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Articles by "color"
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Welcome back to the blog! Have you ever tried printmaking before? It is a great method not only for completing entire illustrations, but for creating unique textures and patterns as well. Prints can be used in drawings, paintings, and collage.

In this post, I am going to share my process of creating illustrations using the linocut printmaking technique. But first a little history….

Printmaking is an ancient technique that originated in China around AD 105 after paper was invented. It all began as stone rubbings so that the Chinese scholars could study their holy scriptures. They started creating woodcarvings in the 9th century and their method spread throughout the world by the 15th century. Since then, the process has evolved to include linocuts as well. 

The linocut printmaking technique was first used in 1905 by a German artist named Die Brucke. It has provided relief printers with a quicker, cheaper alternative to the woodcuts that have been used to create art for centuries. I often use the linocut technique when I am creating prints for illustrations. It is a much quicker process because the material is easier to carve. 
Here are the supplies you will need to create a linocut print.

Supplies from left to right: rice paper, japanese carving tools, linoleum, glass with 
the edges taped, oil-based ink, water based ink, brayer, baren, Cobalt dryer


Like all illustrations, this method begins with an idea and a LOT of thumbnails.

                                                       

After you have a solid composition it’s time to work out a final sketch. I like working on tracing paper for my final sketch because it is easier to transfer to the linoleum piece (or pieces) I use to make the finals. 


After the final sketch is finished, I cut my linoleum to the size that I need with a sharp knife (if you use a dull one, you might lose part of a finger….) and tape my tracing paper, face down onto the block. Using a mechanical pencil, I carefully trace over all of my pencil lines. I use a mechanical pencil because it creates darker, sharper lines on the linoleum.

When I am finished with this step, I remove the tracing paper (I normally save it just in case something goes wrong later on down the line.) and re-trace the lines with a thin Sharpie. Sharpies is the only material I have found that holds up through multiple layers of oil based ink and clean-up. Every other ink dissolves during the clean-up phase.



Once the Sharpie has been used to go over all of the pencil lines, it is time to start color studies!
When printing, I often try to keep my color palette very limited (1-3 colors). Color studies really help me see how few colors I can get away with so that I can keep my carving to a minimum. Deadlines can come up pretty quickly and if I spend too much time carving multiple blocks or carving away from one block more than twice (this is called Reductive Printing) then I tend to rush the rest of the printing process in order to meet the deadline set. Color studies help me to plan all of this ahead of time so that I am spending less time carving and more time actually printing. Here are a few of my color studies for various projects:


I normally struggle with limited palette color studies a bit because there are so many options! A lot of times, I will complete a set of 3 or 4 studies and hang them up where I can look at them over and over again before making my final choice. If you are struggling, Pinterest has a lot of great information. Also, the Color Index (http://www.amazon.com/Color-Index-Revised-Jim-Krause/dp/1440302626/ref=sr_1_2?s=books&ie=UTF8&qid=1462825385&sr=1-2&keywords=color+index) has been an invaluable resource for me.

After my color studies are complete it is time to start carving! I hand carve all of my prints using Japanese carving tools that I bought here: http://www.imcclains.com/catalog/woodblocktools/namiseioriginalsetof4.html.

I have also found that Speedball makes a pretty good starter set if you are interested in experimenting with printmaking, but don’t want to invest in a high end carving set. You can find it here: http://www.dickblick.com/products/speedball-linoleum-cutters/. This set does not work for wood, but it works great for rubber and linoleum.

Although carving often ends up being the most time consuming part of the printmaking process, it is my favorite part of the process. When carving linoleum it is wise to think about every gouge made. I often create spirals or straight lines going a specific way because when the linoleum is inked up, the carved places can still pick up some ink. If those places have been carved into a pattern, it will just contribute additional texture to a piece rather than ruining it.



After the carving is finished, I prepare for pulling the final prints. When pulling prints, I often use rice paper or Mulberry paper. The traditional way to prepare paper is to wet and tear it…





but sometimes I cheat and cut it with an x-acto blade instead. The clean lines help me with my registration (especially if I am pulling a multi-colored print). Normally, I cut my paper the exact size of my block so I can line up all of the edges when I lay the paper face down on the inked linoleum piece.

Once the paper has been prepared, I mix the ink.  I use Graphic Chemical & Ink Co oil based relief printing inks, but Speedball works pretty good too and it is easier to clean up because you can use water instead of vegetable oil. When mixing,  I use  a palette knife to help loosen up the ink (it gets stickier the more you scoop it around) and then roll it onto a brayer (which is like a fancy rolling pin covered in rubber). After the brayer is completely covered in ink, I roll it all over my carving and place on of my pieces of paper on top.



Using a metal spoon or a baren (a flat, handheld tool traditionally used by the Japanese), it is time to pull the print! I hold the paper in place with one hand and move in smooth circles with the baren my other hand. I try my best to apply the same amount of pressure to the entire piece to get a nice, graphic finish. If you are trying this and your first print comes out a little light or fuzzy don’t worry. Prints are like pancakes: the first one is always a bit funky. Just ink up your block and try again.



