Over the years we’ve featured countless drone projects here at Hackaday, fixed wing, rotary wing, multi-rotor, and more. Among them all we think there may be a type that we’ve never seen, but that is about to change as it’s the first time we’ve brought you an edible drone.
Why might you need an edible drone, you ask? It’s not to conceal the evidence after closing an airport — instead it’s a research project from the Swiss Federal Institute of Technology to produce an efficient means of bringing sustenance to stranded climbers. The St. Bernard dogs are out of a job, it’s now done the modern way!
Jokes aside, this is clearly an experimental craft, a fixed-wing monoplane whose wings are made from rice cakes and gelatin. A stranded climber could certainly munch away at those airofoils, but we’re guessing a real device would need something a little more nutritious while retaining the light cellular structure.
This may be our first edible drone, but it’s not the first piece of edible technology we’ve brought you.
We feature a large number of game console mods here, because enhancing the experience of using a classic machine often involves some really clever work. But here’s one that’s a bit different, instead of upgrading his Game Boy Advance, [Wenting Zhang] has downgraded it from a colour screen to a monochrome LCD. Take a look at the video below the break.
One might ask why this would be necessary, given that there are plenty of backlit colour LCD upgrades already for the GBA, but perhaps people who played the original might understand that it’s about improving the viewability over the rather poor-quality colour LCD original.
Interesting too is the choice of display controller. Where it might be expected to find an FPGA, instead there’s an PR2040. He goes into detail about its programming, and we hope it might inspire any others looking at screen transplants. Meanwhile if the name [Wenting Zhang] means anything to you, it should be for his other work with mono LCDs.
Perhaps there was a time when fancy laser effects were beyond those without the largest of bank accounts, but today they can be created surprisingly easily. [Corebb] shows us how with a neat unit using an off the shelf RGB laser module and mirror module, driven by a ESP32 with software designed to make it as easy as possible to use.
The video below the break is in Chinese so you’ll have to turn on the subtitles if you’re an Anglophone, and it takes us through the whole process. It’s mounted in an SLA 3D printed enclosure which neatly holds all the parts. The ESP32 module drives a couple of DACs which in turn drive the galvanometer motors through a pair of amplifiers.
Then the software allows all sorts of custom displays for your creative expression, including uploading quick sketches over WiFi. Beyond pretty patterns we see it mounted on a bicycle for a head-up display of speed and navigation info. Even if it does fall off and break at one point we can see that could be an extremely useful accessory.
All the code can be found in a GitHub repository should you wish to try for yourself. Meanwhile we’ve covered a lot of laser projector projects here in the past, including most recently this one using stepper motors in place of galvanometers.
The world of microwave RF design appears to the uninitiated to be full of unimaginably exotic devices, as engineers harness the laws of physics to tame radio signals to their will. Among the weapons in their arsenal are materials of known dielectric properties, from which can be made structures with the desired effects on RF that encounters them. This has traditionally been a difficult and expensive process, but it’s one now made much easier by the availability of 3D printer filaments with a range of known dielectric values.
It’s best to think of the structures which can be designed using these materials as analagous to Fresnel lenses we’re all used to in the light domain. The example piece given by Microwave Journal is a metasurface for use in a steerable antenna, something that would be a much more difficult piece of work by more traditional means.
Normally when we inform you of a new special filament we’d expect it to be more costly than standard PLA, but this filament is in a class of its own at 275 euros per kilogram. So the interest for most readers will probably be more in the technology than the expectation of use, but even then we can see that there will still be microwave experimenters in our range who might be tempted by its unique properties. We look forward to what is developed using it.
The preparation and consumption of coffee has become something of an art from in our community, with many people going to extravagant lengths to achieve the perfect cup. [Eric Sorensen] was keen to roast his own beans, but given the price of a dedicated roaster, instead made his own using a hot air popcorn popper.
The story unfolds in several parts, and starts with disabling the thermal cutout on the popper to be replaced with thermal sensors. An Arduino controls both the fan and the heating coil to regulate and vary the roasting temperature over time. Perhaps it’s the software and user interface that most makes this project shine, with a graphical interface on a 320 by 240 pixel touch screen, and a graphing profile interface more reminiscent of a reflow oven than a kitchen appliance. The whole thing is neatly packed away with its power supply in a slimline case, and while we’re no bean experts, we appreciate the uniform brown of the finished product.
Coffee roasters have appeared here numerous times over the years. One of the more recent was this wobble disk design.
If you had an office word processor in the late 1970s, the chances are it ran Digital Research’s CP/M operating system. IBM went for Microsoft in the 1980s and the once-dominant player fell on hard times, but it survives today as a popular choice on retrocomputer platforms. Even the more compact Z80 systems are a little large for 2022, so when [Kian Ryan] needed the ultimate in CP/M portability it fell on a more modern piece of silicon. Hence he’s put it on a tiny RP2040-based board from Pimoroni alongside an Adafruit micro SD card breakout.
