OSgrid is probably the oldest 3-D virtual world based on free and open-source software (OpenSimulator) and run by community members. It's definitely the oldest 3-D virtual world that's federated with other virtual worlds.
And it is celebrating its 17th anniversary this week, all week, up until today, Sunday, July 28th.
My little in-world sister @
Juno Rowland, part-time OSgrid resident just like myself, is celebrating the grid birthday with outfits based on the officially-issued women's tank tops. Here she is showing it on her pier at her home at Tropicana Tuneage. She had been around the birthday sims on Thursday already, but in a different skirt. On Friday, she posed in one that's much easier for me to describe in front of a background that's a great deal easier to describe than the anniversary sims.
Yesterday, on Saturday, she went and revisited the birthday exhibitions, also to see one of her favourite things, a Leonard Cohen album cover at an exhibition.
Juno's look
- Body including head, eyelashes, feet and nails: Ruth2 v4 by the RuthAndRoth team ( @austin a.i.a. @aia , Ada Radius, Serie Sumei et al.)
- Shape: modified by herself from the shape in the Ruth2 v4 Extras box
- Skin: Starlight Remix Fair, NSFW, with eyebrows, but without eyeliner; originally by Eloh Eliot, "remixed" by yours truly so that Juno has a decent skin
- Hair: CS Milca by DieChaotin McMasters
- Necklace: Q's Pendant - OSgrid by Qandy Saw
- Top: Happy Bday OSG17B Black, mesh by Damien Fate, texture and assembly by Saphy Riler
- Skirt: mini-fuer-fate jeans beige, mesh and base texture by Klarabella Karamell, texture tinting and assembly by Juno herself
- Shoes: reBoot Flat Ballet Black, unrigged variants, by Taarna Welles
Content warning for the images: eye contact spoiler
Content warning for the images: eye contact
Image descriptions
The medium and the basic setup
Both images in this post are digital renderings from inside a 3-D virtual world, using shaders, simplified real-time reflections and an artificial sun as a directed light source for illuminating the scenery and casting shadows, but without ray-tracing. It shows a digital avatar made to look like a fairly young woman. In the first image, she is standing at the end of a wooden pier. In the second image, she is standing next to a painted portrait of Leonard Cohen which he has used as an album cover.
The locations
The images were created in two different places in OSgrid, known as sims. Both are linked to the 17th anniversary of OSgrid which is celebrated from July 22th to July 28th, 2024.
OSgrid is a virtual world, a so-called "grid", based on a virtual-world engine named OpenSimulator. OpenSimulator, OpenSim in short, is a free, open-source, server-side re-implementation of the technology of Second Life. It is not affiliated with Linden Lab, the creators and owners of Second Life.
Second Life is a centralised, commercial 3-D virtual world launched in 2003. It experienced a big hype starting in 2007 which faded away in 2008. It still exists, it is constantly evolving, and it is celebrating its 21st anniversary this month.
In early 2007, Linden Lab laid open the source code of the official Second Life viewer, the client application needed to access Second Life. This revealed large parts of Second Life's technology and made not only the development of third-party viewers possible, but also the creation of a server application that can be used to create virtual worlds similar to Second Life. This server application was eventually named OpenSimulator, and the first test releases still came out in the first half of 2007.
Second Life, as well as the worlds based on OpenSimulator, are referred to as "grids" because they are split into square regions of 256 by 256 metres or roughly 280 by 280 yards. This roughly corresponds to a bit more than three by two major-league football pitches or soccer fields or a bit less than three by two American football fields.
While Second Life is a walled garden with only one publicly accessible grid that is connected to nothing else, OpenSimulator can be used by just about anyone to create and run their own grid. In 2008, a new feature called the Hypergrid was introduced that allows avatars registered on one grid to visit other grids. Thus, OpenSim is not only decentralised, but actually mostly federated. There are currently over 3,000 active grids, maybe over 4,000, and especially most of the larger public grids are connected to the Hypergrid.
Sims, in turn, are short for simulators which have to run in regions for any kind of content to be able to exist in them and for avatars to be able to enter them. In Second Life, one sim always covers one region. OpenSim has so-called varsims which can cover multiple regions arranged in a square without having borders between the regions. The upper limit imposed by the software is 32 by 32 or 1,024 regions, but anything significantly larger than 16 by 16 or 256 regions has been proven to be highly impractical.
