Archive for November, 2006
a guy recently commented that my submission to the svg contest, had the root2art DNA all over it. i took this as a great compliment weather it was meant as this or not. to be fair it was in the context of a compliment so it probably was positive. the reason why i liked it was that it is an indication that, at least this individual thought was distinct enough to warrant its own DNA.
so i received this comment just as i was creating my digital man icon. the two ideas came together and i produced the above.
This work has taken a on a new angle. The stripy bit at the top left is just there as I want this language/texture in the work, but have yet to integrate it. I often have parts of other compositions floating around in my work space as I get to see complimentary textures directly. Visual textures from past works will be evoked by new forms. I will often think when having just created a new form, ‘oh, I know exactly what will work with this’, and I’ll dig into an old directory, if I can find it, and bring out some old motif or pattern.
I have been asked how I imagine my more complex works. I’m pretty sure its the case with all artists who make complex and ambitious work, that the ultimate complexity grows out of many thousands of simple operations and thoughts. The finished work is not known until it emerges in its entirety. I believe artistic evolution is no different than the Darwinian evolution of nature. That is the infinite variety of nature is not created by a knowing, more complex force, but by the infinity interacting of simple forces. A fractal is a perfect example of how multiplicity can grow out of a simple equation. And the cells in a foetus all following simple rules working independently and yet togetherÂ can create a living being. All in one: one in all.
I wonder if shininess is a fade and the shiny thing will date rapidly as the language of internet graphics evolves into more mature forms. I like it now, but at the same time am holding back from using the effect in all the work I am now producing. I’ve always looked for compositional strength over sensation and effect. I feel strong dynamic composition is the basis of all art from all ages. Effect, conversely, I feel soon looses its impact and relevancy as the collective visual language of art evolves. So, as with colour, I only add this sensual element only once I’m convinced I can not develop the tonal structure an further.
Shiny Prints, however I feel may be a more enduring property of physical art. Mainly because it is just that and not a aspect of artistic language. I’ve recently been trying to create some 3d graphics that reveal the deep gloss of my new range of Diasec prints. I was very please with this render, but after my all knowing wife commented that it looked pixelated I’m no longer sure. Before I launch into an epic session with 3d max producing renders for each one of my compositions I need to be sure that they represent the real product.
Diasec Â® Printing
This is a patented method of adhering the image side of photos, transparencies, prints and various types of graphic artwork to transparent material such as plexiglass.
The Diasec Â® process guarantees adhesion without air bubbles and without visible dust or glue-residue. This method is suitable for images to be sandwiched between plexiglass or glass. The colour-contrast is emphasized, giving images a completely new dimension. When high-gloss plexiglass is used, subtle details are considerably enhanced.
i’ve submitted a work to an international visual digital art competition organized by the Cultural Association â€˜Acquamarinaâ€™ Italy. thebrainprojectÂ
the competition calls for a conceptual component on the theme of ‘borders. if you like the conceptual dimension to my work, then you might enjoy reading this:-
i’ve posted the piece on this blog before so i won’t show it again.
not sure where i’m going with this, but the little man icon, i feel has a lot of potential. driving home from the north of the country the other day after a trip to visit friends and climb, i began to develop an idea for a picture onÂ a theme i could call, ‘Everyone What’s To Be Happy’. An essential element of this picture would be an infinite field of identical little peopleÂ icons vanishing into the distance. At the heart of the pictures concept is the notion that all living things are united in our common desire to avoid suffering. The sketch above doesn’t reflect what i imagine for this composition, but i’m posting it as part of my new resolution to post the elements of my work as they evolve.
in the sketch above i’m really just exploring the geometry underpinning the icon and finding a strong relationshipÂ in the geometry ofÂ one icon to the scaled geometry of its neighbour.
this is just a bit odd. i was making some new backgrounds and ended up with this.
shaping up. this are the core structure i hope to use to build up a rich theme of variations.
I’m calling this project ‘mirror world’ at the moment. I’d like to develop it in animation, but first i have to stripÂ the geometryÂ back to some fundamental relationships which i can exploit to create form and movement.
I’ve never done this before, but I’m going to post work as it happens and before it is fully resolved.Â Contained within the seed geometry below, I’m confident there is material for a substantial series of compositions. It might be fun to document the progress of this project as it developed and reveal some of the evolutionary steps along the way.