blogs.gnome.org/jrb/files/2026/07/adaptive2.webm

In addition, sp1rit did a GTK Android build of Crosswords as a proof of concept. It’s missing some crucial elements — namely python for the import pipeline — so you can’t play many games with it. But it’s amazing that it works at all.

Android version of Crosswords Magnifier

I’ve been jealous of a feature that exists in the fabulous Typesetter app, namely right clicking on the output it will bring up a magnifier. I mentioned this to Toluwaleke (of Mutter GPU Reset fame), and he quickly wrote the same for Crosswords. It looks great, and cleverly reuses the ::snapshot() method to do the zoom. It will work with the mouse, or can be toggled by the keyboard. Take a look:

https://blogs.gnome.org/jrb/files/2026/07/mag.webm Editor: Layers and the AC3 Solver

For this release, we closed one of the biggest gaps the Editor had by adding information layers to the grid. This is a little hard to explain, so a demo might help. The layers are used to indicate different challenges in building a grid, and are required for any serious crossword editor. We support the following layers:

• Spell Check: Indicates when the word in a slot isn’t in the dictionary
• Unchecked Cells: Indicates slots that are 1 or 2 cells long
• Heatmap: Warns of cells that are hard to fill
• Unfillable Cells: Indicates that there are no dictionary words that fit a slot

https://blogs.gnome.org/jrb/files/2026/07/layers.webm

The spell check and unchecked cells jobs were straightforward to implement, but the heatmap/unfillable cell jobs are not. Fortunately, GSoC student Victor wrote a Design Doc last summer to propose a way to calculate these. He ran out of summer to implement it, so I picked it up this past Spring. It took some time, but I’m really happy with the results. It’s not fast enough to be synchronous, but does run in ~200msec, which means we can run it every change. Given that some other apps we surveyed took seconds or even minutes to complete, I’m really pleased with the performance.

Additional Editor Features

EditDateRow Widget

• As part of her GSoC project, Laureen wrote EditDateRow modeled after AdwComboRow. This is much more convenient than a raw entry. We’re adding more  custom data entry rows that go with the libadwaita set. Let me know if you find this one interesting and want to use it and I’ll clean it up for general consumption.
• I had a user testing surprise, as it turned out the histogram was actually useful for setters. Certain sites won’t allow too many three letter words, and want a good letter distribution. As a result, I cleaned it up and made it more prominent.
• I’ve had a skip list for the WordList for quite some time, but it was only used for autofill. It’s now used more widely, and can save/load from disk.

Histogram What’s next?

I have a number of planned features for next time:

• I need to give the word list code a refresh. I added support for word removals but need to let users add them as well. In addition, I want a custom word list import feature.
• We will land code for the vocab puzzle GSoC project.
• There are two new GTK features I’m really looking forward to adopting: Snapping and animated SVGs. The latter is going to be amazing!
• And hopefully, I really hope that the next release is the release where we finally get into GNOME Circle. Fingers crossed.

Thanks for reading!

I am implementing a new type of crossword puzzle in GNOME Crosswords this summer. The current options are static crosswords of ‘known’ location. My project does the opposite, where it takes the words and places them wherever we can get the maximum amount of connections between the words. The pinnacle of this is a DFS backtracking algorithm because we want the words on the grid to be malleable in their placements in order to include the next word going down the list.

Previously, what I had done was attempt to erase the word letter-by-letter recursively writing NULL to each cell. However, this removed every element in the string, including the letter shared at a node between two words, leaving a gap in the word left in place.

My most current version instead focuses on state preservation. Before we even write a new word to the grid, we read the existing state of cells with focus on those connections. Now when the recursive function attempts to place a word that ends up being impossible to connect with the current setup, we look for those ‘?’ characters, erase the string, and rewrite the cushioned letter to leave the other word fully intact.

Imagine a board with CAT written across the center, and we want to place MACAW on the grid vertically. Before the algorithm writes MACAW, it inspects the board at the calculated intersection point(s) and reviews the cells of the string length.

Cell 1: Empty, Cell 2: Empty, Cell 3: C, Cell 4: Empty, Cell 5: Empty.

