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raging bullwinkle posted:You know how traditional animators often insert themselves into their animations? They might, you know, erase a door, and now Daffy Duck is trapped. That sort of thing. This is largely an animation phenomenon. It comes from early animation when it was largely a stage thing. I forget the exact terms, but the performer would appear on a literal stage (this is pre-film) next to a chalk board or pad of paper and draw the animation out. For example, he might draw a man's face looking bored, then draw an attractive woman's face next to it, then erase the man's bored face and redraw an excited one looking at the woman, then erase the woman's pupils and redraw them looking towards the man and add angry eyebrows, etc etc. This would create a performance. As film arrived and grew in popularity, the earliest animated films usually started out as live action footage with the animator declaring his intentions to make a film, or (as is the case with Gertie the Dinosaur, receiving a challenge to animate a certain number of drawings and placing a bet with his fellow artists). The film would then show him drawing in his studio, and then it would translate into the animation he was drawing. This insertion of the artist into the work gradually tapered off as animation began to stand on its own legs as an art form and style of film. Later animations would start out with the artist at his desk drawing before switching to the film, and later, just a pencil drawing out the first frame before playing the animation etc. It's this legacy that toons such as Duck Amuck are lampooning when the almighty disembodied Hand of the Artist comes in and makes changes. As far as if this has ever occured in live action film, I don't know. It sounds like something Monty Python might do ala Holy Grail's ending or some such. There are instances of a director yelling cut in the middle of a scene and participating, such as the opening scene in Who Framed Roger Rabbit, etc. Not sure.
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Mar 17, 2012 06:58
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So I have this A 8 inch Styrofoam circle painted with latex paint and I want to attach it to here  a basic run of the mill household wall painted in latex paint. Now my question is what type of adhesive could I use to attach the Styrofoam to the wall? I am thinking something semi-permanent that should last 2-3 year, but something I can take off the wall with minimal damage to the wall, when I have to move. Damaging the wall a little bit is not to much a issue due to having to repaint it anyways so I can live with that. I was thinking a double sided tape or some type of sticky tact/sticky rubber adhesive, I do not have many spares so I was worried about just trying random stuff
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Mar 18, 2012 16:44
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I'd drive a thin nail into the wall and impale the styrofoam on it.
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Mar 18, 2012 17:21
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raging bullwinkle posted:They're called catchwords. Oh awesome, I never knew this!
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Mar 18, 2012 17:44
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I'm very sorry if this isn't the right place but I have looked everywhere for an appropriate thread and this is the closest I can find. I want to get rid of borders on a world map. It's a picture of a prediction of what the world will look like if the global temperature rises. I need some help in getting rid of the borders and place names. Thanks in advance.  I have a larger version here as well: http://www.mediafire.com/?uv2ww4jm9ah70wk I'm sorry if this is against the rules.
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Mar 20, 2012 03:44
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The Worst Muslim posted:I'm very sorry if this isn't the right place but I have looked everywhere for an appropriate thread and this is the closest I can find. I want to get rid of borders on a world map. It's a picture of a prediction of what the world will look like if the global temperature rises. I need some help in getting rid of the borders and place names. http://lmgtfy.com/?q=remove+borders+on+an+image+with+ms+paint put your big kid shoes on. seriously.
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Mar 20, 2012 18:11
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Can I post a question and rant at once from a semi-curatorial standpoint? I hang art for a very popular coffeehouse in town, I've had artists sell their entire body of works in this place because it's high traffic and very artsy. I don't charge to hang, I don't take commissions from sold works, neither does the coffeehouse. This is an initiative I've taken on to help support local art and it's a location I get daily emails from people asking if they can hang their work there. Does this not sound like a pretty sweet deal? Would you not take advantage of this situation of a venue that's booked a year in a half in advanced by showing up to your hanging on time?! because my artist didn't show last night, and this is the third time in a year it's happened. Almost always artists are there before me an eager to hang, but even yesterday I emailed him and said "are we still good for this specific time", he says yes than doesn't show. I emailed him last night saying I had waited at the coffee shop until I had somewhere to be and if he didn't show up within 10 minutes I was leaving. I never get an email back explaining why he didn't show but I did see on my facebook feed he was talking during the day so I'm righteously steamed, is it all of a sudden okay to waste my time? Seriously, I told him that we could hang his art tonight if he wants, he said on hsi facebook he was going out of town tomorrow, seriously considering telling him the deal is off and hanging some friend's works until the person who was supposed to go next can be ready. Fair? Unfair? I just want some outside feedback on this situation.
