Art Thread

Discussion in 'The Backstage' started by Heket, Aug 12, 2014.

  1. Heket

    Heket Well-Known Member

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    I like you Colonel. I'm sure I've told you that before, but I do.

    Now the digital/traditional debate.

    I take issue to people telling me that my digital paintings are not creative. Not referring to you, DrB, as I see your point, but I'll come back to that later. There are websites I know of that ban digital art because they think it's all a load of photo manipulation and filters. It is not. That mountain I drew (yes, drew) on the top of the 2nd page of this thread - there were no filters used, no photos used (only a reference, nothing within the file itself), no tracing was done, no sampling was done, no colour palettes were downloaded, nothing. I drew that using a pen and paper (ok, a digital pen and a graphics tablet, same thing, a little less dirt) and I shaded it using (digital) paint. A majority of digital paintings do the same. Some might take colour inspiration from another image, I bet a lot of traditional artists do the same. Some paint over elements of old works, again, something not exclusive to the digital world. True digital art is art like any other, the skills you need to make a digital painting from scratch - composition, line, value, colour theory, dynamics, space, readability - are exactly the same for creating an oil painting, the only difference is mastery of your medium.

    DrB - When I digitally paint I need hand/eye connection as much as any traditional artists. If I had something like Wacom Cintiq I would literally be drawing onto the screen just as I would a piece of paper. Many, many traditional artists use photo references, plenty enough digital artists use live references - laptops and tablets are a thing. I bought my tablet so I could take it out with me and sketch. Sure, I could and do use a sketchbook, but to me digtial is just another media to choose over pencil, pastel, ink, watercolour etc.

    The point you're really getting at - well I do agree with that and that is why I generally lean more towards traditional art. It's visceral, physical and you can get close to it without the use of a screen. I would hate to see all art galleries install big screens and show only digital pieces. Some, yes, as I do like to see detailed digital art on a big screen, but nothing compares to seeing a the texture of an angry oil painting, or the delicacy of watercolour over ink. Digital art is fun and breaks down a lot of limits but there's nothing quite like jabbing a brush full of oil paint at a canvas, or watching watercolour bloom and take a life of its own. That's a personal preference.
     
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  2. chilipeppermaniac

    chilipeppermaniac Well-Known Member

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    Weasel, my SLR is a Pentax too, a Superprogram.
     
  3. DrBGood

    DrBGood Well-Known Member

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    I get your point Heket, but like you said, there's nothing like ...
    For a digital image to take form, it has to be reproduced. On a screen, projected or printed on a support. The original doesn't truly exist, you can't touch it.

    I went to a big art show in NY city a few years back, Art Expo I think it was. Out of the ±150 galleries that were there, more than half didn't have originals in their booth, reproductions only. Reproductions that sold for $10,000 plus. They even gave it a French name, so it sounds more expensive, they call it a Giclée. Many of them even had a big printer set up and were rolling out a giclée every half hour. Some even had textured manually added, so they looked like the real thing. That's where I'm afraid the market is going. Prints on canvas ! Gawd ...

    [​IMG]
     
    Last edited: Dec 28, 2015
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  4. Heket

    Heket Well-Known Member

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    Basically what I like is digital art for digital display media, such as games, films, websites etc and traditional art for traditional display media such as galleries, walls, illustrated books. I can get along with that.

    I feel like going and painting something in oils, but I have huge issues with art in that I never know what to paint. I feel like I want to, but I never feel strongly enough about something in order to paint it.
     
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  5. DrBGood

    DrBGood Well-Known Member

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    That's a hard one. Maybe you haven't discovered your media yet.
     
  6. Heket

    Heket Well-Known Member

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    I don't know whether it's not finding the right subject or the right medium but it's not for lack of trying. I'll list some media I've tried, let me know if anything jumps out at you for having not tried. Except sculpture, I'm ruling that out for lack of space and hand health.

    Acrylics, oils (brush and knife), watercolour, gouache, oil pastel, dry pastel, pencil, ink (both line and wash), coloured pencil, charcoal, digital.

    Subjects I've tried: landscape (urban and country), abstract, figures, still life, flowers, wildlife, architecture.

    I have a desire inside of me that wants to get out but I don't know how to let it out!
     
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  7. Col Mustard

    Col Mustard Well-Known Member

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    Kernel suggests: STORY, STORY, STORY

    Songwriters have the same issues. Trying to create something using different instruments, different musical styles,
    etc... etc... I've suggested to students who attend our songwriting workshops that when you're in doubt, tell a story.
    In the case of a single image like a painting... the trick is to imply one. That's why I liked one of those Owls... it
    implied a story to me and my twisted imagination took off. Imply either the beginning or the resolution of something...

    See if you can sublimate the desire inside with a series of events you find meaningful. Grab an episode out of Gilgamesh,
    or Beowulf... Lord of the Rings, Wuthering Heights, Shakespeare, Wagner... *grins You get the picture.

