I have elsewhere posted on adding texture via the msg, the texture synth and using gradient lighting. All of these methods work in context.
I have another method with which I am becoming more and more happy. This technique employs on a micro-basis something that artists at least since daVinci have been using on a macro or whole picture basis.
We perceive depth information based on several inputs.. color value for example, depth of focus is another clue. Old age aside objects closer to the viewer are more in focus (are perceived to have sharper edges) than objects further away.
This is old stuff every artist learns the basics of aerial perspective. What has this to do with adding the impression of texture to an image.
Lets consider one well discussed technique for adding detail to an image in SA. That is to start with a brush of a particular size and via a paseq or now in real time with adjustments gradually shift to a smaller and smaller brush (it helps if the smaller brush work is focused - that is concentrated on- areas that want detail).
This method is quite effective at adding detail but not at adding textural depth. why? because all the strokes have the same edge roughness and thus are perceived to exist on the same visual plane (which of course they do--damn flat screens;-) ).
So what can be done? well of course one could switch brushes or modify the "nib" of the preset so that the edge starts soft and grows harder. This would work but is a bit involved. There is an easier way. (No, not hitting up John to add 3d to the program- though....)
If you are building a PASeq that steps down the brush size after x many strokes, or if you are hand adjusting the size in live paint session, before you change size, do a very subtle blur to the whole canvas. Morphol works well for this, but smart blur and even the interactive blur adjust can be used. I suggest trying a few methods and when you have one that you like create a onestep Paseq and save it as a tool.
Then you can do the blur with a single click or step and not get too distracted from your painting process.
How does this work? well when you blur the canvas (very subtly) the subsequent strokes will appear to be sharper and thus in front of (on a different visual plane from) the previous strokes. One can repeat this several times in a single session. The other nicety of this method is that one can use a variety of brush preset and not worry about individual adjustments.
Attached is a work employing this method, and an inset showing detail.
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Really liked the first image...do you have a preset posted for it?
I've come to this thread after a re-discussion of how to achieve various thick brush, raised brush and paper texture Paint Synthesizer and MSG settings. The effect you are showing in this picture is really great and I also wonder if at some point you wouldn't mind sharing a preset of something close to what you are working with here.
I'm also printing out to 300g aquarelle paper as you mentioned and getting fabulous results. I totally agree; why not consider texture on the output side and free up the use of presets to focus on code on certain styles like "fanout" brushes that are amazing and optimize the digital brushstroke for not just how it looks, but how it will print on real world media.
Mark and Martin. Thanks for the compliments. This post you will note is from 2 years ago. The paint presets involved have been posted in the preset sharing room. The technique discussed is independant of the presets. Very simply add a slight blur to your canvas prior to shifting to the detail work.
I am nearly settled with the events that have had me absent from the board. Look forward to being back here on a regular basis very soon.
Cheers
You can also build dual mode paint presets to do this idea (paint - then blur) as opposed to doing multiple paint and blur cycles as separate successive action steps in a PASeq. Here's a post that discusses this a little,