#Affordable industrial painters

[clearfinishpaintings]

If you are looking for Industrial Painting Services in Sydney. Contact us for clear finish painting. Our team of licensed and highly expert painters specializes in giving corporate and industrial premises a fresh new clean look and using products that provide weather protection, choosing the right paint is important to get the best results.

[opcpaintings]

Industrial Painters: How to Avail Their Services

OPC Painting provides you the services of industrial painters in Sydney. Our expert industrial painters can do wonders for an organization's visual appeal with fresh coats of paint, arriving on time and working fast and effectively to get the job done correctly.

[simplepainting]

https://simplepainting.com.au/services

Revamp Your Home with Affordable Painting Services in SA

Are you dreaming of giving your home a fresh new look without breaking the bank? Look no further because Affordable Painting in SA is your go-to solution! Our team of skilled painters is ready to transform your living spaces into vibrant and beautiful areas, all while keeping your budget in check.

[3liza]

thank you for speaking rational thought AS AN ARTIST into the ai debate. i get so tired of people over simplifying, generalizing, and parroting how they’ve been told ai works lmao. you’re an icon

some of the worst AI art alarmists are professional artists as well but theyre in very specific fields with very specific work cultures and it would take a long and boring post to explain all the nuance there but i went to the same extremely tiny, hypefocused classic atelier school in San Francisco as Karla Ortiz and am actually acquainted with her irl so i have a different perspective on this particular issue and the people involved than the average fan artist on tumblr. the latter person is also perfectly valid and so is their work, all im saying is that we have different life experiences and my particular one has accidentally placed me in a weird and relevant position to observe what the AI art panic is actually about.

first thing i did when the pearl-clutching about AI art started is go on the Midjourney discord, which is completely public and free, and spent a few burner accounts using free credits to play with the toolset. everyone who has any kind of opinion about AI art should do the same because otherwise you just wont know what youre talking about. my BIGGEST takeaway is that it is currently and likely always will be (because of factors that are sort of hard to explain) extremely difficult to make an AI like Midjourney spit out precisely wht you want UNLESS what you want is the exact kind of hyperreal, hyperpretty Artstation Front Page 4k HDR etc etc style pictures that, coincidentally, artists like Karla Ortiz have devoted their careers to. Midjourney could not, when asked, make a decent Problem Glyph. or even anything approaching one. and probably never will, because there isn't any profit incentive for it to do so and probably not enough images to train a dataset anyway.

the labor issues with AI are real, but they are the result of the managerial class using AI's existence as an excuse to reduce compensation for labor. this happens at every single technological sea change and is unstoppable, and the technology itself is always blamed because that is beneficial to the capitalists who are actually causing the labor crisis each time. if you talk to the artists who are ACTUALLY already being affected, they will tell you what's happening is managers are telling them to insert AI into workflows in ways that make no sense, and that management have fully started an industry-wide to "pivot" to AI production in ways that aren't going to work but WILL result in mass loss of jobs and productivty and introduce a lot of problems which people will then be hired to try to fix, but at greatly-reduced salaries. every script written and every picture generated by an AI, without human intervention/editing/cleanup, is mostly unusable for anything except a few very specific use cases that are very tolerant of generality. i'm seeing it being used for shovelware banner ads, for example, as well as for game assets like "i need some spooky paintings for the wall of a house environment" or "i need some nonspecific movie posters for a character's room" that indie game devs are making really good use of, people who can neither afford to hire an artist to make those assets and cant do them themselves, and if the ai art assets weren't available then that person would just not have those assets in the game at all. i've seen AI art in that context that works great for that purpose and isn't committing any labor crimes.

it is also being used for book covers by large publishing houses already, and it looks bad and resulted directly in the loss of a human job. it is both things. you can also pay your contractor for half as many man hours because he has a nailgun instead of just hammers. you can pay a huge pile of money to someone for an oil portrait or you can take a selfie with your phone. there arent that many oil painters around anymore.

but this is being ignored by people like the guy who just replied and yelled at me for the post they imagined that i wrote defending the impending robot war, who is just feeling very hysterical about existential threat and isn't going to read any posts or actually do any research about it. which is understandable but supremely unhelpful, primarily to themselves but also to me and every other fellow artist who has to pay rent.

