The material image: Artists’ approaches to reproducing texture in art
The material image: Artists’ approaches to reproducing texture in art
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发表时间：
2016
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通讯作者：
C. Parraman
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作者：
C. Parraman
自从计算机问世以来，人们一直希望改善虚拟空间中由计算机生成的物体的外观，并在复杂的场景中精确地显示它们在现实中的样子。对于艺术家来说，这是一个简单的过程，通过颜料或卤化银的媒介，他们能够直接从自然中观察，并以一种非常令人信服的方式解释和捕捉世界。然而，对于计算机生成的图像，这个过程更复杂，计算机没有能力比较渲染看起来是对还是错-只有人类才能做出最终的主观决定。不断发展的问题是：艺术家创作的绘画和素描中有哪些元素可以捕捉材料的品质、纹理、纹理、反射、半透明和吸收，并通过彩色画笔标记的应用，展示出与木材、金属、玻璃和织物等材料的令人信服的相似之处？本文探讨了纹理、物体和艺术家在艺术中再现纹理的方法之间的关系。然而，纹理是有问题的，因为我们的视觉系统能够区分自然纹理和图案纹理之间的差异，而错误渲染的表面可能会阻碍理解。此外，如计算机生成的渲染所示，在没有可识别的图案结构的情况下渲染包含无限变化的表面可能导致异常大的文件大小。本文探讨了成像、艺术家再现材料属性表征的方法、绘画标记的流体动力学和印刷中的2.5D浮雕之间的关系。目的不是复制现有的绘画或版画，而是使用颜料，油漆和墨水的沉积来构建表面，探索图像与表面之间的关系。
Since the introduction of computers, there has been a desire to improve the appearance of computer-generated objects in virtual spaces and to display the objects within complex scenes exactly as they appear in reality. This is a straightforward process for artists who through the medium of paint or silver halide are able to directly observe from nature and interpret and capture the world in a highly convincing way. However for computer-generated images, the process is more complex, computers have no capability to compare whether the rendering looks right or wrong – only humans can make the final subjective decision. The evolving question is: what are the elements of paintings and drawings produced by artists that capture the qualities, texture, grain, reflection, translucency and absorption of a material, that through the application of coloured brush marks, demonstrate a convincing likeness of the material qualities of e.g. wood, metal, glass and fabric? This paper considers the relationship between texture, objects and artists’ approaches to reproducing texture in art. However texture is problematic as our visual system is able to discriminate the difference between natural and patterned texture, and incorrectly rendered surfaces can hinder understanding. Furthermore to render surfaces with no discernible pattern structure that comprises unlimited variations can result, as demonstrated by the computer-generated rendering, in exceptionally large file sizes. The paper explores the relationship between imaging, artists’ approaches to reproducing representations of the attributes of material qualities, the fluid dynamics of a painterly mark, and 2.5D relief in printing. The objective is not to reproduce existing paintings or prints, but to build the surface using a deposition of pigments, paints and inks that explores the relationship between image and surface.