It was necessary to fill the paint box with small things, so I will tell you about the ideological components and design of some of the nonexistent objects. Certainly, I thought about their design myself, looking at real-life objects. It was simple to do it with the paint-box, the monitor, the system block, etc.; I based them on existing products but replaced some brands so as not to advertise anybody (I'll tell you about rebranding later).
I decided to make a palette; I didn't want it to be your usual palette, but CG. I therefore decided to mix a graphics tablet with a palette used for traditional painting. It is always easier to model when the sample is near and we can touch it and look at it during doubtful moments. Basically, there are two kinds of palettes: rectangular and oval. It is not worth mixing rectangular forms of a tablet with an oval palette; everything should be harmonious and convincing. I therefore took the rectangular palette as a base; I did the same with the brush (Fig.06).
Then it was the turn of the palette knife, which is used for mixing colour in traditional painting and for applying oils to canvas. I decided to take the form of the Photoshop tools icons as a basis for the form of my palette knives, such as: Sharpen tool, Blur tool and Smudge tool (Fig.07). At the same time I modelled and textured a set of small things for the subsequent filling of empty spaces. All textures of wood on the handles of the palette knives have different shaders and mapping; the brushes are the same. This promotes the best perception of the work. My rule is not to use full copies of objects in one stage if they will be seen from one shot and if it is not necessary for the task.
The next stage was the paints – gouache and oil. I decided to make them on the basis of CMYK (for print) and RGB (monitor display). Making textures for the paints I replaced all colours and added corresponding inscriptions (Fig.08). Moving forward, I would like to say that all chamfers on the boxes with paints were isolated by texture. In some places I drew them in Photoshop, as it helped make the work look more convincing.
I designed water colour paints, too, taking the PANTONE colour system as a basis for these. Unfortunately, I couldn't think up anything logical for the solvent and did not want to go into a complete fantasy, so I went for the most simple and obvious solution and added "For digital artworks” – not specifying anything in particular (Fig.09).
Using my modelled brushes, paints, small things, etc., I began to manually fill the paint box with them. It was possible to use a reactor or a scatter for this purpose, but then there would not have been the full control over the position of each object that I wanted, and as a result everything would have had to be corrected. I spent a lot of time filling my paint box, but at least I was able to control the position of each object. In order to the objects look more natural, I tried to do it so that the copies of objects did not lie under a corner or on the same side as the viewers. I paid special attention to this stage of the artwork, knowing that the final result would depend on how harmoniously I scattered all objects (Fig.10).
When paint box had been filled, I started the configurations of larger objects. I also changed trademarks and names on visible objects not to be engaged in advertising. All trademarks and names are fictional (Fig.11).
For the preparation of textures, I basically used my own photos and drew them in Photoshop. In some cases I partially used photos from the Internet and my library of textures. Most of the objects were going to be smeared with paint, and so to draw textures with paint on each object separately was not rational and would have been very time-consuming. I therefore created in Photoshop the image of spots of paint in the high-res with an alpha-channel. I could then impose this image, change its transparency, contrast and saturation on any texture, whether it was a texture for wood, metal or plastic. I needed to make sure that it was not so strongly pronounced as to cause tiling on different types of textures (Fig.12). (I cannot tell you how I created the texture for the wood or plastic because it was a serious theme and took a lot of time.)