reminder that my text-to-speech godzilla ‘54 dub is the greatest thing ever accomplished by mankind
art blog(derogatory)
hello vonnie
Cosmic Funnies

Love Begins

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Misplaced Lens Cap

oozey mess
The Stonewall Inn
RMH
EXPECTATIONS
Monterey Bay Aquarium
ojovivo

Kiana Khansmith
Doug Jones
Sade Olutola
d e v o n

blake kathryn

ellievsbear
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@emipvg
reminder that my text-to-speech godzilla ‘54 dub is the greatest thing ever accomplished by mankind
WoodSwimmer: A New Stop-Motion Short Made Entirely by Tediously Cutting Through Wood [VIDEO]
the mayor of idyllwild
Australia in flags map
COLOUR PROCESS
Regarding my last post, my pal (and outstanding cartoonist) Chris Schweizer asked “Wait, wait, do you do values before laying in the color?” Not exactly.
I start with flat colours (usually done by my highly useful assistant Becka Kinzie) which I fiddle with in Photoshop until I’m happy with them. I use the old school four-colour palette that comics used back in the ’70s and ’80s, because: a) it keeps things simple with a limited number of colours, and b) I know what they’ll look like in print. I’ll also paint in skyscapes or what have you in backgrounds. So I end up with something where everything is filled with its full, bright, “daytime” colours:
At this point, I turn the flat colour layer OFF, and paint in shadows on a separate layer (set to “multiply”) using a prominent background colour (here, the dark orange from the sunset). The reason I turn the flat colour layer off is because I’m not a painter; I come from a black-and-white indie comics background, so it’s easier for me to think of this part of the process more like toning, rather than colouring. I apply shadows just the way I would if I were adding tones to black-and-white art:
Then I simply turn the flat colour layer back on, and my world is now full of shadows, which I can isolate and make darker or lighter using the opacity slider for the shadow layer:
From there, I create a new layer for ambient light. I select everything but the sky (which is on a separate layer for this very reason) and flood it with the desired light colour. On this page, it’s the yellow from the sunset. Then I load the shadow layer as a mask and delete it from the ambient light layer. Voila! I now have a layer of light, cut precisely to match the shadows, which I can also control the intensity of using its own opacity slider:
I throw in a layer of highlights, also using the yellow. I try not to go overboard on this, but I’m not always successful. Add in some colour holds that make distant lines recede into the background, and then the page is finished:
As I mentioned above, working in full colour doesn’t come naturally to me. But I’ve found that by keeping things simple I’ve arrived at a process that works with my drawing style (thinking in terms of graphic “blocks” of descriptive tone rather than softer, more painter-ly theories of using colour) and is relatively quick to do.
Good luck figuring out that emotion you’re feeling as you watch this dinosaur dog chores robot
You think that’s cute? Looking forward to your chores dino bot? Watch how it handles slipping on a banana peel.
Gifs: Boston Dynamics
A good boy!!!
Rocks
Ah, don’t you love them, rocks. So fun to animate too.
If you’re into drawing pixel art rocks, boy does Patreon got you covered.
The above was a joke posted by Pedro ‘Saint11’ Medeiros (on Tumblr as the game dev team @studiominiboss) before releasing his real rock formations tutorial.
Pedro’s is probably the #1 Patreon page to follow and support if you’re into condensed tutorials about pixel art. Even though they seem on the surface as being about different concrete things to draw, they hold an even stronger underlying narrative about pixel art style.
Follow Saint11 on Patreon and Twitter.
Nauris Amatnieks a.k.a. @namatnieks is a newcomer on Patreon and also has some hard knowledge to share with you. His tutorials stand out by also showing weaker ways of completing each step, things you’re usually looking to avoid.
Follow Namatnieks on Pateron and Twitter.
Finally, a fellow Deviant who I’ve been following for a long time, Kat ‘RHLPixels’, completes the current rock trend with her newest tutorial. In good old DeviantArt fashion, the format is a long image instead of the eye-catching GIFs popularized by Pedro. There’s plenty of more of these old-shool long-reads in her DeviantArt album Palettes and Tutorials.
Follow RHLPixels on Patreon and Twitter.
where was this two months ago when I was killing myself over pixel rocks????
The Parliamentary Triangle in Canberra, the capital of Australia.
Art by Carlyn Lim
Photos That look Like Renaissance Paintings
Story titles, invented by neural network
So Prof. Mark Reidl of Georgia Tech is the best kind of geek, and used some cool scripting to extract all the things on Wikipedia with plot summaries: movies, books, tv episodes, video games, etc. That’s a lot of plot summaries: 112,936, to be exact.
With a dataset this large, a neural network can achieve impressive results. Sure enough, when I trained this open-source neural network framework on just the titles alone, it consistently came up with titles that were both varied and (usually) plausible.
