Blame Manuals/Texinfo/Introduction/repo-convenctions.texi

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The CentOS Artwork Repository is supported by Subversion
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(@url{http://subversion.tigris.org/}), a version control system which
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allows you to keep old versions of files and directories (usually
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source code), keep a log of who, when, and why changes occurred, etc.,
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like CVS, RCS or SCCS.  
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When using Subversion there is one @emph{source repository} and many
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@emph{working copies} of that source repository. The working copies
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are independent one another, can be distributed all around the world
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and provide a local place for designers, documentors, translators and
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programmers to perform their works in a descentralized way.  The
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source repository, on the other hand, provides a central place for all
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independent working copies to interchange data and provides the
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information required to permit extracting previous versions of files
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at any time.
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@subsection Repository policy
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@cindex Repository policy
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The CentOS Artwork Repository is a collaborative tool that anyone can
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have access to. However, changing that tool in any form is something
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that should be requested in @email{centos-devel@@centos.org} mailing
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list.  Generally, people download working copies from CentOS Artwork
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Repository, study the repository organization, make some changes in
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their working copies, make some tests to verify such changes do work
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the way expected and finally request access to commit them up to the
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CentOS Artwork Repository (i.e., the source repository) for others to
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benefit from them.
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Once you've received access to commit your changes, there is no need
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for you to request permission again to commit other changes from your
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working copy to CentOS Artwork Repository as long as you behave as a
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@emph{good community citizen}.
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As a good community citizen one understand of a person who respects
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the work already done for others and share ideas with authors before
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changing relevant parts of their work, specially in situations when
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the access required to realize the changes has been granted already.
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Of course, there is a time when conversation has taken place, the
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paths has been traced and changing the work is so obvious that there
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is no need for you to talk about it; that's because you already did,
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you already built the trust to keep going. Anyway, the mailing list
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mentioned above is available for sharing ideas in a way that good
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relationship between community citizens could be constantly balanced.
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The relationship between community citizens is monitored by repository
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administrators. Repository administrators are responsible of granting
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everything goes the way it needs to go in order for the CentOS Artwork
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Repository to comply its mission which is: to provide a colaborative
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tool for The CentOS Community where The CentOS Project Corporate
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Identity is built and maintained from The CentOS Community itself.
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It is also important to remember that all source files inside CentOS
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Artwork Repository should comply the terms of GNU General Public
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License (@pxref{GNU General Public License}) in order for them to
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remain inside the repository.
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@subsection Repository organization 
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@cindex Repository organization
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The CentOS Artwork Repository uses a @file{trunk}, @file{branches},
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and @file{tags} organization.  
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@table @file
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@item trunk
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The @file{trunk} directory organizes the main development line of
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CentOS Artwork Repository. @xref{Directories trunk}, for more
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information.
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@item branches
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The @file{branches} directory oranizes intermediate development lines
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taken from the main development line.  @xref{Directories branches},
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for more information.
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@item tags
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The @file{tags} directory organizes frozen development lines taken
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either from the main or the intermediate lines of development.
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@xref{Directories tags}, for more information.
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@end table
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@subsection Repository file names
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@cindex Repository file names
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Inside the CentOS Artwork Repository, file names are all written in
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lowercase (e.g., @samp{01-welcome.png}, @samp{splash.png},
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@samp{anaconda_header.png}, etc.) and directory names are all written
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capitalized (e.g., @samp{Identity}, @samp{Themes}, @samp{Motifs},
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@samp{TreeFlower}, etc.).
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@subsection Repository work lines
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Inside CentOS Artwork Repository there are four major work lines of
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production which are: @emph{graphic design}, @emph{documentation},
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@emph{localization} and @emph{automation}.  These work lines describe
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different areas of content production. Content production inside these
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specific areas may vary as much as persons be working on them.
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Producing content in too many different ways may result innapropriate
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in a collaborative environment like CentOS Artwork Repository where
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content produced in one area depends somehow from content produced in
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another different area. So, a @emph{content production standard} is
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required for each available work line.
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@subsubsection Graphic design
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@cindex Graphic design work line
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The graphic design work line exists to cover brand design, typography
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design and themes design mainly. Additionally, some auxiliar areas
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like icon design, illustration design, brushes design, patterns
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designs and palettes of colors are also included here for
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completeness.