one aspect of this that is both unequivocally True AND very mean to point out is that the madder an artist is about AI art, the more their work will resemble the pretty, heavily commercialized stuff the AIs are focused on imitating. the aforementioned Artstation frontpage. this is self-feeding loop of popular work is replicated by human artists because it sells and gets clicks, audience is sensitized to those precise aesthetics by constant exposure and demands more, AI trains on those pictures more than any others because there are more of those pictures and more URLs pointing back to those pictures and the AI learns to expect those shapes and colors and forms more often, mathematically, in its prediction models. i feel bad for these people having their style ganked by robots and they will not be the only victims but it is also true, and has always been true, that the ONLY way to avoid increasing competition in a creative field is to make yourself so difficult to imitate that no one can actually do it. you make a deal with the devil when you focus exclusively on market pleasing skills instead of taking the massive pay cut that comes with being more of a weirdo. theres no right answer to this, nor is either kind of artist better, more ideologically pure, or more talented. my parents wanted me to make safe, marketable, hotel lobby art and never go hungry, but im an idiot. no one could have predicted that my distaste for "hyperreal 4k f cup orc warrior waifu concept art depth of field bokeh national geographic award winning hd beautiful colorful" pictures would suddenly put me in a less precarious position than people who actually work for AAA studios filling beautiful concept art books with the same. i just went to a concept art school full of those people and interned at a AAA studio and spent years in AAA game journalism and decided i would rather rip ass so hard i exploded than try to compete in such an industry.

which brings me to what art AIs are actually "doing"--i'm going to be simple in a way that makes computer experts annoyed here, but to be descriptive about it, they are not "remixing" existing art or "copying" it or carrying around databases of your work and collaging it--they are using mathematical formulae to determine what is most likely to show up in pictures described by certain prompts and then manifesting that visually, based on what they have already seen. they work with the exact same very basic actions as a human observing a bunch of drawings and then trying out their own. this is why they have so much trouble with fingers, it's for the same reason children's drawings also often have more than 5 fingers: because once you start drawing fingers its hard to stop. this is because all fingers are mathematically likely to have another finger next to them. in fact most fingers have another finger on each side. Pinkies Georg, who lives on the end of your limb and only has one neighbor, is an outlier and Midjourney thinks he should not have been counted.

in fact a lot of the current failings by AI models in both visual art and writing are comparable to the behavior of human children in ways i find amusing. human children will also make up stories when asked questions, just to please the adult who asked. a robot is not a child and it does not have actual intentions, feelings or "thoughts" and im not saying they do. its just funny that an AI will make up a story to "Get out of trouble" the same way a 4 year old tends to. its funny that their anatomical errors are the same as the ones in a kindergarten classroom gallery wall. they are not people and should not be personified or thought of as sapient or having agency or intent, they do not.

anyway. TLDR when photography was invented it became MUCH cheaper and MUCH faster to get someone to take your portrait, and this resulted in various things happening that would appear foolish to be mad about in this year of our lord 2023 AD. and yet here we are. if it were me and it was about 1830 and i had spent 30 years learning to paint, i would probably start figuring out how to make wet plate process daguerreotypes too. because i live on earth in a technological capitalist society and there's nothing i can do about it and i like eating food indoors and if i im smart enough to learn how to oil paint i can certainly point a camera at someone for 5 minutes and then bathe the resulting exposure in mercury vapor. i know how to do multiple things at once. but thats me!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[vcendent]

art vs industry

Sometimes I'm having a good day, but then sometimes I think about how industry is actively killing creative fields and that goes away. People no longer go to woodworkers for tables and chairs and cabinets, but instead pick from one of hundreds of mass-produced designs made out of cheap particle board instead of paying a carpenter for furniture that is both made to last generations and leaves room for customization. With the growth of population and international trade, the convenience and low production costs are beneficial in some aspects, but how many local craftsmen across the world were put out of business? How many people witnessed their craft die before their eyes? There is no heart or identity put into mass produced items; be it furniture, ceramics, metalwork, or home decor; and at the end of the day everybody ends up with the same, carbon copy stuff in their homes.

