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119 comments found!
Hmmm, I still can't get it working (on M3). As far as I can tell, it isn't doing anything. Could there be some difference between the script as you're using it, and as you posted it?
Thread: Material color script, lock actor script? | Forum: Poser - OFFICIAL
Ooops, except...I couldn't get it to work. :( Should I have something in particular selected before I run the script, or am I leaving out a step?
Thread: Material color script, lock actor script? | Forum: Poser - OFFICIAL
Wow Ockham, that's pretty darn cool! One minor thing - how about way to add or remove finger parts from the list? When removed, maybe an entry for "right fingers" and "left fingers" (which would include thumb parts)? A second version (rather than a way to switch within the script) would work well too, if making a switch is problematic. Again thanks, that's much nicer than what I was expecting given how quickly you replied.
Thread: Material color script, lock actor script? | Forum: Poser - OFFICIAL
If you mean children in the IK chain, then I guess my answer is that it would be great to have the ability to do both. If you mean child props and such, I guess it would be good to have both there too. Perhaps an explanation of how I use lock most often would help. Usually, I'm trying to get hands into position with the transform tool, and I lock hip, abdomen, chest, one or both collars, and one or both hands. It would be great to have a way to lock and unlock the hip, abdomen, chest and collars all at once. Thanks very much for writing that script btw, I'll test it now and let you know what I think.
Thread: Custom UI by Kamilche? | Forum: Poser - OFFICIAL
Well, it didn't change Poser's UI, it's just a normal Python script; it provides an alternate way of doing things. Here's a screenie (70KB):
http://img41.exs.cx/img41/791/Kamilche_UI.jpg
Beware, I haven't tested it, and it crashed P5 the first time I messed with it. It doesn't like nested folders past the first level. I played with it for a few seconds after restarting P5 and it seemed fine as long as I stayed away from the offending folders.
It would be a very useful script if there was a way to replace that first library panel with a folder browser. edit: why on a forum of this size is there no readily-accessible link to how post formatting works?
Message edited on: 10/04/2004 13:20
Thread: Hair Conversion Tutorial? | Forum: Poser - OFFICIAL
Good stuff, I DLed the tut and I'm downloading the very nice-looking hair. How'd I miss that freebie? Thanks.
Thread: I have more than 100 items in one of my libraries' folder... | Forum: Poser - OFFICIAL
As far as I know, the only poses you mustn't move are the DAZ INJ and REM folders, which are (wrongly) referenced by some character packages. Ah, okay, maybe that's what the problem was. Doh! I have all my DAZ morphs in subfolders, and I've been loath to put the MAT folders in subfolders. Sounds like I have it backwards neh? CorrectReference Pro easily takes care of any problems encountered by moving things around. I'll have to take a closer look at CR P.
Thread: About composition | Forum: Poser - OFFICIAL
*If I look at some of my work, I can see places where I've followed the rules, and places where I haven't; in both cases, without knowing what the rules were. I just did what I thought worked at the time.*That's precisely why knowing the rules is important. It isn't that you have to follow them, but rather to know how and when to break them, and that you are breaking them.
So here's the chicken and egg question. Do artists who know them follow these rules consciously, or are the rules just an attempt to formulate what an artist does instinctively?
No need to attempt an answer, by the way. I strongly suspect there isn't one; or, more precisely, there are two diametrically opposed answers which are both true. :)
You've pretty much answered your own question here (I think). The answer to both questions is...yes, sort of. It isn't as simple as the "it's all good" mentality, however. The human psyche is NOT infinitely plastic or abstract, it has a lot of very consistent rules, and it determines the rules of art. The problem is that no one understands the human psyche fully (or even comes close), so we have many grey areas (actually more grey areas than not).
I remember once playing one of my musical compositions to someone with training. "You can't resolve that chord like that", he said, "it's against the rules of harmony." So what? I did it, and it worked for me. In my opinion, being an artist is about trusting your own senses to report the truth of what you're doing.
I don't really have a clue what being an artist is about - at least in terms that can be expressed with words. I remember hearing once that (paraphrasing) art prepares the viewer for death. I don't go in for a lot of the high-flying crap that gets thrown about concerning art, but that definitely resonated with me. I have a much more instrumental view of art (my basic philosophy of life is scientific/Darwinian) than most; my background is graphic design, not fine arts, so I'm sure that has a lot to do with it.
I'm just a beginner when it comes to art theory in practical matters, and pretty much clueless as to the more high-falutin' end of these things.
To wend my way back to your comment about trusting one's senses, I agree to a great extent. On the other hand, one's senses are informed by many experiences, ideas, temperaments, etc., ad infinitum.
Btw, your friend was probably wrong when he said "can't." I know nothing of music, but I know enough about art to know that intentionally breaking the rules doesn't equal "can't." Breaking the rules can often be the way to go.
