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Work 00099 abstraction (cyan, blue, orange, red)

Work 00099 abstraction (cyan, blue, orange, red) published on No Comments on Work 00099 abstraction (cyan, blue, orange, red)
See http://s.earthbound.io/2y for original, print and usage ~ The swirling strokes in this were achieved with the liquid ink bristlecone preset in Corel Painter 2016 ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Work 00099 abstraction (cyan, blue, orange, red)

The swirling strokes in this were achieved with the liquid ink pine preset in Corel Painter 2016. Tap or click image for ~2K resolution, free for personal use. Here's a link to prints and merchandise available at pixels.com, and another link to prints available at ImageKind at up to ~ 35" x 56".

The following variant and resource images which I made along the way, I release into the Public Domain:

Variant via the Filter Forge "side to side" filter by Skybase:

An alpha resource via the Filter Forge Terrain Hightfield Generator by LigH; I used this (and variants of it) as a transparency channel in filter layers to make uneven interesting application of filters:

Abstraction (work 00079)

Abstraction (work 00079) published on No Comments on Abstraction (work 00079)
See http://s.earthbound.io/2g for original, print and usage. ~ Based on something I started way back in 2003. Gah. I'm old. This is however a near overhaul of that. Created with Corel Painter, Filter Forge, and Photoshop. ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Abstraction (Work 00079)

Click or tap the image for a high resolution version, free for personal use. If you want a print please leave a comment. ~ Based on something I started way back in 2003. Gah. I'm old. This is however a near overhaul of that. Created with Corel Painter, Filter Forge, and Photoshop. ~ A hoity-toity robot talks about this at: http://s.earthbound.io/artgib

I think this randomly generated statement works as well as many other Artist Statements you may have read!–

Works utilize this medium today. A concrete form with various organisations, including the work /Black Out/, in which imagination, dreams, and death are largely intuitive: preferring that the settlers went on to study sociocultural trends in photography, media and intellectual creativity in masterpieces of probably the most loved French post-impressionist masters.

Work 00061 abstraction in four variants

Work 00061 abstraction in four variants published on No Comments on Work 00061 abstraction in four variants
If, when I am creating a digital work, I come across e.g. compelling color variations in the process, I save them as variants and sometimes work the variants up further. That's the case here.

Forest Spirits I, II and III (Works 00034, 00035, and 00036)

Forest Spirits I, II and III (Works 00034, 00035, and 00036) published on No Comments on Forest Spirits I, II and III (Works 00034, 00035, and 00036)
See http://s.earthbound.io/26 for archive, original, print and usage options. ~ Software used: Solidworks, 3ds Max, Filter Forge, Photoshop. The horizontal and vertical painterly streaks and stripes are a side effect of the Sketchy Painting Filter Forge filter extending the effect from where an opaque area borders a transparent (alpha) area in an image. I deliberately used that side effect here. It may only work with a previous version of Filter Forge and/or the mentioned filter :/ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Forest Spirit I (Work 00034)

See http://s.earthbound.io/27 for archive, original, print and usage options. ~ Software used: Solidworks, 3ds Max, Filter Forge, Photoshop. The horizontal and vertical painterly streaks and stripes are a side effect of the Sketchy Painting Filter Forge filter extending the effect from where an opaque area borders a transparent (alpha) area in an image. I deliberately used that side effect here. It may only work with a previous version of Filter Forge and/or the mentioned filter :/ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Forest Spirit II (work 00035)
See http://s.earthbound.io/28 for archive, original, print and usage options. ~ Software used: Solidworks, 3ds Max, Filter Forge, Photoshop. The horizontal and vertical painterly streaks and stripes are a side effect of the Sketchy Painting Filter Forge filter extending the effect from where an opaque area borders a transparent (alpha) area in an image. I deliberately used that side effect here. It may only work with a previous version of Filter Forge and/or the mentioned filter :/ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Forest Spirit III (work 00036)

The first thumbnail here links to a 9000px wide image. The other two link to 2400px wide images.

