Digital Practice

This week we were introduced to Photoshop's interface and basics. Photoshop was a tool that I started using before the course got started so I really didn't have trouble with the first weeks Photoshop basics class. We were told to shade a sphere out of the things we were thought during the presentation and while working on that I learned a new way of using layer masks that really helped me to organize my work in a more concise manner. I also realized that working on values of my painting and then adding a gradient map on top of it makes the painting more efficient because I can change the colors any time I need to make a change.  Also I made some extra digital sketches to further increase my understanding of the perspective, Primitive shapes, and how objects like a cube casts a shadow on the plane that it's on.

This week we went over more on how to use Photoshop, form, and value. We were asked to get more familiar with Photoshop through combining the primitive shapes and the theories that we went over and apply it on a piece of work for the lesson.

For my approach, I began by placing random shapes in the right perspective. Interestingly, these shapes resembled a cannon, and I decided to embrace this unexpected inspiration. During the lecture we were also asked to render materials for an upcoming project that we had, so I decided to give it a shot and add some materials to my work. I went with glass and rock but I mainly focused on glass rendering for this one. This was a good practice to understand how different materials interact with lighting and shading.

The process of rendering glass proved to be both challenging and immensely rewarding. Understanding the play of light and shadow on a transparent surface posed difficulties initially. Yet, the feedback from Kras, I navigated through the complexities. I came to understand the importance of the highlight in glass. and the small shadow that the glass creates to define the thickness has really made it look believable.

reference images used:

• https://image.freepik.com/free-photo/glass-dome-with-golden-tray-dark-background-3d-rendering_60948-119.jpg

• https://4.bp.blogspot.com/-uOaPNzPwSM8/WNAH3Ipv0lI/AAAAAAAAWC4/Yh4EaSO3uSg0iCT1nbYCbYUQujDou8ybQCLcB/s1600/water-glass.jpg

In our recent class, we were set on our first material creation journey with wood texture. The task was to work on rendering wood realistically, using a reference image provided to us or finding our own. This challenge pushed me out of my comfort zone since I typically focus on more stylized art.

I found that I could efficiently block out shapes and simplify them, but when it came to adding intricate details, I faced a roadblock. It was clear that I was missing something, struggling to achieve the desired level of realism. I soon realized that my familiarity with simplification was hindering my ability to capture the subtle nuances that make wood textures look like wood.

As a result, I decided to take a step back from the wood material and give it some time to breathe until I learn more about rendering and come back to it if I have time left. This experience reinforced the importance of closely observing reference images and adapting my approach to create realistic textures.

Following my initial struggles with rendering the wood texture realistically, I decided to take a more structured approach. Instead of jumping directly into painting the materials, I began by creating a template for the shapes where the material would be applied. This approach provides a solid foundation to build up on. Also before diving into painting anything I would go ahead and gather as much reference images as possible to get a better understanding of the texture that I was looking at. 

As I refined my approach to creating realistic textures, I decided not to finish a material in one go but instead to work on several simultaneously. This strategy allowed me to maintain a fresh perspective and avoid feeling overwhelmed when focusing on a single material. During this process, I found my self starting to understand more and more how materials work and how to render them but I was still not happy with the results I had this week.

Reference Images:

Here are the reference images I utilized for all my material studies, primarily for painting. I made a concerted effort to incorporate these references into my paintings, carefully observing them to extract the maximum insight from each. Over the course of my studies, I came to the realization that my tendency to stylize elements was impacting the realism of my materials. However, with each material study, I've been gradually improving my ability to understand how different materials behave. This journey has allowed me to enhance my observational skills, steadily progressing towards capturing real world details more accurately.

1. Metal Cube:

Moving on with the material rendering project, the metal cube proved to be a learning curve. Initially, my attempt at creating a metal surface leaned more towards stone and rusted metal, revealing a gap in my understanding. I realized that my approach was more instinctive, rather than taking enough time in analysing reference images. This oversight cost me valuable time.

I revisited the metal cube, capitalizing on the layered structure I had established. Salvaging some elements from my initial attempt, I committed to a more analytical approach during the second round. Observing reference images became a priority, particularly in understanding the intricacies of how light interacts with metal surfaces. A crucial revelation was that, when creating scratches, relying solely on dark values wasn't sufficient; I needed to incorporate the influence of light to truly capture the essence of scratches and dents.

With the feedback from both Kras and John, who pointed out the wiggly appearance of the highlight in the second stage should not have that much movement to it which I made the necessary corrections. The reason I made the highlight that wiggly was because I thought it looked interesting but since we are trying to capture realism I knew I had to part ways with my lovely wiggly highlight.

The images like the one below are just there to show you the progress of my materials and initially the materials were not design to be in a white background so please scroll to the bottom to see the end result of all the objects.

