It’s not perfect — the odd door or window feature might suffer from a lack of right angles — but it’s pretty amazing.
As shown here, two featureless blocks on a featureless plain become run-down buildings by wrapping the 3D objects in a suitable image. It’s all done with the help of the Dream Textures add-on for Blender.
The solution uses Stable Diffusion to generate a texture for a scene based on a text prompt (e.g. “sci-fi abandoned buildings”), and leverages an understanding of a scene’s depth for best results. The AI-generated results aren’t always entirely perfect, but the process is pretty amazing. Not to mention fantastically fast compared to creating from scratch.
AI image generation capabilities are progressing at a breakneck pace, and giving people access to tools that can be run locally is what drives interesting and useful applications like this one here.
Curious to know more about how systems like Stable Diffusion work? Here’s a pretty good technical primer, and the Washington Post recently published a less-technical (but accurate) interactive article explaining how AI image generators work, as well as the impact they are having.
Computer mice come in all kinds of shapes and sizes, but are typically designed to fit in the palm of your hand. While some users with large hands may find standard mice uncomfortably small, we don’t think anyone will ever make that complaint about the humongous peripheral [Felix Fisgus] made for a game called Office Job at the ENIAROF art festival in Marseille. With a length of about two meters we suspect it might be the largest functional computer mouse in existence.
Inside the massive mouse is a wooden pallet with four caster wheels that enable smooth movement in all directions. This motion is detected by an ordinary optical mouse sensor: perhaps surprisingly, these can be used at this enormous scale simply by placing a different lens in front.
As for the mouse button, [Felix] and his colleagues found of that the bottom of an empty five-liter can has a nice “pop” to it and installed one in the front section of the device, hooked up to an ESP32 board that communicates with a computer through Bluetooth.
The mouse connects to an equally huge desktop computer, powered by a Raspberry Pi, on which users play a game that involves clicking on error messages from a wide variety of old and new operating systems. Moving the mouse and pressing its button to hit those dialog boxes is a two-person job, and turns the annoyance of software errors into a competitive game.
It’s the holiday season, and what better way to celebrate than to carve out some generative snowflakes on your laser cutter? [Bleeptrack] has developed a web-based tool that creates generative snowflake ornaments which can be exported to SVG files ready-made for laser or vinyl cutting.
True to their namesake, each generated snowflake ornament is (very likely to be) unique, with multiple layers created that can be stacked on top of each other. [Bleeptrack] has showcased a few realizations, using semitransparent paper sandwiched between two top layer cutouts, made out of wood or cardboard.
The snowflakes are a great balance of minimal design while still being beautiful and rich in detail. They can be easily produced on any laser cutter or vinyl cutter that you might have handy. Source code is available on GitHub for those wanting to dive into the details of the web tool. Cutting one of your own would make a perfect addition to a Neodriver ornament or a tiny DOOM playing ornament. Video after the break!
[JBV Creative] recently became a proud owner of a laser cutter and, like most of us, started to think about what they could make with it. The answer was simple, a clever little piece of art or puzzle made of stacked acrylic.
He created some text and extruded it from a single point, but not every part intersected with every plate, giving each plate an indecipherable appearance. This allows a small light source (like the LED likely on the back of your phone) to cast a shadow on the wall. With some 3D printed brackets and spacers, it was mounted to a nice piece of cherry plywood. Overall, the technique is quite simple and easy to understand. [JBV Creative] didn’t include more detail on the process, which is a shame because it looks like a beautiful effect to recreate for some puzzles.
These glowing coasters are fantastic if you’re looking for engraved acrylic with a light source. Or this puzzle that lights up as the pieces are placed.
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.
The dot maker performed ably in this piece by [Vitaly].The build starts with [Vitaly] using a heated Stanley knife to cut away a propeller assembly from a small toy drone. He then fits a small plastic disc to the motor in place of the prop. The disc has a cutout so that as it spins, it only allows paint to pass at certain times. The whole package bolts onto a regular spray can, so it can be used with any paint color or brand that’s desired.
The spray can paints individual dots on the wall at varying distances apart, thanks to the spinning disc. Varying the speed of the motor or the rate at which the can is moved relative to the wall changes the pitch of the dots. Importantly, [Vitaly] included a drip capture system so that paint that doesn’t pass out of the dot aperture doesn’t leak all over his hands or the wall, ruining the piece.
Almost every type of retro indicator technology from a Nixie tube to a flipdot with everything else in between has found itself on these pages in some form of artwork or decoration. It’s pleasing then to see one that hasn’t appeared so much over the years, and particularly at the hands of our colleague [Voja Antonic]. He’s taken a large array of moving-coil panel meters and hooked them up to a microcontroller board that’s triggered by a PIR sensor. Normally the readings are random, but get too close to it and all those needles start moving, making for a very different take on an electronic wall display.
He’s not given us the details of the control circuit he’s used, but in a sense that matters little. We think any Hackaday reader who knows one end of a soldering iron from the other should be able to produce a small DC current from a DAC to drive a meter, and we don’t think the software to make random readings would trouble many of you either.
Meanwhile [Voja] has produced so many interesting projects over the years, not least the 2022 Superconference badge. Here’s one from a few years ago.
