Wacom tablets cause weird Keychain issues on El Capitan

If you are using a Wacom tablet as your primary means of controlling your Mac, you may have noticed that you can’t access your Keychain any more – when something wants access to it and pops up the “type your keychain password” dialog, the ‘always allow’ and ‘allow’ buttons give you absolutely no response when you press them.

If you bring up the Console and try doing this, you’ll notice an error popping up when you try to press ‘allow’:

11/4/15 1:24:02.755 PM SecurityAgent[893]: Ignoring user action since the dialog has received events from an untrusted source

This is because Apple has added means to prevent applications creating “synthetic clicks on keychain prompts” to get access to your keychain without your authorization. Which is all well and good. Except it would be really nice if they would, you know, pop up an error dialog saying that this has happened, and which program provided the offending clicks, instead of silently doing absolutely nothing when you press the ‘allow’ button.

Sadly, the latest versions of Wacom’s drivers do not fix this. I tried both the latest drivers for the Intuos3/4/5 (I have a 3 on my desk and a 4 in my travel bag), and the higher-numbered latest ones for the “current Intuos Pro”; neither of them solved this issue. Nor did visiting the Security and Privacy pane of the system prefs and manually adding /Library/Applcation Support/Tablet/WacomTabletDriver.app to the list of apps allowed to control my computer.

So I guess now if I want to do anything involving the Keychain, I need to reach around my desk and open up my computer to use the trackpad to click on those buttons. Fun!

(When I’m at my desk, the computer is closed and plugged into an external monitor, you see.)

Anyway. Mostly I am documenting this so that someone else with the same problem can have some hope of figuring it out faster; I blew most of my morning on tracking this down.

And as a side note – holy shit there are way too many Wacom drivers on their driver download page. There are seven categories of drivers that all have the exact same version number (6.3.15-1), and I have a strong suspicion that same driver will actually work with pretty much anything that connects via USB – supposedly I should be using a different one with a lower version number (6.3.11w3), but I’m using the 6.3.15-1 just fine now. What the hell guys, consolidate that shit.

Edit. 28-Dec-2015: There’s a new version of the driver, 6.3.15-3. It’s still not a trusted input source.

Design process: Lexy Franklin

This one’s taken a while. I think I finally nailed it.

This morning, I went through eight years of sketchbooks, looking for drawings of Lexy Franklin, who’s slated to appear in the middle of chapter 2 of Absinthe. Originally she was going to be a white lady, but during development she changed to a black lady, and that’s always kind of a dangerous ground for a white chick to design. Especially as a character who is largely hostile to the main character.

This was the best I had. I knew it wasn’t right.

But yesterday I started putting together my loose roughs together with the revised dialogue Nick had written in the time since the breakup. And the new dialogue spawned something interesting:

2-12

Those thorny vines started showing up when she was angry. She’s now prone to very fussy speech patterns; on the previous and next pages she has dialogue like “Damn you, Absinthe! What in perdition are you doing here?” and “It was your sacrilege, Absinthe. Not mine.” (She has a pretty serious beef with Absinthe. She also usually uses the royal We.) And those thorny vines just came out of nowhere, with no real conscious thought – one minute I was drawing the word balloon, the next minute there were these vines coming out of it.

So I had this association with roses. And I thought, what if I carried the rose theme into her? Just a little bit. Not a lot. I showed this to Nick and ran that idea by him, and he loved it.

Evernote Camera Roll 20151103 134307

I’d been going around Bloodborne as a tall black lady with magenta hair, glasses, and a propensity for a rapier. That felt like a good idea to inform Lexy a couple months back, and it still felt like one when I found this sketch again this morning.

All of this was hanging in my head when I went to lunch today, along with all the various adjectives written on those sketches I knew weren’t quite there. I was thinking: fencing, courtly bearing, rose theme… kinda like Utena, really. But dressed for much hotter climates than the European vibe of that show’s costumes. And a bit more obviously butch. I had a sketchbook with me; I was expecting to start on the first of maybe a half dozen attempts to find her body shape and her dress sense while I waited for my sandwich to get made.

egypturnash_2015-Nov-03

And then this fell out of my pencil. And I was all, “oh, hi, Lexy, there you are.”

