Sending Watercolour Postcards : Does Size Matter?

The general answer is yes but the specific answer is not really!

Postcards and Christmas cards have fairly well established dimensions. For most postcards it is 4 by 6 inches, or roughly 10 by 15 centimetres. However, postcards are not exclusively this size but generally close and our Australian post office machinery for sorting mail handles this size easily. Assuming you card is stiff enough, 200gsm plus, you just need to put a stamp on the back with the address, don’t forget the postcode, and post.

Christmas cards typically have a variety of sizes, but 5 by 7 inch, or roughly12.5 by 17.5 cms, is a popular size. These cards are designed to be sent in a suitably sized envelope, which are usually supplied with the cards. Such larger envelopes by themselves can be hard to find and it might be best to find the envelopes first before embarking on larger cards.

Australia post have size and weight limits and standard post is now $1.50 for up to 13 by 24 cms and up to 5mm thick. 200 gsm paper is around 2mm thick and 300 gsm paper a fraction over 3mm thick but thickness varies by manufacturer and composition.

Australia post still offer cheaper rate 65c for card only posting around Christmas. I believe they now only sell the stamps in pack of 10 (ie $6.50) and I believe you still need to leave the envelope unseal and write card only on the back. Interestingly, Australian Post allow larger sizes for “season cards”, up to 26 by 34cm and up to 20mm thick, in November and December. So this might be an option if you make you own cards and send out several.

Here is a table of common sized option

Watercolour postcard	Either commercial watercolour or homemade postcards	10 by 15cm ~(9 by 17cm)	☑
A6 postcard		10.5 by 14.8cm	☑
Half A5 postcard	cut in half	14.8 by 21cm/2 =>10.5 by 14.6cm	☑
Quarter A4	cut into four	21 by 29.7cm/4 =>10.5 by 14.6cm	☑
A4 Card	Folded into quarters in envelope	~11 by 15cm	☑
A5 Card	Sent as is in envelope	14.8 by 21cm	⮽?☑ Only in Nov./Dec.

What Brands of Watercolour Postcard are Available and Where?

There are several brands of premade blank watercolour postcards. Here are a few I’ve used.  My favourite is Hahnemuhle which comes in a very nice little tin of 30 sheets, which is easy to pack when I'm travelling. I bought a couple of tins many years ago at a gallery in Fish Creek which is now closed. Unfortunately, this paper then proved hard to source. Recently I noticed that it is now available at The Art Shop in Bayswater.

Another brand of postcard paper I have used extensively is Winslow which I think is only carried by Eckersley’s. I originally bought a pad in Queensland. I think it is a wood pulp paper rather than cotton but it is a very robust 300gsm card. The pad only contains 15 cards, so it is not the cheapest option per card but often available at a discount price in-store.

 Last year I purchased a different brand in a tin called Potentate. It’s supposedly 100% cotton 300 gsm with 24 blank sheets in the tin and comes from China. I bought it from Amazon as it was on special, possibly $15, which was enough to give me free freight on an larger order. I like it but have not been able to find a supplier in Australia and it no longer seems available through  Australian Amazon.

Finally a large number of the postcards I have sent were "homemade", possibly more than half, and particularly the many birthday cake postcards that I sent to the WSV members during lockdowns, These handmade postcards, were just watercolour paper just to size. My YouTube below makes me cringe a bit at the video quality, I made it at the beginning of the Covid locked-downs. Hopefully, it may give you context as to why I like original hand painted watercolour postcards.

Whenever I am cutting up watercolour paper I try to keep any pieces that are roughly 10 by 15 cms in the little folder I made for my Canadian trip and carry this with my plein air gear. This size is great for quick sketches, value or colour studies even when they’re not intended to be postcards.

Can you Send Watercolour Paper Safely in the Post?

I have actually sent a lot of postcards unprotected through the post. From such diverse locations as Canada the UK, Northern Europe, Africa, South Asia, Brazil and even far northern Queensland with just the stamp on the back and an address, without problem. A few took a while to arrive, particularly through the Covid 19 lockdowns. In one late delivery, I had forgotten to add the postcode!

Being watercolour and paper many people worry they are not strong enough and will suffer water damage to smudge or lift the painting. Yes, water damage is a real potential problem but within Australia, the Postal Service does have a pretty good track record. Of course, providing the recipient has a waterproof mailbox!

Concerning the robustness of any watercolour postcard it depends mainly on the thickness and weight of the paper. Cotton-based watercolour papers are actually quite robust but I have not tried sending anything less than 200 gsm homemade postcards. Most of the commercial cards are either 230 gsm or 300 gsm. As far as I know, none have arrived scuffed, creased or damaged. Some wood-pulp-based paper in cheaper watercolour pads feels a lot softer and may require posting in an envelope.

