Daub

Yes, but the left hand low was the largest and (in my opinion) the most noticeable. That being said the trim on the right makes the two right-most figures feel ‘wrong’ and the cropped bottom moves the central figure’s feet way too close to the edge.

The structure of the painting is very common: a central figure surrounded by a semi-circle of figures. For an early and clear example look at The Tribute Money by Masaccio. The crop on the left plays hell with this structure. It also moves the central figure maddeningly close to the middle. Rembrandt would never have voluntarily placed a figure in the middle of a multi-figure composition.

Shortly after the painting was completed it was cropped so that it would fit on the wall. See if you can guess which edge was the victim.

Of the high resolution image itself... I teach painting and regularly use such images as teaching aids. I honesty belive that they have as much teaching value (or even more) than seeing the real thing. The details of paint applicationare magnificently clear in such images.

I am sure that you have already discovered this resource but just in case...

https://www.acb.org/are-you-parents-blind-child

Ah. I scanned the article for mention of the story but missed that. My bad.

I understand that, but even so the sentence makes no sense. I assumed that they meant to write: ‘Highlights automatically searches directions for a location’. Pardon my pedantry, but how is it possible to ‘surface’ a direction. Am I missing something?

My point stands… the quality of writing in this article is very poor: overly long sentences, clunky information reveal etc. it feels more like a first draft.

From TFA: ‘Highlights automatically surfaces directions for a location’

Is that a mistype? In an apple advertisement? Regardless, the whole thing feels like it has been written by a high school student. Try reading the following without wincing:

‘A redesigned Reader allows users to read articles more quickly with a streamlined view, a summary, and a table of contents, and a new Viewer helps users put videos front and center while still giving them full access to system playback controls.’

I prefer yours. Better lighting.

> Science Fiction has a long history of exploring the political climate of the day by extrapolating from the current period. Frankenstein is a good classic example…

I would like to know your reasons for thinking this. I see Frankenstein as something far more perverse. Mary Shelly wrote it after the traumatic loss of her child in childbirth. Knowing this, it is hard to understand the novel as anything other than a speculation: ‘if men could make life, what form would that life-giving take?’

Nope. The whisper network is going overdrive on speculation, but that is to be expected. I kinda trust that the writer themselves did not know this was being done, that it was organised by their publisher.

Of relevance: 'Hugo awards organisers reveal thousands spent on fraudulent votes to help one writer win'

https://www.theguardian.com/books/article/2024/jul/23/hugo-a...

edit: Ah... I see that user crvdgc has already mentioned this.

This one is the go-to site for VN designers:

https://vietnamesetypography.com/

I am not sure that anyone is trying to discourage people from entering the field of type and design. A child's handwriting (or indeed mine, which is very child-like) can be read but that does not mean that it is readable. In order for the consumption of type to be a pleasurable experience, its design must be considered. Design involves the consideration of the space between foreground elements, the contrast of foreground and background elements, the grouping of foreground elements into familial sets (e.g. beginning, middle and end) etc. People have been concerned with this subject for millennia...

Western fonts derive from Roman lettering which were carved in stone. The dedication inscription at the bottom of Trajan's Column is arguably the most sophisticated example of this. The text at the top of the inscription is larger than that at the bottom so as to appear perceptually uniform from the point of view of the viewer (who is located significantly below the inscription).

Letter forms are weighted towards the bottom. The designers of Bauhaus (who were very reductive in their thinking) tried to do away with this and produced super-regular typefaces based on squares and circles. They quickly realized that this produced a result that humans find unappealing and unreadable.

The digital age saw the adoption of characters that were dimensionally uniform (i.e. monospaced fonts), such as employed in the comment widget of HN. Of course such fonts are easy to digitally express, but as I am sure you will agree for a printed document the effect is clunky and lacks flow.

It is this ongoing dedication to form, structure and readability that is at the heart of effective typography.

I am not a typographer, but have worked with many in my job. I often mock-up page layouts and show it to my designer for their approval. Of course, I think I have done a marvelous job, but their response is always the same: 'yeh, really nice. However, maybe you change this space, this color, this font etc etc'. The result is always 100 times better.

Same here for diacritics in Vietnamese. There are very few font sets which natively support our vast range of diacritics.