The board saves this state in memory using a ‘?’ in place of the empty cells as ‘? ? C ? ?’. Hypothetically this makes our board look temporarily like this in memory:

?

?

C A T

?

?

MACAW is written to the grid and then checked in the next recursive function call to ensure if it can be kept or not in that hypothetical place. If it runs successfully, we leave it as is:

M

A

C  A  T

A

W

If it returns false, we need to backtrack and erase MACAW. Rather than totally erasing the word like before, we send the ? ? C ? ? state back to our overlay function – which is responsible for writing to the grid. If it sees a ‘?’, it empties the cell. If it sees a letter, it rewrites it. That way we are only backtracking and erasing the word creating an obstacle in our program. MACAW is erased, CAT remains there for the next word to be attempted.

• Sync Miklos, Mohit, some more admin. Content marketing review, sync with Naomi, Pedro & Eloy.
• Deeply irritated to miss another appointment due to there being no possible way to get Thunderbird to actually remind you that an appointment starts ~now. Not helped (somehow) by GNOME notifications also turning up quarter of an hour+ late - completely unclear why. Spent some time writing the world's worst Thunderbird extension actually notify you of meetings.
• Out for a run with J. relaxed in the evening.

It’s been 4 months since I was officially laid off. It’s been good and I can honestly say I’m doing my best work.

Icons for Demostage, Gitte, ChiPass, and Wardrobe What I’ve been up to

• Bobby has been accepted into GNOME Circle
  • I’m back as a GNOME Foundation member
• Started the weekly app icon initiative
  • 20 app icons created so far
• Good progress on the SparkleShare reboot in Rust
  • The new CLI mode is ready for testing

Happy to announce that with your help I’ve reached the first milestone of 64 monthly sponsors.

Thank you! More good stuff is coming. :)

GIMP is Free and Libre Open Source Software, but none of it is possible without the people who create with and contribute to it. Our project maintainer Jehan wanted to interview the volunteers who make GIMP what it is, and share their stories so you can learn more about the awesome people behind GIMP!

Early interviews from co-maintainer Michael Natterer and Michael Schumacher were published shortly after the first Wilber Week. The remaining interviews from this event, about Simon Budig and Øyvind Kolås were published years later as a revival of the series. While these interviews are a bit old and reference outdated versions and features of GIMP, we believe they still have value and show the evolution of our community.

This next interview is the first one recorded at the 2017 Libre Graphics Meeting in Rio de Janeiro, Brazil. The subject is Nara Oliveira, co-founder of Estudio Gunga. She is a Brazilian artist and advocate who uses free software exclusively to develop professional works in many fields, including design, illustration, and animation.

This interview took place over April 21 - 23, 2017. In addition to Jehan and Nara, Simon Budig, and Aryeom Han were also involved and asked questions.

Nara Oliveira, CC-BY-SA

Jehan: Hello Nara. Can you introduce yourself to the people?

Nara: My name is Nara Oliveira. I am a Brazilian designer. I am from Brasília, the capital. The city name is Taguatinga. I study design and today I work with free software. I have my own company with some partners and we work in audio, video, design, and animation.

Jehan: What is the name of your company?

Nara: Gunga. Gunga is an instrument from Capoeira. We have the berimbau with the “calabash”, I think – it’s an instrument from Capoeira.

Jehan: Okay. From what we understood, you mainly use free software

Nara: Yes.

Jehan: Mainly, or only?

Nara: Only.

Jehan: And which ones in particular?

Nara: I use GIMP, Inkscape, MyPaint, sometimes Krita – I’ve tried it – Scribus, FontForge, FontMatrix, and others like everybody uses.

Jehan: Do you use Linux?

Nara: Yes, Arch Linux.

Jehan: So full free software from start to end! Okay, and why do you do this?

Nara: When I heard about free software and Linux, I was working in a cultural space. I was working with theater and with drawing, and we already have that culture of sharing things and sharing knowledge. So when I met these guys in free software, they told me about what GNU and Linux were and the philosophy – and when I heard about it I fell in love with it. Because I already think that way, and so free software is applying what I think is right onto software and onto technology. So for me it just makes sense.

