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An art projector is a handy tool for artists of all skill levels. For example, Photorealist painters traditionally used a projector to enlarge and transfer the image from their small photo onto a large canvas. In addition to projectors, there are also 2 other methods you can use to enlarge an image: the grid method and transfer paper.

How do you decide which of these 3 methods is easiest for you? Read through these pages to compare and contrast the different methods and processes, starting with the almighty projector. Buying a projector can be a costly experience (depending on the type you want and whether you buy it new or used), so read through this page to help figure out which type of projector is best for your needs and your budget.

Digital projectors, also known as home theater projectors, have become so cheap and bright in recent years that they’ve become a popular choice for tracing and enlarging artwork.

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They can project photos and videos from nearly any digital source: computers, memory cards, digital cameras, and even smartphones. The advantage of this is that you don't need to print out the image or have a slide or transparency made (like people had to do in the "old days"!). It's super-convenient!

These days people often buy digital projectors for watching films at home, and if that’s important to you in addition to enlarging images for art purposes, then your decision can get complicated and expensive. You’ll want a bright projection with sharp details, so you have to think about technical specifications like the display method (DLP vs LCS vs LCoS) and you can easily spend thousands of dollars!

But for the purposes of image transfer and enlargement, you often don’t require such clarity (unless perhaps you’re a Photorealist). Therefore a cheap LED projector (around $80) should be fine for most artists. You don’t need to worry about the display method, but I do recommend you get a projector that projects the light with LEDs rather than bulbs. LEDs last much longer than bulbs and require far less maintenance. Even cheaper projectors offer LEDs that will last for over 30, 000 hours!

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LED projectors are also ideal because they provide fantastic brightness. Even the cheapest models can exceed 2, 000 lumens! This means that you don't need a dark room to see a clear projection (although it can still help). Increased brightness also allows for bigger projections, which is perfect for muralists.

LED projectors are also very portable, especially given their brightness and clarity. For most models you’ll still need a tripod and possibly an extension cord, but many models come with carry cases and weigh no more than a few pounds. You can even buy ultra mini projectors that literally fit in the palm of your hand!

I still use an old art projector I bought years ago and don’t have the resources to test out the different LED projectors that are now available, because that would get quite costly. But based on the specifications and the crucial criteria I’ve listed above, I’ve listed some models below to get you started. Note that while these may be fine for tracing artwork, they’re probably not ideal for watching movies. If you’re interested in using your projector for both art and entertainment, you might consider doing some more research and increasing your budget.

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It’s also worth noting that different artists have different needs. While a $80 projector is fine for most artists, some artists who create detailed artwork or need to replicate very accurate colors may benefit from a more expensive product. Or if you’re a muralist who frequently works outdoors, you’ll want to look for the brightest projector you can find. For this reason, I’d recommend you purchase from a retailer, like Amazon or Best Buy, that allows you to easily return the product if it doesn’t fulfill your needs.

On this page I used to recommend digital art projectors, made for the express purpose of tracing or enlarging art. They were similar to the projectors discussed above, but came with extra features designed specifically to help artists: custom grid layouts and built-in image functions like flip, skew, and rotation controls. They were also billed as being brighter, more portable, and as having better color accuracy and contrast than other projectors. The catch was that they were expensive, with some models costing over a thousand dollars.

But in recent years, digital home theater projectors (especially LED projectors) improved so much that it no longer makes sense to spend so much on a digital art projector. However, if you're interested in checking them out, Blick still sells the Artograph Flare 450 Digital Projector (affiliate link). In addition to added features for artists (like 12 built-in grid patterns), its biggest selling point is portability thanks to the small size and built-in battery.

Best Art Projectors [2023]: Digital Models For Painting, Tracing

If you plan to do a large scale painting, you could also look into using an opaque projector, which will enlarge your image so that you can trace the outline.

Opaque projectors work by shining a bright light onto an opaque object (like a photo or a sketch) and then using a combination of mirrors or prisms and a lens to focus an enlarged reflection onto a surface.

They're not digital, so instead of using an image file, you need a sketch or a photo you've printed out. This is less convenient, but might be preferable if you're enlarging your own sketches, thereby saving you the step of having to scan them. Before we delve deeper, let's get an overview of how to use an opaque projector.

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You will need a small paper copy of your photograph, between 5 sq inches and 7 sq inches, depending on the size of your art projector's opening. Place the image in the opening, turn on the machine and turn off the lights in the room. Make sure you have enough space to be able to pull the machine far back if you need to make a really big version. The projected image will appear on the wall, so you'll need to position your canvas securely on the wall, and arrange the projector so that the enlarged image fits correctly within the size of the canvas. This might take some fiddling to get it just right. Double-check that the canvas is perfectly straight and flat against the wall, and that the projector rests perfectly flat upon its surface - otherwise the picture will turn out slightly distorted. You can see the illustration below for an idea of how it all works.

