Daub

Fascinating. However, a bit disappointing that the result looks like it was hand painted. I would have liked to have seen designs which are impossible for a human to achieve. The conflict between natural media and (for example) exact and complex geometry would have been compelling.

> Is a 3D printer closer to a drawing machine or a conventional printer?

I believe so. The ancient Greeks would scale up a sculpture using a cage placed around it. XYZ coordinates would br drawn from this using measuring sticks. This is, effectively, an analog version of our 3D printers and also an. Extra dimentional version of a drawing machine.

As you imply, drawing from observation is a skill that is best taught in person. The students mostly learn from being corrected, which I do directly to their drawings.

However, I did put together some material on the subject. I'm not sure how useful it is (some of it could have been better written).

My module on perspective: https://rmit.instructure.com/courses/87565/modules/699526

My module on drawing: https://rmit.instructure.com/courses/87565/modules/696832

...in which I address transference (i.e. projection): https://rmit.instructure.com/courses/87565/modules/items/328...

> Can you recommend books or other resources that use your approach (or similar)?

Drawing 100 years ago is pretty much the same as now. Here are a bunch of great (free) books all over 40 years old, yet still valid.

https://rmit.instructure.com/courses/87565/pages/drawing-fre...

My approach is not significantly different to that which most competent drawing teachers would employ. However, I believe that my use of language is a bit more consistent and exact than most artists, who tend to be a bit hand-wavey in their language usage. Practices that are termed one thing in 'book a' are termed something completely different in 'book b'. I learned the value of consistency and exactitude from collaborating with computer engineers, which is one reason I like lurking in HN.

I teach drawing from observation. I start off with talking about projection and drawing machines then show them how to create their own 'conceptual'mdrawing machine using nothing but the straight edge of a pencil. The trick is to identify points in the scene (intersections, corners, features etc) which corespond to each other on a vertical or horizontal axis. with a few of those done, the whole drawing drops into place.

Edit. Unless I am missing something, I see no mention of Van Goghs sighting grid. Crude, but effective.

http://www.vangoghreproductions.com/art-techniques/perspecti...

Fascinating stuff. Thanks.

I see no circlips. Do they count as washers?

Books small enough to take on one's travels was one motivation behind the invention of italic type. Using italic, a book could be printed to be 10 percent smaller than without.

Mornington Crescent?

For those who are unfamiliar with London parlance, the term 'diamond geezer' is London slang for a man of high repute.

As tomcam has already pointed out, Mondrian is in no way a Cubist.

I would also argue that the colours are nowhere near those of Mondrian. 'classic' Mondrian paintings feature a very exact and reduced aesthetic consisting only of pure applications of red, blue, yellow, white, black, and gray.

As an artist with a history of collaborating with computer engineers, I can say that Mondrian, Van Gogh and the post/impressionists seem to constitute the vast majority of artists who are used in projects like this (style transfer, non-photorealistic rendering, image generation etc). I can see the attraction: they are simple to conceptualize and have a fairly shallow tonal range, being largely defined by their colour and form. However, I would love to see more attention paid to artists like Rubens, Turner, Rembrandt etc.

My favorite secret hand gesture in a painting is in the portrait of the Duchess of Alba by Goya. https://www.researchgate.net/figure/Francisco-de-Goya-Duches...

The text on the floor that she is pointing to reads 'solo Goya' (only Goya) and was not discovered until the painting was cleaned in modern times.

As to it's significance, draw your own conclusions.

Counter-opinion.... I use both the Adobe suite and afinity. I love affinity for the interoperability of it's apps (which has to be experiencd to belive) and it's comprehensive support of RAW.

At home I use mostly Affinity, at work it's Adobe all the way.

Photoshop is unique for the many professions it supports: web designers, graphic designers, photographers, digital painters etc. If you are looking for a PS replacement, first ask what you are going to use it for. Other apps may be the more natural choice.

God is in the detail. I would hesitate to use Affinity photo for digital painting simply because there is no slick way to change the flow rate of brushes. Recent changes have improved this, but not to the point where it is comfortable to use.

A dam good question. Collaboration is one reason why Canvas has gained such ground even though its product is not one a professional would employ. Maybe its because their apps were not built to support collaboration. Lets not forget that they bought almost all their apps from third parties. Gluing them all together in a united collaboration environment would be troublesome.

The workshop is too integral to who I am, and I still use it. My wife was supportive of this, though she had her reservations. I still use the saw, but now am much more carfull.

Table saws can be dangerous if used poorly. There are plenty of vids out there showing the most common mistakes, all of which I was aware of. What I was unaware of was how completely packed the dust well had become. I also had a pair of safety goggles, which I still do not wear. I find them far to intrusive. Instead when I am cutting I make sure that my glasses are on properly, and i am not looking over them.

All that being said, a table saw, a drop saw and a pillar drill are the heart and soul of a workshop.

The real danger is how easily wounds can get infected, especially in Asia. I am now more likely to seek immediate medical help when I am cut. Also, I now have multiple bottles of iodine in the house, just in case.

Happy to answer any question. I have a small workshop with a table saw, drop saw and a few other things. When cleaning the saw, our cleaner had inadvertently dropped a metal bolt into the saw well. Added to this, I had not cleaned the extraction housing for too long. When I used the saw, the bolt fractured, shot out and hit my head and my eye. The eye became infected to the point where it was clear nothing was going to save it.

