One of the main questions I had was... After my digital artwork is done... now what?
Printing was so flat that the "perceived value" of my artwork fell to a non original reprint.
If I could only find a way to give some volume to every stroke the artwork would come alive as a real painting. I know there are gels, Mod Podge, textured printable paper, and even thin canvas that can be printed to fake some volume but still's a flat print.
Since I am the new kid of the block maybe there are some techniques I don't know, if you do please share how to transfer your image to irregular shape surfaces.
I accidentally found this video today, somehow it answered my question.
Maybe the next step for Synthetic is to think 3D printing as that technology probably will go down in price and some day we all have a massive 3D printer like a CNC machine.
So a new set of parameters could be added on SA as to how many microns of special tint/ink/acrylic/ paint volume should be on every stroke creating a real piece.
I like to leave this video for all to see. I think is very relevant to what each of us is trying to do.
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Added one picture that resumes the new concept of 3D printing painting.
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Here are two prints done a few day ago on an Epson P9000 (11 inks).
Paper is Somerset (520 grams if my memory serves), with acid-free matboards.
The framed pieces are each 48” wide (I am in the first picture to give an idea of how large they are, I’m 6”4”), under "museum glass” (makes a huge difference, well worth the extra cost) and they do come pretty close to looking like genuine works of art and no longer mere “prints of a work of art."
I’ve had this done several times in the past, these are the most convincing prints I have ever seen, have always been more concerned about the gamut and luminosity than whatever actual texture, these prints now put the gamut and luminosity issue to rest.
The original images were pulled from two different movies (in HD 1080p, 1920 x 1080 pxl at 72 dpi) and up-sampled to 240 dpi, 36” x 20” using SA’s Supersizer, which worked beautifully:
Very impressive Jean! Thank you for sharing your artworks & the info on the set ups. You do have a good point on the "gamut & luminosity". The more "dynamic range" the more real it gets. Your first photo really shows well the dynamic range between blues, turquoise and reds. Beautiful Artwork!
Thanks.
A quick word about the “3D” aspect of Rembrandt’s paintings: the thicker areas are merely the by-product of his working on them longer. The more time spent on one section (without scraping it off), the thicker the paint would get.
On the other had, his focus was much more on the qualitative relationship between “sense-giving” and sense-receiving” areas than on anything else. he pushed that so far he rightly deserves the title of “first modern painter."
I’ve written a lot 9on this but do not have the time right now to locate the articles (they are on line somewhere), here are two images that will show you what I mean, pay special attention to the level of detailed work in the face, on one eye especially, comparing it to the hand holding the palette:
Hot melt ink jet printing has a raised textural property. And by running multiple passes you can build up depth in the print. I know some of the artists associated with Digital Atelier experimented with it at some point in the past to build up depth in printed surfaces.
The coloring of today's plastic filament 3d printers lacks some nuance, but that will probably improve over time.
There are various shadowing techniques you can use in Studio Artist to create what i guess i would call 2 1/2 D depth effects. It's just a 2 d image, but there is the perception of some depth associated with surfaces when you look at it due to the shadowing illusion in the 2d image.