Pencil decorative lines doodled and scanned, then fixed up. This sandstone-colors random fill variant was accomplished with the following hex color codes: #e0edb7 #d3d76b #ff8a51 #ff6c3a #dd6624 — and these scripts: potraceAllBMPs.sh, BWsvgRandomColorFill.sh, allSVG2PNG.sh, renumberFiles.sh [png], ffmpegAnim.sh. Tools used: A flatbed scanner, Photoshop, Adobe Illustrator (for svg node reduction while preserving virtually identical appearance), Inkscape, LibreOffice draw, Internet Explorer (for quick svg previews), cygwin (to enable all of the listed .sh scripts), ffmpeg (to create the video via ffmpegAnim.sh) and the SVGOMG web service (to optimize an svg and prepare it for use by BWsvgRandomColorFill.sh). ~ A hoity-toity robot talks about this at http://ift.tt/28Lx6RI ~ Syndicated from, original, print and usage options at http://ift.tt/2cBhH6V
Created in part with http://ift.tt/2cHRjqd and potrace, ffmpeg. A hoity-toity robot talks about this at http://ift.tt/28Lx6RI ~ Syndicated from, original, print and usage options at http://ift.tt/2cHSmWQ
A Glitch in Lucifer's Plan (work 00074) select frame 0001A Glitch in Lucifer's Plan (work 00074) select frame 0002Variant of a still from an animation by yours truly
Stills from an animation by yours truly, with one variant of a still.
Created by mapping art to the Z axis of a 3D noise map (terrain heightmap), viewed top down, then working up the result in Dynamic AutoPainter Klimt preset, then hue shifting in Lab colorspace in photoshop, and maybe other tricks (my notes say FilterForge?). Former title: 00061 abstraction, and maybe other things. I gave up on numbering works–keeping it straight in my many source files is a technical feat beyond me.
Click the medium-sized images to open huge resolution originals. Software used: winamp milkdrop music visualization, filter forge, photoshop. Filter Forge filter used: Pen on Watercolor
Forest Spirit I (Work 00034)Forest Spirit II (work 00035)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:
I wholly created all of the following images, and I release them into the Public Domain.
This first was a test of custom brushes for Krita.
Work 00059 abstraction Krita splatter test
The second shown here, which explores how different kinds of color blindness may be in the perception of those who suffer that, evolved from an attempt to make all of the hues appear as the same shade of gray when desaturated (wondering just how much saturation and desaturation can hide and reveal), which led to wondering about color blindness.
Work 00059 abstraction variant color blindness chart experiment
I also used it in a flat-mapped texture across a 3D noise terrain in 3ds Max, of which the following are examples.
I've made hundreds of these, and not yet posted them. [Edit 2015-06-28 naming them, and all of my art, is a computer science project. I've written the naming scripts, and I may soon upload so much art.] I think this could be a procedurally painted cave wall, an alien terrain height map generator, or whatever. You can shift the hues in them all by an equal amount and get wildly different color results. Desaturate them, and you have a relatively uniform black/white/gray mountain height/whatever map that you can use e.g. as random opacity maps in abstract art. You can mix them up in abstract art, smear the colors around, and get freaky cool stuff.
[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]
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:
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
I wasn't pleased to revisit this work, and reworked it. 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.
Here is a digital art work I created with 3DSmax, Corel Painter and Photoshop.
Abstraction (Work 00014)
With #3DSMax and #SoulburnScripts, I randomly scattered and rotated very many brush-stroke textured tiles (I used 3DSMax as a particle painter). I then worked up the resulting render further in #CorelPainter and #Photoshop. ~ A hoity-toity robot talks about this at http://s.earthbound.io/artgib
Here are 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).
Abstraction (Work 00014 color variant 3 slightly desaturated magenta)Abstraction (Work 00014 color variant 2 faded lavendar)
Click the images to open larger ones, free for personal use. This was formerly entitled Abstraction 00021.
EDIT: there used to be a cover of a super disturbed fiction eBook I wrote here; there isn't anymore. But of it, I wrote:
*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.
UPDATE 12/09/2014 08:38:45 PM: The final work featured in this post, "Pharaoh's Army," was accepted into a prestigious competition! It is on display November 19, 2014 – January 18, 2015. Here is the list of accepted entries in the show. I encourage you to go, as there are many works in the show to love. Also, my very favorite piece in the show is a vivid pastel impressionist portrait entitled "Eternally Bound," by Julie Ann Rogers.
Click the images to open much larger images, free for personal use.
Regarding this last work here, "Pharaoh's Army:" I hope you find this an affecting portrait of the subject. ~ As noted in the UPDATE at the start of this post, this work was accepted into the 29th Annual Spiritual & Religious Art of Utah exhibit of the Springville Art Museum, in 2014. I was tickled to see patrons peering and looking around the painting for any evidence of said Army. I was also glad to have a patron express his appreciation that this conveys a dark element of religion, or that God is not without wrath. Let's just let the wrath remain God's though, ok? Okay. ~ This is a proof of style or concept for a future work to be entitled WHOSE WAVES ROARED. A digital underpainting or chaotic sea bed of square panels was done for this in 3D Studio Max. I also created this via Corel Painter X and Photoshop.
Follows a concept preview for the mentioned future painting. I would really love to have it fill a wall (or hang on the side of a building) a hundred feet wide and 50 feet tall, and I'm going to develop it to that intent. It will be a composite super ridiculously large work to print on–I don't know, crass advertising canvas?– when it's done.
These works were previously titled, respectively, Abstraction(s) 00016, 00017, 00018, 00019, and 00020 Pharaoh's Army.
