A grab from my gallery show test run in Studio Artist V5.5 last night. The oriented 'wood cut desk' texture is generated by recursive reaction diffusion within the brush (no image or procedural generator).
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So just by switching to a different start cycle processing regime in gallery show, I'm able to dramatically change the look of what gallery show is generating. Gallery show is taking random paint presets, then modifying them by generative paint strategies I specified, and then overdrawing on top of the existing canvas (note this theme through out most of my work).
I made a new favorites category yesterday to use if Gallery Show for start cycle processing. It's a MSG image load paint preset that is processing the existing canvas. The feedback associated with this introduces the black texturing you see. This is a fascinating way to generate texture within paint presets that does not directly depend on fixed procedural texture generators, or images or collections of images. Add another trick to your Studio Artist box of tricks.
Keep in mind you can create an infinite variety of different preset categories to use for your start cycle processing. We're barely scratching the surface of what you can do with this kind of generative art strategy. My hope is that people cusomtize this kind of approach to create their own unique stylistic effects.
Here's one example of what the start cycle processing is doing to give you a better idea of what the bag of presets I'm using for the start cycle processing is doing.
One of the generative paint stratigies I turned on is masking the individual brush nibs of the randomly selected paint presets before they are then modified by a second generative paint strategy. I started the GS session using an image mosaic single-nib tiling generative tiling paint strategy. You can see what that its doing here.
So then I switched things up, and started to use a second folder of Vectorizer presets as my end processing. I auto configured them in gallery show to insure that what they process was over-ridden to force canvas processing. So I'm overdrawing on top of my previous canvas each GS cycle, but I'm also using the Vectorizer to 'flatten' then overdrawn canvas each GS cycle. I say flatten, but note the drop shadow lips on the regions.
Smm Samm asked about raised gradient paint effects, well this is another way you could create that kind of that. Do this and then dump additional gradient lighting on it with some intelligent displacement associated with the brush movement.
Now the other thing I was doing at this point is that I switched my initial generative paint modification to one that tries to generate 'smart' brushes that are also using some new vector paint effects, and I changed my second generate paint strategy to a dynamic regionizer brush.
There are also global generative preferences you can adjust to additional control what is is doing.
Here's another one with the same settings a little bit later in the GS session.
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So just by switching to a different start cycle processing regime in gallery show, I'm able to dramatically change the look of what gallery show is generating. Gallery show is taking random paint presets, then modifying them by generative paint strategies I specified, and then overdrawing on top of the existing canvas (note this theme through out most of my work).
I made a new favorites category yesterday to use if Gallery Show for start cycle processing. It's a MSG image load paint preset that is processing the existing canvas. The feedback associated with this introduces the black texturing you see. This is a fascinating way to generate texture within paint presets that does not directly depend on fixed procedural texture generators, or images or collections of images. Add another trick to your Studio Artist box of tricks.
Keep in mind you can create an infinite variety of different preset categories to use for your start cycle processing. We're barely scratching the surface of what you can do with this kind of generative art strategy. My hope is that people cusomtize this kind of approach to create their own unique stylistic effects.
Here's one example of what the start cycle processing is doing to give you a better idea of what the bag of presets I'm using for the start cycle processing is doing.
One of the generative paint stratigies I turned on is masking the individual brush nibs of the randomly selected paint presets before they are then modified by a second generative paint strategy. I started the GS session using an image mosaic single-nib tiling generative tiling paint strategy. You can see what that its doing here.
So then I switched things up, and started to use a second folder of Vectorizer presets as my end processing. I auto configured them in gallery show to insure that what they process was over-ridden to force canvas processing. So I'm overdrawing on top of my previous canvas each GS cycle, but I'm also using the Vectorizer to 'flatten' then overdrawn canvas each GS cycle. I say flatten, but note the drop shadow lips on the regions.
Smm Samm asked about raised gradient paint effects, well this is another way you could create that kind of that. Do this and then dump additional gradient lighting on it with some intelligent displacement associated with the brush movement.
Now the other thing I was doing at this point is that I switched my initial generative paint modification to one that tries to generate 'smart' brushes that are also using some new vector paint effects, and I changed my second generate paint strategy to a dynamic regionizer brush.
There are also global generative preferences you can adjust to additional control what is is doing.
Here's another one with the same settings a little bit later in the GS session.