I'm a big fan of animated movies, and I see this same thing happening too. When was the last time western audiences saw a new 2D animated movie hit theatres? I can't speak for other countries, but, at least in America, I believe The Princess and the Frog was the last major 2D movie released and that was back in 2009. Major studios nowadays are unwilling to spend the time and money that it would take to pay traditional animators who have spent years honing their craft to go frame by frame, and to pay painters to create scene backgrounds. We talk a lot about machines replacing jobs, but when the machines come, artistry professions are some of the first to be axed (in part because industry does not see artistry as "valuable" professions). Art, music, and writing are no longer seen as "real" jobs because they belong to the creative field and there's this inane idea that anyone who goes into those fields will be unsuccessful and starving. I'm not saying that 3D animation is bad, it has its own merits and required skills and can be just as impressive as anything 2D, but it has smothered 2D animation and reduced it largely to studios that cannot afford the tech to animate 3D.

And now we have this whole AI thing to deal with, stealing existing artists' work to "train" it to take over those few professions that, until now, required actual people to do them. Internet artists have already been dealing with people complaining about the price of art for years and now have to face their work being stolen to train AI. With AI technology, anyone who undervalues the work of the artist can now get something generated at little or no cost to them, all at the expense of the artists themselves. Why would studios pay script writers when they could just get an algorithm to do it without pay? Why pay actors to bring characters to life or pay models to pose for ads when CGI has progressed enough we could digitally render humans and cut out having to pay people entirely? Why use practical effects or film on location when green screens and adding in-post is faster and so much cheaper? It's no wonder we had the SAG-AFTRA strike. AI has already been trained to write children's books and produce music, continuing down this road will replace authors and musicians too at the convenience of cost. How much longer until the actual, real-life people behind all forms of artistry become completely obsolete?

Industry is just driving the cost of people-made crafts up and up with every mass produced product and every streamlined shortcut to reduce costs, which only makes it harder and harder for artists of all kinds to make a living, as very few people want to pay for the time and skill of artists when they could just pick something off a shelf or feed AI a prompt and get something satisfactory enough, yet not what they actually wanted, for so much cheaper.

[justforbooks]

Michel Guérard

French chef who found fame with his bestelling book La Grande Cuisine Minceur, which advocated lighter dishes

The French chef Michel Guérard, who has died aged 91, was to many British diners, readers and cooks the chief exponent of nouvelle cuisine. This way of cooking gained wide acceptance in the 1970s. It broke away from classical culinary tropes in search of greater lightness, directness and invention.

Guérard was but one of a group of transformational chefs in the nouvelle cuisine movement, including Paul Bocuse, the brothers Troisgros, and his early mentor Jean Delaveyne of the Camélia restaurant in Bougival. However, it was his book La Grande Cuisine Minceur, published in 1976, that first delivered his cookery to tables worldwide (more than a million copies sold, in 13 languages) even though the recipes the book contained were in fact calibrated for customers on a diet.

The consequence was that cuisine minceur soon became confused in British eyes with nouvelle cuisine itself, which was thereafter tainted with a reputation of minuscule portions, fancy reductions and purées, and pictures on a plate.

Although his early career boasted many successes, Guérard’s name will always be joined to that of Eugénie-les-Bains, the health spa in south-western France where he began cooking in 1974, after his marriage to Christine Barthélémy, to whose family the resort belonged. It was there that he developed a range of dishes suitable for the recovery of good health; and where he established a restaurant of immeasurable class, serving imaginative food of the highest quality, around which grew up a positive village of collateral ventures including a bistro, cafes, cooking schools and hotels.

He followed up La Cuisine Minceur with the less body-conscious La Cuisine Gourmande in 1978. Enthusiasts would assert this his crowning glory, and diners who have enjoyed multiple versions of marquise au chocolat, chicken with vinegar, or countless forms of puff-pastry feuilletés should doff their caps to their original inspiration.

His books made Guérard an international celebrity before most of the general public had heard of his equally capable colleagues in France. In 1976 he featured on the front cover of Time magazine, under the headline “Hold the Butter”. In the same year, he forged an alliance with Nestlé and launched a range of frozen foods under the Findus trademark, again in anticipation of a universal trend.

Guérard was born in Vétheuil, a village to the west of Paris once home to the impressionist painter Claude Monet. Michel was the younger son of Maurice, a butcher-grazier, and Georgine, children themselves of the village butcher and grocer. When he was still an infant, the family moved to Pavilly, north of Rouen, then later to the town of Mantes-la-Jolie on the Seine. Educated at the Lycée Corneille in Rouen, when he left school at 16 he went as apprentice to the pâtissier-caterer Kléber Alix in Mantes. There is no better training for a chef than patisserie, which imparts routine, precision and delicacy. He passed his trade examination at the top of the class, just as he would achieve the prestigious award of Meilleur Ouvrier de France en Pâtisserie in 1958 as the youngest candidate that year.

