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he/him | amateur hairdresser | simply the best at being wrong on the Internet

Page 263 of Light and Color in the Outdoors, by H.M.J. Minnaert At the top of the page image, Distant hills disappearing in a brightening veil of mist. (Photo by Pekka Parviainen Underneath, this text: A distant wood forms an excellent background against which to observe atmospheric scattering, and the more distant it is, the hazier and bluer it seems. The thick layer of air between us and the wood, illuminated laterally by the sun's rays, scatters light that is superimposed on the background, just as the light of a veil covers the object behind it. In this way, the contrasts between the light and dark parts are softened, making the background more uniform and also more blue. Our estimate of the distance of groups of trees is involuntarily influenced by the extent of this aerial perspective. A tree standing 100 m (110 yd) away has a more bluish tint than one close to us. The green of meadows is made blue-green (and afterward blue) by the distance amazingly quickly. Distant hills are often a lovely blue, like that so much used by 16th-century painters, such as van Eyck and Memling, in their background landscapes. Dunes along coasts with their luxuriant vegetation, undulating like waves, crest after crest, farther and farther away, also show these ‘blue’ horizons beautifully. Owing to this aerial perspective, every tint approaches the same blueness, and merges harmoniously into the others; only the red of houses and the green of meadows quite near to us are conspicuous and break the color harmony. Observe this for yourself in the landscape
a TV in a dark room showing a brightness calibration image with 3 out of 4 rows of grey squares, with brightness increasing left to right across the row, and increasing by row top to bottom
import bpy for material in bpy.data.materials: image = material.node_tree.nodes.get('Image Texture') mix = material.node_tree.nodes.get('Mix') bsdf = material.node_tree.nodes.get('Principled BSDF') if image and not mix: mix = material.node_tree.nodes.new('ShaderNodeMix') mix.data_type = 'RGBA' mix.blend_type = 'MULTIPLY' mix.inputs[0].default_value = 1.0 attribute = material.node_tree.nodes.new('ShaderNodeVertexColor') attribute.layer_name = 'Attribute' material.node_tree.links.new(bsdf.inputs["Base Color"], mix.outputs["Result"]) material.node_tree.links.new(mix.inputs["A"], image.outputs["Color"]) material.node_tree.links.new(mix.inputs["B"], attribute.outputs["Color"])
The “On Liking and Not Liking” page from Syllabus by Linda Barry. Top half of page has a crude picture of a sheriff, and a crude picture of a baby. Bottom have has a crude picture of a dog and a beaver, with a subheading below: ‘What happens to a drawing when we dislike it?’ A cartoon figure speaks below the picture, in speech bubbles: “I will demonstrate.” “I do not like ‘Dog and Beaver’“ “Yet it survives your dislike!” “Astonishingly!”
Alan & Michael Perry’s Empire army for Warhammer Fantasy Battles
CCCP-USA Superman by Roman Cieslewicz, cover of Opus International magazine no. 2, 1968. Two identical, mirrored Supermen with the S logo replaced with ‘CCCP’/‘USA’
Sentence diagram of "So you think you know..."
A BM16S board with black case and 16 black keycaps w/ LED through-holes, held in left palm
A spread of Games Workshop publications from the 90s: Warhammer 40,000 Wargear, Rulebook, and Codex Imperialis from the core game (2nd edition) + same edition Codexes (Tyranid, Assassins, Orks, Imperial Guard, Angels of Death), the 'Eavy Metal Painting Guide for Warhammer 40,000, How to Make Wargames Terrain, and White Dwarfs issues 182, 192, 195, 197, 199, and 210.
Wojtek the Soldier Bear Memorial statue in Princes Street Gardens, Edinburgh
desiccated husk of a toad, upright & supported by surrounding grass leaves
Common newt, curled up in the mud
pair of 7-spot Ladybirds with desaturated orange carapaces
Fruiting body of Grisette amanita fungi, nestled in grass
The wind snatches two umbrellas from three anthropomorphic frogs in the rain. One has fallen and another pursues the umbrellas, cursing.
Extract from the WIkipedia entry for The Elder Scrolls: Arena The game's world is infinite. While the game's manual claims that the player can walk from one village to another, in actuality it is infinite and requires fast travel to get between towns. This is achieved by combining procedurally generated content and specifically designed world spaces to create a realistic and massive wilderness, where one may find inns, farms, small towns, dungeons, and other places of interest. The towns contain developer-designed buildings and shops, but the order in which these appear and their names are procedurally generated. There are several hundred dungeons and 17 specially designed dungeons for the main quest.
aerial map of the Lake of Tunis, with Tunis Port located at the western outlet near the sea & the old port landlocked 8km to the west
Charles Bridge in Prague lined with statues and lit with yellow lanterns, fog slightly concealing the Old Town.
fungi fruiting body, brown and misshapen and nibbled to reveal light yellow flesh. surrounded by dark dry leaves