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* Learn more about creating, manipulating, and exporting photographic images in this chapter and the next. * The Creative Suite and the services it offers are out of the scope of this book. However, learn more about the Creative Suite in Chapter 9. Working with Photoshop Photoshop is composed of a set of tools that work in concert to accomplish specific tasks. You need to know the interface, the hierarchy of menus, and other details to successfully use Photoshop. Interacting with a tool To use a tool, press and release the Command/Ctrl key and then click on the tool’s icon that appears on the Tools palette. Figure 8-1 shows the Photoshop icon. Shown here are the keystroke numbers associated with each of the tools. You can also press a letter key to access and use each tool. The Table 8-1 lists the tools, their behavior, and the letter key you press to access them. Working in the topmost image view, you can also select a tool (such as a brush) from the left side of the Tools palette, and the tool appears in a floating tool bar in the image area. Then you can drag the tool across the image area to paint or draw, and click to create the tool icon. To select more than one tool, hold down the Ctrl (Option) key and select the tools you want. The right side of Figure 8-1 shows the range of tools that make up Photoshop. You can navigate to a tool using any of the following: * Choose any tool from the panel to which the tool belongs (for example, the Text tool to navigate to the Text tool, or the Pencil tool to navigate to the Pencil tool). * Click on the tool’s icon. * Click and hold the right mouse button to display a contextual menu that includes the option to access the tool. Figure 8-1: Each tool provides a range of editing capabilities. Figure 8-2 shows the tools included in Photoshop. Here’s the tool-selection process from the left side of Figure 8-2 (which contains the Brush, Pencil, Ink, and Drawing tools) to the right: * Click on the Pencil tool in the left panel to access it. * Press the Spacebar to display the menu, and click on the Pencil tool. * Click on the Brush tool in the
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Photoshop is a software package that includes many powerful features for creating graphics, web pages and editing photographs. In this tutorial, we will explain how to use GIMP as an alternative to Photoshop, so we can create image files and customize them like those we can do in Photoshop. We will also explain how to install Adobe Photoshop on a server (desktop image editor) in CentOS 7 server edition and run GIMP in parallel on the same server. GIMP has many similar features to Photoshop and has many similar Photoshop plugins which can be used to perform many edits in Photoshop. This tutorial describes the installation, configuration and customization of GIMP on CentOS 7 server, and how to run GIMP along with Photoshop. Install GIMP on CentOS 7 We need to install both GIMP and Photoshop because GIMP will be used as a replacement for Photoshop, and Photoshop will be used for creating content in GIMP. GIMP is an open source and free software (GNU GPL-compatible). It is licensed under the GNU General Public License. GIMP is generally used as an alternative to Photoshop. However, it can also be used to do most of the edits that we can do in Photoshop. Photoshop is very famous for its powerful features and high-end workflows. We cannot simply replace Photoshop by GIMP, but we can switch between the two in Linux desktop and run both of them in parallel to create high-quality images and content like Photoshop. There are many tutorials available on the internet on how to install GIMP in Windows, Ubuntu Linux or Mac OS X. I will be explaining how to install and configure GIMP on CentOS 7 server edition. Before we start with the installation of GIMP on a CentOS 7 server, we need to generate a CentOS system disk image. First, we need to generate a CentOS system disk image using Centos-7-x86_64-netinstall.iso. Run the following command on your shell. wget -N –no-check-certificate Now we can use this system disk to create the Live system disk. We can create the live system disk and install CentOS 7 on it. After the installation is completed we will customize the CentOS 7 server to our 05a79cecff
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Božo Končar Božo Končar (15 September 1934 – 4 July 2018) was a Slovenian film director. He has been called “one of the most remarkable and enduring aspects of contemporary Yugoslav cinema.” Early life and education Born in Ljubljana in 1934 as a son of the painter Marko Končar and the artist Jelka Končar, Končar came from a family of well-educated intellectuals. His grandfather, Maks Končar, was a famous socialist architect; his great-grandfather, Josip Končar, was a Slovene literary critic and a friend of Ivan Tavčar; his uncle, Urban Končar, was a painter and artist; his aunt was a sculptor, Marjolka Končar; and his father, Marko Končar, was a writer and a film critic. Končar received a degree in architecture from the University of Ljubljana and studied film at the Belgrade Cinema Institute. In his secondary education in Murska Sobota, he was enrolled in the “Literature Class” and was fascinated by literature. He was also an editor of the local youth magazine Young (Radnički blagdan) and in later years was one of the most enthusiastic followers of Jelka Fonda, the inspiration of Young. Career From the 1960s Končar was to a great extent involved in film production and screenwriting, and after that was a main director of the Yugoslav national film company, Jadran Film. His first directorial effort was The Days of Rakićev Cotar (1972), which was awarded as the Best Yugoslav Film at the 1972 Montreal World Film Festival. He also won the Golden Bear at the 33rd Berlin International Film Festival in 1972 for his critically acclaimed, controversial political thriller Line (1971), which was based on a novel by the same name by Vladimir Arsenijević. Many of his other films addressed similar themes to the films of Jelena Jovanović, Ivan Giljanski, and Emir Kusturica, in particular. After that he wrote several screenplays and films that were to receive significant critical acclaim, including Dots (1979), which was an adaptation of an epic novel by the same name by Primož Trubar; Doctor Go Round and Me (1980), an adaptation of a novel by Vesna Gu
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ab}}_{t}^{m}}} \leq 1\ \forall m,t,i.$$We can then define the *optimal path duration of robot *$r$* at time *$t$* as the maximal value of the duration of robot *$r$*’s safe path: $$\begin{aligned} {\mathcal{D}^{\max}}_{t} & = & \underset{\textbf{d}_{t}^{m}\ \text{s.t.\ (\ref{q:1_r})}}{\text{argmax}\ }\left\{ d_{\min}^{i,m}+\sum_{i=1}^{k}\sum_{\textbf{d}_{t-1}^{m’}\in{\mathcal{D}^{\min}}_{t-1}}\textbf{d}_{t-1}^{m’}\right\} \\\end{aligned}$$ We now state the main theorem. \[thm:1\] For a system obeying the geometric safety constraint and if the sampling time is larger than the optimal path duration, there exists an optimal safe path $\hat{\textbf{d}}_{t}^{m}$ such that: $$\label{eq:desired_path} \hat{\textbf{d}}_{t}^{m}\in{\mathcal{D}^{\max}}_{t}$$ We start by proving the existence of such an optimal path $\hat{\textbf{d}}_{t}^{m}$. By substituting the r.h.s of equation (\[eq:1\]) into the cost function and solving the mixed integer linear program (MILP) formed by the two constraints of equation (\[q:1\_i\]) and the resulting optimal duration is the minimal duration (minimal length of robot *$r$*’s path at time *$t$*). This establishes existence of an optimal path. We then prove uniqueness of the optimal path. Let $\textbf{d}_{t}^{m}$ and $\hat{\textbf{d}}_{t}^{m}$ be two paths satisfying equation (\[eq:desired\_path\]). By definition, $\hat{\textbf{d}}_{t}^{
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