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Dæmon S.

@ dsilverz @calckey.world

Posts
18
Comments
327
Joined
10 mo. ago

I never knew who I was. I still don't know who I am. It doesn't matter anyway.

  • depth occlusion practice!

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  • @maya_the_good_apple@sh.itjust.works @artshare@lemmy.world

    This is very interesting, I liked the slight roughness of the shadows.

    I often notice this difference between the techniques of different artists: art is usually born from tracing the outlines of the form (as you did in Image 1), which eventually gets a fill color (as per Image 2). For me, on the other hand, the form is born through base filling, maybe because of the medium (a digital canvas, where a brush stroke can be digitally erased or pruned without leaving traces as it happens on physical canvas/paper). With this kind of drawing technique, depth occlusion and/or the interplay between light and shadow end up being part of the draft itself.

    Not sure which software app you use for drawing, but if advice is welcomed, two things help me doing 2.5D depth in my art: a set of water brushes which acts as a synthetic paint (it slightly smudges and blends colors while mixing a wave-like texture according to the current flow percentage; the brush in question is for Sketchbook, but there are likely similar brushes/modes for alternative drawing softwares/apps); layers (dozens of layers) and their blending modes (esp. "multiply" and "linear burn") and the blur filter. I often do posing and anatomy from my visual thoughts, but I also do rotoscoping (drawing over a reference picture) of real photos and/or from dummy/mannequin posing tools; in latter case, the reference comes with depth of its own, which I try to reproduce with the brush.

    maybe the shadows weren’t as harsh as i expected them to look

    I'd say it has partly to do with the background. Your image (esp. the Image 3) is a transparent PNG, your canvas was likely gray or white, but then you posted to Lemmy, whose UI has a dark background, so the different background ends up changing how our eyes perceive the light-shadow interplay.

  • The Best Part of Waking Up

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  • Putting the ART in ARTificial gravity

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  • @agamemnonymous@sh.itjust.works @artshare@lemmy.world

    This, with an additional caveat: it must be two (or more pairs, always an even number of) rings sandwiched on top of each other inside the so there's counterbalancing of the torque, otherwise it'd be more of a reaction wheel.

    To be fair, most sci-fi shows seem to struggle with accurate mechanisms for gravity inside the ship, which is directly related to the ship's size and shape... Which reminds me of how the ship from the Vogons (Hitchhiker's Guide to the Galaxy) is, by far, the most unrealistic one, essentially being a gigantic cube inside of which the Vogons stand as they use loudspeakers (from the vacuum of the space) to announce their bureaucratic destruction procedures for Earth 😂

    Still, I'd say USS Enterprise is the most iconic spaceship to me.

  • Putting the ART in ARTificial gravity

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  • @CIA_chatbot@lemmy.world @artshare@lemmy.world

    Back when I initially drew, I was thinking of some premises, including ionic thrusters (whose acceleration is knowingly slow) used only for changing the ship's course which would essentially be wandering naturally (and unhurriedly) towards deep space, after being built in orbit (much akin to how ISS was built) then towed to orbit near escape velocities by detachable stages before leveraging gravitational assist, like the Voyagers did. In this sense, the centrifuge would be used during free roam through deep space, when the ship isn't accelerating on its own. Also, the crew would be small (up to a dozen, but ideally three or five people, or an odd numbers of people), which would be floating in microgravity inside the rest of the ship (esp. the cockpit) most of the time.

    But thinking about your design, rings around the ship instead of ships above/below the ship, yours is a better design than mine, because it'd also include a more efficient connection hallway to/from the rest of the ship.

    I tried to draw it, keeping the pair of counterbalancing rings:

  • Putting the ART in ARTificial gravity

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  • Putting the ART in ARTificial gravity

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  • @Adderbox76@lemmy.ca @artshare@lemmy.world

    You're astronauts would be puking 24/7

    Lol

    the rings are way too small

    Indeed, the scale in which I depicted the idea isn't accurate and, in reality, the whole thing should be way bigger, which means the astronauts would be barely visible from outside the cockpit's windows.

    At least in a mental model, if these models had larger dimensions than they're currently implied to have, the spaceship's body/hull would end up heavier than the rings, even when the rings are also scaled up, because the volume and the surface of the hull is implied/expected to exceed those of the rings, whose materials should be "truss-like" (i.e. hollow) for these to be lighter than the ship's hull.

    But, welp, it's been a long while since I tinkered with Kerbal Space Program.