2. Gold Coins:

I think Rendering the gold coins was a well thought out process that made things smoother. I began by fully rendering one gold coin and then duplicated it, adding slight variations in highlights to lend uniqueness to the others. This approach saved me time compared to individually painting each coin.

To inject more visual interest into the arrangement, I deliberately avoided stacking the coins uniformly. Instead, I placed them in a more irregular pattern, creating a visually dynamic effect. After receiving feedback, particularly from Kras, regarding the avoidance of monochromatic colors and the observation that some cast shadows were missing (visible in stage two of the coin, appearing almost flat in color and lacking crucial lighting), I adjusted my approach. I introduced a series of gradient maps to incorporate subtle variations. Interestingly, while not very noticeable individually, these maps combined to create a desirable overall look.

This iterative process of feedback and adjustment highlighted the importance of diversity in material representation. As I addressed challenges and made improvements, the rendered gold coins transformed into a visually compelling group, showing the impact of approaching the process in a well planed manner.

3. Brick Wall:

I started off with the brick wall by creating a flat grayscale drawing of brick shapes. I then Imported the layers into a square Photoshop file, I then applied the spherise tool. As expected, the spherised wall looked flat initially, which then made me add volume by incorporating lights and shadows, especially emphasizing those extruded bricks. To enhance the details, I experimented with textures I found online, applying them to the bricks. Individual cast shadows were added next, enhancing the realism of the overall composition.

Feedback from Kras highlighted the use of monochromatic colors again, contributing to a flat appearance in my material studies. Taking this insight, I revisited the brick wall, applying a similar technique to my gold coins. Layering additional gradient maps on top of the existing ones, this adjustment elevated the material's depth and visual interest. These material studies have been pivotal in my understanding of realism, emphasizing the nuanced array of colors present in real life objects. Recognizing that nothing in real life is a flat, uniform color, I've learned to appreciate the intricate interplay of tones and reflections.

Before and After Feedback:

4. Glass Ball:

The glass material study posed a unique challenge for me, primarily due to the difficulty in implementing references that featured glass balls on white backgrounds. The stark contrast between the glass and the white backdrop made it tricky to discern the nuanced light tones, especially when painting on a dark background.

To enhance visual interest I introduced bubbles different from the references I had, injecting a layer of complexity and making the glass ball more interesting to look at. One key change was the introduction of a ground plane within the glass, a transformative addition that significantly improved the material's realism. Moving on Placing the glass material alongside others, I sensed it needed further integration, prompting the idea to incorporate reflections of surrounding objects. This adjustment provided a sense of cohesion, making the glass ball feel like part of the shared environment like the one you will see in the end result.

5. Rock:

In approaching the rock material study, I kicked off the process by laying down the most obvious shapes and planes observed in my references. My love for simplifying complex shapes guided this initial phase, allowing me to capture the essence of the rocks formation. Once the larger shapes were established, I delved into adding the intricate details cracks, dents, and changes in planes that define the unique character of rocks. Among these elements, I particularly found that cracks to be playing a crucial role in conveying the material.

Moving to the second stage, valuable feedback from Kras proved instrumental. He pointed out that my side values were too closely matched in value, a decision that didn't align with the chosen light source. This insight prompted a necessary adjustment to create a more harmonious interplay between light and shadow, refining the material study. For the third and final step, I introduced a subtle color to the rock. This involved two gradient maps. Each stage of this exploration contributed to a more rock looking rock material.

6. Tangerine:

This marked my sixth and final material study before the submission date. Reflecting on the process, I acknowledge that there are aspects I could have executed more effectively, particularly in capturing the details like the texture of the peel or the webby appearance of the white filaments enveloping the tangerine. Completing the study just a day before the submission deadline left me with limited time to address these areas that needed refinement. Despite the time constraints, I devoted my best efforts to enhance the overall quality of the study, striving to showcase the tangerine material in its most accurate and appealing form within the given timeframe.

Final Presentation:

Studying materials was an exercise that enabled me to develop multiple things at the same time. I was able to practice Photoshop, strengthen my understanding of materials, and learn how materials react to their environment. Before these material studies I have never worked on painting materials and by working on it, I was able to see how much I was missing in understanding real life objects. The feedback's I received from my tutors really helped me to change the way I looked at the materials. Particularly the reason I really liked this assignment was because we could use the information gained and apply when ever we wanted to create an art piece. I am aware that my material studies are not perfect and there are lots of things yet to be pursued but the reason that there is always room to improve is the reason I keep learning.

Delving into texturing was a great experience for me, and I found immense joy in the process. Witnessing the transformation of my creations as they gained an additional dimension was truly exciting. The process itself was fairly straightforward, the magic unfolded with each stroke, as textures evolved and details emerged, gradually bringing the treasure chest to life. The journey from a blank canvas to a fully rendered and textured chest was not only educational but also deeply rewarding, emphasizing the power of texture in elevating the visual impact of a three dimensional creations.

Saturn Devouring His Son:

The Third of May 1808: