The snout needed custom oriented vectors that followed the texture. E.g in Houdini, it's very easy to paint these vectors. That edge needs to be sharp! The same shader is used, only with a different input vector. For example, around the snout of the fox it was key I aligned the brushstrokes so that they follow the colour boundary. If you want to paint a custom direction for the strokes, that's possible too. I supplied another bit of osl for that (facingratio_cam.osl). It turns out we can safely do this without much visual impact at all. See how in the above example I faded out the cards whose supplied vector is perpendicular to the viewing vector? The rotation there is a little bit too fast, so we mask it out. To show the automatic surface alignment, I replaced the brushstrokes with some arrows. You input the position/direction userdata of the points, it outputs rotated UV coordinates that you can feed into an image. To handle this I wrote some OSL (align_uvcoords_to_vec.osl) that takes care of everything. The cards need to aligned to the surface, or a custom direction, in screenspace. Work from large to small strokes Correct orientation of brushstrokes
Start with a sparse pointcloud with large cards, and layer smaller sets on top to selectively add detail into places where your eye should focus. It's important to layer multiple sizes of brushstrokes. For the big brush stroke layer (base coat), we don't want this to happen since it'd screw up the silhouette! I wrote another c++ shader to handle this (quantize_cut_edge). The problem actually becomes the inverse.
You can really make the object edges look like brushstrokes. This is a significant reason why cards are the right approach.
Since all of the shadingpoints per card do this same lookup, we get the same colour for each shadingpoint on the card. Then it will return the radiance at the first hit point, which happens to be the point it was spawned at. The reality is slightly more complex, but you can imagine the shader shooting a ray from the userdata::worldpos point, in the direction of the userdata::worldvel vector. This allows us to take the pathtraced final colour of an underlying object, and transform it to the brushstroke that is on top of it. This is possible because we feed the shader userdata per-point. I developed a custom c++ shader (quantize) to sample a singular shading point on the underlying surface, for every shading point per card. The shader setup for Houdini is also included. The shader setup, open the node editor in the maya scene to bring this up. Ofcourse not straight out of the box, so let's dive into the details: The answer to this ended up being a rendered point cloud as camera-facing cards. Painters often start with big brushstrokes and detail selectively with small brushstrokes. Nothing shouts "hey i'm 3d" as much as a perfect object edge. Disregarding the mixing of colours, the basic principle of painting is to put some colour on your brush and put it on the canvas. Quantized patches of color, aka brushstrokes. Final effect similar for finishes to an oil painting with textured brushstrokes in relief.Ĭustomized packaging for each type of product: frameless canvas and posters will be shipped in sturdy cardboard tubes (no creases to the product) Framed canvas and boards are protected by shockproof material and placed in sturdy corrugated cardboard boxes. Thick transparent varnish applied by hand with the help of brushes. Panel in MDF (Medium Density Fibreboard): Poster glued on wood fiber panel by press, 1.6 cm thick, beveled with retractable hook on the back. Printing continues on the border with reflection pattern (standard) or Colored Edge of your choice in the menu for a personalized finish similar to a modern frame. Smooth planed plywood frame 2 cm thick x 4.5 cm wide (standard),Smooth planed plywood frame 3.5 cm thick x 4.5 cm wide (gallery)
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Intense colors and homogeneous shades in full respect of the original work.įine Art 180 gsm anti-glare matt paper shipped in a sturdy cardboard tube (no creases) Fine Art Print - 9-color Giclée with non-toxic water-based Epson Ultracrome inks for Fine Arts indoor use.
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