Before the operation, I was desperate to have the eye removed. Partly because I did not want the infection to spread and partly because of the pain. The doctor was experienced and did a good job. She was one of the few local doctors who can perform that operation. Others would have removed the eye but not been able to install the frame, on which the fake eye sits. This would have left me with a nasty looking empty socket.

Waking up from the anesthetic my wife was there to greet me. A touching memory. Healing was not troublesome. Walked around with a black eye for a few days. I was told that the vision of my remaining eye would improve but I can't say that I have noticed such a thing. I am now a lot more clumsy than before, and have to take care on the stairs of our house.

Weirdest thing was the hallucinations. The nerves of my missing eye obviously still wanted desperately to be receiving information, in lack of which they just made stuff up. At night I would see worm-like things snaking around each other. A bit scarry, but also very compelling. These have faded but my ability to envisage things at night is now supercharged. In the right circumstances, visual ideas come thick and fast.

In a poorly run academic insitutiin, this is commonplace. In an art school I worked at, all student work was required to credit the head of the school and their spouse (who also worked at the school).

I think the best that is possible in terms of artificial vision is still very poor. May be useful for totally blind people but of little use to people like me

I am the proud possesser of an artificial eye. The original I lost as a result of a workshop accident.

I remember laying down in the operating theatre before the operation just as I was receiving anasethetic. I could just about see through the remainder of my eye and thinking that this was the last time I would be doing so. Odd feeling.

My artificial eye sits on top of what they called a frame, which had to be installed at the same time my old eye was removed. In my country, finding someone experienced to do this was not easy. It moves in the same way my functional eye does, but is slightly slower. This is only noticeable if I moves my eyes quickly.

My first artificial eyes matched perfectly the original. The company that made it was very proud as this was the first Caucasian eye they had made. Nonetheless, when I am outside I still wear an eyepatch. This is because the traffic in my part of the world is from Hades and I need traffic and pedestrians to know that I am of limited vision. Also because an eye patch looks dam cool. One for problem I have is that a lot of young people see the eye patch and assume I am cosplaying.

Loosing my eye has caused my balance to become truly dreadful. Also, my field of vision requires that I scan ahead using ridiculously wide head turns.

I recently got a new artificial eye to match the color of my cat's eye, which is yellow/green. Reason = why not? I enjoy unnerving people with my fake bichromaticity.

Maybe the living will care, but maybe we should not care that they care.

After he died, the entire erotic oevre of the artist William Turner was destroyed by his family on grounds of taste. If they were half as profound and amazing as his landscapes, then this was an act of profound desacration.

I have been down this road, but the lessons I learn are not the obvious ones. My wife died in chikdbirth, so it was a double whammy. She was in some respects my soulmate, but she was also one of the most difficult people I have ever know. Had she not doed, I absolutely know that there is zero chance that we would still be together as a family.

We need to tell those we have lost that we have loved them. We also need to thank them and apologize to them. Here is Asia it is easier to talk with the dead, for which I am grateful.

However, I eventually learned to accept that we also need to know how to tell them to fuck off and leave us alone. If we fail to learn this, then we pass on their ghosts to those who we go on to love.

Does this sound that the infection is exaggerating natural sex difference?

For anyone interested in this kind of thing, I wholeheartedly endorse the iOS app The Elemnts by Theodore Gray. A bit old now, but a masterpiece of appealing UI design. https://apps.apple.com/vn/app/the-elements-by-theodore-gray/...

Comes complete with Tom Lehres elemnst song https://youtu.be/U2cfju6GTNs?si=CIVJm66sqzM_p-Wq

The music (by Joshua Roman) for this video is truly wonderful.

I agree that play is very important to creativity. However, the problem is how does one play? For an adult play does not come naturally... we have forgotten the craft. When I teach creativity, I encourage students to employ devices to release (or simulate?) play, most of which involve some form or other of applied accident. For example: finding ways to randomly select words, then finding ways to randomly combine those words.

Artists have employed such devices since forever. Leonardo DaVinci spoke about seeing landscapes in the stains on walls and faces in clouds.

It's amazing that Pantone and Ral managed to get away with copyrighting something so fundemantal. Surely these should be international standards, like centremetres or Celsius.

That seems to suggest that it is an alternative to Muncell, no better or worse. Muncell is the formal standard used to define the color of dental impamnts and beer, amongst other things.

To be frank, I suspect that there is little intellectual meat to either of these systems. They appear to both be no more than formally aproved indexes.

> who would draw a laboratory setup including a stool and I knew he knew exactly how to build the stool.

I love that about illustrators. A decent illustrator is also simultaneously an engineer and a designer.

Defining a colour is a perversely difficult task. Does the RAL system offer anything unique? Wikipedia tells us it is based on the CIELAB and expresses color in terms of it's hue, saturation and lightness. But does it have any advantage over (for example) the Munsell color space? Or is the difference between the two just a cultural thing, like Celsius and Fahrenheit?

Hue is the beast in the box. How many other natural phenomena are expressed as terms, not degrees of intensity?

I often imagine how much simpler color science would be if humans did not possess the ability to perceive hue difference. Indeed color would likely be perceived as too simple a phenomenon to warrent scientific enquiry.

Art teacher speaking. The influence of DeviantArt (and now ArtStation) on young a tists is staggering, and not always good.

When I was a student, I got my eye candy from the school library, which provided context and history to the art. On these site, most images are presented without much context: what was this artist influenced by? How did they develop? Etc.