So I started to use this software. In the beginning it was difficult to make the transition, but with some time I got into it.

Jehan: So you made a transition from proprietary software?

Nara: Yes, from proprietary software to Linux.

Farid: When was this?

Nara: When? Ah, let me count…

[group laughter]

I was not finished studying then, so like around 2006 or 2007 I started. I really started to use Linux and everything for working in 2008, for everything.

Jehan: So you studied design in university?

Nara: Yes, in university.

Jehan: With proprietary software?

Nara: Yes, with proprietary software only. But my university was not so focused on software. In five years of studying, we only had one class about software. And as the class went on, everyone already knows how to use it! So it’s like a class that has to be on the curriculum, but it’s not like you have to use – it’s more like conceptual.

Estudio Gunga Presentations and Workshops, by Nara Oliveira, CC-BY-SA - 2025

Simon: Something I do a lot is that - I’m a software developer mainly, so I do a lot of my own tool development. Like I have a specific problem and I know there is an algorithm in my mind that I know would solve the problem (or might solve the problem), so I start implementing my own tools for very specific, very weird tasks, because I can’t do it with GIMP.

Nara: I would like to do that!

Simon: So this is what I wanted to ask – do you have programming experience? Do you have an idea of what it means to develop software?

Nara: No, but I think I have an idea – but I do not develop programs. I’ve studied a little, but it’s not like I can do something. I can see the code lines and know more or less what’s happening, but I can’t write lines by myself.

Jehan: You’ve told me that sometimes you will see some scripts and guess what it can be, and change the numbers…

Nara: Yeah, but more in insights and not in the programming itself.

Jehan: Since we’re doing this interview for gimp.org, what can you tell us about GIMP? How do you like it? How do you hate it? Tell us everything!

Nara: [Laughing] The first thing is, I like GIMP. I use it a lot. My work and style is more vector, but I use GIMP a lot and I like it.

When I made the transition to free software, until today one thing I didn’t like is that you don’t see the effects. You have do something, turn back, “Oh no!” - I have to change two, three points here, then I have to undo and do it again and come back. For me, it’s one of the things that makes the work not fluid.

I’m so happy to see GEGL on-canvas effects.

[Editor’s note: This feature was already implemented in the development version of GIMP 2.10, officially released about a year after this interview.]

Jehan: So, some other comments on GIMP?

Nara: Yeah, I really like it but, for example, I have some problems with my tablet. When I bought my first tablet, it simply didn’t work on GIMP. And I think it’s because of that, I use MyPaint. Because I have to work, and I have to work right now and the pressure doesn’t work, so what can I do with my tablet – so I found MyPaint, and I started to work with MyPaint, and it’s because of that I use it. Not because I think it’s more powerful than GIMP – it’s just because of that. At the time I liked it, and today I still use it.

[Editor’s note: GIMP 3.0 improved many issues with tablet support that were mentioned here.]

Jehan: So MyPaint is your main software?

Nara: For drawing, yeah. Because I am a designer, but I’m an illustrator too. So for illustration I use MyPaint, just for that. For small drawings, I use vectors in Inkscape, and so on.

I use GIMP more for photos, for editing, composing, correcting photos.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

Jehan: Yesterday when we spoke, you had this nice example of a job you did with Scribus. Like your first job with free software, I think?

Nara: No, my first book.

Jehan: Ah, your first book, not your first job with free software. Could you tell it again, now that we’re recording?

Nara: I was called on to make a big book, like three hundred pages. There was little time to do it, like three, two weeks. I am from Brasília, and they said you have to do it here with us to get it quicker. I traveled to Bahia to do it, and when I arrived there, there were two other designers. It was funny because I worked in Scribus, one worked in Corel Draw, and the other one in InDesign. So you had three designers, three different software.

Jehan: And three different operating systems.

Nara: Yeah, and three different operating systems, and we had to do one book, the same book!

So we met each other and said “Okay, let’s do it!”. We separated the book into pages, so I would do the first one to 100, the other designer would do 101 to 200, and so on. And we together figured out how the design of the book would be, and the rules to make each part feel like the same book.

