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hand drawing and painting using digital tools

Hand painted using digital tools (Autodesk Sketchbook) on my mobile device (Galaxy Note 9 with stylus)

 

siluetas de árboles v5.jpg

   

Hand drawing and painting with digital tools.

Hand painted using digital tools (Autodesk Sketchbook) on my mobile device (Galaxy Note 9 with stylus)

 

casa v8

Hand painted using digital tools (Autodesk Sketchbook) on my mobile device (Galaxy Note 9 with stylus)

 

Tronco.jpg

  

Digital ink and rubbing tool. Feels like cheating though as the digital tools vary hugely and can be fiddled about with in ways that ink cannot. Enjoyed trying it though.

#inktober day 4

#catober

rainbow lead, black wood.

 

how do you make things like this?

 

HOMI art supplies

hongdae

Perhaps improved with new digital tools? I’ve recropped and made several changes to this 2008 photo.

the bone chair by Joris Laarman

seat and backrest: high polished aluminum

struts: silk polished aluminum

 

look here for another view of this chair

 

Joris Laarman:

"If evolution could create a chair...

Trees have the ability to add material where strength is needed.

But bones also have the ability to take away material where it is

not needed.

With this knowledge the International Development

Centre Adam Opel GmbH, a part of General Motors Engineering

Europe created a dynamic digital tool to copy these ways of

constructing used for optimizing car parts.

In a way it quite precisely copies the way evolution constructs.

I didn't use it to create the next worlds perfect chair but as a high

tech sculpting tool to create elegant shape with a kind of legitimacy.

The chair is the first in a series and the process can be applied

to any scale until architectural sizes in any material strength..."

  

Portfolio & Services

 

Last month, Kendra and I went up the coast and photograph the area surrounding Pigeon Point Lighthouse for hours. The storm clouds were constantly moving, changing shape and with shifting light.

 

My first post from here has this same rock, but looking more towards the northwest. As I was packing up, I turned around and thought, this might be a nice shot, too.

 

The black and white conversion seemed fitting to help bring out the remaining contrast in the sky as well as the white water and black rocks and sand. I went for a more "old school" feel and left some grain in the conversion. I tend to use all the digital tools available and try for squeaky clean images with my color shots, but I felt the black and white could stand a little "grit". :)

 

Be sure to check out Kendra's shot, I posted it below.

 

Nikon D300

Nikkor 12-24mm @ 12mm

0.6 sec @ f13, ISO 200

Lee .9 and .6 Soft GND Filters

An abstract landscape drawing created with Painter. Searching for new expression feels like the old with a slight twist in the format. The digital tools make it fast to do a sketch.

The car from the Alakuneda Think Tank.

Now available at Mecabricks, which means you can build your own version.

All digital tools have their limitations. So please refer to this image how it would look like IRL.

 

Attention: Reverse engineering required. (No worries, all changes are non-destructive as the original file will not be affected) You will be rewarded with an original experience ;-)

This is a digital painting I created using Corel Painter 2019. It is based on a photo I took in June 2019 while in Alaska. I am still getting used to digital painting, and am finding it hard to resist the temptation to use all of the digital tools to simply duplicate the source image. This work was completed on 25 January 2020. I plan to have it printed onto canvas to see how satisfied I am with that way of displaying my future digital paintings.

Film: Kodak Tmax 100, 35mm

Camera: FM2n

Lens: AF Nikkor 50mm, 1:1.8

Developer: Rollei RLS, dilution 1+4, 13 min, 24C

Stopper: Rollei RCS citron stop, dilution 1+19, 2min, 20C

Fixer: Rollei RXA fix acid, dilution 1+7, 4.5 min, 20C

Running water for 20 minutes. Final rinse with AGFA Agepon.

Scan: Epson V500 Perfection, 2400 ppi, low exposure, no digital tool applied.

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

[MELANCHOLY] by In Inaka

at Metales..o..

 

maps.secondlife.com/secondlife/MetaLES/16/105/2004

 

If Egon Schiele used a digital tool…

effects on some already old photos. I was in the middle as I have divided opinions in using all this digital tools. But I like the effect .. seems old .. on the road.

Have a nice Sunday

Reprise d'une vieille photo... prise avec mon Panasonic de l'époque...La maîtrise des outils numériques, prouve comment palier les faiblesses d'un très petit capteur...

