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turns out the way paints mix (blue + red = purple) is much more complicated than how light mixes (blue + red = pink)
they have to use a little bit of nonlinear modeling to capture this, and "add" paints in this nonlinear latent color space
definitely a nice practical and creative application of modern ML concepts and that alone does make the paper really cool
but I think their comparison to other applications is very misleading and the result of "we can now finally do realistic pigment mixing" is misrepresented
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At the risk of thinking I’m insane, this isn’t a new paper right? I am remembering an old video where I learned that subsurface scattering is used in paint mixing
Breakdown of the paper:
The paper discusses the issue of color mixing in digital painting software. In real life, when we mix blue and yellow paints, we get a green color. However, in today's painting software, mixing blue and yellow results in a gray color instead. This is
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Oh yea, those guys are great; they created a useable version of one of the things Runway can do back in 2018 (the program in question being Ebsynth)
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The last version of Rebelle implemented this sort of color mixing. It's a lot of fun!
this plus something like a palette that mixes melted filament in controlled ratios would go hard
so cool! also surprising that something as important as this wasn't still solved
forget about the paper, I wanna know what "Secret Weapons, Czech Republic" means
Faculty of secret weapons ?? I would have tried so much harder in school if we had programs like that in the US
The demands of the times are such that Homo sapiens must swiftly evolve into Homo Sublimis, the Sublime Human. Otherwise, either nature will destroy us or we will destroy ourselves.
I’ve toyed around with this a bit
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Negentrope
@TheHumamist
#b3d FLIP simulation with mixbox, 1080p 24fps
1:25
there are still soooo much low hanging software ideas left to implement bullish
This paper is quite a bit out of date. Rebelle now uses this software and has for a few years.
youtu.be/Xsqtg2yRl8M?si
This should have been solved 30 years ago. These companies are beyond useless.
Interesting, I wonder if all these companies eventually update the way their pigment mixes and this old style becomes a stylistic relic that can be taken advantage of artists in other way. Much like how old technology is repurposed by contemporary artists for stylistic reasons
Real question, is their behavior even desirable in a typical editing/electronic drawing setup?
Paper by Fiftythree had a color mixer that also tried to replicate what would happen in the real world. Some background info on how they did it can be found in the web archive: web.archive.org/web/2013111601
Looks like the Kubelka-Munk model is pretty much the secret ingredient for all.
Do artists actually prefer the realistic behavior, though? What if you're already used to RGB mixing
DCGI @ FEE people are cooking some real shit. My office is across the hall from them. I’ve taken one course taught by D. Sykora this semester and it was great.
> For the general purpose, we use four modern organic pigments that provide a wide color gamut:
Phthalo Blue, Quinacridone Magenta, Hansa Yellow, and Titanium White
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don't worry, marketing guys will take this and call it "AI painting technology"
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You can do it in most of these programs already btw, you just need to enable it
The Rebelle example is a little unfair, because you just need to turn on pigment function and you will get a pretty great result.
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My favorite part about Stanford is finding random classes that end up having insane speaker lineups
dorm in college had no wifi, only ethernet, and the uni IT guys put in a few anti-wifi countermeasures
getting it set up anyway was a rite of passage for all the freshman CS students
those who couldn't do it were ngmi
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