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Mar 20, 2012 20:59
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I wouldn't have offered a second chance. This is a completely one-sided deal and unless he can provide a good reason that he no-showed then forget him.
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Mar 20, 2012 22:12
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Yup, I'd say he blew his chance unless there was a real excuse involving stuff outside of his control. Flaking out isn't acceptable if someone's giving you an amazing deal like that.
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Mar 20, 2012 22:24
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I'd tell him the deal is off. Seems like you have already gone out of your way more than you needed to. veni veni veni fucked around with this message at 23:25 on Mar 20, 2012 |
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Mar 20, 2012 23:05
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What are some ways I can make fake mimeographs by hand? I want to replicate that spotty, purple look, but I don't know what kind of ink would be best. So far I figured I'd make stencils and apply purple ink (what's the best color match?) to the paper with a sponge brush.
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Mar 21, 2012 02:32
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Thanks for the opinions folks. I emailed him today and told him we could hang tonight still but if not let me know and I would get the next artist to hang. He emailed back and we ended up hanging the art. He explained that he was filming a music video last night and it went late. That's all well and good but he didn't email me last night or today to let me know why he didn't show so it isn't really a valid excuse to me. So from now on my rule will be if the artist doesn't show the night of without first informing me why, the replacement work will go up. If they contact me ASAP and give me a reasonable excuse we schedule another hanging.
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Mar 21, 2012 03:03
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I really hope someone here can help me with this as I've run out of ideas on how to google this. I'm writing a 'Sketch of Modernity' for university - a short (very) paper on a small part of what modernity is. I've decided on the humble tractor and was hoping to find some 19th and early 20th century poets and artists that talked about (or artwork involving) the tractor - be it either in a sense of marveling at the technological aspects or the despair at the lose of agrarian lifestyles. This is a very strange subject and assignment for me and I'm completely out of my depth with both poetry and art. Hopefully someone can come to my rescue, as I'm sure the tractor must have been discussed in some way during this period.
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Mar 21, 2012 07:37
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Bozonofski posted:I really hope someone here can help me with this as I've run out of ideas on how to google this. The whole dystopian nightmare in Lord of the Rings about the Hobbits having to work in evil Orc factories or whatever is right out of William Blake.
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Mar 21, 2012 15:43
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Toriori posted:Thanks for the opinions folks. I emailed him today and told him we could hang tonight still but if not let me know and I would get the next artist to hang. He emailed back and we ended up hanging the art. He explained that he was filming a music video last night and it went late. That's all well and good but he didn't email me last night or today to let me know why he didn't show so it isn't really a valid excuse to me. This boils down to you setting clear expectations when you initially deal with people. If I were you, I would say there's a standby list, and if you don't show, I go to the next person on my list. One of the ways you can really stand out as a creative person is to not be a flake. And for some people that's tough, and for some it's not, but the more reliable you are, the more successful you will be. There's really no excuse for bullshit - you want professional consideration? act like a professional. And definitely keep track of every show you hang, that kind of experience has real value in the long run.
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Mar 21, 2012 21:09
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Apparently Wacom just released the Intuos 5. Anybody have experience with it yet? I remember reading a handful of gripes about the 4 and how it didn't quite compare to the 3, but everything I've seen about the 5 looks solid so far. Considering I'm still using a first-generation Graphire, I could stand for an upgrade. Worth it to go with the latest model at this point?
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Mar 22, 2012 05:09
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I've loved my 4 and I don't really get the complaints. Yeah, the tablet is textured weird, but I got over that after a day, and it comes with more nibs than you'll be able to use in a few months anyway.
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Mar 22, 2012 05:42
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mutata posted:I've loved my 4 and I don't really get the complaints. Yeah, the tablet is textured weird, but I got over that after a day, and it comes with more nibs than you'll be able to use in a few months anyway. On that note, what's all this I hear about nibs wearing down anyway? My Graphire pen has been the same as the day I took it out of the box. And I use an Intuos 3 at work on an almost-daily basis, and have never noticed any substantial difference. Am I just not arting hard enough?
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Mar 22, 2012 15:39
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MiketheGreat posted:On that note, what's all this I hear about nibs wearing down anyway? My Graphire pen has been the same as the day I took it out of the box. And I use an Intuos 3 at work on an almost-daily basis, and have never noticed any substantial difference. Am I just not arting hard enough? I guess with the I4 they changed the plastic of the tablet surface to one which wears the nibs down faster. However, in the new driver, you finally get back the ability to set the pressure curve threshold, so if you want to only apply Xg of force to achieve 100% pressure, you can set that to as soft as you want and it helps keep nib wear to a minimum.