So we started, and just like that, I finished first! I was worried, because I had not used Linux for too long, and if there was something wrong in the software or in the distribution, I would not know how to fix it. One of the designers had Mac and the other had Windows and I was so worried.

But it went well and I finished first – and it was very encouraging for me. It’s just a tool you know? I can do it, he can do it, she can do it – everyone can make it, so I was very happy. Because in the beginning I was worried about everything going wrong, and that there would be problems when I saved the PDF and printed it, but it was all okay.

The book was about experiences with, we call it here “apprentice to Griô”. It’s from the French language, because it came from Africa but a country that speaks French.

It’s like an old master who teaches the people around them, the community, something – knowledge about herbs, which can be medicinal herbs, or teaches about techniques about how to construct instruments, or make music, or dancing – like masters of Brazil, of all Brazil. So it’s because of that it’s a big book!

Years later, in the north of Brazil, when the waters came and filled the houses in the city – a flood. I was seeing that on the TV there was an old lady with her flooded house beside her, everything destroyed. And she had that book in her hand. She was crying because her house was destroyed, but she had the book, and she was happy she still had the book even though she didn’t have her house anymore.

So it was a meaningful project, and it was the beginning of my using Scribus.

Jehan: Are there things sometimes you feel you are not able to do with free software? You already answered this yesterday, so I’m just asking again to hear you saying it.

Nara: When I see art – art is everything, design is everywhere – I can’t see something and think about “I can’t it do with free software”. I can do it – maybe I can’t do it because of my creativity or because I don’t think about it, but technically I can do it, you know. We have the tools to do it. We have other ways, but we have the tools I think – in my area of design.

Simon: What would interest me is, you mention that you use quite a lot of different tools, like GIMP, Inkscape, Blender, Scribus -

Nara: Blender not yet, though I started animating in the timeline. In the movie that we showed, the first one that was in 2D, I animated parts of that.

Simon: But there are a lot of different tools that you and your colleagues use. When you start a project, do you pick one of the tools and stick to it, or is more like you start using one tool then transfer the result to a different tool?

Nara: Yes, it was like each tool was like a room of a house. I live in the house, there’s a lot of rooms, and sometimes I’m in the living room, other times I’m in the bed room, other times I go to the kitchen. It’s like I have a bottle, and I take the bottle here and there.

I don’t choose the software. I plan the project, I think about it, and think “How am I going to make this?” So I will start drawing in MyPaint. But I need it to be a vector, so I save it, open in Inkscape and add a vector. But ah, I need an image in the background. So I open the image in GIMP, I work with the image there, then import into Inkscape, okay. But oh, now I have to print it. So I save what I can save in vector I save in vector, and what I can’t save, I export. And I go to GIMP, transform it and edit it, and I take everything, go to Scribus, put them together, and make a PDF. More or less like this. I’m always going back and forth between the programs.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

I think it’s very complicated, but for me it’s very simple. But when I teach things like that it sounds very complicated.

Jehan: Do you have any questions, Aryeom?

Aryeom: I feel like I am in her head. I totally understand – I work the same way. Maybe later if I have any questions I’ll ask.

Nara: I learned everything by myself. So I don’t like tutorials, you know?

Aryeom: You don’t like tutorials?

Nara: Yeah, I don’t have the mind to read or watch them. I learn all by myself. I think my way of working is just my way, because I learn by myself. And sometimes I get in touch with people who use the software too, I like to watch them because people do things very different that I do, and things more easily. And sometimes I teach the software to someone, and in two weeks or three, I go to see what the people are doing. “Oh my God, I’d never think of that way!”. It’s very fun because of this.

I don’t like to do workshops because of that. I think my style of work is very crazy. But we can talk about it!

Jehan: So right now you have a big animation project. So maybe can you speak about it?

Nara: Well, Farid is the director. He writes the script. I am the art director, but I also help him with the script and doing all the storyboards. I do it in MyPaint. I was a little worried because I’ve never done a storyboard before. So I study a little, see other’s storyboards, and make it for the animation. And we are talking with people who want to work with us on the animation – and I was happy because people always say “You have a beautiful storyboard!”. I was worried about that.