You'll need to make sure that the art projector stays in place the entire time as you are drawing the image. Keep the dogs, cats and tiny children out of the room. The slightest nudge of the projector will knock the projection out of alignment, and it may or may not be easy to realign the projection with your previous tracings. You don't want to take any chances! For the same reason, make sure you have enough time to trace the whole thing in one go.

The pros to using an opaque projector is that it is an easy way to enlarge to a really big scale - anything over at least 18" x 24". If you plan to work on a scale that is 16" x 20" or smaller, I would suggest using one of the other methods of transferring the image, such as the grid method or transfer paper, which will save you some money.

Lcd, Lcos, Or Dlp: Choosing A Projector Imaging Technology

Opaque projectors also require a print out of a photo or a physical sketch to be projected. While this is much easier than other projectors that require slides or transparencies, it's not as convenient as digital projectors that can utilize digital image files and even video. The print out must also be small to fit on the projector (usually 7" sq or smaller), which can be a hassle if your source image is larger.

The cons to using an opaque projector are (1) the expense and (2) the need for a dark room. Let's look at these 2 points further:

Opaque projectors also use light bulbs, which aren't as bright as LEDs, don't last as long, and can heat up, which is why some projectors come with internal cooling systems. But they do make for a simpler device, so if something goes wrong with the bulb, you can usually change it out yourself.

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There are a range of opaque projectors available. I'm not going to recommend any professional level opaque projectors because I think that if you can afford one of those, you might as well buy a digital projector, which will give you much better performance.

The Artograph EZ Tracer Art Projector costs around $40 and is a cheap, entry-level projector that's best for children or beginners. It's relatively portable, but can only enlarge photos to 2.5 to 5 times their original size. But it might be perfect if your only goal is to enlarge simple

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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challged and removed. Find sources: "KABC-TV" – news · newspapers · books · scholar · JSTOR (January 2020 ) (Learn how and wh to remove this template message)

34°13′37″N 118°4′1″W / 34.22694°N 118.06694°W / 34.22694; -118.06694 Coordinates: 34°13′37″N 118°4′1″W / 34.22694°N 118.06694°W / 34.22694; -118.06694

KABC-TV (channel 7) is a television station in Los Angeles, California, United States, serving as the West Coast flagship of the ABC network. Owned and operated by the network's ABC Owned Television Stations division, the station maintains studios in the Grand Ctral Business Ctre of Gldale, and its transmitter is located on Mount Wilson.

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It was the last television station licsed to Los Angeles operating on the VHF band to debut and the last of ABC's five original owned-and-operated stations to make its debut, after San Francisco's KGO-TV, which signed on four months earlier. It was also the last of the Los Angeles "classic sev" TV stations which were originally on the VHF dial, prior to the 2009 digital conversions. (No other stations debuted in Los Angeles until 1962, wh the first two UHF Los Angeles stations launched (KIIX [now KWHY-TV] and KMEX-TV, channels 22 and 34, respectively).

The station's call sign was named after Los Angeles broadcasting pioneer Earle C. Anthony, whose initials were also prest on channel 7's th-sister radio station, KECA (790 AM, now KABC). On February 1, 1954, KECA-TV changed its call sign to KABC-TV.

Originally, KABC-TV was located at the ABC Television Cter, now called The Prospect Studios, on Prospect Avue in the Los Feliz neighborhood of Los Angeles, east of Hollywood. In 2000, KABC-TV moved to nearby Gldale into a new state-of-the-art facility designed by César Pelli, as part of the Disney Grand Ctral Creative Campus (GC3), in the Grand Ctral Business Ctre on the site of the former Grand Ctral Airport.

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The station is currtly located four miles (6 km) east (along the corridor of the Los Angeles River and State Route 134) of ABC's West Coast headquarters on the Walt Disney Studios lot in Burbank.

KABC-TV has used the Circle 7 logo since 1962 (the same year ABC created and implemted its currt logo) and augmted its bottom left quadrant with the ABC network logo in 1997. The station's news anchors and reporters wear Circle 7 lapel pins wh they appear on camera, a practice that had once be standard at each of the original five ABC-owned stations.

On February 4, 2006, KABC-TV became the first television station in the state of California to broadcast its local newscasts in high definition using HD cameras in the studio and debuted an updated set.

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KABC-TV shut down its analog signal, over VHF channel 7, at noon on June 12, 2009, as part of the federally mandated transition from analog to digital television.

The station's digital signal relocated from its pre-transition UHF channel 53, which was among the high band UHF channels (52–69) that were removed from broadcasting use as a result of the transition, to its analog-era VHF channel 7.

