This was well thought out and exceptional work. Particularly how you drew up a diagram of the project types. I can tell you put time into these examples and you conveyed the meaning adequately.
There's definitely something cool going on there, but I couldn't really get anywhere without the UX going haywire. Either the text adventure part would lose keyboard focus and I'd be stuck, or I'd get to an article but zoomed-in too far to read it, etc.
It seems to be a front-end for a newsletter-type thing the author makes. Is there a way to get directly to the content hiding behind the UX?
Very good material, but the page design is awful to the point of being distracting (and now I know why I kept telling myself "I'll read through this again, later, when I can concentrate more and do the excellent source material justice.")
The "Retronator Magazine" banner at the top and the nag banner at the bottom take up too much of the vertical space and combine with the width of the text column to make my viewport essentially square. Add to this the ultra-wide 1920+ pixel images that run past the edges of my screen (and are three times as wide as the text), and it should be obvious why I felt I was reading an excellent article through a toilet paper tube.
Firefox and Chromium at 1920x1080, and sorry I couldn't do this article justice.
You can always select top and bottom bars and add display:none and/or enter full screen mode. Anyway, don't give up, for me it was one of the most interesting reads this month. The author did a great job in exemplifying all projections with the retro games.
>Drawing correctly is not an art. Drawing is a much more technical skill than people give it credit.
Agreed, but also: Drawing is an art, but art is more a technical skill than people give it credit.
"What to draw, how a viewer should feel" is the job of a marketing department.
Artists work technically, putting world into medium, exactly as what this guide instructs one to do. By way of harboring the relationships, possibilities come to mind and creativity ensues. Never let them tell you otherwise.
I love everything about this post; I only think it owes more credit to itself.
I'd say there's two parts. There's the mechanical side. Putting lines/shading/etc exactly where you mean to. And there's the creative part where you make the decisions of where to place them. To be any good you need both.
I really don't say it to be obnoxious. And I don't necessarily disagree with you, but I think stating it as such overlooks some important details.
One one hand, your theory offers a fearful challenge for the mechanic and an awkward walk in the park for the puppet master, or vice versa. On another hand, I'm not sure it acknowledges how the two inform each other in art. It's that informing, whether between one mind or many, that is the creativity. And so, I mean to point out the connections between the mechanical, perceptions of the world, and the decision making, are something of a big weave. Becoming an artist can start with any one of them, and the creativity happens between.
Art history (save for some some deviation in the past 40 years) well supports this strange and crucial overlap.
The more bureaucratic view becomes more common as commerce and creativity start cherrypicking from one another.
Technically speaking, it’s all art, but we make distinctions between the practical arts and fine arts (and design arts are also separate from that). A lot of drawing is not done for fine artistic purposes, it’s a skill that can be used in many different ways. Designers learn to draw and use it in their practice, but they don’t (mostly) consider this fine art.
Some of the greatest artists to live have been using linear algebra to produce masterpieces for centuries. This just doesn't hold.
"Coming up with the picture in the first place" doesn't happen on a physical plane in the mind. One's imagination is connections and concepts which triangulate world with perspective with medium. Making that into some thing that can last and be shared not only produces the thing but builds new connections and concepts to use in production of the next thing.
If you mean "linear algebra" as in code, or computers, these are merely mediums, and tools. And as for drawing 'by eye', maybe this helps: https://www.youtube.com/watch?v=X97bhjx4EaI
Now hold on, we ought to define some terms before we start saying things like math isn't art. The two are hopelessly intertwined, and it is the ability to recognize form and beauty among the chaos that makes one an artist, not the medium through which this is realized.
The author of the article also made this: https://pixelart.academy/
YouTube: https://www.youtube.com/user/Retronator48k/videos
Just impressive. I anticipate good things happening in the author's future.