New artwork: Christ Visits the Nephites III, a third installment in the series. This time round I experimented with a style that feels a bit like medieval stained glass. Fairly happy with how it turned out, though of course now I mostly see its flaws. (But early medieval stained glass was full of flaws and imperfections! So it’s in that spirit.)
New artwork: Peace, Be Still. I dialed up the SVG turbulence filters to get the effect on the left. Also used the erode operator throughout (with the feMorphology filter primitive). I couldn’t get Inkscape to show the lines with the filters applied, though, so I ended up screenshotting the piece via QuickLook and then upscaling in Photoshop (hacky, but hopefully not too obvious).
For a while I’ve wanted to explore using black and white for my art. Tell Me the Stories of Jesus was the initial step in that direction, but these latest four pieces are more like what I envisioned (a little more like ink on paper, to some degree). I’m looking forward to doing more work in this style.
I used the same circle packing technique to generate the circles, constraining them this time to be inside a larger circle. Initially I was going to have the tree visible as that larger circle — dark on a light background — but it ended up looking better to me with just the small white circles. (After that I used SVG filters and Inkscape and Photoshop as usual.)
I realized (this is the very small breakthrough I mentioned yesterday) that I could use Blender to add 3D texture to my pieces. Verisimilitude has been the goal all along, and using an actual 3D renderer brings so much to the table that it boggles my mind that I didn’t think of this much earlier.
A closeup of the texture:
How I made this piece: I mocked it up in Illustrator, then exported it to SVG where I manually added the turbulence and displacement filters (in Vim) to distress the edges of the white square, which you can see in that closeup. I used Inkscape to export the SVG to a 6500×6500 PNG.
Then, in Blender, I created a plane and went to town on the shading, using a combination of procedural and image textures to mix the colors together and displace the geometry of the plane. There’s a key light and a dim fill light. And in the compositor I added a little chromatic aberration around the edges with the lens distortion filter.
Rendered it at 5200×5200, which took about two hours on my 16″ MacBook Pro. I tend to work a little smaller and then upscale to 6500x6500 (for square pieces), since Photoshop’s upscaling is fairly decent these days. After upscaling, I added my signature thingie, which I’ll add in Blender in the future so it fits in better.
Here’s the node setup on the plane (and in the future I’ll use groups to make things more manageable):
Overall, I’m happy with this technique. It’s more time-consuming than painting textures in Photoshop, but I can do other things while it’s rendering, and the result looks much better to me. Working in 3D is more fun, too. Most importantly, using Blender gives me loads of new options that would have been harder to do well with my old technique — shiny paint, glowing materials, etc.