Speaking of which you can always put your postcard in an envelope. Standard envelopes available for letters might prove a little tight. Just refold the top flap to accommodate the card’s width. Given envelopes are also made of paper they will not guarantee that there is never a possibility of water or physical damage.

As far as future provenance is concerned, I romantical have the view that future generations, even art historians or curators might enjoy researching the postmarks and stamp designs. Even today something sent through the post is considered quaint and more authentic.

From Frustration to Innovation: Saving a Watercolour Painting Gone Wrong

As artists, we often stumble upon unexpected challenges that lead to creative solutions. I want to share a recent experience that turned a potential disaster into an interesting experiment with old watercolour paper and ground.

Lately, I've been on a mission to use up my old/unused art supplies – particularly my watercolour paper stash. During a recent Wednesday Wanderers session, I pulled out what I thought was my trusty Bockingford paper, a brand I've always appreciated for its forgiving nature. Oh, how wrong I was!

The Problem

As soon as I began applying my usual semi wet-on-wet technique for the background, I knew something was off. Instead of the familiar behavior I expected, the paper acted more like blotting paper – greedily soaking up every drop of pigment. The whole sheet remained stubbornly wet throughout the entire session. Even after drying, the paper was noticeably warped.

I suspected this must have been a forgotten sheet from an ancient pad, likely suffering from deteriorated sizing. But rather than consigning my work to the bin, I saw an opportunity for experimentation.

The Solution

Remember that watercolour ground I'd recently purchased for the VAS 9 by 5 exhibition to paint on wood? That became my saving grace. I decided to apply two very light coats to the troubled paper. While this process did lift some of the original colour (an expected side effect). 

The improvement in the paper's surface was remarkable.

The Result

The experiment proved successful! The watercolour ground not only rescued my painting but also gave the paper a second life. It's fascinating how often our artistic "mistakes" can lead to discovering new techniques and solutions.

Key Takeaways:

• Don't be too quick to discard "failed" paintings

• Old art supplies might surprise you (not always pleasantly!)

• Watercolour ground isn't just for wood – it can rehabilitate problematic paper too

• Sometimes the best discoveries come from trying to fix our mistakes

Has anyone else experienced similar issues with aged watercolor paper? I'd love to hear about your creative solutions to art supply challenges!

Originally shared on Instagram.

Waiting for better colour tools

Photographic software, particularly editing software, has been dominated by adjusting the RGB Red Green Blue numbers. But human perception of colour is slightly more complex in capturing filtered colours on a light sensor under bayer filters or viewing a screen of  LEDs light emittingdiodes, coloured red green and blue-ish . Further  many graphic artist had complained mixing coloursd in graphic software,  doesn’t necessarily create the same colours that you would expect in a mix using pigment paints.

In the end I had to just live with these limitations.

However things are changing a few graphic applications will now more naturally mix pigments for graphic software. What I wish to discuss here is a surprise addition to the update 1.21 to Lumina Neo. It includes a new section called Color Harmony. The two top sliders will be very familiar to ligthroom Photoshop users but with slight different colours on the top slider, which is not called Tint but Brilliance. Instead of starting at green and moving to a magenta it runs for a bluish grey green to a red. I suspect is colour harmony is very much inspired/controlled by the NCS system which still dominates many European countries.

Colour Contrast is something I will also discuss later as it deserves a bit more investigation.

Split colour versions of pigments, as warmer or cooler versions when mixing intermediate colours, have been a long standing practise of how artists have traditionally bought a lot of drama and harmony  into their artisticworks. On a flat surface, like a painting or photograph, cool colours tend to recede warm colours tend to come forward.  

Portrait photographs have known this even back in the film days. Using various filters of coloured lights to enhance their work and bring the sitter to life. In the smartphone world there are “warmify” apps to liven your selfie and deeply buried option on most digital cameras to alter th colour temperature of the photo output. Cannon is renowned for their “warmer” sensors. These digital tools usually apply to the whole image

Why these Split Colour Warmth sliders are different they change warm and cool components of your picture separately. This is a bigger deal than I originally thought. Here is a simple example of a young bougainvillea “bloom”, actually just new leaves that are orange before turning magenta, taken at my studio window. I’m a little amazed how much impact can be achieved when you separately adjust the whoops and cool have on the photo. I’m expecting to have a lot of fun with these sliders.

 

Colour Balance adds nuanced refinements, combining tonal/luminance steps with more detail colour adjustments. It is also an area I wish to explore further.

 Finally I should point out the Film Strip at the bottom of my screen capture above, this has been a long asked for addition to Luminar Neo. It allows you to see several thumbnails of adjacent images in the catalogue and you can rate and compare them directly here

Using robot.txt

For decades, website owners could control how search engine crawlers and other software bots interact with their sites. This powerful tool, known as robots.txt, has been an integral part of HTML since its early days. Let's dive into what robots.txt is and how you can use it effectively.

