Malayalam language support (I hope)

docs/ADVANCED-STAMPS-HOWTO.txt

@@ -1,272 +0,0 @@
-                                   Tux Paint
-                                 version 0.9.22
-                             Advanced Stamps HOWTO
-
-        Copyright 2006-2008 by Albert Cahalan for the Tux Paint project
-                               New Breed Software
-
-                              albert@users.sf.net
-                            http://www.tuxpaint.org/
-
-                          March 8, 2006 - July 1, 2009
-
-About this HOWTO
-
-     This HOWTO assumes that you want to make an excellent Tux Paint stamp,
-     in PNG bitmapped format, from a JPEG image (e.g., a digital photograph).
-     There are easier and faster methods that produce lower quality.
-
-     This HOWTO assumes you are dealing with normal opaque objects. Dealing
-     with semi-transparent objects (fire, moving fan blade, kid's baloon) or
-     light-giving objects (fire, lightbulb, sun) is best done with custom
-     software. Images with perfect solid-color backgrounds are also best done
-     with custom software, but are not troublesome to do as follows.
-
-Image choice is crucial
-
-  License
-
-       If you wish to submit artwork to the Tux Paint developers for
-       consideration for inclusion in the official project, or if you wish to
-       release your own copy of Tux Paint, bundled with your own graphics,
-       you need an image that is compatible with the GNU General Public
-       License used by Tux Paint.
-
-       Images produced by the US government are Public Domain, but be aware
-       that the US government sometimes uses other images on the web. Google
-       image queries including either site:gov or site:mil will supply many
-       suitable images. (Note: the *.mil sites include non-military content,
-       too!)
-
-       Your own images can be placed in the Public Domain by declaring it so.
-       (Hire a lawyer if you feel the need for legal advice.)
-
-       For personal use, any image you can legitimately modify and use for
-       your own personal use should be fine.
-
-  Image Size and Orientation:
-
-       You need an image that has a useful orientation. Perspective is an
-       enemy. Images that show an object from the corner are difficult to fit
-       into a nice drawing. As a general rule, telephoto side views are the
-       best. The impossible ideal is that, for example, two wheels of a car
-       are perfectly hidden behind the other two.
-
-       Rotating an image can make it blurry, especially if you only rotate by
-       a few degrees. Images that don't need rotation are best, images that
-       need lots of rotation (30 to 60 degrees) are next best, and images
-       that need just a few degrees are worst. Rotation will also make an
-       image darker because most image editing software is very bad about
-       gamma handling. (Rotation is only legitimate for gamma=1.0 images.)
-
-       Very large images are more forgiving of mistakes, and thus easier to
-       work with. Choose an image with an object that is over 1000 pixels
-       across if you can. You can shrink this later to hide your mistakes.
-
-       Be sure that the image is not too grainy, dim, or washed out.
-
-       Pay attention to feet and wheels. If they are buried in something, you
-       will need to draw new ones. If only one is buried, you might be able
-       to copy the other one as a replacement.
-
-Prepare the image:
-
-     First of all, be sure to avoid re-saving the image as a JPEG. This
-     causes quality loss. There is a special tool called jpegtran that lets
-     you crop an image without the normal quality loss. If you want a GUI for
-     it, use ljcrop. Otherwise, use it like this:
-
-       jpegtran -trim -copy none -crop 512x1728+160+128 < src.jpg >
-       cropped.jpg
-
-     Bring that image up in your image editor. If you didn't crop it yet, you
-     may find that your image editor is very slow. Rotate and crop the image
-     as needed. Save the image - choose whatever native format supports
-     layers, masks, alpha, etc. GIMP users should choose "XCF", and Adobe
-     Photoshop users should choose "PSD", for example.
-
-     If you have rotated or cropped the image in your image editor, flatten
-     it now. You need to have just one RGB layer without mask or alpha.
-
-     Open the layers dialog box. Replicate the one layer several times. From
-     top to bottom you will need something like this:
-
-      1. unmodified image (write-protect this if you can)
-      2. an image you will modify - the "WIP" layer
-      3. solid green (write-protect this if you can)
-      4. solid magenta (write-protect this if you can)
-      5. unmodified image (write-protect this if you can)
-
