![]() Rempt continues, “In general, we try to engage artists at the earliest possible stage of a feature design. Right now, at a given Krita development sprint, half the attendees will be artists – users who help us out by showing us how they use Krita and who maintain resources like brush sets of the application icons.” “We’d bridged the gap between a fun hobby project that’s cool to hack on to something that people could actually use. “That was really the turning point,” Rempt recalls. But an amateur should be pretty happy with Krita, he assured us.” When the 2.3 release came out, Revoy called it “a very nice application,” said Remp, “but not yet suited for daily work for a professional. “He didn’t use Krita, and we were forced to honestly admit that we knew he couldn’t have used Krita! Still, one of us who happened to live nearby went to visit David and sat down for a long afternoon, trying to understand what a real user needed from Krita.”Īround the same time, Krita raised funds so that Lukáš Tvrdý, who had worked on brush engines for his thesis, could work full-time on the project – “fixing stability issues, long-standing bugs, and performance issues” – all informed by the conversations with Revoy. “It showed how David used Alchemy, My Paint, and GIMP to create professional art,” Rempt recalls. ![]() The project found a solution in David Revoy’s Chaos and Evolutions DVD for Blender. Not even selections, copy, cut, paste, or undo/redo.” “We lost what users we had,” Rempt says, because “Krita 2.0, 2.1, or 2.2 were plainly unusable. Krita’s fortunes declined further when it was ported from Qt3 to Qt4 in 2006. “We were making software, adding features, doing releases, writing unit tests, doing all the right moves – but we didn’t have any users. The project began to attract developers, but for Rempt and many of the contributors, Krita was still a hobby. I was having so much fun, I sometimes felt working on Krita should be illegal.” “So, I started out with my little tablet and my knowledge of Python and Java to hack a brush tool in this C++ application. Finally, in 2002, the graphics editor became Krita.īy the time Rempt became involved around 2003, Krita had been rewritten three times, and “was more or less a GUI wrapper around ImageMagick,” as he recalls. The fledgling project passed through a variety of names – KImage, KImageShop, and Krayon– but was plagued with trademark or naming issues initiated by opportunistic lawyer. Ettrich demonstrated creating a Qt interface around GIMP, and when GIMP objected to the idea, KDE decided to create its own graphics editor in May 1999. Krita owed its existence to a presentation by Matthias Ettrich, KDE’s founder, at the 1998 Linux Kongress. That lasted about half an hour before I realized I hadn’t got a clue how to do a painting application!” Instead, he started looking for existing projects to join. “I didn’t really grok GIMP back then, so I did what comes natural: I started a new project, a new painting application. “Coincidentally, I got a cheap Wacom Graphire tablet,” Rempt recalls. After he wrote a book on PyQt, he looked around for another project to become involved in. Rempt became interested in free software just out of university, writing a mail and news client and a database application for linguistics.
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