What is robots.txt? It is a simple text file placed in the root directory of your website. It provides instructions to web crawlers about which parts of your site they're allowed to access and index.

How does it work?

 The file typically contains at least two types of instructions:

1. User-agent: Identifies the crawler being addressed
2. Disallow: Specifies which parts of the site the crawler shouldn't access

 A basic example might look like this:

User-agent: *                                    
Disallow: /                                        

The downside of this approach is that Google’s will not Index your website and therefore it won’t be found in any Google searches. Probably not what we want. An alternative is to identify a folder on your website (if you have folders). In this case my images are all stored in the subdiretory /images. 

Disallow: /images/                           

It is easy to make your robot text file much more specific. For example I don’t want chat gtp’s web scraper to go through my website you can stop so I need to know the agent name that OpenAi are using and I got this information from 20i article How to stop AI scraping your website (see see video below) 

User-agent: GPTBot                    
Disallow: /                                    

At this point in time I not sure this approach is reliable because I suspect that a lot of Bots that are scraping the Internet are just ignoring robot text.  it’s clearly a voluntary exercise. However it is one step that demonstrates you want to be opted out of the datasets collected by specific AI developer, which may come in handy in future.

A more regulated way to opt-out os such indiscriminate content scrapping would be nice?

Is AI getting “good enough”?

In two minds about using AI for art works

This is an AI image I created with the prompt above, using google Deep Mind’s latest incarnation of its generative app Imogen-3. it really looks better than most other generative AI. Less overcrowding with intricate but less relevant detail, with consistent lighting and better capturing the emotional direction of my prompt. It was also my only creation with this prompt.

Google claims 

"We’ve significantly improved Imagen 3’s ability to understand prompts, which helps the models generate a wide range of visual styles and capture small details from longer prompts.

To be even more useful, Imagen 3 will be available in multiple versions, each optimized for different types of tasks, from generating quick sketches to high-resolution images."

Ok that’s nice wording google but what does it mean and why do I see such a difference to other prompt generated images

Well perhaps there is a hint right at the end of their hype.

"Imagen 3 was built with our latest safety and responsibility innovations, from data and model development to production.

We used extensive filtering and data labeling to minimize harmful content in datasets and reduced the likelihood of harmful outputs. We also conducted red teaming and evaluations on topics including fairness, bias and content safety.”

Recent developments in AI technology have raised some intriguing questions about data handling, promoting fake news and bias. It appears that at least google is implementing input checking mechanisms on the information they use to train their models. This likely extends to assessing image quality as well, ensuring that the data fed into these systems meets certain standards. Looks “good enough”.

However, this observation leads to a more pressing personal concern: 

Does responsible AI development truly encompass ethical practices across the board? The issue of data collection methods remains a significant point of contention. Are these companies indiscriminately scraping data from various sources without proper consent or consideration?

This brings me to a personal worry many of us share: the privacy of our own data, particularly our photos. With the prevalence of cloud-based photo storage services like Google Photos, and the vast number of images captured and uploaded from mobile devices daily, it's natural to wonder about the security and usage of this data. I worry some companies are "hoovering up" these personal images en masse? If so, what are the implications for our privacy and the control we have over our own digital footprint? 

As consumers and digital citizens, it's important that we stay informed about these practices and advocate for ethical standards in AI development. The balance between technological advancement and personal privacy is delicate, and it's a conversation we need to keep having as AI continues to evolve and integrate into our daily lives.

My Most Portable Sketching Setup

One of the primary objectives with my art gear that I took to Queensland was figuring out the minimum I required when painting or sketching. A significant oversight was that I forgot to pack a small sketchbook, so I had to purchase an A5 Visual Diary at the airport. I managed to find one with 110gsm Cartridge paper which I figured would be okay for pencil and pen, but maybe a bit thin for watercolour.

It was just the right size, combined with my dot chart, a water brush, and sometimes a gel pen. I actually did a lot of sketching with this. Anyone else who has tried sketching people at the beach knows that no sooner do you start the sketch than the people move away, stand up, change positions, or go home. Capturing people on the beach can be a fun challenge, but you probably only have a short time to get the basic gestures and textures.

What I found is that these sketches could capture a lot more life in the figures than a photograph. If I was careful how much water I used with the water brush, I had no problems with wrinkling the page as I was painting, so decent-weight cartridge paper is probably okay for this size sketchbook if you're just using it to collect some gestural pictures quickly.

I really appreciate the dot chart on the CD laid out like a colour wheel. On this particular dot chart, I may have overdone the number of colour dots. It's easy to mix the colours you want onto the paper as you go, and I really didn't need that many colours - going back to the 6 basic families is probably okay, possibly with one or two darks and an earth colour.