Apprenticeship over, and after more classic French cooking at a former coaching inn not far from Dieppe, Guérard spent his military service in the navy at Cherbourg. He was now fit for an assault on Paris, working first at the Hôtel Meurice and then, as pâtissier, at the Hôtel de Crillon, before moving to the Paris Lido, a barnstorming mixture of burlesque and fine dining on the Champs-Élysées.

Guérard’s parents were concerned that he was not yet set up in an owner-occupied business in the family tradition. In 1965, his response was to buy from the receiver in bankruptcy a run-down bistro, Le Pot-au-Feu, in the industrial Paris suburb of Asnières. It was all he could afford. On the opposite corner was a rivet factory, the place seated only 28 people and the kitchen was tiny.

His transformation of a hang-out for locals into a destination for the capital’s high-living inhabitants was rapid, the client list soon stellar, bookings necessary months in advance. The on-trend French guide Gault-Millau described Le Pot-au-Feu as “the best suburban bistro in the world”. It gained a Michelin star in 1967 and two stars in 1969, despite the humble surroundings.

But a life of constant activity – cooking at his own restaurant, consulting on menus at the fashionable Régine’s nightclub, sleeping no more than three hours a night – was upended by two events: meeting Christine in 1972 and the compulsory purchase of his Pot-au-Feu to accommodate a slip-road.

Christine was the daughter of Adrien Barthélémy, the postwar creator of a chain of health resorts who had placed her in charge of Eugénie-les-Bains, in an unfrequented corner of France. Her meeting Guérard, his loss of premises, their failure to find a substitute in Paris, was a series of happy coincidences that led to his assuming the direction of the kitchens at Eugénie in 1974.

He never looked back, concentrating for the rest of his career on developing this resource. Its closure for business during the winter months allowed him some freedom for other ventures, be they his books, his opening a shop opposite Fauchon in Paris or at Bloomingdale’s in New York, consulting for Régine’s expansion beyond France, or buying the nearby chateau of Bachen and developing its vineyard.

Eugénie held three stars in the Michelin guide from 1977 onwards and Guérard’s influence on French restaurants was immeasurable.

He exemplified the singularities of nouvelle cuisine: plate service under silver domes; the chef-proprietor interacting with his customers as well as his chopping board; the emphasis on short cooking; the delight in sweet-acid combinations. His firm friendships with like-minded chefs, as well as their gift for the art itself, made the movement unstoppable.

Christine died in 2017. He is survived by their two daughters, Éléonore and Adeline.

🔔 Michel Etienne Robert-Guérard, chef, born 27 March 1933; died 19 August 2024

Daily inspiration. Discover more photos at Just for Books…?

[themasterpostblog]

Pencil/2D Animation Resources Masterpost

5/10/24:

Hello, I broke into my old account so I could make a little masterpost of resources I come across for learning pencil/2D animation. (Free or affordable classes, places to get tools, videos to give insider insight, etc.) I may not be able to get everything included, so if you think of something, you can reach out and suggest things to add! I will be updating this over time, with notes on when it was last recently updated. And maybe I'll end up giving the old blog a refresh too. I likely won't be making new masterposts outside of this one any time soon, nor updating any old ones. It's been SEVERAL years, and the internet is a different place. I would assume most of the old links are out of date by now, unfortunately. I hope that this list is helpful to you as well, and if I'm incorrect in anything I list, I'm learning too! So please be patient with me and feel free to reach out with a correction. It's not finished yet, but Tumblr deletes my posts before I finish them, so I'm starting with posting the skeleton and slowly updating this)

Find a Community to Learn From!

(recommended groups to lurk/join/make connections and ask questions)

What Tools Do I Need?

PDF Guide to Animation Desks, as written by David Nethry

(next line)

Where Do I Get Tools?

(Places where you can buy art supplies, software, etc)

Cartoon Supplies

(Online seller who carries Ingram Bond paper, lightboxes, storyboard pads, blank cels, etc. See also: Lightfoot LTD, which is identical in every way to Cartoon Supplies and for the life of me I'm not sure the difference, though both are equally recommended along side each other.)

