Archive for the ‘Digital painting’ Category


Because it seemed a bit of a challenge I made this AOP that is inspired by the art of the late Pino Daeni. Pino AOP can’t make a Daeni-like painting out of anything. You need a photo that reminds of Daeni’s work, with strong colours and beautiful people. Below I have used my Pino AOP on a Pino Daeni painting to see how well it can copy the original.

The original Pino Daeni painting to the left. The DAP version has a bit higher contrasts.


After having made paintings of streets and buildings for a long time I now have tried something new and have made a series of square paintings with electronics as source photos.

These paintings are not made with DAP, however, but with other tools (mostly another Mediachance application – Photo-Brush 5) and are parts of a series of paintings of electronic motives.  A handfull of them are now for sale in the furniture shop Medmer in Oslo.


Today I published my Colorful AOP on DAP café. It was made of scanned brush strokes and one of the  colour palettes I had not used for Landscape 2. The Colorful palette contains «all» colours and is therefore capable of dealing with most motives.

Landscape 2

Yesterday I uploaded my new AOP named Landscape 2 on DAP café and  see that it has already received a handfull of positive comments. It it so far the one of my AOPs I am most satisfied with. It adresses some of the negative issues about its predecessor Landscape and paints mist and clouds much better. The details brushes are capable of paintings really small details if you let them run long enough.

4th anniversary

Medmer – the furniture shop that sells my paintings – celebrated its 4th anniversary this evening and six new paintings were displayed to the visitors.  All had motives from the shop’s surroundings in one of the older parts of Oslo.


I have now released my new AOP named Landscape at the DAP café. I started with trying to imitate John Constable’s paintings but was never quite satisfied with the foliage on the trees so I just made a generic landscape AOP instead. I have put a distinct brush stroke texture in the colour palette in an attempt to make the paintings look as painted as possible. The AOP has two palettes – one based on my previous Rainbow palette that supports most colours and another with colours from Constable paintings.


One of the Mediachance forum ladies has complained to me about one of my paintings because it contained nudity. I replied that here in Scandinavia we have a more natural attitude towards nudity than Americans who don’t mind letting their children see a massacre on TV but get mad if they see Janet Jackson’s nipple exposed a second or two.


 My new AOP tries to simulate drawing with crayons. Just start and let it run until you like what you see. Usually it takes between 400 and 1600 strokes to get an interesting drawing. It has two palettes. The Crayola palette: Crayola crayons have come in a number of different colours over the years. When Binney & Smith first produced Crayola crayons in 1903, there were just eight colours. By 1949 the number had increased to 48 colours. This palette includes those 48 colours. The Rainbow palette has the same gradient colours as the portrait palette in my Rainbow AOP. It is much more suited for portraits and most other things than the Crayola colours.


I have just released my newest effort in AOP making, named Rainbow after its colourful palette. Its output reminds of airbrush paintings thanks to very soft brushes and a palette made of gradients instead of solid colours.


I started trying to create an AOP mimicking Edvard Munch – but with little success. The palette colours are sampled from four of Edvard Munch’s most famous paintings – all gloomy and depressing. Despite this I came up with an AOP that proved well suited for making portraits. I have tested it on several portrait photos of both my own colleagues and famous celebrities with different hair and skin colour. So far I am satisfied with all the resulting paintings. Facelook has much rougher brush strokes than some of the other portrait templates and often leaves interesting artifacts in the paintings – probably inherited from the Munch paintings I sampled to create the palette. I think this makes the resulting paintings more painterly and not so hyperrealistic. After a little bit more of tweaking I think I will release it on DAP café in a day or two.