Boquila feels more like a cuttlefish or an octopus; it can morph into at least eight basic shapes. When it glides up a bush or tree that it’s never encountered before, it can still mimic what’s near. And that’s the wildest part: It doesn’t have to touch what it copies. It only has to be nearby. Most mimicry in the animal kingdom involves physical contact. But this plant can hang—literally hang—alongside a host tree, with empty space between it and its model, and, with no eyes, nose, mouth, or brain, it can “see” its neighbor and copy what it has “seen.”

(Photo cred: Assafn, Wikipedia)

These ocelli don’t form sharp images, but instead probably detect light and shadow for sleep patterns, directionality, flight stability, etc.

Some reptiles and amphibians also have a light-sensitive third eye called a parietal or pineal eye! It’s similarly right on top of their heads. Again, they’re not forming complex images, but instead use general light information to regulate other things. It’s also why even tame reptiles may bolt if you reach at them from directly overhead, out of range of their normal eyes—that third eye sees an incoming shadow and goes HAWK, RUN.

So with that in mind, plant ocelli…Basically they think the upper epidermal cells have evolved to have a particular convex dome shape that focuses light. I don’t know what proportion of cells are ocelli, if it’s just some or all, but basically the leaf itself IS the “eye”.

Plant ocelli were first proposed over a century ago but they haven’t been well studied since then. Cyanobacteria (a photosynthetic bacteria) focus light. Arabidopsis thaliana has been documented to recognize other Arabidopsis plants…basically when competing for resources, if the Arabidopsis recognizes it’s competing with other Arabidopsis plants, they’ll cooperate and move leaves so that they don’t shade each other, ensuring each plant has access to nutrients. But if the competing plant isn’t Arabidopsis, screw ‘em, they’ll shade it. Crepy & Casal narrowed this down to a light-based response, not just chemical identification, so it’s possible Arabidopsis is visually identifying friend from foe. At any rate, that’s about the extent of plant ocelli research that I was able to find. So this Boquila thing is cool and weird.

What we don’t yet know is how precisely Boquila is seeing the world. Boquila is clearly getting some level of resolution in order to be able to copy shape, size, AND color. Unlike an insect’s 2-3 ocelli, it has tons, so even crude data over a lot of inputs might lead to a pretty good picture. The paper also says the mimicry gets more accurate over time, so there appears to be some learning involved. I would also love to know if it has some equivalent of depth perception! If the target plant is near vs. far, does Boquila produce the same appropriately sized mimic leaf? Does it adjust? They’re going to keep studying it so hopefully we have some answers in a few years!

Anyway here’s a picture of the variation of Boquila mimic leaves.

(Photo cred: Gianoli figure)

In all my art classes, I was never taught HOW to use the various tools of art.

Like yes, form, and shape and space and color theory and figure drawing is important, but so is KNOWING what different tools do.

I’m 29 and I JUST learned this past month that India Ink is fucking waterproof when it dries. Why is this important? Because I can line something in India Ink and then go over it with watercolors. And that has CHANGED the ENTIRE way I art and the ease I can create with.

heres some of mine, pls take with a grain of salt im a total gotdamn amateur:

a lot of the time, the ability for colored ink to bleed will vary wildly WITHIN A SINGLE BRAND OF COLORED INKS. my cobalts bleed like fucking CRAZY compared to my reds, which, when u reference manuscripts that tend to put white ink ON TOP of either red or blue… you see where shit gets real and real annoying. 

u can buy an aeresol, fully transparent workable sealant for like 5-10 dollars at your local art store. when i realize a piece ive been working on needs a color on TOP of a bleed happy ink, i give it a layer of this stuff. trouble is it CAN warp the paper so its important as soon as it dries to use heavy things (paperweights, books) to counteract the paper curling.

WD40, found at your local hardware store, will remove Sharpie marker from almost any hard surface. 

 Acrylic inks will show brush strokes in large areas but are waterproof and quick-drying. 

 Acrylic gouache is vivid, fluid, dried matte, is UTTERLY opaque on black paper, handles exactly like watercolor, and is waterproof. 

Putting an oil painting in the sun will turn the yellowed portions back to their original white and wont hurt the painting. 

 Cheap acrylic paintings will bleach out if left in the sun - get UV protectant spray or varnish. Nicer acrylic paints are less prone to sun bleaching, but they still do. Plan accordingly. Oil paints are much less prone to this. 

Solvent-based markers blend together MUSH MORE SMOOTHLY than alcohol-based markers. 

There is an acrylic paint medium for literally every effect you can conceivably think of (fabric paint medium, gloss medium, fluid medium, sand medium, fast-dying/slow-drying medium, etc.). 

