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