Creating the dot chart like this is both practical and very cheap and won't discourage me from experimenting. So I've already started making up a few, -CD colour wheel dot charts to start very minimal sketching kits based on a water brush and a small collection of pencils and/or pens.I have a few water brushes, but I really liked the Pentel waterbrush with the bulbous water barrel - it's easy to load with water, always has a decent flow, and the bristles are easy to clean. On the trip I also bought a cheap set of water-soluble graphite pencils in two grey shades and black, and I liked them. Perhaps I'll look out for more upmarket suppliers, like Derwent.. I also like gel pens, particularly the ones with soluble ink.I'm okay with just using the cheaper spiral-bound A5 visual diaries, as long as they have thicker pages (e.g., 120 gsm) rated for mixed media, which should mean they can take a little water media if I want colour.. My intention is to have several of these kits easily accessible everywhere so there is never an excuse not to stop and sketch - e.g., in my studio, office, car, art bag, and perhaps even in the back pocket of my camera bag.

Plenty of fun to come!

The Dilemma of "Bully" Colours in Watercolour Palettes

As I mapped my watercolour pigments onto a hexagon grid, seeking to merge colour systems from RGB and CMYk to the likes of Ostwald and Munsell, I noticed an interesting pattern. The warmer colours (yellows, oranges, reds) spread out more on the grid's edge, while cooler colours, blues and greens and even deeper reds and purples on the outer sections seemed to merge in tone and hue.I wondered if this was because I had picked the darker richly pigmented “bully” colours? Those strong staining colours that look so overwhelming straight out of the tube.  

This observation led me to two questions:

1. Do I have enough variety in my blues, deep reds, purples, and magentas?

2. Should I retain strong, staining "bully" colours in my basic palette?

To address the first question, I experimented with new colours during a trip to Queensland. I bought some extra colours shown here that I added to my normal palette using little half pans stuck in with bluetak. I was particularly chasing tropical colours and I also wanted at the same time to try out a couple of MaimeriBlu colours. My choices were  good. This exploration will be covered in a separate post.

The second question about "bully" colours like phthalo green and blue is more complex. These intense pigments can be powerful in mixes but require careful handling. 

They offer several benefits:

1. Desaturating complementary colours while maintaining harmony

2. Creating strong contrasts when used sparingly with analogous colours

3. Adding warmth (Quinacridones) or coolness (Phthalos) to mixes

4. Achieving split-tone effects, like warm highlights with cool shadows

Instead of discarding these pigments, I'm considering using them as mixing aids rather than relying on convenience colours like naple's yellow or sap green or any of those gorgeous pigments you may have impulse purchased but seldom used. This approach might help create a more nuanced and harmonious palette.

Have You Been Scraped? Uncovering AI's Training Data

In the age of generative AIart and large language models, the question of concern for any creative artist (I am loath to call them "content creators" but social media does): 

Has our work been used to train AI without our knowledge or consent? A new tool offers some answers and a way to take action.

The website haveibeentrained.com allows users to search through vast, publicly researched AI training datasets like LAION 5B using text prompts. Curious about my own digital footprint, I decided to give it a try.

https://haveibeentrained.com/

Searching my name yielded numerous images from other Norm Hansons, but among them was a familiar face—my own. A self-portrait rock painting I'd posted long ago as a profile picture on Artists at Large had made its way into the dataset. While not overly distressed by this single instance, it did give me pause.

More concerning was the discovery that my charcoal sketch of Sir John Monash, created for an exhibition in 2018, had been scraped from my website. This unauthorized use of my work felt like a violation of my artistic rights.

Fortunately, the website offers a small measure of control. For individual images, users can tick a box that adds the image to a "Do Not Train" register, signaling to participating groups that you don't want your work included in future neural network training sets. For broader protection, entire domains can be registered.

It's worth noting that these actions are somewhat akin to closing the stable door after the horse has bolted. The data has already been used in training existing models. However, it's currently our best option for protecting our work moving forward.

This situation highlights a critical need for transparency and ethical behavior from those creating large language models, whether for legitimate research, commercial interests, or other purposes. As AI continues to evolve, so too must our understanding of its implications for creative rights and data privacy.

Have you checked if your work has been used in AI training datasets? Share your experiences and thoughts in the comments below.

Is Image Glazing Worth the Hassle?

Protecting our art is becoming crucial in today's AI-driven digital world. But is image glazing the answer? Here's my experience so far.

Cara, a popular alternate platform to Instagram at the moment, has yet to offer built-in glazing. They suggest using Glaze, a separate software. Sounds simple. Not quite.

Setting up Glaze is a bit of a headache:

- It's free, 👍 but requires downloading large zip files 👎

- You need a hefty amount of disk space 👎

- The process feels outdated and tedious 👎

took ~88 minutes to Glaze

The real kicker? It's slow.👎👎👎 We're talking almost an hour and a half per image for my 9x5 submissions on older hardware. Ouch.

tool ~83 minutes to Glaze

You can batch them 👍 but it's one at a time.👎

But here's the biggest issue: you can't tell if it worked 🤞. The image looks the same, and there's no way to verify if it's actually protecting your style.🤞

So, is it worth it? Excuse me if I'm a little sceptical. The process is time-consuming, and we're essentially trusting a black box. 

