“How Do I Blur the Pencil?” Children's Learning About Drawing And
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A Peer-Reviewed Journal About MACHINE FEELING
A Peer-Reviewed Journal About MACHINE FEELING Mitra Azar Daniel Chávez Heras Michela De Carlo Iain Emsley Malthe Stavning Erslev Tomas Hollanek Rosemary Lee Carleigh Morgan Carman Ng Irina Raskin Tiara Roxanne Rebecca Uliasz Maria Dada Tanja Wiehn Brett Zehner Christian Ulrik Andersen & Geoff Cox (Eds.) Volume 8, Issue 1, 2019 ISSN 2245-7755 1 Contents Christian Ulrik Andersen & Geoff Cox Editorial: Feeling, Failure, Fallacies 4 MAKING SENSE Iain Emsley Iteracies of Feeling 10 Irina Raskin Machine Learning and Technoecological Conditions of Sensing 20 Maike Klein Robotic Affective Abilities 34 (UN)BEING 47 Brett Zehner Machines of Subjection: Notes on A Tactical Approach to Artificial Intelligence 48 Maria Dada Queering Global Information Systems 58 Tiara Roxanne Digital Territory, Digital Flesh: Decoding the Indigenous Body 70 Rebecca Uliasz Assemblages of Desire: Reappropriating Affective Technologies 82 FEELING GENERATORS 95 Carman Ng Affecting Reality: Intersecting Games, Trauma, and Imaginaries 96 Malthe Stavning Erslev I forced a bot to read over 1,000 papers from open-access journals and then asked it to write a paper of its own. Here is the result. Or: A quasi-materialist approach to bot-mimicry 114 Michela De Carlo Synthetic Bodies and Feeling Generators 128 Tanja Wiehn (Un)Predictable Acts of Data in Machine Learning Environments 142 SEEING THINGS 155 Mitra Azar POV-matter, Cinematic POV and Algorithmic POV between Affects and Umwelten 156 Daniel Chávez Heras Spectacular Machinery and Encrypted Spectatorship 170 Tomasz Hollanek -
Corel Painter 2018 Reviewer's Guide (Letter)
REVIEWER’S GUIDE Contents Introducing Corel Painter 2018 . .3 Artist profiles . .5 What’s included? . .8 Minimum system requirements . .9 Key features . .10 Thick Paint . 10 Drip and Liquid Brush technologies . 14 Thick Texture Brushes . 16 Natural-Media brush library . 18 Random Grain Rotation . 18 Selection Brush tool and Selection brushes . 19 Cloning workflow . 21 Texture Synthesis . 23 Artwork by Michelle Webb Introducing Corel® Painter® 2018 Corel® Painter® 2018 is the world's most realistic digital art studio. There are many reasons why creative professionals and digital artists have chosen to make Corel Painter an integral part of their design process, but two really stand out — painting tools and workflow features. A loyal and passionate user base actively participates in Painter's development by offering constructive feedback, and sharing their work, tools and methods. These insights and suggestions drive so many of these painting and workflow innovations. The power and diversity of its revolutionary digital painting tools is what makes Corel Painter the paint program that all others are measured against. Its expansive collection of painting tools not only offers an unrivaled ability to emulate traditional art, but also gives users the power to redefine what's possible in digital art. Each version of Corel Painter has pushed the envelope by consistently adding new tools and features that quickly became the benchmark in the digital art world — Texture Painting, Particle Brushes, and Dynamic Speckles to name just a few from recent releases. Corel Painter 2018 continues this push to deliver groundbreaking features that are incredibly powerful in a range of creative sectors and workflows. -
GIMP to Increase Business Productivity GIMP Or GNU Image Manipulation Programme Is a Cross-Platform, Open Source Image Editor
Focus Using GIMP to Increase Business Productivity GIMP or GNU Image Manipulation Programme is a cross-platform, open source image editor. In our last article on GIMP (published in January 2020), we explored some features of the tool. Continuing it further, here are some more. IMP 2.10 ships with All painting tools now have painting tools with various symmetries a number of the explicit ‘Hardness’ and ‘Force’ sliders, (mirror, mandala, tiling…). This new improvements requested by except for the MyPaint Brush tool version of GIMP also ships with more Gdigital painters. One of the which only has the ‘Hardness’ slider. new brushes, which are available by most interesting new additions is the GIMP now supports canvas rotation default. Some of the new GEGL-based MyPaint Brush tool that first appeared and flipping to help illustrators check filters—Exposure, Shadows-Highlights, in the GIMP-Painter fork. proportions and perspective. High-pass, Wavelet Decompose, The ‘Smudge’ tool has got updates A new ‘Brush lock to view’ option Panorama Projection and others—are specifically targeted at painting gives one a choice to lock a brush at a specifically targeted at photographers. related use cases. The new ‘No erase certain zoom level and rotate the angle Apart from that, the new ‘Extract effect’ option prevents the tools from of the canvas. The option is available Component’ filter simplifies extracting changing the alpha of pixels, and the for all painting tools that use a brush, a channel of an arbitrary colour model foreground colour can now be blended except for the MyPaint Brush tool. -