-     Give the WIP layer a rough initial mask. You might start with a
-     selection, or by using the grayscale value of the WIP layer. You might
-     invert the mask.
-
-     Warning: once you have the mask, you may not rotate or scale the image
-     normally. This would cause data loss. You will be given special scaling
-     instructions later.
-
-Prepare the mask:
-
-     Get used to doing Ctrl-click and Alt-click on the thumbnail images in
-     the layers dialog. You will need this to control what you are looking at
-     and what you are editing. Sometimes you will be editing things you can't
-     see. For example, you might edit the mask of the WIP layer while looking
-     at the unmodified image. Pay attention so you don't screw up. Always
-     verify that you are editing the right thing.
-
-     Set an unmodified image as what you will view (the top one is easiest).
-     Set the WIP mask as what you will edit. At some point, perhaps not
-     immediately, you should magnify the image to about 400% (each pixel of
-     the image is seen and edited as a 4x4 block of pixels on your screen).
-
-     Select parts of the image that need to be 100% opaque or 0% opaque. If
-     you can select the object or background somewhat accurately by color, do
-     so. As needed to avoid selecting any pixels that should be partially
-     opaque (generally at the edge of the object) you should grow, shrink,
-     and invert the selection.
-
-     Fill the 100% opaque areas with white, and the 0% opaque areas with
-     black. This is most easily done by drag-and-drop from the
-     foreground/background color indicator. You should not see anything
-     happen, because you are viewing the unmodified image layer while editing
-     the mask of the WIP layer. Large changes might be noticable in the
-     thumbnail.
-
-     Now you must be zoomed in.
-
-     Check your work. Hide the top unmodified image layer. Display just the
-     mask, which should be a white object on a black background (probably
-     with unedited grey at the edge). Now display the WIP layer normally, so
-     that the mask is active. This should show your object over top of the
-     next highest enabled layer, which should be green or magenta as needed
-     for maximum contrast. You might wish to flip back and forth between
-     those backgrounds by repeatedly clicking to enable/disable the green
-     layer. Fix any obvious and easy problems by editing the mask while
-     viewing the mask.
-
-     Go back to viewing the top unmodified layer while editing the WIP mask.
-     Set your drawing tool the paintbrush. For the brush, choose a small
-     fuzzy circle. The 5x5 size is good for most uses.
-
-     With a steady hand, trace around the image. Use black around the
-     outside, and white around the inside. Avoid making more than one pass
-     without switching colors (and thus sides).
-
-     Flip views a bit, checking to see that the mask is working well. When
-     the WIP layer is composited over the green or magenta, you should see a
-     tiny bit of the original background as an ugly fringe around the edge.
-     If this fringe is missing, then you made the object mask too small. The
-     fringe consists of pixels that are neither 100% object nor 0% object.
-     For them, the mask should be neither 100% nor 0%. The fringe gets
-     removed soon.
-
-     View and edit the mask. Select by color, choosing either black or white.
-     Most likely you will see unselected specks that are not quite the
-     expected color. Invert the selection, then paint these away using the
-     pencil tool. Do this operation for both white and black.
-
-Replace the fringe and junk pixels:
-
-     Still viewing the mask, select by color. Choose black. Shrink the
-     selection by several pixels, being sure to NOT shrink from the edges of
-     the mask (the shrink helps you avoid and recover from mistakes).
-
-     Now disable the mask. View and edit the unmasked WIP layer. Using the
-     color picker tool, choose a color that is average for the object.
-     Drag-and-drop this color into the selection, thus removing most of the
-     non-object pixels.
-
-     This solid color will compress well and will help prevent ugly color
-     fringes when Tux Paint scales the image down. If the edge of the object
-     has multiple colors that are very different, you should split up your
-     selection so that you can color the nearby background to be similar.
-
-     Now you will paint away the existing edge fringe. Be sure that you are
-     editing and viewing the WIP image. Frequent layer visibility changes
-     will help you to see what you are doing. You are likely to use all of:
-
-       * composited over green (mask enabled)
-       * composited over magenta (mask enabled)