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Inside CentOS Artwork Repository graphic design is performed through
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Inkscape (@url{http://www.inkscape.org/}) and GIMP
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(@url{http://www.gimp.org/}).  The Inkscape tool is used to create and
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manipulate scalable vector graphics and export them to PNG format; it
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also provides a command-line interface that we use to perform massive
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exportation from SVG files to PNG files in automation scripts. On the
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other hand, GIMP is used to create and manipulate rastered images,
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create brushes, patterns and palettes of colors.
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@quotation
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@strong{Tip} Combine both Inkscape and GIMP specific functionalities
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and possibilities to produce very beautiful images.
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@end quotation
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The CentOS Project Corporate Visual Identity is made of different
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visual manifestations (e.g., Distributions, Web sites, Stationery,
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etc.).  Visual manifestations implement the corporate identity
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concepts by mean of images.  To produce these images, we decompose
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image production in @emph{design models} and @emph{artistic motifs}.
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Design models provide the structural information of images (i.e.,
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dimension, position of common elements in the visible area,
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translation markers, etc.) and they are generally produced as scalable
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vector graphics to take advantage of SVG standard, an XML-based
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standard.
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Artistic motifs provide the visual style (i.e., the background
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information, the look and feel) some design models need to complete
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the final image produced by automation scripts. Artistic motifs are
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generally produced as rastered images.
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The result produced from combining one design model with one artistic
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motif is what we know as a @emph{theme}. Inside themes directory
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structure (@pxref{Directories trunk Identity Images Themes}), you can find
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several design models and several artistic motifs independently one
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another that can be albitrarily combined through @emph{theme
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rendition}, a flexible way to produce images for different visual
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manifestations in very specific visual styles. Inside themes directory
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structure, theme rendition is performed in
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@file{trunk/Identity/Images/Themes} directory structure, the required
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design models are taken from @file{trunk/Identity/Models/Themes}
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directory structure and the action itself is controlled by the
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@code{render} functionality of @command{centos-art.sh} script.
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In addition to theme rendition you can find @emph{direct rendition},
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too. Direct rendition is another way of image production where there
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is no artistic motif at all but design models only. Direct rendition
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is very useful to produce simple content that doesn't need specific
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background information. Some of these contents are brands, icons and
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illustrations.  Direct rendition is performed in
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@file{trunk/Identity/Images}, the required design models are taken
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from @file{trunk/Identity/Models} directory structure and the action
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itself is controlled by the @code{render} functionality of
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@command{centos-art.sh} script.
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@xref{Directories trunk Identity}, for more information about The
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CentOS Corporate Identity and how graphic design fits on it.
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@subsubsection Documentation
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@cindex Documentation work line
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The documentation work line exists to describe what each directory
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inside the CentOS Artwork Repository is for, the conceptual ideas
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behind them and, if possible, how automation scripts make use of them.
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The CentOS Artwork Repository documentation is supported by Texinfo, a
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documentation system that uses a single source file to produce both
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online information and printed output. 
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The repository documentation is organized under @file{trunk/Manual}
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directory and uses the repository directory structre as reference.
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Each directory in the repository has a documentation entry associated
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in the documentation manual.  Documentation entries are stored under
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@file{trunk/Manual/Directories} directory and the action itself is
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controlled by the @code{help} functionality of @command{centos-art.sh}
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script.  
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The @code{help} functionality let you create, edit and delete
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documentation entries in a way that you don't need to take care of
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updating menus, nodes and cross reference information inside the
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manual structure; the functionality takes care of it for you.
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However, if you need to write repository documentation that have
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nothing to do with repository directories (e.g., Preface, Introduction
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and similar) you need to do it manually, there is no functionality to
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automate such process yet.
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@xref{Directories trunk Manual}, for more information on
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documentation.
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@subsubsection Localization
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@cindex Localization work line
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The localization work line exists to provide the translation messages
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required to produce content in different languages. Translation
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messages inside the repository are stored as portable objects (e.g.,
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.po, .pot) and machine objects (.mo) under @file{trunk/Locales}
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directory structure.
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The procedure used to localize content is taken from @command{gettext}
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standard specification.  Basically, translatable strings are retrived
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from source files in order to create portable objects and machine
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objects for them.  These portable objects are editable files that
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contain the information used by translators to localize the
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translatable strings retrived from source files. On the other hand,
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machine objects are produced to be machine-redable only, as its name
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implies, and are produced from portable objects.
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Since @command{gettext} needs to extract translatable strings form
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source files in order to let translators to localize them, we are
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limitted to use source files supported by @command{gettext} program.