After the transition occurred, some viewers had difficulty receiving KABC's signal, despite operating at a high effective radiated power of 25 kW. On March 31, 2009, KABC-TV filed an application with the FCC to upgrade its signal strgth to 28.7 kW.

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This dispute involved KABC-TV and three other ABC owned-and-operated stations, Disney Channel and the ESPN family of networks. If a deal had not be made, all of the Disney-owned channels would have be removed from Time Warner Cable and Bright House Networks systems across the United States. The companies reached a long-term agreemt to keep the stations and their sister cable channels on Time Warner Cable and its co-managed systems on September 2, 2010.

Digital channel 7.3 previously carried programming from The Local AccuWeather Channel; it was replaced with a standard-definition feed of the Live Well Network in 2010. On April 15, 2015, the comedy network Laff replaced the standard-definition feed of LWN on 7.3.

ABC Stations rebranded Live Well Network on .2 as Localish on February 17, 2020, to add an outlet for the Localish lifestyle contt.

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KABC-TV currtly broadcasts 51 hours, 25 minutes of locally produced newscasts each week (with 7 hours, 35 minutes each weekday and sev hours each on Saturdays and Sundays). KABC-TV formerly operated a news bureau in California's state capital of Sacramto, sharing resources with sister stations KGO-TV in San Francisco and KFSN-TV in Fresno; the bureau was closed in 2014. The station also has bureaus located within its viewing area, in Riverside and Orange. In the 1980s, the station also had a bureau located in Vtura.

Lew Irwin Reports, the station's first locally produced newscast, debuted in 1957. Initially, the 15-minute program was broadcast Monday through Saturday at 11:00 p.m. and featured Irwin delivering a news summary prepared by KABC Radio news writers, followed by a sev-minute feature writt by Irwin that included footage shot for the program by the MGM-owned newsreel company Telews. Irwin interviewed a host of public figures for the program, including former Presidt Harry S. Truman, former Sator John F. Knedy, philosopher Bertrand Russell, actor Marlon Brando, H-bomb scitist Edward Teller, and poets Robert Frost and Carl Sandburg. Irwin's features oft included news-breaking investigations into such controversial topics as migrant workers, police brutality, proprietary hospitals, disc jockey payola, the Hollywood blacklist, and the John Birch Society.

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In a letter to the chief of ABC News, James Hagerty, in 1961, Sandburg wrote: "He is one of the great reporters in America today. I could make a case that he is one of the most useful citizs." In 1962, a new KABC-TV program director for the station mounted a second newscast on the station (following John Daly's network newscast in the early eving) prested by Ed Fleming, who had previously worked for rival KNXT. A few months later, he decided to feature Fleming and Irwin on both the early-eving and late-night newscasts, with Fleming delivering the news and Irwin a long-form feature. After numerous clashes betwe the program director and Irwin, Irwin resigned in 1962 citing creative differces. He was evtually succeeded by KCOP newscaster Baxter Ward, who was backed by the station's first staff film crew.

KABC-TV first adopted the Eyewitness News format for its newscasts in February 1969, not long after it became popular on New York City sister station WABC-TV. Like the other ABC-owned stations, KABC-TV used the "Tar Sequce" cue from the soundtrack of the 1967 film Cool Hand Luke as its theme music, and continued to use it ev after other channels adopted an updated version of the theme, the Frank Gari-composed "News Series 2000". Later on, the original Cool Hand Luke theme was used by the station only during the main newscast. The station's newscasts used a synthesized version of the old theme (composed by Frank Becker) during the mid-1980s. KABC-TV picked up the "News Series 2000" package first in 1989 for Eyewitness News promos, th in 1990 for additional use in bumpers and as the closing theme before being fully adopted as the Eyewitness News theme in 1992. The original Cool Hand Luke theme was retained for some Eyewitness News promos as late as 1993. In 1995, KABC began using Gari Media Group's "Eyewitness News" music package, which remains as the station's news theme.

Bill Bonds and Stu Nahan were KABC-TV's first anchor team under the Eyewitness News banner. Within two years, unable to upd the dominance of KNXT (now KCBS-TV)'s The Big News and Elev O'Clock Report with Jerry Dunphy and KNBC's Newservice format, Bonds returned to his previous ABC assignmt at WXYZ-TV in Detroit and Nahan became the station's lead sportscaster. A succession of anchors – Joseph Bti, Barney Morris, John Schubeck and Judd Hambrick – followed, but the newscast gained its greatest growth in August 1975 wh KABC-TV hired Dunphy as its lead anchor, following his firing from KNXT. Though initially paired with newcomer John Hambrick, Dunphy later partnered with reporter Christine Lund, and that duo led KABC-TV to local news supremacy well into the 1980s. Others who have reported or anchored for KABC-TV include Lisa McRee, Harold Gree, Tawny Little, Laura Diaz, Paul Moyer, Chuck Hry, Johnny Mountain, George Fischbeck, Judd Rose, and Bill Weir. Former KABC-TV sports reporters and anchors include former NFL players Lynn Swann, Ge Washington, Jim Hill, and Bob Chandler; and former Major League Baseball player (and currt Los Angeles Dodgers radio analyst and play-by-play announcer) Rick Monday.