I think we are, I don’t know, opening ways. Because we are not a 3D studio but we want to do 3D animation, so we have to contact on a lot of other people in Brazil and Latin America, and even in Europe. It’s been like a dream to make it. And we want to make it very fine, very good, because today if you are seeing bad 3D, then you don’t watch it. Because you have Pixar, you have Disney, you have a lot of others. I don’t think that we’ll be like Pixar, but we have to do something very good and great to be seen, you know? I think this is our goal. We want to make something very nice, very good that everyone wants to see.

We’re telling Brazilian history of Quilombo, when there was slavery. Some slaves ran away and made a tribe, a community of their own and lived there. And these communities survive until today. And some of them have a lot of different cultures. It’s like they’re isolated. And the story is about one of these communities. In Brazil the agriculture is taking the lands of these people, because they have a paper that says “We own these lands”, but actually these peoples have been there for 300, 400 years.

So we are telling the story of a girl who lived in a community like this. And they’re being pressured to go out and leave their lands. The story is a fiction, but it’s based on real facts. This is the history. It’s going to be like 10 minutes, it’s a short one, but it’s a real movie and after it’s finished, we want to continue it. Make like episodes or a long movie – it’s just like a pilot. But we need the pilot to get a bigger step.

Aryeom: I feel so moved, because our ZeMarmot project is also like this.

Nara: Here in Brazil there’s a law, I’m not quite sure, that for free television and private television, 50% of programs have to be Brazilian programs. Because it’s all foreign programs, so the government says that 50% have to be produced here in Brazil. So I have a lot of opportunities in that way for animated series.

Jehan: So you plan to distribute on TV.

Nara: Yeah.

Aryeom: Why did you choose 3D? Why not 2D?

Nara: Because we love it! We really love 3D, we’re really passionate. We started using Blender, even for 2D, but we want to go to 3D you know. We have some experiences, and we like the visuals of the movie – we actually don’t work with 3D, but we want to. A lot of people do that – I think 2D is less expensive and -

Jehan & Aryeom [in unison and laughing]: I don’t think it’s less expensive!

Nara: No? We like 3D. We want to make it – it’s so popular for the kids, for everyone. We want this movie not to go to the festivals and stay there. A lot of good films here are made this way. The very good films go to the festivals, earn their prizes, and no one’s ever seen the movie. “Oh you’ve seen that movie? No!”. It will never go to the cinemas.

We want it to have the chance to become popular, you know, a lot of people really watching it. And 3D has this affection, people really like these.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

Jehan: I know you said you also appreciate Creative Common licenses and stuff like that, so is this movie going to be under such a license?

Nara: Yes, it’s going to be an open movie! You can take the characters and make another animation by yourself. If you want to take everything, the characters, the background, everything, and animate another story, you can do this.

Jehan: Which license?

Nara: We haven’t thought about it yet, but the kind of license where you can make anything.

Simon: You said 3D. I sometimes have the impression that 3D in some way is more limited in what you can do artistically compared to 2D.

Nara: Yes, it is.

Simon: So this is not a factor for you?

Nara: No. Because in 3D, it’s like you said. If you’re doing a 2D animation, I don’t know, you can do a lot of types of techniques. Like it can be black & white, it can be color, or so many types – it’s like art in stop motion. 3D is different – you have a character, and you have the scenery, and the scenery is just the scenary. You can make some tricks with lighting and shading and colors, but it stops there. It’s an artistic limitation, I agree with that.

Aryeom: In your team, no one had any experience making 3D animations?

Nara: I animate, but I know how to take the characters and make them move. But I’m not an expert. Farid knows that too and know how to make a 2D animation in Blender. But 3D is a new challenge for us.

Jehan: I think also the question was, you are a designer so you usually work in 2D. So we would expect something who draws would want this drawing to come to life, than just doing the drawing and give it to someone else to make the actual final thing.

Nara: I have difficulties with this. I get tired of drawing very quickly. I can’t imagine myself drawing the same character more than, I don’t know, 10 times. I think I would die if I did that.

Aryeom: Haha, I’m dying!

