 Hallo iedereen, mijn naam is Sander van Gelooven. Ik ben van stichting Z25.org van The Netherlands. Ik ga over de architectuur van digitisatie en ontwikkeling. En ik ga ernaar kiezen wat er is. Een kort introductie over mezelf. Ik heb een bepaalde achtergrond. Ik heb in het ICT gekozen over 20 jaar. Voor de laatste 10 jaar, een self-employed entreprenuer. Ik heb het vorig jaar gesproken over integratieve spel- en grammar-checking. En dit jaar, over het project met het stichting Z25.org, over de ontwikkeling van de ontwikkeling. En een aantal van deze andere ontwikkelingen, je kunt het op mijn github-account zien. Er zijn er veel dingen. Ik heb een bepaalde geïnteresse in veel verschillende dingen. En dus ik ben in het ontwikkeling van de ontwikkeling van de ontwikkeling. Oké, dus ik ben in het ontwikkeling van de ontwikkeling van de ontwikkeling. Dat heb ik nooit gedacht dat ik het in zou gaan. Wat ik vandaag ga praten is een kleine studie die we hebben gedaan. Op een heel oud ontwikkeling. We hebben het geld voor het. Hoe we de projecten rondkomen. En wat soort open-source ontwikkelingen hebben we gebruikt om dit ontwikkeling te creëren. We zijn van de stad van Utrecht in Nederland. En we hebben een oude post-office, die is ongeveer 100 jaar oud. En ze ontwikkelen het ongeveer 3 jaar geleden. Maar het is een publiek gebouw en het is een monument, een state monument. En het is gewoon een inspiratie voor een lange tijd, voor mij persoonlijk. En andere mensen die het kunnen weten. Die het kunnen weten. Oké. 400 mensen. Het is een prachtig overwelming atmosfair als je erin bent. De initiale ontwikkelingen zijn van de 20e. En het is een moderne gebouw. Maar het is volledig een soort... ...detail decoratie. Waarschijnlijk de meest belangrijkste zijn... ...numeren van statuën in de hoofdgrond. En deze zijn 5 of 6 statuën die hebben ladders op hun hoofdgrond. En over de jaren heb ik de idee van... ...maar het zou mooi zijn om die ladders te digitiseren... ...en te creëren van het fond. Maar ik heb veel van deze kleine ideeën... ...en dan om een hobbyproject te ontdekken. Dus waarom kunnen we dit niet in een meer serieus project... ...en het zo funderen om het te doen en het proper te doen? En ik weet niet of iedereen van jou ooit de fond ontwikkelt. Oké. Dus een fonddesign van zoveel vrienden van mij... ...die ik toen op de eerste stage van deze project... ...die zeiden, oh, je draait over de lijn en dat is het. En dan heb je het gedaan. Maar het is een beetje meer een beetje trickier dan dat. Sommige... ...maar ik ga naar dat lader, sorry. Ah, ik heb dat bepaald. Ja, oké. Een beetje achtergrond op de sculptuur, by the way, ...before I go into the design of the font. De guy was the third most influential sculpture in the Netherlands... ...for sculptures which are commissioned by buildings... ...that were built by the state. And you can find some of his work on the internet. And we didn't know much about buildings... ...oh sorry, sculptures for buildings. But back in the 20s and the 30s this was a big thing. And especially in the style he worked in, the Amsterdam school. There's many buildings in the Netherlands which have not just bricks... ...but also many decorative elements, many statues. Then this is a font about 100 years old. And we were walking around in Brussels the other day. So we thought like maybe there's some references... ...of current day usage of such a font as you saw on the statues. And there are plenty of examples you still find... ...of this really thick 100 year old font design. So even though it's old it's still relevant to useable... ...if you like something in this style. Then to go into the characters a bit more. So if you stand in the hall and you look up to the statues... ...this is what you actually see. And if you try to draw over this in order to make a layer out of this... ...is quite tricky, you see the distortion. And there are many more aspects which make it not so easy to digitize this font. Such as the edges are pretty rough. They look smooth here but if you make a detailed photograph it's pretty messy. The letters are adjusted for height. En as you can see here the eye is sort of pushed together... ...in order to fit the whole word Australia. The proportions are also changed from statue to statue. So this little bar here from the E is in some statues a bit higher... ...and the other one is a bit lower. Some details differ and for example the K. The indentation on top sometimes has a little bit different shape. It's black on black. Dus if you want to do edge detection on this, it's an extra challenge. What else? There's a whole list of stuff which doesn't make this easy. The original designs were made on gypsum... ...and they were even as maybe sometimes less accurate as the final result. So even if you have access to the design it doesn't make it that much easier. So we went there with my colleague Machiel... ...en took some pictures of this which was not easy. Specially you have to get to an elevated position to make the photographs. And even then if you zoom in in the photographs you'll see