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Mar 22, 2012 15:43
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So I've got a question since I don't hit this forum much: Is there anywhere I can reasonably ask for help with a rough concept that isn't a drawing or even a real thing? I'm working on something in Minecraft, of all things, and I know from past experience I have a much easier time building with a clear image in my head. Usually I'll sit down with a tablet and butcher something out until I have a rough idea of what I want to do, but I am having trouble doing even that right now - I start drawing, and then when I reach the point where I need to pin specifics down my brain goes dark. I'm trying to figure out the general layout and aesthetic of a place I'm trying to build ingame, and I kind've wanted to solicit ideas / doodles / whatever I could get to see if that could get the ball rolling again for me, but I don't know if there's anywhere here that'd be an appropriate venue to talk about this. I don't want to get shot out of a cannon. 
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Mar 22, 2012 19:59
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neonnoodle posted:I guess with the I4 they changed the plastic of the tablet surface to one which wears the nibs down faster. However, in the new driver, you finally get back the ability to set the pressure curve threshold, so if you want to only apply Xg of force to achieve 100% pressure, you can set that to as soft as you want and it helps keep nib wear to a minimum. Yeah, the I4's were just straight up more textured so the stock nibs wear down quicker. The stylus holder has extra nibs in it, though, and nibs are pretty cheap. Seriously, the only complaints I've heard about the I4 line is the texture on the tab, and that really isn't worth the ire some people spout about it. JamSessionEin posted:So I've got a question since I don't hit this forum much: Is there anywhere I can reasonably ask for help with a rough concept that isn't a drawing or even a real thing? I'm working on something in Minecraft, of all things, and I know from past experience I have a much easier time building with a clear image in my head. Usually I'll sit down with a tablet and butcher something out until I have a rough idea of what I want to do, but I am having trouble doing even that right now - I start drawing, and then when I reach the point where I need to pin specifics down my brain goes dark. I'm trying to figure out the general layout and aesthetic of a place I'm trying to build ingame, and I kind've wanted to solicit ideas / doodles / whatever I could get to see if that could get the ball rolling again for me, but I don't know if there's anywhere here that'd be an appropriate venue to talk about this. I don't want to get shot out of a cannon. This sounds like something so simple and casual you could ask anyone in the daily drawings thread. Hell, I'll throw down some designs for you in my spare time, if you'd like.
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Mar 22, 2012 20:27
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mutata posted:This sounds like something so simple and casual you could ask anyone in the daily drawings thread. Hell, I'll throw down some designs for you in my spare time, if you'd like. I'll get a post together over there when I get home from work with pictures and stuff of where I'm at.
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Mar 22, 2012 22:45
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Does anybody want to take a crack at identifying this font? I'm not trying to steal from the designer - he sells a large print that I'm planning to buy for my wife, she loves this sort of thing - but for an event she's doing, and on short notice, she needs this at something around 8x10 and I'd rather just make it myself. But I'm having a time finding a font that's close to this one, I'm not good at this. Whatthefont came kinda close but the W is off. Any ideas?
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Mar 23, 2012 20:49
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Given that you're ok with making it yourself I don't see why it matters what font you use. Alternatively, that W would be easy to recreate if it's the only letter bothering you.
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Mar 24, 2012 06:50
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Where can I find good information about field recorders? I'd love something I can shove in a pocket and hook a lapel mic to. I'd also like it to double as a hand held mic that I can use to compliment my lovely video camera mics. Mostly will be used for training videos, interviews, and basic scene recording. Can a field recorder actually handle those three jobs competently?
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Mar 26, 2012 06:22
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Yip Yips posted:Given that you're ok with making it yourself I don't see why it matters what font you use. Alternatively, that W would be easy to recreate if it's the only letter bothering you.
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Mar 26, 2012 21:31
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humanROBOT posted:gently caress, this is exactly what I was looking for, I just had no idea the search terms (turns out searching for things involving "the", "of", etc .. don't turn up so well on google, who would have guessed? butts! posted:Oh awesome, I never knew this! No worries dudes mutata posted:This is largely an animation phenomenon. It comes from early animation when it was largely a stage thing. I forget the exact terms, but the performer would appear on a literal stage (this is pre-film) next to a chalk board or pad of paper and draw the animation out. For example, he might draw a man's face looking bored, then draw an attractive woman's face next to it, then erase the man's bored face and redraw an excited one looking at the woman, then erase the woman's pupils and redraw them looking towards the man and add angry eyebrows, etc etc. This would create a performance. As film arrived and grew in popularity, the earliest animated films usually started out as live action footage with the animator declaring his intentions to make a film, or (as is the case with Gertie the Dinosaur, receiving a challenge to animate a certain number of drawings and placing a bet with his fellow artists). The film would then show him drawing in his studio, and then it would translate into the animation he was drawing. I found this post really interesting! I forgot I even asked the question. Duck Amuck was the one in my memory. I'd never heard of Gertie the Dinosaur, so I checked that out too. I've learned a lot today. Thank you!
