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(pencil scribbling)
- Hi, I'm Estella.
I painted Klimt's The Kiss.
It's really large, and there's lots of gold in it.
I started with a wire brush for the grass area,
and I started building up different colors
to create more depth and texture.
The painting itself has a tremendous,
a lot of textures in it,
so I want it to be controlled at the same time
as building a lot of variation.
Slowly building up the different colors with the flowers
and different values within the grass.
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For the figure, I wanted to have a flat background
for the figure first, and then adding
some of the paper brush textures,
as well as, I think it was like the flat brush, as well.
And I used the straight edge tool to create
the texturing and patterning of the man's gown.
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I realized it's a huge challenge to paint textures
in Tilt Brush (giggling).
Like I have to paint each individual stroke,
and texturing in Photoshop or traditionally
is usually a little bit easier,
but in Tilt Brush right now,
I have to do each stroke individually,
so I have to be very intentional about each mark
that I make right now.
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The main focus of the piece is the kiss itself.
It's a very intimate moment,
and I really wanted to make sure I capture that,
so a lot of the focal points that I had were
within the faces and the expressions
of the two figures.
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I used the colors that are in the original painting.
So there's a lot of purples and oranges and yellows
in the facial areas.
And I had to find a way to blend those colors
with the main skin color, which was kinda tricky
'cause I can't mix paints in VR.
It's just trying to figure out how to render
without actually being able to smudge it all together.
One of the interesting things that happened
when I was painting it in VR,
when I was doing the initial wire frame
is that the male body is so much hunched over this women,
it almost looked like it was too aggressive
or too dominant, but I softened it in the colors
and just like really kind of softened it out
and warmed it up a lot more.
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I didn't know know how deep the painting should be
because Klimt's piece is so flat.
It's intentionally flat.
Like the textures and the figures blend in with each other,
and they blend in with the background.
So I wanted to stay true to that to make sure the background
behind the figures didn't go too far back.
The purpose for the Klimt piece being a cube
is that I wanted it to stay enclosed,
stay intimate, and stay very much so personal
to the two characters that are in the painting.
It is their space.
It is their world.
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I really loved making those dashed lines
that flow from the lady's dress into the grass
and the ground area.
That was really fun 'cause it was just,
it was very meticulous to get each dash
in its right spot, but the end result of it
is very, like that satisfying altogether.
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♫ SoulPancake
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