When I am printing for children’s illustration, I typically pull 5 prints before cleaning everything up. This way I have lots of duplicates in case I make a mistake. That is one of the really great things about printmaking!

If you have never experimented with printmaking before, I would encourage you to try it! You can use this method to print all kinds of unique patterns and textures for collage; however, you can get crazy and print with found objects glued to a board for unique collagraphs. You can even use foam pieces cut into shapes for quick, easy stamps! Once you know the basics, the sky is the limit. Take a day to play and let me know what you think. 


 ~Jeslyn Kate
Jeslyn Kate writes/illustrates for children and teaches art.
You can find her work at 
these different locations:
Website:www.jeslynkate.com
Twitter: @jeslynkate
Facebook: https://www.facebook.com/jeslynkateart
Blog: http://jeslynsart.blogspot.com/


A lot of us use photographs when painting to help us with our color decisions. To be able to capture how color shifts underwater, or the way fingertips flush at the tips can be invaluable. And although sometimes you might be able to paint from life, most of us don't have the ability to do it all the time. So we use photos. There is just one problem with relying on photos for color information: they lie. 

Photographs are not nearly as good as the human eye at picking up subtle color changes, or even accurate value. They tend to have a lot of black in the dark areas of the image, where the human eye would be able to see the form and color in the shadows. This is because anything that the camera does not have enough light to "see", it will render as black. Sunset photographs are a classic example: while the camera does it's best to render the vivid sky, it can't do that and also pick out the darker shapes in the foreground. So you get a silhouetted effect.

Photos tend to differ from observation in the following ways: 

1. Value: the camera cannot see both dark darks and light lights at the same time. These areas will become white or black.

2. Hue Variation: similar colors tend to get clumped together so you get a lot less color variation than in nature.

3. Subtlety: Low-light sources of value or color are usually lost.

Here is an example from my own experience:
Copyright Jen Betton
On the left is a photo I took. On the right is the pastel I did from life just after taking the photo. You can see that the photograph is much duller (I did exaggerate the saturation a little bit in the pastel, but not much), bluer, and the values are very different. The background foliage is blown out and the dark areas of the tree trunks are almost black. Obviously, if you are a good photographer (I'm not), you can counter some of these issues.

So how to use photos for color reference? Here are a few tips:


- If you are taking your own photo, take two shots. For the first, focus on the light area of your shot, and for the second focus on the shadow area. If you are using a digital camera you can see the image lighten and darken depending on where you focus. Use this to get a good image of each area (light and dark) and then use both photographs for your painting. (Also don't use a flash, it will front-light your subject matter – which flattens form – and change the lighting entirely.)

- Paint from life occasionally. It will help you realize when photos are lying to you.

- When not using your own photos, use the best quality photos you can – look on professional photography sites like Getty or Corbis (but be sure not to violate copyright!)

- Make a color study. Shift and add colors, experiment. If you just rely on a photo, you will often just end up copying exactly what you see.

- Change value structure as needed, realizing the photo may over-emphasize darks or blow out lights.

- Consider adding more color variation; evaluate your image to see if areas are becoming too monochromatic. Make a point not to use black or gray in the shadows, and also not to use white for highlights.

...........................................................................................................
For more information on painting and color:

James Gurney has a marvelous book called Color and Light. His blog is also a treasure trove of information.

I also have a series of posts on color here, covering topics light atmosphere, temperature, and mood.
...........................................................................................................
Jen Betton writes and illustrates for children. 
You can find her work at www.jenbetton.com
@jenbetton on Twitter

I recently had an art director ask me if I had any mice in my portfolio. Nope! The only mice in my portfolio at the time were microscopic. Cue mouse sketches!
Copyright Jen Betton 2015
I drew up a bunch of sketches, both to figure out ideas and compositions, but also to get used to mousey anatomy. I decided to develop this one into a full-color piece. 

For the color studies I knew I wanted something warm and sunset-feeling (partially because I'd been doing a lot of cold paintings – tons of night and underwater scenes). I collected some color palette images I liked on Pinterest, and did a few color studies.

Copyright Jen Betton 2015
The general palette didn't change much, but I experimented with values – middle study is dark mice against a light background, bottom is dark background (to better show the rim lighting), and top is in between. It really helps me think about composition to remember it is just an arrangement of light and dark shapes – so each shape is either light on dark or dark on light. I decided to go with the center study.

Copyright Jen Betton 2015
Process is my friend – I really love approaching a finish with confidence because I know what colors and values I'm using, and I have a refined drawing for a foundation and good reference to look at while I paint. I know lots of other people who don't work this way, but for me, it makes everything smoother and faster. 

For more info about color, see my blog series here.

...................
Jen Betton illustrates and writes for children. You can see more of Jen Betton's mousey sketches here www.facebook.com/jenbettonillustration

More of her work is at these locations online:
Twitter: @jenbetton

I have a feeling that Blender Game Engine (BGE) is very under-utilized by many of Blender Artists. BGE can certainly do a lot that is not necessarily for game creation, but potentially useful and powerful.

I had looked at BGE some times ago while reading one of the available book on BGE and now decided to look further details.

In the past, I casually made these using BGE:
- Interactive 3D Portfolio
- 360 viewer

Hopefully, we can together come up with simple ideas that can be useful for general usages.