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Mar 28, 2012 16:50
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Edit: I am a idiot wrong thread.
Rythe fucked around with this message at 18:50 on Apr 2, 2012 |
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Apr 2, 2012 06:56
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Rythe posted:Kind of a silly question that I could not find doing a bit of Google searching. I was given a Torin Black Jack 2 1/2 ton low profile hydraulic jack a few years back and in a recent move the cup the frame of the car rest on has gone missing. I have tried to Google up a replacement part/part # with no luck. Does anybody know a good resource for finding a missing part like that? That's a good question, how does one find the part that's missing? How does one find the aspect of self who's absence prevents the realization of self? I suppose that what you're really asking is a question of identity, and luckily postmodernism has had a pretty though exploration of the subject by now. (This is the art forum, you should ask Automotive Insanity.) you could also try this thread here http://forums.somethingawful.com/showthread.php?threadid=2734407 Humboldt Squid fucked around with this message at 08:48 on Apr 2, 2012 |
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Apr 2, 2012 08:46
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Humboldt squid posted:That's a good question, how does one find the part that's missing? How does one find the aspect of self who's absence prevents the realization of self? I suppose that what you're really asking is a question of identity, and luckily postmodernism has had a pretty though exploration of the subject by now. Yeah I just realized I posted in the art question thread instead of the automotive one, thanks for pointing out the error and giving me something to think about all day 
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Apr 2, 2012 18:49
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Question about creating high-resolution digital works for printing purposes. I'm in love with the art that a friend creates, and I talked to her about commissioning a piece for printing on fabric. In real-world terms, the item is 150 cm tall and 50 cm wide, and I'm looking to get it at 600dpi. Out of curiosity, I went and plugged this into paint.net and came up with some loving enormous measurements at 11811px wide and 35433px high. I'm not surprised, given that 150x50 is a pretty sizable piece. My question is, what is the best way to have her go about handling this and creating the image? Asking her to draw it at that resolution seems absolutely ridiculous. I'm pretty dumb with this sort of subject, it is definitely not my field of expertise, so I'm probably missing something glaringly obvious. Thanks in advance!  e: The item is double sided, so having her draw it at that size seems twice as ridiculous. Tsurupettan fucked around with this message at 21:40 on Apr 2, 2012 |
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Apr 2, 2012 21:15
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300 DPI is standard resolution for print, so you can drop that down to a much more manageable ~6000x1,8000px from the get-go.
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Apr 2, 2012 21:50
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pipes! posted:300 DPI is standard resolution for print, so you can drop that down to a much more manageable ~6000x1,8000px from the get-go. Thank you very much, that IS much more manageable! Heck, it doesn't even make paint.net turn my laptop into a chugging mess. For some reason I thought 600dpi was the standard.  Is there any other advice you could bestow so that I can make her life easier? I may be paying my friend, but I don't want to a dick of a customer.Once again, much appreciated, pipes!
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Apr 2, 2012 22:08
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Tsurupettan posted:Thank you very much, that IS much more manageable! Heck, it doesn't even make paint.net turn my laptop into a chugging mess. For some reason I thought 600dpi was the standard. Either ask her to work in CMYK natively, or have one of you double-check the artwork in a program that supports CMYK before printing to make sure there aren't any awful color conversion issues. You don't need to output a CMYK file these days for digital printers (the printers convert RGB to CMYK better than most apps and/or humans can do), but if you check before you print you avoid surprises.
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Apr 2, 2012 23:12
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neonnoodle posted:Either ask her to work in CMYK natively, or have one of you double-check the artwork in a program that supports CMYK before printing to make sure there aren't any awful color conversion issues. You don't need to output a CMYK file these days for digital printers (the printers convert RGB to CMYK better than most apps and/or humans can do), but if you check before you print you avoid surprises. Thank you for the insight, I'll mention it to her. I suppose the last thing to do is find a place that handles silk screen printing with high quality inks and no set up fee/minimum order.  I appreciate the time that both of you took to help me out.