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In the highly competitive Los Angeles media market, Eyewitness News has long gaged in several initiatives to connect with local viewers, and is quite beloved in Southern California for its "neighborhood news" approach. One such early effort was to actually originate a local newscast from a typical Southern California suburban family home. In

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Artists and illustrators have a new super-tool in their arsenal - Drawing Apps. Tech-savvy creatives are switching from paper to digital and reaping the benefits that drawing apps and art apps offer - powerful drawing tools, special effects, the ability to create vectors or raster images, and even 3D models.

There are a ton of drawing apps, art apps, painting apps, and sketch apps available now to creatives, each with its own USP. Some excel in vector drawings, others in graphic illustrations. There are dedicated apps for image manipulation, mimicking hand drawing, and 3d modelling. While several apps come only in paid versions, plenty of free drawing apps are also available. If you google drawing apps, an extensive list of good drawing apps with their popular features and website links comes up.

We have curated a list of the 47best free and paid drawing apps for 2023 to express your ideas in the form of digital art.

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No list of digital art apps would be complete without listing offerings of Adobe drawing apps. Adobe has led the pack for decades, and Adobe Photoshop is still the professional's choice for raster art creation. Photoshop is one of the best drawing apps for iPad, Mac and PC; they also provide accessory apps for mobile devices and tablets.

The biggest drawback of Adobe’s offerings, especially for beginners, is that you must purchase a subscription to use these drawing apps for computers. For established pros with stable cash flow, this presents a little problem, but for aspiring amateurs and beginners, there are plenty of good editing apps that offer good functionality at a fraction of the cost.

If you’re looking for a drawing app that combines the ease and simplicity of drawing on your mobile device with the power of Adobe Photoshop, check out Photoshop Sketch. When combined with your Adobe Creative Cloud subscription, Photoshop Sketch allows you to fine-tune images created on your tablet later on your computer.

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Just as Photoshop is the industry-standard drawing app for iPad, PC and MacOs for raster pictures, Illustrator is the go-to digital art app for vector art. Illustrator is used to creating everything from basic graphic design tasks like logos to elaborate and beautiful landscapes and portrait photos. With a little practice, you can make nearly anything into a vector in Illustrator.

Similar to Photoshop Sketch, but for vector drawing, Illustrator Draw, a great drawing app for iPad, allows you to create vector drawings on the go easily. You can then save them to your creative cloud account and fine-tune them in the full program later. Both Photoshop Sketch and Illustrator Draw are free downloads, but if you want to export the images for later editing, you’ll need a Creative Cloud subscription.

Sketchbook from Autodesk is one of the most robust raster drawing apps you will find. Compared to Photoshop, Sketch is a purpose-built platform for artists on the go. It’s not meant for photo editing or other tasks, so the program focuses on just what you need to draw on your tablet easily. The program is available for Macs, PCs, iOS, and Android devices. Unlike many drawing apps that stick to proprietary or generic formats, Sketchbook conveniently has the option to export to Photoshop PSD format with layers intact. The best part? Autodesk has now released the full-featured drawing app for free. There are plenty of completelyalternatives to Photoshophere are the best.

Best Digital Art Programs And Drawing Software In 2023

A full-featured vector editor for Mac, Windows, and Linux. Create your own vector artor use built-in graphics to craft original scenes from pre-made elements. A perfect tool for those who work with visuals for social media, content marketing, ads, etc. The app is 100% free. Built-in graphics are free for a link.

An online graphic app that lets everyone create awesome visuals without special skills and costly design software. Use templates or create your own illustrations from pre-made elements (including 3Ds!). Or quickly make up custom photos that look like real. The app's gallery features thousands of cutout photos of diverse people, objects, and animals. Drop them on them on the canvas, combine with a proper background, and your photo is good to go. Working in Mega Creator is like playing a graphic lego.

Sketchpad is a free drawing application, to create stunning digital art, suited for all ages. You can easily share your work online and export it in various formats like JPEG, PNG, SVG and PDF. Sketchpad is available for download on both PC and Mac.