Impressive indeed. Making a complete font set can easily take as long as a year. The tasks include to go from 'A' to 'Z', upper and lower case, plus all the glyphs (brackets, ampersand, exclamation marks etc). Optionally the variations (bold, italic etc) without which a font is of limited use. The thing that separates the men from the boys is the kerning (spacing between the characters) which can absorb as much obsessive compulsion as you can throw at it. From TFA:

> My new fonts were going to support 176 characters, meaning I might have to enter as many as 176² = 37,976 kerning pairs... yeah not going to happen. So this time, since I was (spoiler alert) writing my own tool to generate the fonts, I decided to semi-automate this process to take care of a huge majority of the kerning, and do manual entry when algorithm didn't suffice.

I would love to use this as a teaching aid... to teach the practice and value of argument.

A similar thing happened in ancient china. Oven proof ceramic was invented but suppressed in order to protect existing industry.

I teach drawing and my students are required to measure alignment of objects using their pencil as a straight edge whilst looking through one eye. Some students have trouble with this and have to place one hand over there non dominant eye.

Since I lost my left eye I have no trouble looking through only one eye. However, I have acquired plenty of troubles with balance.

> the university system is a lot more school-like compared to the free-for-all it was twenty years ago.

Agreed… it is. This is a loss and a gain.

In the 1980s, as a foundation (19 yo) student of a certain London art school, I was taken to Hyde Park for ‘drawing lessons’ and given drug-laced cake by my lecturer, without my knowing. Student-staff sexual relationships were common and it was not unusual for lecturers to be absent the entire semester yet still be paid. Staff rollover was practically non-existent: a job was Ipso-facto a job for life, regardless of your performance. Pertinently, the program was pass/fail.

As a university lecturer, I now work in a credit-based system. Everything is accountable and the layers of administration have quadrupled.

Neither system is perfect. In the end, I believe that it is the faith and energy of those who deliver the system to be the deciding factor.

I believe that the main function of guilds was as proto trade unions: to protect those with a craft.

The differentiation of craft and art originated in Italy. It was they who developed the academies as a panic response to a perceived lack of Italian geniuses (this was following the death of Michelangelo). Following that France developed their own academies as a means to develop a national style separate to Italy.

I believe that German education is more pragmatic than (for example) British. The Germans invented the polytechnic, designed to teach practical skills. The British converted most of their polytechnics to universities, to their detriment. They now have a bunch of low functioning universities and have lost all their trade schools.

Even more spooky that if they died from, for example, a gunshot wound then their heart would continue to beat. apparently this is a serious issue for coroners when declaring death.m

From the article it looks like it does not. Indeed it is hard to imagine a mechanism that could safely accommodate such a feature. maybe an external control knob?

> Does anyone know of a nice "pedagogical" color space? Where the space's highly-noticeable characteristics are actual features of human perception

When talking with students about color, I find the HSL space the easiest to employ. From a color maths point of view I have been told that it is very messy, which is one reason why Adobe stopped using it in version 3 of Photoshop. But from the perceptual point if view, it is the artists favorite.

Perhaps a better option is the Muncell color space. Muncell chopped up the entirety of the color domain into thousands of small chunks. The distance between each chunk was a single units of 'barely perceptual difference' which he established through meticulous user testing. Hence the green domian was much larger than the yellow. The story behind his development of this space makes for facinatting reading. He was an artist (a painter) yet his work paved the way for more modern spaces.

Seeing my domain knowledge mapped out so honestly, I am reminded of the line in Robert Burns's poem "To a Louse":

Oh, would some Power the gift give us / To see ourselves as others see us!

Yeh, I got my terms confused. My bad. Disparity is, I believe, only possible to get from a stereo pair. TFA presents something closer to a camera track, albeit a very short one. From a camera track it is a short hop to extracting a point cloud. What make the author's approach possibly unique is that the foreground object is in motion as well as the camera. In standard VFX foreground object motion is usually avoided.

I agree. I think that this is similar to the appeal of old-school stereoscopy.

Actually, of the examples they showed, all but one clip featured both camera and in-camera motion. Granted not a lot of the former, but according to my non-expert opinion, maybe enough to construct a disparity map.

True. A change in focal length is exactly equivalent to moving the vanishing points further away/closer to the picture plane. See the vid at the bottom of this page:

https://rmit.instructure.com/courses/87565/pages/perspective...

> There are relatively few situations where you have a distorted image taken with unknown lens, but where you have a regular grid of horizontal and vertical lines for the algorithm to rely on.

In visual effects distortion correction is required is required before effective camera tracking can take place. It is also required for a matte to fit the footage. In such situations, it is not unknown to be given 'mystery meat' footage which requires distortion correction. You would be surprised how many directors and DOPs take VFX voodoo for granted and would rather save five minutes on set at the cost of two days in post production.

Where does this come from? The Torah I first assumed, but then I say mention of thebtarot.