Sunday, July 23, 2017

the perception might be that caricature artists know what all the features of the face are and then when they see people, they are intuned to which dimensions stand out as being unusual and they are able to point these idiosyncratic proportions out in their drawing by exaggerating how far --at least several of the more notably prodigal dimensions have been offset by the hand of god or nature,  but the truth is that those dimensions--those proportions themselves become features to the artist over time. a beginning caricature artist will set out with some knowledge of common features and proprtions and then examine faces in much the way that most would think. they effectively classify all of the major features and "exaggerate" the idiosyncracies. the idiosyncracies being aspects of a given face which lie outside of all of the artist's normal facial feature types.  so then if someone's nose is too big to fit the mold so to speak, the artist makes the nose size bigger because thats the one thing that disqualified it from conforming to the set. but eventually when the same deviations keep popping up repeatedly, they become features in and of themselves.

Thursday, July 20, 2017

the caricature artist seeks to find in a thing that which is abnormal. and indeed it is that which is abnormal which distinguishes a thing from among other things, but how can an artist know what is the average thing among things in order to know what parts of the observed thing are abnormalities? 

an answer is that the abnormalities stand out on their own and they require no frame of comparative reference. However if you're in the business of classifying faces, other things might stand out, just as an auto mechanic looking under the hood, likely isn't immediately struck by how it all looks like a bunch of gobblygook. 

one approach breaks the face up into a finite set of features and classifies each feature from a finite group of shapes. with this approach you run the risk of an awful lot of shoe horning, squeazing things to conform to a shape that is very different from them. but of course if the face has been broken down into enough little peices there will result some resemblance to the total thing.

if that first approach is like classification the other approach is like listing. it basically lays out all the interesting stuff. it's more dependent on finding "a good face." which means a face that the artist sees as having some rare or intriguing aspect to it. and this aspect will be, i think, something which lies outside of the scope of a lot of classifation frameworks.

Tuesday, July 18, 2017

the old paradigm was that novels and paintings and music were wonders. they were magical. they were spiritual in a way. but the new paradigm is that this is what's possible. this is what you can do. its within your capacity because there's no such thing as magic. mozart is just a guy. but then whats the point of even doing it if it isnt magic. it could be the domain of the magical shifts. or is shifting. 

Sunday, July 16, 2017

Hiccup Cure

Hiccup cure:  Sit up straight, hold your breath and stick your pinky in your bellybutton.