Can it really save our unique mark-making styles from AI theft?

Supporting My Art: Why Buy Me a Coffee?

In light of recent developments regarding social media ethics and content usage, I've decided to make some changes to how I share my artwork online.

Why These Changes?

I'm concerned about:
- Unauthorized use of my content
- AI systems scraping my artwork
- Maintaining control over my creative output

What's Changing:

- Reducing posts on social media platforms
- Limiting the publication of large versions of finished works
- Focusing on sharing here through my personal blog and website

How You Can Help

To support my continued work and the maintenance of my independent platforms, I've implemented a "Buy Me a Coffee" system. This allows you to:

- Make one-time contributions
- Show your appreciation without ongoing commitments
- Help offset the costs of hosting and creating content

Your support, even for just one virtual coffee, is greatly appreciated and helps fuel my artistic journey.

Thank you for your understanding and continued support!

Protecting Creative Work in the Age of AI Scraping

As creatives in the digital age, we're facing a new challenge: how to protect our work from indiscriminate scraping by AI companies. While tools like Creative Commons licensing have been a go-to solution, their effectiveness against AI data collection is questionable.

Creative Commons: A False Sense of Security?

I've long relied on Creative Commons to share my work while maintaining some control. My license specifies attribution, non-commercial use, and (previously) share-alike terms. However, I'm beginning to question whether this offers real protection against AI scraping.

The Reality of AI Data Collection

Many companies, often hiding behind research organizations, are scraping vast amounts of online data to train AI models. This process often ignores licensing terms and lacks proper attribution or curation.

Changing Tactics

In response, I've updated my blog's license from "share-alike" to "no derivatives," hoping to prevent AI from copying my style. However, the legal landscape around this issue remains unclear, especially in Europe.

New Technological Defences

A promising development is the creation of tools that embed changes in image files. These alterations are invisible to humans but can disrupt AI training, potentially "poisoning" the dataset. Glaze and Nightshade are two such tools, though they're still in development and can be resource-intensive to use.

The Path Forward

Despite these efforts, I'm still uncertain about how to confidently share my work with those who behave ethically while protecting it from misuse. As creatives, we need to stay informed about these issues and continue seeking effective solutions to protect our work in the AI era.

What are your thoughts on protecting creative work in the age of AI? Have you found any effective strategies?

I've prepared this blog post with some good advice and a little rewording from Claude.AI

Have you checked your TOS lately

It would appear that most of the Social Networks and big Internet juggernauts have decided to change their terms of service (TOS). Interestingly most indicated the changes started on the 24^th of June! I have no idea why this date matches up. Also the changes all pretty much incorporate similar terms, although written in obscure wording.

To paraphrase the essence is those services offering the ability to upload any information, store it or process it now let it be known that they are allowed to use this to suit their own purposes. Often they will add such as to improve their service. Similar conditions and wording have been in many TOS agreements for such services so they can handle our data, but their "clarifications" have muddied the water. A lot of users are starting to worry that this also means they can use your data in any way they like such as to train AI, modify and republish as they wish.

Needless to say, this has worried several people, particularly artists using such services as Adobe. Supposedly scores of users have tried to abandon Adobe subscriptions, then only to find it is very difficult, for some almost impossible, to leave without incurring significant fees. Similar problems and perceptions are affecting artists on Instagram so I’m not sure of the exact numbers but it seems a great rush that has apparently left Instagram for an alternative, Cara.

I actually do read the terms of service and must admit the changes are a bit hard to follow. However, I do agree they leave the way open for the services to claim ownership of anything you post on their particular offerings. In a few places, they do still say that you own copyright but I assume their lawyers just haven’t seen that clause yet.

Most of these services actually rely on us to supply the content that they then package up and use to convince advertisers to pay them money (often very big money). The problem is they “believe” we are happy having free access to their service, with the public exposure the world wide web can offer and not being paid for our content. Yes, these juggernauts have costs but their profits are larger, massive, even unimaginably disgustingly exorbitant!

So I decided some time ago not to share anything I intended to sell (like finished art work or photos) in a ready copyable form anywhere on the internet. I have still been publishing on the likes of Flickr, Blogger, Instagram and my own website, those things I’m working on, progress updates and just stuff I find interesting. This works for me because I’m not relying on the Internet to sell things my works.

Where does that leave us creatives and what can we do about it? 

I’m probably gonna leave social media to the bots for now and see what happens. Maybe play around a little in Cara.