Corel Painter Vs. Photoshop: Digital Painting Showdown
COREL PAINTER VS. PHOTOSHOP: DIGITAL PAINTING SHOWDOWN A software showdown – it’s Corel Painter vs. Photoshop. The strengths, weaknesses, and differences between these two popular digital painting tools. Corel Painter. Adobe Photoshop. Two very different programs with different tools and different painting processes. However, despite their differences, lovely paintings can be created in both of these programs. Digital artists may favor one over the other, or, like me use a mix of both Photoshop and Painter. The purpose of this article is not to declare one the outright champion, but to help you make a decision about which you’ll prefer for your needs. One thing is certain, though – the statement, “You can do the same thing in either program” isn’t exactly true. COREL PAINTER VS. PHOTOSHOP: OVERVIEW It is true that you can paint in both programs, and, depending on how you want to work, how much you want to learn, and how much you want to budget for software, you’ll find a solution that works for you. Personally, I wouldn’t give up my Corel Painter or my Photoshop! As a professional digital artist, I use Corel Painter for drawing and painting, and Adobe Photoshop for photo retouching, image adjustments, and making composites. I do not feel inconvenienced moving from one program to the other. In my opinion, the process of painting in Adobe Photoshop is more of an imaging experience while with Corel Painter you get more of an organic painting experience. Photoshop painters incorporate layers, opacity adjustments, masks, image adjustments, blending modes, effects AND brushes. -
Detail-Preserving Paint Modeling for 3D Brushes
Detail-Preserving Paint Modeling for 3D Brushes Nelson Chu William Baxter Li-Yi Wei Naga Govindaraju Microsoft Research Figure 1: Oil paint simulated by an implementation of the system presented in [Baxter et al. 2001] (left), by our method (middle) and by the commercial package ArtRage 3 (right). Compared with [Baxter et al. 2001], our technique produces more organic color streaks and much less color blurring. Compared with the ArtRage strokes, ours appear more natural since the ArtRage method of sweeping a 1D texture to simulate strokes give less variation and control than the 3D deformable brushes offered by our system. Abstract reproduction. As a result, digital painting has become a popular way to create illustrations for everything from books, to Recent years have witnessed significant advances in 3D brush advertising, to background mattes in movie production. modeling and simulation in digital paint tools. Compared with traditional 2D brushes, a 3D brush can be both more intuitive and However there are still some nuances of real art media and more expressive by offering an experience closer to wielding a positive attributes of real art tools which are not found in current real, physical brush. To support popular media types such as oil digital systems. Specifically, marks made by real-world tools have and pastel, most previous 3D brush models have implemented an organic richness of detail and expressive variability that have paint smearing and mixing. This is generally accomplished by a yet to be captured adequately by any digital painting system. In simple repeated exchange of paint between the 3D brush and 2D this work, we focus in particular on oil and pastel, two media in canvas, with the paint picked up by the brush typically mapped which the interactions of tools and media are critical and give rise directly onto the brush surface. -
Getting Started with Mypaint
Getting Started with MyPaint Welcome to MyPaint, the free and open source drawing and painting program! In this tutorial, we will go over some of the basic tools and features MyPaint has to offer. It's not meant to be a comprehensive overview of all the available functions, but hopefully it can explain some of the most helpful features and get you started on drawing or painting with the program! *MyPaint 1.1 was used for this tutorial, some features may vary for earlier/future versions. The Workspace MyPaint is designed to be a lightweight painting program that provides a clean, minimal interface to let you focus on your work. Above is my default workspace. Usually, I only need the panels for layers and brushes to the right when working, but you can also customize the workspace to have the color panel and/or the scratchpad using the icons above the right panel. The panels can be fixed to the right or appear as separate pop-up windows, which you can switch by clicking the small left/right arrow icons on the upper right of each: Colors Opens the colors panel and gives you a range of tools for color selection, including color wheels, fixed palettes and component sliders. Brushes Contains the brush presets currently installed. You can quickly switch between different sets, organize your favorite presets and change the opacity, radius and hardness of the current brush. Layers Allows you to organize, duplicate and merge layers. You can also set each layer to different blend modes like screen, multiply and overlay. -