-       * original (the top or bottom layer)
-       * composited over the original (mask enabled)
-       * raw WIP layer (mask DISABLED)
-
-     To reduce accidents, you may wish to select only those pixels that are
-     not grey in the mask. (Select by color from the mask, choose black, add
-     mode, choose white, invert. Alternately: Select all, select by color
-     from the mask, subtract mode, choose black, choose white.) If you do
-     this, you'll probably want to expand the selection a bit and/or hide the
-     "crawling ants" line that marks the selection.
-
-     Use the clone tool and the brush tool. Vary the opacity as needed. Use
-     small round brushes mostly, perhaps 3x3 or 5x5, fuzzy or not. (It is
-     generally nice to pair up fuzzy brushes with 100% opacity and non-fuzzy
-     brushes with about 70% opacity.) Unusual drawing modes can be helpful
-     with semi-transparent objects.
-
-     The goal is to remove the edge fringe, both inside and outside of the
-     object. The inside fringe, visible when the object is composited over
-     magenta or green, must be removed for obvious reasons. The outside
-     fringe must also be removed because it will become visible when the
-     image is scaled down. As an example, consider a 2x2 region of pixels at
-     the edge of a sharp-edged object. The left half is black and 0% opaque.
-     The right half is white and 100% opaque. That is, we have a white object
-     on a black background. When Tux Paint scales this to 50% (a 1x1 pixel
-     area), the result will be a grey 50% opaque pixel. The correct result
-     would be a white 50% opaque pixel. To get this result, we would paint
-     away the black pixels. They matter, despite being 0% opaque.
-
-     Tux Paint can scale images down by a very large factor, so it is
-     important to extend the edge of your object outward by a great deal.
-     Right at the edge of your object, you should be very accurate about
-     this. As you go outward away from the object, you can get a bit sloppy.
-     It is reasonable to paint outward by a dozen pixels or more. The farther
-     you go, the more Tux Paint can scale down without creating ugly color
-     fringes. For areas that are more than a few pixels away from the object
-     edge, you should use the pencil tool (or sloppy select with
-     drag-and-drop color) to ensure that the result will compress well.
-
-Save the image for Tux Paint
-
-     It is very easy to ruin your hard work. Image editors can silently
-     destroy pixels in 0% opaque areas. The conditions under which this
-     happens may vary from version to version. If you are very trusting, you
-     can try saving your image directly as a PNG. Be sure to read it back in
-     again to verify that the 0% opaque areas didn't turn black or white,
-     which would create fringes when Tux Paint scales the image down. If you
-     need to scale your image to save space (and hide your mistakes), you are
-     almost certain to destroy all the 0% opaque areas. So here is a better
-     way...
-
-  A Safer Way to Save:
-
-       Drag the mask from the layers dialog to the unused portion of the
-       toolbar (right after the last drawing tool). This will create a new
-       image consisting of one layer that contains the mask data. Scale this
-       as desired, remembering the settings you use. Often you should start
-       with an image that is about 700 to 1500 pixels across, and end up with
-       one that is 300 to 400.
-
-       Save the mask image as a NetPBM portable greymap (".pgm") file. (If
-       you are using an old release of The GIMP, you might need to convert
-       the image to greyscale before you can save it.) Choose the more
-       compact "RAW PGM" format. (The second character of the file should be
-       the ASCII digit "5", hex byte 0x35.)
-
-       You may close the mask image.
-
-       Going back to the multi-layer image, now select the WIP layer. As you
-       did with the mask, drag this from the layers dialog to the toolbar.
-       You should get a single-layer image of your WIP data. If the mask came
-       along too, get rid of it. You should be seeing the object and the
-       painted-away surroundings, without any mask thumbnail in the layers
-       dialog. If you scaled the mask, then scale this image in exactly the
-       same way. Save this image as a NetPBM portable pixmap (".ppm") file.
-       (Note: ppm, not pgm.) (If you choose the RAW PPM format, the second
-       byte of the file should be the ASCII digit "6", hex byte 0x36.)
-
-       Now you need to merge the two files into one. Do that with the
-       pnmtopng command, like this:
-
-         pnmtopng -force -compression 9 -alpha mask.pgm fg.ppm >
-         final-stamp.png

