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<html>
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Permission is granted to copy, distribute and/or modify this document
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under the terms of the GNU Free Documentation License, Version 1.2 or
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Written by: Lionel Cons <Lionel.Cons@cern.ch> (original author)
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Karl Berry <karl@freefriends.org>
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Olaf Bachmann <obachman@mathematik.uni-kl.de>
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and many others.
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<head>
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<title>CentOS Artwork Repository: 3.23 trunk/Identity/Themes/Motifs/Flame</title>
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[ < ]
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[Top]
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[Contents]
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[Index]
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[ ? ]
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3.23 trunk/Identity/Themes/Motifs/Flame
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3.23.1 Goals
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This section describes the steps we followed to construct the
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Flame artistic motif. This section may be useful for anyone
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interested in reproducing the Flame artistic motif, or in
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creating new artistic motifs for The CentOS Project corporate visual
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identity (see section trunk/Identity).
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3.23.2 Description
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The Flame artistic motif was built using the flame filter of
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Gimp 2.2 in CentOS 5.5.
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The flame filter of Gimp can produce stunning, randomly generated
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fractal patterns. The flame filter of Gimp gives us a great oportunity
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to reduce the time used to produce new artistic motifs, because of its
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"randomly generated" nature. Once the artistic motif be created, it
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is propagated through all visual manifestations of CentOS Project
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corporate visual identity using the <tt>`centos-art.sh'</tt> script
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(see section trunk/Scripts/Bash) inside the CentOS Artwork Repository.
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To set the time intervals between each new visual style production, we
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could reuse the CentOS distribution major release schema. I.e., we
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could produce a new visual style, every two years, based on a new
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"randomly generated" flame pattern, and publish the whole corporate
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visual identity (i.e., distribution stuff, promotion stuff, websites
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stuff, etc.) with the new major release of CentOS distribution all
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together at once.
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Producing a new visual style is not one day's task. Once we have
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defined the artistic motif, we need to propagate it through all visual
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manifestations of The CentOS Project corporate visual identity. When
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we say that we could produce one new visual style every two years we
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really mean: to work two years long in order to propagate a new visual
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style to all visual manifestations of The CentOS Project corporate
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visual identity.
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Obviously, in order to propagate one visual style to all different
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visual manifestations of The CentOS Project corporate visual identity,
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we need first to know which the visual manifestations are. To define
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which visual manifestations are inside The CentOS Project corporate
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visual identity is one of the goals the CentOS Artwork Repository and
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this documentation manual are both aimed to satisfy.
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Once we define which the visual manifestation are, it is possible to
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define how to produce them, and this way, organize the automation
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process. Such automation process is one of the goals of
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<tt>`centos-art.sh'</tt> script.
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With the combination of both CentOS Artwork Repository and
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<tt>`centos-art.sh'</tt> scripts we define work lines where translators,
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programmers, and graphic designers work together to distribute and
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reduce the amount of time employed to produce The CentOS Project
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monolithic corporate identity.
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From a monolithic corporate visual identity point of view, notice that
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we are producing a new visual style for the same theme (i.e.,
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Flame). It would be another flame design but still a flame
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design. This idea is very important to be aware of, because we are
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somehow "refreshing" the theme, not changing it at all.
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This way, as we are "refreshing" the theme, we still keep oursleves
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inside the monolithic conception we are trying to be attached to
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(i.e., one unique name, and one unique visual style for all visual
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manifestations).
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Producing artistic motifs is a creative process that may consume long
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time, specially for people without experienced knowledge on graphic
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design land. Using "randomly generated" conception to produce
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artistic motifs could be, practically, a way for anyone to follow in
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order to produce maintainable artistic motifs in few steps.
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Due to the "randomly generated" nature of Flame filter, we find that
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Flame pattern is not always the same when we use Flame
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filter interface.
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Using the same pattern design for each visual manifestation is
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essential in order to maintain the visual connection among all visual
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manifestations inside the same theme. Occasionally, we may introduce
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pattern variations in opacity, size, or even position but never change
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the pattern design itself, nor the color information used by images
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considered part of the same theme.
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 Important
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When we design background images, which are considered part of the
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same theme, it is essential to use the same design pattern always.
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This is what makes theme images to be visually connected among
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themeselves, and so, the reason we use to define the word "theme"
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as: a set of images visually connected among themeselves.
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In order for us to reproduce the same flame pattern always,
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Flame filter interface provides the <samp>`Save'</samp> and <samp>`Open'</samp>
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options. The <samp>`Save'</samp> option brings up a file save dialog that
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allows you to save the current Flame settings for the plug-in, so that
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you can recreate them later. The <samp>`Open'</samp> option brings up a file
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selector that allows you to open a previously saved Flame settings
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file.
