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4. Ciber-crom (18-22 nov. Studiul culorii i bazele picturii )Procedee contemporane de organizare cromatic i compozi ional
cu ajutorul tehnologiei)
Punnd n relatie cei doi termeni C!"# (ci$ernetica) %i C#&'
(cromatic) urmrim %ondarea a dou zone - cea oerit de noile
tehnologii r de are e%te greu % ne mai imaginam e*i%ten a cotidian
i cromatica r de care nu putem vor$i de%pre pictur.
+tentia %e pune pe elul n care noile lim$aje au aectat gndirea %i
perceptia cromatic n pictura contemporan.
#ealizati o %ucce%iune de %chite (,-1) prelucrate pe computer care %
ai$ ca punct de pornire ie o imagine otograi ie doar po%i$ilit ile
oerite de aplicatiile programelor de prelucraregenerare a imaginii dar
poat i i o relec ie a iecruia a%upra lim$ajului ci$ernetic n %ine.
/n realizarea %chi elor urmri i de a%emenea valoriicarea procedurilor de ogranizare cromatic men ionate n articolul de mai jo%0 pen%ulele
multicolorate gradientii cromatici utilizarea laerelor i m tilor de
izolare cromatic.
Ave i libertatea de a descoperi noi posibilita i de organizare
cromatic prin filtrul calculatorului.
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Cibernetica
Etimologie
Cuvntul ci$ernetic3 a o%t creat de 4or$ert 5ienern 1678 i are la origine
termenul grec9:;?@A kybernetes(crmaci crm). Be pare c 5iener nu
tia c e*act acela i cuvnt u%e%e olo%it ini ial n rancez de ctre
izicianul+ndr-'arie +mpDre(cyberntique) cu %en%ul de art a guvernrii3.
/n lim$a greac prima utilizare a termenului apare n Legilelui Platon cu %en%ul
de guvernare a poporului. Ee apt i a guverna3 are acela i etimon grec ajun%
la noi prin intermediul latine%cului gubernare(a conduce). Cuvntul mai e%te
nrudit i cu ver$ul a chiverni%i3.
Defini ii
Fermenul %-a r%pndit mai ale% n legtur cu %i%temeledigitale dar domeniul
e%te mult mai larg0 ci$ernetica %e ocup de modul n care un %i%tem (digital
mecanic $iologic) prelucreaz inorma iile i reac ioneaz la ace%teaG
ci$ernetica %e ocup i de modul n care %i%temele %e modiic %au permit
modiicri pentru a- i optimiza ac iunile.
& alt deini ie0 Ci$ernetica e%te di%ciplina care %tudiaz comunica iile i
controlul ntre dieritele %u$%i%teme ale unui organi%m viu %au ale unei ma ini
con%truite de om.
/nc o deini ie cu un con inut ilozoic mai pround a o%t %ugerat
n 16,8de Houi% Couignal unul dintre pionierii ci$erneticii din anii 16I care
con%idera ci$ernetica drept arta de a realiza eicien a ac iunii3.
Ci$ernetica %e ocup cu %tudiul %i%temelor. Principala %a component e%te
eed$acJul.
Pnza digital: noile tehnologii i pictura secolului 21
2
http://ro.wikipedia.org/wiki/Norbert_Wienerhttp://ro.wikipedia.org/wiki/Limba_greac%C4%83http://ro.wikipedia.org/wiki/Andr%C3%A9-Marie_Amp%C3%A8rehttp://ro.wikipedia.org/wiki/Legile_(Platon)http://ro.wikipedia.org/wiki/Platonhttp://ro.wikipedia.org/wiki/Sistemhttp://ro.wikipedia.org/wiki/Digitalhttp://ro.wikipedia.org/wiki/1958http://ro.wikipedia.org/w/index.php?title=Louis_Couffignal&action=edit&redlink=1http://ro.wikipedia.org/wiki/1930http://ro.wikipedia.org/wiki/Norbert_Wienerhttp://ro.wikipedia.org/wiki/Limba_greac%C4%83http://ro.wikipedia.org/wiki/Andr%C3%A9-Marie_Amp%C3%A8rehttp://ro.wikipedia.org/wiki/Legile_(Platon)http://ro.wikipedia.org/wiki/Platonhttp://ro.wikipedia.org/wiki/Sistemhttp://ro.wikipedia.org/wiki/Digitalhttp://ro.wikipedia.org/wiki/1958http://ro.wikipedia.org/w/index.php?title=Louis_Couffignal&action=edit&redlink=1http://ro.wikipedia.org/wiki/1930 -
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magini digitale i un nou limba! "n pictur
#$ %i&e #rennan
/n relati v c iva ani de la apari ia unui nou mileniu pictura
contemporana a a%i%tat la un numr %urprinztor de %chim$uri i
tendin e.