  • Putting the ART in ARTificial gravity

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  • @SGforce@lemmy.ca @artshare@lemmy.world

    Lol! Indeed. I guess that, in order for these configurations (especially the Option B, given potential imbalance on pitch and roll in Option A) to work, the ship must be really big. In reality, the three astronauts inside the cockpit shall be way smaller (but, then, they would be barely visible as subpixels in a 1440x1440 canvas)

  • Putting the ART in ARTificial gravity

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  • @panda_abyss@lemmy.ca @artshare@lemmy.world

    To a certain extent, yes... but I guess it will depend on factors such as the length and the weight of the rings, the weight of the gravitating things sitting on the inner part of the rings (this would be, by far, the biggest contribution to imbalance, no matter the configuration of the rings, as different things, including people, with different weights would be standing on different places across each centrifuge) and the dimensions of the spacecraft, wherein the center of mass tends to be, even with both rings. In option A, the rings are supposed to be as closest as possible to each other, with enough gap for them to rotate without friction.

    The main imbalance I can see is during ship's rotation, especially roll and pitch, given how both configurations only account for yaw balance. So the ship must be as stationary as possible in relation to itself, only changing its attitude when really needed, and doing so in the slowest pace possible, no hurry needed. That's also why I placed ionic thrusters instead of traditional rocket engines, as ionic thrusters are known to push things really slowly. This spaceship is meant to accelerate extremely slowly.

    After I draw this schematics-art, I thought of further configurations, such as Option B with the rings inside a larger husk (so the ship would become more aerodynamic, while also adding some structural strength and weight to further dampen the torque imbalance). Another alternative, for the Option A, would be four rings instead of two, with a pair on the top (as it currently is) and an additional pair on the bottom, which would make the center of mass to match the center of mass of the ship's hull.

  • Art Share🎨 @lemmy.world
    Dæmon S. @calckey.world

    Putting the ART in ARTificial gravity

  • Time-lapse: pareidolia as a tool for face drawing

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  • Time-lapse: pareidolia as a tool for face drawing

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  • @artshare@lemmy.world

    As per requests, the final art is included below.

    Alt-text:Picture of the final art originally drawn in the time-lapse, depicting a close mugshot of a feminine face meant to be a safe depiction of Lilith (demoness-goddess in occultism; here, Her more potentially disturbing features such as horns, wings, blood and hollow dark eyes are replaced by a more womanly anthropomorphic depiction which has just the pointy canines, a.k.a vampire fangs, but without the blood, as the most explicit supernatural trait).

    She is depicted as having brown skin, soft triangular face with tender blushed cheeks and round nose, dark red lips from an open mouth that reveals both her subtly-vampiric teeth and a tongue whose tip slightly touches the middle of the upper teeth, large almond-shaped eyes with expressively feminine eyelashes, wide pupils and reddish-brown irises (looking directly at the viewer), as well as a long and almost vivid red straight hair cascading onto Her shoulders (which are partially visible, featuring the clavicle bone and subtle relief from muscles and tendons in the neck).

    The background is just a solid black color.

  • Time-lapse: pareidolia as a tool for face drawing

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  • @acockworkorange@mander.xyz @artshare@lemmy.world

    Seeing from the Web UI of the Lemmy instance you're from (Mander) yields a still frame of a paused video (hence, neither a GIF nor auto-played; the video being brought as GIF is a Mastodon thing, and even there, it's not auto-play-enabled by default) which, despite appearing above the text in your instance, is sitting right above a bold-stylished "Warning" line, the text's second line which couldn't be the first line precisely because the first line is meant for the post's title.

    Maybe you're using some third-party app for accessing Lemmy, but even then, there are settings to turn off auto-play and, for most Lemmy clients (such as Voyager), it's turned off by default just like the Lemmy's original WebUI, except if you deliberately changed the settings and turned it on.

  • Time-lapse: pareidolia as a tool for face drawing

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  • @CallMeButtLove@lemmy.world @artshare@lemmy.world

    Sorry, I didn't quite understand what you meant due to the seemingly irony in the way you phrased your reply... are you asking for the picture of the art I drew in the video or, to the contrary, you're saying that the drawing I made during the time-lapse ended up as overly unsettling? (when the alt-text beforehandedly told how my art was meant as the depiction of an entity Who's originally from occultism and demonolatry)

    If it's the latter, well, this depiction of Hers is the most family-friendly one my mind could conceive, the only potentially triggering thing being Her fangs... Maybe the eye contact can be triggering to some people? (but, then, I explicitly mentioned my art as a "close mugshot" of a "feminine face" "meant to depict Lilith") In any case, that's why I wrote the post so the alt-text is duplicated (both as actual alt-text for the media, and as a explicit disclaimer before the embedded media can be played, as I mentioned to another person in the comments).

