This was accomplished by modeling and rendering translucent spindles colored by randomized wireframe color (using SoulBurn Scripts) in 3ds Max, randomly rotating them (also with SoulBurn scripts), then severely bumping up the light and using it as a paint guide.
Thumbnail links to large desktop image free for personal use. Print from higher resolution original (designed for 24" x 14") available here.
[11/28/2016: post resurrected. This work was previously entitled Abstraction 00015.]
SOL began as an experiment creating brush stroke-style particle effects in 3D Studio Max. I may eventually describe that and how it's done, but suffice it to say that the creation of this painting was very involved with 3D and 2D art tools (3ds Max, Painter, Photoshop). Digital oil, watercolor, and pencil. The brush stroke-style particles I developed for this may go a long way towards generating all kinds of awesome crazy abstract art.
Thumbnail links to large desktop resolution image, free for personal use. Full resolution print (designed for ~8' x 6' @ 150 dpi!) available at this link.
A crop of this makes for a sort of impressionist-abstract work in itself:
This is a gestural workup based on a fractal flame which I bred myself. Look up fractal flames and the Electric Sheep screen saver–they are extremely cool. Specifically, it's from an alternation-style combination of electric sheep 202.11969 and 202.41223, which I thought happened to look something like a dragon eye, ergo the title. From a large render of a fractal flame blown up and auto-painted in Corel Painter, with further digital oil painting in layers by yours truly.
Thumbnail links to a large image, free for personal use. Full resolution print (designed for ~6' x 4' @150 dpi!) available at this link.
Image links to 72dpi HD image for your desktop/whatever enjoyment. Print available (from higher resolution original) yonder.
[11/25/2016 05:26:56 PM: This work was formerly titled abstraction 00011.]
This second work was accidentally produced by testing an overpainting/cloning/painter brush in Corel Painter X with a portion of another work entitled ATONEMENT. Image likewise links similarly to prior painting. Prints from larger resolution source also available yonder.
[Addendum, 2016-11-11: I can't stand the suspense of waiting for people to wonder whether this is a farce, among those who would even wonder, and then further waiting for the even further subset of those who might even "get it" to do so. Maybe you have to be me.]
Thank you, Brothers and Sisters, for your testimonies. Also, thank you to those of you who bore your testimonies silently.
Brother Hall has produced a painting which we thought it would be appropriate to hang in the foyer. What? What's funny about it? Why are some of you laughing? I think it's a nice painting.
Image links to 72dpi full image which is more than enough for computer desktop use. Prints available for sale from high-quality (300dpi) sources, at my ImageKind gallery/account. But you wouldn't actually print this, would you?
Software used: Sketchup, Painter, Photoshop.
Pending painting, well underway: the LDS Provo Temple as rockit ship, on an escape vector. Other new paintings recently posted here will also be made available to order. [Edit: now they are.]
Why four leading zeroes, and where are abstractions 0-9? The short answers are that maybe I've done abstract art before now, but I wouldn't necessarily post it on the web, and I expect to possibly make a four or five-digit number of abstract paintings in my lifetime. [Except now this is work 00001, because I've decided there's not always a clear line between abstract and representational in my work, and I'd rather number all my works, not just my ostensibly abstract work, and because I decided numbering starts with my published (if only self-published initially or finally) works at # 1. 2016-11-10 -RAH.] I'm also just ignoring the problem that my works could never number 6 digits, or if they do, the five-digit numbering scheme. If you are actually reading this, either I am dead and you were assigned this reading by a future art teacher–in which case I would encourage you not to let others decide for you what you must and must not like–or you are a very dear friend.]
This is the first that very well pleases me in this particular era of my view that I ever created anything abstract which I liked. Others I have been okay with. This took eight hours, and I could get that down to a process of one or two hours, and make anywhere from .5 to 10 or more of these per day (depending on scale or intent), and I intend to, and if I have some forty years of usefulness still ahead of me, maybe the math would work out to produce (as I said) a five-digit number of abstract paintings.
