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The Beginner’’s Guide to Digital Painting: Create Stunning Works of Art in Procreate and Photoshop

為了解決photoshop的問題，作者Tepes, Sara 這樣論述：

Sara Tepes is a self-taught artist, freelance illustrator, graphic design student and art educator who dedicates her Patreon account to teaching digital and traditional art. She has notably partnered with Netflix, Dell, Wacom, Trekell and Wix. Sara lives in Lynchburg, Virginia.

photoshop進入發燒排行的影片

足底壓力影像處理設計應用於深度學習

為了解決photoshop的問題，作者PETER ARDHIANTO 這樣論述：

足底壓力圖像涉及評估和診斷足部問題。放射科專家執行手動分析和檢測，以根據足底圖像評估足部問題。近年來的深度學習使醫療人員能夠根據足底壓力圖像自動檢測疾病。此外，圖像設計是基於足底壓力圖像提高深度學習性能的有用策略。足底成像揭示了足部在平衡和運動過程中的機械行為和輪廓。而腦性麻痺患者，具有導致足底壓力缺陷。異常的足底壓力可能會限制腦性麻痺患者的左右腳識別，例如具有異常足部前進角度的剪刀步態，和具有缺陷足底壓力的腳趾行走。本研究探討了足底壓力圖像改進的設計，以識別左腳和右腳，並使用各種對象檢測模型預測“足部前進角度“ ，以獲得基於足底壓力圖像數據集的合適檢測器。結果表明，YOLOv4 在區分左腳

和右腳，以及從足底壓力圖像預測“足部前進角度 ”方面表現出色。在各種矩陣中，YOLOv4 的表現優於不同的模型。右腳預測高於左腳。使用 YOLOv4 進行深度學習可增強 “足部前進角度“ 預測，而不會顯著偏離基本事實（5.58 ± 0.10° vs. 5.86 ± 0.09°，p = 0.013）。 ground truth 的” 足部前進角度” 與 YOLOv3（5.58 ± 0.10° vs. 6.07 ± 0.06°，p < 0.001）和 ground truth 的 “足部前進角度” vs. YOLOv5x（5.58±0.10° vs. 6.75 ± 0.06°，p < 0.001）

有顯著差異。此外，準確的左右識別和“ 足部前進角度“ 的預測可以提供有關足部的信息。左右腳的自動檢測，可能會對具有 腦性麻痺特徵的不正常足底壓力圖像產生影響，並為管理優勢肢矯形器治療提供重要信息。

Visual Storytelling with Color and Light

為了解決photoshop的問題，作者Humphries, Michael 這樣論述：

Though digital technology will continue to advance the way art is created, traditional mediums and techniques will remain fundamental to creating art. This holds true for gouache, (opaque watercolor}, acrylic, and many other mediums. Traditional mediums have had a hand in the creation of some of the

most stunning backgrounds in animation, and a favorite of top illustrators for decades. Michael Humphries' Visual Storytelling provides step-by-step techniques that will help readers better understand color theory, composition and lighting, both traditionally and digitally. Visual Storytelling illu

strates and analyzes numerous Disney visual development and animation background paintings that provide the reader a greater insight as to how these paintings were created, and how they were instrumental in the creation of the worlds most successful and beautiful animated movies. Through analysis an

d demonstrations, Visual Storytelling features the Disney studios traditional approach and Photoshop techniques that will give readers a well-rounded view of today's digital and traditional practices. Key FeaturesTeaches and demonstrates the critical components in creating stunning visual developmen

t and concept artwork, and art direction for entertainment.Provides art students and professionals that mainly work with computer animation, techniques that will enhance their artwork and portfolio.Offers demos in gouache and acrylic, as well as Photoshop sessions, giving the readers a better sense

of how to create and prepare their artwork for the animation, film and entertainment industry.Contains beautiful, yet practical imagery that gives the reader not only technical guidance, butvaluable information to the animation industry as well as artistic inspiration. Michael Humphries has had a

distinguished career in illustration and animation as a background artist, visual development artist, and art director for many of Disney Feature Animation Studios films including: Who Framed Roger Rabbit, The Great Mouse Detective, The Rescuers Down Under, Brother Bear, Home on the Range, The Lion

King, The Hunchback of Notre Dame, Fantasia / 2000, and The Princess and the Frog. Michael was also nominated for an Annie Award as the Production Designer on Sony Pictures Animations first feature length animated movie Open Season.He resides in Pasadena California where he teaches entertainment ar

t at ArtCenter College of Design.Please visit his website at: www.michaelhumphries.net

真實與虛幻‧逍遙遊—林慧怜繪畫創作研究

為了解決photoshop的問題，作者林慧怜 這樣論述：

對著風景寫生多年，嘗試了許多形式的表現風貌，進了夢寐以求的國立台灣師範大學美術研究所，於是想嘗試不同的主題、不同的媒材來表現內在澎湃的情感，追求繪畫形式的自由，探索畫面的新美感印象，讓自己化身為《莊子〈逍遙遊〉》一文中描述的鯤或鵬，於是思想騰飛，上天下地，盡情翱翔；我的繪畫世界，忽地自由自在起來，無論在繁華都會城市光廊中，抑或在山巔海濱的純樸自然中，開始用繪畫記錄我的游移的狀態與足跡，融入心中對生活的省思。 本創作論述，爬梳當代各種美術主義文獻、思考脈絡，透過學習歷程，進行個人的創作實踐。主體架構分為兩個系列：（一） 真實系列～呈現在視象的景物。 以具象寫實的方法，創作旅遊寫生

的系列，描繪出對大自然的熱愛與崇敬，記載下所見所聞，論述繪畫技法研究。（二）虛幻系列～聚焦在意象的創作。透過數位影像裝置與photoshop的軟體分解、重構，實驗性呈現主觀意識中客觀的景象，以意象畫面，傳達內心對世界的依戀與省思，期許與批判，來觀察「社會」產生的現象。 繪畫的自由，讓人逍遙自在，穿梭真實與虛幻之間，試圖探索奇譎之美，呈現新的視覺美感。