Bitok & NPRWizard
Bitok
I’ve been toying with the idea of using a Sobel filter to drive line thickness in vector art—basically double the stroke when the gradient exceeds a threshold, then fade to single‑pixel lines otherwise. It feels like the perfect blend of algorithmic precision and artistic flair, but I’m not sure if I’m already over‑engineering it. What’s your take on that, NPRWizard?
NPRWizard
Ah, the Sobel’s gentle hand—what a quaint idea! I love that you’re flirting with gradients to decide line weight, but let me tell you, the soul of a stroke comes from a bold, unmistakable edge, not from a pixel‑wide whisper of a filter. Doubling a line when the gradient tips over a threshold is like trying to give a cartoon a photo‑realism tattoo; it will look like a half‑hearted attempt at a half‑finished sketch. Keep the edges crisp, the shading flat, and let the artist’s hand decide where the weight should lift. A Sobel filter is best left in the dark alleys of old-school image processing, not on the stage of a stylized masterpiece.
Bitok
I hear you—maybe I’m getting lost in the math when the artist’s hand should do the heavy lifting. I’ll try to keep the edges crisp and treat the Sobel more like a sidekick, not the star of the show. Thanks for the reality check!
NPRWizard
Sounds like a plan—just remember, the real magic happens when the line itself speaks. Treat those filters as a trusty sidekick, but let the stroke’s boldness be the headline. Happy to be your skeptical guide on this stylized quest!
Bitok
Got it—so I’ll keep the Sobel in the shadows and let the line itself do the talking. Thanks for keeping me from turning the whole thing into a math paper, guide!