that... ...at the end of the picture already you're looking up... ...like if you're standing down and you get some distortions in the properties. So, that's the whole list actually. To get more acquainted with these letters I made some models of them... ...which was a fun project to get away from the computer once in a while. And you get a bit of a feeling. And it's not only for yourself as a study... ...but if you want to do such a project in a more serious way... ...and you've got some funding... ...it's very good to take that to the people you're talking to... ...and put it on the table and they can feel it... ...and then it speaks a bit more than just a photograph of some letters. So that was sort of a side effect which was very helpful. In order to get access to the designs that were made by this sculpture... ...which is already dead since before the Second World War... ...I requested access to a depot of a museum... ...and it took about five months to get the access... ...and it's a pretty heavy guarded place. En in there they searched for all the designs they had from this guy... ...and they put them on display for me... ...so I could study them and look at them... ...how he made those statues and all the works. And that was what became very clear pretty quickly was that... ...as you can see here maybe... ...is that the sides of the characters are not on a 90 degree angle. They are on a bigger angle. So if you have a statue in order to make it easier to look at... ...the sort of a beveled side to it... ...which doesn't make it easier if you're going to digitize it... ...because some details are smoothly going from the front surface to the back... ...and makes it challenge even bigger. But they had very nice designs. This one is from building in Amsterdam. It's a lobster. And it's about this big. So they pulled out all these gypsum models for me to look at for about two or three hours. I had the biggest fun with them. They had some sketches. This is also in the same post office made in tiles about three meters high. And some sketches. Those were most interesting to me. Here you can see how he created the characters in his sketches... ...but also in his statues. It helped me a lot in the digitization process and the design process. These statues only have 13 different characters. And for the alphabet you need 26. And you're still not there if you want to make a font for a wide range of applications. For some letters like from an E to an F in this kind of font it's pretty easy. But some characters you have no idea how to get started. So I'm looking at all these sketches and stuff. It gave me some ideas on how to construct these missing letters. But then you have the idea like 26 letters. Where do we stop? We can make a sharp S or we can make an IJ ligature... ...which is often used in Dutch. You can make numerals. I made a long list of about 400 different characters or glyphs... ...which I would like to design. If you grouped them together and draw the dependencies... ...for example if you have an E already and you want to go to an F... ...then it is a pretty easy step. This is the whole bridge made in one overview. All the black things. These are the characters which were on the statues. And if you want to start working with this then it's a bit tough. So I sort of grouped this together in a simple text file. And I prioritized my design. So for example the F could be derived from the E, the I from the T etc. Sometimes from multiple letters. En of course it's FOSDEM, so you want to see code. I processed the TSP file through Python. And with graph is I made some PNG files of prioritized dependencies of glyphs... ...in order for the design of this font. And then it became much more clear. In how I would go about designing this font. En also talking to people who were interested in financing this project. This would be more practical if you say well if you give us this much amount of money... ...we can do this work. Or maybe if you give a bit more we can design numerals. And if you have numerals we don't have only 10 extra glyphs. We have a whole bunch of stuff like superscript subscript. We changed this whole forest of glyphs into 10 different work packages. We were not able to see if we could find funding for this. So how do you find funding in these times? Anyone? Crowdfunding. We made a little video about this post office. And the statues and the idea we had. We set a target of 500, 200 euros. We came up with some ideas, some bags which could print stamps, books. People could adopt a letter. And they could choose a combination. Eventually we raised 5,820 euros. And by 500 or 5 people. And it created in our city a lot of attention. This post office is going to be designated for the library and some other re-usage. So a lot of people were already having a focus on what's going to happen on this building. So we sort of hitchhiked along with that. And well, sort of national online newspapers also wrote an article about it. En from that point we could also start working on co-funding. Because with these 5,820 euros we could do part of