#Forms+Surfaces
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konnorrogers.com
I use HTML forms all the time enhanced with Turbo.

Will you take pain points from someone who does use forms and loves them despite their issues and flaws (one of them is technically a fetch issue, but surfaces as a form issue)? 😅
October 2, 2026 at 3:41 PM
kujawiak.bsky.social
#Classicmono #MacroMonday #ECK #BNWmacro #ColorADay #BWFri
A monochrome macro photo of three strawberry tree fruits hanging from a delicate woody stem. Their rounded surfaces are covered in intricate, knobbly textures, beautifully revealed by the silvery highlights against the deep black background. The composition emphasises the repeating patterns and sculptural forms of the fruit.
October 2, 2026 at 5:00 AM
feria.eurosky.social
Gaudí actually relied heavily on ruled surfaces (superficies regladas) like hyperboloids and paraboloids. Even though the final forms look completely organic, they were designed using thousands of strictly straight lines—making straight geometry create the illusion of nature! 📐✨
October 1, 2026 at 8:55 PM
yinzersosmart.bsky.social
Duquesne light is striking down by forms & surfaces on rt 8. If they're still there when I go home I'm going to give them a lil beep beep in support
October 1, 2026 at 12:14 PM
taraseverns.bsky.social
A slime mold, possibly Arcyria cinerea. Waikahekaheiki, Puna, Hawaiʻi.
Several small, pale gray-white, fingerlike clusters rise from decaying wood and leaf litter. Their fuzzy surfaces and branching, coral-like forms contrast with dark brown debris and patches of green lichen.
October 1, 2026 at 6:39 AM
newsen.bsky.social
BGL's Real Estate Team Facilitates Strategic Sale-Leaseback Deal for Forms+Surfaces#USA#Pittsburgh#Real_Estate#BGL#Forms+Surfaces
BGL's Real Estate Team Facilitates Strategic Sale-Leaseback Deal for Forms+Surfaces
Brown Gibbons Lang & Company successfully completes a significant sale-leaseback transaction, enhancing Forms+Surfaces' operational flexibility across its five-property portfolio.
third-news.com
September 30, 2026 at 3:44 PM
newshoundai.bsky.social
This lighting project forms part of a broader redevelopment program for Ponte Flaminio. Previous work in 2025 involved cleaning and protective treatment of the travertine surfaces, with total investments reaching approximately 900,000 euros for both the travertine recovery and new lighting
September 29, 2026 at 10:59 PM
brianmichaelrauh.bsky.social
Riverworn www.arthelper.com/brianrauh/im...
Riverworn by Brian Michael Rauh
Riverworn presents a carefully arranged collection of smooth stones set against dark shelves. Cream, ochre, green, rose, and charcoal surfaces reveal distinct mineral markings and forms, turning a sim...
www.arthelper.com
September 29, 2026 at 10:03 PM
wiredmoth.bsky.social
Craig Aalders — Interstellar Ambient Vol. 1: OSTARA. Generative compositional techniques shape evolving forms built from analogue synthesis and tape delay.
Interstellar Ambient Vol. 1: OSTARA by Craig Aalders | Wired Moth
Three long pieces let modular arpeggios and tape echo drift at geological speed. The surfaces are soft, but never inert: tiny changes in pulse and…
wiredmoth.com
September 29, 2026 at 9:04 PM
wired.sister.haus
A loose, broken framework hangs vertically in a wide field of dark violet. Small clusters connect across empty space through fine lines and long diagonal slivers. Silver ridges and blue-pink reflections catch the eye, with isolated flashes of lime green; much of the form seems barely held together. Long, pointed forms curl around a dark centre, making an uneven oval whirl against violet. Some sweep with the curve while others cut across it. Their surfaces shift between silver grain, pearly ridges and saturated blue, red and green, giving the broad spiral a fragmented, many-layered edge. A large, slightly tilted rectangle dominates an otherwise airy violet composition. Its densely speckled silver surface contrasts with smaller pink panels suspended below it. Hair-thin lines cross the surrounding emptiness, while broad pink and lilac strips run along the bottom edge. Thin, winding forms ripple across deep violet, crossing and separating with generous space between them. Mostly silver and pastel, they carry tiny flashes of rainbow texture. A few broader, pointed strips interrupt the flowing lines—red and pink near the top, pale and pearly near the bottom.
September 28, 2026 at 2:59 PM
wired.sister.haus
#generativeart #digitalcollage
An expansive tangle stretches across deep violet space, opening into loops and scattering into fine diagonal lines. Silver, pink and icy-blue fragments gather loosely left of centre; a pale, perforated shape floats to the right. Glitter, metallic ridges and rainbow reflections give the drifting forms a sharp, tactile surface. A dense, elongated cloud hangs in a violet void, its ragged edges bristling with loose strips and delicate hooks. Pink, silver and blue overlap in the centre, punctuated by acid green. Close-packed textures alternate between grainy sparkle, pearly facets and corrugated metal. An irregular mass floats against deep violet, broad through the middle and narrowing into a tall projection that runs off the upper edge. Overlapping planes suggest a structure coming apart: silver grit, blue-green sequins and pale iridescent scales, with a large pink rectangle jutting out to the right. A crowded, jewel-coloured field presses almost to every edge, with dark violet openings between its folds and fragments. Rounded hollows interrupt the angular clutter. Turquoise, magenta and silver dominate; glittering rings, bead-like surfaces and pearly shards create an uneven sense of depth.
September 28, 2026 at 2:59 PM
generatedhorror.bsky.social
The condensation forms upon the inner surfaces of the surrounding cases. I mention this because several visitors have mistaken it for humidity.
September 28, 2026 at 11:57 AM
designmilk.bsky.social
At SPOOK, faceted acoustic forms and deep blue surfaces reshape a legendary rave room while salvaged details keep its history in the mix.

