Several times this summer, Microsoft’s Patch Tuesday, the monthly roundup of major security patches for Microsoft products, has included record-breaking numbers of security fixes. The August 2026 patch set actually seemed to catch up. Was this a sign of the bug apocalypse lessening? Ha, nope!
Brian Krebs at Krebs On Security once again brings his excellent roundup of Patch Tuesday events, with this months patch set absolutely crushing previous numbers with nearly 1,000 security fixes.
Two of the fixes are for zero-day vulnerabilities under active exploitation in the wild, both allowing privilege escalation on Windows. Privilege escalation bugs turn general vulnerabilities in applications and games into full administrator access to gain persistence and deploy ransomware, and generally make any vulnerability significantly worse.
Krebs also calls out a CVSS 9.8 (so close to a perfect 10!) vulnerability that allows remote code execution in the Windows shell with no user interaction and no authentication, a remotely exploitable DNS bug present since Windows Server 2012 and Windows 10 which will likely see exploitation in the wild soon, and over a hundred other bugs are ranked “Critical”.
How the sheer volume of vulnerabilities in this patch will fit with recent Microsoft recommendations that companies should apply the patches immediately remains to be seen. (Likely: not very well, depending on what new behavior and issues the fixes cause!)
Is Your LG TV Spying on You?
Gamers Nexus continues their trend of high-quality investigation, and they have posted another tremendous multi-hour investigatory video. This time Gamers Nexus focuses on the ecosystem of LG televisions and monitors.
It shouldn’t likely surprise many here that “smart” devices are usually more to the benefit of advertisers than consumers. Similarly, it shouldn’t be a surprise that a “smart” device harvests user data to sell to advertises. What may be surprising is the degree to which LG devices appear to collect data, how much data is sent even when collection is turned off, and how overt executives at the company are, with multiple executives making statements in pitches to advertisers that LG “owns the glass”, “owns the living room”, and is designed to correlate devices, inhabitants of the environment, and viewing habits so that ads can be served to the TV and mobile devices in the same room simultaneously.
With tracking enabled, the smart TV captures telemetry of what applications are used, as well as continually capturing the video displayed and reporting fingerprints to LG servers and ad partners. The screen content is tracked not only for TV, but for the HDMI inputs, including if the TV is used as a PC monitor. If voice control is enabled, the TV also records audio and analyzes it. The TV also continually scans the local network and nearby Wi-Fi networks, reporting all the devices it finds on the local network, including host name, MAC address, and sometimes software running depending on the MDNS advertisements. Near-by Wi-Fi networks are sufficient for very precise geolocation, so LG effectively knows the location of every customer, as well.
There was a time when each and every printer and typesetter had its own quirky language. If you had a wordprocessor from a particular company, it worked with the printers from that company, and that was it. That was the situation in the 1970s when some engineers at Xerox Parc — a great place for innovation but a spotty track record for commercialization — realized there should be a better answer.
That answer would be Interpress, a language for controlling Xerox laser printers. Keep in mind that in 1980, a laser printer could run anywhere from $10,000 to $100,000 and was a serious investment. John Warnock and his boss, Chuck Geschke, tried for two years to commercialize Interpress. They failed.
So the two formed a company: Adobe. You’ve heard of them? They started out with the idea of making laser printers, but eventually realized it would be a better idea to sell technology into other people’s laser printers and that’s where we get PostScript.
The paper is from the User Interface & Software (UIST) conference in 2022, so the examples it uses are older: it discusses a canvas and handbag. The dress uses the same technology, though, draped over a scientist rather than a frame. If you can’t access the version from UIST, [Dierk] has a free version here.
The dress uses Polymer-dispersed Liquid Crystal (PDLC) panels from the wonderfully named Shanghai HO HO Industry Co and is designed for use in windows and doors for privacy. It uses an Indium Tin oxide-coated PET film that is opaque by default but becomes transparent when a voltage difference is applied across the material.
These panels are shaped to a hexagonal shape, then wired together with flexible PCBs in a daisy chain. Interestingly, [Dierk] found that the smaller the panels were made, the lower the voltage was required to trigger them. For their canvas example, they dropped the voltage to a much safer -15V to 15V levels to trigger the two states, which is much safer for a wearable device.
The panels are also not completely transparent when triggered: the paper describes them as having a “soft ivory” look when they are overlaying a reflective material. Greyscales can also be made using Pulse Coded Modulation (PCM) to vary the panel’s transparency. Driving the panels at 3.2KHz, they created 64 shades of grey.