Best Drawing Apps On Android In 2023

The Astropad Studio is a different sort of art app that can be a great help to folks looking to create digital drawings. For Mac and iPad users, Studio allows you to connect your iPad wirelessly to your desktop and use it as if it were a drawing tablet. The interface is pretty smooth, but make sure you have a clean system with plenty of free memory to avoid lag. You’ll also want a great stylus like the Apple Pencil.

The Affinity set of art apps is poised to take a significant bite out of Adobe’s market share. These programs are full-featured to the point of having things you have to buy aftermarket in Adobe. Designer is Affinity’s answer to Illustrator. It is a desktop vector art program with every feature you could ever want and one of the best drawing apps for Apple computers. Designer is available for Mac desktop or iPad.

Affinity is also ready to answer your raster art needs. Photo by Affinity is analogous to Photoshop. Its user interface is a bit smoother, however, with cleaver skin changes based on the type of task you’re looking to complete.

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Both Affinity apps are inexpensive when compared to Photoshop and Illustrator. If you’re looking for a great drawing app for iPad and one that is a digital art application for editing or raster drawing, look no further than Photo and Photo for iPad.

For all the painters out there, Inspire Pro turns your iPad into the ultimate painting canvas. This is one of those simple raster drawing apps that can produce some really fantastic artwork thanks to super realistic brushes and massive canvas sizes. You can download Inspire Pro from the Apple App Store.

A few key features make Medibang’s apps the best drawing app for some artists. The app is available on any platform you can think of, from Windows and Mac desktops to Apple and Android tablets. They all have a cloud feature, which allows you to easily store, share, and open your work from any device. This is one of the best free drawing apps you really should check out if you are looking at an affordable and easy way to start drawing.

Best Apps To Turn A Photo Into Painting In 2023 (updated)

Procreate is an iOS-only app designed to fully harness the power of Apple’s popular iPad Pro and Apple Pencil combination. More than just a drawing app, Procreate combines many of the powerful tools you’d expect to find in a much more robust program like Photoshop. Layers, custom brushes, and all sorts of special effects are available on your tablet. You can export images, with intact layers, straight to PSD format to open in Photoshop. It is a popular drawing app for iPad for 2021. For on-the-go art, check out the drawing app iPhone version as well.

Zen Brush is a simple ink brush app for mobile devices. A drawing app for free, it’s super inexpensive and fun to use, but it is pretty limited. However, ink and paper are limiting too, but that hasn’t stopped artists from making amazing artworks with them for the last thousand years.

Pixelmator Pro is a Mac OS app that combines many features and functions of the best editing apps all into one tidy app. Pixelmator features many of the best features for drawing and the standard top photo editing apps functions of other editors. It also features a "layouting" mode for publishing and graphic design work. Their iOS app for mobile is really more of a photo editor rather than an art app.

The 6 Best Free Apps To Turn Photos Into Art And Paintings

Those in the graphic design world know that there’s a lot more to digital art creation beyond hand sketching. Illustrator and other vector programs use shapes to “assemble” designs, and this is the idea beyond the Assembly app. By simplifying this process, the app allows users to create logos and design elements with ease quickly. Assembly is made for iOS devices.

Formerly iDraw, Graphic is a full-featured vector design program for Mac, iPhone, or iPad. The program has all of the features of its more popular competitors, and it allows for the creation of anything from portraits to technical layout and CAD style drawings.

Inkist is a super basic drawing app that is available for Mac computers and iOS devices. The mobile app is currently free. It’s not flashy, but it has all the right features to make your artwork pop.

Great Drawing Apps For The Ipad

Luckyclan’s ArtStudio is a full-featured raster art app for iPad or iPhone. It features multiple canvas sizes, layers with masks, over 400 brushes, unlimited undo/redo, and even over 40 filters.

Rizer’s Pixaki has a bit of a limited audience, but if you’re into pixel art, you’re going to love it. Export your

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zito5862 April 18, 2023 Comment

Harold Cohen was a pioneer in computer art, in algorithmic art, and in generative art; but as he told me one afternoon in 2010, he was first and foremost a painter. He was also an engineer whose work defined the first generation of computer-generated art. His system, AARON, is one of the longest-running, continually maintained AI systems in history. Harold Cohen was an exceptional artist, an impressive engineer, and an important bridge between those two worlds.

Harold Cohen coloring the forms produced by the AARON drawing “Turtle” at the Computer Museum, Boston, MA, ca. 1982. Collection of the Computer History Museum, 102627459.