INTERACTIVE + REAL-TIME

Recently, I found some big interest in interactive applications and real-time Computer Graphics creations. Game productions make use of these "procedural" real-time stuffs. Animation (like dynamic), music/sound, shaders, etc. all working and can be controlled in real time.

The great thing about game or interactive applications is its immediacy. Unlike Film production where we need to worry about render time where the result is final, in Game production, we will end up with products and applications that is interactive and continuously being changed and rendered in real time. The users have control over the final product.

I mean, this is obvious, right? But very powerful if you think about it.

If we can connect the interactivity and real-time nature, we can create automation which relates to robotic. Customization is also possible.

UNITY 3D

By some chances, recently I had access to a game design workshop on Unity at Sydney's Powerhouse Museum. It is basic workshop for young brilliant kids (7+), however, I like the approach of going through a complete project from A to Z.

The teacher at Powerhouse Museum, James, said their method is to teach game hollistically. Meaning like going through whole production, not getting too much details with things, but giving enough general (yet complete) understanding of game production and design concepts, so that learners can then continue on their own.

I found that Unity 3D is a very "scripted" game authoring tool. You need to know or understand programming or coding if you want to go far. However, Unity is also very good and organized. I love the Unity interface and workflow.

Unity works well with Blender.

There is this great book on Unity by Penny de Byl:
http://holistic3d.com

The book is very balanced in Technical and Artistic contents.

SCRATCH AND STENCYL

If programming and coding feels scary, you can start with Scratch programming. Then you can move to Stencyl, which is like a more advanced version of Scratch, specially made for game programming.

These kind of tools are great for starting.

Blender BGE & its Python programming

BGE is interesting. Unlike other 3D packages, BGE inside Blender is quite solid. It is probably "limited", but it is sufficient for many applications or game creations, and can be expanded.

I am hoping that slowly, I can collect some informations about BGE and Python game programming and reshare it with you as I understand it.

These areas are what I interest the most

  • Animation and Procedural Animation
  • Procedural Shader (GLSL, CG language)
  • Some scripting trigger and action, such as creating control and automation

USING BGE AS MOSQUITO REPELLANT

Ok, this one is probably the weirdest subtitle you will ever read, that sounds like totally unrelated to Blender.

But read through, it will make sense very soon :]

We are going to create a super simple Colorful Motion Graphics "Mosquito Repellant" using BGE. How can that possible? Let me explain.

Do you often have Mosquito problem at home? Everyone must have experienced how annoying it is to have mosquito flying around before sleeping. You can turn on Air Conditioner, mosquitos are usually afraid of cold temperature. But for me, I don't like using A/C to repell them.

I figure out a strange theory that mosquitos are either attracted or totally distracted by a bright colorful light that keeps on changing. So, if you actually have a "computer screensaver" that keeps on changing color, mosquito will stop disturbing you (hopefully). Work best in a dark bedroom.

NOTE:
If you have iPad or iPhone, I recommend this app called "Flashlight" that allows you to create a changing color. Other smartphones probably can find similar apps.

ANYWAY, for the rest of people without iPad or iPhone, do not be afraid or feel disappointed, we have a computer (with monitor) and Blender, and definitely we can create that "Flashlight" program. Very easily and no programming or coding!

We just need to use this ability in BGE:
Changing Color (RGB) value and Alpha transparency of an Object in Blender and make it Looping.

When I am researching for "how to change Material color" in BGE, I found too many answers. Some answers are too old (older version of Blender) and some are not straight forward. However, luckily, there are few exceptional people that explain and answer the right problem, the right way.

Blender always needs more Blender evangelists and teachers who are developers and artists. Thanks to forum like Blender Artists and many blogs out there, everyone can continue advancing their Blender skills.

This one video tutorial helps me a lot.
http://www.youtube.com/watch?v=jodWo9ryb4E

Another one also really good demo showing the capability.:
http://www.blenderartist.org/forum/showthread.php?299708-Changing-opacity-of-objects
http://www.youtube.com/watch?v=N2jbxH3BTyQ

More useful links that is related to the topic:
http://blenderartists.org/forum/showthread.php?126051-BGE-materials-textures
http://blenderartists.org/forum/showthread.php?325609-How-set-object-s-material-and-texture-in-game-using-python-script-BGE-python
http://blenderartists.org/forum/showthread.php?202264-Changing-material-in-bge

So, apparently there are many ways you can setup "Object with changing color" using BGE:

  • Use Python scripting way to change color in realtime, this is more sophisticated and can make a more interesting application.
  • Use Blender Actions (Animation). Luckily, thgis method is actually quite simple. It can be made by anyone, even someone who use Blender for the first time.

Once you have the Material setup for object and simple animation of changing color, you then just need to LOOP the animation of changing color and then run the BGE creation as a Standalone application.

Enough talk, let's make it.

1. Startup BGE scene
What we are going to create is very, very simple. We just need an object that continuously changes color overtime. Since the final will be a BGE application, it will run in realtime.

ENVIRONMENT: Set Blender to "Blender Game" environment. You should find this option at the top bar.