Nara: It’s like my style. This book was difficult to me, because I had to draw the characters the same. They have to look the same every time I draw it. I don’t like that. I like to do one drawing and it’s over. They have to repeat and be the same. I like the work, but the process of doing the same thing is difficult for me.

Jehan: So you prefer to just draw something and let someone else repeat it again and again.

Nara: Yes, like the computer!

Aryeom: To make a series, an episodic drama, it’s easier to make in 3D. For long form, it’s good I think.

Jehan: Yes, for long form, but for short movies it takes longer due to preparations.

Nara: So it’s not my kind of thing.

[Nara hands out a book]

Nara: It’s by a friend of mine who wrote the story and he asked me to make the drawings. I don’t do a lot of kid stuff, but I like it. And it invites kids to draw at the end of it. It talks about what city do kids want to live in, and what city we want for ourselves. We have a lot of problems in the cities here, and I like the idea of book, to let kids dream about the city because we want that dream to come true.

Aryeom: What about Gunga’s future?

Nara: Ehh, I expect in the future that we have more people working with us. And we have more companies work with us with free software, you know. I’d like to get larger but not too larger. Because I want my life too!

Aryeom: Wise!

Nara: But I’m happy now because last year two new people joined the studio, and it’s a lot more fun to work with more people. We exchange experiences, and I think I want to grow in that way, to get a little bigger and get more partners. And work with more cinemas! It’s more difficult because it’s expensive to work with cinemas, working with animations. We like to do more for ourselves. We make a lot of productions, videos for other companies, for the government, so we’d like to do more for ourselves – like our stories, less for them, more for us.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

Jehan: Okay, maybe the last question unless someone has something. Do you have any requests for GIMP developers? Other than on-canvas preview because we already have it!

Nara: I will see the new version you talked about after this.

No, I’m okay. I think I’ve used it for such a long time that I’m so adjusted to it. In the beginning I had a lot of issues – if you gave me a paper then I would fill it with “I want this, I want that! Why do I have this? I can’t believe it!”

But today it is so natural to me that I had to think about it before coming here, because I’ll be meeting people that I want to talk about it with. And I think well, there are little things I want to change in the software. But I think that I have this because I’ve been using it for so long. People are always comparing it with propriety software, and I don’t compare it anymore because it’s been such a long time since I’ve opened something like Photoshop.

So, I’ll think about it.

Jehan: But in the end it just works!_

Nara: Yeah. I’ve written some*, but not for GIMP, for Inkscape, Scribus…

[Editor’s note: Jehan misheard the word “some” here as “song”]

Jehan: Ah! A song for everyone but us?

Nara: I used an earlier version of Inkscape which had a lot of bugs. They just changed it and so I have just bugs for Inkscape. Bugs are bugs.

Jehan: Ah, it’s bugs, not a song!

Nara: Yes, for Inkscape. For Scribus, I have some issues with development.

Aryeom: So you have bugs for them, but you have requests for us. So it’s good!

Jehan: Ah, okay. I thought you’d wrote a song.

Nara: No no – I know my letters are beautiful but it’s not a song.

And I’m happy to meet you! Very happy. I don’t go to a lot of events like here in Brazil. I don’t have a lot of time to do that. And it’s like an investment to travel here because it’s very expensive and the country is too big, haha. So my involvement with free software is like in my community. On our street where we work, a lot of people use Linux because of us. It’s like a center, you know? Time to time, someone goes there, “Oh, I bought a new notebook, I want to install Linux, let’s do it together”.

I think my part in this is more local than global – in the community. I feel better like this. Real connection, offline. I’m not so close to the development here and the other artists. And most of them, they’re just show artists. They don’t really work with design, they don’t really live from this, you know? I tend to know people who live from free software. Most of them are professionals, who are really good at one software, but they don’t put food on the table with it. It’s a little different. I learn from them, but I want to know people who have real issues.

Because when you don’t work with it, you just experiment, you make your own goals. Like “I’m going to make this girl have make-up on her face”, and then you do that. When you work, another person puts a goal on you. Like, “Make this girl have a guitar”, and you have to find a way to do that. And the process when you make a goal versus when another person makes a goal you have to achieve, it’s very different when you’re working with the software. Because you have to go somewhere you’ve never went before. And it makes you use the software in a different way.

