A long day. I feel exhausted, sapped of all energy.
Most of the day was spent updating Argus, tracking down this texture glitch. I suspected last night that textures are optimised to repeat seamlessly, so that a tiny fragment of the right edge is visible on the left when the left edge texture coordinate is set to zero. I spent a little time confirming this, then it was a matter of what to do about it.
Texture coordinates are a number from 0 to 1, where 0 is left and top, and 1 is right and bottom, but the thing is that this number should really be measured from the centre of a pixel, not the left/top or right/bottom of one... so a 1024x1024 pixel texture wrapped onto a flat square would not use 0,0 and 1,1 as the corners, but 0.00048828125 for the left (and 1 minus that for the right); that number is 1/2048, which would mean the centre of the leftmost pixel. This tiny fraction is why bits of the right edge loop round to appear on the left.
My first fix for this was to add the option to set all texture coordinates to a fixed amount at whim, so you can choose to have them 0,1 or something slightly 'shrunk', but that applied to all objects and was a bit of overkill. Instead I added the option to apply this 'shrink factor' to any object as needed. So, for my Lego Superman, I could apply a little, telling it that the texture is 1024 pixels and so that the coords need to be 0.0004 to 0.9996 (ish) but the other objects are left as it. 95% of the textures I use are all faded to black at the edge anyway, so this is such a rare problem, and even then, the visible fringe is really tiny... but I had to fix it. Things have to be perfect (well... as perfect as possible).
This took me to 3pm. Then I made my remaining two 'canvases' for the Nightfood album: Young, Attractive, and Physically Fit, and Theme from Burnout.
Then I spent ages working on a video for 'Don't Think I Can Feel Love Anymore', inspired by the appearance of the other 'Swift' track in the Nantwich Museum exhibition; but now I think that Spotify might object to the nudity and/or general weirdness.
You'll also notice a mirror effect there; I've created a 3x3 grid type object for stills like this.
I feel I'm working over the top for little effect and little result, this is normal for me, it remains important that the quality is as good as it can be. I also feel ignored, overruled, sidelined at home from any choice in life. Creatively I feel as active and life-lustful as ever, but the days feel like the days of Wolverine in Logan, hard smashing at the rocks of life.
Argus alone is unique software that few people in the world could create. I must ensure that it is used to the best of its, and my, ability.
In paint news; some Michael Harding Burnt Sienna arrived. It is a pasty terracotta colour, very orangey and rather like Light Red. It's nothing like the dark, transparent, rich chocolate hue of the Winsor and Newton Burnt Sienna. The Winsor and Newton colour is a beautiful deep orange, like an iron-ultramarine. The Michael Harding one looks like a crude sandy clay, so very different.