    If it's the former, I didn't initially post the final art because this is post is more about the technique (described in-text and illustrated in-video) than the drawing per se but, sure, I can post the final art as a reply to this thread if you people want it :)

  • Time-lapse: pareidolia as a tool for face drawing

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  • @acockworkorange@mander.xyz @artshare@lemmy.world

    The NSFW tag, as implemented by the platform I use (Calckey), while having some interop with Lemmy (hence one of the reasons why I use a Calckey acc instead of a Lemmy acc), ends up hiding my post even from myself as an OP.

    I mean, last time I NSFW-tagged a post of mine, I couldn't see my own thread from Lemmy.world, as Lemmy requires login (signing-in with a Lemmy account, which I haven't) to turn off Lemmy's default NSFW filtering. Therefore, marking my post as NSFW rendered me completely unaware whether there were any pending-federation replies and/or reactions, because NSFW-tagged posts can't be found as a Lemmy guest.

    Also, "Not safe for work" is too broad of a label, often mistaken for "pornography" and/or "violence", hence why Lemmy (and most social media platforms) hide these by default...

    Ideally, I'd use Calckey's "Content Warning" field, where I can explain where the sensitiveness is. But, then, Lemmy doesn't recognize Misskey's CW field, just the boolean sensitive key, hiding it even from myself and potentially breaking federation for reactions.

    Then there's the char limit, which in my case necessarily includes the title and the CC (the mention to the community handle). Lemmy uses the first line of the post body to derive the title for posts originating from non-Lemmy platforms, so the title accounts for body length. If you measure how many chars my post has, including the formatting and the handle mentioning the community, you'll realize I topped the 3000 chars configured in the Sharkey instance I'm in. I can't help but write a lot due to my AuDHD nature, so I needed to prune things from my originally lengthier text; if I pruned more things to fit a NSFW in the title as well, the text would end up incomplete (and the title would end up lengthier).

    Finally but more importantly: when showing a thread, Lemmy (and most Fediverse platforms) usually brings the text content before the attached media, especially when it's a video, which initially appears as a still of the first frame.

    My textual content isn't sensitive, nor is the "video thumbnail", just the way the video flashes for being a sped-up recording when (and if) it's played.

    And, when it comes to a typical Lemmy UI, the video will only play if, and only if, the person deliberately clicks it (that is, when auto-play is turned off, which is the default for web UIs from most Lemmy instances). Given how the text comes before the video and the warning got this pretty visible, bold font format, I guess it's enough for someone who's sensitive to flashing lights to consume just the text while refraining from watching the time-lapse.

    I see you're neither this community's mod (Zombiepirate) nor the lemmy.world's admin (ruud, who's also the admin of calckey.world), so I'll let it for actual mods and admins to decide if my post is sensitive: if they decide my post isn't adequate and must be removed, okay, fair enough.

  • Art Share🎨 @lemmy.world
    Dæmon S. @calckey.world

    Time-lapse: pareidolia as a tool for face drawing

  • Time-lapse: the surreal encounter between two owls

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  • Art Share🎨 @lemmy.world
    Dæmon S. @calckey.world

    Time-lapse: the surreal encounter between two owls

  • Request to speakers of languages other than English, French and German

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  • @shads@lemy.lol @asklemmy@lemmy.ml

    LOL! It's a funny thing from us Brazilians: whenever we see/hear mentions of either Brazil and/or unique national/regional Brazilian aspects, we tend to get this ecstatic feeling of "Brazil mentioned". Glad you people enjoyed it! 😄

  • Bubo ascalaphus and the wanderer man

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  • @acockworkorange@mander.xyz @artshare@lemmy.world

    Um, sorry? No, today's not my "cake day" (or account's "birthday", as some people seem to call it); for this Sharkey/Calckey profile of mine, it's July 13th... but I personally don't see a purpose in commemorations regarding the specific day and month when a Fediverse account was created (this "cake day" thing seems to be part of a Reddit-inherited part of Lemmy culture; as Reddit wasn't exactly a part of my digital existence, it's a social concept I don't really comprehend).

  • Bubo ascalaphus and the wanderer man

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  • @artshare@lemmy.world

    Bonus: I built a behind-the-scenes layer disclosure, followed by a comparison between the drawing and real photos of Bubo ascalaphus.