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The Flame settings we used in our example are saved in the file:
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trunk/Identity/Themes/Motifs/Flame/Backgrounds/Xcf/800x600.xcf-flame.def
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3.23.3 Construction
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3.23.3.1 Step 1: Set image size
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Create an empty image and fill the <samp>`Background'</samp> layer with black
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(000000) color. Image dimensions depend on the final
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destination you plan to use the image for. For the sake of our
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construction example we used an image of 640x480 pixels and 300 pixels
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per inch (ppi).
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3.23.3.2 Step 2: Add base color and pattern information
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Create a new layer named <samp>`Base'</samp>, place it over <samp>`Background'</samp>
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layer and fill it with the base color (7800ff) you want to have
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your background image set in. Add a mask to <samp>`Base'</samp> layer using
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radial gradient and blur it. You may need to repeat this step more
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than once in order to achieve a confortable black radial degradation
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on the right side of your design.
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Duplicate <samp>`Base'</samp> layer and name it <samp>`Paper'</samp>. Place
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<samp>`Paper'</samp> layer over <samp>`Base'</samp> layer. Remove content of
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<samp>`Paper'</samp> layer and fill it with <samp>`Paper (100x100)'</samp> pattern.
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Once you've done with black radial degradation, reduce the
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<samp>`Paper'</samp> layer opacity to 20%.
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Notice that when we duplicate one layer, the mask information related
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to layer is preserved from previous to next layer. This saves us some
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of the time required to produce different layers with the same mask
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information on them.
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Duplicate <samp>`Paper'</samp> layer and rename it <samp>`Stripes'</samp>. Remove
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paper pattern from <samp>`Stripes'</samp> layer. Fill <samp>`Stripes'</samp> layer
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with <samp>`Stripes (48x48)'</samp> pattern and reduce the <samp>`Stripes'</samp>
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layer opacity to 15%.
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3.23.3.3 Step 3: Add flame motif
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Create a new layer named <samp>`Flame'</samp>. Set the foreground
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(003cff) and background (0084ff) colors to the gradient
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you want to build the flame motif.
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To build flame motif, use the flame filter (<samp>`Filters > Render >
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Nature > Flame...'</samp>) on <samp>`Flame'</samp> layer. We used a layer mask, with
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a radial gradient on it to control the boundaries of flame motif on
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<samp>`Flame'</samp> layer.
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Duplicate <samp>`Flame'</samp> layer and rename it `Flame Blur'. Place `Flame
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Blur' below <samp>`Flame'</samp> layer. Apply Gussian blur filter
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(<samp>`Filters > Blur > Gussian Blur...'</samp>) until reaching the desiered
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effect.
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The opacity value, in <samp>`Flame'</samp> layers, may vary from one image to
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another based on the place the image will be finally placed on. For
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example, images used as desktop background have the <samp>`Flame'</samp> layer
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opacity set at 100% but <samp>`Flame Blur'</samp> is set to 70%. However, you
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may find that background images used in anaconda progress slides have
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opacity reduced differently, in order to reduce brightness in a way
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that texts could look clean and readable over it.
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3.23.3.4 Step 4: Add foreground color
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Create a new layer named <samp>`Color'</samp>, place it on top of all visible
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layers and fill it with plain color (4c005a). Reduce
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<samp>`Color'</samp> layer opacity to 20%. You can use the <samp>`Color'</samp> layer
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to control the right side color information you want to produce the
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image for.
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Duplicate <samp>`Flame'</samp> layer and create a new layer named
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<samp>`Color#1'</samp>. Place <samp>`Color#1'</samp> layer on top of layer named
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<samp>`Color'</samp>. Remove the mask information from <samp>`Color#1'</samp> layer
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and recreate a new one using an inverted alpha channel as reference.
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Remove <samp>`Color#1'</samp> layer content and fill it back with plain black
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(000000) color. Reduce <samp>`Color#1'</samp> opacity to 20%. In this
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step we created a mask to protect the flame artistic motif from black
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color, so when we decrement or increment the opacity of layer, the
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flame artistic motif wouldn't be affected, just the environment
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suround it.
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When you set color information, remember that the same artistic motif
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needs to be indexed to 14 and 16 colors, in order to produce Grub and
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Syslinux visual manifestations respectively. Using many different
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colors in the artistic motif may reduce the possibility of your design
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to fix all different situations in. Likewise, using more colors in
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one design, and less colors in another design will reduce the
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connectivity among your designs, since color information is relevant
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to visual identity.
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When you propagate your artistic motif visual style to different
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visual manifestations of CentOS Project corporate visual identity, it
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is up to you to find out justice and compromise among all possible
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variables you may face.
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3.23.4 See also
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3.22 trunk/Identity/Themes/Motifs
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3.14 trunk/Identity/Themes
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3.1 trunk/Identity
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3. trunk
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This document was generated on February, 25 2011 using texi2html 1.76.
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