 

Rebuilding an old photo ... taken with my Panasonic of the time ... The mastering of digital tools proves how to overcome the weaknesses of a small sensor ...

I know I am a photographer, but I would love to learn to paint with a brush someday...Until then, I shall cheat with digital tools i know how to use...!

Getting to some of the last of my 30+ year old negatives yet to be scanned into digital format. This one is of the John F. Kennedy Presidential Library and Museum located at Columbia Point in the Dorchester neighborhood of Boston MA. Tough negative; difficult to process well even with digital tools.

 

Took this picture with either my old Century Graphic or Pentax 67.

The film is Kodak Verichrome Pan likely developed with Kodak D-76.

Negative scanned with Canon 8800F using VueScan software.

Image edited with PSE and NIK Silver Efex Pro.

I'm a little old-fashioned in my approach to photography. Actually, I'm old-fashioned in my approach to writing and recording music, too, and in a very similar way. I love digital tools. The portability, flexibility, power and non-destructive nature of the editing process make photography, for me, a fantastic creative medium. (That non-destructive aspect is also a very powerful learning mechanism, but that is likely the subject of another study.) With all that power and flexibility comes the need for discipline, though, the need for very specific objectives when approaching an exposure, and, for me, the need for establishing rules that govern my processing methods, both in general and specific to the photograph i'm developing.

 

One rule, or philosophy, that i have applied pretty faithfully in all my creative work is to emulate analog processes and workflows as much as possible, not because i think it's better to do it this way, more because it's a better fit for the way I think and work and for the things I create. There are many, many amazing photographic artists pushing the limits of the medium with transformative digital approaches. And honestly, I love the work and the people creating those new spaces for us to explore and inhabit. But that's not my choice, at least for now. My choice is to be faithful to the analog approach, transported to digital media. That's why I do most of my editing in lightroom and silver efex. These tools feel very organic to me, and support me in a very non-intrusive way. For me, they are tools that are simple enough to stay out of my way, yet powerful enough to enable my creative process. In other words, they are tools that stay tools, for me. But i digress …

 

Today's study began its life on a terrace in Manarola, Italy, just after the sun had set. This presented the classic, tricky exposure challenge with a bright sky and a shadowy foreground. So, I exposed this image for the highlights, knowing that the shadows would retain some detail (in this case, a lot of detail.) Sure enough, the hills in the foreground were deep black in the raw image (at least 2 stops under-exposed), and the sky and sea were a little bright (maybe a half-stop over-exposed.) Getting this corrected would require a little dodging and burning in those two areas.

 

I dodged (using LR's adjustment tool) the hills to the left and right of the deep cleft that defines this beautiful village, leaving the houses and structures untouched. The roofs and flat surfaces picked up just enough sky light, and combined with the few incandescent lights, scattered through the foreground, the core of the village was at just the right exposure to produce the effect I wanted, that twilight time when the light of living shifts from the natural to the manufactured.

 

I burned the sky down to the horizon line, using LR's graduated filter with a very light touch of exposure reduction (maybe a tenth of a stop) combined with a slight increase in saturation and some small adjustments to contrast, highlights and shadows, just enough to enhance the definition in the clouds and bring out that touch of light on the leading edge of all the scattered clouds.

 

And, finally, I burned the sea (again with the adjustment tool), applying a very subtle reduction in exposure (not even a tenth of a stop) and the same approach to saturation, contrast, highlights and shadow adjustments to bring out more definition in the reflections and the texture of the surface near the shoreline.

 

And there you have it - a pretty simple study of dodging and burning in digital photography. Best of all, I kinda like the result.

 

littletinperson

 

p.s. For those of you following the continuing saga of nick, this photograph was the source for the sky in chapter 40. And charlotte hedman, with her simple question about where a person might find a sky like this, was the unknowing instigator behind this study. If you like this image, you can thank her by visiting her photostream at www.flickr.com/photos/111778568@N06/.

Let's play a little with digital tools just for fun and visual excitement, but trying also to preserve the spirit of this place in Montmartre, Paris.

 

Pour changer un peu, juste un petit jeu avec les outils numériques pour le plaisir du délire graphique, en essayant de garder quelque part l'ambiance et l'esprit de ce lieu Montmartrois.