Ee la un %curt lirt cu igurati%mul academic la omagiul moderni%t
angajament rennoit de a$%tractizare i n ult imul t imp inve%tiga iile
platormei picturale n %ine ace%te mutatii %unt de apt eminamente
logice0 n e%en un vrtej de vnt cronologic prin intermediula%pectelor-cheie ale i%toriei proprii di%ciplinei prin realizrile i
preocuprile ei.
"viden iat prin a$%en a lor relativ cu toate ace%tea - i n %pecial n
arena picturaii de a%tzi - %unt %emne clare ale impactului tehnologiei
pe calculator de hi$ridarea digital ana logic care prea c ar putea %
e*tind di%cur%ul picturii i voca$ularul ace%teia n moduri la el de
%pectaculoa%e i omniprezente ca atacul noilor tehnologii n %ine.
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"*i%t de%igur e*cep ii cum ar i munca lui FaJa%hi 'uraJami a crei
evolu ie %pre o produc ie (aproape) complet digital o vom atinge mai
trziu.
i e%te de a%emenea adevrat c pentru o perioad - de la mijloculanilor 166 arti%ti cum ar i Barah 'orri% 'attheK #itchie an 'onroe
(de mai %u%) i For$en Liehler (de mai jo%) preau % ie deinirea unor
pozi i i %imilare Mvi itor-orKardM cu pictura care i datoreaz cu adevrat
%en%ul prin po%i$ilit ile unor programe ca Photo%hop llu%trator %au
C+E n timp ce nc per%i%t i zvonurile unei rena teri de intere% n
a$%trac ia geometric moderni%t.
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+ce%ti arti ti rmn nume remarca$ile dar inluen a lor a%upra unei noi
genera ii de pictori mult mai picturali pare neglija$il.
Ceea ce ridic ntre$area cu privire la modul complet prin care
tehnologia inormatic %-a iniltrat de apt n una dintre di%ciplinele
arti%tice cele mai tradi ionale N picture i dac ea e%te nc n cutarea trecutului mai degra$ dect ncercarea de a orma unui voca$ular
%peciic %ecolului 21.
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#%pun%ul e%te de apt o dovad de a%imilare a practicii digitale n
pictura curent care e%te n mod a$%olut evident chiar mult mai
%u$ti l dect ne-am a tepta % ie.
'ceasta strbate pnz "n primul rnd prin referire la instrumentele
i efectele des "ntlnite chiar i "n pachetele de pictur digital de
baz.
Frud !en%on (%tnga) un pictor american in cur% de dezvoltare %ereer n mod %pecial la alegerea ei de materiale i ge%turi %tili%tice la o
a%tel de e*punere0
MPicturile mele %unt cute n acrlic vop%ea %pra i vop%ea de ulei.
Oiecare dintre ace%te materiale creeaz un tip oarte dierit de marc
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precum i o calitate dierit de %upraa pictural. Ee a%emenea
primele mele picturi a$%tracte au o%t cute ca un copil pe un vechi
'ac cu in%trumentele 'icro%o t Paint lui0 creion pen%ul %pra gleat
de umplere i gradientul.M
"*perien a lui !en%on i reerin ele ulterioare %unt departe de izolate
pentru a ace o a%imilare digital mai e*tin% i mai cuprinztoare dect
ne-am i imaginat vreodat.
Pentru o genera ie de pictori care a cre%cut n %piritul noii tehnologii
impactul %u real pare % %e anun e n tropi i ge%turi puternic
inluen ate de replici proprii %otKare-ului la proce%ele de pictur
t radi ional.
+ce%t lucru - de i nu poate prea imediat evident - e%te v r%ta pictu rii
filtrat prin iltre Photo%hop.
( caracteristic stilistic particulara a picturii curente) este ceea
ce *om numi +a tipului de pensula multi,cromatic+.
