 Beautiful, alright. So, hello everyone. I am from Libra Graphics Magazine and you've probably never heard of it before unless you're the three people over there who know it very well. So what this is is, as it says on the slide, a presentation in five questions, three headings, and some pictures. So question one, what is Libra Graphics Magazine? Because you're probably a little confused. So, the easy bit. It's a magazine, obviously. It literally, and somewhat oddly in the philosophy, has pages. It is not a digital magazine. It has articles, as most magazines do, and pictures, and that's a very big deal. But I'll level it with you. So, in reality, other than just the instrumental issue of what it is as a physical thing with pages and pictures, is, it's stemmed from a movement. So, to explain this we have a manifesto, or if you're a little more apolitical you could call it a statement of purpose or intent. Basically, what we are is, we believe that users of Libra Graphics software are underserved and unrecognized, and that for those users, floss graphics work, when executed well, is indistinguishable from work produced by more traditional means. And by more traditional means we are politely saying, using things like Adobe Creative Suite, because we're dealing with graphic designers here. So, what we aim to do is serve as a catalyst for discussion, or sorry, for discussion, to build a home for the users of Libra Graphics software standards and methods. Because we have the opportunity to raise previously unmentioned issues and to push forward the conception of just what Libra Graphics can produce. Because it's been very much, up until this point, a type of software and a type of workflow that has been underprivileged by professional graphic designers and hobbyists even. So, practically speaking, once again, we're a magazine with pages. In issue 1.1, which incidentally looks a lot like this, because it is this, and if you want one later you can come and find me because I've got about 50 of them. And they're free today, so you may want one. So in this, 64 pages, issue 1.1, not including the covers. Half of those pages are in color. Half are in black and white because we are literally physically printing a magazine, which means that things like color matter a lot. So, about printing a magazine, we print several hundred to a couple thousand copies and hand half of them out for free. And in this case, I do mean free as in beer. We literally take half of the magazines that we print and give them to people we want to know about Libra Graphics. So, the other half we sell to people like some of the people in this room, to people like developers of Floss Graphics software, or to people who are in that odd breed, which is graphic designers and artists who already use Floss. So, we released issue 1.1 in November 2010. And while we call it 1.1, it's actually our second issue because we made another issue in May at the Libra Graphics meeting in Brussels here. So, to be precise, San Gilles, which is sort of, I think, over that way, I don't know. So, that one took us three days, 12 hour days, but we actually did do it. We created a small sort of half of an A4 sized magazine that was the precursor to what you've just seen me holding up. We called that one number zero, and it looked like that. There's a joke on the back which is that if you fold out the magazine, there's a small child pulling the tank like it's a toy. So, this is where print matters because you can't actually see it if you look at the front cover. So, later on, around August, when I was really frustrated and angry after Debconf, we decided to do it again. So, here we are. So, question two. Who does it serve? The answer to that is there are three basic groups. There are the designers and the artists who are like us but don't yet know that there's an us to be a part of. So, that's a big deal. Then, there are the designers and artists who aren't quite like us but who might like to be if they knew it was an option. So, these are the people who are a little more open-minded, aren't necessarily entirely stuck in their proprietary workflow, but don't know that there's another option. So, we think that they might like Floss Graphics software standards and methods if they got to know them a bit. So, finally, there are the people who make the software and the standards and the methods who don't yet know just how awesome their users really are because as someone who mainly identifies as a user, I am often shocked by just how much of a unicorn I am when I go to developer conferences because it's like, what? You're a user. You exist. I didn't even know that. So, we really, one of our big points is in fact to bring users as people, as really exciting cool people to the attention of the developers whose software they use, so that, in short, is our audience and that's question two done. So, question three, how does it feel? First of all, and most importantly, it feels great, which is a total cop-out answer, but I'll tell you more about that in a second. More importantly, well, not more importantly, but almost as important, it feels for the reader like a design magazine, we hope. And that's what we've heard. I mean, if you flip through this beast of a magazine, if you've ever looked at a design magazine before, you'll see a lot of similarities. You'll see similarities in paper quality, in printing quality, in the way we write and the way we talk. So, it feels that way, in content, in style and in spirit, but it also feels, and this is also very important, like a Floss project, which is a very big deal for us, because it is. So, it's collaborative and it's exciting, and it's even iterative, as all good Floss projects are. So, things like our typeface, which you see on the screen, which is called Prop Courier Sons, which incidentally is based on a typeface designed by the people I pointed at before, called Not Courier Sons. This is an iterative typeface that we use as the identity font for our magazine, and it changes with every issue. It keeps getting better and better. So, we're iterative, we use Git to edit everything, so it's collaborative. We actually, I'm based in Canada, my two co-editors are based in Portugal, and we manage every three months to collaborate on a magazine through mailing lists, IRC, version control, all of these incredibly geeky things that designers very seldom use, we're doing, which is a very