Below are some of my favorites, arranged roughly by apparent genre:
Action/Adventure
Titanic Buffalo Pirates: A Fight Dance Story The Bad Legend Conan the Pirate O Bullets Home Transformers Shurk Hat Dies! An Enemy of Bob (Homicide: Life on the Street) Cannibal Spy II American Hero: Fire of Crusty Lego Man Hunt Nancy Drew: The Last Day (film) Surf Crisis Legend of the Experience of Scarlet Freedom Damageboo American Midnight: Swear Dragon Problem
Scifi/fantasy
Under the Daleks Batman and Flancles: The Fun Tree The Legends of World Planet Bomberman’s Love The Enchanted Feed The Star Wars: The Santa Contact The Long Ninja Dove in the Air (film) The History of the Galaxy Bunny Lada City of the Stupid (film) Shy Castle Hamburger (Star Trek: The Next Generation) Swords and Batman: Summer Party ?
Kids/Family
The Boordeeple (2011 film) A Dog’s Toy Friends Boop (Adventure Time) A Dinosaur Quest Colonel Corn (video game) Scooby-Drum New Bear Borky the Pig (film) Excellent Very Broken Christmas The Great Bother Cat (film) Happy Cat in the Yaku Wonder Fireman and Halloween Rules Big Can Flower Home The Green Yaurglar Pig Scooby-Doo'Wagon Traps (video game) Book Dog (film)
Horror
Terror Dog Tree Screaming Zombies of Florence The Trunkelling A Vampire Time for Monster Murder’s Eagle Frozen Bat (film) Haunted Place The Sheep of Evil Barney’s The Devil’s Treachery Merry Scroobers: Crown of Evil The Steel-Pounted Murder King The Shadow of Life of Very Worgy (film) The Mystical Booged of California
Documentary
Market that Knave Spork at Bliss The White Soup An Indiana Office The Last Fish Show The Fish of Education
Restricted section (there were quite a few more of these)
Absilloved Lovers 2: Black Bearfly Dawn Horse Man Academy 5-R: Cowboy Sheeper Wydex Breed Bot 3: The Journey Kitchen Wild Bad Party 109 Pink Moon Indiscreet Maidman
And finally, a list of the most quintessential story titles, obtained by setting the creativity to near zero on a highly-trained network:
The Story of the Stranger (1994 film) The Last Day of the Story The Lost Princess (film) The Stranger (1994 film) The Last Star (1994 film) The Secret of the Story of the Stranger (1996 film) The Stranger (2014 film) The Story of the Stars The Story of the Stranger (1999 film) The Last Day of the Sun The Story of the Star Trek: The Secret of the Story of the Star Wars
Shrek: Fairytale Freakdown, Game Boy Color.
Hey resident neuroscientist @sixpenceee, wanna explain why the strawberries look red?
The perception of the strawberries appearing red is the result of two features of how our retinas work: spectral sensitivity and color-opponence. The coolest part is this perceptual illusion happens in your eyes, not your brain! (If you have color-blindness, I apologize, this illusion may not work, and this phenomenon may not be as exciting for you.)
We have three cones: long (blue), medium (green), and short (red), that change their membrane voltage based on the wavelengths that reaches them. This spectral sensitivity is arranged so that there are a few wavelengths that produce a peak response, but there’s a lot of overlap of in responses. That is, many wavelengths stimulate more than one cone. (Test it out! Draw a few vertical lines on the image below and see how many curves it can pass through.)
The colored areas above highlight the perceptive regions where your eyes and brain can to easily differentiate color. The gray areas below the curves are areas that have to be disambiguated somehow. Let’s call them “ambiguous zones”.
Notice how big the ambiguous zone is under the red and green curves. This means that there are LOTS of wavelengths that cause red and green cones to respond. So how do we tell the difference in colors if the response between red and green is the same? One way is to compare the amount of response across the three cone types. For example, if the color is a bluish green, (say 550 nm on the graph above), the green cone will respond more (that is, its membrane voltage is higher) more than the blue cone. Another way is to use local spatial information and compare the ambiguous color to the colors surrounding it.
The posted photo has lots of color values in the red-green ambiguous zone, and your brain is having a hard time telling them apart. In the case of overlapping values of color where response is similar across cones, our nervous systems need to do a little extra somethin somethin. Enter the Retinal Ganglion Cells.
Many photoreceptors, such as cones, send their signals to one or a few retinal ganglion cells nearby. Retinal ganglion cells do a lot of spatial processing in vision. If you think of your retina as an LED screen, photoreceptors (in this case, cones) would be the individual LEDs, and ganglion cells would break up the screen a grid-like fashion, so your brain can process what’s happening in one screen position relative to another. The subsections of screen are called receptive fields. (You can also think of RGC’s as that one person who always has the gossip on people physically near them. They always know what’s up, and they’ll always tell you what’s going on where they’re at.)
