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.

Keep Tabs On Asteroids With Asteroid Atlas

March 20, 2022 by Bryan Cockfield 4 Comments

Keeping tabs on the night sky is an enjoyable way to stay connected to the stars, and astronomy can be accessible to most people with a low entry point for DIY telescopes. For those who live in areas with too much light pollution, though, cost is not the only issue facing amateur astronomers. Luckily there are more ways to observe the night sky, like with this open source software package from [elanorlutz] which keeps tabs on all known asteroids.

The software is largely based on Python and uses a number of databases from NASA to allow anyone with a computer to explore various maps of the solar system and the planetary and non-planetary bodies within it. Various trajectories can be calculated, and paths of other solar system bodies can be shown with respect to an observer in various locations. Once the calculations are made in Python it is able to export the images for use in whichever image manipulation software you prefer.

The code that [elanorlutz] has created is quite extensive and ready to use for anyone interested in tracking comets, trans-Neptunian objects, or even planets and moons from their own computer. We would imagine a tool like this would be handy for anyone with a telescope as well as it could predict locations of objects in the night sky with accuracy and then track them with the right hardware.

Open Source: It’s The Little Things

February 13, 2021 by Elliot Williams 108 Comments

I use open source software almost exclusively; at least on the desktop — the phone is another matter, sadly. And I do a lot of stuff with and on computers. Folks outside of the free software scene are still a little surprised when small programs are free to use and modify, but they’re downright skeptical when it comes to the big works of professional software. It’s one thing to write xeyes, but how about something to rival Photoshop, or Altium?

Of course, we all know the answer — mostly. None of the “big” software packages work exactly the same as their closed-source counterparts, often missing a few features here and gaining a few there, or following a different workflow. That’s OK, different closed-source programs work differently as well. I’m not here to argue that GIMP is better than Photoshop, but rather to point out what I really love about open software: it caters to the little guys and gals, the niche users, and the specialists. Or rather, it lets them cater to themselves.

I just started learning FreeCAD for a CNC milling project, and it’s awesome. I’ve used Fusion 360, and although FreeCAD isn’t “the same” as Fusion 360, it has most of the features that I need. But it’s the quirky features that set it apart.

The central workflow is to pick a “workbench” where specific tasks are carried out, and then you take your part to each bench, operate on it, and then move to the next one you need. But the critical bit here is that a good number of the workbenches are contributed to the open project by people who have had particular niche needs. For me, for instance, I’ve done most of my 3D modelling for 3D printing using OpenSCAD, which is kinda niche, but also the language that underpins Thingiverse’s customizer functionality. Does Fusion 360 seamlessly import my OpenSCAD work? Nope. Does FreeCAD? Yup, because some other nerd was in my shoes.

And then I started thinking of the other big free projects. Inkscape has plugins that let you create Gcode to drive CNC mills or strange plotters. Why? Because nerds love eggbots. GIMP has plugins for every imaginable image transformation — things that 99% of graphic artists will never use, and so Adobe has no incentive to incorporate.

Open source lets you scratch your own itch, and share your solution with others. The features of for-pay, closed-source software are driven by the masses: “is this a feature that enough of our customers want?” The features of open-source software are driven by the freaky ideas of nerds just like me. Vive la différence!

Putting The Firmware In Your Firmware

September 15, 2020 by Kerry Scharfglass 12 Comments

Performing over-the-air updates of devices in the field can be a tricky business. Reliability and recovery is of course key, but even getting the right bits to the right storage sectors can be a challenge. Recently I’ve been working on a project which called for the design of a new pathway to update some small microcontrollers which were decidedly inconvenient.

There are many pieces to a project like this; a bootloader to perform the actual updating, a robust communication protocol, recovery pathways, a file transfer mechanism, and more. What made these micros particularly inconvenient was that they weren’t network-connected themselves, but required a hop through another intermediate controller, which itself was also not connected to the network. Predictably, the otherwise simple “file transfer” step quickly ballooned out into a complex onion of tasks to complete before the rest of the project could continue. As they say, it’s micros all the way down.

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What’s In A Name? Tales Of Python, Perl, And The GIMP

September 18, 2019 by Sven Gregori 58 Comments

In the older days of open source software, major projects tended to have their Benevolent Dictators For Life who made all the final decisions, and some mature projects still operate that way. Guido van Rossum famously called his language “Python” because he liked the British comics of the same name. That’s the sort of thing that only a single developer can get away with.

However, in these modern times of GitHub, GitLab, and other collaboration platforms, community-driven decision making has become a more and more common phenomenon, shifting software development towards democracy. People begin to think of themselves as “Python programmers” or “GIMP users” and the name of the project fuses irrevocably with their identity.

What happens when software projects fork, develop apart, or otherwise change significantly? Obviously, to prevent confusion, they get a new name, and all of those “Perl Monks” need to become “Raku Monks”. Needless to say, what should be a trivial detail — what we’ve all decided to call this pile of ones and zeros or language constructs — can become a big deal. Don’t believe us? Here are the stories of renaming Python, Perl, and the GIMP.

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Paint The Rainbow With This Skittle-Dropping Pixel Art Robot

July 12, 2019 by Dan Maloney 7 Comments

We hackers just can’t get enough of sorters for confections like Skittles and M&Ms, the latter clearly being the superior candy in terms of both sorting and snackability. Sorting isn’t just about taking a hopper of every color and making neat monochromatic piles, though. [JohnO3] noticed that all those colorful candies would make dandy pixel art, so he built a bot to build up images a Skittle at a time.

Dubbed the “Pixel8R” after the eight colors in a regulation bag of Skittles, the machine is a largish affair with hoppers for each color up top and a “canvas” below with Skittle-sized channels and a clear acrylic cover. The hoppers each have a rotating disc with a hole to meter a single Skittle at a time into a funnel which is connected to a tube that moves along the top of the canvas one column at a time. [JohnO3] has developed a software toolchain to go from image files to Skittles using GIMP and a Python script, and the image builds up a row at a time until 2,760 Skittle-pixels have been placed.

The downside: sorting the Skittles into the hoppers. [JohnO3] does this manually now, but we’d love to see a sorter like this one sitting up above the hoppers. Or, he could switch to M&Ms and order single color bags. But where’s the fun in that?

[via r/arduino]

Preparing Images For Laser Etching Isn’t That Hard

November 20, 2015 by James Hobson 10 Comments

Sometimes we forget how awesome laser cutters really are. After all, they’re essentially giant plotters that shoot infrared lasers to cut and engrave almost anything. Most of the time, we’ll use the cutting feature in order to make rapid prototypes for different projects. We might engrave a logo or text on there too — but with a bit of image pre-processing, you can actually etch grey scale images that look really good.

[miststlkr] has been experimenting with different processes to get the best engraving, and he’s decided to share his findings. He’s created a guide on Instructables, and it’s a pretty quick read. You’re going to need some image editing software, for which [miststlkr] recommends Gimp — as do we.

From there it’s just a matter of a few steps to simplify the image. Start by converting the image to indexed colors — this limits the number of colors the image can have, he recommends limiting to about 4 colors for now. From there, convert to grey scale and import into your favorite laser software. Now it’s time to start testing.

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