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The term ‘bokeh’ comes from the Japanese word, ‘boke’, which means ‘haze’ or ‘blur’. The word has come to be widely associated with the aesthetic quality of out-of-focus blur in a piece of art. Blurring is a nifty effect in painting. It can make the painted image look as if it’s like a fast-motion photograph and imply rapid movement. A computer-generated simulacrum of reflections from the silicon dioxide found in insects’ shells. The compound is a prime ingredient of window glass and fibre-optic cable; a semi-conductor, it’s also a mainstay of computer chips. The article accompanying the source photo described research being conducted into structural colours – that is, colours that result from surface textures that refract, rather than contain, pigment. What seems, at first glance, an op art abstraction thus turns out, when unpacked, to contain an entire disquisition on the meshing of the “natural” world (insects) with its synthetic reproductions both inherent (shell-reflections) and exterior (scientific visual modelling); on the surfaces through which we look (windows) and vectors along which we relay or broadcast information (cables); on digital technology; and on colour and its spectrum – which, of course, means both on painting and on light itself, the very ground and possibility of vision.
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Why does Leonardo da Vinci continue to have such a hold on our imaginations? Perhaps part of his attraction is that he seems to perfectly exemplify the popular notion of the Renaissance Man. How extraordinary, we think, that he was an inventor, a portrait painter, an anatomist and a botanist, artist and scientist. At least two things are wrong with this notion. One, he was not alone in his multifaceted abilities; it was more common for an artist of his time to undertake at least two or three of these endeavors than it was to specialize in one. But just as important, art and science during the Renaissance were not separated by the chasm that they are now. “A Portrait of the Artist as a Shadow of His Former Self,” Kerry James Marshall . The two most common lighting conditions when painting outside are direct sunlight and a cloudy sky and both influence the qualities of the cast shadow edge. Direct sunlight gives us a hard light source that creates clearly visible shadows and produces a hard crisp edge to the cast shadows. A cloudy sky gives us a soft light source which gives much subtler shadows with soft blurry edges.
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NFT Masterclass Course - 1
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