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This is not a limitation at all since @command{gettext} supports most
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popular programming laguages (e.g., C, C++, Java, Bash, Python, Perl,
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PHP and GNU Awk just to mention a few ones). Nevertheless, formats
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like SVG, XHTML and Docbook don't figure as supported formats in the
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list of @command{gettext} supported source files.
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To translate XML based source files like SVG, XHTML and Docbook we use
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the @command{xml2po} program instead. The @command{xml2po} comes with
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the @file{gnome-doc-utils} package and retrives translatable strings
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from one XML file to produce portable objects for them. 
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@quotation
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@strong{Note}
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Portable objects produced by @command{xml2po} have the same format
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that portable objects produced by @command{gettext}. This make the
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localization process quite consistent from translators' point of view.
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No matter what the source file be, the translator will always face the
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same translation file format (i.e., the portable object format).
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@end quotation
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With the portable object in place, the @command{xml2po} program is
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used again to create the final translated XML, just with the same
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definition of the source file where translatable strings were taken
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from (e.g., if we extract translatable strings from a SVG file, as
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result we get the same SVG file but with translatable strings already
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localized ---obviously, for this to happen translators need to
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localize translatable strings inside the portable object first,
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localization won't appear as art of magic---).  When using
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@command{xml2po}, the machine object is used as temporal file to
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produce the final translated XML file.
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@quotation
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@strong{Tip} If you want to have your content localized inside CentOS
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Artwork Repository be sure to use source files supported either by
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@command{gettext} or @command{xml2po} programs.
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@end quotation
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@xref{Directories trunk Locales}, for more information.
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@subsubsection Automation
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@cindex Automation work line
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The automation work line exists to standardize content production in
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CentOS Artwork Repository. There is no need to type several tasks,
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time after time, if they can be programmed into just one executable
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script.
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The automation work line takes place under @file{trunk/Scripts}
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directory structure. Here is developed the @command{centos-art.sh}
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script, a bash script specially designed to automate most frequent
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tasks (e.g., rendition, documentation and localization) inside the
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repository.  Basically, the @command{centos-art.sh} script is divided
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in several functionalities independent one another that perform
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specific tasks and relay on repository organization to work as
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expected.
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@quotation
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@strong{Tip} If you need to improve the way content is produced, look
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inside automation scripts and make your improvement there for everyone
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to benefit.
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@end quotation
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@xref{Directories trunk Scripts}, for more information on automation.
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@subsection Connection between directories
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@cindex Connection between directories
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@cindex Master paths
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@cindex Auxiliar paths
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In order to produce content in CentOS Artwork Repository, it is
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required that all work lines be connected somehow.  This is the way
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automation scripts can know where to retrive the information they need
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to work with (e.g., design model, translation messages, output
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location, etc.).  We build this kind of connection using two path
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constructions named @emph{master paths} and @emph{auxiliar paths}.
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The master path points only to directories that contain the source
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files (e.g., SVG files) required to produce base content (e.g., PNG
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files) through automation scripts.  Each master path inside the
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repository may have several auxiliar paths associated, but auxiliar
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paths can only have one master path associated.
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The auxiliar paths can point either to directories or files. When an
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auxiliar path points to a directory, that directory contains
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information that modifies somehow the content produced from master
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paths (e.g., translation messages) or provides the output information
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required to know where to store the content produced from master path.
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When an auxiliar path points to a file, that file has no other purpose
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but to document the master path it refers to.
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The relation between auxiliar paths and master paths is realized
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combining two path informations which are: the master path itself and
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one second level directory structure from the repository.  Generally,
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the master path is considered the path identifier and the second level
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directory structure taken from the repository is considered the common
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part of the path where the identifier is appended. 
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@float Figure, Path construction
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@verbatim
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-----+---------------+----------------------------+------+-----------
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Path | Suffix        | Identifier                 |Prefix| Type 
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-----+---------------+----------------------------+------+-----------
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  A  |               |trunk/Identity/Models/Brands|      | Directory 
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-----+---------------+----------------------------+------+-----------
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  B  |  trunk/Manual/|trunk/Identity/Models/Brands|.texi | File      
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-----+---------------+----------------------------+------+-----------
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  C  | trunk/Locales/|trunk/Identity/Models/Brands|      | Directory 
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-----+---------------+----------------------------+------+-----------
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  D  |               |trunk/Identity/Images/Brands|      | Directory 
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-----+---------------+----------------------------+------+-----------
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  E  | trunk/Locales/|trunk/Identity/Images/Brands|.texi | File      
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-----+---------------+----------------------------+------+-----------
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  A = Master path.
