Digital Art - Week Two

For this module I have to take some of the work I have completed in various sketchbooks and digitally manipulate it.

There are a number of ways and various computer programs I can use to achieve this result. 

• Photoshop - Manipulating and cleaning up images, digital painting and effects.
• Adobe Illustrator - Live tracing, patters and compatible with the laser cutter.

I am already familiar with both of these programs and know which to use to achieve a specific result.

First I need a sketch.

This one from one of the many life drawing work shops, is one of my favorites.

With the image selected, all I need to do is translate it into a format the computer can understand. I can either take a picture of the page using my phone, or scan it into the computer directly. Both will work, however the scanner will give the clearest result.

Once we have a digital copy of the work, we then need to open up this saved JPEG in photoshop, clean up the line work and brighten the background colour.

This is the result of the clean up process. I first brightened the original colours, until I had the cleanest black and white image. Then using the 'Magic Wand' tool, I selected each segment of white and 'cut' it away. (Making the background layer another colour other than white can help identify any unwanted white segments on the layer you're working on). I continued this process until I had nothing but the black line work on layer one. 

Photoshop has a number of tools which can speed the process along. The 'Magic Wand' tool is the one I have used the most to this point. With it I was able to select only the darker line work of the original sketch, and paint them dark green without smearing the rest of the layer.

Layers are also a wonderful asset to the digital artist. Having portions of the work on multiple layers allows changes to be made and mistakes easily corrected, without interfering with other sections, that do not need any alteration.

Here I have used the 'Magic Wand' tool once again to select the original line work and 'Copy and Paste' two more into the piece. Each copy is placed on a separate layer, allowing me to manipulate each one in a different way, without adversely affecting the others.

By creating multiple layers and altering colour, size, opacity and positioning, I now have this almost blurry effect.

Here I have added another layer, independent of the line work and painted in some tonal values to the skin using the paintbrush tool. The paintbrush took is one of the most diverse tools photoshop has to offer, with multiple options, brush types and additional settings to play with, one can create a truly unique effect.

At this point and with multiple layers to play with, it is always a good idea to change the order of these layers as the overall effect of the piece can be altered, sometimes for the better.

Now there are some tonal values to the face of the woman in the image, it doesn't feel so flat. Now it has a more 3D or lifelike feel.

Here is the finished image.

With the line work and the tonal values complete, the image still felt unfinished. The model who posed for the original sketch was very colourful, dressed in a multicoloured dress, large green wig and bright make-up. My original sketch (while nice enough) failed to capture the drama of these colours.

The final layer, I decided, should represent just how colourful she was.

I used the brush tool to create the splashes, before selecting these 'splash' shapes with the 'Magic Wand'. This allowed me to paint each splash independently with another brush type, one with a soft edge, creating a gradient effect and allowing the colours to bleed into one another.

Over-all I am pleased with his image. The end result is very dynamic, the softness of her expression invokes calm and stillness compared with the energy and motion of the paint.

Digital Art - Week One

Referred to in the 1970's as 'Computer Art' then 'Multimedia Art' digital art now falls under the umbrella of 'New Media Art'.

Early computer art was nothing more than generated shapes on a screen.

The foundations of the digital medium had been laid long ago with the invention of the first computer.

Poster for the Cybernetic Serendipity exhibition which debuted in 1968, by Jasia Reichardt.

But it wasn't until the 1990's and the emergence of the internet that the style really flourished. The internet made it possible to gain and share information and allow people with similar interests to work together.

The computer art of this time were 3D generated CGI (Computer Generated Imagery) that were more than a little bizarre.

As technology became more readily available to the man on the street, the art became more sophisticated as the tools the artist him/herself used.

Today we have some of the most beautiful art and vey talented digital masters. The work they produce is nothing more than perfect and the images that can be created is only limited by the imagination. The tools and software can imitate almost any medium but it is still ultimately up to the artist what they then create.

The Blue Lady - Richard Davies.

Richard Davies is a freelance illustrator and graphics designer and has been for over ten years. He works under an alias 'Turksworks'.

He has a very unique style, mixing still life with his very vivid imaginary aura. He has a good mastery of light and shade, making his work seem very real while at the same time, wistful and dream like.

Digital art might have made some art creation easier, for example, there is no danger of spilling a pot of ink all over the page and ruining the work. All the supplies you require lie within the computer software and digital art can be shared with potential customers/employers in an instant.

But it also presents its own limitations and drawbacks. A drawing tablet won't create a thing without power or working hardware. A computer crash after several hours of work can leave a digital artist on the brink of suicide and a discarded mug of coffee could damage some very expensive equipment.