(The cut-off text on the right says “asymmetrical sculpted goku/sonic fro (white)” and “layer tails for rose theme hint”.

Lexy

I came home and had a go at her in Illustrator. Yep. Looking good. I still need to find the way to give just the right amount of frizziness to her hair, but that’s a minor detail. Plus a few other things like really nailing down her little rose pin and ring, so I can reuse that important detail in other drawings. Fussy stuff like that.

She is going to give Absinthe so much shit. Don’t worry, Abby deserves it.

a story about spümcø

Cut and paste from a series of tweets I made this morning.

Sudden flashback to when I bitched out John K for coming in after a crunch weekend he’d caused and finding nothing but bad in what we’d done.

He’d held up a whole episode in layout. The Flash crew got it Friday; it was due Monday. As Flash director, I thus worked 48h straight. He, meanwhile, stayed at home all weekend with a cold. Came in on Monday morning to see what we’d done and started ripping it apart. Nothing but “this is wrong, this is wrong, this wasn’t in the layouts, did you even read them?”. I was all, “John, we saved your bacon. You won’t pay any non-delivery penalties. You have an episode. Sure, it needs lots of work; we had no time to get it done.”

Then I went home and crashed for a few days, and refused to touch that episode again. Ever. I basically stopped caring about my work after that. I faked it for a while, but I was done.

I think the next episode was the one where we upgraded to Flash 5: Crash Fest, and I put a post-it with the word “fuck” on my monitor every time Flash crashed while I was trying to assemble and refine that episode. Couldn’t bring it back into Flash 4 as there was no ‘save as 4’ and it didn’t start crashing until the sunk cost felt too high. I stopped swearing after a while, and just sighed every time it crashed, wrote “FUCK” on a post-it, and stuck it to the monitor’s bezel. By the time it was done I had enough to spell “FLASH 5” in post-its on my office’s window.

If I keep playing with that show proposal and end up getting it happening (these are several big ifs here), I feel like I will tell all my John K stories to the crew, and ask them to call me out if I ever start doing the same stuff. I’ve heard the shows Gabe ran were pretty mellow; I stongly suspect this is because he had a similar reaction to working under John.

(When I rambled this out on Twitter, I got several of my vfx/tech/games friends applauding my actions here, and noting that it sure ain’t changed much nowadays. You wanna pursue that dream job in one creative industry or another? You’ll probably run into a situation like this too. If you’re at a studio with people doing their best to avoid this kind of shit, treasure it!)

daylight savings, a modest proposal

It’s daylight savings time! Cue grumbling about how much it sucks.

Given: The abrupt shift of an entire hour is discombobulating and stressful.

Given: We would still like to shift our schedules to have more daylight in certain parts of the workday.

Given: An increasing percentage of our timekeeping devices have enough smarts to keep track of the time of year, and apply daylight savings without human intervention.

Thus, a modest proposal:

Why don’t we spread that hour-long shift out over a month or two? Every day in September and October, we lose a minute – the clocks leap directly from 12:59 to 1:01. Every day in February and March we gain a minute, with the clocks going from 12:59 to 12:60 to 1:00. Maybe we could even add in a little more now and then to get rid of leap years. Or at least leap seconds.

Shifting every day like this would be incredibly onerous in the era of mechanical timekeeping devices you can only change in one direction. But this is the digital age. Mechanical clocks and watches are increasingly becoming an expensive bauble that denotes prestige. Hordes of people don’t even wear a watch, preferring instead to rely on their smartphone to tell them what time it is.

The obvious problems: luddites who still vastly prefer mechanical clocks, and the need for a Y2K-sized effort to change all timekeeping software.

