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study painting

Max Asabin

58,150 subscribers

90,510 次观看 • 5 个月前 •via X (Twitter)

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#WATCH | Shamli, Uttar Pradesh | Savi Jain of Shamli's Scottish International School topped the country by securing 499 marks out of 500 in the CBSE Class XII board examination 2025. (13.05) She says, "I am very happy. Everyone is happy. My family and my teachers are very happy. I had five subjects: history, geography, political science, english and painting. I scored full marks in 4 subjects...I used to do self-study for 4-5 hours. I want to join the civil services as an IAS..."

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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

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Internet Child

16,702 次观看 • 5 个月前

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The Vigilant Fox 🦊

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WATCH 🔴 Marco Rubio on Rumeysa Ozturk, the Turkish student who was detained: “We revoked her visa. It’s an F-1 visa, I believe. We revoked it, and here’s why—I’ve said it everywhere, and I’ll say it again. Let me be abundantly clear: If you apply for a student visa to come to the United States and you say you’re coming not just to study, but to participate in movements that vandalize universities, harass students, take over buildings, and cause chaos—we’re not giving you that visa. If you lie, get the visa, and then engage in that kind of behavior once you’re here, we’re going to revoke it. And once your visa is revoked, you’re no longer legally in the United States. Like every country, we have the right to remove you. It’s that simple. It’s crazy—stupid, even—for any country to let people in who say, ‘I’m going to your universities to riot, take over libraries, and harass people.’ I don’t care what movement you’re with. Why would any country allow that? We gave you a visa to study and earn a degree—not to become a social activist tearing up our campuses. If you use your visa to do that, we’ll take it away. And I encourage every country to do the same. Every country has the right to decide who enters as a visitor. If you invite me to your house for dinner and I start putting mud on your couch and spray-painting your kitchen, you’re going to kick me out. We’ll do the same if you come to the U.S. and cause a ruckus. We don’t want that here. Go do it in your own country—but not in ours.”

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Open Source Intel

2,920,249 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 • 5 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

107,618 次观看 • 9 天前

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

63,613 次观看 • 25 天前

Tomb Complex of Sennefer (Mayor of Thebes), located in a prominent position on the southern hillside of Sheikh Abd el-Qurna 🇪🇬, close to several other tombs from the time of Amenhotep II (of 18th Dynasty, about 1439-1413 BC). It is usually referred to as the "Tomb of Vines", because a large part of the ceiling of the burial chamber and all of that of its antechamber are decorated to give the impression of standing under an overhanging vine arbour, hung with large bunches of grapes. The tomb complex consists of underground burial chamber (TT96B), opened to the public and surface chapel (TT96A), is surveyed by a joint mission of the Centre de Recherches en Archéologie et Patrimoine (Créa - Patrimoine) (Centre for Research in Archaeology and Heritage) of ULB and the University of Liege. The mission focuses on the study and conservation - restoration of the paintings and texts of the TT96A chapel. The representation of the tomb owner's cousin, the vizier Amenemope, and other relatives, directly link the tomb visually and semantically to neighbouring cult chapel of Amenemope, TT 29, and thereby focus on Sennefer's social status and his family relations. The monument has been known since at least 1826. It was visited by Englishman Robert Hay de Linplum, who made copies for the tomb's decoration, which are now in British Museum. In 1895, English Egyptologist Percy Newberry made it subject of a very limited investigation, intended primarily to copy one of texts preserved in chapel. In 1898, it was eventually published together with plans, line drawings and a complete record of texts of the lower chambers. This was done by Frenchman Philippe Virey. This publication is invaluable because several details from the antechamber were lost after his record was made. In none of these publications is there any indication of the presence of any grave goods; although some of goods stored in upper cult chamber may eventually be identified as such. There is no evidence to prove that Sennefer was actually buried in this tomb. It is possible that Sennefer received an unusual personal favour from king, allowing him the privilege to be buried in the empty tomb (KV42) of the wife of Tuthmosis III, in Valley of the Kings. Vessels with names of Sennefer and his wife, Senetnay, were found in this tomb. Over the intervening years there have been numerous attempts to rob the tomb of its paintings. One such scene is in Florence Museum. Other scenes were returned but, although originally restored incorrectly, are now in their correct places. During 1994, tomb suffered damage from a violent storm. TT96B was opened to the public soon after its discovery and still receives several thousand visitors each year. However, painting of the walls and pillars are now protected and secured behind glass, with fairly good lighting, although only placed at floor level. This addition of protection and lighting made good photography difficult, even when it was still allowed. Visitors are only allowed in underground part of the complex, the burial chamber and its antechamber, accessed being made via the steep passage stairway from the courtyard. Fortunately, these two chambers, unlike most of the other private tombs of 18th Dynasty, are beautifully decorated. Access to the upper cult chambers has been unavailable, mainly due to its dangerous condition and the fact that they were used as store rooms. 🎥© kbad_ (IG) #archaeohistories

