Thank you.

As a result of your post I have been trying to learn about Pantone Validated.

I knew of Pantone colours, both the print range and the fashion fabrics range, but not of devices being validated.

I do not know why the illustration in Alfred's post is about skin colour.

Is Pantone validation about all colours?

For example (I know, I know, it is referencing a chapter of my first novel) suppose that the movie within the story were made in real life.

http://www.users.globalnet.co.uk/~ngo/l … er_017.pdf

About half way down the second page of that chapter is the following.

>“Well, suppose that there is a movie and at the start a lady in a distinctive outfit, like a light turquoise suit over a royal blue blouse, is walking towards St Pancras railway station in London. She is carrying a lightweight case, less than a briefcase, more like a clipboard, She is heading to catch a train. ...

Later in the  chapter.
> The train is seen arriving at the Gare du Nord in Paris. Then the view switches to a long shot ofthe platform of the stationary train. From the train a lady with a light turquoise suit over a royal blue blouse is walking toward the camera, ...

And later.

> “But the thing is, it is the same character, but not the same actor playing her. The idea is that the character travels from London to Paris but the actors and the film crew do not, the actor and the film crew are always local to where the filming takes place.”

> “Ah.”

> “But it is not like a mystery movie where she has been replaced, it is just a budget movie with the bits transmitted electronically and made up into a complete movie somewhere. So the technique could take the character anywhere where there is a local actor and a local film crew. It is her outfit of a light turquoise suit over a royal blue blouse, or whatever it is chosen to be, that is constant, not the actor who is wearing such an outfit, becausethe ac tors each have their own outfit: part of it is that there are standards for colour palettes and so the costume in each country is prepared using the same colours. The outfit is distinctive so that viewers can recognise the character whoever is portraying her.”

So, if, say, a movie such as this were made using this technique, even extended into a world tour of art galleries, each of the outfits could be made locally to where the filming is taking place and they would all be exactly the same colours.

So it the smartphone advertised will verify all colours then someone out buying the fabrics to make the garments could check colours using the smartphone.

However, what about lighting conditions when the device is being used?

William

Thank you.

Produced as a pastiche based on what I learned from pages 16 and 17 of John's book.

The spheres are intended to be oranges.

I have been thinking about how to construct a picture of the stoneware jar so that it looks solid.

William

In England, villages have a Council. It is called a Parish Council. Notwithstanding the name 'Parish' a Parish Council is a civil body, not connected to the church.

https://en.wikipedia.org/wiki/Parish_council_(England)

William

Possibly

But I would not end my statement of wondering with a verb.

I wonder what are the values of the angles.

William

On page 16 of John's book, in the picture Still Life with Stoneware Jar is the table top, which would be rectangular, expressed using a rotated parallelogram?

Where art and mathematics meet.

I wonder what are the angles.

The angle of the long edge of the parallelogram to the horizontal edge of the picture.

The smaller of the two internal angles of the parallelogram.

Hopefully I can use Affinity Designer to find out.

William

When I am experimenting and learning I typically start with an A3 plus bleeds landscape document at 300 dots per inch. This is so that if I later decide that I would like a print of what I have produced, then the document is ready for me to produce a PDF document to upload to Viking Virtual Print House to get some prints (what they term Loose (as contrasted with a bound result of one of various kinds)). I usually choose colour prints on 350 gsm matt paper.

As a secondary result I may want to produce a png graphic for display on the web. Exporting from the A3 document as a png graphic initially offers a png of 4961 pixels by 3508 pixels, so I change the 3508 to become 501 and then when I click in the width box the 4961 changes to become 709.

This forum shows a smaller size within a post, but clicking on the image shows it larger. In fact, I did that and downloaded a copy as a "got back" test and upon opening it I found it to be 709 pixels by 501 pixels.

On the system that you are using, is the display not so good?

The most recent picture in this forum, which is not the one we have been discussing up to now, did not start as A3, it was started based on the png that had two golden ratio lines, one at 0.618 and one at 0.382 x 0.618.

So that is why the watercolour lines are much wider than those in the picture that we had been discussing.

William

I find it good that this thread can drift its topic to wherever it goes.

Going back to the claim in the article linked from the first post in this thread, I decided to try the following prompt to Bing Chat AI.

Please produce an original painting. A dark background. At the right is a candle, with a flame. At the middle is a lady who is wearing a long green dress. The face of the lady is lit by the candlelight.

Here is the picture that I consider the best of the four that were produced.

I am a beginner in producing art, and I do not have the expertise to judge whether the AI has produced a good artistic effect.

William

In the picture, the 0.382 of the whole height of the picture, seems too high, but half of it, about 0.191 seems too low.

Yet the 0.382 of the picture is 0.618 of the height of the sand and sea part, so maybe the desired location is at a height of 0.382 of the sand and sea part.

So at a height of 0.382 x 0.618 = 0.236076

So as the height of the picture is 915 pixels, that is

0.236076 x 915 = 216.00954 so use 216 pixels, measured from the base of the picture, so 699 from the top.

William

While recognizing that this thread has, due to me, drifted off-topic, but, well, with your forbearance please.

In July 2024 I tried a watercolour brush in the Affinity Designer software program, looking at how overlapping brush strokes look.

Well, rather than just arbitrary brush strokes I decided to try to sort of sketch a seascape of the tide coming in over a beach, thus sky, sea, sand.

Using only one colour for each, so three colours in total.

The result seems to have more than three colours,but that is due to the overlapping of the brush strokes.

I started with an A2 landscape canvas, then I added an A3 plus bleed areas rectangle in the centre.

First I did the sky, then the sand, then the sea. This order as I wanted to try to have the effect of the sand being visible through the water of the incoming tide where the leading part of the water was not very deep.

So most overlapping of brush strokes of sky upon sky, sand upon sand, sea upon sea, yet some sea upon sand.

As it happened, rather than just leave the result as an electronic image, I made a copy of the Affinity Designer file and in that copy I enlarged the guide rectangle a little to become double the size, both horizontally and vertically, of the size needed for A5 plus bleed areas, then exported that selection at exactly half size as a png (Portable Network Graphics) graphics file, using measurement in units of pixels for maximum accuracy. I bought a giclée print and framed it.

Until yesterday, I had been thinking that I should have put the horizon across the middle of the picture. But after reading (part thus far) of the book to which John kindly supplied a link, I now realize that it is good that I had not put the horizon across the middle.

So, bearing in mind that I am a beginner and how the picture came to exist, I am wondering what is good and what is not so good about its composition.

Is the horizon in the right place?

If not, where would it be better placed?

Is the sea and sand "quasi-horizon" where the sea meets the visible sand in the right place? I have sometimes thought it is too high up the picture, but it is an incoming tide, not the tide already in.

The illustration is approximately half in both directions of the A5 plus bleed areas png graphic, so around A7 in size.

William

Here is a second version, which I think is an improvement.

William