Finer Focus دانلود نرم افزار Finer Focus 1.3 نرم افزاری کاربردی در زمینه افزایش کارایی دسکتاپ در سیستم عامل مکینتاش میبلشد که امکان کاهش و حتی حذف موارد ناخواسته بر روی دسکتاپ را فراهم می کند و موجب افزایش خلاقیت و تمرکز می گردد. Word art is essential in visual areas such as art, marketing, advertising, and design, among others. It is important as it manages to convey emotions and public attention. If you want to improve your designs, focus on generating positive reactions in your viewers when it comes to word art. Don’t neglect the little details. Spot The Differences - Find The Difference Game is a fun free game hidden differences between two pictures, find 5 differences and spot it. Compare pictures of food, detect the differences. Attention test, concentration exercises with the find differences - hidden differences game. Find 5 differences - guess the differences is a kind of differences game with many food images.
The objective of this project is to produce a drawing which requires focused effort and attention to detail. The subject should have ‘a substantial number of detailed parts’.
Attention to detail and accumulation of detail are two different approaches to this project. The first requires minute observational skills and the draughtsmanship to convert he observation in to a detailed representational drawing. The ultimate example of this is hyper-realism. Why you would want to made a drawing look like a photograph? One reason might be that you are drawing something which could not be photographed, say a fantastical beast. Alternatively, it may be a mere demonstration of technical skill. I feel that, for this approach to be valid, the drawing has to say more than a photograph would, and given that many hyper-realistic drawings use a photograph as a reference, it is not always obvious what that might be.
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A couple of years ago, I was lucky to see Peter Blake’s illustrations to Dylan Thomas’s ‘Under Milk Wood’. Blake has had a life long fascination with the poem and has created, over many years, illustrations using collage, painting and drawing. In the context of this project, his painstaking drawings of the characters come to mind. These delicate drawings done with 2H pencil look like old photographs and are either from imagination or based on friends. He shows examples of the drawings and talks about them here. The drawings are not photo-realistic; they are of a small intimate size. Most hyper-realistic drawings which I have seen in the flesh, have been very large so that imperfections of drawing are smoothed through scale.
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I have seen work by Eric Manigaud in which he reproduces photographs of Jewish victims of Nazi mental asylums. These images are important and cast a long shadow, but what does he bring to them by translating them on a large scale with pencil and graphite powder? It seems to me that the final reproduced image is less important than the respect that he has given it through extended labour.
Vija Celmins makes works which are apparently photographic but are rather drawings of the photograph as physical artifact, rather than its subject. Her work, ‘Bikini’ 1968, selects and presents a torn image which has already been selected and extracted from a magazine. Straine (Straine, 2010) points out Celmins’ affinity to, and admiration for, Georgio Morani, and describes her practice, like his, as ‘prolonged and intensive study’. Her work ‘Ocean’,1975 typifies this approach. This is less about photographic representation than minute observation and understanding. She talks about her work here, and I get a great understanding of it when she says that these works suck you in and then push you back out. You lean in to absorb the detail, then stand back to appreciate the wider image. Shortcut for bullet point mac word. Her drawings are not only very detailed but the detail is undifferentiated. They rarely have a focal point or depth.
Artists like Chuck Close and Ron Muerk produce intense, forensic investigations of the human form. It is as if, by examining every pore and hair, they might identify some inner truth. The truth revealed by Ron Muerk is perhaps more about ourselves and our reactions to the realities of human flesh, Close’s is more akin to traditional portraiture, seeking a deeper knowledge of the sitter.
A second approach to the project is through the piling up of small drawn details to create a narrative, rather than a realistic interpretation. Stephen Walker’s maps are a personal representation of place, detailing visual, historical or personally significant landmarks. His map of London is different to my map of London because our experiences of London are different. Grayson Perry’s maps are even more personal, representing life’s challenges, disasters and triumphs. The Art Fund describes Perry’s ‘Map of Days’ 2012-2013, as a self-portrait (Art Fund,
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Looking at these sort of maps, I found a delightful example by Patricia Marx, an illustrator of the New Yorker, mapping her lost gloves, and other possessions. Her map is not only a record of place, but timeline and personal testament.
These map drawings remind me of the sort I made as a child, and with my children, when they were young, of imagined countries and adventures, with layers of meaning in the made-up town and country names.
References
Art Fund, 2014. ‘Grayson Perry interview: Map of Days’, Art Fundhttps://www.artfund.org/news/2014/10/31/grayson-perry-interview-map-of-days,accessed 18 September 2017
Straine S, ‘Dust and Doubt: The Deserts and Galaxies of Vija Celmins’, Tate Papers, no.14, Autumn 2010, http://www.tate.org.uk/research/publications/tate-papers/14/dust-and-doubt-the-deserts-and-galaxies-of-vija-celmins, accessed 18 September 2017.