 If you’re going to buy student-grade paint to save cash, buy earth-tones (burnt sienna, ochre, etc.); they are made with cheap pigments already, and you wont tell a difference. You WILL tell a difference between student-grade and artist-grade bright colors (all yellows, blues, and reds). 

If you’re working with markers but aren’t using marker paper, you need to switch. Markers don’t blend on printer paper, they just layer (even expensive markers). 

If you want a glass palette for paint mixing but don’t want to shell out the cash, buy a giant picture frame at Goodwill, take the glass out, and electrical tape it to a piece of foam board the same size for stability. 

 Hog bristle brushes are for oil paint, sable brushes are for watercolor, and synthetic brushes are for acrylic and oil (but not watercolor because synthetic bristles can’t absorb water). 

- Palette knives are for mixing paint and TRUST ME you want to learn how to use them. When you mix with your brush you loose paint and it’s hard in your brushes.

- DO NOT FIX YOUR ARTWORK WITH HAIRSPRAY. If you’re proud of your work and want to keep it, buy the actual spray fix. Hairspray is not archival in the slightest and will damage your work.

- On top of that, be careful how you store your work. Newsprint is handy and cheap, but also not acid-free and it will yellow your paper. Foamboard? Matboard? Also not always acid-free (but you can get them acid-free).

- There is no food-safe paint. Period. There are lots of ways you can decorate pottery that aren’t glazes, but only glazes are food safe (and even some of those aren’t).

- Also not food safe: Polymer clay (sculpey), air dry clay, oil-based clay, ceramics that have not been glaze fired, oil pastels, sharpie, glues of any kind, or mod podge (even the ‘dishwasher safe’ kind).

- Don’t even get me started on mod podge. It’s not consistent. It’s not archival. It’s not a sealant, it’s a glue (setting aside some of the weird hyper-specific ones they make that I’ve literally never seen in real life).

- If your glue isn’t archival or at least acid-free, don’t use it in your artwork.

- There are so many different kinds of paper out there, just go try them. But also make sure you know if it’s acid-free or not (it probably is).

- Marker paper is usually 15 to 20 lbs. News print is usually 30 to 35 lbs. Tracing paper is usually 25 lbs. Rice paper can range from 20 to 50 lbs. Printer paper is 20 lbs. Vellum paper is usually 48 to 55 lbs. Sketchbook paper is usually 50 to 60 lbs. Drawing paper is usually 70 to 80 lbs. Cardstock can range from 50 to 110 lbs. Charcoal paper is usually 50 to 65 lbs. Pastel paper can range from 70 lbs to board. Bristol paper can range from 50 lbs to board. Mixed media paper can range from 90 to 140 lbs. Printmaking paper can range from lbs 90 to 300 lbs. Watercolor paper can range from 90 to 500 lbs.

- The heavier and rougher the paper is, the more it will absorb. If you’re using a paper too smooth for your medium it will take forever to dry and may smudge. If you’re using a paper too light for your medium, it will warp and curl.

- If you’re working heavily with water, you need to stretch your paper (aka seal down your edges of the paper to a hard, water resistant surface). If you don’t like doing that because it’s a hassle, buy a watercolor block instead of a pad/individual peices.

- If you’re working on a thicker paper, and make a mistake that your can’t erase or cover- you can scrape and/or cut it out! With a really sharp exacto knife, you can very CAREFULLY remove the top layer of paper fibers on most paper.

- DO NOT USE ACRYLIC AS BODY PAINT. It’s plastic.

- If you paint with oil, buy a silicoil jar. It’s the best $10 you’ve ever spent.

- Acrylic paint is basically water-based plastic. It will basically fuse with anything plastic (like a plastic palette), and will not stick to anything oil-based.

Next slide. “Brandon Sanderson is a member of the LDS”. The muttering has changed tone

“It’s not a very big amount of money though.” Someone in the audience pipes up. “His cut is only a small fraction of the cost of the book, and then-“ my next slide shows an income breakdown, it is titled ‘a small fraction of $10,000,000 is still a big number’

Actually this is a big part of why you see so many successful mormon authors! Not necessarily people being deliberately pressured to buy the books, I've never heard of that happening, but there's a big writing culture and it's generally easier for mormons to get published in the first place because of their accessible English university classes and their internal book distribution network giving many authors a leg up. It's worth noting that while I'm unaware of any deliberate attempts to game bestseller lists like these tags imply, simply being mormon authors helps sell books to other mormons, because mormons tend to be very wary about reading inappropriate content. A mormon picking out a book for themselves, or especially picking out a book for their children, will likely favour a book available through their mormon bookstore or a book written by a mormon in a bookshop, because they know that the material in the book will be appropriate and morally acceptable. (That or Disney, which is al,so apparently very popular among mormons.) Since mormons tend to have a strong reading and writing culture, this captive audience certainly isn't nothing.