随着年龄的增长，越来越想学好一门手艺，实打实的，看得见摸得着的那种。

我发现，只要你少刷社交媒体，你的消费欲就会降到很低，而你也不会觉得缺少了什么

Gemini 2.5 Pro is the King of AI

AI（LLM）用来诊断体检报告真的很方便，尤其是具备多模态能力的大语言模型（Deepseek，点你呢）。

忘了怎么接触到何同学那段网约车的言论，看着很正常的一点感想，除了回复拒绝略显生硬外，找不到可以被攻击的点，结果却被网暴到这种程度，算是瞥见了国内互联网的主流群体画像了。

起了个大早看勇士和快船的常规赛收官战，太值了，比赛的紧张程度丝毫不亚于抢七，恭喜快船不用打附加赛了。

一家三口

今日练习

Years after Years, iCloud Drive as an essential part of Mac ecosystem is still unusable and unreliable, Apple really needs a year to deliver Snow Leopard.

在整理文件夹时翻到了自己之前在蘑菇街时做的一个文档平台，回想起来还是挺酷的。真的就是以一己之力，在业余时间，从零开始，开发了一个在公司内部有一定影响力的工具。

今日练习

今日练习

当你不再急着证明自己，才更有可能活出自己。

每个人都有自己的频率，当你接触的人、所做的事与自己同频时，会感觉到发自内心的愉悦。即使把身体或精神 push 到了某种极限，你也知道，这种痛苦是值得的，可以在将来回味的。

感谢茑屋书店，可以白嫖各种好书

Varying the colors within your shadows is important. Shadows aren’t just one solid wash of color. It’s much more interesting to push other colors into them, combining cool and warm colors within the same part of a shadow.

We’re also not only painting the color of an object. It’s one thing to paint a gray roof or a beige chimney, but to paint the light that’s reflecting off surrounding objects is much more interesting. To paint the temperature of the day, to paint the mood we want to convey can shift our thinking and add dimension to our work.

The key to improving at any skill is to develop the talent for improving technique. Fall in love with the process and the results will take care of themselves.

Because I’m always thinking in terms of story, I look for buildings with a story to tell. Whether it’s a tranquil café, a busy intersection, or an intricately detailed cathedral, there’s always a story being told. These buildings become individual characters in a city. It helps me to see architecture as character. Maybe a particular structure resembles an exhausted old man, or a proud soldier, or an elegant movie star.

This is a jar of some of my favorite brushes. It’s a simple group of objects, but it holds meaning for me, and this is key for depicting still life. You must feel what these objects have to say. Truly see them. These brushes form a little family. Each one is an actor waiting in the wings, and here they’re all huddled together ready to perform. “Pick me! Pick me!” they seem to say.

湖人本赛季应该走不远，能进季后赛次轮就算是高于预期了，个人觉得最大的问题还是东契奇。

东契奇的季后赛防守端一定会被针对，除非把他藏的很好，不然只要被拉到上线，几乎只能靠协防、补防、换防（尤其是面对有速度优势的后卫）。这就要求湖人整个防守体系能够快速轮转，互相呼应，目前的湖人还不太具备这个能力，尤其是在第四节体力下降时。这个在常规赛可能不太明显，到了季后赛，每一轮对方都会精心布置，东契奇这个点是一定会被拿来做文章的。

如果进攻端能够带来足够大的威胁，那么防守端的问题倒也可以接受。但东契奇的问题在于他没有稳定的得分手段。

主要得分方式：

1. 三分/中投。吃手感，不稳定，前两节可能热得发烫，后两节就可能效率骤降，整体而言，命中率并不特别突出（没参考数据，纯感觉）。
2. 突破。主要靠节奏和假动作，遇到有身体，防守素养好的，并不能占到多少便宜。

一旦投不进，突不破，就只剩下助攻了。

主要助攻方式：

1. 找到错位，突进去，遇到补防，分外线队友。需要你能突得进去，有人来协防，能分到队友，队友还得能投进去。
2. 1/5 号位挡拆，5 号位顺下，给对方喂饼。目前的 5 号位海斯还没成长到值得信赖的程度。
3. 进攻过程中，找到空位，给球。也就是对方防守松懈的时刻，不会太多，看队友手感。

还有一个很大的问题是他的打法与湖人的打法的兼容性。在他没来湖人之前，湖人是很喜欢打快的，得分效率高，容易起势，但球一旦到了东契奇手里，就不太容易快起来。不了解的还以为他就是那个 40 岁的詹姆斯，而詹姆斯才是那个正值巅峰的东契奇。

还有一个点，说大不大，说小不小，就是他在场上带给队友的能量。防守是最能带来能量的，但他的身体让他即使有意愿，硬件上也做不到。还有就是爱摊手，回防慢，这个说白了就是小孩要糖吃，职业生涯前期有这个习惯尚可以接受，但如果正直巅峰，还是改不了，恐难成大器。约基奇之前也有这个毛病，但最近几年摊手的频率明显低多了。

最后，当然还是希望湖人能走得更远，季后赛的东契奇能带来惊喜连连的 Luka Magic，拭目以待吧（不会到最后附冲进附加赛，没进季后赛吧😂）。

Once you start painting a personality rather than bricks, stone, and windows, your sketches take on new life. Each line, each brushstroke becomes imbued with the personality you are portraying.

This idea can be applied to anything you sketch. Mountains famously look like sleeping giants, and trees have multiple personalities. The idea is to sketch these personalities, and to see everything around you as a personification with unique characteristics.

Draw some simple squiggles on a page. These may seem meaningless on their own. But, like individual notes on a page, when they’re in tune with each other, they describe a symphony.

Allow yourself the freedom to suggest details, rather than dogmatically explain everything. Your sketch is a conversation, not a lecture.

Composition is a method of guiding a viewer’s eyes into and through a piece. When we look at paintings, we don’t take them all in at once. We read images in a certain order, like reading a book. Our eyes move in a dynamic sequence around a piece, seeing one area first, then moving on to secondary points of focus and lesser details, returning again to the main focal point. In truly great compositions, our eyes move around a painting, unfolding details, discovering secrets. We have the power to invite a viewer in and gently guide them around a piece.

Everything you sketch tells a story: a story of a time and place, a memory, a dream, a mood. Sketches are an energy transfer. What you feel at the time of creation is translated directly onto the paper. It can be a mysterious process, but shining a light on this mystery gives clarity without diminishing its power.

When I’m walking around my favorite neighborhoods looking for something to sketch, I imagine what a particular view would look like on a movie screen. I’m always looking for the most dynamic angle, the unexpected perspective, the unique vantage point from which to sketch. It’s not enough to paint a pretty building. We’re telling a story, and our choice of viewpoint says just as much as the subject itself. A viewer should lean in, wanting to know the story.