design-milk.com/clap-studio-...
Clap Studio Gives a Legendary Spanish Nightclub an Acoustic Makeover
Acoustic design meets nightclub history in a deep blue Valencia rave room
design-milk.com
September 27, 2026 at 9:30 PM
iduhouse.bsky.social
🎶 Artist of the Day: Solange Knowles

A multidisciplinary artist who transforms emotion into architecture, Solange blurs the boundaries between performance, design + sound. From A Seat at the Table to her museum installations, she shows how to build worlds through #art.

🗃️ #CreatorsAtWork #BlackSky
Solange performs “Cranes in the Sky” on Saturday Night Live on November 5, 2016, standing at a microphone with both arms extended in a slow, sculptural pose. She wears a white crystal-net dress over a white two-piece, long earrings, and an extraordinary circular braided halo that glows around her head like a web, crown, or piece of architecture. A horn player is dimly visible behind her while the stage falls into darkness around the bright geometry of her body. This was Solange’s first SNL appearance, arriving just weeks after A Seat at the Table became her first No. 1 album. The halo was made by Chicago artist Shani Crowe, who spent more than 40 hours braiding and hand-beading it with roughly 5,000 Swarovski crystals. Erickson Beamon created the crystal dress and earrings with Swarovski. The styling was not decoration added after the music. It was part of Solange’s larger language, in which choreography, hair, clothing, bodies, sound, and space become one composition. A Seat at the Table had turned years of writing into a meditation on Black identity, anger, healing, self-possession, and the right to take up space. “Cranes in the Sky,” written years before the album was finished, traces the ways we try to outrun pain and discover that it still follows. Onstage, Solange answered that emotional interiority with controlled movement and radiant design. Looking at the image now also reveals the path ahead. The performer who made a television stage feel like an installation would go on to present performance work at the Guggenheim, Chinati, the Venice Biennale, and the Getty; compose for New York City Ballet; build Saint Heron into an arts institution; and expand her stage-design practice toward large-scale sculpture. In 2026, as she brings her first public large-scale sculpture to New York’s High Line, this 2016 image feels less like a fashion moment than an early blueprint: Solange already treating performance as architecture, and architecture as a way to hold feeling. Portrait of Solange used for the cover of A Seat at the Table, photographed by Carlota Guerrero in 2016. Solange faces the camera against a pale cream background, bare shoulders visible, her hair falling in waves around her face. Pink, gray, black, and silver hair clips remain scattered throughout the hair, the kind of temporary tools normally removed before a finished portrait. Her expression is calm but unwavering. By design, Hairstylist Neal Farinah had placed the clips to hold the waves, and Guerrero later explained that they were not intended for the final photograph. Solange loved the shot, and the team kept them because the unfinished detail exposed vulnerability without weakening the directness of her gaze. Guerrero said Solange wanted to look the listener in the eye, making the album feel like a conversation nobody could simply turn away from. That idea reaches into the record itself. Released September 30, 2016 after years of writing and recording, A Seat at the Table moves through rage, exhaustion, Black womanhood, self-care, family memory, pride, and survival. “Don’t Touch My Hair” turns hair into a boundary around identity; “Cranes in the Sky” searches for relief from pain; family voices appear in the interludes. The album arrived with a 112-page digital book, with Guerrero’s photography and Solange’s lyrics treated as one visual and literary world rather than separate promotion. It became Solange’s first No. 1 album, and “Cranes in the Sky” later earned her first Grammy. Nearly a decade later, the portrait also reads like a thesis for Solange today. Her work through Saint Heron now moves across music, archives, books, curation, design, performance, and sculpture, but the method is recognizable: attend to what others dismiss as incidental, preserve the trace of process, and build a world from it. The clips were supposed to disappear. Instead, they became part of how a generation remembers the album, proof that unfinishedness can carry its own authority. Solange stands inside a bright gallery beside a John Chamberlain sculpture made from crushed and folded white and chrome-colored metal. The sculpture towers above her like a damaged machine or architectural ruin, its painted surfaces scarred while polished metal bulges outward in white light. Solange wears a floor-length black dress covered in small white marks and leans lightly into the work, looking directly at the camera. Green sculptures sit farther back, in the open room. The photograph was made by Davey Adésida and Sam Bloom for Interview’s 2025 conversation between Solange and Rainer Judd marking the publication of Living With Chamberlain. Solange’s relationship with Chamberlain’s work goes back much further. She recalled first encountering his sculptures at the Chinati Foundation in Marfa around 2008 or 2009 and having a visceral response. She began seeking his work out when traveling, including at the Menil Collection and Museum of Fine Arts, Houston. What she recognized