【Hacker News搬运】鲍里斯·瓦列霍与现代像素艺术

[hackernews]

Title: Boris Vallejo and the pixel art of the demoscene

鲍里斯·瓦列霍与现代像素艺术

Text:

hn link

Url: https://marincomics.com/vallejo-pixelart.html

很抱歉，作为一个AI，我无法直接访问互联网来查看或分析网页内容。不过，我可以帮助你了解如何使用JinaReader这样的工具来抓取和分析网页内容，包括如何处理非中文内容并翻译成中文。

以下是一个使用JinaReader进行网页抓取、分析和翻译的步骤概述：

1. **设置JinaReader**：
   - 首先，确保你已经安装了JinaReader以及它所依赖的库，比如Jina和相应的翻译库（例如Google Translate API）。

2. **抓取网页内容**：
   - 使用JinaReader的API或者命令行工具来抓取指定URL的内容。以下是一个使用JinaReader的假设代码示例：
     ```python
     from jina import Document
     from jina.flow import Flow

     # 创建Flow
     flow = Flow.load_config('path_to_config_file')

     # 添加翻译的组件
     flow.add_component(
         "translate/translate",
         "com.jina.component.functions.translate.GoogleTranslator"
     )

     # 将网页内容作为Document添加到Flow
     document = Document(text="https://marincomics.com/vallejo-pixelart.html")
     flow.call([document])

     # 输出翻译后的内容
     print(document.text)
     ```

3. **处理非中文内容**：
   - 在上面的代码中，`GoogleTranslator` 组件被用来将抓取到的非中文内容翻译成中文。确保你在配置文件中正确设置了翻译组件。

4. **分析抓取的内容**：
   - 一旦内容被翻译成中文，你可以使用JinaReader的其他组件来分析内容。这可能包括情感分析、关键词提取、实体识别等。

5. **总结内容**：
   - 根据分析结果，你可以编写一个函数或脚本来自动总结内容的关键点或主要信息。

请注意，以上代码是一个简化的示例，实际应用中可能需要根据具体情况进行调整。你需要确保你的Jina配置文件（`path_to_config_file`）是正确的，并且你的环境中已经安装了所有必要的依赖。

由于我无法直接访问`https://marincomics.com/vallejo-pixelart.html`，因此无法提供具体的抓取和分析结果。如果你有具体的抓取和分析需求，可以进一步提供详细信息，我将尽力提供帮助。

Post by: blakespot

Comments:

Keyframe: Influence of Vallejo and Julie Bell cannot be underestimated on fantasy illustration. Personally, when I studied anatomy for animation work I did back when I was still doing he was a big part of it, even though his work did incline more towards bodybuilding kind of types. Stylistically though, big influence on fantasy. Sorayama was mentioned as well. Again, personally it was: Burne Hogarth, Frank Frazetta, Boris Vallejo and Julie Bell, Luis Royo, Sorayama. Even they're not of same period, I group them together as major influence and study sources.

Keyframe: 瓦列霍和朱莉·贝尔对奇幻插画的影响不容小觑。就我个人而言，当我为动画工作学习解剖学时，我还在做的时候，他是其中的重要组成部分，尽管他的工作确实更倾向于健美类型。不过，从风格上讲，对幻想有很大的影响。Sorayama也被提及。同样，就个人而言，是：Burne Hogarth、Frank Frazetta、Boris Vallejo和Julie Bell、Luis Royo、Sorayama。即使他们；由于不属于同一时期，我将它们归为主要影响和研究来源。

erickhill: It sincerely pleases me to see the Amiga so rightfully discussed in this article. In the 1980s, Amiga was a magical computer years ahead of so many of its peers (including the PC by miles). Sadly, the video capabilities that made it so special eventually became its Achilles heel.

erickhill: 看到这篇文章如此正确地讨论Amiga，我真的很高兴。在20世纪80年代，Amiga是一台神奇的计算机，领先于许多同行（包括PC）好几年。可悲的是，使其如此特别的视频功能最终成为了它的致命弱点。

shit_game: "I had learned to appreciate the color limitations during the old-school graphics competition at Evoke, where we could only use a predefined color palette. The first time I submitted an entry in 2022, I hated it. The second time, in 2023, I came to accept the limited color palette as a problem to solve. And by 2024, I actually started to enjoy the challenge."<p>I've found that limitation in artistic mediums can serve as motivation and even inspiration in art. I primarily work with glitch art; the definition is finicky, and creating it without bleeding into the more generic genre of New Aesthetic can be difficult because of how volatile and uncooperative glitches are. A hard limitation on a number of colors in a palette seems simultaneously incredibly frustrating and liberatingly-simple. While it doesn't inherently affect the medium of the work (pixel art), it poses limitations that challenge it (fidelity in detail being most notable). These limitations also pose some ceiling on the work that can be done - a limited color depth makes an artists focus much more on effective detail than perfect detail, which I think adds character to an art piece.<p>Very interesting article.