Graduating from University of London’s Slade School of Fine Art in 1950, he was a member of the generation of British painters that included David Hockney, Bridget Riley, and Richard Smith. By the early 1960s, he had gained fame with several exhibitions across England, and by the mid-’60s, had begun to show his work internationally, with gallery shows in London, New York, and Toronto. His work focused on abstract, biomorphic forms, with a color palette that seemed to come out of the same pool as the Pop Art practitioners insurgent at the time. His art represented Great Britain in major events such as the Venice Biennale and the Biennale de Paris, two of Europe’s most prestigious art festivals. By the late 1960s, Cohen had grown tired of the London art scene and started to shift his thinking to the topics that would inform the rest of his artistic career—How do artists process their information in the creation of artworks? What are the minimum conditions under which a set of marks functions as an image? What makes an image evocative? To answer these questions, he began investigating children’s drawings and ancient petroglyphs, looking for their “artness.”

Art Of The Steal: European Museums Wrestle With Returning African Art

In the late 1960s, Cohen became interested in computer technology. He left his home in London for an appointment at the art department at the University of California, San Diego. There, he met Jef Raskin, a graduate student, who introduced Cohen to the college’s CDC 3200 mainframe. Cohen was taken by the possibilities of the computer in determining how artists process their information, since computers are excellent at processing and do so purely based on defined input. Raskin introduced Cohen to programming, starting with FORTRAN. The CDC 3200 at UC San Diego was a batch process machine. A programmer would create a program on punched cards, then submit the cards to be fed into the machine by an operator, who would then return the results, either as a printout or as a series of newly punched cards. Cohen felt stifled by this process and eventually gained access to computers that he could program and run himself. His first computer was a Data General Nova. Later, Cohen acquired Digital Equipment Corp. PDP-11s and VAXs. He started out programming in FORTRAN, before transitioning to the C programming language.

Cohen became a permanent professor at UC San Diego and began delving further into computers. By 1971, he had developed a painting system and presented a paper on it at the Fall Joint Computer Conference. Shortly thereafter, he was invited to display the system and some of its works at the Los Angeles County Museum.

These early presentations and papers attracted attention in both art and technology circles, and Cohen was invited as a Visiting Scholar to Stanford’s Artificial Intelligence Lab (SAIL), where he spent two years working on a paint system surrounded by AI luminaries such as John McCarthy and Ed Feigenbaum.

Ways Technology Is Changing How Art Is Made

Cohen’s initial program was rather simple. He defined a small set of rules and forms that the computer composed into drawings, which were then put to paper using a drawing “turtle”—a small robot equipped with a marker.

The 1979 exhibition, Drawings, at SFMOMA, featured this “turtle” robot creating drawings in the gallery. Collection of the Computer History Museum, 102627449.

Of the early versions of AARON, Cohen wrote, “In all its versions prior to 1980, AARON dealt exclusively with internal aspects of human cognition. It was intended to identify the functional primitives and differentiations used in the building of mental images and, consequently, in the making of drawings and paintings. The program was able to differentiate, for example, between figure and ground and inside and outside, and to function in terms of similarity, division and repetition. Without any object-specific knowledge of the external world, AARON constituted a severely limited model of human cognition, yet the few primitives it embodied proved to be remarkably powerful in generating highly evocative images: images, that is, that suggested, without describing, an external world.”1

Transformed Asian Art Museum Unveils New Pavilion With Teamlab: Continuity

AARON, as Cohen worked with it from 1973 onward, could be seen as an art creation expert system, though Cohen somewhat rejected that moniker.

“… perhaps AARON would be better described as an expert’s system than as an expert system: not simply because I have served as both knowledge engineer and as resident expert, but because the program serves as a research tool for the expansion of my own expert knowledge rather than to encapsulate that knowledge for the use of others, ”2 Cohen wrote in 1988.

The initial output of the paint system was primitive; the drawings were black and white, though over time Cohen would color many by hand. Using this technique, AARON produced thousands of drawings at many different scales, from letter-sized paper to massive murals like “Primavera in the Spring, ” created for the Computer Museum in 1980.

Moncler Genius Evolves Into Co Creation

Cohen dedicated most of his time to creating AARON and less to painting in the 1970s. In 1979, the San Francisco Museum of Modern Art (SFMOMA) held an exhibition called

That featured Cohen’s work. The exhibition featured a hundred-foot long mural of forms drawn by AARON and hand-colored by Cohen, as well as a drawing “turtle” creating images on the museum floor. The SFMOMA exhibit was the first in a string of exhibitions at major museums around the world, including Britain’s venerable Tate Gallery in 1983. AARON created many works that Cohen would color. Cohen’s work with AARON represented a unique man-machine collaboration, which became popular with science centers as an area of exploration. Many commissioned artworks, including what some consider AARON’s masterpiece—”Socrates’ Garden, ” created for the Buhl Science Center.

Measuring 18 by 23 feet, “Socrates’ Garden” is a series of the biomorphic forms that the early AARON system specialized in creating. Cohen then took the images, enlarged them, colored them with acrylic paint, and mounted the individual forms on plywood, arranging them to form a “tree” that loomed over visitors, immersing them in the piece.

