Beholder 2 Hack Any Terminal
Ozie Melzer
Most popular software terminal applications, including GNOME, KDE, and Xfce, ship with the option to change their color theme. Adjusting your theme is as easy as adjusting application preferences. Fedora, RHEL, and Ubuntu ship with GNOME by default, so this article uses that terminal as its example, but the process is similar for Konsole, Xfce terminal, and many others.
In the Colors tab, deselect the Use Colors From System Theme option so that the rest of the window will become active. As a starting point, you can select a built-in color scheme. These include light themes, with bright backgrounds and dark foreground text, as well as dark themes, with dark backgrounds and light foreground text.
The Default Color swatches define both the foreground and background colors when no other setting (such as settings from the dircolors command) overrides them. The Palette sets the colors defined by the dircolors command. These colors are used by your terminal, in the form of the LS_COLORS environment variable, to add color to the output of the ls command. If none of them appeal to you, change them on this screen.
The two obvious options are the foreground and background colors, defined by -fg and -bg, respectively. The argument for each option is the color name rather than its ANSI number. For example:
These settings set the default foreground and background. Should any other rule govern the color of a specific file or device type, those colors are used. See the dircolors command for information on how to set those.
To launch your terminal with your choice of colors, you can add the options either to the command or the menu you use to launch the terminal (such as your Fluxbox menu file, a .desktop file in $HOME/.local/share/applications, or similar). Alternatively, you can use the xrdb tool to manage X-related resources (but that's out of scope for this article).
Customizing your Linux machine doesn't mean you have to learn how to program. You can and should make small but meaningful changes to make your digital home feel that much more comfortable. And there's no better place to start than the terminal!
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And is the emulator (wrapper) you want to look good, or the shell/environment? In most cases the environment can look great by just switching to a Powerline font variant and a customized framework (Oh-My-Zsh, anyone?)
Combined with ZSH (oh-my-zsh), a powerline font, a theme and some plugins, it's one of the nicer looking terminals. It's a wrapper so you can use an environment of your choice (WSL, Cygwin, msys2, Git Bash, etc). In my screenshot, I have it running in my Babun/Cygwin environment with the Material theme. Check out Awesome-Hyper to get it just the way you like.
Babun is a built-for-Windows shell including must of what you need in a nice package. It's default terminal emulator is Mintty in the cygwin environment. What makes mintty nice is it's customization but a minimal approach.
RoyalTS is a major all-in-one tool and has everything from RDP, SSH, VNC, Telnet, etc. The free version is limited to loading a document with 10 connections; More than enough for the average user, plus you can just make multiple documents and switch between them.
Bitvise SSH Client looks a bit more appealing than PuTTY - I used to use PuTTY but switched to this because of the interface, but as the comments say, what do you think "beautiful" is?
Note that this is only a file browser, if you're looking for a terminal there's no such thing as a "beautiful" terminal, but you can still try PuTTYTray which adds some good-looking features like transparency and support for changing the taskbar icon of the terminal window, and you can use a custom color scheme, I personally use GDvalle's Monokai theme (compatible with both PuTTYTray and the original PuTTY, just save the Gist as a .reg file and open it).
PowerShell team from Microsoft ported OpenSSH to Windows. It doesn't provide a graphic user interface but that's advantage to me, because I have been running PowerShell within ConEmu for long. This is a screenshot from ConEmu website:
Coming from Linux, I always like the idea of separating Virtual Terminal (like iTerm2 in macOS) from Shell and Application (like Bash and SSH), because I typically want to configure them independently. "Tabs within window" is obviously the job of a terminal, so it is weird to ask SSH client to do that.