Retinal ganglion cells are super important in perceiving contrast and edges. They respond to opposite responses that happen in that little region of the retina. Retinal ganglion cells circular receptive fields made up in what’s called center-surround orientation. Usually, for a cell to send a signal, the center of the circular region MUST be light while the outside of the circular region MUST be dark, or vice versa. This works for color, too. For a ganglion cell on the left to fire (called a green-center ganglion), the retinal region must see mostly green, and NO red. For the cell on the right (called a red-center), the retinal region must see mostly red and NO green. (Remember, white light has all wavelengths, so it’s gonna set everything off.)
In that photo, we’re seeing various shades of color that fall in that ambiguous zone under red and green, and these green-center retinal ganglion cells get a lot of green, but there are a few red-center retinal ganglion cells that are stimulated too, since we’re in this ambiguous region between red and green perception. SO! When you look at these shades of green next to one another, your red-green opposing retinal ganglion cells will fire, telling your brain that the ambiguous color is red, and not, in fact green. If you take a slice of the image, you don’t perceive this effect as strongly because you can no longer stimulate all the cones in the circular receptive fields in entirety.
Last step: let’s test a hypothesis.
If this illusion happens because the color stimulates two cones almost equally, and relies on retinal ganglion cells to tell the difference locally, we should be able to do this with the blue/yellow color boundary as well. (Yellow is detected largely by the green cone.) We can do this by taking a picture of lemons…
and tinting it so that all the “yellow” color values end up in an ambiguous color zone… et voila! The illusion occurs again!
To see if the perceived yellow colors are in the ambiguous zone, I approximated the wavelengths by matching the color value (without shading) to wavelength using this converter. (Since I’m matching it by eye, I have low confidence in my estimation, so I made the representative rectangles wider than they actually should be.) Look at where the “yellow” values fall in relation to the responses of the cones. The “yellow” values are closer to green cone’s response curve. Our “test” is successful, the “yellow” colors actually do fall into the ambiguous zone! Huzzah!
If you’re handy with Illustrator, Photoshop, Affinity, and the ilk, try this out yourself! You should be able do it with any image that includes opposing colors (red/green, yellow/blue).
In short, there are many wavelengths to which many cones respond almost equally. Your retina has some tools that detect contrast in both brightness and color value. When a color value that falls between to opposing colors (blue/yellow, red/green), your brain relies on outputs from retinal ganglion cells to locally compare values in a spatial subregion on your retina, and tell them apart. This strategy works pretty well with natural scenes, but digital manipulation exposes where it fails. Cool!
People with color blindness basically see this way all the time. Depending on the type of color blindness, folks may have much bigger ambiguous zones. So their color differentiation relies more heavily on their retinal ganglion cells!
Here’s the technical literature (pdf) that clarified all of this for me.
BONUS: If you make the photo large, and stare at the center of it for about 30 s, the photo will appear less green, and the reds will become redder. This effect is adaptation–your brain stops paying attention to all the green cuz it’s old news. When you look away at a white screen or surface, you’ll see the inverse color values of the image for a few seconds. This image is the visual imprint the colors have left on your brain.
long time no dump
POOL PARTY
Pokemon generated by neural network
I’ve been playing around with char-rnn, an open-source torch add-on for character-based neural networks by Andrej Karpathy, using it to generate everything from cookbook recipes to superhero names to a Lovecraft/cookbook mashup.
I decided to train the neural network to randomly generate Pokemon names and abilities based on this list as a training set - and found that it was good at generating Pokemon. Annoyingly good at it - by the time it had gone through the training set 50 times, it was already fluently plagiarizing Pokemon word for word. I had to go back to my very first snapshot of the neural network (16 times through the training set), at which point it hadn’t yet learned the entire set of names and abilities, and was still coming up with hilarious new ones.
Some sample Pokemon:
Quincelax Abilities: Sturdy, Secene Grace Hidden ability: Tunged Leus
Tortabool Ability: Healy Stream
Strangy Abilities: Wharmwbra, Darp Hidden ability: Magic Guard
Staroptor Ability: Stench Hidden Ability: Stick Hat
Stangute Ability: Banger Hidden Ability: Drang
Tyrnakine Ability: Beak Eye
Minma Abilities: Buttery armor, Shell Armor Hidden ability: Weak armor
Ronch Abilities: None
Mawuh Ability: Rum Power
NSIXTYFACT: Although Switch carts contain a bitterant, N64 carts do not and are still a great addition to any gamer’s diet.