Read it on emptykingdom

 

* Did you want to be an artist as a child? If so, why?

 

Strangely enough, I wanted to be a comic actor when I was a kid. Now, people call me a “dark artist,” but I’m just using images instead of a psychologist! I just need to express myself.

 

* You’ve been working with digital art since 1998. Any other mediums you have used?

 

No, I’ve always been a digital “worker.” Started my first graphics work on the legendary Commodore Amiga with Deluxe Paint.

 

* Have you been to school for art or are you self-taught?

 

Self-taught. I’m really familiar with computers. My first one was an Apple II when I was nine years old. I remember tons of “syntax errors” to my inputs. Then I started with Applesoft Basic.

 

* Who would you consider your influences?

 

Hans Rudolf Giger and Dave McKean, on the graphic side. I get lots of inspiration from music. I listen to almost everything; from punk to classical. There’s also a lot of influences coming from B-Horror movies.

 

* What have you learned from them and how has it contributed to your style?

 

I just admire their work. Sometimes I read comments about my works like “That’s Giger-esque” and i just smile…

 

* You use digital tools to alter photography, but where do the photographs themselves come from? Do you take them yourself?

 

Some are mine, some are just stock photos. I don’t want “great shots” to start my works. Sometimes i start with crappy low res photos. I don’t have a set path for this.

 

* What equipment do you use?

 

It’s not so important. Nikon DSLR, sometimes Canon. I really don’t care about hardware. Photoshop is useful but I can do the same work with other tools.

 

* Describe your process

 

I usually start with an idea while listening to music. Then I try to find the right photo, the right texture, the right mood. That can take a few hours or a few days. Sometimes I find things in my trash that other people find wonderful.

 

* One effect in particular, that of flesh stripped away, revealing muscle and sinew is very impressive. Could you explain how you achieve this effect?

 

Just texturing, it is technically easy to achieve. Many layers with manual displacement of the texture. The real trouble is getting that kind of effect within a serious mood. I don’t want a comic vignette, horror is a serious thing. Realism is key.

 

* Your works often have text associated with them. Are they a part of the piece meant to describe or augment the work? Are they an afterthought or the inspiration?

 

All my works have lyrics related with something from my life. Sometimes it is not related to the work directly, sometimes I just need to cry with someone :)

 

* Where do you draw your inspiration and how do you pursue or develop an inspiring idea?

 

Sex, love, nature! And music, yes I can’t live without music!

 

* What’s next for you? How do you see your art changing, progressing?

 

My art is not changing, I’m always the same. I just don’t want to die without a few scars.

 

* What inspired you to use martial art film stills in the backdrop of your website?

 

I’m a superhero.

 

 

Okay, I’m not.

 

* What trends do you see in photography/graphic design these days?

 

Too many copycats. I hate it when someone asks how to reproduce a work of mine. I’m not angry but I don’t understand WHY. Try to find YOUR way, don’t follow the paths of others!

 

Be free!

Today I decided to try the infamous all plastic Canon kit zoom lens. What can I say? With digital tools - is a "bad lens" even relevant as a concept?

Find the Bighorn Sheep

One of the last stages of post-processing a scanned film negative is to "clean up" the dust and lint using digital tools (Healing and Clone brushes) at high magnification. Once in a while, I discover something within the photo that I failed to see when pushing the shutter button.

Can you spot the bighorn sheep in this photo? You may have to click "large".

 

This photo was taken by a Kowa/SIX medium format film camera with a KOWA 1:3.5/55mm lens and Zenza Bronica 67mm SO56•2C(YA3) filter using Ilford XP2 Super 400 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop

I have edited this photo i took with my iPhone this evening. I have tried to achieve the effect of a painting but using digital tools-I hope you enjoy my work

Gui fazendo pose ao sol de fim de tarde...

:-)

 

My cat Gui in the afternoon

 

All these images are only made by digital tools, so keep in mind that my work is not a conventional painting.

leaning on my digital tools these days as my film supply dwindles. in this case, happily:

tumbleweedineden.wordpress.com/2013/12/09/seattle-light/

Right now we sculpt phantasmagoric images with digital tools. How long before we do the same thing in the real world with the language of dreams? This is an idea I've been thinking over for quite a while.