was not simply a taste for metal or monumentality, but a shared way of making. Solange described her own process as maximizing and then minimizing: gathering ideas, expanding them as widely as possible, and eventually locating the central form. Chamberlain’s crushed automobile steel, simultaneously chaotic and distilled, gave her a sense of possibility. That connection now reads almost prophetically. Solange’s practice has steadily moved beyond the album format into performance, architecture, curation, design, objects, and sculpture. Her 2018 Metatronia project at the Hammer Museum helped turn scenic design toward inhabitable form; in 2024 she made Orion’s Rise for the Met; and in 2026 she developed her first public large-scale sculpture for New York’s High Line. Seen from today, this portrait is not a musician visiting another artist’s work. It is one artist standing beside a language that helped her recognize her own, years before sculpture became one of the clearest ways she would speak. Solange stands in a wood-paneled interior beside a towering blue John Chamberlain sculpture of crushed metal. In a long black dress with sculptural sleeves, she rests one hand against the work and looks toward the camera. Chamberlain’s piece rises several times her height, its blue surfaces buckled and compressed into a roughly human form. Around them are other twisted metal forms in silver, black, brown, and color, making the room feel like a studio and landscape of industrial bodies. Davey Adésida and Sam Bloom photographed the image for Interview in 2025, alongside a conversation between Solange and Rainer Judd about the sculptor’s influence and Living With Chamberlain. Solange traced that influence to seeing Chamberlain at the Chinati Foundation around 2008 or 2009. She remembered responding physically before she had language for why. Later she understood a kinship between his “collision and chaos” and her own instinct to collect widely, build toward excess, then pare a project down until its essential form appears. The connection also runs through Texas. Chamberlain titled works after Texas towns; Solange grew up in Houston, returned to Marfa repeatedly, and in 2017 performed at Chinati among Donald Judd’s concrete works. Today the photograph feels like a bridge between influence and authorship. Through Saint Heron, Solange has become not only a recording artist but a curator, publisher, archivist, composer, designer, and institution-builder. Her Eldorado Ballroom series has created intergenerational stages for Black music and performance, while her sculptural practice has moved from stage environments into autonomous objects and public space. In September 2026, her first public large-scale sculpture arrived on New York’s High Line, a work concerned with material, light, touch, human energy, and everyday occupancy. Here, beside Chamberlain’s compressed metal, we can see one lineage being acknowledged just as Solange’s own spatial language comes fully into view.
September 27, 2026 at 8:38 PM
welovehowyousuffer.bsky.social
This is great. I can absorb liquids and wipe them off of surfaces, along with other forms of debris, and then I can wash it off afterwards. I'll definitely make use of this.
welovehowyousuffer.bsky.social mellow @welovehowyousuffer.bsky.social · 6d
[ Got The Hanky ]
September 27, 2026 at 5:30 AM
pdfops.dev
seen this exact thing with IRS PDF forms. the dollar fields have zero numeric validation at the AcroForm level, it's all form JS that no third party filler ever executes. a batch job generates 200 forms clean and the bad data surfaces months later in someone's audit queue.
September 26, 2026 at 7:36 PM
mfoley25.bsky.social
Cathedral Rock sea cave in Bandon
#AlphabetChallenge #WeekLForLookingIn
#ClassicMono
#ECK #WCK #PNW
#Beach #Cave
#Nature #Photography
A narrow sea cave opening nestled between rugged, textured cliff sides. On the left and right, massive, craggy rock faces rise vertically, their surfaces covered in rough patches, small barnacles, and weathering details that contrast sharply in light and shadow. The cave entrance forms a dark, deep, vertical void in the center, disappearing into pitch blackness. At the base of the opening, a small patch of sandy ground is visible, with a shallow pool of water reflecting light as it flows smoothly across the rocky, uneven foreground.
September 26, 2026 at 4:29 PM
cmaprints.bsky.social
Landscape https://clevelandart.org/art/2004.39
Twenty-four-year-old Paul Sérusier met Paul Gauguin in Brittany at the artists' colony in Pont- Aven. Sérusier enthusiastically embraced the older artist's flat, simplified forms and bold colors. He became one of Gauguin's closest disciples, promoting his aesthetic among a group of Parisian artists who became known as the Nabis-the Hebrew word for "prophets"-because they predicted a new era in art. Sérusier was primarily interested in creating decorative surfaces which juxtaposed flat planes of opposing colors. Sérusier made only a few prints during his career, but the bold, primitive-looking Breton Landscape was selected for publication in L'estampe originale, a quarterly publication of original prints that appeared from 1893 to 1895. Breton Landscape pays homage to Gauguin's Volpini Suite, a series of eleven zincographs printed on canary yellow paper in 1889. The high horizon, tilted ground, winding fence, and geometric shapes of the fields echo details in Gauguin's Breton Women by a Fence.
September 25, 2026 at 5:17 PM
sp28.net
The Landing Place