You understand what I’m saying? Because when I see the workshops, people are very good at doing something they always do. I want to see people doing very good things they’ve never done before. These things show the real potential of the software.

Jehan: And the potential of the artist.

Nara: Yes, and the potential of the artist. Because you can show me, Inkscape or GIMP is doing this new thing. But maybe I’m not going to use it just because it’s in the software. I’m only will use it if I need it. So, there are a lot of people who are experts in the tools and what the tools can do – to make it, you have to use all the tools combined. It’s different, it’s another level.

Jehan: Well, I think that’s a good interview. Thank you Nara!

Nara: Thank you!

Estudio Gunga

This year was the fourth year in a row that a bunch of display driver and compositor developers met for the Display Next Hackfest, to discuss, present, and tackle issues related to displays, GPUs, and compositors. Thanks to Collabora (Robert Mader and Mark Fillion specifically) for continuing this tradition!

(Check out the 2025 edition)

This time we met in Nice, France, after Embedded Recipes and right next to the PipeWire and libcamera hackfests. I took the opportunity to have a chat with the PipeWire developers about Flatpak, Portals, and the direction we would like to take in regard to video and audio access. Arun Raghavan has a nice summary if you’re interested.

That also brings me to another point: I have mostly stopped working on compositor and color-related areas. It’s not because I lost interest, but rather that I took over Flatpak and Portals maintenance. That by itself was taking a big chunk of time, but then LLMs became good at finding security vulnerabilities and now this takes more time than I have.

Before the hackfest, I sat down for one week and hacked on Mutter (the GNOME Shell compositor) to create a prototype with all the changes I wanted to do but never found the time for:

• dropping colord
• configuring ICC profiles and white point via the display config
• splitting our color transformation code to provide a color pipeline
• offloading color transforms to the KMS color pipeline
• achieving color-accurate white point adjustment and night light

With the prototype done, I made my way to Nice, taking a sleeper train from Paris and waking up to the Côte d’Azur in the morning. Then I met with Robert in the botanic garden, where he used his deep cross-stack offloading knowledge to test a bunch of video playback scenarios.

Over the hackfest days we found some glitches in the AMD driver, which were promptly fixed by Harry Wentland. We also had some discussions on strategies to do KMS color pipeline offloading, which prompted some changes in the prototype, and now have something we can start upstreaming.

For the KMS color pipeline, we got a new fixed matrix operation for YCbCr to RGB conversion, and new named curves for important video playback cases. We talked about control over the color format on the cable (which has been merged by now), as well as control over the minimum BPC.

Another thing that we all got annoyed by was all the funky colors our in-kernel console became when our offloading worked a bit too well. We’ve wanted a reset mechanism for KMS for a few years now anyway, so we decided to prototype it and test it on Smithay. Proper patches are now on the mailing list thanks to Maxime Ripard.

Mario Limonciello managed to push out patches for backlight support via KMS before the hackfest – another thing we’ve wanted for years. We tested them on Mutter, and KWin added support for it as well.

Xaver Hugl showed that we can easily support AMD FreeSync Premium Pro, the worst name for a feature that is essentially Source-Based Tone Mapping (SBTM). We also got good news regarding SBTM on HDMI. In general, it looks like we might finally get HDR that isn’t entirely awful.

DisplayID, the replacement for EDID, is going to become much more prevalent, and we discussed how we’re going to roll out support in the kernel and in libdisplay-info.

We once again managed to put enough wayland developers in a room for a bigger protocol change to get merged. This time it was multi device dmabuf feedback which made Victoria Brekenfeld happy.

There was a lot more happening — check out Xaver’s and Louis Chauvet’s blog posts.

Even though I wasn’t as prepared as the previous times, it was very productive and there was more actual hacking this year. I also enjoyed meeting everyone again a lot, hanging out in the water while watching the 1% take off in their private jets, struggling to find an adequate Döner, and eating lots of pizza.

Until next time!