The tiny hardware is neat of course, but the real star of the show is the software. Non-CP/M aficionados will be interested to learn about RunCPM, and for this project, RunCPM 2040. This provides an emulated environment on a host microcontroller to run CP/M, allowing the operating system to be hosted on easier hardware than some of the original machines.
All this makes for a tiny development machine, but perhaps of more interest would be a machine that’s all-in-one with a display and perhaps a keyboard. The RP2040 is interesting in this case because of those programmable state machines. Could it be made to run a video display alongside RunCPM? We hope someone has a go at writing it.
We recently covered the removal of Pantone colour support from the Adobe cloud products, with the two companies now expecting artists and designers to pay an extra subscription for a Pantone plugin or face losing their Pantone-coloured work to a sea of black blocks. Our coverage focused on our community, and on how the absurdity of a commercial entity attempting to assert ownership over colours would have no effect on us with our triple-byte RGB values.
Interview With An Artist And Pigment Activist
The palette that could start a revolution.
It’s fair to say though that in our focus on hardware hackers and open source enthusiasts, we missed its effect on artists and designers. To rectify this omission we needed to step outside our field and talk to an artist, and in that context there’s an obvious person to interview.
Stuart Semple is probably one of the more famous contemporary British artists, but in relation to this story it’s his activism over the issue of colours and intellectual property that makes him an authority. He’s drawn attention to the issue by releasing his own art materials in colours that directly challenge those which companies have tried to claim for themselves, and is perhaps best known in our community for challenging Anish Kapoor’s exclusive licence for VantaBlack, the so-called “world’s blackest pigment”.
Most recently in response to the Adobe/Pantone controversy he’s released Freetone, a free plugin for the Adobe suite that in the words from its web page contains “1280 Liberated colours are extremely Pantoneish and reminiscent of those found in the most iconic colour book of all time. In fact it’s been argued that they are indistinguishable from those behind the Adobe paywall”. I had a phone conversation with him, in which he explained why Freetone had come into being.
Hackaday I understand Pantone is something used by designers, so I’ve worked for companies in the past where the designer would specify a Pantone index and it would appear on the screen, on the printed box, and on everything else identically. But why why do you as an artist use Pantone?
Art, activism, and a very red pigment.
Stuart Well, I use it in lots of ways. So I make a lot of screen prints as part of my art. So you know, if I’m working with a screen printer, I want to know that the print that they make of my work is the colour that I want it to be, so Pantone’s really useful for me for that.
But also, even with within the paints, so I just did a thing where I made some paints, which actually uses the blood of gay men. It was really important to me that the colour of the paint matched the colour of actual blood. So I was working with a lot of people, we’ve been collaborating, and I was working with some friends in New York on it, and we needed a common language.
The red I was talking about was the red they were talking about, and Pantone is super useful for that. In fact, it’s the go-to for that. I just did a record cover for Placebo, the band, that was produced for me by someone that prints, so I had to tell them what spot colours I wanted. So I had to tell them Pantone references, it’s the language they understand.
Hackaday So my next question relates to Freetone. Obviously, as as you’ve distributed it, it’s a Adobe plugin. How does it solve the problem? Because obviously, I can specify a Freetone colour, and anybody else with Freetone can tell yes, that’s that colour. But how do I then go to a printer who buys his inks with Pantone specifications and map one to the other?
The Pantone swatch book which you’ll see in the hands of artists and designers everywhere. Céréales Killer CC BY-SA 3.0.
Stuart How it works is, if you download Freetone, you’ll find colours in there, and one of them will be called Sempletone 648C. Well, it’s exactly the same as Pantone 648C. If you do your work on the screen, use the Freetones, and then when you send it to the printer, it’s actually blatantly obvious to anyone that 648C is clearly apparent. If you’ve got the Pantone fan book and you look at the colours, it’s the same. 846C in mine is the same as 846C in the fan, in the Pantone book. I’d like to see them try and argue that they own it, but I don’t think they do in the name or the Pantone trademark, but these are Sempletones with a number. So I think it’s gonna be hard.
Hackaday My next question is probably getting more into the technology of it all. Do you think it will be possible to replace Pantone’s service completely? So if you took every Sempletone colour and threw it at a spectrometer and published the spectrum, would you then be able to say to an ink manufacturer or similar, here are the full technical details rather than just a colour, and does your paint correspond to this spectrum? I’m curious how far you could push open source in this line.
The PySpectrometer project, something for anyone with an interest in colour.
Stuart That’s really cool. I love it. Like, if you could just give them that spectral data, and if they’ve got a spectrometer they could measure it a their end. But there’s nothing that advanced at the moment, a lot of action is done by eye still. My answer is, I don’t see why not if there was a cool enough device. I don’t know if the spectrometer would be good enough to match it. I don’t see why not, I don’t see why you couldn’t publish the data. But it would have to be the whole spectral information and not just like an RGB value.
