more sensual digital art. just a thought… sensuality is not something i’ve explored in my work for many years. i was just thinking about making the work more tactile, something people can look at and get aroused by…lol. to make products like this, i’d have to go back to the studio and start experimenting with actual stuff again. that is to say, paints and finishes. i started to use a computer to get away from all that mess, but may be materials technology can again come to my rescue and allow me to make new sensual forms without getting my hand dirty. i get dirty for a living, i prefer to keep the process of my art making as clean as possible.
Archive for May, 2007
today i’ve been thinking about what form my print shop should take and perhaps more importantly what form the prints should take. i’d like to make a broad range of my work available as simple mounted prints. i’m looking at ways to keep the price down, yet still creating a product that will last.
anything on my site is effectively for sale as a print. anyone wishing to make a purchase now before i set my prices in my shop should email me the name of the work they like and i’ll work out a good deal for them.
a sketch from today’s return to making ‘real art’… the blue is not ‘in’, it just shows you what’s what.
this blog has been getting a significant raise in traffic recently. i don’t know if its returning visitors or if it is my articles just being picked up more in the searches. either way this increase in visibility has been in spite of me recently neglecting the ‘real art’ core of this blog. that’s my attempt at regularly updating these pages with new and exciting ‘real digital art’. the last few months have been taken up with work for my pattern project which is really just a stab at gaining broader exposure and maybe some nice cash. its funny, i often get emails from visitors asking how i became an established artist. the truth is i’ve never been financially established. i remain an underground artist and my sales are practically zero. i can only think of 2 pieces i’ve sold in over 10 years..lol
so anyway, that’s not quite what i had in mind when i started to write this post. i was instead thinking of ‘a classical aesthetic for a digital age’. highly pretentious yes. but somehow this describes what my ‘real art’ output aspires to find. i feel its healthy for an artist to always aspire to something that’s very hard to reach. i found this quote by my hero Michelangelo the other day. â€“ â€œThe greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark.â€ â€“ i love this.
so what do i mean by ‘classical aesthetic’..? well, an aesthetic that is archetypal and both firmly grounded in convention yet stands outside it. the thing is digital art is a new media pretty much without established conventions and this is where i have to be ambitious. i want to create art that looks like it has its own embedded set of conventions. probably most good art has this, but more over, conventions that can clearly recorded and shared with others. just like the conventions in classical music. the geometric metering would allow me to do this if there were individuals who wanted to know. i’ve talked about these root2art conventions elsewhere on this site, but most of them which i rely on to create are still and unrecorded. it might be an interesting experiment to see what others would produce working within this conventions and see also how they would be modified my new invention.
of course this is all a bit of a fantasy, the important thing is that the work looks like it has this level of meaning. i’m not saying i have achieved it, but its something i aspire to.
here is something i wrote to a friend today whilst talking about conventions in film:-
“iâ€™m fascinated with pure forms in all genres. conventions, to me, are the natural crystallisation of what works given a certain set of conditions, refined and evolved by successive generations of creativity. i see a parallel with conventions in the arts to evolution in nature. like conversion in nature, where the same solutions evolves independently in different locations, (such as the certain types eye ball and chlorophyll) conventions in art can evolve independently in different cultures. iâ€™m keen, like yourself, to learn from these archetypes.”
a friend of mine Sipra Pimputkar asked me if i would design a logo for their yoga class. on this occasion the subject interests me so i had a bash although obviously my output is primarily abstract. the logo is not fully resolved yet, but it is close. this theme has been inside me for many years and i have tried on many occasions to bring it into the root2art language and failed. on this occasion the work grow by itself and it only took 20mins to get to what you see here. sometimes when asked to make something with a specific theme i work with greater freedom. may be this way it is more genuinely spontaneous.
i’m now looking forward to making some variations on this theme. i’ve thought for a long while that the image of a figure sitting in meditation is often perceived in the west as intrinsically Eastern. my own feeling is that it is simply intrinsically human. i’ve had the desire to produce an image of the mediator in a more western language – something that those in the west who find meaning in the image to feel as it if is home grown and not imported. one of my own particular interests in art has been studying how the aesthetics of Buddhism has morphed as it has been adopted by different cultures – somewhat like the ego-less monk who adapts seamlessly and effortlessly with his environment whatever it might be.
i’ve tweaked the original pattern below to allow greater freedom with color choice, but the essential tonal metering remains the same. these four patterns took just a few minutes to edit in the gizmo and together they produce quite a rich texture.
one of my ultimate goals with this project is to create tools that just about anyone can use to create beautiful new creations. the art will be in the design of these tools, but users will feel like it is coming from them. that’s my plan anyway, i don’t know if it is possible, but now i have plenty of users, i can in turn use them to test my ideas. together i think we can have a fair crack at developing quite a unique mode of art creation:)
i realised today that there is a simple way to enable uses to color edit just about all my output without killing the tonal structure. the tonal structure being my own primary concern and the key to my compositions. with my color pattern gizmo i’m experimenting giving users control over the coloration of some of my pattern designs. however colors can be arbitrary and thus uses also have control over the tonal structure of the patterns. this is good for simple patterns, but when it comes to editing more complex graphics where certain tonal relationships are critical to the graphic working visual, limitations need to be built into the gizmo. this actually makes for a much more satisfying color editing experience as it is far easier to create something that looks good.
See example of new pattern like the one above, but without the graduation. (the tonal metering is subtle but makes a big difference to the overall balance of the pattern. You’ll have to send it to the gizmo to fully appreciate the effect.
what this means for me, is that this technique enables me to integrate all my composition work into the color project and let users interact with it and apply to products.
You can now create an account and save patterns from the color editing Gizmo and also browse through the 100s of color tiles already made by my users. I’ve also built a shop where you can buy your pattern on a stretched canvas in a range of sizes.
I also got a rudimentary fabric ordering service where any pattern can be ordered as a continuous design on quality cotton fabrics. I am now building a more sophisticated utility to make ording and sizing of the pattern much easier.
I plan to extend the range of pattern types to about 50 over the coming year. I already have about 20 on my hard drive which are awaiting formatting for this project.
Since adding the library I became a little miffed to find not as many users are now using the Gizmo, most likely because they are finding what they want in the library instead of having to fashion a color scheme themselves. I will have to find some other way to entice people in to play with this tool. Believe me, its strangely satisfying to use.
The library is already seeing about a 1000 users a day and i haven’t done much optimisation.