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.

Keeping it Simple for Plein Air Painting

Nothing kills the joy of plein air painting faster than battling the elements and lugging around excessive gear. As a passionate outdoor painter, I've learned some tricks to streamline my setup and focus on the act of creating.

The biggest hassle is managing the paper, the surface to paint on. Wind is the natural enemy of a damp painting, and rain can smudge your masterpiece in seconds if you're not prepared. Over the years, I've realized that less is more when it comes to plein air essentials.

My humble blue canvas bag has become an invaluable ally. It comfortably fits pads and blocks up to roughly A3 size - plenty of room for field studies done in the open air's changeable conditions. I typically pack A4 or A5 pads or blocks of watercolor paper, sometimes supplemented with  inexpensive cartridge paper for simple sketches and pen drawings

A couple of drawing boards with tripod attachments also slip into the bag nicely. Their firm surfaces help keep the pads in place, and a few bulldog clips allow me to secure paintings-in-progress between the boards if I need to pack up quickly due to unexpected showers.

By the way, painting outdoors is great I love it

The Beauty of Minimalist Plein Air Sketching

Sometimes the most memorable artistic moments happen spontaneously without an elaborate setup. A case in point - I was out enjoying the late afternoon on the forshore at Cowes, intending to stay to paint the sunset. However, as I awaited the warm light a ship standing by and people milling about on the beach provided the perfect scene for a quick sketch.

That's when the beauty of a minimalist sketching kit came into play. I didn't need much more than a small sketch pad, a couple of water brushes, and my trusty little dot chart colour wheel. 

There's something immensely satisfying about working with just the bare essentials out in the field. You become hyper-focused on transcribing the essence of the moment through swift brushstrokes. No fiddling with complex setups or hauling cumbersome gear - just you, the scene, and a sparse collection of tools.

Speaking of those essential tools, one item that continues to prove invaluable is my homemade dot chart colour wheel. Not only is it highly portable, but crafting your own allows you to arrange pigment scales exactly how your artistic brain understands colour relationships best.

Making one is also delightfully simple...

Are LLM amazing or simply stupid?

I watched a very relevant TED talk by Yejin Chai “Why Ai isincredibly smart and shockingly stupid”, which opens with the quote “Common sense is not so common” which comes from Voltaire around 3  centuries ago. I totally agree that the current large language models {LLM}, which many call AI (but I call Artifically Intelligent), lack common sense. This should be very obvious if you he ever used them.

Still I am finding LLMs helpful. They're sometimes amazing for cleaning up typos, especially for folks like me who struggle with dyslexia.  They're also good for fixing the weird stuff that happens when you dictate and/or use predictive text.

I've been trying out a few of the most popular ones.  To compare them, I created an informal scorecard system that tracks how well they handle different aspects of text, like key ideas and paragraph sentiments.  Here's how it works:

• OK: This means I can use the text without any changes.
• Reword: Sometimes the wording needs a little tweaking, to sound less know-it-all.
• Fact Check: often some points get over-embellished
• Wrong: clearly made up or simply wrong
• Missing: important information left out (ignored)

So I recently was asked to speak and I outlined some ideas but in a rehersal it took 20 minutes. I recorded and timed it by dictating into a Word document (<windows key> and H) roughly 6 pages of rabbling text, lots of good stuff but… … So I asked each of ChatGPT, Claude.AI and Google’s Gemini (previously Bard)  each to summarize it into a single page.

Their score cards were not so good

I feel that it is the Dunning-Kruger effect that AI suffer most!  These AI Bots display a smug self-confidence that they know everything but show no common sense to realise how little human norms and values they actually understand.

Finding the Ideal Surface for My 9X5 Artworks on Wooden Panels

The quest to find the ideal surfaces for my 9X5 inchartwork for the 2024 VAS Exhibition continues! I'm planning to create two pieces, one in watercolour and the other in soft pastels. To test out different surface preparations, I made three variations for each medium on some scrap plywood.

 Let's start with the watercolour surfaces:

• W1: Just plain white acrylic, which behaved a lot like Yupo paper.
• W2: White acrylic topped with a thin coat of regular gesso. This improved colour intensity and gave sharper hard edges compared to the acrylic-only surface.
• W3: White acrylic with a 50/50 mix of transparent gesso and regular gesso. This surface had the most texture, but the paint went on nicely with great intensity, and it was easy to lift off.

Both W2 and W3 seem promising, except that the watercolour washes picked up brush marks on all the surfaces. For the next trial, I'll need to apply the gessos with a foam roller.

