It’s meant to be in ths spirit of an oil of the 17th century. Realism is important, but that’s not all that counts there.
I worked so long on this one, it’s insane. Probably, I will not be changing anything (not that the comments won’t be good, but you can only work so much on any given work, and this one was LOOONNNNGGGGG).
THE FLOWERS (bottom left) ARE NOT MINE (although I doctored the picture a bit). The postcard was not a postcard at first, the picture was not mine either, but it’s so doctored (and I don’t have the credits), that I can’t bother (after painting so much over it to transform it, adding trees… it’s not the same anymore).
Excellent. Nice to see something that is an artistic composition. Love all the details. Like the knots too. Only suggestion is some texture on the knots to make them more rope like (but I understand as I’m working on that aspect myself on some knots I’m messing with). Keep up the good work.
Thanks guys! Sorry I don’t quote you nominally, but you’ll know when I address your point(s).
Actually I used the non broken part of the glass to put a self portait, and I felt that adding other env-map would distract from the intent (as I said, I draw on old ideas)… So it’s actually a prepared transparent material (non reflective) that carries its own little silly message), applied to the broken peace. Mind you, nobody realizes that the glass is supposed to be broken, so I can’t blame you (I had prints done 600 dpi from super large render, and then you can see what I mean). There are some debris on the floor (but I did not use yafray, as you can imagine), and I could not get them right anyhow. I know. So much to master…
Of lights shadows:
The lighting was tricky yet simple. There are only 2 lilghts (one to project the combined shadow of a telescope supposed to be before the stain-glass window) and the spot illuminating the scened. I have observed many times that adding more spots or lights has unrealistic consequences when the lighting was supposed to be from the sun, so I went for the very minimalistic lighting I could that would still be reasonable. On similarly complex scenes I have used up to 20 lights, but deep down, while it may trick the eye, it doesn’t muster a second examination (especially not at very high res).
Of Texturing the knots:
the truth is I have learned a couple of things since I had modeled the knots and associated material (as I said, this was a very long project). I agree, it could be much better, but the trick is to have a texture / bump map or whatever, that wraps itself in a believable fashion. Knots are contorted, by nature. So and even now, I don’t know that I can do it right, so I go for the simpler (no more no less believable) solution.
Thanks for the positive comments. The time frame is in months… I don’t do that much at a given sitting, so…
Well, I modeled the material of the compass with CorellXara, now defunct, and known only as Xara (or maybe as XaraX… but I never upgrated since 96. I have no tie whatsoever w/ the Co., but I think it’s an affordable yet excellent vector software, and it does all that Gimp won’t do very well. Anyway, the material is a separate series of fractal layers.
To create the knot, well, yes, I spent lots of time on that too… But guess, what? Even after that, I would still need to practice w/ the real McCoy.