CAMERA: Reset the default camera, zero the Position and Rotation in the properties and then slightly bring it up.
The final Game/Application should make use of this camera view.

For our application, we really only need a flat basic Plane Mesh with Material that changes color.

Just for reference (on how camera is facing the senece, I added Suzanne the Monkey object, I smooth her and add some divisions. The setup is like below. We can have 3D view on the left and another 3D view on the right layout.

Remember hitting P will activate the Game Engine and hitting ESC will escape that running BGE.


We can test our BGE application using Standalone Player. Which should result like below. You see how in Standalone app we are getting a view from camera. This is what we want.


We get just black looking render, because we have not applied shader yet. We will do that next.

You can set Standalone playback test to be Full Screen.

2. Apply GLSL Materials
Change BGE environment setup to use "GLSL" for rendering. --- CORRECTION: Use "MultiTexture" if you want below to work.

Add some Materials to the object. For my scene, I give Blue Material for the flat Plane and Red Material for the Monkey.

Test the game.


That is the default basic materials. Notice how the default light is shading the scene and the Materials look quite nice.

Look at this old BGE tutorial, I like the simpliticy of this tutorial and look at the result, it is so good looking even back then. Today, with GLSL render, we can get a lot better looking result:
http://otothecleaner.free.fr/tutorials/LevelDesign2/level4/level2-4.html

3. Get rid of jaggies/aliasing.
You may notice the jagginess of Suzanne. We do not really need Suzanne but anyway, increase the AA (anti-aliasing) Samples to higher than zero and now you have a nice smooth blending between Suzanne and the background.

No jagginess on the edge of the monkey.
I actually like BGE real-time renderers look. With proper texturing, nice GLSL shader, you can have a very nice 3D visualization. Definitely something to explore at later stage.

4. Make flat Material (WARNING: Blender Bug) --- Read below, but SKIP FOR LATER
For our purpose, we do not really need a light shading, we actually just make the Material = Shadeless.

HOWEVER, if you at this stage make the Material = Shadeless, there is a bug in BGE that will completely make the next step is not working.

So, I think it is best to make the Material shader flat later. Please skip this step for later.

I recommend you to create Color Animation first, then make Shadeless.

NOTE: Unfortunately BUG like this happens. It took me a while to figure it out. I need to report this to Blender Foundation.

I could be wrong about the bug, but I am using Mac, and I tested many times, if I change Material to Shadeless, I use the ability to animate material color overtime.

CORRECTION:

The reason animation didn't work is because I use "GLSL" mode for BGE. Use "Multi Texture" for BGE instead.

If you want GLSL mode to work, you need to use Object Color. You can animate Alpha (transparency) of object this way.

If you make Shadeless before animating, you will not get the animation as expected. Weird and very annoying bug.

5. Changing Material Color
To change material color overtime, we simply animate the Color RGB. Set keyframes on Material Color, and change the color for 100-150 frames. The animation range is up to you actually.

6. Loop the animation in BGE.
This step is the most important for Blender Game Engine. We will LOOP the animation using Action actuator.

SENSORS: Always (enable that button greyed below)
CONTROLLERS: And
ACTUATORS: Action (use Ping Pong, set the Start and End Frame).

Ensure you select the right action related and linked to the object.

Connect all three.


You are basically done and if you playback in realtime, you will create an app that will repel the mosquitos. Really.


It's very simple, but you just created an applications that will work on any operating systems.

You can export it as a packaged app on Mac or exe on PC. Just enable the export as Stand-Alone Running Game inside the Add-On menu.

OF COURSE:
- You probably should add some basic UI to quit the app, etc. Simple controls/interactivity to rotate the monkey for example.
- Add other beautiful looping things

You may think you do not learn much, but wait for the next post in the series. This simple LOOPS is enough for you to create many useful apps. Even interactive point and click games for kids.

This looping thing is an introduction. You can create multiple scenes and add some button interaction to jump to different scene quite easy in BGE.
  • INTRO SCENE
  • LEVEL SCENE
  • CREDIT SCENE

BGE Color Changing, the Python Way

Below is a quicky example:


EXAMPLE CODE:
import bge
import random

cont = bge.logic.getCurrentController()
own = cont.owner

# print(random.random())
myR = random.random()
myG = random.random()
myB = random.random()
myAlpha = 1.0

newColor = [myR, myG, myB, myAlpha]

own.color = newColor

So with above Python script, we can randomly update and change the "Object Color". Apparently it is rather simple to modify the "color" attribute of Game Object like above.

Related Links:

Below is a really good YouTube channel to learn about BGE and Python scripting:

I will talk more about this in the next post. Don't rush in into Python Game scripting if you are not familiar with Python scripting.

What better is to understand the BGE workflow first. Knowing what can be achieved without script (with node alone) and with script.

In few weeks to come, I will borrow Mike Pan's book on Blender Game Engine (BGE) from the library, by then hopefully I can understand BGE better.

REGARDING THE GLSL PREVIEW BUG...

GLSL should be the mode where our game just works and displaying properly, but as you may notice, in 3D view, if we tap the P, the GLSL mode does not work properly. But it works on Stand Alone Player!