1.1940: This was the first photograph I made with my new Speedgraphic. It'sa synchro-sunlight exposure--I used a flash to fill in the shadows andoverpower the sun which gives a dark sky in the background. That takesa lot of calculating, and I lucked out and got it right. At first I printedthe negative trying to keep the dark skin light and burn in the teeth fordetail. Then one day, after putting the paper in the developer, the phonerang and I didn't get back to it for two or three minutes; the print wasquite dark, but much more effective and I've been printing it that wayever since. MSA SC 1890-41-10,025 2.c. 1941: This picture was taken one Saturday afternoon at a jam sessionin a St. Louis tavern. This particular couple caught my eye because theyseemed to summarize the jitterbug character of the day. I pre-focused thecamera on one spot on the dance floor and set the camera vertically onthe floor. When they danced to my spot, I snapped the shutter, not evenlooking through the viewfinder. In 1945, when Edward Steichen reviewedmy portfolio, he paused at this photograph and said, "Young man, if youkeep making photographs like this one, you'll be a good photographer someday." MSA SC 1890-41-10,019 3.1942: About a month before I went into the Navy, my friend Wally Simmonsand I went over to East St. Louis to see what we could find to make picturesof. We were always looking for subjects for camera club competitions. Wefound this scene: the clouds were so spectacular and with the horse-drawnbinder silhouetted against them it made a dramatic record of an era. Iknew I had a winner. MSA SC 1890-41-10,011 4.1949: After we moved to Annapolis, I always went out on snowy days lookingfor good views, and that's when I found this vantage point on Spa Creek.I knew I needed to get up above the six-foot-high sea grass in the foreground,so I piled up a bunch of wooden crates that had been dumped in this vacantlot. Then I climbed up with my tripod and film holders and set up the cameratwelve feet above the ground. I used the rear element of a triple convertiblelens to make the picture; when I climbed down, I couldn't find the frontelement. About a week later, when the snow melted, the neighbors calledme and said they'd found it, so I gave them a print of the picture. MSASC 1890-02-536A 5.July 1953: When the Bay Bridge opened in 1952, I immediately realized thepotential for a dramatic portrait at night. It took several tries to getit right because I knew exactly where I wanted the moon and that placementonly occurs in summer. The picture was made from on top of the old SandyPoint ferry terminal--about 60 feet above ground. There was so little trafficthen that I had to wait for a car onto come on the bridge, and I knew ittook four minutes to get across, so that's how I timed the exposure. Toprevent the streak of light from being too bright in the foreground, Ireached around the camera and slowly stopped the diaphragm down to F32as the car rounded the curve. I'm still amazed that it worked. MSA SC 1890-02-20B 6.1954: A friend offered to take me into the Key Highway yards of BethlehemSteel to see the Constitution while she was in dry dock. I was onlythere for ten minutes--just long enough for this one shot. The next daywas the last day for entries for the National Press Photographers competition,so I rushed home and made a 16x20 print and sent it off. I won a set ofEncyclopedia Britannica for the Picture of the Year in the pictorialcategory. MSA SC 1890-03-1160B 7.1956 circa: I was doing so much work for the State that we had an arrangementwith the State Forester: when there was a cancellation for one of theircabins, we would get free lodging in exchange for doing pictures of theparks. This year we were at Herrington Manor in Garrett County. It wasa foggy summer morning, and I wandered off with my camera to see what Icould find. I saw this scene, got it set up, and waited about 20 minutesin hope that someone would come along and sit down on the bench. No onedid, but I shot it anyway. MSA SC 1890-12-2283A 8.1956: I was out on a Tidewater Fisheries patrol boat, covering the oysterfleet all day, just taking advantage of a free ride. Photographing boatsis a wonderful opportunity to play with compositions because they movealmost in slow motion. You just watch them drift into various formations,and wait for the right moment. Sometimes it never happens. MSA SC 1890-25-12,664-20 9.1958: My arrangement with the State was that I would make pictures throughoutthe year with no pay, then at the end of the fiscal year they would orderprints of what I had shot with whatever money was left in the budget. Thisyear they got us a free apartment in Ocean City. One day after lunch, Italked these waitresses into putting on their swimsuits and coming outto play in the surf. I like the way you can see the individual forms, yetit's obviously unposed. And the one girl who's fending off the waves andthe other with the big smile--I couldn't have arranged it that well deliberately.MSA SC 1890-24-16 10.1960 circa: With a 4x5 camera you only get one chance at a shot like this.We'd been out on the Bay and were headed in at sunset when I saw this mancrabbing at the mouth of the Severn River. The sun was just hitting hisnet, and the reflections were perfect. At the time I took the picture,I thought he was fishing. Twenty years later I went out crabbing with myson-in-law, who was using a technique I was unfamiliar with: running atrot-line. When I learned the procedure--netting crabs along a string towhich bait is tied--I suddenly realized that was what this man had beendoing when I made this picture. MSA SC 1890-25-814 11.July 1969: I found this building on Sharpe Street when I was documentingthe area for the Baltimore Urban Renewal and Housing Authority. I realizedthat it would be a great photograph, but the sun wasn't quite right. Iwas waiting for it to creep up to light the shadows when this little boycame along and said, "Take my picture." I thought he made a perfect littlecherub. MSA SC 1890-03-2544-2 12.1974 circa: This photograph exemplifies my belief that the simpler youcan make the image, the more dramatic its impact will be. I saw this sceneand was immediately struck by its potential. I saw it as an editorial statementabout the loss of beauty and human scale in our architecture, but I'vesold it several times to people who interpret it as a symbol of progress.I guess beauty really does lie in the eye of the beholder. MSA SC 1890-03-2977A
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