    The real photos are included so anyone, regardless of knowing this specific species, can have a visual reference to compare and notice the origin for each specific aspect seen in the drawing. It seems overly specific to depict the exact species/genus among many, because it is: my intention was to depict a very specific, Bubo ascalaphus owl, just like my previous art was intended to depict an Athene cunicularia owl. The reason is because both species and their genera have very specific, symbolic (and esoteric/religious) meanings to me.

    For the layer disclosure, I exported my Sketchbook project as a .psd (Photoshop file, because the layers within the Sketchbook's .tiff project file are only recognized by Sketchbook itself), then I imported it using GIMP, then I isolated each layer specifically building up the depiction of the owl (other layers are related to other parts of the art such as the man, the landscape, the sky and the crescent moon), then I copied each layer against a transparency mesh pattern and rearranged them into the diagram-like arrangement you see.

  • Art Share🎨 @lemmy.world
    Dæmon S. @calckey.world

    Bubo ascalaphus and the wanderer man

  • Time-lapse: drawing of a burrowing owl (Athene cunicularia)

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  • @ace_garp@lemmy.world @artshare@lemmy.world

    The Burrowing Owl is now my favourite, after finding out about them last year.

    To me she was quite a recent discovery, too, part of a still ongoing personal esoteric-motivated research. Initially, I stumbled upon the knowledge regarding two of her cousins, A. noctua (known as "The Owl of Athena") and A. noctua lilith (Lilith Owl/Syrian Little Owl, likely to become a full species, A. lilith). Only when I proceeded to read more about the genus is when I discovered the A. cunicularia, whose unique underground-nesting behavior immediately reminded me of Ereshkigal. I became happier when I learned that A. cunicularia can actually be found where I live (Brazilian southeast), although I couldn't get to see one, yet.

    Nice to see your process. Using the mirroring tool is a top idea to create symmetry.

    Yeah, also it's particularly useful for drawing faces, complexions and bodies, I often prefer drawing subjects facing the viewer partly due to how much easier it is to draw using symmetry than drawing, for example, angled/tilted scenes, where my depiction of perspective may end up messy when not rotoscoping from a pose reference. Plus, it adds to the symbolic/esoteric aspect within my drawings.

    I like this picture a lot, thanks for sharing it.

    Glad you liked it, enjoy!

  • Time-lapse: drawing of a burrowing owl (Athene cunicularia)

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  • @artshare@lemmy.world The final art (couldn't include it alongside the time-lapsed video in my initial post due to Lemmy-Sharkey integration bottlenecks, so I'm posting it separately as a comment/reply):

  • Art Share🎨 @lemmy.world
    Dæmon S. @calckey.world

    Time-lapse: drawing of a burrowing owl (Athene cunicularia)

  • Just Post @lemmy.world
    Dæmon S. @calckey.world

    Today is Human's Day

  • Request to speakers of languages other than English, French and German

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  • @shads@lemy.lol @asklemmy@lemmy.ml

    Brazilian Portuguese: "Por gentileza, empilhe as cadeiras ao final do dia".

    If colloquial or more informal translations are desired:- "Empilhar as cadeiras não faz cair a mão" (roughly "you won't lose your hands if you take the time to stack the chairs")- "ô mossss, empilhascadêra fazenofavô?" (A very informal transcription from "Mineiro" (people from the state of Minas Gerais) accent for "Hey girl/boy, [can you] stack the chairs, doing [everyone] a favor [please]?"

  • Ask Lemmy @lemmy.world
    Dæmon S. @calckey.world

    Does Internet still care looking onto steganographed/enciphered data?

  • Just Post @lemmy.world
    Dæmon S. @calckey.world

    Existence can't help but rely on itself to be proven

  • Superbowl @lemmy.world
    Dæmon S. @calckey.world

    You're being watched

  • Just Post @lemmy.world
    Dæmon S. @calckey.world

    The summoning requirements were updated

  • Superbowl @lemmy.world
    Dæmon S. @calckey.world

    Smile for the selfie

  • Bate-Papo @lemmy.eco.br
    Dæmon S. @calckey.world

    Sobre a Lei 15.211

  • Fediverse @lemmy.world
    Dæmon S. @calckey.world

    evil.social down for weeks

  • Just Post @lemmy.world
    Dæmon S. @calckey.world

    Mastodon Live Feed is gone

  • Bate-Papo @lemmy.eco.br
    Dæmon S. @calckey.world

    O propósito artístico do humano robótico

  • Desabafos @lemmy.eco.br
    Dæmon S. @calckey.world

    A realidade da inexistência e o esquema Ponzi cósmico