I think the face's appearance would be affected as much by the personality thrusting into it as by the bone structure beneath it. Assuming the flesh is sensitive enough to really convey the play of inner life, the person's own facial movements and expressions for passion, sarcasm, surprise, laughter, pleasure and pain would be familiar to others even though in different flesh, just as a song is familiar on any instrument
Someone once said that when we have more laws than anyone can enforce much power is given to the authorities to decide which laws to enforce.
And when.
And against whom.
Seems like the idea is to use colors we actually see, rather than an imagined version of them, while not having a photo image override one's own artistic sense of all the rest, the effects of proportion, perspective, near and distant lighting, etc.
Painters show us that our experience of color is deeply affected by context. I wonder how these raw environmental color-captures feel if washed into original drawings without the nuanced tone adjustment called for by these other factors, though adjustments might diminish the direct reality of the colors after all.
Course, who's to say that any adjustments are really called for? Some disjunctures might seem more artificial than near-miss choices from the computer's array of hues, and yet the effect still interesting anyway
Slashdot Mirror
I think the face's appearance would be affected as much by the personality thrusting into it as by the bone structure beneath it. Assuming the flesh is sensitive enough to really convey the play of inner life, the person's own facial movements and expressions for passion, sarcasm, surprise, laughter, pleasure and pain would be familiar to others even though in different flesh, just as a song is familiar on any instrument
Someone once said that when we have more laws than anyone can enforce much power is given to the authorities to decide which laws to enforce. And when. And against whom.
Seems like the idea is to use colors we actually see, rather than an imagined version of them, while not having a photo image override one's own artistic sense of all the rest, the effects of proportion, perspective, near and distant lighting, etc. Painters show us that our experience of color is deeply affected by context. I wonder how these raw environmental color-captures feel if washed into original drawings without the nuanced tone adjustment called for by these other factors, though adjustments might diminish the direct reality of the colors after all. Course, who's to say that any adjustments are really called for? Some disjunctures might seem more artificial than near-miss choices from the computer's array of hues, and yet the effect still interesting anyway