This schema document describes the XML namespace, in a form suitable for import by other schema documents.
See http://www.w3.org/XML/1998/namespace.html and http://www.w3.org/TR/REC-xml for information about this namespace.
Note that local names in this namespace are intended to be defined only by the World Wide Web Consortium or its subgroups. The names currently defined in this namespace are listed below. They should not be used with conflicting semantics by any Working Group, specification, or document instance.
See further below in this document for more information about how to refer to this schema document from your own XSD schema documents and about the namespace-versioning policy governing this schema document.
denotes an attribute whose value is a language code for the natural language of the content of any element; its value is inherited. This name is reserved by virtue of its definition in the XML specification.
Attempting to install the relevant ISO 2- and 3-letter codes as the enumerated possible values is probably never going to be a realistic possibility.
See BCP 47 at http://www.rfc-editor.org/rfc/bcp/bcp47.txt and the IANA language subtag registry at http://www.iana.org/assignments/language-subtag-registry for further information.
The union allows for the 'un-declaration' of xml:lang with the empty string.
denotes an attribute whose value is a keyword indicating what whitespace processing discipline is intended for the content of the element; its value is inherited. This name is reserved by virtue of its definition in the XML specification.
denotes an attribute whose value provides a URI to be used as the base for interpreting any relative URIs in the scope of the element on which it appears; its value is inherited. This name is reserved by virtue of its definition in the XML Base specification.
See http://www.w3.org/TR/xmlbase/ for information about this attribute.
denotes an attribute whose value should be interpreted as if declared to be of type ID. This name is reserved by virtue of its definition in the xml:id specification.
See http://www.w3.org/TR/xml-id/ for information about this attribute.
denotes Jon Bosak, the chair of the original XML Working Group. This name is reserved by the following decision of the W3C XML Plenary and XML Coordination groups:
In appreciation for his vision, leadership and dedication the W3C XML Plenary on this 10th day of February, 2000, reserves for Jon Bosak in perpetuity the XML name "xml:Father".
The ultimate environment for growth is the classroom. To truly master your class assignments, embrace the feedback loop.
The "style" lives in how you draw the features.
In digital painting, relying too much on the airbrush tool flattens your forms and makes the portrait look muddy. Mix textured, hard-edged brushes for structural planes with soft-edged brushes for smooth transitions like the cheeks or brow. In traditional painting, experiment with palette knives for blocky, graphic textures. Canvas Texture and Layering
What inspires you most? (Anime, Disney, expressionism, semi-realism?) The ultimate environment for growth is the classroom
Every master stylist has a default shape bias. Disney uses soft arcs (rounded triangles). Anime uses sharp wedges and rectangles. Arcane (Fortiche) uses irregular, chunky polygons.
: Prioritizing the distinction between light and dark before introducing color. This includes establishing "shadow shapes" as solid blocks to define 3D form. Build :
Work with limited color palettes in your studies to understand how colors harmonize without relying on complex, messy mixtures. In digital painting, relying too much on the
Stylization grants you the freedom to move away from local skin tones. You can paint a portrait using neon blues, vibrant pinks, or earthy greens, provided your value structure remains accurate.
For your next class work session, do not aim for a "beautiful" finished piece. Aim for a convincing piece of design. Ask yourself: Does this face feel solid? Does the light make sense? Does the stylization serve the character's personality?
Bring your work-in-progress paintings to class discussions or mentor reviews. Fresh eyes will instantly spot where you were too timid with your proportions or too chaotic with your color choices. Canvas Texture and Layering What inspires you most
| Edge Type | Effect | Tool example | |-----------|--------|--------------| | Hard | Focus, structure, graphic pop | Flat brush, hard round | | Soft | Atmosphere, depth, skin transition | Dry brush, smudge, soft round | | Lost | Mystery, integration, focal release | Sponge, glazing |
Fundamentals to Mastering Stylized Portrait Painting Class Work
In keeping with the XML Schema WG's standard versioning policy, this schema document will persist at http://www.w3.org/2009/01/xml.xsd.
At the date of issue it can also be found at http://www.w3.org/2001/xml.xsd.
The schema document at that URI may however change in the future, in order to remain compatible with the latest version of XML Schema itself, or with the XML namespace itself. In other words, if the XML Schema or XML namespaces change, the version of this document at http://www.w3.org/2001/xml.xsd will change accordingly; the version at http://www.w3.org/2009/01/xml.xsd will not change.
Previous dated (and unchanging) versions of this schema document are at: