From the article:
"The solution: Engineers at Arup enclosed the more than five-million-
square-foot building in a triangulated steel surface, forming whats
called a diagrid, and optimized the pattern to meet structural
'Diagrid'? It's a Netherlands based company and that pattern looks
familiar... Isn't Per Corel there or nearby? ;)
Thank's I'm most flattered, --- What I recon is that those years of
promoting 3dh worked to the extents, that you take what you find
spetacular and that's where I failed. I see it this way that
offcaurse 3dh had some impac and in future it will gain more
attention, -- but architects rather want to draw the surface, the
looks, and what is inside is no of their concern. Now I guess we can
agrea, that beauty come from within, but isn't it easier just to paint
a picture of what we would expect. Then forget about that what hold
the fancy forms in the air is not what the surface indicate.
You know what my intension was ; that the designer should be able to
design any form what ever, and then by a press of a button have all
building parts calculated and layed out. That will come, maybe not
with 3dh but the spark has been lit,
Please check where It ended, I has quite a production and I guess
there are paintings among these you find neat ;
Sorry forgot to add that I had a 5000 word article published in the
chinese architect magazin "ECC" Essensial Collection of Construction,
-- five renderings with various 3dh structures, and a description, why
effiency come as a side effect of innovation.
Hi Per, a nice surprise to see you back here like magic along with the
mere mention of your name. :)
Thanks for sharing your art. Do you use live models or photos or
something else? What are you mediums and contexts and what are you
trying to get across to your audience?
Thank's only foto's, for several resons. First I use all kinds of
tools digital, offcaurse, as
so many print firms deliver nice prints on canvas, and for me it is
not the tool, but
if it work that make it art, work offcaurse in the sense art allway's
the prints I can deliver, is all foto's of the hand painted image, --
the original ends up best, but most often the eddited foto add
something else, bottom line ;
the drawings done with a digitizer pad is not less art than what is
made with a brush,
and the more tools the more options.; --- BUT, where other who paint,
creativity while they put the.paint on the canvas, I moved the
creativity to making the foto,
edditing the foto extracting the expression I want to tell, Develobing
eventual new tools,
and technikes to just do it. I experimented years with projectors and
has now a
collection of rare antique and modern projectors so, with projectors
things do not work
as you think, before you realy tried use one -- it do not work as you
think to "paint after"
a projected image, but with a bit innovation you can use them for
other things or in
a different way --- but there I keep my secrets. Then sometimes an
image taken and
eddited, work sparks projected ;-- now a foto of that, can be the
background for a
I am doing portraits, but I had some, still the next to be displayed
in some few
weekswill be much different than the portraits, please remember I did
years at the acadamy.
My best answer, since I think paintings shal be understood without an
is to look at my galleries at artwanted.com
Sorry, new laptop finaly 64 bit and Windows7 and AutoCAD 64 bit up and
running --- but the old usenet has not changed, just check the words
that went gone, becaurse I forgot to turn off the youch pad, and still
make no spell check.
Check your virtual RAM settings in Acad, bump em up to the maximum.
Also, how big is that text file you're dragging around (F2)?
You might want to consider aborting it altogether.
I've often wondered if you could save that text file, for any
particular drawing, then import it into acad and sit back and watch it
Be kinda cool wouldn't it?
Thank's, My oldest son wanted a few of Metallica as murals, but Iy is
better painted on rough Masonite and they still measure some size. ---
I promised him a few more and for me it's a good practice, but now in
less than a week I must be ready with my new "Pusher Street" serie,
those motivs is great, and esp, in black and silver it make a unique
style But the big surprise come later, when I combine these into
paintings build from two paintings side by side. To early to publish,
but in a few weeks they will be at my ArtWanted site.
Whoa, 2 paintings, side by side, opposites of each other, at the same
time, with ambidextrious hands?
I gotta see that!
Saw a movie (netflix) recently but can't remember the name, of the end
of life story of a famous 20th century russian impressionist painter.
He was passing his talents to a young and beligerent mentor.
