Interview: Stuart Semple On Pantone, Freetone, Colour, And Open Source

November 16, 2022 by Jenny List 73 Comments

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

Freetone, 1280 liberated colours, Stuart Semple — 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?

A rack of test tubes of blood-red paint — 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?

An open Pantone swatch book in a fan — 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.

PySpectrometer version 2, showing mini spectroscope, 4 inch display and hand for scale — 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.)

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.

A screenshot of GIMP — 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.

What’s Next, For Both Artists And Engineers?

Swatchbooker screenshot — Could SwatchBooker hold the answer?

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.

All Your Pixels Are (Probably Not) Belong To Pantone

October 29, 2022 by Jenny List 80 Comments

There’s a piece of news floating around the open IP and allied communities at the moment which appears to have caused some consternation. It comes from Adobe, who have announced that due to an end of their licensing deal with Pantone LLC, PSD images loaded into Photoshop will have pixels containing unlicensed Pantone colours replaced with black. What, Pantone owns colours now? Are we expected to pay a royalty every time we take a picture of a blue sky? It’s natural to react with suspicion when hearing a piece of news like this, but for once we think this might not be the unreasonable intellectual property land grab it may first appear. To illustrate this, it’s necessary to explain what Pantone does, and what they don’t do. Continue reading “All Your Pixels Are (Probably Not) Belong To Pantone” →

£D printed parts with glossy toner transfer images on

Add Full-Color Images To Your 3D Prints With Toner Transfer

September 27, 2022 by Dave Walker 43 Comments

Toner transfer is a commonly-used technique for applying text and images to flat surfaces such as PCBs, but anybody who has considered using the same method on 3D prints will have realized that the heat from the iron would be a problem. [Coverton] has a solution that literally turns the concept on its head, by 3D printing directly onto the transparency sheet.

instrument panel design with toner transfer markings — The fine detail is great for intuitive front-panel designs

The method is remarkably straightforward, and could represent a game-changer for hobbyists trying to achieve professional-looking full-color images on their prints.

First, the mirrored image is printed onto a piece of transparency film with a laser printer. Then, once the 3D printer has laid down the first layer of the object, you align the transparency over it and tape it down so it doesn’t move around. The plastic that’s been deposited already is then removed, and a little water is placed on the center of the bed. Using a paper towel, the transparency gets smoothed out until the bubbles are pushed off to the edges.

Another few pieces of tape hold the transparency down on all corners, and the hotend height is adjusted to take into account the transparency thickness. From there, the print can continue on as normal. When finished, the image should be fused with the plastic. If it’s hard to visualize, check out the video after the break for a step-by-step guide.

There are, of course, some caveats. Aligning the transfer and the print looks a little fiddly at the moment, the transparency material used (obviously) has to be rated for use in laser printers, and it only works on flat surfaces. But on the other hand, there will be some readers who already have everything they need to try this out at home right now — and we’d love to see the results!

We’ve covered some other ways to get color and images onto 3D prints in the past, such as this hydrographic technique or by using an inkjet printhead, but [Coverton]’s idea looks much simpler than either of those. If you’re interested in toner transfer for less heat-sensitive materials, then check out this guide from a few years back, or see what other Hackaday readers have been doing on wood or brass.

Continue reading “Add Full-Color Images To Your 3D Prints With Toner Transfer” →

Arcade Asteroids, Now In Colour

October 13, 2018 by Lewin Day 11 Comments

Asteroids is one of the classic games of the early arcade era. Launched in 1979 by Atari, it relied upon using an XY vector monitor to deliver crisp graphics for its space-based gameplay. One of the limitations of the original arcade games was that the game was only rendered in a single colour, white. Over 30 years later, [Arcade Jason] decided to see what it would take to build a color Asteroids machine.

The ROM hack also modified the shapes of several in-game objects.

The hack relies on the fact that the original game used a four-bit resistor ladder DAC to draw vectors in different intensity levels. Through some ingeniously simple hardware, this DAC is repurposed to denote different colours instead. It’s laced together with a 74LS08 AND gate chip, along with a handful of resistors and diodes. Three bits are used for red, green, and blue, respectively, with the fourth used as a “white boost” signal to allow the differentiation of colours like red and pink, or dark and light blue. It’s then all wired into an RGB vector monitor for final display. After that, it’s just a matter of a simple ROM hack to set the colors of various on screen objects.