#art #pictorialism #iPhone
A grainy monochrome photograph dominated by a vast, turbulent sky. Billowing clouds rise in dense layers, shifting from pale silver to deep charcoal and giving the scene a heavy, almost theatrical atmosphere. A dark palm trunk forms a strong vertical border along the left edge, with sharp fronds reaching diagonally into the sky. Along the lower right, a repeating row of steep triangular roofs recedes into the distance. Their bright surfaces contrast with the dark clouds and vegetation. The composition feels compressed between tropical foliage and human shelter, while the enormous sky occupies most of the frame. The soft detail, muted tones, and visible grain give the scene the character of an older pictorial photograph rather than a straightforward record of a tropical destination.
September 24, 2026 at 3:28 PM
bloodandsawdust.bsky.social
An old throwback: a couple of turned wooden cups of maple I did several years ago. They are inspired by some ceramic forms in the London Museum. I haven’t been doing much turning lately, but may have to get out the chisels sometime. #woodworking #woodturning
Two turned wooden cups, one of hard maple and one of spalted red maple. Both have ridged surfaces, making them easy to grip.
September 24, 2026 at 2:12 AM
joedecker.bsky.social
Never ever get tired of all the ways in which ice forms in glaciers, icebergs, lake and river surfaces....

#PPortfolioOnBSky 391
A photograph of part of an iceberg showing slightly curved but mostly horizontal bands of ice, some whiter, some bluer. The top ridge of the berg on the left has a bit of a rim protruding with, the lower ridge right is smoother. Behind/above the iceberg is an even grey sky.
September 22, 2026 at 10:08 PM
drnereide.bsky.social
This is a stunning lunar corona, visible in Death Valley.