I am not sure if I am joking, or if I am entirely serious here. I know I’m not stoned yet this morning. Let me work on that while I go change the clocks on the stove and microwave.

Making Comics, the Peggy Way

The most important part of making comics is coming back to them. Comics are big projects. A short one will take at least a few days. A long one? Well, I spent 4.5 years on Rita.

Some days were good days. I’d have easy, fun pages to do next and I’d tear through it. Other days? Complicated pages, or distractions, or winter depression could cut sharply into my output. There were times I get nothing drawn for several days in a row.

I didn’t berate myself when it happened. And if all I got done on the comic was a half hour’s work? That was still a half hour of progress that wasn’t there when I woke up. And I felt good about that.

Solo comics are a Sysiphean effort. You will have to figure out ways to keep on coming back to them. Especially if you are a distractable slacker like me.

Of course, there are lots of other important parts. Learning how to tell a story, learning how to draw, how to promote it, how to get it printed, all kinds of stuff. But the biggest thing I had to learn was how to just keep on working on it.

Some people will tell you to set a schedule and stick to it. Me? I set one of “aim for two pages a week, don’t fret if life gets in the way”.

Oh yeah. And never draw apologies for being late with a page. If you only have a half hour to work, put it towards the next page instead of to drawing a pretty “sorry no page today”. People who care enough to subscribe to the rss/twitter/fb/tumblr feed will see new pages when they happen with no work on their part; the days when you had to train people to check your site themselves are long gone. If your time and energy is ultra limited, spend it on something that counts

rita: omnibus cover iteration

I’ve been playing with cover ideas for the omnibus. (And am still debating skipping book 3, or maybe having it be a stretch goal for the omnibus (wonderful idea, Jer!). If I can bring the omnibus in around $30 for the softcover then it’s a definite go.)

First off is my first image. I really love this one but it’s not really doing a good job of advertising the book; I think it’ll probably be on the hardcover if I do that option and make it to a ‘dust jacket’ stretch goal.

cover-omnibus-h1

But I feel like I really need to communicate the “multiple parallel realities” thing for a cover to work. This just says “it’s about a fast robot lady and has a strong horizontal motion”.

So I pulled in the image I’d done for a t-shirt for the second book’s kickstarter, and simplified it.The arrow would be gloss, of course. Still not there; the figures are tiny and aren’t going to grab you from across the store, or as an icon.

cover-omnibus-h3

Then I tried doing a set of all four timelines, knotted together. Kinda working but I dunno, it just didn’t… didn’t feel right. Didn’t feel like it really had potential. Also felt really potentially fiddly and tedious what with wanting to have the different timelines weave in front and behind each other more.

cover-omnibus-v1

So I pulled out the image I’d done for my convention banner and tried it on a sideways book. Interesting but no. Also kind of annoying and frustrating because Illustrator went unresponsive whenever I tried to copy over the green world layers; I had to copy them one at a time, and had to copy one layer in parts. Pain in the ass.

cover-omnibus-h4

Maybe it’d work on a horizontal book? Eh. It could work but I’d have to draw a new image for this, and I didn’t really feel a single pose could convey the story properly.

cover-omnibus-h5

So I just started doodling. I scribbled a really loose rectangle, then started drawing a bunch of them with the rectangle tool, in the disintegrating/glitched-up look that shows up throughout the story. Referencing an important recurring image, good. Calling back to the very effective (IMHO) covers of book 1/2, also good.

cover-book-1

See? Book 1: bold, striking, conveys ‘confident female lead’ and ‘shattered into multiple realities’. Book 2 has Dragon Rita and Hat Rita looking out of the arrows, worried now as they’re out of alignment. Remix the idea into a wider composition, with a bit more fragmentation, and appearances by all four Ritas, Add in some Panopticon, maybe a couple of cables in the gloss layer, maybe some more source code from the guts of some ciphering algorithm, and I think it’s a winner. Especially once I have white face bits popping out of the color and black.