Now, onto the pastel surfaces:

• P1: Just an old layer of Derivan background paint (China Red). This added a nice tooth to the surface, and the coloured ground made the pastel colours sing.
• P2: White acrylic with standard gesso on top. The least successful option.
• P3: White acrylic with the 50/50 transparent and regular gesso mix. Good coverage with a light pastel touch, but the colours looked pale.

 I tested various pastel marks, from very soft to hard, and even Conte pencils. Getting details on such small panels is going to be a challenge, and I need to experiment further with different "background" paints and "watercolour ground".

Stay tuned for more experimental fun on the road to the perfect 9X5 surfaces!

Spambots be gone

Has anyone else discovered a sudden massive increase in the number of views being recorded on Blogger (this site)?  I was rather pleased with myself struggling to over half a million views over the past 20 years. Yes I have been using Blogger for 20 years! However, in the past month the pageviews have risen by over 100,000. Over the past week the recorded pageviews are between 2,000 & 3,500   per day. but actual pageviews, even most recent posts, seldom exceed 10 views per day.

I do suspect bad actors, possible spambots, content scrapers or maybe a hacking attempt gone wrong. I really can not see what might be achieved by such an activity, perhaps other than wasting bandwidth (which I can not see evidence of). Is it part of giving a legitimate address for a phishing scam to fool validity checks?

Ok now I have noticed. Do I try to inform Google?  Yes, but I have gotten nowhere again. Have you ever tried to contact good with a problem? y=You will know what I'm talking about. Is is another massive "I don't care" / #FAIL google!

So what can I find out about these extra views (which I might just call an attack). Well it must be automated to reach that number. Its seems to be totally originating from Hong Kong, using apple MacIntosh and Chrome, the refereeing URL being reported as other by Google Analytics. The biggest puzzle is my blogger site is recording these extra views but my actual page view seem to be remaining normally low. Are these numbers even real? Should I be concerned, given the location these pageviews seem to be originating?

What is with the cable octopus?

 

Trying to clean up my desk inevitably runs into the USB cable tangle. Whilst USB A is pretty universal the number and variety of devices it can ad-hoc connect to a computer is amazingly diverse. Sometimes it’s used for charging, most often t will be to transfer data or connect a different peripheral temporarily.  

The downside is many use different or non-interchangeable plugs at the other end. Whilst they are all obey the USB standards,  the plugs vary to suit the devices they being connected to. I currently have 5 different device end styles. That’s quiet a tangle on my desk. So I used a spiral cord minder to group the cables together at the USB-A end. A bit of magic using a split tube, lets me keep the cable close to the computer but neatly away from my work area.

This little diagram gives an idea of many of the current plug types, but there are many more including USB-C and a range of proprietary connectors for specific devices eg. cameras, phones and watches.

Iuse pairs of recycled bread-bag ties, that I colour coded to help keep track of which of the ends match up. It nice, simple and neat. Better still no time wasting searching for the right cable.

Luminar Neo's GenAI Tools Need More Time in the Oven

Luminar Neo recently added three new generative AI tools called GenErase, GenExpand, and GenSwap, all supposedly based on generative AI technology. I’d seen a bit of hype about them and they just turned up for a 30 day trial, so I just need to play and try these new features. I have to say they clearly needed more time in development before being released to the public.

The tools are only available through Neo's subscription service presumably because they utilize cloud computing power. This means they will likely never be available to run locally on a desktop.

I was most interested in testing out GenExpand, which is supposed to let you extend the edges of an image. I do like Neo’s Panorama stitching extension but I often get bulbous, untrimmed images when stitching together handheld panoramas in Neo, so I thought GenExpand could help with that. Unfortunately, my first attempt to expand a massive 588MB panorama got stuck taking forever and then just produced blackness over the area I’d selected. Oh well, back to the drawing board.

 A smaller test image did successfully expand, but the new edge addition was blurry and grayscale. On closer inspection the horizon matched byt clouds and waves didn’t matchup well to the original.

Hoping for better luck, I tried GenSwap to insert a kangaroo into a photo. The AI clearly wasn't trained on enough Aussie animals, its a bizarre creature but “thats not a real kangaroo”. At this point, my enthusiasm was waning.

Finally, I tested GenErase to remove objects from photos. It performed decently but didn't seem much better than the standard erase tool already in Luminar Neo. Trying to erase a larger object again resulted in the tool freezing up.

In the end, while the ideas behind these new GenAI tools are intriguing, I feel they simply aren't ready for practical use. Too many bugs, glitches, and failures to finish make them more frustrating than functional. Luminar Neo would have been better served by traditional beta testing before releasing them. For now, I don't trust these tools, or for that matter many other developers' generative AI tools to deliver satisfactory results, or are my expectations too high? Maybe someday the technology will mature into something more reliable, but for now GenAI feels more like a breakable flashy toy and “trying to keep up with the Jones”.