A corona is an optical phenomenon you may see when thin clouds partially veil the Sun or the Moon.

Photo: Arpan Das

Source: epod.usra.edu/blog/2021/08...

🔭🧪⚛️ #sciart #science #optics
A night landscape in Death Valley. In the foreground the playa is dry and cracked. The ground is broken into blue-grey plates of mud or salt, divided by dark fissures. Near the bottom center one crack forms a wide, almost round shape, like a plate that has split. Some of those surfaces pick up a faint gloss from the moonlight.A dark mountain range sits farther back, low and uneven against the sky. The Moon is high and very bright. The disk is overexposed, almost a white glare. A lunar corona surrounds it. First comes a bright aureole. Outside that the colour changes. Near the Moon it is bluish-white. Then green. Then yellow. At the edge there is a faint pink-violet rim. The rings stay soft and run into one another. Thin, streaky clouds drift across the sky, partly veiling the Moon and helping form the corona. The night sky offers a magical view. The whole scene is cast in cool blue tones, quiet and wide.
September 22, 2026 at 3:36 PM
partshmc008.bsky.social
Trane PAI00061 Spray Paint Executive Beige Shipping

Trane PAI00061 Spray Paint in Executive Beige is a maintenance coating designed for compatible Trane HVAC equipment and components.

#Trane #PAI00061 #SprayPaint #PartsHnC #HVACParts

Visit The Web site:
www.partshnc.com/trane-pai000...
Trane PAI00061 Spray Paint Executive Beige Shipping Trane PAI00061 Spray Paint in Executive Beige is a maintenance coating designed for compatible Trane HVAC equipment and components. Applied to suitable metal or exterior surfaces, it forms a protective finish that helps resist corrosion, moisture, and normal environmental exposure while restoring the equipment’s original appearance. This spray paint is useful for air conditioners, heat pumps, air handlers, and other Trane equipment during maintenance or touch-up applications. Its aerosol format provides convenient application, helping protect surfaces, improve appearance, and support long-term equipment durability. For an efficient and reliable HVAC system, the Trane Spray Paint Executive Beige Shipping is a great choice for optimal system performance. #Trane #Traneparts #PAI00061 #SprayPaint #PartsHnC #HVACParts #FurnaceParts #AirConditionerParts Visit The Web site: https://www.partshnc.com/trane-pai00061-spray-paint-executive-beige-shipping
September 22, 2026 at 4:14 AM
partshmc008.bsky.social
Burnham Boiler 81960002 Spray Paint

The Burnham Boiler 81960002 Spray Paint is a 12-ounce coating designed for compatible Burnham boiler equipment and heating system components.

#BurnhamBoiler #81960002 #SprayPaint #PartsHnC #HVACParts

Visit The Web site:
www.partshnc.com/burnham-boil...
Burnham Boiler 81960002 Spray Paint The Burnham Boiler 81960002 Spray Paint is a 12-ounce coating designed for compatible Burnham boiler equipment and heating system components. Applied directly to suitable exterior metal surfaces, it forms a protective finish that helps shield components from moisture, corrosion, and normal environmental exposure. This spray paint is useful for boiler maintenance, touch-up work, and restoring the appearance of heating equipment. Its convenient aerosol format supports smooth application and efficient coverage, helping protect surfaces, maintain equipment appearance, and extend the service life of compatible boiler components. For an efficient and reliable HVAC system, the Burnham Boiler Spray Paint is a great choice for optimal system performance. #BurnhamBoiler #BurnhamBoilerparts #81960002 #SprayPaint #PartsHnC #HVACParts #FurnaceParts #AirConditionerParts Visit The Web site: https://www.partshnc.com/burnham-boiler-81960002-spray-paint-12-oz-can-no-warranty
September 21, 2026 at 4:45 AM
thatbennett.bsky.social
The texture paints are also great used sparingly to get a bit of that bobbling that happens.
Mostly just remember that rust forms where water collects, and it will get rubbed off high-contact surfaces and edges, so light drybrushing afterwards with the base metal helps
September 19, 2026 at 6:06 PM