(Incidentally, this proposed omnibus cover bears little resemblance to the one I have planned for book 3, if that happens. I’ll probably have to draw that anyway, I kinda want to have all the covers in the extra material at the back of the book, along with some notes on my process, the Ask Ritas,  and maybe a little epilogue short for each Rita…)

the dream of my mother’s six-car fetch quest

I dreamed I was in New Orleans. My mother had apparently left me five or six cars, parked around the city. I needed to go acquire them. My father was helping me get them – never mind that he's been dead a lot longer than she has, he was around in this dream. I was using my phone to help navigate to the first one. Eventually we got there.

There was a gap, and I was walking. A sports car in transit livery pulled up, and I got in. Apparently New Orleans was experimenting with high speed transit, as this car then drove off at high speed with me and the previous two passengers, all in the back seat. I realized I'd just gotten in the first bus that pulled up, and took out my phone to figure out if I was on the right one. It took a while to type in its route number properly (25), but I got it eventually. It was a weird one that went a long way across the city, well outside the eastern and western bounds of New Orleans proper, careening through the Quarter at high speeds, sometimes on the sidewalk – it was not obeying normal traffic laws, that's for sure.

It's worth noting that this is possibly the first time I have gotten any use out of my phone in a dream. It used to show up as blocks of wood carved into the shape of a phone, or 1970s approximations of a smartphone or something.

Then I was faced with trying to figure out where the other cars were, so I could decide if I was on the right route. And I could not figure out how to do that on my dream phone. Especially while also trying to figure out the logistics of my father being the one who drove, and me being the one who could navigate to the car.

The woman sitting next to me asked if I was alright and I kind of unloaded on her about just having gotten off an airplane the other night, and my mother being dead. She looked at me with her weirdly huge golden eyes, which had immensely dilated pupils. “She must be rolling,” I thought to myself. She got off the sports-car bus at a corner where there were multiple people with similar eyes, and even a couple dogs with similar eyes, so maybe not.

As we drove through the corner gas station lot full of these golden-eyed people staring at me, the other person in the sports-bus – an old guy who had seemed to be with the woman – took out his phone and started fiddling with it. Every time he touched a key it made a loud click like an old mechanical keyboard, with occasional noises like a dot-matrix printer spitting out a line that I knew were him hitting return. It was pretty annoying.

And then I woke up.

Initial fontening: success!

Screen Shot 2015-10-25 at 8.14.12 PM

Yeah, I think this is gonna work. There’s a lot of stuff about making fonts that still feels pretty mysterious but I’ll figure it out.

Screen Shot 2015-10-25 at 6.49.12 PM

There’s only one copy of each letter in the font right now. The first order of business is to write a few sentences that include enough of the letters missing from the image above. I definitely need an uppercase Q; it looks like I never used it in Absinthe chapter 1 at all. I may never use it. But it’ll be nice to have it. And several lowercase q’s, and z’s, and a bunch of copies of some uppercase letters and all those digraphs I’ve saved a few copies of. And numbers. And probably some other punctuation like +/*()%$#@^&;:. I need six of each of them, so I can make the font cycle between all these different instances of each letter to make it look more organic. That’ll be a few more hours of mindless tracing in Illustrator, plus somewhat-less-mindless cutting-and-pasting into Glyphs.
Screen Shot 2015-10-25 at 8.26.29 PM

My test words are, um, interesting.

(Glyphs has this cool feature where you can type a bunch of letters, then stay in one window to quickly edit the horizontal metrics of the letters, and to tweak the paths that make them up. I dunno if this is a standard feature of font editors these days; the last time I tried making one was around 2001.)

Right now the font’s called ‘Five Glasses’ but I’m probably going to change it to something like ‘Thieving Raccoon’ or ‘Procyonid’ or somesuch. I’m kinda tempted to use it as the human dialogue for Drowning City, too – I need to see how it looks against the ornate calligraphy I’ll be using for the elves.