Jet Pens

(Ah... I love window-shopping this site. If you love stationary like I do, you'll be on this site for hours adding things to your cart... and inevitably removing them because it's not feasible to spend hundreds on pens and sticky-note pads.)

Dickblick

(I've found they have good prices on name brands, but I haven't purchased from them yet. Often, I'm too overwhelmed by all the choices.)

Improve Your Art/Learn the Basics!

(anatomy classes, starter tools, etc)

Aaron Blaise (Co-Director of Brother Bear)'s Online Classes

He runs very good deals on the classes occasional, but you can also do a year's access to all classes and keep what you download, which is very useful! They're short, quick lessons, and tend to veer into more "helpful tips" than teaching, from what I've personally noticed, but it's well worth the price if you get them at a good deal!

Inside Look at the Industry -- aka: the Special Features:

(behind the scenes stuff, etc)

Books are more useful than you might think!

(Richard Williams Animator's Survival Toolkit, etc) (check out gently used copies of these books on Thriftbooks for a good deal!)

Nifty Free Resources

(Things like height charts, references, color wheels, blog posts, videos, etc)

What Artists Can Learn From Aladdin's Incredible Color by J. Holt [VIDEO]

(spacing for formatting)

The Art of Color Theory: Guide for Animators, Designers, and Artists (Animator Artist Life)

(space for formatting)

Free software!

GIMP

(A classic, GIMP is an old friend of mine. The first software I downloaded for art, I used to use it almost entirely to create animated GIFs for the Warrior Cat forums. Ah, how time has passed. Nowadays I can't even remember how to animate a GIF on there, but such is life. I still use it to this day for digital art, even having Corel Painter. Before GIMP, I animated the old fashioned way -- MS paint and Windows Movie Maker. With determination, I scripted and animated a handful of Warrior Cat characters frame by frame. Each frame of Hollyleaf or whoever it was blinking was the likely source of death for our old computer, may she rest in peace.)

Storyboarder

(Storyboarder is a free software with which you can use to create professional and clean storyboards. It also provides printable storyboard templates so you can do you work traditionally and re-upload it easily into the software! It also works with Wacom tablets. Check it out! It's actually super cool.)

Pencil 2D

(A free, open source software. Simplistic design, switch between raster and vector, and best of all, again, it's free. I haven't used this one much yet, but I've seen it positively talked about by many! I'll update with more research when I have the chance.)

Krita

(I haven't used this one yet, so I can't speak on it either! But it's going on the list so I can come back and research it later. My poor laptop is not going to handle this many downloads lol.)

OpenToonz

(I also haven't tried this, but see above, haha.)

Blender - Grease Pencil

(Blender is well known for 3D animation, but they added a 2D feature called Grease Pencil as well.)

WriterDuet

(Free for up to 3 projects, very simple, but upgrades to a $10 a month plan, which is... eh, I'll keep my Scrivener for now. I used to write scripts in Microsoft Word or the Notepad on PC back in the day, I don't think I personally need the fancy features.)

Trelby

(A free screenwriting software, very basic and simple, good for beginners.)

Keep an eye out for

(Humblebundle occasionally does software deals -- a good art bundle at a discount can give you an easy start!)

[stephenjaymorrisblog]

A Flower That’s Never Been Seen

Stephen Jay Morris

7/21/2024

©Scientific Morality

            Can you imagine a world without celebrities and fans? Okay. How about where Ego is not the reason for existence? How about a world that is sensitive or compassionate? Where violence is not an expression of strength or courage? A world without people telling you on how to act and be? Developing one’s own self-creation will never be achieved by conforming to another’s idea of conduct and nationalism.

            People are meant to be whatever their brain chemistry propels them to be. Some are meant to be lawyers, doctors, or even politicians. That is why those in authority are never correct. They are always forcing square pegs into round holes to fit their agenda of conformity. Now, individualism and collectivism are symbiotic and never separated. For example: An army general can be an individual, but that general’s army is a collective. Second example: a surgeon can be an individual conducting a surgery, but it takes a collective of assistants to make that surgery a success. One more example: A business owner can be individualistic all he/she wants to be, but that business owner cannot achieve anything without a collective work force. So, Karl Marx and Ayn Rand are wrong!

