So a fascinating art strategy involves the dynamic inter-play between a 'core-central-structure' and an 'enveloping geodesic fill in process'. And we can see this very scenario play out in the paint animation above.
Although 'paint' is a pretty loose term in this example. Because we're doing it 'old school', building the entire structure of the rendered image from a series of Ip Op effects strung out to build up the overall art strategy. No paint synthesizer involved. You are building your own paint synthesizer out of Ip Op parts, laying them out to form the basic principals of your custom art strategy.
So in this example we started with 'mid-core' representation. So not the internal skeleton, but the larger shape that defines that core. We used an adaptive threshold effect in the Threshold IpOp. We turned on vector rendering. So yes your image processing effect is now 'painting' with colored vector graphics.
You are always working with some kind of internalized structure representation when you are creating images. You just might not be consciously aware of it. Get to know it, revel in it. Figure out how it works and what you can do with it.
Once we have defined our 'mid-core', then we can derive an internal rod-skeleton that is the basic root structure of the shape. We drew that in black with the Threshold IpOp thin vector option turned on.
The we filled in the mid core as a solid shape. We used the Fixed Color IpOp effect to do that. Dial down the Mix to something appropriate. And before you run it, setup the selection mask you are going to be using when you do run it. You can use that same adaptive threshold effect we've been using since the very beginning of this to do that (route the output to the Selection buffer by using the Replace Region Selection option in the Composite parameter).
We're using the 'mid-core' basic thresholded shape like a silk-screen print setup, using it to create a selection mask that will mask in our Fixed Color IpOp paint simulation.
So to give that 'mid-core' rendition some more visual depth, we will paint it in 2 or 3 times, expanding the Selection out using the Feather menu command, and also dialing down the Mix and rolling the hue and luminance of the source color we are running through the Fixed Color IpOp to do this 'mid-core' fill in. So we're building a very simple expand shadow fringe effect for the shape.
Shadow effects are a great approach to add additional visual depth to your painting. The color roll adds visual depth, the feathering expansion of the mask adds additional structure and visual complexity to the fringe effect you are building.
Now our Core Structure has been defined. On to the Geodesic Fill-In. Who will win, the battle for dominance.
We're going to 'bake in' our 'fill-in', by using a series of multi-octave gradient lighting effects. Super low Mix ratios (they darken, unless you change the algorithm), and you raise the spatial frequency of the lighting effect each time you run it. So that modulation is a ramp up over successive cycles. Choose odd-ratios to avoid un-welcome (unless you do want it) resonance effects if the ratios are truly harmonic.
Mix in some sharpen processing (mid-frequency, not too fine). I use the Blur IpOp effect to do that (set Composite to Edge1, low Mix ratios). Add a little bit of Smart Blur that tracks the canvas orientation to smooth it all out. Sharpen again if necessary.
Use the Image Compressor to slam the floor and ceiling of whatever you are time cooking in the canvas out to the absolute maximum levels the media can record. Make that adaptive (not too much, just the right small amount) to master that baked image to tonal consistency.
You need to sit back, reflect on, and appreciate the fact that you are literally cooking a digital video simulation to the point where it starts to become a chaotic system (the multi-octave gradient lighting effects are brilliant at doing this). You can experience reaction-diffusion behavior, as well as turbulent processes. Th smallest changes in low ratio Mix settings can have a dramatic impact on the visual look of what you are cooking. And the cooking occurs because the whole thing is a recursive process that plays out over time, over multiple frames. You are painting in time.
I like to throw in some sparkle dust with the Smart Contrast IpOp effect. Which can be configured to take rendered images like these and add some additional shadow structure. Process the canvas, use a low Mix ratio, use the Min Composite option, and choose your algorithm wisely.
Un-Sharp mask at the very end, for some additional shine. It's hard to use too much (although you certainly can and will).
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