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study painting

Max Asabin

58,183 subscribers

82,688 次观看 • 8 个月前 •via X (Twitter)

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Infinity Nikki

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I heard VRC was buggy, but this is RIDICULOUS Finally finished my low poly VRC avatar based on Adfree.EXE 👾⚠️【SVA】's design . Been working on this over the last few months off and on to study low poly modeling, and I can finally call it complete Everything is made from the ground up. Modeling, texture work (though referenced from Adfrees ref sheet) weight painting, and naturally I gave it some face tracking. I also finally had an excuse to use Poiyomi Pro's vertex glitch and vertex rounding features :D This was a super fun project and it feels great to see it finally completed C: Maybe next time I'll go for making an avatar with a higher poly count and more detail (Before anyone asks, I don't plan to make this clonable or share it since I don't own the design lol)

Threevee

46,903 次观看 • 7 个月前

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🚨ANOTHER Polymarket SCAM by ISW ! 🚨 This is time making up fake counterattacks to rug a 99c YES market. For context, ISW (Institute for the Study of War) is the official resolution mapper. They are well known to abuse their position to scam Polymarket by painting fake advances. They even had to publicly appologised after caught red handed in November. here is the timeline of their latest rug : > This morning Russian channels release video of Russians soldier raising flags all over the town of Ternuvate > ISW paints a Russian presence in the town > price for the corresponding market shoots up to +99c > ISW reverse their changes a few hours later citing rumors of a Ukrainian counterattack > Price immediately crashes back down > NO shares that were bought at 0.5c are now worth 25c (50x) --- WE ARE HERE --- Problem is that the "evidences" behind this counterattack are totally fabricated Let's examine them bellow 👇🧵

Internet Child

16,931 次观看 • 7 个月前

“COVID Vaccines 2.0”: Attorney Warns Bird Flu Shots Will Be a ‘Replay of COVID’ Attorney Tom Renz has issued a stark warning about the FDA's decision to grant Emergency Use Authorization (EUA) to bird flu mRNA vaccines. Looking ahead, he says, “So what I would expect now is when Disease X rolls out, when the bird flu is something that they're gonna claim has made some sort of a dent in the human population, they're gonna try and push the bird flu vaccines in the same way that they pushed the COVID vaccines.” Renz cited a study showing gain-of-function research on bird flu in the United States before painting a chilling picture of the future. “Now, we can expect that there will be an oops, or it will somehow just appear in nature, despite the fact that bird flu has been around for decades and has never jumped to humans in any substantial way. And then they will have a vaccine just sitting there, ready to go, so that they can force it into our arms again. It will be a replay of Covid.” Tom Renz

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The Vigilant Fox 🦊

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Open Source Intel

2,921,306 次观看 • 1 年前

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

Emily

20,940 次观看 • 6 个月前

Look at this crucifixion. There are no nails. There is no blood, no wound, no crown of thorns. And you are not looking up at Christ, the way every crucifixion in history has asked you to. You are looking down at him, from above, as if you were God... The painting is Christ of Saint John of the Cross, made by Salvador Dalí in 1951, and it hangs in the Kelvingrove Art Gallery in Glasgow. It began, as so much of Dalí's work did, with a dream. He had been struck by a small, almost crude drawing made in the sixteenth century by the Spanish mystic Saint John of the Cross. While imprisoned in Toledo, the friar had a vision of the crucifixion seen from an impossible angle, from above, looking down on the bowed head and outstretched arms, and he sketched it quickly. Nothing like it existed in the entire tradition of Christian art. Centuries later, Dalí saw a reproduction, and it stayed with him. Then, in 1950, he had what he called a "cosmic dream." In his own words, written beneath his studies for the painting: "I saw this image in color and which in my dream represented the nucleus of the atom. This nucleus later took on a metaphysical sense; I considered it the very unity of the universe, the Christ." In the dream he saw Christ hovering above the bay of Port Lligat, the little Spanish fishing village where he lived, and a voice said to him: "Dalí, you must paint this Christ." He began the next morning. At first he intended to include the wounds, but near the end, he dreamed again, and this time he saw Christ with none of it. No nails. No blood. No thorns. He erased suffering from the cross entirely. To get the body right, he hired a Hollywood stuntman and had him suspended from an overhead gantry in the studio, so he could study exactly how a real human body hangs in the air, how gravity pulls at it. The result is a figure of impossible calm, floating in a dark sky above an ordinary harbor where two fishermen go about their day, unaware of what is happening above them. Dalí painted the moment as it might be seen from outside of time, from above the world, where the horror has been lifted away and what remains is the shape of the thing itself: a man, suspended between the sky and the sea, at the center of everything. Saint John of the Cross, whose small drawing began all this, once wrote a line that could serve as the caption to this painting: "In the evening of life, we will be judged on love alone." I started my newsletter because the past is full of masterpieces like this one, and so few people ever stop to show us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