            What’s it mean to the plebeian or petty bourgeois like me, or maybe to any other bohemian on this planet? What if they are painters or writers? They don’t work for wages or earn a profit unless they are appointed by wealthy patrons. Or, perhaps, they get financed by movie companies or entities of the entertainment industry. The Disney corporation used to employ an assembly line of artists. When creating a cartoon like “Mickey Mouse,” one artist would draw Mickey’s hand, another his feet, and others would draw other parts of the cartoon, such as the landscape or additional cartoon characters. These types of artists could be referred to as the “industrial proletariats.” Otherwise, there are the solo artists who possess the Right Brain mind set. They have no concept of the monetary system, or are simply indifferent to money. They are peaceful sorts who only want to create because they have a compulsion to do so. They are not motivated by any profit motive; they are beholden to the mythical muse. Most non-artists do not understand this mindset. So, because they lack the personality of the normal commoner, they judge artists as degenerates or weirdos.

            Successful artists have connections to the Ruling Class. Others die and have their work recognized posthumously. A creator’s death is more profitable to the art collector because, in that case, they don’t have to pay them shit. On the other hand, that would depend on who owns the artist’s intellectual property. Then there are the other artists, those who create without reason and never show anybody their work. They never get discovered. Like my mother, for example. She painted countless abstract paintings only to store them away in a closet to collect dust! That is the fate of the artist in America! The Working Class is tolerated, and the artists are ignored.

            You see, I am totally useless in America. I can’t make money for the rich or for myself. I refuse to die for my country. And so, being useless for the Ruling Class is the most treasonous act I can do for this country. I refuse to be a slave to the rich pigs of America! Or a slave to God, if he exists.

            There are so many conflicting axioms in America that the population doesn’t know which “golden rule” to follow. Ayan Rand told the world that selfishness is good. A lot of people found that shocking. In the Christian bible, selfishness is discouraged and, yet, conservatives call it acceptable. However, if you are a worker, you are preached to about teamwork, which translates to the dreaded, “collectivism,” otherwise known as the evil, “communism.”

So, in America, only the wealthy can afford to be individualistic. The truly poor individual is on skid row, a mentally ill bum behaving like he is an oil baron. Sadly, he believes it. If Trump was a homeless drunk who told everyone he met how rich he was, they would all laugh in his face. But, with lots of money and power, and countless churches supporting him, all of his minions believe everything he says!

Stupid people!

[gallery874]

Finding the Perfect Art Studio Space for Rent in St. Louis, Missouri

St. Louis, Missouri is a vibrant city known for its rich cultural history and thriving art scene. For artists, finding the ideal space to create is crucial. Whether you're a painter, sculptor, or multimedia artist, having the right environment can spark creativity and boost productivity. If you're searching for art studio space for rent in St. Louis, Missouri, you're in luck! Here's a guide to help you find the perfect spot to bring your artistic visions to life.

Why St. Louis?

St. Louis is more than just a gateway to the West—it’s a gateway to the arts! The city is home to a diverse community of artists, numerous galleries, and cultural institutions that provide both inspiration and support. From the Saint Louis Art Museum to local pop-up galleries, there’s no shortage of artistic energy here.

What to Look for in an Art Studio Space

Before diving into your search for an art studio space in St. Louis, it’s important to consider your specific needs:

Location: Consider how accessible the studio is, both for you and potential visitors or clients. Central areas like the Central West End or Grand Center are popular art hubs.

Size: Do you need a small, quiet space to paint, or a larger area to work on sculptures or installations? Think about the type of art you create and how much room you'll need.

Lighting: Natural light can make a world of difference in your creative process. Look for spaces with ample windows or adjustable lighting.

Amenities: Depending on your medium, you may need additional facilities like a sink for clean-up, a ventilation system, or even storage for materials.

Community: Some studio spaces are shared with other artists, which can foster collaboration and inspiration. If you thrive in a communal setting, this might be ideal for you.

Best Neighborhoods for Artists in St. Louis

St. Louis offers a variety of neighborhoods that are perfect for artists looking to rent studio spaces:

Cherokee Street: Known for its eclectic vibe and bustling art scene, Cherokee Street is a great place for artists who want to be part of a lively and creative community.

The Grove: A rapidly growing area, The Grove is home to several art galleries and creative spaces. It’s perfect for artists looking to stay close to both art and nightlife.

Downtown St. Louis: If you prefer being in the heart of the city, Downtown St. Louis offers a number of commercial and industrial spaces that have been converted into studios.

South City: For those looking for a more laid-back and affordable option, South City provides a range of spaces that are perfect for emerging artists.