big deal to us. Finally, it feels like an important step, and this is the bit about it feeling great. It feels like the future, this is where I go all optimistic on you, I'm afraid. We think that one day, we'll look back and wonder how we ever lived with all proprietary workflows, because there's some pretty spectacular stuff going on in Floss Graphics, and we're a little bit shocked all the time to discover just how little normal designers and artists know about it. So, we hope that one day, they'll see the light. So, it feels like something big is the bottom line. So, question four, how do you do that? To do it, we do lots of things. We solicit submissions, we get funding, we get that from ads, donations, sales, all of those, a little bit less than we'd like, frankly. We would love it if people donated more, bought more ads, and bought more magazines, but we get along, we edit collaboratively, as I mentioned. Finally, we show it off to the community and to the wider world, so we do have a base of people who are already into and interested in Floss Graphics and they're interested in it. We've gotten actually a lot of attention for issue 1.1, which is pretty exciting. We were on the Linux Bandits podcast, we were featured on LWN, it's been good, but more importantly, we've been distributed in design schools around the world, in the Netherlands, in Brussels, in Canada and the US, Portugal, France. We get around, which is pretty nice, because it means that we're raising awareness. So, really, how do we do it? We panic, we get lucky, we write production schedules, we adhere to them and still end up sprinting at the last minute, which is actually what we're doing right now. I've got about 10 articles sitting in my pipe waiting to be copy edited that I'm not editing right now, and all that fun stuff. So, that's how we do it. We also beg, and beg, and beg, and beg to get everyone we know to contribute, which is why when I point at people, it's because they've done things like come through for me at the last minute and written things when they really weren't expecting to write something. So, that's how we do it right now, although it's also heartening how much attention we've gotten from the world outside of our own little area. We got some lovely, wonderful attention from Boing Boing in the fall and got a lot of submissions out of that. So, that's how we do it. Now, on to the problems, because there's always a slide about problems. We have some, like money, which is always a problem, and convincing people that were for real instead of just an idea because we're not vaporware, although lots of people in our struggle to continually do this seem to treat us a bit that way because it's a bit of an odd project. So, we talk about the magical two-magazine rule, which is that no one will take us seriously until we've published two actual magazines. So, give us a month and we'll be past that threshold, and hopefully we'll be able to stop struggling with this one. But mostly, actually, it's a money problem, as it always is with things that are physical, which is why, if you'll excuse me for one moment, I'm going to talk about that because if you want, you can make a donation, you can flatter us all through LibraGraphicsMag.com, and you really should. I'll give you a free magazine and then you can hit the flatter button and it will cost you nothing beyond what you've already spent on your flatter account this month. So, or you can buy a copy, or a subscription, or a supporter subscription, which is slightly more expensive than a normal one. Best of all, if you want to advertise something and have money, you can do that too, and you can find me and we can talk about it, but this isn't the point of the presentation. So, let's talk about triumphs, because we have some of those too, and they're awesome. We're very, very, very, very, very proud to be able to bring new work, new people, and new talent, the attention that they deserve because there are so many remarkable people out there working with LibraGraphics software standards and workflows who just don't have an audience and really, really deserve one. So, every time we find someone new, we grin a little. Actually, we grin a lot, and we kind of do metaphorical high fives. If we were actually all editors in the same place, we would be high fiving and jumping around, but we don't have the luxury of doing that. So, we're also pretty darn pleased to discover that we're doing something that's wanted, or maybe even needed. We've gotten loads of positive feedback from, I mean, one person saying, I wish this were in every railway station bookstore in the world because I want something good to read. So, that's pretty cool. Now, about the community, because this is a very big deal, we wouldn't be anything, of course, and I'm not just saying this because it's FOSDEM, and I know what the D stands for. We wouldn't be anything without the developers of LibraGraphics software and standards and processes. So, we try to give them a little something back for all their hard work. We have a community board, which listens to anyone in the LibraGraphics community, which is, of course, a subset of the larger community represented here, and they listen and they pay attention. We also offer pro bono ads to the projects that make our community tick. So, we've got a few good ones in issue 1.1, and when I say pro bono, by the way, in this case, I mean free as in no cost. So, community projects that have no money will always find a home advertising LibraGraphics magazine, which we do because we wouldn't be anything without them. So, that's how we show our love and appreciation to the dev community. Now, here's the nice bit, which is great that I'm getting to it because I've got a minute and 43 seconds left, or less. So, I'd like to show you some pretty things from issue 1.1 and 1.2, which is almost ready, as I said. So, let's go. Here's the cover and the index, and you can see this in person if you pick up a magazine from me. Here's a really awesome typeface designed by some students at The Erg in Brussels. Here's a unicorn, and here's someone in that row over there, and here's what we used to make this issue, and here's a really pretty ad. A woman named Laura Hewett, and this is Inkscape from a guy who does one illustration every day with Inkscape in order to prove that he can, and this is sort of... Oh, and I'm done. Lumberjacks. There we go.