Um, yeah. See? Art. Artist. Have not done enough of this. Near to zero. (Except that ten is infinitely larger than zero, strictly). Will do more of this. Hecka lot more. With dedication, so many paintings is no sweat. You have no idea the fountains of color that have sprung before my mind's eye after painting this. Hearing the malcontent much? Me too. Little inner child artist is angry and sad that I never made so many of these. I'm paying attention, little child. He's also angry that people make a living selling prints of paintings ridiculously more simple than this to hospitals and hotels, while he (or rather, the grown-up version of him that holds him hostage) doesn't. Uh, where's my hotel sale? Going to look for it.
Snap! I forgot to sign this. Print will be signed. Unlimited mass-market editions. Hang this in every building on Earth, and say that you're sick of it, and yet I will rejoice that humanity overcame their inexplicable complacency with too much blankety-blank (literally!) beige, tan, white, or whatever. This argument holds also for Mr. Um . . . Mr. I Like Folksy Impressionist Buildings And Gardens That Happen to Reflect Light Like All Other Daytime Objects. Yeah. Him. I'm serious. Please. Put. Art. On. The walls in your buildings. Humanity. I rejoice in any wall that is not blank. Even if I happen not to like what's on it. I'm just glad that anyone decided they like anything that isn't on blankety-blank facebook. Or maybe it was on facebook. Fine. At least you . . . sigh. Whatever. You win, facebook :(
Uh. Yeah. That painting I promised my Sister. I'll get back to that :)
This post is really weird, okay? Oddball yet, uh, sweet? Not as in the slang sense of sweet. Weird humor, here, if it even humors you. Take girlie sparkles and hearts and the like, and magnify x10. But what am I going to do? I've got a little girl. This is part of me. You've therefore got to be dedicated to liking me even if this is weird for you. Buh-bye. Or, depending, hello.
When she first sparkled my way
With an act of kindness that froze my brain and left me stunned and dumb
I had to know just why
So I boiled my heart and siphoned off the bitterness and misery
And I was left with this sponge of weirdness man, it didn't know just what to do
So I threw out the thought that I knew it all, and left my brain to thaw
But no matter the thing it wasn't was to was, I couldn't color in the lines
And I wandered away to her door and knocked, and when she opened up, I asked:
What was the way you sparkled your heart? I hadn't done that was before–
I've got this muddle of anger and malcontent that never boils all away
And I try to reach up and touch the rainbow and it vanishes from sight
There's a thing that wasn't all this dumb and blah, but I just don't know what it is?
And she said:
Two cups of faith
And a quart of hope
And a dash of persistence
And a cup of love
Will sparkle your way
To a better day
And then the thing that wasn't was to be will was, and then you'll know just what I mean!
And in my heart I saw her nuzzle my head
And I wandered home and wept
And I reached up to the sky and asked for a sparkle!
And it came into my heart
Like a lightning bolt of what?
And I ran back and told her and we sparkled together, and I'll tell you what I found:
I was a Mormon!
I was a Mormon!
And the things that wasn't were to be will was, were all the sudden what they was!
Cuz' I was a Mormon!
I was a Mormon!
And I tell you man, I sparkled really hard!
So if you'd like to know what the thing I was, unless it wasn't what I was
Cuz' I'm not always was would what I want to was, sometimes I'm really rather blah–
But I tell you the thing of sparkle heart, it's a sparkle away from heaven
That was the thing what all to was is when I found:
Cuz' I was a Mormon!
I was a Mormon!
And I tell you man, I sparkled really hard!
When all was it Mormon?
How was did I, Mormon?
You wrote me through the ages, and you sparkled really hard!
Cuz' you were a Mormon!
You were a Mormon!
And it sparkles through the ages and it never fades . . .
Click the image for a desktop-resolution version. A print is available here.
Completed ~ 2011/10/19.
How I made this:
Painted in Corel Painter on a variety of custom watercolor paper textures I made from photographs which I 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).
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.
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.)
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).
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.
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?