Software used: Solidworks, 3ds Max, Filter Forge, Photoshop. The horizontal and vertical painterly streaks and stripes are a side effect of the Sketchy Painting Filter Forge filter extending the effect from where an opaque area borders a transparent (alpha) area in an image. I deliberately used that side effect here. It may only work with a previous version of Filter Forge and/or the mentioned filter :/ A hoity-toity robot talks about these at:

http://s.earthbound.io/artgib

Pending: A variant composite of all three of these.

If you want a print, leave a comment and I'll make one available.

Abstract mechanical colorful mess (Work 00019)

Abstract mechanical colorful mess (Work 00019) published on 1 Comment on Abstract mechanical colorful mess (Work 00019)
[I don't know. I'm still reworking this piece. Something that makes a varied/interesting hybrid of the old and new version may be preferable. 01/18/2017 09:18:15 PM]

See http://s.earthbound.io/2r for original, print and usage. ~ Created via: SolidWorks, 3dsMax, Corel Painter X, Photoshop. Full details of production at that link. ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Abstract mechanical colorful mess (Work 00019).

Image links to larger image, free for personal use. This work was previously titled Abstraction [twenty-two.] The brackets and spelled instead of numeric why? It's technical.

Software used: SolidWorks, 3ds Max, Photoshop, Painter, pixeur, irfanview, LibreOffice calc. How this was produced:

  • Targeted a desired print size @ 300dpi using my target resolution calculator spreadsheet
  • Made a few abstract shapes in SolidWorks
  • Imported them into 3ds Max (you have to use the 32-bit version of at least max 2013 with the import file open in SolidWorks to do this)
  • Collapsed them to editable polys, and with SoulBurn scripts, painted them over a terrain with random scale and orientation, and applied random material IDs between 1-100
  • Applyied a custom multi-sub material with a hundred different fractal flame/winamp milkdrop textures that apply by randomized material id (embedded yet further in a composite material with an alpha/edge blend mask)
  • Rendered a gray under-painting and several layers of randomized material color over-paintings
  • Mucked around with those in so many different layers with color cloning palette knives and oil paint in Painter, and auto-cloning, erasing, blending in various layer modes, etc.
  • Mucked around with all those so many times in Photoshop
  • Mucked around with those in turn so many times in Painter

To navel gaze a bit, I read some brat on the internet refer to so much abstract art as "sh&# that passes off as self-expression." Too bad for him. He's missing out. He doesn't have to like anything, but it's just stupid and rotten to demean something as sub-standard merely because one does not like it.

Too much of culture's level of dialogue is really depressing. Oh, wait. I just referred to it as culture.

It's not.

It's barbarism.

Speaking of sh&#, I wasn't pleased to revisit this work, and reworked it. Here's the original. I'm curious whether you think this new version is an improvement. I think it is. But beauty is in the eye of the beholder. It's just rude to derisively cut down anything that anyone thinks is beautiful, that's all. If I don't like something that someone else does, I think that's my failing, not theirs. Blah blah :) the previous version:

I like the colors, texture, smears and general forms of this original better than my revised version, but I prefer clarity of form (even for something semi-abstract) over that. The original was so indistinctly formed as to be a pretty blur, which would better be incorporated as part of some other work.

I think I'd like even better something that harmonizes or interestingly combines the two. I may yet make a third revision.

Abstraction (work 00014), book cover for short story "DOCILE AS A LAMB"

Abstraction (work 00014), book cover for short story "DOCILE AS A LAMB" published on 1 Comment on Abstraction (work 00014), book cover for short story "DOCILE AS A LAMB"
See http://s.earthbound.io/2j for original, print and usage. ~ I used #3DSMax and #SoulburnScripts to randomly scatter and rotate brush-stroke textured tiles, then worked up the resulting render further in #CorelPainter and #Photoshop. ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Abstraction (Work 00014)

Two variant works with color hue-shifted in Lab color mode (it produces more human-perceptual-friendly color changes than the brute math of RGB):

See http://s.earthbound.io/2h for original, print and usage. ~ I used #3DSMax and #SoulburnScripts to randomly scatter and rotate brush-stroke textured tiles, then worked up the resulting render further in #CorelPainter and #Photoshop. ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Abstraction (Work 00014 color variant 2 faded lavendar)
See http://s.earthbound.io/2i for original, print and usage. ~ I used #3DSMax and #SoulburnScripts to randomly scatter and rotate brush-stroke textured tiles, then worked up the resulting render further in #CorelPainter and #Photoshop. ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Abstraction (Work 00014 color variant 3 slightly desaturated magenta)

Click the images to open larger ones, free for personal use. This was formerly entitled Abstraction 00021. And last and least . . .