OSgrid was the first public OpenSim grid. It was launched in July, 2007, as a proving ground for OpenSim's own development which it still is. Nonetheless, it was the first OpenSim grid to surpass Second Life in land area, and it currently is one out of two grids to have done so. Also, as early as 2007 already, OSgrid referred to OpenSim in general and then, by 2008, to itself as "the Open Source Metaverse". It has used this term for an actual virtual world 14 years earlier than Mark Zuckerberg. For about just as long, the word "metaverse" has been part of the standard vocabulary in the OpenSim community.
The avatar in both pictures
The avatar shown in the image is Juno Rowland. She is, in fact, a backup avatar for my female alt, short for alternate avatar, that goes by the same name and looks the same while being at home on another grid.
Juno is built to look like a young woman. OpenSim does not explicitly support different ethnicities, but the basic avatar-building components available in OpenSim are almost exclusively geared towards avatars looking white or Latin American and in the 30s at most. She is 1.74 metres or 5 feet 8 1/2 inches tall which is taller than the average real-life Western woman by about the length of an adult person's palm. She is fairly slim which is somewhat concealed by the loose fit of her clothes.
Juno's skin textures are light to medium-light. Highlights and partly also shades are part of the skin textures, but very subdued. Most shading on her is created by the shader built into the viewer.
She has brown eyes and black hair worn as a rather short bob that narrows downward from where her ears are and extends to a height halfway between her chin and her shoulders. Her bangs cover her forehead entirely. Strands of her bangs partly cover her eyebrows, and two of them extend down as far as her upper eyelids. On each side, a single thick lock extends forward and slightly inward. These locks occasionally cover parts of her lower cheeks.
Juno is wearing a loose-fitting black tank top with the official logo of the 17th grid birthday festivities on it. The logo stretches across about 90% of Juno's chest and from slightly higher than right below her breasts to slightly higher than the middle of the front of the shirt.
In the top left corner of the birthday logo, there is the OSgrid logo. It consists of five identical parallelograms. Each one of them resembles a rectangle which, when placed horizontally, has its short edges tilted to the right by 18 degrees. The long edges are longer than the short edges by about three quarters. These five parallelograms are arranged around a common centre at the same distance and at angles of 72 degrees from each other. There is always one pointed angle slipping under the long side of a neighbouring parallelogram. This way, the gap in the middle between the parallelograms is a five-point star. The outer short edge of each parallelogram is farther away from the centre than the parallel long edge of the neighbouring parallelogram by a bit over half the latter's width. The top right parallelogram is placed exactly vertically.
The whole logo has a light, yellowish orange tint. Size-wise, it takes up a bit more than 20% of the width and about 70% of the height of the entire birthday logo.
To the right of the OSgrid logo, there is the name of the grid, "OSgrid", written in all capitals in the same tint of orange as the OSgrid logo. The writing is about two thirds as tall as each parallelogram in the OSgrid logo is long. It starts to the right of the vertical top right parallelogram at roughly 80% of its width, and the top of the letters is slightly higher than the obtuse top right corner of the top right parallelogram. The typeface used is a heavy variant of the Futura typeface, a geometric sans-serif typeface known for fairly small lower-case characters and a lower-case "a" which is like a "d" with a shorter line, much like in hand-writing.
Right below, "The Open Source Metaverse" is written at a vertical distance that is roughly the same as the general thickness of the letters in the "OSgrid" writing. All four words start with capitals. The writing lines up with the "OSgrid" writing to the left. The typeface is the same as the one used for the "OSgrid" writing, only smaller by about 60%. It is small enough to not be easily readable in the image at the resolution at which the image was posted. The writing is tinted a light grey, resembling aluminium.
Most of the lower half is taken up by a horizontal rectangle, tinted a darker, slightly less saturated, slightly more brownish tone of orange. To the left, it lines up with the bottom pointy-angled corner of the bottom left parallelogram in the logo. To the right, it lines up with the end of the writing "The Open Source Metaverse". At the top, it almost touches the vertical line of the "p" in the same writing.
On this rectangle, "17th Birthday" is written in the same black as the rest of the tank top and the same typeface as the other two writings, but twice the height as the writing "The Open Source Metaverse". Vertically, this writing is slightly above the middle of the rectangle. Horizontally, it lines up with the other two writings on the left.
Below the tank top, Juno is wearing a straight, loose-fitting miniskirt which ends roughly the length of one of her hands above her knees. Its texture gives it a look like washed-out denim in various shades of slightly yellowish, medium-light-to-medium brown. Seams, pockets and the fly are all only part of the texture. The pocket on the front to the left from Juno's point of view is completely covered by the tank top, the pocket on the other side is mostly covered. The texture does not emulate any rear pockets.
