There were months when I did not work on it at all but then there would be long stretches where I would work on it 4-5 hours each day. What amount of work actually goes into developing a commercial plug-in, like Artisan?Īrtisan was in development for about two years during my spare time. A name like ‘Artisan’ is also not specific to a certain feature of the plug-in which allows me to add any type of feature to it without having to change the name again. The name ‘Artisan’ means ‘craftsman’ and reflects the user’s new freedom to create models in SketchUp that may not have been possible before inside of SketchUp. I felt that ‘Subdivide and Smooth 2’ was a bit too long and did not really capture the essence of the plug-in. I had considered making the sculpting and soft transformation tools as separate plug-ins from the subdivision tools but I found that all of these tools complemented each other so well that it just made sense to make it all into one package. I was able to re-use a lot of the subdivision code from SDS, although in Artisan, I optimized and enhanced every original feature that was included in SDS and added lots of new features including sculpting, soft selection, soft move, soft rotation, polygon reduction and make planar. When I began work on Artisan, it became apparent that this plug-in would become much more than just a subdivision plug-in. In addition, I found creative ways to solve problems and add cool features even though my programming knowledge was quite limited.Īrtisan is actually the follow-up to my popular plug-in, “Subdivide and Smooth” (SDS) which is still available at. With SkIndigo, I am very proud of the sophisticated user interface that was developed using Ruby and HTML Web-dialogs. They are features that I myself always wanted to see in SketchUp and it feels great to have implemented so many of these in one plug-in package. Many of the features in Artisan are long-standing feature requests that will likely never be implemented into the SketchUp core application. With Artisan, I am most proud of the ability it gives to SketchUp users to freely model in ways that the native tool set does not allow. I am most proud of Artisan (commercial) and SkIndigo (free). Which of your plug-ins are you most proud of, both free and commercial? Now, I have written about nine plugins altogether. However, once I got into it, I was hooked. It was quite a challenge since I had no knowledge of Ruby or the SketchUp API at the time, plus, I had very little formal programming education (something that still holds me back to this day). Therefore, I decided to try writing an exporter myself (which of course became SkIndigo). I immediately loved both of these applications but there was no way to render from SketchUp to Indigo. At the time, I was toying with the idea of starting a visualization side business and I stumbled onto SketchUp and Indigo Renderer. I started my first plug-in, SkIndigo, in 2005. How long have you been developing and writing SketchUp plug-ins for? Writing plug-ins has allowed me to continue my programming interest in a fun and relaxing way where I have the freedom to develop whatever I want. I probably started programming around the age of 8 or 9 but (for some weird reason) I decided not to pursue it in college. When did you first become interested in writing plug-ins?Ī big part of me always wanted to become a computer programmer. I have a degree in Civil Engineering and was a Structural Engineer for about 8 years up until May 2011 after which I decided to pursue a new career in the 3D visualization industry and also devote more time to writing SketchUp plug-ins. Please introduce yourself and tell us bit about yourself and your background?Ĭurrently, I live in a small town in Saskatchewan, Canada called Hepburn.
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It allows users to upload media that can be edited with filters, be organized by hashtags, and be associated with a location via geographical tagging. After all, the more people you can engage with, the more impactful your work will be.Instagram is a photo and video sharing social networking service owned by Meta Platforms. Adopting minimalistic design to help avoid unnecessary confusion.Ĭombining all these elements will help make your designs more accessible to color blind people.Using highly contrasted color combinations.Using symbols and icons to supplement color-coded messages, warnings and alerts.Using different textures and patterns to highlight important information–not just color.Avoiding problematic color combinations. Selecting color blind friendly palettes.The following measures can help ensure color blind people are actually able to engage with your designs: It’s also possible to do without compromising the aesthetic quality in the process. Optimizing your infographics and charts for people affected by color blindness is important for both accessibility and inclusivity. Key takeaways for using color blind friendly palettes If you’re stuck and absolutely must use one of these combinations, try adjusting the shades so one is extremely dark, and the other extremely light-most color blind people can detect contrast, so this likely will make things easier. Avoid problematic color combinationsĪnother reason you should plan out your color scheme beforehand is so you can avoid using problematic color combinations, some of which can make your charts or infographics completely inaccessible to color blind people.Ĭolor combinations to avoid for people with color blindness include: Related: A Total Guide to Accessible Colors 2. HOT TIP: If you’re stuck, try using a tool like Coblis, a free color blind simulator which will give you a better sense of how your images will appear to people with color blindness. Take advantage of stylization features like these! After all, if it turns out your colors aren’t particularly suited to color blind people-and accessibility is important to you-it’s better to find this out before you’ve invested considerable time and effort in your design composition. It occurs when light-sensitive tissue in the back of the eye-the retina–fails to properly respond to variations in wavelengths of light, which enable people to see different colors.
Mia Wasikowska plays Edith Cushing, the bookish daughter of a successful self-made Albany businessman and widower in the waning days of the Victorian era. Its DNA spliced from the core strands of gothic romance, the film begs to be given the dues of a Rebecca or The Innocents, but is really just a subpar Dragonwyck rolled in a tasty supernatural burrito. Hell, one of the few things that kept Peter Jackson’s regrettable Hobbit trilogy watchable was the unexpected moments of bizarre design that clearly stemmed from del Toro’s latent role in their production.Īll of this is a roundabout way of saying that, expectedly, del Toro’s latest, Crimson Peak, is a gloriously designed spectacle, but it is also in so many other ways a farce. Look at the elven guards of Hellboy 2, or the faun of Pan’s Labyrinth. He could be the Sven Nykvist of production designers. He could be the Paddy Chayefsky of production designers. If Guillermo del Toro wanted to be a production designer full-time, he could be the Edith Head of production designers. Because let’s face it, Guillermo del Toro is a great designer, but he’s rarely a great storyteller. His TV series The Strain, adapted from his trilogy of airplane novels, is the sort of trash I greedily ingest between episodes of HBO-or-similar shows, but still find myself half-watching my phone the whole time. Parts of the Hellboys delight, and The Devil’s Backbone is a beautifully put together if frustratingly simplistic fable. There’s Pan’s Labyrinth, a film I flat-out adore, and there’s Pacific Rim, a big dumb movie that shamelessly tickles all the happiest childish parts of me. It stems from enjoying most of his films, but rarely loving any of them. I have this thesis on Guillermo del Toro. Goth chic: Mia Wasikowska and her poofy nightdress in Crimson Peak |
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