I was never a big fan of impressionism but I have always been baffled
Now, after viewing this film I have a much greater reverence for it
and find myself strangely attracted to them as I wander the many
galleries here in the Artist Colony of the MidWest.
Ya know, my younger brother has from birth always been an amazing
artist in any media he lays his hands on and I have spent all of my
life trying to see what he sees, in vain. I simply don't have the
pathway between eye and brain to distinguish the most miniscule
variations in color hues. Black and white stuff, no problem, I can
excel but when it comes to full blown color I am in kindergarten.
There was one scene in this flik where the young obnoxious dood was
outside with a large easel painting the distant landscape before him
and the old man artist came up from behind and watched silently. The
young dood finally got frustrated and threw his brush to the ground
and started cursing. The old man jumped on him and commenced to
skooling him. He asked the kid, "What color are those clouds?" and the
camera cut to the clouds, then to the kid and the kid said, "White."
The old man blew up and screamed "No, no, no!". Then he reached in his
pocket and withdrew a white handkerchief and said "This is white, look
at it." and he threw it on the ground and the camera focused on it for
a second. Then instantly the camera went back to the clouds and
difference to me was like night and day. I, and the kid, for the first
times in our lives, saw ALL the colors that were hiding in those
clouds, pinks, yellows, blues, greens..... It was an amazing thing to
experience. Never before has a film done something like to me. I'm
going to blow the cobwebs off my old Bob Ross brushes soon.......
Well you ought go to my ArtWanted site and have a look at my new !
Pusher Street" serie, and the Natasja portrait. The Pusher Street
serie are now one image with four seperate paintings on same canvas
and same frame, all very profesional and please remember, this is a
foto of the hand painted paintings, put on display after digitaly
eddited, so the old hand crafts is now a step on the way, -- these
"Pusher Street" scenes where I reached 7 individual paintings, are
genuine, on site, Urban streets, and printed on canvas profesionaly
maneaged, this is art people can buy becaurse it say's something.
Just look ;
But these are only part of the exebition I have at the christiania
marked, copy and paste so see more ;
Is that wording right?
Or am I reading it wrong?
I believe, and I may be wrong, but you have to see it first before you
can paint it.
And thats where my problem has always been with color, my inability to
see, or recognize, the subtle differences in colors.
My brother on the otherhand has always been able to see those
I've been paying attention to them though and it seems, to me, that
impressionism painting help out in that regard.
Take a look at some of the stuff Kunstlers been doing:
I snagged some of these last night and have been playing around with
Zoom out, and they attain a photographicness to them.
Zoom in and you can see the brush strokes and they lack realism,
almost sort of like pixelization.
I'd like to be able to do that.
I had a lot of fun, collecting, repairing experimenting, with old
optics. Not just projectors but esp the Episkop type, difuse light
projectors. -- yhose shere the film don't need to be transparant, but
can be a picture, or a foto. But that also had serious barriers, you
simply can not do what you think you can. Forget "drawing after" a
projected image, WAKE UP uou shaddov where you want to paint, and if
you then turn on the light, you see a lot of lousy drafting. Ehat ehen
the light and paint is same color, how will you determine, where you
add. But in a complex way, using all tools avaible, these things do
magic, only not as you thought. About optics, things work so simple,
but just wait to the day, where optics are eliminated is not the
focuser. Without the lens, everything is just white light. Anyway,
check my ArtWanted images, search Per Corell on Google, it will be the
first to turn up.
replying to firstname.lastname@example.org, per corell wrote:
Funny how time mature. By chance I fell upon this old tread, -- wonder what will
happn if I make a reply. If it reach anyone, please enjoy the progress to the
art I mentioned, or do a Google with my name, that will bring a lot of nice
images. Or try find me on Facebook.
It's much easier. But that's also why the who understand optics
invented Pixels, mp3, mpeg, and Desktop Publishing rather than
And invented Blue Ray and HDTV, rather than NBC.
And invented Optical Computers and Self-Replicating Machines,
rather than AI.
And invented GPS and Atomic Clock Watches rather than Elevators.
Then forget about that what hold
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