    Just a suggestion, but it works for me. If I had the hand/eye thing we were talking about above, I'd love to paint the scene
    where Cyrano de Bergerac is under the balcony, giving all his best poetry to the hapless (but handsome) Christian, hoping
    to win the heart of Roxanne because he feels so hideous that he can't risk rejection, and he the best swordsman in all France...
    I'd love to be able to paint the expressions on all three of their faces... because this scene is so absurd and so heartbreaking
    at the same time, and all three of these lovers is doomed, and maybe they know it....

    that's what I'm talkin' about... I channel my desire to ART through a story that I find moving, hoping to translate enough
    emotion to a casual observer that they'll cough up a few shekels to take my painting home and live with it.
    That's one method for writing songs too, although this scene would not make a good song. A painting that shows (on their faces)
    how the situation is likely to unfold might be compelling. HER expression might be the key to the whole thing.
    "Why don't you just climb up here and have me, sir?" ...but more complicated than that.

    Ah me, it's probably been done. If I can think of it, so can some other artiste... It's probably hanging in some museum
    somewhere, three meters wide.
     
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  8. DrBGood

    DrBGood Well-Known Member

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    Which one talk to you ? You like pencils more than brushes ? Find the one that appeals to you and stick with it, so you can get somewhere technically. Experiment and don't be afraid of mistakes, they'll teach you a lot.
    Same with subjects.

    I went to Beaux-Arts and tried every technique being teached there, to finally realize painting was it for me. I liked a challenge, so for years I mostly painted the human figure. Did enough portraits to get good at it and it paid off. I got big comissions for corporative portraits, like this one of one of our prime minister. The painting is 130cm X 130cm. It's on wood panel and the technical plans of the hydro-electric dam, were engraved in the surface. He was the one who nationalised electricity in Québec.

    When I made it, I knew it wouldn't go up the stairs from the basement studio I had at the time. So to get it out, I cut a slice off the living room floor between two trusses. The wife didn't really appreciate. But it was lucrative enough to have the floor repaired by a pro.

    [​IMG]
     
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  9. dcwave

    dcwave Well-Known Member

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    For me it's oils followed by colored pencils, then ink.
     
  10. Gahr

    Gahr Well-Known Member

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    Excuse me for being off topic, but Gilgamesh is a such fantastic story. As a brewer, I love it! The wild man Enkidu becomes civilized through (among other things) getting drunk on beer. The old Sumerians understood a thing or two about life!
     
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  11. Heket

    Heket Well-Known Member

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    I like the feel of paint but the immediacy of drawing. I like painting but I have to get all my paints out, make sure I'm not going to make a mess (floor is already stained with green paint), paint in my little studio in case I do make a mess and my studio is in a conservatory so I'm either roasting my ass off or freezing my **** off (sorry :p) whereas drawing I can just sit anywhere and use anything as a support. My issue is I don't tend to treat drawings as final pieces of art, there's always more I want to do, mainly with colour or adding water to soluble graphite. I'm inclined to try oil pastel again, and I also have a small set of wax pastels (aka crayons :D) which I can try. I don't like thin pencils, they hurt my hands.

    I can try and think of a story, maybe a scene from a favourite book. I think much of it is also not having found my groove in terms of style. I painted a cucumber, using oils and a knife which I liked:

    [​IMG]
     
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  12. DrBGood

    DrBGood Well-Known Member

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    Drawing can be a finality. I like its simplicity. A bit like black & white photography.

    Nice cucumber, now I gotta go eat something.
    Shadow under the cucumber ... try not to use black for shadows. There's always a little color, sometimes a lot, in shadows.

    This is small, 20cm X 20cm. Subject was secondary for this. It is a shadow study.

    [​IMG]
     
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  13. Heket

    Heket Well-Known Member

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    Thanks for the advice :) I don't usually use black and I never use it in watercolour, but that's probably Payne's grey because I got lazy. I get lazy with the oils, I don't like colour mixing with them much. That might actually even be a mix of burnt umber and ultramarine, I have no idea. But probably laziness because I think I forgot to even put a shadow in at first. Your shadow is lovely :) Much nicer to involve colours in shadows. I'm still getting there and generally use a mixture of 2 colours that will naturally separate or not mix well for interest, but I understandthere should be some ambient colour in the shadow.
     
  14. dcwave

    dcwave Well-Known Member

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    Had a teacher that used to just crucify students that used black for shadows. So I purposely used black, she would have a roid rage from it. A giant vein would just pulsate out from her forehead down her neck into her cleavage.
     
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  15. DrBGood

    DrBGood Well-Known Member

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    So you've been a pervert since a young age ? [​IMG]
     
  16. Col Mustard

    Col Mustard Well-Known Member

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    love all this traddie techno:io:
     
  17. Heket

    Heket Well-Known Member

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    Oh would you look at that! This forum allowed me to say ass but not a word to describe female chest furniture beginning with "t". Do I have a profanity filter on or something? As if "Bristol cities" is profanity :D Now, seeing as it's 4 stars, it looks like I said a very rude word indeed!

    I'm about to start something with my "wax pastels" I did a rough sketch (digitally :D) and I'm going with an expressionist style. Fauvism is one of my favourite art movements, along with surrealism, cubism and abstract expressionism.

    What art movements do you all like?
     
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  18. donepearce

    donepearce Well-Known Member

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    You can't say wax pastels either. That is an anagram of past sex law.
     
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  19. chilipeppermaniac

    chilipeppermaniac Well-Known Member

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    Tranny Techno?
     
  20. DrBGood

    DrBGood Well-Known Member

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    You have a twisted mind my friend [​IMG]
     

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