Where to Find Art Studio Spaces for Rent in St. Louis

There are several resources to help you find available studio spaces in St. Louis:

Art Organizations: Organizations like the Regional Arts Commission (RAC) or St. Louis Artists' Guild often have information about available spaces or can connect you with fellow artists who might be sharing or subleasing studios.

Online Listings: Websites such as Craigslist, Artspace, or LoopNet often have listings for studio rentals. You can also check local Facebook groups for artists.

Shared Studio Spaces: Consider collaborative spaces like TechArtista or Intersect Arts Center, which offer shared studios, coworking, and resources for artists.

Benefits of Renting an Art Studio in St. Louis

Renting an art studio in St. Louis offers numerous benefits beyond just having a physical space to create. It provides:

Professional Development: Being surrounded by other artists and cultural institutions can offer networking opportunities and professional growth.

Inspiration: The city’s vibrant art scene and rich history provide endless sources of inspiration, from the Missouri Botanical Garden to the historic architecture throughout the city.

Visibility: Many studio spaces are located in arts districts or buildings that host events, giving artists greater visibility and opportunities to showcase their work.

Conclusion

If you're an artist looking to grow your practice in a dynamic and supportive community, art studio space for rent in St. Louis, Missouri, is the perfect place to rent an art studio. With a range of neighborhoods, amenities, and spaces available, finding the right studio for your needs is just a matter of knowing where to look. Whether you're drawn to the energy of Cherokee Street or the artistic pulse of Grand Center, St. Louis has an art studio waiting for you.

[clearfinishpaintings]

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[opcpaintings]

Local Industrial Painters Sydney

If you are looking for Industrial Painters in Sydney. Contact us at OPC Painting. Our expertly trained team of painters helps you choose the right color and finish for your large-scale projects for enhanced protection from the elements and superior protection.

[simplepainting]

https://simplepainting.com.au/about_us

Call us-0404 693 694

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[leopoldainter]

April takes the stand at her murder trial and kills

Apu Nahasapeemapetilon

Character from The Simpsons

IS

DisplayCase: Affordable Individual lotto moments

CANADA DAYS FIRST OF JULY tray with lettering

A:take a penny

B:leave a penny

I was campus educated on site too. Thorough computing and later on grandfather to village.

They have a plan in place. And who was the Spanish king. If it turns out he was just usps...

Ummm celebrity rooftop?yes417's packed traffic of course.

So elephant sanctuary

Using the naked eye, upwards is not visible from"'. outside you.seldom.meandering c+causing faces.

I leave most of my cash with leather, vault, lever. Yes, I have children.401k

I call the +pelt but not out loud. Too far. I needed legday Canada&jazzHundz ++bubly pepleks

Could a capital P cancel redalert

Someone suggested getting out and meeting guys.

Penser sans le trait d'union entre les deux.

best viewed as seeing is believing. Hold on

So I chose this. Then I chose that because I didn't notice lawn carpet.D97r w1y compelt we phone line industrial light and magic. Get a deck from lac leamy. Used,stamp"appoval of such and such.

Don't ask why, your only getting off school. I'm getting one praise. It's reel. I watched cosmos get painted bye less than a painter. Yes, I pick their strawberries. Domelttchute. What's that. Ok a bunker. Just what they needed. A bunker between Embrun and Casselman. Do you have a diesel vehicle? Then stick to petrocan they have the petropoints to guide you. See always ask fo unleaded otherwise esso sneaks into a Monsanto headquarters and now you have cancer.

Meanwhile, on the floor of one of America's film studios. WANDLain goes for the full nightshade breakup final. Did it happen. Let's take a look.

Ask if they normally get that much freezing rain.

That's the anthem rate. Listen on youtube.cfra calls it the Queensway.

What was Tangina in Poltergeist. Proof you should wait till your older to start your day with coffee now can you count steps without all

*hand flik, a pretendsy*

My stuff. Do you want to count?

I'm not sure but her parents aren't related.

I believe what was seen and that was attitude.

Nearish and has your white wine in her hand fir just a sec. ATMkerfufle see fabrics light still ok. Law talk go.

When did I start.

That's display wine

It tastes dry to me.

#Nyara Group Complaint Captain Pantsuit wall with compelling leather, who do you think came up with success. I know which is mine its the mug. Porcelain, all over something lived a life died now I have bread slice.