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  B = Auxiliar path to documentation entry.
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  C = Auxiliar path to translation messages.
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  D = Auxiliar path to final content output.
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  E = Auxiliar path to documentation entry.
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@end verbatim
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@caption{Path construction.}
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@end float
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The path information described above (@pxref{Path construction}) is
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used by direct rendition and can be taken as reference to add other
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components that are equally produced in the repository.  To add new
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components that make use of direct rendition inside the repository,
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change just the component name used above (e.g., @file{Brands}) to
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that one you want to add, without changing the path structure around
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it.
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The file organization used by theme rendition extends direct rendition
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by separating design models information from backgrounds information.
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To better understand this configuration, you can consider it as two
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independent lists, one of design models and one of artistic motifs,
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which are arbitrary combined between themselves in order to render
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images in specific ways. The possibilities of this configuration are
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endless and let us describe visual manifestations very well.  For
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example, consider the organization used to produce @file{Anaconda}
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images; for CentOS distribution major release 5; using @file{Default}
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design models and version @file{3} of @file{Flame} artistic motif:
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@float Figure, Path construction extended
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@verbatim
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-----+---------------+------------------------------------------------------+------+-----------
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Path | Suffix        | Identifier                                           |Prefix| Type 
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-----+---------------+------------------------------------------------------+------+-----------
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  A  |               |trunk/Identity/Models/Themes/Default/Distro/5/Anaconda|      | Directory 
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-----+---------------+------------------------------------------------------+------+-----------
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  B  |  trunk/Manual/|trunk/Identity/Models/Themes/Default/Distro/5/Anaconda|.texi | File      
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-----+---------------+------------------------------------------------------+------+-----------
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  C  | trunk/Locales/|trunk/Identity/Models/Themes/Default/Distro/5/Anaconda|      | Directory 
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-----+---------------+------------------------------------------------------+------+-----------
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  D  |               |trunk/Identity/Images/Themes/Flame/3/Distro/5/Anaconda|      | Directory 
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-----+---------------+------------------------------------------------------+------+-----------
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  E  | trunk/Locales/|trunk/Identity/Images/Themes/Flame/3/Distro/5/Anaconda|.texi | File      
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-----+---------------+------------------------------------------------------+------+-----------
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  A = Master path.
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  B = Auxiliar path to documentation entry.
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  C = Auxiliar path to translation messages.
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  D = Auxiliar path to final content output.
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  E = Auxiliar path to documentation entry.
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@end verbatim
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@caption{Path construction extended.}
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@end float
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The path information described above (@pxref{Path construction
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extended}) is used by theme rendition and can be taken as reference to
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add other components that are equally produced in the repository.
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In this configuration we can change both design model name (e.g.,
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@file{Default}) and artistic motif name (e.g., @file{Flame/3}) to
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something else in order to achieve a different result. The only
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limitations impossed are the storage space provided in the server
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machine and your own creativeness as graphic designer.
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@quotation
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@strong{Note}
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A theme ready for implementation may consume from 100 MB to 400 MB of
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storage space. The exact space consumed by a theme depends on the
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amount of screen resolutions the theme supports. The more screen
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resolutions the theme supports, the more storage space demanded for
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it.
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@end quotation
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In this configuration we saw how to build the path information for
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@file{Anaconda} component as part of CentOS Distribution visual
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manifestation, but that is not the only component we have inside
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CentOS Distribution visual manifestation.  There are other components
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like Syslinux, Grub, Rhgb, Gdm, Kdm, Gsplash and Ksplash that share a
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similar file organization to that described above for @file{Anaconda}
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component.
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@subsection Syncronizing path information
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@cindex Syncronizing path information
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Syncronizing path information is the action that keeps all path
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information up to date in the repository. This action implies both
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@emph{file movement} and @emph{file content replacement} in this very
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specific order. File movement is related to duplicate, delete and
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rename files and directories in the repository.  File content
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replacement is related to replace information, path information in
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this case, inside files in the repository.