The main controller is a custom PCB with a Teensy 4.1 and a BlueFruit LE SPI module. The power comes from two 14.8V LiPo batteries, with converters to power the chips and switch modules so the Teensy can switch the -15 and +15V levels for the panels directly from each battery.
The array is made from modules, each with four panels connected to a controller PCB, which has several Analog Signal Device (ASD) ADG1414 chips. These receive the signals from the bus with switch registers to switch the panels individually.
Rather cleverly, [Dierk] uses the bus that daisy chains the modules together to deliver both power and the bus signal that controls the panels, using the -15 and +15V levels modulated with a 50Hz square wave to create the bus signal and power the panels at the same time. That’s a neat hack that reduces the complexity of the modules significantly.
The Teensy 4.1 controls the whole system and can use its IMU to sense movement and change the pattern accordingly. You don’t get to see the system’s electronics in the dress video, but they claim that the canvas example took just 0.58 Watts to drive, so the dress probably only needs a few watts.
It is a fascinating build (and a rather cute dress), and has a lot of potential. What would you do with this?
It’s been a distressing trend over the last decade, that of taking commercial software from a paid-for licence model and moving into the cloud and onto a rental model. In out line, we’ve seen this with CAD packages and notably with EAGLE PCB CAD, but it’s hit other sectors in exactly the same way. The art and design communities, in particular, are feeling the pinch from Adobe Suite going towards a rental model, and now the artist and perennial thorn in the side of anyone who seeks to own a colour, [Stuart Semple] is doing something about it. He’s launching a competing suite called provocatively, Abode, which will follow an affordable paid-for licence model. It’s a development that raises interesting questions for the open source community, so it’s definitely worth a second look from that perspective.
Taking on software rental can only be a good thing, and we hope that the new package gains a foothold for that reason. But since we’re sure that there will be open-source enthusiasts asking the question: why are the established open-source equivalents such as GIMP and Inkscape not the obvious alternatives to the Adobe suite? In there may be some uncomfortable moments of soul searching for the software libre world around usability and interfaces.
Whatever your take on open source versus paid software, it’s extremely encouraging to have somebody mount a high-profile challenge to the software rental model. We hope that Abode makes it to market and that it succeeds in making the graphics software market a little more open. Meanwhile, we’ve mentioned [Stuart Semple] before for his colour activism over the blackest of blacks, and for previously taking on Adobe over Pantone pricing.
Even if surface-mount skills aren’t in your repertoire, chances are pretty good that most of us are at least familiar with SMD stencils. These paper-thin laser-cut steel sheets are a handy way to apply a schmear of solder paste to the pads of a PCB before component placement and reflowing. But are stencils good for anything else?
It turns out they are, if you’ve got some plain old 8×8 LED matrix displays you want to jazz up a bit. In this case, [upir]’s displays were of the square pixel type, but this trick would work just as well for a matrix with circular elements. Most of the video below is a master class in Adobe Illustrator, which [upir] used to generate the artwork for his stencils. There are a lot of great tips here that make creating one simple shape and copying it over the whole array with the proper spacing a lot easier. He also details panelizing multiple stencils, as well as the workflow from Illustrator to manufacturing.
When lined up properly over the face of the LED matrix, the stencils have quite an effect. We really liked the narrow vertical bars, which make the LED display look a bit like a VFD. And just because [upir] chose to use the same simple shape over all the LEDs in a matrix doesn’t mean that there aren’t other options. We can see how you might use the same technique to create different icons or even alphanumeric characters to create custom LED displays. The possibilities are pretty much limited to your imagination.
PostScript is the precursor to PDF, and at the time it was revolutionary. Coming out of Xerox’s PARC, the idea was to create device- and resolution-independent documents where all the characters, symbols, and graphics are described by their shapes instead of bitmaps. PostScript’s secret sauce was in how it went back to a pixel-based representation for end use on monitors or printers. It’s no exaggeration to say that this ended up revolutionizing the print industry, and it makes sense in the CHM’s collection.
Still, on the trade-secret front, you shouldn’t get too excited. Apparently the code released here only includes a first-draft version of Adobe’s font hinting algos, as evidenced by the early version number. Nonetheless, you’re free to dig into pretty readable C. For instance, vm.c contains the virtual machine that implements PostScript’s almost Forth-like language.
Of course, if you’d just like to mess around with PostScript, downloading a modern open-source interpreter like GhostScript probably makes a lot more sense. Even so, it’s fun to see the original codebase where it all started.
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.
