Donny's Blog

In this sense, by using the diagram, he's actually turning to a mode of interpretation that relies on the schema, and here we can recognize, actually, an approach inspired by the philosopher Immanuel Kant, who looks at the architectural imagination as the very thing that schematizes the complexity of the world and transforms it into an ideal that is presented as an objective principle or axiom to the understanding.

https://www.ktvu.com/news/transcript-kamala-harris-kicks-off-presidential-campaign-in-oakland

I wonder how different people across the spectrum of giftedness deal with / encounter neurotypicals. My hypothesis is that those on the profoundly gifted end of the spectrum are so far from neurotypical, they must not even be able to relate at all, whereas those on the moderately gifted side of the spectrum must be able to somewhat relate, but still have a gap. Perhaps those on the moderately gifted range will more often have these sort of conflicts because we (I believe I'm moderately / highly gifted range based on this scale https://thegraysonschool.org/unique-vulnerability-profoundly-gifted-children/) more often socialize with neurotypicals. Whereas the profoundly gifted live in some kind of different world where they rarely interact with neurotypicals. As a corollary, there's research that managers need to be within a certain range of their team. That a manager whose IQ is too far away from that of their team will have a more difficult time working with them. Then ther

I think a key to drawing good faces for manga / comics is simplicity in execution with solid structure that is only hinted at in the final piece. That is, the forms and the structure of the elements in the drawing need to be well developed but there should be a minimalism in terms of line work in the final drawing.  I'm thinking particularly of Samura and Tsutomu. Their is very little line work in the faces, but they have a consistency and style that carries through their work. As opposed to having a good structure and too much line work or bad structure and minimal line work. Perhaps I'm discovering for myself, two crucial elements to drawing comics: line work and structure. Both  need to be at a high level of skill while being developed in different directions in terms of quantity. That is, with structure, more structure, more knowledge of form is good. Where as with the line work representing that structure, the less the better.