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Apr 2, 2012 23:41
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A related question: I have to produce a cover image for a scientific journal. They want the image to be in CMYK. No further info is given, so how do I make the image as vibrant as possible?
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Apr 3, 2012 16:08
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HardCoil posted:A related question: I have to produce a cover image for a scientific journal. They want the image to be in CMYK. No further info is given, so how do I make the image as vibrant as possible? Make sure you're using a CYMK color mode in the program you're using to create your cover, then cherrypick strong, bright colors from the CMYK color gamut:  It also helps to play around with color combinations. Certain colors with vibrate far stronger than others when placed next to each other. Also, always, always, always ask for proofs from the press directly being used to print before you release for publication.
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Apr 3, 2012 16:33
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HardCoil posted:A related question: I have to produce a cover image for a scientific journal. They want the image to be in CMYK. No further info is given, so how do I make the image as vibrant as possible? RGB = mixing colors of light CMYK = mixing colors of ink/paint Without getting into the physics involved (which I don't understand at all), there are some basic practical facts which result from the difference: - RGB colors have an element of luminosity, i.e., they can glow - CMYK colors can't glow. Paint can't glow. The closest it can get is if it's fluorescent (reflecting light in a way that feels like glowing), and CMYK doesn't use fluorescent pigments. So when you look at the gamut of RGB colors, any colors which "feel" like they're glowing at you are probably not going to print that way. Here's an example.  Here's pure RGB Green, which is just the green phosphor of your monitor turned all the way up, and the other two turned all the way down. This color is literally a bunch of tiny green lights shining at your eyeballs. You can't make a green like this with CMYK. If you were to mix the most intensely chromatic combination of yellow and cyan, you still wouldn't be able to give it that glowing vibrancy. The best you could do would be to screen the pigments by using halftone dots and letting more white paper show through, in order to make it lighter in value. That fades the color out a bit, so you lose the vibrancy. This is about as close as you're gonna get:  You can get spot colors (specially-mixed colors outside the CMYK gamut), but it gets expensive and obnoxious. So from the outset, you want to think about paint colors and the extent to which they can reflect light. It would even probably be helpful for you to do a color study with C M Y & K watercolors, so you don't get too attached to any out-of-gamut colors which you're going to lose in the end. OR, if you're ultra-anal like me, you might find this tutorial video useful for setting up a custom color wheel/picker. Make one with C, M, Y & K and then you can paint without worrying whether the colors will be in gamut, because they'll all be in gamut:  https://www.youtube.com/watch?v=slm9uZQ4mqQ
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Apr 3, 2012 16:39
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Thanks for the replies guys. What I forgot to tell you is that the image itself is rendered in a 3D rendering program called Tachyon, and that doesn't support CMYK. So I think what I'm asking is how to convert that RGB image to a CMYK in a manner that retains as much of the colour as possible. Isn't the conversion done with a profile that controls which of the RGB colours should go into the CMYK image? Edit: Here is this month's cover: http://pubs.acs.org/subscribe/covers/acbcct/acbcct_v007i003.jpg?0.9285619530708026 Those colours seem almost to vibrant to be CMYK in context of what you guys posted. Dr Hemulen fucked around with this message at 17:33 on Apr 3, 2012 |
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Apr 3, 2012 17:27
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HardCoil posted:So I think what I'm asking is how to convert that RGB image to a CMYK in a manner that retains as much of the colour as possible. Isn't the conversion done with a profile that controls which of the RGB colours should go into the CMYK image? Render the image from Tachyon, then open it in your image editor of choice. Contact the printer and ask them for a printer profile, then apply the color profile to the image (in Photoshop: Edit > Assign Profile). What you're thinking about conversion is true; a profile essentially is a mathematical description of what range of colors are allowed to be contained in image data. Applying a conversion is done by the program, which decides exactly how colors outside of the space should translated into acceptable colors. Regardless of whether or not the printer can supply a profile, you'll probably want to tweak the image once it's in the CMYK gamut. This means making adjustments to pixel data itself, in that you'll be doing things like fiddling with curves, levels, contrast, and saturation to get that "pop" you desire. This is actually a pretty interesting and sorta commonplace problem that doesn't really get dealt with that often here. If you want, you're more than welcome to post a thread about it and I'm sure people would help you work through the particulars. There's also some other design-y stuff you should be doing, like keeping image separate from headline type, and layering it in a layout program such as InDesign.
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Apr 3, 2012 18:22
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