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The order followed to syncronize path information is relevant because
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the versioned nature of the files we are working with. We don't
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perform file content replacement first because that would imply a
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repository change which will immediatly demmand a commit in order for
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actions like duplicate, delete or rename to take place. However, if we
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perform file movement first, it is possible to commit both file moved
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and file content replacements as if they were just one change. In this
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case the file content replacement takes palce in the target location
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that have been duplicated or renamed, not the one use as source
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location. This configuration is specially useful when files are
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renamed (i.e., one file is copied from a source location to a target
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location and then the source location of it is removed from
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repository).
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@quotation
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@strong{Warning} There is no support for URLs actions inside
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@command{centos-art.sh} script.  The @command{centos-art.sh} script is
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designed to work with local files inside the working copy only. If you
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need to perform URL actions directly, use Subversion commands instead.
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@end quotation
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When one master path is changed it is required that all related
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auxiliar paths be changed, too. This is required in order for master
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paths to retain their relation with auxiliar paths.  This way,
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automation scripts are able to know where to retrive translation
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messages from, where to store final output images to and where to look
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for documentation. If relation between master paths and auxiliar paths
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is lost, there is no way for automation scripts to know where to
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retrive the information they need.
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The auxiliar paths should never be modified under any reason but to
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satisfy the relationship with the master path.  Liberal change of
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auxiliar paths may suppress the conceptual idea they were initially
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created for; and certainly, automation scripts may stop working as
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expected. The update direction to rename path information must be from
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master path to auxiliar path and never the opposite.
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The relation between master and auxiliar paths is useful to keep
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repository organized but introduce some complications when we work
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with files that use master path information as reference to build
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structural information.  This is the case of repository documentation
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manual source files where inclusions, menus, nodes and cross
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references are built using master path information as reference.  Now,
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to see what kind of complication we are talking about, consider what
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would happen to a structural definitions (i.e., inlusions, menus,
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nodes and cross refereces) already set in the manual from one master
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path that is suddenly renamed to something different.  If the path
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information is not syncronized, at this point, we lose connection
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between the master path and the auxiliar path created to store the
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related documentation entry, as well as the related structural
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definitions that end up pointing to a master path that no longer
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exist.
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The syncronization of path information is aimed to solve these kind of
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issues.
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@subsection Extending repository organization
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@cindex Extending repository organization
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Occasionly, you may find that new components of The CentOS Project
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Corporate Identity need to be added to the repository in order to work
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them out. If that is the case, the first question we need to ask
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ourselves, before start to create directories blindly all over, is:
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@emph{What is the right place to store it?}
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The best place to find answers is in The CentOS Community (see page
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@url{http://wiki.centos.org/GettingHelp}), but going there with hands
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empty is not good idea. It may give the impression you don't really
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care about. Instead, consider the following suggestions to find your
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own comprehension in order to make your own propositions based on it.
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When extending respository structure it is very useful to bear in mind
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The CentOS Project Corporate Identity Structure (@pxref{Directories
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trunk Identity}) The CentOS Mission and The CentOS Release Schema. The
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rest is just matter of choosing appropriate names. It is also worth to
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know that each directory in the repository responds to a conceptual
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idea that justifies its existence.
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To build a directory structure, you need to define the conceptual idea
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first and later create the directory. There are some locations inside
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the repository that already define some concepts you probably want to
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reuse. For example, @file{trunk/Identity/Images/Themes} to store theme
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artistic motifs, @file{trunk/Identity/Models/Themes} to store theme
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design models, @file{trunk/Manual} to store documentation files,
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@file{trunk/Locales} to store translation messages,
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@file{trunk/Scripts} to store automation scripts and so on.
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To illustrate this desition process let's consider the
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@file{trunk/Identity/Images/Themes/TreeFlower/3} directory structure
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as example.  This directory can be read as: the theme development line
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of version @file{3} of @file{TreeFlower} artistic motif. Additional,
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we can identify that artistic motifs are part of themes as well as
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themes are part of The CentOS Project Corporate Identity. These
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concepts are better described independently in each documentation
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entry related to the directory structure as it is respectively shown
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in the list of commands bellow.
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@verbatim
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centos-art help --read turnk
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centos-art help --read turnk/Identity
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centos-art help --read turnk/Identity/Themes
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centos-art help --read turnk/Identity/Images/Themes
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centos-art help --read turnk/Identity/Images/Themes/TreeFlower
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centos-art help --read turnk/Identity/Images/Themes/TreeFlower/3
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@end verbatim
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The concepts behind other location can be found in the same way
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described above, just change the path information used above to the
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one you are trying to know concepts for.