Traditional Vs. Digital Painting: a Process Comparison
TRADITIONAL VS. DIGITAL PAINTING: A PROCESS COMPARISON A process comparison between traditional painting and digital painting and then an in-depth study of image preparation, underpainting, object development, detailing, output media, and more. I was a classically trained painter long before software was developed for artists. When I discovered Corel Painter, back when it was owned and developed by MetaCreations, I was so curious that I had to give it a try and I found it fascinating. Today, there are many options for digital painting, but my favorite by far is still Painter. Now, it is one of Corel’s top imaging solutions and they are developing amazing new technology for it. I also use Adobe Photoshop to prep and pre-compose my paintings and I move between both programs for in-process adjustments as needed. This article makes no comparison between Corel Painter and Adobe Photoshop – we’re going to compare painting processes between traditional and digital painting. THE SKETCH Both Traditional and Digital painters start with an idea. We can call this idea The Sketch. Traditional artists loosely draw their idea onto the canvas, developing the project idea during the Sketching process. Supporting compositional objects are positioned, the depth and perspective are lined out, and the initial vision is created. There are several options – some painters use a soft pencil or stick of charcoal and others use narrow brushes and diluted paint to whisk in the general layout. If the painter is working from a photograph, they use their trained eyes and math skills to position objects proportionately within the composition. -
Stupid GIMP Tricks (And Smart Ones, Too)
Stupid GIMP tricks (and smart ones, too) Akkana Peck shallowsky.com gimpbook.com @akkakk for SCALE 14x, January 2016 Next: gimp GNU Image Manipulation Program for editing raster images ... like my bad photos! Next: brightness-contrast Easiest way to adjust brightness: Colors→ Brightness-Contrast But that's not enough for complex images. Next: layer-masks-better A better way: layer masks Make your new layer: Duplicate Layer then Brightness/Contrast Right-click in Layers dialog → Add Layer Mask Paint on the mask Next: layer-mask-paint Painting on Layer Masks Paint WHITE to show the top layer. Paint BLACK to show layers below. Try using a big fuzzy brush Next: selecting-skies Do this with the Selecting Skies mask still active Try Select by Color to illustrate how easy that is to do. Next: mask-selected Oops! the mask is active. You can tell whether the layer or mask is active: the one that's active has a thick white border. Next: selecting-skies2 Selecting Skies Try Select by Color (again) Drag up+left to select less, down+right to select more ... with Select by: Value ... but still not good enough! Next: decompose Colors → Components → Decompose Gives a new image with layers for Red, Green, Blue or Hue, Saturation, Value (or other color models) Next: HSV Decompose to HSV Hue: the color, e.g. more reddish, more blueish Saturation: color intensity Value: brightness (like converting to black & white.) Next: levels Levels Tool Use Input levels to adjust brightness. Next: paste-into-mask Pasting into Layer Masks Click the Anchor button after pasting into a mask. -
Real-Time Oil Painting on Mobile Hardware
Volume xx (200y), Number z, pp. 1–10 Real-Time Oil Painting on Mobile Hardware Tuur Stuyck1 y Fang Da2 z Sunil Hadap3 x Philip Dutré1 { 1KU Leuven 2Columbia University 3Adobe Research Figure 1: Oil painting examples made with our mobile painting system. Abstract This paper presents a realistic digital oil painting system, specifically targeted at the real-time performance on highly resource constrained portable hardware such as tablets and iPads. To effectively use the limited computing power, we develop an efficient adaptation of the Shallow Water Equations that models all the characteristic properties of oil paint. The pigments are stored in a multi-layered structure to model the peculiar nature of pigment mixing in oil paint. The user experience ranges from thick shape-retaining strokes to runny diluted paint that reacts naturally to the gravity set by tablet orientation. Finally, the paint is rendered in real-time using a combination of carefully chosen efficient rendering techniques. The virtual lighting adapts to the tablet orientation, or alternatively, the front-facing camera captures the lighting environment, which leads to a truly immersive user experience. Our proposed features are evaluated via a user study. In our experience, our system enables artists to quickly try out ideas and compositions anywhere when inspiration strikes, in a truly ubiquitous way. They don’t need to carry expensive and messy oil paint supplies. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Computer Graphics—Three-Dimensional Graphics and Realism Animation I.3.4 [Computer Utilities]: Paint Systems— 1. Introduction artists. Our system offers the best of both worlds: a fully expressive digital medium that closely mimics the serendipitous real life oil Oil paint has been a popular medium for artists for several painting experience and the convenience and ubiquity of mobile centuries. -