I am asking this GLSL issue at the forum here:

There is somewhat this "inconsistency" of Multi Texture mode, GLSL mode in BGE that sometimes bug me. Such as having to enable "Object Color" in order for GLSL to obey the Action animation of Color. I believe Multi Texture is the older mode for BGE.

Hopefully we get the answer soon.

UPDATE 2014.02.18:

I figure out myself why I am getting a weird result when using GLSL. Viewport Shading: Texture Mode and Solid Mode. It needs to be in Texture Mode!

By default, it is set to Solid Mode. For users switching to GLSL on BGE, when they press P and getting something flat like below:


All you need to do is change Viewport Shading from Solid to Texture.



And you should be getting a more expected BGE realtime playback below:

It was a bit dumb, but anyway, at least if you encountered this, you know how to fix it. I really think it should not be the default result, or at least there is a notification or something.

Now, the GLSL mode will require you to use Actions from "Object Color" if you ever want to animate the Color RGBA (RGB and Alpha transparency). Material Diffuse will not work. I have to double check this again, but I think that's correct. 

FURTHER ON...

Think of different ideas that uses ANIMATION and LOOPING for BGE, you can create SCREENSAVER application this way!

This kind of simple apps is something you can make quite easily using BGE. Of course, from simple apps, we can start building a more complex interactive apps, then games.

GLSL inside BGE

I feel challenged to get into GLSL Programming. I know this is probably more complicated than the OSL, but worth looking into.
http://en.wikibooks.org/wiki/GLSL_Programming/Blender/Minimal_Shader

Looking at some examples of GLSL on WebGL like below is quite amazing:
https://www.shadertoy.com


ONE MORE THING... DEMOSCENE

I don't have much knowledge or experience about things called "demoscene", however, I have seen some DEMOSCENES back then when Internet was still slow. There are some really memorable demoscene, which was tiny in file size, however, it was captivating.

I didn't see "demoscenes" as much, however, I think the artform is still growing.
https://www.youtube.com/watch?v=iRkZcTg1JWU

Now, I am really wondering if Blender Game Engine could be used for DEMOSCENE of some sort. Why not? I think it is there. It's open source, the BGE is great, easy to use. Maybe not 100% DEMOSCENE pure algorithms, however, imagine something that is more interactive, less linear, has some kind of narrative, you got something that is kind of DEMOSCENE. It can be poetic, but most important, it needs to be REALTIME, not rendered. Maybe it also needs funky Machine Made tunes? Tell me what you think in the comments, if you have similar thought. Thanks!

UPDATE 20140216

Researching around the idea of using BGE more than just for game creation, I stumbled into this old post from Blender Nation. Mike's Pan examples. Will check if these examples still work, maybe can learn few tricks.
http://www.blendernation.com/2006/12/03/using-blenders-game-engine-for-more-than-just-games/

Blender is Kuler.
Today, I am doing something that is a little random (like usual), but slightly more random than usual.

GETTING ONLINE DATA
I was curious on how Python module (inside or outside Blender) can source data or information from the Internet and then using the data to create visualization. I think there is an enormous potential here. I am not quite sure how, but I want to dig this idea further, even with my limited Python knowledge.

Not quite sure where to start, but I choose a random topic: Adobe Kuler.

WHAT IS ADOBE KULER?
From the Wiki:
http://en.wikipedia.org/wiki/Adobe_Kuler

I remember Adobe Kuler from the time when I was just a graphic design student. From what I remember, this is a kind of experimental website from Adobe that allows user to explore color online.


Well, since Kuler is available online, why don't we use it?

You could always sample the color manually, but we like to do some bit of Python magic here to sample the color automatically via RSS.

By coincidence, I also stumbled into this:
http://i-create.org/2008/10/13/generative-art-with-kuler/
http://mos.futurenet.com/pdf/computerarts/ART145_tut_3.pdf

Interesting reads on using Adobe Kuler to create "generative art" and I think we can use the similar idea in Blender, right?

PYTHON KULER
I have a feeling that someone out there must have created a script that can SOURCE some data from Adobe Kuler. I am hoping for some kind of Python module that does exactly that.

So, like always, I start from Google Search: python adobe kuler.

A quick glance at the search result, I found out there are few Python module that kind of related to Kuler, but this one catches my eyes (because it leads to Blender directly):
https://code.google.com/p/macouno/source/browse/trunk/Blender/modules/macouno/colour.py?r=11

I checked that link and it comes to my surprise, this script is related to some kind of WIP project by Dolf Veenvliet.



ARTIST/DESIGNER: DOLF VEENVLIET

I don't know Dolf in person, but I remember his name from his Blender project "Entoforms".
http://www.entoforms.com/

You gotta check this video based on that "Entoforms":
https://www.youtube.com/watch?v=HqFQ4w8_4pM

All those randomly generated "DNA Creature" is created procedurally, using Python, I believe.

I read all about it when I first started using Blender few years ago. Dolf's website/blog: (also full of useful information):
http://www.macouno.com/

By coincident, I am actually waiting for his DVD on Blender 3D Printing:
http://www.blender3d.org/e-shop/product_info_n.php?products_id=160

I have big respect on this artist/developer, seems brilliant in both creative and technical ability and his works using Blender is kind of inspiring.