Apart from the skirt, Juno's legs are bare. On her feet, she is wearing a pair of flat ballet shoes which mostly show a black texture, slightly lighter than the tank top, with a structure that resembles an unidentified fabric. The insides of the shoes are a medium-light, shaded tone of brown, suggesting some fabric or thin leather again. The soles are a medium-light, slightly reddish brown. They have very low heels.
Around her neck, Juno is wearing a necklace consisting what appears to be a single wire of solid gold of a similar thickness as the material used for clothes hangers plus an OSgrid logo made of gold as well. The logo is a bit over half as big as the one on her tank top. The eye through which the wire runs is attached near one of the outer obtuse-angled corners, so the logo is rotated to the left in comparison with the one on the tank top. Both the wire and the logo are glossy, the logo more than the wire, but the material appearance is textured onto both.
In both Second Life and OpenSim-based worlds, unlike most other 3-D virtual worlds, avatars are not only highly configurable in-world, but also highly modular. Everything on Juno is an attachment. Her body is an attachment, the head included. Her feet are a separate attachment; different feet for medium and high heels are available. The skin textures can be replaced, and standard skins can be worn on this body. The eye texture can be replaced, too. Eyelashes, fingernails and toenails are attachments, although the latter are fully concealed inside her shoes. Her hair is an attachment. The top, the skirt, each shoe and the necklace are separate attachments which makes it possible for her to wear all kinds of outfits. Her shape is configurable with over 80 parameters, and even that can be replaced with another one which is usually just as configurable.
Everything that Juno is made up from was made by users. Everything else, including the purpose-made texture on the tank top, was made directly for OpenSim.
The scenery in the first image
The first image was created on a sim called Tropicana Tuneage, a multi-purpose sim which is regularly used for events, but which is also Juno's home in OSgrid.
The scenery is limited to a wooden pier which Juno is standing on. It takes up the lower 45% of the image. Its water-side end would line up with the lower side of Juno's butt if she was shown from behind. The top surface of the pier is textured in a way that suggests wooden planks that run transversally across the pier. The wood is very slightly less yellowish tone of brown than Juno's skirt and varies greatly between light-medium, almost light, and medium. The sides of the pier are outside the borders of the image.
The pier leads to the southwest. The camera angle follows it almost exactly in parallel. It is oriented farther to the right by about one degree. It is also roughly at the height of Juno's waist.
Beyond the pier and behind Juno, there is nothing but blue sea with gentle waves on it. The tone of blue has a fairly low saturation, and some of the waves are partly almost medium-dark grey. The horizon is at almost precisely two thirds of the height of the image, roughly below Juno's breasts, which shows that the camera is tilted downward by a few degrees.
The sky is a very pale, greenish blue with a very faint gradient towards the horizon that suggests haze. To Juno's right, there are some thin clouds which increasingly blend in with the sky, the lower they are. A bit of cloud is above her head as well. There are no clouds to her left.
Juno in the first image
Juno is slightly left of centre, standing on her right foot while moving her left foot forward and turning it to the left. She is about to turn herself around. Her arms are on her sides, the left arm is moved a bit forward. Her hands are relaxed with both middle fingers bent inward a little more than the other fingers.
Juno's face is expressionless. Any expressions would require specific animations to be played, mostly manually which would be an extra effort. She is looking past a point slightly above the camera.
Her hair is fully covering her ears. The lock on the left of her face, the right for the on-looker, is in front of the lower parts of her cheek. So is the lock on the other side, but less so.
Lighting in the first image
The simulated time of day is late afternoon. The sun is quite low already in the west. This can be told by the shadows which Juno's legs cast on the wooden planks texture on the pier as well as some narrow highlights on her neck, her arms and her legs. The sun itself is not in the image.
Apart from the sun, there is medium grey ambient light that shines the same from everywhere and therefore doesn't create any shadows.
Save for being cropped, the image is unedited and unprocessed.
The scenery in the second image
The second image was created in a different place on the same grid named OSG17B2. The name refers to OSgrid's 17th birthday, OSG17B in short. It is the second one of four numbered exhibition sims created for the birthday, two of which were opened to the public while the other two remain unused.
In the second image, Juno is inside a building used as a gallery of music album covers.
Most of the right-hand 60% of the image are taken up by an art easel. It is about one and two thirds times as high as Juno is tall while appearing smaller due to the perspective. It is rotated to the right from the camera being directly aimed at its front by about 25 degrees.
