Posted by Synthetik on February 19, 2009 at 9:53pm
Started with a shot of some big waves on the north shore subject to a little reinterpretation. I used the vectorizer to drive the shape generation for the movie brush regionization in the paint synthesizer.
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What a wonderful piece. Has the movie itself been processed through S.A first John or is that feel achieved through layer blends after the regionization painting with the movie brush?
The movie brush was generated from a series of graffiti photos i took in San Francisco's South of Market district (where our old office used to be years ago). All of the graffiti photos are closeups of textural details. Poster advertising on sides of old buildings and temporary wooden construction fences were also very common then, so i'd also take pictures of that stuff since it was often ripped up and just another kind of urban graffiti.
So all of the individual frames in the movie brush are just the straight photos. The only processing i do prior to making a movie brush is i might crop the photo and i usually run the image compressor on it to optimize the contrast, but no other processing.
So the processed look to the movie brush content is coming from how i'm using the movie brush in the paint synthesizer. My Fill From control in the Paint Fill Setup control panel is set to Brush Load, and I'm using an Image Processing Brush Load option, where the Source for the brush load is the Brush. So the movie brush frames get run through the Brush Load processing before they are built into paint nibs for painting in the regions. I'm then using re-colorization Algorithms to do the colorization effects you see, which you thought might be additional movie processing.
No layer blends, the whole movie brush re-colorized regionization process was all done with a single paint preset. I did one additional step to complete the piece, which was to use the Vectorizer outline technique to overlay a slightly stylized black edge outline on top of the painted photo mosaic canvas. I oftentimes use a 70% mix for feature outline overlays so they blend better into the overall piece and don't stand out. Again, you don't need multiple layers to do this kind of stuff in Studio Artist, since you have mix and compositing controls in every effect.
Of course if this was Photoshop magazine we'd show you how to make the piece in just 49 steps using 36 layers (sorry, but i was reading a copy recently and they always take approaches like that for things that would be single button press effects in studio artist (which always amuses us here at the office), not that you could even do anything like this piece in that particular program without an intense amount of hand work).
Many thanks John this fluidity you display in tackling such a wonderful piece - using the power and understanding of the brush process is something I struggle with. To be able to consider what you wish to achieve as you have done and then set out armed with a solid understanding of brush construction and their effectors to achieve One's aims regularly trips me up.
It's something I really want to get on top of and to do it I think similarly along with your recent assistance with regard auto painting strategies in which using a metaphor helped me understand paths , regions etc better, I'm going to have to come up with some kind of visual aide memoir for variations and options in the brush process. In other words I have no visual mental construct for the concept of patching functions as I do when 3D procedural texturing or as in my youth using ye olde music synths.
I am however determined to crack it as I wish to flow with Studio Artist and expand my repertoire whilst spending far less time working out how to achieve my aims.
I'll try to get a daily effect blog post up soon that discusses what went on in generating this particular effect under the hood of the paint synthesizer.
Today's post is a totally different take on how to use a movie brush, where the imagery is used as a movie background texture to add visual complexity to what would otherwise be a pretty dull flat matte paint tool.
I'll look forward to the blog post that covers this effect John.
Just been reading today's post that you refer to. Really cool how the movie background textures makes the gradient brush look like a grungy ink roller. Wonderful stuff.
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The movie brush was generated from a series of graffiti photos i took in San Francisco's South of Market district (where our old office used to be years ago). All of the graffiti photos are closeups of textural details. Poster advertising on sides of old buildings and temporary wooden construction fences were also very common then, so i'd also take pictures of that stuff since it was often ripped up and just another kind of urban graffiti.
So all of the individual frames in the movie brush are just the straight photos. The only processing i do prior to making a movie brush is i might crop the photo and i usually run the image compressor on it to optimize the contrast, but no other processing.
So the processed look to the movie brush content is coming from how i'm using the movie brush in the paint synthesizer. My Fill From control in the Paint Fill Setup control panel is set to Brush Load, and I'm using an Image Processing Brush Load option, where the Source for the brush load is the Brush. So the movie brush frames get run through the Brush Load processing before they are built into paint nibs for painting in the regions. I'm then using re-colorization Algorithms to do the colorization effects you see, which you thought might be additional movie processing.
No layer blends, the whole movie brush re-colorized regionization process was all done with a single paint preset. I did one additional step to complete the piece, which was to use the Vectorizer outline technique to overlay a slightly stylized black edge outline on top of the painted photo mosaic canvas. I oftentimes use a 70% mix for feature outline overlays so they blend better into the overall piece and don't stand out. Again, you don't need multiple layers to do this kind of stuff in Studio Artist, since you have mix and compositing controls in every effect.
Of course if this was Photoshop magazine we'd show you how to make the piece in just 49 steps using 36 layers (sorry, but i was reading a copy recently and they always take approaches like that for things that would be single button press effects in studio artist (which always amuses us here at the office), not that you could even do anything like this piece in that particular program without an intense amount of hand work).
Many thanks John this fluidity you display in tackling such a wonderful piece - using the power and understanding of the brush process is something I struggle with. To be able to consider what you wish to achieve as you have done and then set out armed with a solid understanding of brush construction and their effectors to achieve One's aims regularly trips me up.
It's something I really want to get on top of and to do it I think similarly along with your recent assistance with regard auto painting strategies in which using a metaphor helped me understand paths , regions etc better, I'm going to have to come up with some kind of visual aide memoir for variations and options in the brush process. In other words I have no visual mental construct for the concept of patching functions as I do when 3D procedural texturing or as in my youth using ye olde music synths.
I am however determined to crack it as I wish to flow with Studio Artist and expand my repertoire whilst spending far less time working out how to achieve my aims.
I'll try to get a daily effect blog post up soon that discusses what went on in generating this particular effect under the hood of the paint synthesizer.
Today's post is a totally different take on how to use a movie brush, where the imagery is used as a movie background texture to add visual complexity to what would otherwise be a pretty dull flat matte paint tool.
I'll look forward to the blog post that covers this effect John.
Just been reading today's post that you refer to. Really cool how the movie background textures makes the gradient brush look like a grungy ink roller. Wonderful stuff.