the 400 glyphs. And if you want to do more, we want to have more funding. And we also wrote applications to national and local state funding organizations. So this is a passion of the stuff we write. And we had a kick-off event during Bring Your Own Beamer. It's an event in Netherlands, in Belgium and also in other countries I believe. And you can bring your beamer to a specific venue. And you can project whatever you want. And what we did is we created an interactive installation. Where people could experience a concept version of this font. Here's the concept version, pretty crappy. This is a whole story altogether. But people could go there with a public transport card. And have their future predicted by one of these statues. And it would be projected on the wall in between the original statues. And at the same time you get a sticker. And you could put it on your clothes with a nice funny prediction of your hypothetical future. En we're going to speed up a bit. We used, of course, 0MQ to connect some parts of this installation. This is all the other technology we used in that. So finally, after the crowdfunding, we started with the digitization process. And you'll see a character, black on black, with edges. We made a pipeline to make it black and white. And for the colors it was edge detection. En you can do that with this simple line, image magic. Then from this we started in Inkscape designing characters. And after designing a big load of characters, we wanted to import these into font forge. And not manually, but with a script, of course. En dit is de laatste stuk van de code voor vandaag. In dit talk. Like the other file we had, we had a new TSV file, where we could import the characters, but also construct characters from an A and D-reses to get this one. We could horizontally flip, or vertically flip, glyphs in order to widen the number of glyphs supported in the final font. So, at the moment we have 173 glyphs designed. Some are alternative forms. We have some with an overshoot. If you use for horizontal typesetting, if you have vertical typesetting, you can disable this. And as of today, the better version of this font is available on GitHub. The plans are to also design some new rules. These are some of the numerals by the same sculpture. They are not in the same font, so they are going to work as an idea, starting points to work on that. So with numerals, not only 0 to 9 we can do, we can also do fractions, subscripts, superscripts. And this is sort of the wish list of what we are going to add in February. The open source design tools we used are these usual suspects. And these are the people who made it all possible. And last, I want to show you really quickly how this input process works in Fontforge. Who has ever worked with Fontforge? Good. So you do control dot, you are pasting your Python code, you run it. Oh, it's on my screen, sorry. I have to quit here. So, I didn't know if you see it, did you see it on the internet? So just before when I pressed this button, this got all filled up real time. All the glyphs got important, flipped or combined in order to make this font exportable to OTF, DTF, et cetera. That's the thing we did. Ah, and there was two people already requested to use it in the cover for their books. And they were pressing me to get it finished by Fontforge them. So I made them this afternoon that they can start with it. So it will be used in the next couple of months on some books. Ja, so I... We didn't repeat the question. So the question was the difference between automatically tracing the outlines of the images and drawing by hand. We drew everything by hands and used the images as a background to a starting point to see if it sort of matches up. Because as I said, many of the characters differ in size and aspect ratio. And we optimise all the glyphs that we build them up because it's a geometric font. So you just play around with circles and rectangles. So all is unified and minimised. So you have the least amount of notes in this in order to work with. And I spoke to other people who also did this before and they said, well, if you find an incomplete font, 100 years old, probably there is so much variation because it needs to fit between the ceiling and the floor so they mess up the letters all the time. Just start from scratch and don't fix yourself on the exact measurements. Yes? No, it's exactly the same. But these are references. So if we want to do a lower case, then we would fill them. But now they're references so that if people start using it and they're not aware that it's only uppercase, then it's like, ah, it doesn't work. So that's why we did it like that. Ah, we also got a funding from our local government, about 3.000 euros. My colleague, he went there to defend our application. And he was amazed how well known, for example, Inkscape and Open Source was in the local government finance department, which was a nice surprise for us. We thought we had to fight a big battle, but apparently from all the years of open source endorsement, it was pretty easy actually. Okay, thank you.