The Wild West Side of AI

It seems as if a world wide web is adopting the ways of the Wild West, no laws so if you can see something worthwhile you take it, You don’t have to even use gunpoint these days you can just silently scrape it, make a copy which is ever so easy for digital information. Despite the fact that there are actually laws in place that should stop people doing this. The problem is copyright is complex and varies under different jurisdictions, whereas is the web goes everywhere. I think the fact that a lot of these services consider themselves platforms and not publishers is a very weak cop-out even if it may be a little bit legal it’s probably not moral. I cannot believe for instance that X and specifically Elon Musk supposedly champions free speech, letting very dubious characters pedalling hate speech, straight-out lies like spreadsing politically motivated fake news and fanciful log discredited conspiracy theories, and then at the same time fighting a government trying to take down the filming of a teenage terrorist stabbing a priest in the face while the teen posted his actions live online. I believe the Australian government's request to have it taken down was quite morally legitimate. Have they no shame, I guess not.

So don’t expect the big guys on the internet, or many others without a moral compass, to respect your work or loyal support. They will take what they can. Then throw you under the bus. However, I like the idea of sharing what I know and what I have created I just don’t want it reused without reference to me or straight out stolen. 

PS: Can you see the sunglass-wearing laughing face? Is it an example of the Intelligence of generative AI or just another example of when it hallucinates (aka gets it wrong)? Or is it our intelligence to recognise patterns and shapes (eg faces in clouds or bandanas)?

Enjoying the Warmth

When making a stitched panorama, into the sun it is important to keep the exposure constant, to avoid dramatic colour changes in a clear blue sky. I've left in the lens flare artefacts, they add to the "sparkle"

What is the buzz about Cara?

 

A little while ago I noticed a fair few YouTubers, posting about being time to leave Instagram and most are heading for Cara. I totally understood why they wanted to leave, it wasn’t just the threats of AI  “scraping” up their creations, it also had it origins in changes to the algorithm and move to the more tik tok-ish aspects like short distracting video and capturing attention so the viewer stays on the platform but moves on to the next distraction, then the next. As their attention span gets less they move on down the rabbit hole. Good for Instagram to sell the eyeball time but terrible for a creative trying to find traction, if you don’t make it in the first few minutes and/or the first few viewers, your work will disappear from even your friends, fans or collectors. Ok, good hashtags might let a few interested folk find you, but don’t hold your breath.

The result, you just hear crickets perhaps only a few of your closest friends or colleagues ever get to see your posts now. Worse the posts that you like, the ones that show great accomplishment in your art or photography don’t rate, Whereas an embarrassing photo or unfortunate typos might get shared around. Fun and incentives to post has ebbed away.

The perception that Meta was going to start training their AI systems on user data (hate to tell you but I suspect they already do) set off the alarms in many of the Instagram community. Particularly the original creatives, a sub population I aspire to belong to. Like me I think they are looking for something like Instagram was in the days before it was taken over by Meta.

So what is Cara? Its another platform to post your images (artwork & photos) promoting itself as “by artist for artist”. At the moment is a privately run service that doesn’t incorporate any artificial intelligence images and includes access to Glaze. Which claims to poison the use for neural network training on unauthorized “scraped” images by incorporating hidden codes within the digital version of the image that scramble how the image is represented. I’m still to be convinced this is a good long term solution.

So it is time to have a look, a slow and pondering wander around. I’m sure its going to have a few growing pains.

Unlocking Creativity or Daydreaming

 “I’ve been planning a large painting of flamingos for awhile. We artists are mocked for daydreaming but so much of painting is, as I like to call it “internal visualisation” of a finished piece. A large proportion of the planning is not physical work on paper or canvas but turning it over in your mind. Unseen. Definitely not daydreaming.”

from Catherine Ingleby’s article in the upcoming July copy of The Artist magazine

Her article really connects with what I have been absorbed about how creativity strikes. She highlights three things that help her. They start with planning and preparatory work organising everything, which she believes will eventually bring a freshness to your paintings. Secondly, she suggests converting photos of your work into monochrome black or white, if the painting doesn’t work in black and white it’s unlikely to be successful in colour. I fully concur with this observation. Thirdly but quiet important she says try doing your own colour charts just using two or three of your favourite pigments, she suggests you might be very surprised how much you learn.

In the article she also limits herself to only really three tonal ranges light midtone and dark but bounded by black and white. She also limits her palette to two or three colours and things they can mix. I think three or four would still be fine.

Developing a New Self-Portrait for my Website

It was time to change my profile pic on my website my website. Not so much my profile self-portrait that’s the first image you see on my landing page. It’s traditionally been a self-portrait. The previous one was about my eye operation, an abandoned attempt to paint it and photograph the bandages.At the time, I was also slightly overwhelmed by the apparent significant progress in generative AI. Neural network learning applied to graphics and large language models, training on massive data sets scraped from the internet. In the end, I had combined a photo with my style of painting, using my own technique following what is usually called style AI.

