3D verse 3D
I love the tactile, kinaesthetic act of painting. The process of preparation: soaking cloth, stretching and gluing. Wet and dry. Fixatives and finishes. Process.
So what drove me to digital?
The major pressure at the time was space. There was no studio space in our small house. To dry paintings and prints away from small children was impossible. Space to setup easels or a press, out of the question.
Having begun this journey into digital I found that the convenience of setting up and tiding away is great. But for me, the greatest advantage is that digital is always wet and always dry. It freed me from the restrictions of timing, so I could fit my art around my family's busy schedules.
I suspect the 3D topic heading in the handbook does not mean the sort of 3D with which I am familiar, but I put forward that the crafting of digital 3D objects does require similar skills and knowledge.
Digital 3D requires the need to understand shapes and their relationships within three dimensional environments. Every plane and curve must be meticulously positioned. Surfaces need to be textured, and the nature of these textures are complex and technical. Colour, bump, reflection, refraction, sub-surface scattering and more. Added to all this, the environment, atmosphere, and lighting. The camera placement and finally, the render setting.
In a piece like Southern Mists, I not only had to design the font, carve the letters and drape the cloth, but I also had to create Pounamu and decide just how much polish I wanted on it. This process took longer than it would have taken to physically carve and polish the pieces.