The easel is a fairly stable and elaborate construction which looks like it is adjustable for various canvas sizes. Below where the canvas would be put, there is a shelf for painting utensils. The easel is mostly white with no texture on it. The exceptions are eleven slotted screw heads and a handle roughly shaped like a six-point star with which the easel can be adjusted to different canvas sizes. They have metal-like, partly light grey, partly light yellowish or brownish textures with medium-light orange spots hinting at corrosion. These textures include highlights and shading. The parts themselves are not shiny. Of the screw heads, only five are unobscured. One is holding the adjustment handle in place. Three are holding the almost vertical part of the easel together, one close to the top, two near the bottom. The fifth one connects the right-hand rear support to the foot.
The easel is adjusted for something way bigger than what it is carrying. It's the cover of the album
Recent Songs by the singer-songwriter Leonard Cohen. It was released in 1979 as his sixth studio album, and it is not known for high-charting single releases. The cover is about half as high as Juno is tall. Again, due to the perspective, it appears to be smaller. Its aspect ratio is very slightly warped, it is a little wider than it is high.
The album cover is based on a frontal facial portrait painting of Cohen by Dianne Lawrence. It shows him as a middle-aged, light-skinned man with green eyes and black, medium-short hair which he wears in a somewhat asymmetrical hairdo that is slightly fuller on his left, the on-looker's right, than on the other side. The top of his hair is cut off by the top edge of the canvas. At the bottom, the portrait ends at Cohen's shoulders. He is wearing a black shirt which lacks too many details to be identifiable any further.
The background behind him is a solid, slightly pale medium blue with a minimal hint of green.
Above his right shoulder, his left shoulder from the on-looker's point of view, there is a drawing of a hummingbird which is only black and background blue and about as long from beak to tail feathers as Cohen's mouth is wide. The bird seems to be hovering above his shoulder with no intention to touch down. Its beak is oriented to the right for the on-looker and tilted slightly downward to between Cohen's shoulder and the collar of his shirt.
Between the top left corner and Cohen's hair, his name is written, "Leonard Cohen". Likewise, between his hair and the top right corner, the title of the album is written, "Recent Songs". Both are in black, fairly small, in an unidentified, very heavy geometric sans-serif typeface and in all-caps.
The narrow right-hand side of the box that has the portrait on its front has a medium-dark wood texture, slightly reddish, slightly greyish, with the grain perpendicular to the long edges.
The wall behind the easel is mostly white with a black circular pattern on it. It consists of 39 concentric circles whose thickness increase from the outermost to the innermost circle. Instead of a 40th circle, there is a dot in the centre which is a little bigger than the thickness of the innermost circle. The texture itself is a bit over one and a half times as high as Juno is tall and twice as wide as it is high. Thus, it has ample of white space on both sides whereas the outermost 16 circles are more or less cut at the top and the bottom. Two of these patterns are within the border of the image above one another. The upper one is cut off by the upper edge of the image in such a way that only the two innermost circles are complete.
The wall makes up a bit less than the upper two thirds of the background of the image. Apart from Juno and the easel, everything below is ground. The edge between the wall and the floor shows that the camera is rotated from being perpendicular to the wall by some five degrees to the left. Thus, the easel is rotated to the right by about 20 degrees from being parallel to the wall. Besides, the camera is as high above the ground as Juno's waist and tilted downward only very minimally.
The ground is a medium orange in the bottom left corner of the image. It gets a little darker and more purplish towards the opposite corner where it meets the wall.
Juno in the second image
Juno is on the left-hand side of the image. standing in front of the easel, a little left of its centre, and facing it. The image shows her to the left of the easel and from the rear right. Her head is tilted downward as if she was looking at the album cover. Her face is entirely on the far side of her head. The bottom of her hair is shifted to the back and to the left because she is actually in motion. Her right ear is still fully concealed under hair.
Her arms are relaxed on both sides. She is resting her weight on her right leg while having lifted up the heel of her left foot.
The right strap of her tank top is hovering above her right shoulder at a distance of a little more than the thickness of one of her fingers. The background appears through the gap.
Lighting in the second image
The only light available in the image are the omnipresent medium grey ambient light and several white point light on the ceiling beyond the edges of the image, only one of which is on this side of the wall. The sun is fixed straight above the scene, but the roof of the building which is outside the image is in its way. Since shadows are on in this picture, the roof keeps the sunlight out. Point light sources like those on the ceiling don't cast shadows, so they add to the ambient light, but they only illuminate avatars, objects and the like from one side. The highlights on her legs hint at the position of the sole point light on this side of the wall, namely behind and slightly to the left of Juno.
Save for being cropped, the image is unedited and unprocessed.
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OSG17B