[bvdconstructionllc]

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[alecbicheno]

Forefront post: A great prop with a helpful texturing breakdown

11/08/2024

This prop was made by Muhammad Abduhalilov, a 3D artist who specialises in creating props and environment assets. He is a self-taught artist, which shows his skill and dedication, and also shows the success that can be achieved in this industry when you apply yourself and commit to learning and improving.

He says the purpose of this project was to challenge himself, which is something that I intend to do after the end of this course as I want to continue to move forward and develop my skills.

His process begins as standard. He grabs references, making sure to get plenty of them to help with proportions, details and fidelity. Next, he goes on to modelling, where he starts off with helpful advice on subdivision workflows and some words of encouragement, which is always a nice touch to readers such as myself. “keep it simple — start with basic shapes and gradually add details as needed. Avoid adding too many edge loops or vertices, as this can make the model difficult to work with and lead to a loss of control over the shape.” (McKenzie & Abduhalilov, 2024) “Practice and experiment! Subdivision modeling is a skill that takes time and practice to master. Experiment with different techniques, tools, and approaches to discover what works best for you and refine your skills over time.” (McKenzie & Abduhalilov, 2024)

Also, while he used Maya to create the model whereas I am more inclined to use Blender, though I plan to get back to working in Maya while I still have a student license, the advice he gives here was still very helpful and applicable.

After making the low poly model in Maya, he moved over to ZBrush to detail the high poly one, elaborating on his artistic choices and processes, such as the brushes used. “Damaging the surface was my personal decision and it was done for the purpose of adding some interest to the model. But in real life, it could be really difficult to damage the container” (McKenzie & Abduhalilov, 2024)

I am not well versed in ZBrush, but, like Maya, I’ll definitely try to incorporate it into my workflow more often, though this will be a more permanent addition as it’s more affordable than Maya. So, by incorporating it, it should help me produce better work and expand my knowledge and therefore my employability.

He mentions his UVs and baking, offering help by referencing his previous article which goes over his baking process and shows his settings for it.

Next, he went into detail about texturing where he makes custom stencils and masks using Photoshop and recommended a tutorial on how to convert texture images to into masks for Substance Painter.

He then recommended another tutorial from a channel on how to paint decals when going over how he painted on the flower decoration. After this it was a step by step of each addition to the model, such as the gradient of colours on the model, the colour variations in said gradient, the rust and wear on the pot which involved importing a rust material where he changed the intensity of the normal, and paired it with a scratch material to get the burned out look on the bottom. He adds various other painted on details with stencils and material masks he prepared in Photoshop. After which he adds further details all over such as more scratches and rust.

For the wooden handle it involved a smart material from a tutorial, and a few filters and generators. “I used different generators and filters (metal edge, curvature, sharpen, warp, dirt, and position). I broke them with grunge and used different layering methods like screen, overlay, and multiply.” (McKenzie & Abduhalilov, 2024)

This was a very in-depth explanation of his Substance Painter texturing process. I found it very helpful seeing what he did, especially with the linked tutorials, even though I didn’t quite understand all of it. Despite this, it was still very insightful and I would definitely refer to this along other tutorials online if I need to look up texturing assistance.

For rendering he made use of Marmoset Toolbag, another piece of software I’m unfamiliar with, as my renders are usually done in Blender or Substance Painter. He made use of Quixel for materials and assets then Marmoset for HDRIs.

For some finishing touches, he went into Photoshop. “To finish, I adjusted exposure, contrast, and clarity using the Camera Raw Filter in Photoshop.” (McKenzie & Abduhalilov, 2024)

To conclude, he shares more words of wisdom, encouraging us to consistently practice and to experiment with different tools and techniques, all in order to improve and maybe discover our unique styles.

In summary, this was a very insightful article. He clearly goes over his entire workflow, as well as recommending learning resources throughout the article to help readers learn. He also made good use of a variety of different software to produce the best possible end result, all while giving advice to us to try and helps us improve our own skills.

References

McKenzie, T. & Abduhalilov, M., 2024. Texturing Realistic Burnt Metal & Worn Wood in 3D For a Soviet-Era Bedon. [Online] Available at: https://80.lv/articles/texturing-realistic-burnt-metal-worn-wood-in-3d-for-a-soviet-era-bedon/ [Accessed 11 August 2024].

[brooks-motor-cars-dublin]

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