Open Source Design Software Overview
SEGD.org Open Source Design Software prepared by Chad Eby Herron School of Art + Design at IUPUI SEGD Academic Task Force SEGD Training Module Training SEGD Introduction to EGD Overview What is Open Source? Free and open source software (sometimes called FOSS) tools are developed “in the open” so that anyone may inspect an application’s source code—the underlying set of instructions that make the application work—that is hidden by design in proprietary tools. Not only is the source code visible, it is generally permissible to use, re- distribute and modify without restriction. This makes it free (as in freedom). As a side effect, many open source software tools are also free (as in beer), meaning image credit they are usable at no cost. Photo by Marc Mueller from Pexels Open Source Design Software Overview Why Use Open Source? An open source design software tool may be attractive to individuals and organizations due to the transparent nature of its development, the lack of restrictions on distribution and use, the suitability for a niche purpose too small for commercial viability, the low cost/no cost aspect or some combination of these factors. As good as open source tools may seem at first blush, there are some caveats. FOSS projects, especially in the early stages, may have sporadic development cycles and are sometimes abandoned entirely. Even in projects that are actively developed and well established, the documentation for the tool may lag well behind the latest released version. Finally, since some FOSS tools are passion projects of individuals or small teams, the software user interface may be quite eccentric. -
Digital Painting – the Emerging Art Form in Which Traditional Painting Techniques Such As Watercolor, Oils, Impasto, Etc
With Corel Painter & Adobe Photoshop By Brad Grigor Digital Painting – the emerging art form in which traditional painting techniques such as watercolor, oils, impasto, etc. are applied using digital tools by means of a computer, a digitizing tablet and stylus, and software. Digital Art – an umbrella term for a range of artistic works and practices that utilize digital technology No mess Less waste ◦ You consume materials only when you print Virtually unlimited flexibility & options ◦ Can do things not achievable with traditional media Direct workflow for prints, web sites, books, publications, merchandizing, etc. ◦ Reproduction costs are much lower No physical storage of “originals” Can “Undo” “The Art World” doesn’t get it (yet) ◦ Still hung up that the “Original” is a computer file, not a tangible entity ◦ Still hung up that the work is easily reproduced ◦ Still hung up on misconception that “it’s too easy, just push a button and the computer does it all” Steep learning curve ◦ Heavy on technology High cost of entry Computer $1500+ TIPS: 1. You might already have a Tablet 300+ suitable computer. 2. You can “farm out” the Software 500+ printing 3. Many inexpensive and free Printer 1000+ software options exist. E.g. Adobe Photoshop Elements ----------------- and Corel Painter Essentials are bundled with cameras TOTAL $3300+ and tablets. TIPS: 1. PC or Mac – they both work fine. 2. Get as much power as you can afford. Digital Painting is fairly demanding. 3. Don’t be overly swayed by Apple’s clever “I’m a Mac” Mac ads. PC TIPS: 1. I recommend getting a genuine Wacom tablet. -
Creative Freedom KDE, Calligra, Krita Krita 2.4 Is Dedicated to the Memory of Jean Giraud ~ Mœbius Whose Work Will Always Be an Inspiration to Us
Krita Krita2.4 2.4 – Creative Freedom KDE, Calligra, Krita Krita 2.4 is dedicated to the memory of Jean Giraud ~ Mœbius whose work will always be an inspiration to us Cover illustration: “Boromir” by David Revoy Krita 2.4 Contents 1. Summary....................................................................................................5 2. Krita User Profiles.....................................................................................6 3. Packed with Stuff......................................................................................7 System Requirements.............................................................................7 4. Community.................................................................................................8 5. What's New in Krita 2.4.............................................................................9 Brushes.................................................................................................10 Symmetry, Mirror and Multi-hand painting.............................................11 Island, by Kargall Lefou.........................................................................11 Resource Tagging and Sharing.............................................................12 Quick Access Wheel..............................................................................13 New Dockers.........................................................................................13 6. Full Feature List.......................................................................................14