People and Characters - Week Two

During the last half of the first week me and my fellow group members began to draw our chosen designs on the wall. It was a little difficult for us all to get into the small space to complete the first stages of our work, but some how we managed with spirits and optimism still quite high.

 

Everyone chipping in to buy some paint.

Preparing the canvas.

Connor sketching out his character.

 With so many of us trying to work on such a small space, we have to take turns adding to the wall.

 

Once the preliminary sketches in pencil were done, we set about finalizing the design and making them bolder with ink.

 

At this stage our plan was to paint the entire scene in colour, sticking to the warmer shades of red, orange and yellow, in keeping with the fiery pits of hell theme. However, two members of the group had a change of heart about this plan just as paint was about to be applied. It was felt that there would not be enough time to paint the entire wall, but there was a lack of communication and not everyone was aware of the change in direction. As a result, paint was applied regardless, sticking to the original colour scheme. I feel it was at this point, when one member in particular, took issue with the work so far and interest on both sides seemed to wane.

 

Acrylic colour being added

 

Work continued, but there was a definite rift in the group, one that wasn't easily smoothed over. It became very difficult to focus on the piece as comments from one particular member were very negative.

 

Connor adding another scene on the ceiling.

The week seemed to drag on and more and more I wished it was over. I wasn't enjoying the work and started to feel very unhappy with our piece. All I could think about was what a huge mistake we had made by painting the wall white. We should have painted it a warmer shade of orange or red, that way we would have had the mid-tones in there already and not as much would have needed to be painted. It was frustrating me that I had this eureka moment a week too late.

My lino-print designs, testing before being transferred to the wall.

 

 

 

 

The finished wall, looks decidedly unfinished. I would have liked to have tried to paint the entire thing but the general feelings from the rest of the group was that it wasn't possible.

The entire experience has taught me a lot about the importance of planning and adequate preparation. I feel we were too eager to begin the process without having discussed and thought it through better. Had we done this we might have gained a better understanding about what everyone in the group wanted to do, instead we winged it and a few members vision of the work clashed. This led to an awkward situation and a severe lack of communication. I myself found it very difficult to talk about what we could do to put the project back on track, I was met with shrugs, muttered declarations of not really caring and an over-all desire to be done with it.

Over-all I have enjoyed most of this experience and while I'm disappointed with the finished result I feel better prepared for the next group task. I'm not prepared to see a repeat of the same problems.



People and Characters

For the next two weeks I am to be working with five other classmates in a project that has a live deadline of November 5th.

The idea is to study unique and unusual characters in and around the town of Hartlepool before incorporating what we have learned into an installation that will be on display in the folio of the college itself.

The work must include at least five characters and five prints.

During this first week we have been partaking in a number of life drawing workshops to help us build up a broader range of studies to base our work upon. I have always enjoyed life drawing and enjoyed these workshops immensely.

 

One of the first of the three life drawing workshops we met Nigel the biker. He pulled up outside of the college and still perched on his 'hog' we all started to draw his very intricate self. The above image is one of my favorites from the day. While the most interesting feature of Nigel had to be his jacket (which was covered in patches and badges) I've always enjoyed portraiture.

The next character we met, was Chalky the Yorkie. Chalky came in wearing many different layers all with different textures, patterns but all in black and white. It was a challenge to try and capture all of that information during the time scale we were working with. The above image was created using graphite and I used the pencil in different ways to generate differing textures and gradients.

This one is also of Chalky while he sat with a cup of hot chocolate and had a chat with us. Chalky done his art degree while he was in his forties, which just proves that you're never to old to learn. A sentiment Chalky himself said during this chat.

I went back to fine liner for this piece and while I am very comfortable with this medium it was much more difficult to properly communicate the intricacies of what Chalky is wearing. Still, he does look very cool and reminds of a character from the Matrix.

 

This one was done using fine liner and is a portrait of Chalky the Yorkie. Chalky was sat very close for this piece and I wanted very much to try and capture a likeness as exact as possible.

 

 

The next life drawing study brought a very colourful character. This lady was very slim and dressed in a variety of colours, the more predominant being green. She posed in a number of different ways, the one above and below are my favorites from that day.

 

 

Once again I found myself focusing on the face, trying to capture the likeness as well as the mood of the pose.

 

These final three were done using secondary source from photographs. I love the pose of the ghostly woman, while it was the intensity of the eyes of the two gentleman that I have tried to focus upon.

 

It is images like these which would fit with the theme that the group has chosen for our installation.

 

We will attempt to create a Hell scene, with demons, evil doers and those damned for eternity.

 

Wish us luck.