My eye is on the mend and it’s time to update my portrait profile picture. Back in the beginning of the Covid lockdowns, I did a short month-long project painting various self-portraits in a variety of formats & styles. It was a lot of fun. One of the self portaits saw me holding up a small square canvas with a stylized version of my face in front of my face as I was photographed. The motivation was thinking about what we can believe as truthful on social media. It was a genuine photograph not photo-manipulated at all. Already people were suspicious that a lot of photos on social media claiming they were “photoshopped”.

Moving ahead a few years, we commonly have generative AI and deep fakes. In most cases, someone familiar with photography or art will still be able to spot inconsistencies usually to do with the lighting on the subject versus the background or perspective. But that’s another story. I was interested in revisiting the issue of what is real on the Internet and this time. I was definitely wanting to use AI, but style AI where I am using my own mark-making to modify my own photo. Just making the photo into line worked quite well. Perhaps disguising the impression of holding up something in front of my face so I simply added a semi-transparent square. 

To be honest the result hasn’t excited me but I have achieved what I was looking to do. I want to show I understand the potential of AI to make something original and creative, but not doing it in a copycat / "likeme" way.

PS: Should have taken my time before I uploaded the new photo. Did not really show what i wanted to say, so I went back to my original self portrait.

You are invited

 I’ve given myself a little challenge for my paint out next Tuesday. Everyone is welcome to come along and especially those who want to do a bit of plein-air painting. It’s scheduled to take place from 10am to 3pm on the 21^st of May in Parliament Gardens, in the city. It’s that little triangular piece of gardens opposite the Northern End of Parliament Station at the intersection of Albert Rd and Nicholson St. It is primarily aimed at creating interest for the “Luminous: A Festival of Watercolour” Exhibition at the Victorian ArtistSociety just up the road in Albert Street. Anyone who wants to paint is welcome, more than welcome.

I’ve been experimenting with my own dot charts set up on DVDs as very simple portable palettes for plein air painting. For those familiar with painting outdoors 10am to 3pm or 5 hours is a very long time. The light will change dramatically over that time frame, especially this time of year. Therefore I plan to do say 3 or 4 paintings/sketches and I also thought it would be a good idea if I made them using different artists colour palettes. 

So I’ve made up two new dot chart colour wheels on DVDs. The first is based on Andy Evansen’s palette which is a fairly conventional traditional English style watercolour setup although he’s American. He recomends starting with a painted value study and I’ll try to follow this recommendation. He also looks to join as many shapes as possible with his first midtone wash another idea I really like.

My second palette also on  a DVD is based on Vincent Van Gogh’s later palettes, which were of course for oils, not watercolours. I had previously researched the colours through his letters to his brother Theo. He had recognised he was having trouble with fugitive colours like emerald green and his red carmine and lake colours,  also he worried about using alizarin crimson. These days there are more permanent versions of these colours available. I did research into Vincent’s colours for a project last December where I was asked by Royal Talons to be their Instagram artist of the month and they kindly supplied some art materials. It was fun. 

Depending on the lighting I’d like to tackle something that Turner might do. I’m certain he  would be looking for a dramatic sky or foreboding shadows. If nothing else there’s the waterfall, sure to produce some interesting fluid shapes. A few years ago I made up palette a turner inspired palette following the recommendations of Tony Smibert, a real expert on JWM Turner. I plan to focus on warm versus cool colours and look for a moody emotional connection.

Finally I’ve got my current palette based on six families of hues, red, yellow, green, cyan blue, and magenta. I trust it will afford me the best opportunity to mix stronger intense colours, higher chroma in artist jargon of colour pigments.

Even though the garden’s pretty small there’s plenty to see and paint. Alternatively just come along to see me paint and also visit the exhibition.

Mastering the Rainbow - What is Colour?

Welcome to "Mastering the Rainbow" - a captivating exploration of the enigmatic world of colour. This serialized journey, spanning blog posts here and on my website, YouTube videos, and occasional social media posts, is a progress report of my decade-long quest to unravel the mysteries of colour and its elusive nature.

As a geologist and retired part-time lecturer, I've long been fascinated by the scientific method and its ability to shed light on the intricate workings of our world. However, as I delved deeper into the question "What is colour?", I found myself venturing down a rabbit hole that grew increasingly complex and paradoxical. Contrary to our everyday experience, I've come to realize that colour, as we know it, is not a tangible entity but a highly personal illusion. Colour is not a real thing.

In this series, we'll embark on a historical odyssey, revisiting the groundbreaking discoveries of those who came before us, many of which I unwittingly rediscovered myself – a testament to the cyclical nature of scientific inquiry.

We'll dive into the various representations and models of colour, navigating through the controversies and debates that have shaped our understanding. Brace yourselves, for nothing is more contentious than the application of colour wheels. Fear not, for I shall embrace these geometric shapes as tools to unify disparate ideas and shed light on the counterintuitive aspects of what we call colour theory.