 

This file is quite large; 30 inches wide, almost 70 high. And so many layers. My poor Mac Pro is usually on its knees begging for mercy after working on a file like this. So I usually have to restart the machine and clear its head.

None of my digital photos have been altered in a traditional film darkroom.

 

Is there anything more ignorant or deceitful than gallery sales people saying "None of these photos has been digitally altered?"

 

I mean if we lived in a world where they had to tell the absolute truth, wouldn't the next thing out of their mouths be something along the lines of the following?

 

"Chemically altered using a grossly oversaturated film, and dramtically edited under the enlarger, heck yeah, but the photographer isn't proficient enough with a computer to take advantage of digital tools."

 

A camera does not "see" the same way that our eyes see, so even when pursuing "realistic" results adjustments to the image are often necessary (just as they were in a darkroom). Let's not let ignorance prevail.

© Ben Heine || Facebook || Twitter || www.benheine.com

_______________________________________________

 

This is based on a photo I took in Spa, Belgium,

but I totally repainted it with digital tools...

_______________________________________________

 

For more information about my art: info@benheine.com

_______________________________________________

  

Lonely, Really Lonely

 

A poem by Peter S. Quinn

 

I was there once totally

Lonely, really lonely

But then you came to me

And gave of your love only

 

Somewhere from deep inside

Your gladness and a smile

Kindness thought amplified

Every my way for awhile

 

Happiness in your heart

Touched and shined through

Always fresh morning start

Just by being just you

 

Nothing more required giving

Only to be there constantly

Be a partner in reality living

With efforts so competently

 

So much in freedom’s earth

Songs of its steady beat

Everything love of its worth

And you with kindness treat

 

Being for someone alone

That reaches out with a hand

Bringing on love’s own tone

So a heart will understand

 

So many are once totally

Lonely, really lonely

But then you came to be

And gave of your love only

 

Brought the footsteps through

Those that had lost the way

Just by being just you

Each every need and new day

I spent two days to learn ZBrush3 (base mesh in MAYA)

it's so amazing, can just use few fuctions and do something I want, and very easily to do the anatomy and detail for the character.

from this digital tool let me know ~ "Zbrush released artist". From some digital artist's experience, they say : keep increasing traditional skill could make your digital art work more tough. I will follow this way to my goal ~

Bologna 2009

 

a different framing from digital tool:

www.flickr.com/photos/digitaltool/3504026996/

and

the spritz version from ncaranti:

www.flickr.com/photos/ncaranti/3650938324/

 

EXPLORE July 14, 2009 #430

These are sketched digitally and I am very proud of them, because it is so different from sketching with for example charcoal, which I am very good at. I had to go a long way to achieve similar results with a digital tool.

 

Film: Kodak Tmax 100, 35mm

Camera: FM2

Lens: AF Nikkor 50mm, 1:1.8

Developer: Rollei RLS, dilution 1+4, 13 min, 24C

Stopper: Rollei RCS citron stop, dilution 1+19, 2min, 20C

Fixer: Rollei RXA fix acid, dilution 1+7, 4.5 min, 20C

Running water for 20 minutes. Final rinse with AGFA Agepon.

Scan: Epson V500 Perfection, 2400 ppi, low exposure, no digital tool applied.

Guido kept the old glass plates next to the water heater. I love that with digital tools you can take age from one place and move it to another.

 

go back to 18xx

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

Un experimento de creación que mezcla en la imagen el trabajo de arte y el contexto en que se creo ,el patio de la casa y uno de los hilos del tendedero de ropa.Luego experimente con la imagen creada hasta alejarla de la pura imagen fotográfica .Utilice un programa de edición básico (educacional foto shop) de ese tiempo .Por cierto nada que ver con las herramientas de nuestras días que automatizan y funden procesos y resultados .

 

Simpático o trágico según se mire; ahora todo el mundo se puede creer artista o creativo apretando botoncintos y teclas.

========================

Didactica de la imagen

Esta Foto se altero digitalmente, a partir de varias capas o transparencias acentuando el efecto de saturación y creando así hasta cierto punto la impresión de una foto mas o menos anciana pintada a la mano . En ese tiempo cada creador experimentábamos en el intento de crear nuestros propios efectos gráficos .....