docs/OPTIONS.txt

@@ -621,6 +621,8 @@ Windows Users
                  |--------------------+---------------------+---------------|
                  |malay               |                     |               |
                  |--------------------+---------------------+---------------|
+                 |malayalam           |                     |               |
+                 |--------------------+---------------------+---------------|
                  |mexican-spanish     |espanol-mejicano     |mexican        |
                  |--------------------+---------------------+---------------|
                  |ndebele             |                     |               |

docs/html/OPTIONS.html

@@ -890,6 +890,11 @@ New Breed Software</p>
       <td>&nbsp;</td>
       <td>&nbsp;</td>
     </tr>
+    <tr>
+      <td><code>malayalam</code></td>
+      <td>&nbsp;</td>
+      <td>&nbsp;</td>
+    </tr>
     <tr>
       <td><code>mexican-spanish</code></td>
       <td><code>espanol-mejicano</code></td>

src/i18n.c

@@ -25,7 +25,7 @@
 
   $Id$
 
-  June 14, 2002 - February 16, 2010
+  June 14, 2002 - March 23, 2010
 */
 
 // FIXME: gettext() won't even bother to look up messages unless it
@@ -119,6 +119,7 @@ const char *lang_prefixes[NUM_LANGS] = {
   "lb",
   "lt",
   "lv",
+  "ml",
   "mk",
   "ms",
   "nb",
@@ -168,6 +169,7 @@ static int lang_use_own_font[] = {
   LANG_JA,
   LANG_KA,
   LANG_KO,
+  LANG_ML,
   LANG_TA,
   LANG_TE,
   LANG_TH,
@@ -332,7 +334,8 @@ static const language_to_locale_struct language_to_locale_array[] = {
   {"traditional-chinese", "zh_TW.UTF-8"},
   {"zapotec", "zam.UTF-8"},
   {"miahuatlan-zapotec", "zam.UTF-8"},
-  {"khmer", "km_KH.UTF-8"}
+  {"khmer", "km_KH.UTF-8"},
+  {"malayalam", "ml_IN.UTF-8"}
 };
 
 /* FIXME: All this should REALLY be array-based!!! */
@@ -395,6 +398,7 @@ static void show_lang_usage(int exitcode)
 /* lb */ "  luxembourgish letzebuergesch\n"
 /* mk */ "  macedonian\n"
 /* ms */ "  malay\n"
+/* ml */ "  malayalam\n"
 /* es_MX */
 	  "  mexican      mexican-spanish        espanol-mejicano\n"
 /* nr */ "  ndebele\n"
@@ -492,6 +496,7 @@ static void show_locale_usage(FILE * f, const char *const prg)
 	  "  ko_KR   (Korean)\n"
 	  "  ku_TR   (Kurdish)\n"
 	  "  ms_MY   (Malay)\n"
+          "  ml_IN   (Malayalam)\n"
           "  lb_LU   (Luxembourgish Letzebuergesch)\n"
 	  "  lv_LV   (Latvian)\n"
 	  "  lt_LT   (Lithuanian   Lietuviu)\n"

src/i18n.h

@@ -25,7 +25,7 @@
 
   $Id$
   
-  June 14, 2002 - February 16, 2010
+  June 14, 2002 - March 23, 2010
 */
 
 
@@ -89,6 +89,7 @@ enum
   LANG_LT,			/* Lithuanian */
   LANG_LV,			/* Latvian */
   LANG_MK,			/* Macedonian */
+  LANG_ML,                      /* Malayalam */
   LANG_MS,			/* Malay */
   LANG_NB,			/* Norwegian Bokmal */
   LANG_NL,			/* Dutch */

src/manpage/tuxpaint.1

@@ -615,6 +615,9 @@ macedonian
 malay
 .TP 2
 -
+malayalam
+.TP 2
+-
 mexican-spanish | espanol-mejicano | mexican
 .TP 2
 -