Through practical examples and hands-on fun, you'll have the opportunity to convince yourself of the profound insights that await. Whether you're an artist, a photographer, or simply a curious soul, this series promises to broaden your perspective on the kaleidoscopic world that surrounds us.

The vibrant realm of colour is a wondrous canvas upon which we create and experience art. Join me on this journey, and together, we'll unlock the secrets of the rainbow,

OneDrive and the Rug Pulled from Underneath Me

 

As someone who has set up many new computers over the years, I've gotten used to the tedious process of loading software from discs and installers. However, I was pleasantly surprised at how streamlined Microsoft has made the setup experience on my latest PC. Getting Windows and Office installed was a breeze compared to the olden days of swapping floppy disks and CD-ROMs. 

However, this simplicity came with a devious dark underbelly that left me incredibly frustrated - the aggressive integration and default setting of OneDrive for storage. At every turn, Microsoft seemed to be steering me towards using its cloud service whether I wanted to or not. Most insidiously, it had automatically set my Documents, Photos and my Desktop Folders to be synced and stored in OneDrive. 

I already have a personal OneDrive account that I seldom use. But when I did a quick test of uploading some photos, not many from my camera, I quickly maxed out the free storage, most of which was being consumed by weird files on my desktop area. Suddenly, I was being pestered to pay for more OneDrive space that I never asked to use in the first place. Where was the option to opt-out of this default OneDrive setting during setup? It felt like the rug was pulled out from underneath me.

Instead of spending a couple days getting a new PC ready like I used to, I've now wasted that same time trying to unravel and opt-out of most of the undesired OneDrive integration that Microsoft shoved in my face. What initially looked like a fresh, streamlined setup experience left a sour taste thanks to this aggressive cloud storage agenda. 

Dear Microsoft, please make OneDrive an explicit choice again, not a default imposition!!!

Tales of Woe, and hopefully meeting a new friend

 After many trials and tribulations, so many, I had given up blogging about them. I’ve had a whole series of older computers from my business die off one by one over a few years. The majority have suffered death by upgrade, so i'm starting to fear those massive windows updates that never really worked. I guess one of the big problems was I had older hardware and it was stuck in Windows 10 land and not upgradeable.

I had replaced an old favourite PC in my studio with a slimed-down Lenovo box. It had a small ssd drive, supported by two hard drives, adequate memory, it was an i5 and it ran Windows 11, I love it. It did have problems running a large-screen TV when using the second screen/monitor or projector. But I do love the fact that I can have a large screen TV on the wall, perfect to paint from. Most of the computer gear sits on a narrow shelf and I have a couple of keyboards, one waterproof on my art table and a second wireless., that can be used anywhere. The table is set up such that I can draw and paint on it or I can also use with one of two easels standing up. I’ve also recovered an old sound bar so I can have good quality music as I’m painting. Its also set up for running Zoom meetings and making You tube videos (if I have the time!)

I still use an older Windows 10 HP Pavilion desktop in my office as the master for my network and main computer. It’s also got a small ssd drive but has 2 internal and 3 USB hard drives hanging off it. It is currently doubling as my master media storage, (eg photos videos and music). Unfortunately, it is misbehaving a bit, Finally I do miss my NAS storage, which no longer works on my upgraded LAN (windows 11 is implicated) , I really wish I knew why.

Quite a while ago the battery died in my beloved little HP Spectre. The little two-in-one that I took travelling, sitting on the couch or in fact all over the place. It was getting quite old and only had a small 11” screen but I still loved it and missed it dearly. The ordeal and potential expense associated with trying to get the battery replaced meant it is lying dormant.

I had a corneal graft last year and struggled a lot when one of my two monitors on my main computer decided to go dark, very dark, too dark to read easily. Taking the monitor off the computer and plugging it into something else showed it was fine so I assume it’s the graphics card on the computer, or a graphics driver upgrade issue, just another frustration with the Windows world. I’ve really had a lot of trouble getting used to what now appear contrasty monitors and smaller text (OK it’s the same size text just harder to see without an update to my glasses prescription after the corneal graft]. I can only get about one hour at the screen before my eyes feel strained. Usually not enough time when I’m playing with photos,

So I’ve been looking seriously at different screen technologies and decided I like TVs with OLED screens. I used to like the Apple iPhone style IPS format screens on my phone and Spectre, and was with LCD monitors. So I had begun investigating screen type and size, by actually looking at them in stores. When I noticed an advert on TV about the Lenovo Yoga Range, two-in-one style computers, checking the web there was a model based on an Intel EVO i7 processor with a 14inch  OLED screen. I was at Office Works on a different matter and so I checked it out. It was very easy to read at a standard viewing distance. I didn’t take long to decide it was time to get an upgrade.

So welcome Slaty, so named because it’s very thin, layered and a dark grey. I look forward to you becoming a great friend.