Tomb Complex of Sennefer (Mayor of Thebes), located in a prominent position on the southern hillside of Sheikh Abd el-Qurna 🇪🇬, close to several other tombs from the time of Amenhotep II (of 18th Dynasty, about 1439-1413 BC). It is usually referred to as the "Tomb of Vines", because a large part of the ceiling of the burial chamber and all of that of its antechamber are decorated to give the impression of standing under an overhanging vine arbour, hung with large bunches of grapes. The tomb complex consists of underground burial chamber (TT96B), opened to the public and surface chapel (TT96A), is surveyed by a joint mission of the Centre de Recherches en Archéologie et Patrimoine (Créa - Patrimoine) (Centre for Research in Archaeology and Heritage) of ULB and the University of Liege. The mission focuses on the study and conservation - restoration of the paintings and texts of the TT96A chapel. The representation of the tomb owner's cousin, the vizier Amenemope, and other relatives, directly link the tomb visually and semantically to neighbouring cult chapel of Amenemope, TT 29, and thereby focus on Sennefer's social status and his family relations. The monument has been known since at least 1826. It was visited by Englishman Robert Hay de Linplum, who made copies for the tomb's decoration, which are now in British Museum. In 1895, English Egyptologist Percy Newberry made it subject of a very limited investigation, intended primarily to copy one of texts preserved in chapel. In 1898, it was eventually published together with plans, line drawings and a complete record of texts of the lower chambers. This was done by Frenchman Philippe Virey. This publication is invaluable because several details from the antechamber were lost after his record was made. In none of these publications is there any indication of the presence of any grave goods; although some of goods stored in upper cult chamber may eventually be identified as such. There is no evidence to prove that Sennefer was actually buried in this tomb. It is possible that Sennefer received an unusual personal favour from king, allowing him the privilege to be buried in the empty tomb (KV42) of the wife of Tuthmosis III, in Valley of the Kings. Vessels with names of Sennefer and his wife, Senetnay, were found in this tomb. Over the intervening years there have been numerous attempts to rob the tomb of its paintings. One such scene is in Florence Museum. Other scenes were returned but, although originally restored incorrectly, are now in their correct places. During 1994, tomb suffered damage from a violent storm. TT96B was opened to the public soon after its discovery and still receives several thousand visitors each year. However, painting of the walls and pillars are now protected and secured behind glass, with fairly good lighting, although only placed at floor level. This addition of protection and lighting made good photography difficult, even when it was still allowed. Visitors are only allowed in underground part of the complex, the burial chamber and its antechamber, accessed being made via the steep passage stairway from the courtyard. Fortunately, these two chambers, unlike most of the other private tombs of 18th Dynasty, are beautifully decorated. Access to the upper cult chambers has been unavailable, mainly due to its dangerous condition and the fact that they were used as store rooms. 🎥© kbad_ (IG) #archaeohistories

Archaeo - Histories

34,131 次观看 • 1 年前