Vector monitors are notoriously hard to film well, but it’s clear that in person the output is rather impressive. Making color versions of old retro games is actually a hobby of [Arcade Jason]’s – we’ve featured his color Vectrex before. Video after the break.

Continue reading “Arcade Asteroids, Now In Colour” →

Vectrex, Finally In Color

January 3, 2018 by Lewin Day 18 Comments

The Vectrex is everybody’s favourite vector-based console from the early 1980s. Vector graphics really didn’t catch on in the videogame market, but the Vectrex has, nonetheless held on to a diehard contingent of fans that continue to tinker with the platform to this day. [Arcade Jason] just so happens to be leading the pack right now.

The Vectrex has always been a monochrome machine, capable of only displaying white lines on its vector monitor. Color was provided by plastic overlays that were stuck to the screen, however this was never considered a particularly mindblowing addition to the console. [Jason] decided he could do better, and dug deep into his collection of vector monitors.

With a 36″ color vector monitor to hand, the Vectrex was laid out on the bench, ready for hacking. The bus heading to one of the DACs was hijacked, and fed through a series of OR and AND logic to generate color signals, since the original Vectrex hardware had no way of doing so. This is then fed to the color monitor, with amazing results.

[Jason]’s setup is capable of generating 8 colors on the screen, and it’s almost by some weird coincidence that this really does make the classic Vectrex games pop in a way they never have before. It’s also a testament to a simpler time that it’s possible to hack this console’s video signals on a breadboard; modern hardware runs much too fast to get away with such hijinx.

It’s an epic hack that through experimentation and some serendipity, has turned out some exciting results. [Jason] is now in the process of taking this to the next level, experimenting with adding color intensity control and other features to the mix.

It’s not [Jason]’s first time around these parts, either – we saw his big-screen Vectrex just a month ago!

[Thanks to Morris for the tip!]

Continue reading “Vectrex, Finally In Color” →

AI Generates Color Palettes; Has Remarkably Good Taste

May 4, 2017 by Lewin Day 27 Comments

Color palettes are key to any sort of visual or graphic design. A designer has to identify a handful of key colours to make a design work, making calls on what’s eye catching or what sets the mood appropriately. One of the problems is that it relies heavily on subjective judgement, rather than any known mathematical formula. There are rules one can apply, but rules can also be artistically broken, so it’s never a simple task. To this end, [Jack Qiao] created colormind.io, a tool that uses neural nets to generate color palettes.

It’s a fun tool – there’s a selection of palettes generated from popular media and sunset photos, as well as the option to generate custom palettes yourself. Colours can be locked so you can iterate around those you like, finding others that match well. The results are impressive – the tool is able to generate palettes that seem to blend rather well. We were unable to force it to generate anything truly garish despite a few attempts!

The blog explains the software behind the curtain. After first experimenting with a type of neural net known as an LSTM, [Jack] found the results too bland. The network was afraid to be wrong, so would choose values very much “in the middle”, leading to muted palettes of browns and greys. After switching to a less accuracy-focused network known as a GAN, the results were better – [Jack] says the network now generates what it believes to be “plausible” palettes. The code has been uploaded to GitHub if you’d like to play around with it yourself.

Check out this primer on neural nets if you’d like to learn more. We’d like to know – how do you pick a palette when starting a project? Let us know in the comments.

Turning Television Into A Simple Tapestry

February 1, 2017 by James Hobson 6 Comments

Teleknitting, the brainchild of Moscow artist [vtol], is an interesting project. On one hand, it doesn’t knit anything that is useful in a traditional sense, but on the other, it attempts the complex task of deconstructing broadcasted media into a simpler form of information transmission.

Teleknitting’s three main components are the processing and display block — made up of the antenna, Android tablet, and speaker — the dyeing machine with its ink, sponges, actuators, and Arduino Uno, and the rotating platform for the sacrificial object. A program running on the tablet analyzes the received signal and — as displayed on its screen — gradually halves the number of pixels in the image until there is only one left with a basic representation of the picture’s colour. From there, thread passes over five sponges which dye it the appropriate colour, with an armature that responds to the broadcast’s volume directing where the thread will bind the object.

Continue reading “Turning Television Into A Simple Tapestry” →