shit_game: &“；在Evoke的老派图形比赛中，我学会了欣赏色彩的局限性，在那里我们只能使用预定义的调色板。2022年我第一次提交参赛作品时，我讨厌它。第二次，在2023年，我开始接受有限的调色板作为一个需要解决的问题。到2024年，我实际上开始享受挑战&“<p> 我；我发现艺术媒介的局限性可以成为艺术的动力，甚至是灵感。我主要从事小故障艺术；这个定义很挑剔，而且由于不稳定和不合作的小故障，在不融入更通用的新美学流派的情况下创建它可能很困难。对调色板中多种颜色的严格限制似乎既令人难以置信地沮丧，又简单得令人解放。虽然它没有；它本身不会影响作品的媒介（像素艺术），它带来了挑战它的局限性（细节的保真度是最值得注意的）。这些限制也给可以完成的工作带来了一些限制——有限的颜色深度使艺术家更关注有效的细节而不是完美的细节，我认为这为艺术品增添了个性<p> 非常有趣的文章。

ChrisMarshallNY: I met him, back in the 1980s, when I was still doing paintings, myself[0]. I was surprised at how short he was.<p>BTW: He was a bodybuilder, and was the model for many of his paintings. His wife also featured in many.<p>[0] <a href="https://news.ycombinator.com/item?id=40917886">https://news.ycombinator.com/item?id=40917886</a>

ChrisMarshallNY: 我在20世纪80年代遇到了他，当时我自己还在画画。我很惊讶他有多矮<p> 顺便说一句：他是一名健美运动员，是他许多画作的模特。他的妻子也出现在许多电影中<p> [0]<a href=“https:&#x2F；news.ycombinator.com&#x2F；item？id=40917886”>https:&quot&#x2F；news.ecombinator.com；项目？id=40917886</a>

amiga386: The article links to the "no copy?" site: <a href="http://www.kameli.net/nocopy/" rel="nofollow">http://www.kameli.net/nocopy/</a> which was highly influential in its own time...<p>Demos are ultimately about impressing, also copying without being seen as copying - if you literally copy/paste other people's stuff, that makes you "lame", but if you quote/reference it, if you one-up it - if your rivals put out a demo with 200 bobs, you put out one with 240 bobs - then you look cool and people look up to you.<p>I don't think many people would be too concerned that Amiga musicians sampled presets of existing synths before putting those sounds to use in an original composition that fits the Amiga's hardware limits. And they would think it amazing if you could cover a well-known tune with any kind of fidelity in those tight memory limits.<p>I don't think many people are upset if coders reverse-engineer their rivals and they all share among the many hardware tricks you can do - because there's always someone looking to go one step further and is experimenting to find yet another new trick.<p>And finally, graphics artists weren't exactly penalised for re-drawing a Boris Vallejo by hand - it was difficult to do, and "the scene" liked those sorts of pictures (i.e. naked chicks and fantasy art).<p>Effectively there was not just "this is my original art and it's on message", but also "I <i>can</i> copy this well-known art, because i'm technically capable enough to do it, and you're not". And like the generative AI is doing today, or the camera did to paintings... back in the 1990s, scanners and photo editing software lowered the bar so much that even talentless fools could just scan in an image, rather than have the technical skills to reproduce it by hand, taking away what was otherwise a good channel for showing you had talent and others didn't.

amiga386: 文章链接到&quot；没有副本&“；网址：<a href=“http://www.kameli.net”nocopyrel=“nofollow”>http://kameli.net&#x2F；www.kameli.net；nocopy</a> 它在当时具有很大的影响力<p> 演示最终是为了给人留下深刻印象，也是为了复制而不被视为复制——如果你真的复制了；粘贴其他人；的东西，这让你&quot；跛脚”；，但如果你报价；参考一下，如果你比它高一点——如果你的对手发布了一个有200个波波头的演示，你发布的一个有240个波波头——那么你看起来很酷，人们都很崇拜你<p> 我不知道；我不认为很多人会太担心Amiga音乐家在将这些声音用于适合Amiga的原创作品之前，会对现有合成器的预设进行采样；硬件限制。如果你能在这些严格的记忆限制下以任何保真度覆盖一首著名的曲子，他们会认为这很神奇<p> 我不知道；如果程序员对他们的竞争对手进行逆向工程，并且他们都分享了你可以做的许多硬件技巧，我认为很多人都不会感到沮丧——因为；他总是有人想更进一步，并正在尝试寻找另一种新的技巧<p> 最后，图形艺术家不是；用手重新绘制Boris Vallejo并没有受到惩罚——这很难做到，而且&quot；现场”；喜欢那些类型的图片（即裸体小鸡和幻想艺术）<p> 实际上，不仅仅是&quot；这是我的原创艺术；s on message”；，而且“；我可以复制这门众所周知的艺术，因为我；我在技术上有足够的能力做到这一点，而你；不是&quot；。就像今天的生成式人工智能，或者相机对绘画所做的那样。。。早在20世纪90年代，扫描仪和照片编辑软件就大大降低了门槛，即使是没有天赋的傻瓜也可以扫描图像，而不是掌握手工复制的技术技能，这剥夺了原本可以展示你有天赋而其他人没有的好渠道；t。