Edit. Here’s the acid test – I took page 1 and turned off the layer with the hand-written dialogue, and typed in this font. Barring the lack of an apostrophe and italics, it looks pretty much the same as the hand-lettered page, albiet a little more regular (and a little bit smaller and weirdly leaded, I need to figure that out.). This is definitely working.

1-1

welcome to depression, population: me

It’s gotten to be that time of the year where all I want to do is sleep for a few months. Nothing sounds interesting; everything feels like an unsurmounable amount of work.

This is pretty normal for me now. I’ve lived in Seattle for several years now, and I know it’s due to the lack of sun. I’ve gotten around it in the past: there’s turning up the heat at night so the bedroom is warm enough for getting out of bed naked to not feel like a deadly mistake, there’s the giant sun lamp, there’s vitamin D supplements. There’s weed. And there’s finding excuses to go somewhere warmer for a few weeks.

But my best excuse – visiting my mother around Christmas – is gone now. And my mailbox is a regular reminder of the fact that she’s gone. And that makes me feel even more like shit.

And that little voice that suggests ‘suicide’ as a solution to this overall problem keeps on popping up in the back of my brain. It can fuck right off. I got over my father’s death without listening to that idea, and I’ll get over my mother’s death too. But it sure doesn’t help my overall mood to have to regularly roll my eyes at the part of my brain that thinks this is a good plan.

Another little voice keeps on saying “upgrade your computer” but really it’s not time yet, my tricked-out 2013 Air does everything I need. The only things I’d want are a higher-res display and a bigger HD, and I’d have to switch to a heavier Pro for that. I also know that consuming isn’t going to make me any happier.

And then there are the little self-reinforcing loops like the way being depressed means I’m much more likely to eat something cheap and pre-packaged that’s lacking in all kinds of nutrients and vitamins my body needs to keep working well, which leads to me feeling mopy and useless and depressed.

Upon reflection, maybe I need to plan some kind of trip somewhere warm, even if it’s just me going down to LA for a week or something. Get some sun.

fonts

An important part of a comic is the lettering. Your choice of font will set the tone for the whole story, in some ways.

Most people are happy to just grab a “comic book” font and do it like it’s always been done in the superhero comics: all caps, in a font that probably looks like it was drawn in a brush. Not me. I don’t come from that world; my stories don’t feel right with that tone of voice. I like upper and lower case, for starters.

Rita used Myriad Pro for the vast majority of the dialogue. It’s got bold and italics and multiple weights, and it’s a nice crisp serif font that fit the tone of the comic.

But Absinthe? Absinthe was done in a different era of my craft. Absinthe was done back when I was still nailing things down on paper before taking them into Illustrator. And Absinthe was lettered in the real world, with dialogue that sometimes became a part of the overall design of the page.

I want the new pages to stylistically match the first chapter. But I really don’t want to hassle with getting a paper-based workflow going again. So…

 

Screen Shot 2015-10-20 at 3.50.24 PM

I’m gonna make my own font. I’ll still have to do some things by hand, or by doing a bit of paper lettering and bringing it into the computer. But I figure that tracing a bunch of these letters will give me a good start on a unique font that can have italics and bold. I’ll have to figure out how to have multiple versions of each character that change randomly; I hope that’s doable.

Right now I’m thinking of trying to make it with the lite version of Glyphs, which is a mere $50. If it does what I need then I’ll be delighted to not have to spend the $5-600 that serious font software costs.

(I may end up making the font available as a Patreon perk, as well. Dunno.)

 

edit. Here are some useful-looking links I found on making different character images cycle.

Engaging Contextuality

Contextual feature code samples – I like the idea of having a set number of variants for every letter that cycles with every character, rather than a lengthy hand-tuned set of variants. Seems like there isn’t an actual random number generator available; writing rules for selecting from multiple glyphs is what you have to do. (And what I ended up doing.)

also Common Techniques – I love the idea of making the glyphs move a bit by themselves, in the very last example. Might be a royal pain in the ass though.