(At this point the interview digressed for a moment into a discussion of open-source spectrometers such as the Raspberry Pi project we featured recently, as Stuart’s lament was that a spectrometer can be an extremely expensive instrument. It isn’t the job of an interviewer to lead their interviewee so we’re skipping this part of the transcript, however I think we can all look forward to whatever uses Stuart makes of an affordable spectrometer. We’ll pick up the interview at the next question.)
This widely shared screenshot represents the destruction of past work.
Hackaday One of the real problems with the whole Adobe suite, and this has happened in world as well with for instance the Autodesk CAD packages, is that they have gone into the cloud and become software as a subscription. So I understand completely, the frustration of artists at suddenly being told they have to pay an extra subscription to keep their Pantone support, and I’m particularly shocked to find that Photoshop isn’t just displaying black pixels over Pantone colours, I’m told it’s wiping out the Pantone information on saving. Do you think that anything in the open source software ecosystem comes close to replacing proprietary products like the Adobe suite for you as an artist?
Stuart Yes, 100%, there’s loads of stuff. I think open source is just the answer, I believe in freedom. And freedom means freedom to express yourself and freedom to own the thing and tweet the thing and change the thing and all the rest of it. So yeah, 100%. I think there’s actually better things than Photoshop, the problem we’ve got is that Adobe have the industry stranglehold. And if you want to work with someone, you have to be talking that language. And that’s still the problem. It’s like an operating system, but it’s got the monopoly.
So there are other things, for instance, on a Mac, there’s something called Pixelmator, which is as good as Photoshop in my opinion, I use it every day. It’s not free, but you buy it once, and that’s it, free updates. Like software used to be. And there are other things, like GIMP is amazing. It’s awesome, but it doesn’t really replace Photoshop.
We all like using GIMP, perhaps other people could learn to love it too. (gimp.org)
Hackaday Here at Hackaday we can make noises about how wouldn’t it be great if the developers of GIMP or other software could stick Freetone into their products, because they don’t have Pantone as it’s licensed?
Stuart Yeah, that’d be a dream, wouldn’t it? I mean, why not? I made it for everybody. As far as I’m concerned, it’s out there, use it, change it. incorporate it, the more people the better, I think.
A lot of people use GIMP, and it’s good. Really good open source stuff that always has been. We know the future is in the open source stuff, proprietary stuff just won’t last, it’s just not adaptable. It’s putting greed and profits above the user, it can’t work. There’s no freedom in it.
Hackaday To me the most egregious thing is that as I understand it they will delete the Pantone information from your PSD. This really shocked me.
Stuart They’re literally holding it hostage. It’s like 20 quid, or delete from your work, which is, wow. They’re not giving me anything, anyway. I’m renting the software, paying to use the software every month, it’s not free. And the licence fee is a lot. We’re already spending hundreds and hundreds a year on this software, probably about 800 quid a year. Another 20 quid, just to pen the work we make before. I mean, it’s our work! It’s pure corporate greed, isn’t it.
Hackaday Thank you very much for the interview.
As we wrapped up, I asked him about his Black 3.0 pigment, produced as a reaction to VantaBlack and Anish Kapoor. I was curious whether it might have a specially good infra-red response for headsinks or solar collectors, but sadly he informed me that it’s primarily a visual colour for artists. It’s very cool stuff, incredibly black, and I really want to get some to play with, but probably no better than a rattle can for heat purposes. Never mind, an engineer’s curiosity satisfied.
Following the interview, it’s worth looking at the Freetone project from our side of the table as well as his. If we as a community would like to ensure that colours do not become ever more proprietary, then it is probably on us to ensure that where appropriate it is supported within our sphere. GIMP support for instance would at a stroke make open source software an easier choice for millions of artists and designers, and could I think be done relatively easily through its existing palette support. There’s SwatchBooker which appears to perform the necessary interchange, and I found the ASE2GIMP project which imports Adobe palettes into GIMP, but sadly I couldn’t make it work here. If GIMP shipped with a Freetone palette built-in, would that be too much of a development task to contemplate?
From Stuart’s side, having sat down and played with Freetone, if there’s one thing I could ask him it would be to release it as more than just an Adobe plugin, and to give it an open source licence. As it stands it’s a binary available for no charge through his web shop, I think that releasing it as a straightforward list, perhaps even as simple as a CSV file, would make it so much more accessible to developers. And coupled with an open source licence that allowed them to include it within their software, I think it would be unstopable. We’re not open source licence nerds here at Hackaday, but I’m guessing something that does the same for a palette as a library licence such as the LGPL does for libraries would be appropriate.
In our world we’re wrapped up in electronics and code, and it’s sometimes easy to forget that the work we do reaches way beyond our workbenches. If you’ve spent enough time in a hackerspace you’ll know that art and engineering are almost the two sides of the same coin, so it’s pleasing to find such a moment of crossover. Let’s hope Freetone support can find its way into the open source movement, and together we can keep the tentacles of yet another IP land grab at bay.