BACK TO KULER SCRIPT
Anyways, part of Dolf code that I am most interested in at the moment:



At first, I have no idea how to use the script. I actually asked Dolf via his Facebook, but I am not getting any reply. Maybe he is busy.... (see update below)

#------------------------------------------------------------------------------------------------#
UPDATE 2013.05.09:
Dolf did actually reply my message a bit later after I wrote this!

Here is what he said:

The way you linked the script into Blender. On the google page there is the "modules" folder that you found, but there is also an addons folder and a startup folder.
The way I use them is that somewhere on my computer I have a personal python scripts folder... and in there are all these folders... an addons folder, a modules folder and a startup folder. Exactly as those on the google page and those in the scripts folder of your blender installer. In the User preferences I have that personal scripts folder set as the "Scripts" folder... in my case that is: D:\Work\Python_scripts\Blender\
The result is... that everything in my personal modules folder is loaded as soon as blender starts, and can be used by all of the addons/scripts in the addons folder and startup folder.
The palletes function in the colour module was made to be used by the palettes.py script in the startup folder.
In your case... all you'd have to do to get it working how I have it is copy my palletes.py script to your startup folder (I think).
If you have it set up that way... a big button can be found at the bottom of the scene settings... it says "get palettes" and when you click it it retrieves the palettes just like you did from commandline. If you use that button...it also shows up in the tool shelf, and you can set how many days back you want to get the palettes from and how you want to filter them.
The data generated by the palettes function was used when generating he Entoforms. A random palette from kuler is always prettier than a random generated palette. As long as you use an entire palette, and not mix them.


#------------------------------------------------------------------------------------------------#


Before Dolf reply letter above, I decided to dig and "hack" into the code myself. I will take you through it, hopefully you can learn something here.

IMPORTING PACKAGE AND MODULE
This is kind of new for me. Thanks to David Vega, apparently we can import a Package or Bundle (folder) that is full of Python scripts.

So, from that Google Source Code of Dolf, I first download the whole directory with all the scripts:
Dolf's Macouno Module
I download it into a folder, name the folder Macouno and put it under Blender addon directory. I am using Blender 2.67 which I just installed earlier this morning:

IMPORT MACOUNO IN BLENDER
Now, we are ready to further explore this inside Blender.

When doing this exploration in Python, I usually use this Python Console to test single liner code:


If the module is not loaded properly, you can do this below:
import macouno.colour()

Now we know it is working we can explore that one script we interested in: get_palettes()


I read the code a little bit. So I kind of know the get_palettes() has default arguments, so we can simply call this function and see what happened.

I tried running the function in Python Console.

Interesting enough, it seems to collect something (from Internet!) and return something. I don't know what it is, so I read the code again, and found this part:

Interesting... apparently this script attaches something into bpy.context.scene, something called 'palettes'.

I am guessing it is a type of DICTIONARY. I did not know we can easily attach data like that into Blender scene context. I guess, we learn more things already.

Next, I am digging into this 'palettes' DICTIONARY data:

A bit about DICTIONARY in Python:
From my understanding, Dictionary is a type of data which contains a list or collection of KEYS and VALUES pair (called ITEMS). KEYS and VALUES can be anything: String, Float, Integer, List, or even another Dictionary (nested Dictionary inside Dictionary).

So, Dictionary is great that it can act like a mini database.

For example:
my_color_dict = {'ocean':'blue', 'fire':'red', 'sun': 'yellow'}
my_farm_dict = {'chicken':4, 'pig':2, 'cow': 4}
my_friend_data = {'bob':{'job':'teacher', 'location':'Sydney'}, 'joanna':{'job':'artist', 'location':'Melbourne'}}




The Kuler Dictionary created by using Dolf get_palettes() in fact looks like below:

bpy.ops.wm.properties_edit(data_path="scene", property="palettes", value="{'p': {'swatches': [['1.0', '0.94004', '0.050797'], ['0.7975', '0.91', '0.046225'], ['0.569211', '1.0', '0.100797'], ['0.0414', '1.0', '0.178867'], ['0.194867', '0.91', '0.046225']], 'id': '2433915', 'author': 'tkthathsara888', 'title': 'Green 2 Yellow', 'hexes': ['FFF00D', 'CBE80C', '91FF1A', '0BFF2E', '32E80C']}, 'q': {'swatches': [['0.094118', '0.290196', '0.54902'], ['0.094118', '0.337255', '0.54902'], ['0.635294', '0.65098', '0.266667'], ['0.94902', '0.886275', '0.019608'], ['0.94902', '0.796078', '0.019608']], 'id': '2433913', 'author': 'gal3rielol', 'title': 'EU in China', 'hexes': ['184A8C', '18568C', 'A2A644', 'F2E205', 'F2CB05']}, 'r': {'swatches': [['0.91', '0.255261', '0.153506'], ['1.0', '0.485695', '0.171846'], ['1.0', '0.118688', '0.450941'], ['0.821215', '0.153506', '0.91'], ['0.522373', '0.168688', '1.0']], 'id': '2433910', 'author': 'tkthathsara888', 'title': 'Base Colour', 'hexes': ['E84127', 'FF7C2C', 'FF1E73', 'D127E8', '852BFF']}, 's': {'swatches': [['0.49829', '0.75', '0.061756'], ['0.9", min=-1e+009, max=1e+009, description="")

Now we know the contents of the Dictionary:

There are 20 Kuler data slots in total (a-o).