 

=========================

Digital and mixed media arts/ federico f mendoza

La vie en rose et the daily life / daily life and creativity / art processes

An experiment of creation that mixes in the image the work of art and the context in which it was created, the patio of the house and one of the threads of the laundry rack. Then I experiment with the image created until it moves away from the pure photographic image. Using a basic editing program (educational photo shop) of that time. Certainly nothing to do with the tools of our days that automate and merge processes and results.

========================================

Didactics of the image

This photo is digitally altered, from several layers or transparencies accentuating the saturation effect and thus creating to some extent the impression of a more or less old picture painted at hand. In that time each creator experimented whit the digital tools in the attempt to create our own graphic effects …

 

Fotos colección ffmendoza

Para imágenes a alta definición,

proyectos editoriales, ediciones especiales

y otros usos, contactar al artista:

============

Collection of the artist

For HD Image,Reproductions,editorials and other uses

Please contact the artist:

www.ffmendoza.com/

========

 

Collage digital :

 

Procesos de alteración digital

 

Con la serie de fotos que tome en Mi visita a Versailles

con algunos hice ;COLLAGES, este que presento es uno bastante simple en el sentido que utiliza una sola foto y un recorte de otra foto.

 

El foto montaje digital

Es diferente del tradicional puesto que aunque el nombre refiere a la técnica artística y fotográfica de superponer negativos .El efecto se creaba utilizando en el desarrollo y revelado del papel . Era un trabajo en la camera o habitacion oscura .

. proceso complejo donde la superposición de negativos se unía al efecto de tiempo de relevado en el papel .

 

En el proceso digital con las nuevas herramientas se crean trasparencias o capas, con cada foto y que serian el equivalente a los negativos superpuestos en el proceso original fotográfico .

 

Esta manera incluso y por ahora en lo digital sigue siendo bastante trabajosa sobre todo si se quiere conseguir algo con una cierta dosis de originalidad o personalidad propia

 

Manipulación o alteración de una foto

A veces se trabaja con una sola foto y se le pueden añadir efectos y multiplicarlas en capas o transparencias con cada una de ellas pudiendo

manipular a conveniencia para crear un diferente efecto que la foto original.

Es hasta cierto punto similar al fotomontage pero su proceso y etapas creativas son diferentes .

Con la herramienta digital se usan de mas en mas automatismo de efectos pre programados y se sustituye al proceso realmente creativo.

 

Triste cuando se confunden los gestos automáticos o mecánicos de apretar botones con la creatividad

 

Texto sin corregir,no editado

ff mendoza 2009

-------------

Digital collage:

Digital alteration processes of photograph

With the series of photos I take in My visit to Versailles

With some I did, COLLAGES, this one I present is quite simple in the sense that it uses a single photo and a digital cut out of another photo.

 

The digital photo montage

It is different from traditional Photo montage since although the name refers to the artistic and photographic technique of superimposing negatives. The effect was created using the development process and the resulta expected in the impression in paper. It was a work in the camera or dark room, it was a complex process where the superposition of negatives was linked to the effect of time relieved on paper.

In the digital process with the new tools, transparencies or layers are created, with each photo and that would be the equivalent of the negatives superimposed in the original photographic process.

This way even and for now in the digital is still quite hard work especially if you want to achieve something with a certain dose of originality or personality.

 

Manipulation or alteration of a photo

 

Sometimes you work with a single photo and you can add effects and multiply them in layers or transparencies with each of them being able to manipulate at convenience to create a different effect than the original photo.It is to a certain extent similar to photomontage but its process and creative stages are different.

  

With the digital tool are used more and more automatism of pre-programmed effects from whit the reallity of creative process are replaced.

Sad when areconfused the automatic or mechanical gestures of pressing buttons with creativity

FF text, not edited

 

Photos taken from my 3 day alphagraph workshop in Metz, France. The workshop took place at ESAL Metz art school with 12 students. The basic setup was this :

DAY 1 - explore letter forms with a new digital tool.

DAY 2 - laser cut and make the letters

DAY 3 - print with a printing press

  

alphagraph is a small parametric tool developed in Processing for exploring letter forms. More can be read at the following address:

github.com/FreeArtBureau/alphaGraph

 

Another workshop of this kind had been conducted at ESAD Amiens in March 2016. Further details about this on the website workshop-lettrine-01.esad-amiens.fr/

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

Barclays Center is a multi-purpose indoor arena in Brooklyn, New York. It sits partly on a platform over the Metropolitan Transportation Authority–owned Vanderbilt Yards rail yard at Atlantic Avenue. It is part of a proposed $4.9 billion sports arena, business and residential complex known as the Atlantic Yards.