Look at this crucifixion. There are no nails. There is no blood, no wound, no crown of thorns. And you are not looking up at Christ, the way every crucifixion in history has asked you to. You are looking down at him, from above, as if you were God... The painting is Christ of Saint John of the Cross, made by Salvador Dalí in 1951, and it hangs in the Kelvingrove Art Gallery in Glasgow. It began, as so much of Dalí's work did, with a dream. He had been struck by a small, almost crude drawing made in the sixteenth century by the Spanish mystic Saint John of the Cross. While imprisoned in Toledo, the friar had a vision of the crucifixion seen from an impossible angle, from above, looking down on the bowed head and outstretched arms, and he sketched it quickly. Nothing like it existed in the entire tradition of Christian art. Centuries later, Dalí saw a reproduction, and it stayed with him. Then, in 1950, he had what he called a "cosmic dream." In his own words, written beneath his studies for the painting: "I saw this image in color and which in my dream represented the nucleus of the atom. This nucleus later took on a metaphysical sense; I considered it the very unity of the universe, the Christ." In the dream he saw Christ hovering above the bay of Port Lligat, the little Spanish fishing village where he lived, and a voice said to him: "Dalí, you must paint this Christ." He began the next morning. At first he intended to include the wounds, but near the end, he dreamed again, and this time he saw Christ with none of it. No nails. No blood. No thorns. He erased suffering from the cross entirely. To get the body right, he hired a Hollywood stuntman and had him suspended from an overhead gantry in the studio, so he could study exactly how a real human body hangs in the air, how gravity pulls at it. The result is a figure of impossible calm, floating in a dark sky above an ordinary harbor where two fishermen go about their day, unaware of what is happening above them. Dalí painted the moment as it might be seen from outside of time, from above the world, where the horror has been lifted away and what remains is the shape of the thing itself: a man, suspended between the sky and the sea, at the center of everything. Saint John of the Cross, whose small drawing began all this, once wrote a line that could serve as the caption to this painting: "In the evening of life, we will be judged on love alone." I started my newsletter because the past is full of masterpieces like this one, and so few people ever stop to show us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

James Lucas

109,312 次观看 • 1 个月前

Incredible result in the Midjourney v8.2 test 🤯 Creative Statement: I stopped showing my best creations on X because of the daily thefts, but now Nikita is demonetizing those profiles and the platform has finally become a comfortable network for creators. In 2022, after the arrival of Midjourney, I decided to dedicate myself full-time to diving deep into this emerging culture. With my background in audiovisual production, I knew this new culture would be my future. That very risky decision brought difficulties at the beginning. Then, after 12-hour workdays, I started landing collaborations. Now it’s time to develop series and projects and start reaping the rewards.Everything has changed a lot. All platforms are flooded with AI creations, which has slowed down my strategy. Every day there are purges of AI channels on Instagram and YouTube. To avoid that problem, I’ve had to present myself as a traditional painter so I don’t fall into the pure AI niche. I will present my series drawn by hand, showing a human side. You might think you can create an AI-generated video that simulates painting by hand, but in reality, it will be flooded with comments calling it AI, and you’ll create distrust among your followers. It’s not a real solution. I believe that if you decide to take this path of producing professionally and making a living from it, you should do a market study beforehand. (This isn't an MJ promo AD; it's just a test of its latest update.)

Incredible result in the Midjourney v8.2 test 🤯 Creative Statement: I stopped showing my best creations on X because of the daily thefts, but now Nikita is demonetizing those profiles and the platform has finally become a comfortable network for creators. In 2022, after the arrival of Midjourney, I decided to dedicate myself full-time to diving deep into this emerging culture. With my background in audiovisual production, I knew this new culture would be my future. That very risky decision brought difficulties at the beginning. Then, after 12-hour workdays, I started landing collaborations. Now it’s time to develop series and projects and start reaping the rewards.Everything has changed a lot. All platforms are flooded with AI creations, which has slowed down my strategy. Every day there are purges of AI channels on Instagram and YouTube. To avoid that problem, I’ve had to present myself as a traditional painter so I don’t fall into the pure AI niche. I will present my series drawn by hand, showing a human side. You might think you can create an AI-generated video that simulates painting by hand, but in reality, it will be flooded with comments calling it AI, and you’ll create distrust among your followers. It’s not a real solution. I believe that if you decide to take this path of producing professionally and making a living from it, you should do a market study beforehand. (This isn't an MJ promo AD; it's just a test of its latest update.)

hedoήist

64,293 次观看 • 2 个月前