Each contains information below:
1. author --> creator of Kuler
2. hexes --> 3 color in hexes
3. id --> kuler ID
4. swatches --> RGB version
5. title --> name of Kuler


SNIPPET: HEX TO RGB 
http://stackoverflow.com/questions/4296249/how-do-i-convert-a-hex-triplet-to-an-rgb-tuple-and-back

USING THE KULER DICTIONARY DATA
Ok, now we are ready to actually use the Kuler data.

Before doing that, we will summarize what we have so far into a STARTER CODE:


NOTE: Somewhat I need to do that above in Console before I can run the script below, every time Blender is run from scratch.

Maybe the setup is not 100% correct. Anyways, it will work fine if you do the module imports above, and then you can copy paste the script below to test.

import bpy
import macouno as dolf

# Run this once, enough to collect Kuler color data of the day
if not ('palettes' in bpy.context.scene):
    dolf.colour.get_palettes()

Easy and simple enough. The next step is to simply use the data. It is the fun part.

I will just keep it simple, just to write codes that does this:
1. Create 5 Materials to be recycled, of which each Diffuse Color is applied with Kuler 5 colors. Run this code one time only.

def createFiveKulerMaterials():        
    # Create 5 Materials:
    for i in range(5):
        mat = bpy.data.materials.new('kuler.{i}'.format(i=i))
        
createFiveKulerMaterials()

# 5 materials created, named kuler.0, kuler.1, kuler.2, kuler.3, kuler.4.


2. Next, apply Kuler colors into the 5 Materials based on the dictionary slot. With the code below you can run as many time as you pleased. You just need to supply an argument (alphabet).


def applyKuler(alphabet='a'):
    # Apply the 5 Kuler colors into the Material Diffuse Color
     
    myColorList = bpy.context.scene['palettes'][alphabet]['swatches']
    
    for num, color in enumerate(myColorList):
        #mat = bpy.data.materials.new('kuler{num}'.format(num=num))
        mat = bpy.data.materials['kuler.{num}'.format(num=num)]
        print(color)
        mat.diffuse_color = float(color[0]), float(color[1]), float(color[2])
        
applyKuler('c')
applyKuler('a')
applyKuler('j')

3. Assign Kuler Materials manually
The next step, simply manually assign the 5 Kuler Materials into 3D model that you have in the scene. This of course can be automated with Python, if you like.
Now you can see the resulting Kuler colors, everytime you tell Blender to check in Kuler dictionary.




Unlike total random of RGB color or HSV color, the (random) Kuler colors we have here is more like a limited Palette of 5 colors, but has been carefully chosen by artists/designers out there. They are supposedly more pleasing to eyes, well it all depends on the context and your mood or what you like to apply the color into. This kind of thing is applicable to graphic design, interior design, etc.

Testing flat Kuler color Material with FREESTYLE Strokes.
4. More Code Snippet: Text to Display Name of the Swatch

# Display Title of Kuler
myKulerTitleList = bpy.context.scene['palettes'][alphabet]['title']
bpy.data.objects["Title"].data.body = myKulerTitleList

# SOURCE: http://www.blender.org/forum/viewtopic.php?t=22407&sid=abb1d235e26746b57ac1077e7da9f825







CREATE GUI?
I have not studied Blender GUI yet (maybe something to look into next).

What would be nice is to create GUI where user can randomly get Kuler color when a button is clicked. Or maybe goes cycling over the range of Kuler colors we have inside Dictionary.

CONCLUSION
Hopefully this one is also useful for you: artists without programming or computer science background. The idea can be expanded further.

Dolf's Kuler script has input arguments that can give you more Kuler colors based on your specification.

So basically, as long we are able to source data from Internet and turn it into some kind of nice and tidy Dictionary format like what Dolf done with Kuler thing, you can then simply use the data further to create visualization in Blender.

The Art of Data Visualization | Off Book | PBS
http://www.youtube.com/watch?v=AdSZJzb-aX8&feature=player_embedded

There are still heaps of things to learn and discover in Blender, Python and Computer Graphics as a whole. Reading someone else's Python scripts is actually can be as fun as reading a good comic books or interactive story, as long you understand or figuring what the code is doing.

Thanks to Dolf, Suzanne is KULER-ed!

UPDATE 2013.06.29 / Importing Adobe Kuler ASE (Adobe Swatch Exchange) using Python into Blender

Between Adobe Kuler and its Adobe applications (Photoshop, Illustrator, InDesign, etc), Adobe is using ASE file format to exchange the Swatches.

I was curious this morning on whether we can use Python to parse ASE file. If you have iPhone app "Adobe Kuler", you can quickly scan anything via the iPhone camera and sample 5 colors, then save the result into Adobe Kuler cloud account and then download the ASE file.