Message edited on: 09/30/2004 15:07
Thread: I have more than 100 items in one of my libraries' folder... | Forum: Poser - OFFICIAL
The problem I have with moving folders around is that it seems to come back and bite me; when I've moved MAT folders around, and subsequently used them, I've had to track down every referenced file. Is there a way to know what folders one shouldn't move? Is it just MAT and MATPose files that behave this way?
Thread: I doubt I will get many replies.... | Forum: Poser - OFFICIAL
Thread: Hair Conversion Tutorial? | Forum: Poser - OFFICIAL
I'm thinking of hair where "close" doesn't cut it, like Cool Coils. I was trying to fit the CC to V PT and no amount of tweaking would make it fit. I'd also like to convert Kozaburo's hair to M Girls and Mike. Btw, are there any buzzcuts available for Vic? Think Susan Powter here, if you remember her from her brief fame some years back. I keep reading that magnets are what I want to use, but I don't know magnets at all. I tried Traveller's mag tut but right off the bat I got very different results (the transforms he gave resulted in magnets way off from what he showed in his pics) and gave up after a short bit. I want to try geep's mag tut before trying to make Traveller's tut work. In a nutshell, how would mags work here? Is it as simple as creating a magnet from the target object (destination head) and then applying it to the hair I intend to convert?
Thread: Making crude props in P5? | Forum: Poser - OFFICIAL
Thread: Making crude props in P5? | Forum: Poser - OFFICIAL
Okay, let's try that again. This board likes eating posts I see. I couldn't get it to work - the drag-select is only highlighting a single square at a time, and the prop spawned only has one square, not three. What's the difference between spawn prop and create prop btw?
Thread: Making crude props in P5? | Forum: Poser - OFFICIAL
Thread: About composition | Forum: Poser - OFFICIAL
Okay, I have a bit more time now, and after re-reading what I wrote I think a couple of points need expansion.
Keep in mind it's been more than a few years since art school, so I'm almost sure to be less than precise with my terminology here.
Focal point (or focal area):
this is one of those rare hard rules in art; any composition must have a focal point. If you don't consciously decide where your FP will be, it's still there, but it's decided by happenstance. Thus, it's always best to be deliberate about FPs.
Basically, you want to frame everything in terms of your focal point if you want to achieve solid composition. Here are some considerations in how to do this:
Design/flow: when possible, try to pose your figures and objects, and arrange your lines, so that they point towards the FP, or contribute to the flow of the composition, or both. For example, when a figure's forearm can be pointed towards the FP, and you lose nothing by doing so, and especially when you contribute to the flow as well, then go for it.
A note on flow; think in circles here. One ideal flow is a continuous circle around the area of the golden mean (or "rule of thirds"), with the FP somewhere on that circle. One crucial idea in flow is to avoid leading the viewer's eye off-canvas.
Contrast: placing the area of highest contrast (whether the contrast is one of value (light/dark), color, detail (high vs. low) strategically around or near or leading to the FP is an ideal way to solidify its primacy.
Other Stuff
The rule of thirds: this is just a sort of shorthand for the golden mean. Divide your canvas horizontally and vertically into thirds; the lines, and especially the intersections, are great places to put your FP (and important elements in general).
Tangents: tangents are a big no-no. A tangent is an element that just barely touches something (like another element or the edge of the canvas), but doesn't overlap. Tangents tend to ruin the illusion of depth, create confusion in the viewer, and contribute to poor composition in general.
edit: tangents are elements that touch and are at different depths - it's okay to have things touching, if that's what you intend.
Along similar lines, there are certain framing issues. Don't cut figures off (with the edge of your canvas) at the knees, elbows, or in general at joints. Place a bit of one side of the joint or another into the composition.
More on the L-Shape, or rather shapes in general. It helps a LOT if you can start to think of your compositions in different terms, through different "lenses" if you will. It's a lot like seeing your work with a different pair of eyes, and you shift constantly to evaluate them in different terms as you go. Look at your comp and just see and think in terms of value (light/dark). Then do the same for lines, then color, then design, etc. To get this all back to shapes - if you learn to look at your comps this way, you'll start to see each element (line, value, color) as shapes. Work with these shapes (in the broad sense, the overall comp, not in the nitpicking sense), and try to be conscious of them, because your viewers will be impacted by them (probably unconsciously).
Protip: to help you see your comps as comps, try looking at them without focusing your eyes (focusing in front of or behind the comp). If you find that difficult, just squint. You'll find by relaxing your eyes or squinting when evaluating a comp, you can get a very good impression of the broad strokes (in terms of value, color, etc.)
Oh yeah, one last tidbit; long shots (camera further from subject) distance the viewer from the subject mentally (they may for example suggest loneliness); close-ups do the opposite. Upshots (camera pointed at subject from below) place the viewer in an inferior mental position to the subject (my guess is it's the whole child/parent thing, but that's just my guess) and suggest power and dominance; and downshots do the opposite.
Message edited on: 09/29/2004 15:33
Message edited on: 09/29/2004 15:40
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Thread: Material color script, lock actor script? | Forum: Poser - OFFICIAL