See http://s.earthbound.io/2k for original, print and usage. I dedicate this work to the Public Domain. You can use it for your own scary, trite book cover without restriction. ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
DOCILE AS A LAMB book cover

Who was it that asked for a painting of an ionic column embedded with a cleaver, flowing with blood like a sacrificial altar? Oh. Well, here it is anyway. This is for my soon-to-be-published (eBook via smashwords) short story of that title, which story is the most seriously deeply disturbed thing I have ever and may ever, uh, written. If somebody actually wanted a print of this, though, I might be disappointed. I don't know why I would put that on my wall. Print not available.*

But isn't that other one a nice, bright, colorful, pretty, abstract painting? As you can see, we take all kinds here.

*I'm not even really sure why I'd put this on my blog. In keeping with "I'm paying attention to you, whatever you give me, Image Brain?" Did you know if you do that with any part of your brain–just sketch or sing into a voice recorder or write or whatever anything your brain gives you–did you know that if you do this, then your unconscious realizes you are paying attention, and it gives you more music or images or whatever to create? This is my experience. Caveat: this does not mean you should publish anything and everything your brain gives you ;) but if you do this, you may find yourself creating things you wish to publish.

Work 00001 mountain landscape over downtown Provo UT

Work 00001 mountain landscape over downtown Provo UT published on No Comments on Work 00001 mountain landscape over downtown Provo UT
I'm in love with what Corel Painter can do.

A hoity-toity robot talks about this at http://s.earthbound.io/artgib ~ Process description, syndicated from, original, print and usage options at http://s.earthbound.io/9
Mountain Landscape over Downtown Provo UT

Click the image for a desktop-resolution version. A print is available here.

Completed ~ 2011/10/19.

How I made this:

  1. Painted in Corel Painter on a variety of custom watercolor paper textures I made from photographs which took (so that I have the right to use them for commercial purposes), of real watercolor paper in various stages of clean (no watercolor) washes. These paper textures are hard tooth, heavily washed, and course. I don't remember the digital process I followed to make them–it was quite long ago–and I don't know how to save the paper textures other than as part of a workspace. I think they are "pro" grade: they seamlessly tile, the tiling is not obvious, and the photos are well-taken, and the paper-capture/texture images well-toned for use in Painter. I may put up these resources for sale. Yeah, that was step one (which was maybe about ten difficult and time-consuming steps).
  2. iPhone4 taking a picture in HDR mode (I think?) of the landscape in this photo on a day that happened to have striking clouds and light.
  3. Photoshop CS5 transplanting street and construction objects in original photo with turf/leaves/trees/mountain backdrops via "content-aware fill" (which is amazing – have a look here.)
  4. Corel Painter's "Auto-paint" feature running batches of various brushing paramaters I fed it, to make an overlay to my own hand-painted work: digital watercolor cloning (of the photo), and oil cloning of a broad, messier under-painting (from the photo).
  5. Photoshop again, to mix layers: layer 1 is oil under-painting, layer 2 is watercolor layer in color dodge layer blend mode, layer 3 is auto-paint batches at 60 percent transparency.
  6. All kinds of other layering and masking freakiness. Multiple layers of smart objects of multiple layers with clipping masks in Photoshop; and additionally including digital colored pencil.

So this is mixed digital media in three fundamental layers, which are themselves composed of layers. Fundamentally it is a lower layer of oil, a middle layer of watercolor, and another top layer of oil. But it's like all the light in the watercolor dodged everything in the oil beneath it (which you cannot do in real life), while the oil layer on top of that is mixed as viscous material but very translucent–maybe you could do that in real life with a thinning agent?