Curators Taking A Cutting Edge Approach To Art History

As with any artist, the AARON system went through phases. Those early forms, often resembling children’s drawings, progressed into more biomorphic figures, not dissimilar from those that Cohen himself had specialized in early on in his career. Further innovations during the 1980s saw Cohen increase AARON’s knowledge base, adding more rules and forms, including everyday objects, plants, and even people. At times, Cohen would add forms, such as animals, only to remove those forms when they proved to be inconsistent with Cohen’s own research goals.

It’s taken me 20 years to teach AARON to draw. How can I possibly teach it to color before I die? — Harold Cohen, 1989

The first color image created by AARON at the Computer Museum, Boston, MA, in 1995. Collection of the Computer History Museum. Collection of the Computer History Museum, 102741168.

Museums Boosting The Scene Of Digital Art

Harold experimented with several techniques for putting AARON’s drawings to paper. The turtles gave way to sturdier pens on robotic arms. In 1995 Cohen debuted a version of AARON that not only drew the forms, but could color them as well. The system, measuring almost 8 feet long and nearly 6 feet wide, used a vacuum table to hold the paper in place while an arm drew and then colored the forms. This required more complex software, which was only possible with Cohen’s evolution out of the C language into the

. The process was slightly altered for the exhibit. A Silicon Graphics workstation ran AARON’s software overnight, creating many images. Cohen then reviewed the images, selecting one to become the day’s work. Next, the file was loaded onto the PC-compatible, which controlled the robot arm. The robot then mixed paints on a palette to create custom colors, which it applied using a variety of brushes. The images featured fewer of the biomorphic forms that had been the hallmark of the early versions of AARON and, instead, showcased images of people, plants, and tables. The coloring of the drawings was also nearly indistinguishable from that Cohen had done by hand for AARON’s drawings a decade before. Cohen had trained AARON to create convincing “Harold Cohen” paintings.

And PBS. The first image created with the new system was sold at an auction held at the Computer Museum in Boston. In 2015, this untitled painting of two figures was donated to the Computer History Museum and is now a part of its Permanent Collection.

Beginning Of A New Era': How Culture Went Virtual In The Face Of Crisis

Cohen wrote extensively about AARON, looking at the questions a computer-based artistic system raised both within the computing and art worlds. Was AARON creative? Cohen certainly thought that

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zito5862 April 18, 2023 Comment

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Feature papers represent the most advanced research with significant potential for high impact in the field. A Feature Paper should be a substantial original Article that involves several techniques or approaches, provides an outlook for future research directions and describes possible research applications.

Editor’s Choice articles are based on recommendations by the scientific editors of journals from around the world. Editors select a small number of articles recently published in the journal that they believe will be particularly interesting to readers, or important in the respective research area. The aim is to provide a snapshot of some of the most exciting work published in the various research areas of the journal.

Coverage Of Google Street View

Public participation is crucial in promoting built environment quality. By using Nancuiping park in China as a case study, this research brings attention to the digital twin park compared to the physical replica in a participatory workshop. Using UAV oblique photography, we created a digital twin model of this park and divided it into six layers to better manage and analyze the environment. Bracing the ‘bottom-up’ design philosophy, in the workshop, we analyzed existing issues in the park and simulated built environment changes, taking suggestions and comments from participants into account to support the decision-making of the park’s optimization. Our digital twin model and physical replica were assessed through a questionnaire in which 59 participants used 3 defined indicators: usability, interactivity, and scenario simulation and visualization quality. The results suggest that the physical replica is easier to use in the participatory design. However, the digital twin model can provide better interactivity and efficient scene simulation and visualization quality. The statistical analysis of the relationship between participants’ feedback on the two models and their sociodemographics (age, gender, and education background) shows that age is a barrier to promoting digital twins for older participants. Meanwhile, the digital twin’s highly interactive features and high-resolution visualization capability were attractive to the younger and well-educated participants. Our study indicates future directions to improve the urban digital twin by incorporating human feedback into the urban model, thus establishing a two-way interaction between the digital system, the physical environment, and human perceptions.

Urban parks are critical public spaces for physical and recreational activities [1, 2], and they are also one of the primary elements of urban ecosystems and urban landscapes [3, 4, 5, 6]. Thanks to the growth of the urban population and its social need for public open green spaces, we have witnessed an increasing demand for more citizen-centric landscape design, environmental conservation, and facility management in parks [7, 8].