 

Externally, the arena's basic shape is that of three articulated bands, and features a glass curtain wall covered by a "latticework" made up of 12,000 preweathered steel panels, which are meant to evoke the image of Brooklyn's brownstones. An 117-by-56-foot "Oculus" extends over a section of the plaza outside of the main arena entrance, and contains an irregularly-shaped display screen that loops around on the inside of the structure.

 

SHoP's involvement with Atlantic Yards began in July 2009 when FCRC asked the firm to cloak a utilitarian scheme for the arena by sports-facilities specialist Ellerbe Becket. SHoP relied heavily on digital tools for the skin's design and fabrication, first using the software Rhinoceros to establish the surface geometry and then CATIA to further develop the form. Working with the firm's affiliate, SHoP Construction, the architects virtually “unfolded” the 12,000 individual panels and exported them to another program that “nested,” or placed, them on 59¼-inch-wide, 3/16-inch-thick steel sheets in a way that would optimize yield.

 

To produce the patina, the fabricator subjected the CNC-cut and machine-bent panels to a simulated weathering process by misting them with water. The panels were suspended from a conveyor belt, and each was exposed to 12 to 16 wetting-and-drying cycles per day for three and a half months.

 

The result is a rich coating of rust—one that makes the arena seem surprisingly in sync with the borough's industrial heritage, as though it could already be 100 years old. But even if Barclays feels as though it belongs on its site, like an architectural relic, it can't be declared a civic triumph just yet, since it is only the first component of the much larger project now expected to take 25 years to realize. Not until a few of the planned 14 residential towers are built, including some of the promised 2,250 units of affordable rental housing, and at least a few of the anticipated eight acres of public space are completed, will anyone be able to determine if Atlantic Yards, with the arena as its linchpin, will add to or detract from the streetscape of Brooklyn.

  

text partially from Joann Gonchar for Architectural Record

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

Be sure to check this publication out if you live in USA. Many helpful contributions by practicing artists. My contribution is mainly dealing with using digital options and Plein Air.

 

About the Book

 

A practical and authoritative guide to the latest materials, hottest trends, and best techniques for creating stunning artwork, The Artist’s Handbook is packed with easy-to-follow tutorials, engaging artist profiles, and inspirational galleries.

Unleash your creativity with The Artist’s Handbook —a practical, essential handbook that will teach you every step of the artistic process. Unlike other project-oriented art guides, The Artist’s Handbook emphasizes technique, encompassing drawing and sketching as well as an extensive range of painting styles.

Covering everything from pen and ink to oils and acrylics, specially commissioned illustrations accompany detailed step-by-step tutorials, while profiles of contemporary artists offer insight into a range of working methods, materials, and techniques. Helpful sidebars provide information about using digital tools such as Smart Pens, tablets, and apps to create and enhance artwork.

Kate Wilson begins with a thorough exploration of the elements of drawing and painting. Each chapter includes an informative overview, followed by an exploration of the tools and materials relevant to the particular medium, and detailed instruction and guidance for using different techniques. She then introduces you to a range of approaches using four core subjects: the human body, the environment, still life, and non-figurative. She also highlights young, emerging artists from all corners of the globe, offering examples of how they are using methods and materials in innovative ways.

  

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

This model represents Joint Assault Bridge (JAB) system mounted on M1 tank chassis. In general it is almost identical to its bigger sister, the 1:16 scale JAB model www.flickr.com/photos/21159426@N05/albums/72157675532120052 , except it is 66% size and it's diorama base is slightly different.

Like the 1:16 scale JAB model this one is also fully operational, demonstrating a full cycle of the bridge deployment very close to reality. For the purpose of demonstrating the bridge deployment the model is mounted on a diorama type base with a "ravine" filled with concrete anti-tank obstacles.

To create this model we used the same digital tooling that was generated for the 1:16 scale JAB model, only the parts were rapid prototyped 66% of the original size.

 

The model is packed in a heavy duty military grade plastic cast transit case with a custom foam lining.

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