Quick Google Search landed me in few website that is pointing that GIMP can import ASE, and then Python can also parse ASE. With some lucks, I found this "Swatch Parser" Python script by Marcos A Ojeda http://generic.cx/

NOTE:

Unfortunately the ASE Swatch Parse script seems to only works with Blender with Python 2x, not Python 3x. So the following steps only explain how you may install external Python Package into Blender. However, you can follow further steps and see how you may load the parser script using Python standalone.

******************************************************************************
As someone who is a self-taught in programming, it is always useful to take note and share this kind of information. Previously I have no idea how to do this and sometimes Google searching around for such information is not always easy.
******************************************************************************

UPDATE 2013.06.30


I contacted Marcos Ojeda the developer and writer of the ASE Swatch Parser Python script and he kindly looked at the script and update it for Python 3x!

Thanks so much Marcos!
https://github.com/nsfmc/swatch/tree/903d3a07e21eea3ec238ab5f7cc1dc138fc55a24


import bpy
import swatch

# point to the path where ASE file is located
filepath = "C:/washme.ase"


# load and parse ASE swatch file
mySwatch = swatch.parse(filepath)

# list the data inside the parsed data
list(mySwatch[0])

# print out name of Kuler swatch
print(mySwatch[0]['name'])

# print out all parsed data
print(mySwatch[0]['swatches'])

# how many color swatches 
len(mySwatch[0]['swatches'])

# now iterate every swatch and create Blender Materials

# the colors may come in format that is not RGB, such as LAB, CMYK, etc.
# if not in RGB format, you need to convert the color first


# below script assumes that the color value is in RGB
# easy to transfer that into Blender Diffuse Material Color

    
# Create Materials based on the number of Kuler color swatches
for i in range(len(mySwatch[0]['swatches'])):
    mat = bpy.data.materials.new('kuler.{i}'.format(i=i))    

# Quickly iterate each material and change the diffuse color
for num, color in enumerate(mySwatch[0]['swatches']):
    print(color['data']['values'])
    mat = bpy.data.materials['kuler.{num}'.format(num=num)]
    mat.diffuse_color = color['data']['values']



Suzanne using Kuler color and Blender Cycles SSS.
NOW, STEP BY STEP PROCESS... ONCE MORE.

1. Download ASE Swatch Parser (Python Package):
https://pypi.python.org/pypi/swatch/0.2.3

2. Copy the Swatch Parser Python Package in the right Blender directory.
Inside that Python Package Zip, there is a folder called "swatch". Copy the whole content of that folder into "site-package" directory of Blender.

Actually this took me a while to figure this out. I actually found out the answer at Maya Forum on "how to import Python package". In Maya, one needs to copy Python package here:
C:\Program Files\Autodesk\Maya2014\Python\Lib\site-packages

So... based on that knowledge, I supposed it will be the same with Blender. Anyways, I am using Blender 2.67 and I place the package inside this directory and it works:
C:\Program Files\Blender Foundation\Blender\2.67\python\lib\site-packages

3. Using Python Swatch Parser inside Blender
If we installed the package correctly, we can now simply call the Python parser for ASE inside Blender.

import swatch

ALAS... we seems to need Python 2x! :(  ---> SEE THE UPDATE ABOVE

Apparently  I need to actually use older Python and parse the data outside Blender. So, I run Python 2.7 console and then test it like below. Yes, that parser actually works.





We can then use that parser script using Python 2.7 and then export the value we need into Blender, maybe via CSV?

NOTE: The ASE parser script works with Maya 2014, because Maya is using Python 2x.

To summarize again what is really happening, just in case you are lost:
  1. I have Adobe ASE (Adobe Swatch Exchange) file that was originated from Adobe Kuler, which contains Swatches data. This ASE file format is common between Adobe applications. I believe ASE is also can be imported to many graphic applications.
  2. I would like to be able to read the ASE data and import the RGB swatch values into Blender. So I searched around for Python Library Package that does the data parsing.
  3. I did find one which is: https://pypi.python.org/pypi/swatch/0.2.3 but this is for Python 2.x it did not work with Blender that uses Python 3.x. --- UPDATE: Now we have one that is working for Python 3.x, this really makes our life easier as we can run the script from inside Blender and everything else is a breeze. We do not need to do the following steps outside Blender. Just do everything inside Blender using Python.
  4. I use the older default Python console to parse the ASE using the "Swatch Parser" script. From here on, it is up to us how to bring that data back into Blender.
  5. Theoritically, I think it is possible to use Python standalone to do the parsing and conversion, even turning that ASE file --> into BLEND file that already contains Materials with those Adobe Kuler colors. Let say, we could actually create external Python script that generate 3D objects in Blender. Well... as long the Python version matches. There are all sort of clever ways to do this.
  6. One thing still in question for me is whether somebody out there already wrote Swatch Library Script for Blender? Maybe. So if Blender has Swatch Library Script, we can simply port and create Kuler ASE Importer. That will be the best.
If you can find ASE Python Parser that works seamlessly with Blender Python 3x please let me know. For now, this is probably one way to CONVERT Swatch from ASE. Thanks!

Thanks again to Marcos Ojeda for his handy Python script that does the conversion of ASE file!

MKRdezign

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