How to integrate human–environment interactions (e.g., feedback and sentiments) into environmental design or landscape renewal of urban parks is a problem being studied by various disciplines. Public participation is increasingly important in urban renewal practices as a result of urbanization, leading to a growing focus on creating a contemporary governance structure [9]. The concept of public involvement is emphasized in the participatory urban renewal strategy so that citizens can actively participate in environmental management operations [10, 11, 12]. Such a concept is based on communication, sharing, cooperation, and coordination, and it can give the general public the freedom to live their own lives and unleash their creative potential [13]. The early involvement of citizens in the participatory process is crucial to developing eye-level communication mechanisms between professionals and local residents, which alternates residents from the role that can only passively accept landscape changes to the active designer of the local environment [14]. The participatory workshop is the most common way for individuals to participate in such a participatory practice [15, 16]. Through the joint participatory workshop of multiple subjects (e.g., residents, designers, and local governments), the communication between different urban governance parties in the area can be effectively improved [17].

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Most studies on built environment participatory projects primarily use physical models (i.e., physical replicas) or 2D maps as tools to interact with the general public and simulate urban changes [18]. As important as these tools are, we have witnessed an increasing number of studies using digital equipment and models (e.g., virtual 3D models) for better communication and simulation [19]. Virtual models offer the participatory process the potential of remote evaluation and near real-world sensing and perception [19]. However, most of these 3D models adopted grey boxes (without texture information) which were distinct from the actual landscapes [20]; that is, this simplified virtual 3D grey box environment cannot capture the entire essence of the built environment. Therefore, whether such models can be considered a proper tool to evoke participants’ perceptions of the actual environment is questionable.

Meanwhile, thanks to the fast development of the digital twin (a virtual representation that serves as the real-time digital counterpart of a physical object or process), studies on virtual perception based on such trending techniques are proliferating [21, 22]. A digital twin takes a high-precision 3D virtual model as the digital base and integrates the attribute data (e.g., from physical sensors) of numerous objects in the physical space [23]. It can achieve near real-time data communication between a digital replica and the physical environment, which can support the decision-making process of environmental management for designers, residents, and the government [24]. For the participatory workshop in the context of the digital twin, high-precision replicas of the physical environment are key to encouraging public engagement and environmental scenario simulation [24, 25, 26, 27].

The digital twin model and physical replicas have the common ground of simulating built environment changes and, therefore, assisting the decision-making process in environment optimization [19, 28, 29]. The digital twin model can achieve remote virtual display using virtual reality display devices (smartphone, tablet, VR glasses, etc.) [30], while the physical model is mainly displayed on site [19]. Existing research on landscape design has often focused on a single technique of practice. To the full extent of our knowledge, no research has compared and collaboratively used two such models for environmental simulation. Meanwhile, no study has been conducted on using built environment digital twin technology for participatory urban park analysis and design. Furthermore, there is still a dearth of in-depth investigation on constructing a precise urban digital twin system that can function as a two-way interactive communication channel in ‘digital system—social perception—physical environment’, especially in the urban park context.

Why The Gulf Of Naples Deserves Its Place On The Art Map

We conduct this research on an urban park in Tianjin, China to show the use of digital twin models in landscape design and to compare and also bridge physical replicas and 3D digital models for broader coverage of public participation. In short, our study questions are threefold:

This paper is structured as follows. In Section 2, we review the state-of-the-art studies of the concept and method of participatory design and the digital twin system. Section 3 describes the case study area, methodology and the participatory park workshop description. Section 4 follows with an elaboration of the findings. Section 5 follows with discussions and insights into the practical implication and directions for future research. Finally, Section 6 concludes the whole paper.

The planning system, created by the British Urban and Rural Planning Act in 1947, was the forerunner to public participation in contemporary urban design and planning [31]. It encourages and enables the general public to voice their ideas and needs for urban development during the design process [32]. Participatory design, as an approach, is more democratic than the traditional ‘top-down’ design because it allows the public to shape places based on individual living experiences and redesign the local landscapes [33]. Presently, the ways of urban design, planning, and renewal in most Chinese cities are dominated by government guidance and policies [34, 35]. The government-led design and planning often neglect the needs of residents, which can lead to unequal expression of interests in the local communities. Thus, social democracy is unavoidably overlooked [36, 37]. In contrast, the ‘bottom-up’ concept rooted in the participatory approach offsets such a defect. Such participatory designs incorporate the views of professional planners, residents, governments, and other communities to cooperatively improve public spaces in the built environment and achieve the Sustainable Development Goals [38, 39]. The consideration of ‘people’ is the core concept of the participatory approach, aiming to satisfy the needs of every ‘person’ in the design process [40]. Therefore, the participatory concept is essential to promoting social democracy. Although such a concept is still in its early stages, participatory design has gained increasing support from people with different backgrounds sround the world [38, 41].

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A large body of research has demonstrated participatory workshops to be the primary method for urban design [42, 43, 44]. The workshop for a particular area is often an intense multi-day design process, during which a group of experts and

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