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-ago ortal) detaliu.
#ealizat prin ncrcarea pen%ulei %au a cu itului de palet cu mai
multe culori tehnic care %e reg%e te pe undeva ntre tehnicile
tradi ionale de ame%tecare a culorilor dar ca ge%t e*trem de con tient
de %ine in arta decorativ. Ee altel %e a%eamn ndeaproape cu
aplica ia Mpen%ulei naturalema%%-mediaM de o$icei g%it n %otKare-ul
de editare a imaginilor cum ar i Photo%hop %au Painter precum i cu o
gam tot mai larg de alte aplica ii.
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/omor$ Dodge) detaliu.
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Fermenul MnaturalM indic c a%tel de in%trumente %unt concepute
pentru a imita vop%ea autentic.
Cu toate ace%tea rezultatele n %pecial n Photo%hop nu %unt pe
deplin convingtoare. Programat pentru a genera ire %imultane de
culoare interconectate vizi$ilitatea %au puterea pigmen ilor virtuali nu
variaz %au o%cileaz rezultnd n mod con%tant $om$oane de tre%tie
de zahr cum ar i l inia %triat %au cu pic ele.
Cu toate ace%tea pen%ula Photo%hop e%te pro$a$il cea mai utilizat pe
%car larg dintre toate in%trumente de editare digital i de %imulacre
ciudat i%pititoare iind urmat ndeaproape de eecte $anale cum ar i
petele %au licheierea - am$ele producnd apro*imri la el de inten%e
de vop%ea lipicioa% %au %triat.
Fipul de pen%ula inormatizat poate pierde cu u urin ncercarea %a de
a reproduce mediul original dar a%pectul %u dramatic hiper-real pare
a g%i un ecou n cre tere n produc ia pictural de a%tzi.
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Bernard Frize
"%te ceva contradictoriu de a ncepe di%cur%ul cu privire la
an%am$lul de linii multi-cromatice cu munca unor arti t i care %-au
angajat intr-o a%tel de tehnic nainte de apari ia po%i$ilit ilor
Photo%hop %au pentru care %otKare-ul nu poate iprivit ca punct de
reer in
4e-ar %ugera n %chim$ c ntruct ge%tul a c tigat o mare parte
a monedei %ale n mare parte datorit rezonan ei %ale virtuale art i t i
deja a%ociati cu o a%tel de igur de %til e*ercita acum o inluen
con%idera$il ntr-un pei%aj vizual ce n ce mai modelat de po%i$ilit ile
calculatorului.
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/n ceea ce prive te a%tel de predece%ori pu ini %unt mai %trn% a%ociati
cu tipul de pen%ula multi-cromatic dect pictura rancez !ernard Orize.
Cariera lunga a lui Orize (n. 1676 i a e*pu% din 16Q) cu
recunoa tere relat iv pu in n aara patriei %ale pn n anii 166 cu toate ace%tea inluen a lui a%upra di%cur%ului pictural contemporan - i
prin urmare a%upra altor arti t i - e%te deci%iv.
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'unca lui e%te orientat ctre proce%e %tria iile colorate care au
devenit un el de marc de la o prima apari ie la mijlocul anilor 166 la
realizarea crora olo%ind perii adaptate %pecial %au o echipa de pictori
care lucreaz atent la uni%on.
4u conteaz ct de departe conceptual ramane acea%ta de %patiul de
lucru digital cum practica hands-on poate i nu e*i%t ndoial c ace%t
tip de pictur atent orche%trat devenit marc a c tigat un nou
%entiment de amiliaritate prin ecourile %tranii ale capacit ilor %otKare-
ului de azi.
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Fiona Rae
Oolo%irea de linii multi-cromatice a avut ntotdeauna un a%pect de
%emntur n pictura arti%tei $ritanice Oiona #ae anterioar oricrei
e*punere la digitalizarea (primele dou lucrri prezentate in acea%ta
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pagina au o%t inalizate n 166 anul n care prima ver%iune de
Photo%hop a o%t lan%at).
Cu toate ace%tea practica #ae e%te deo%e$it de intere%ant n m%ura
n care %e %uprapune decalajului analog digita l0 devenind cuno%cut la
%r itul anilor 168 ea a nceput % utilizeze Photo%hop n 1666 dup
ce %a ntlnit cu %o ul ei pictorul Ean Perect M... care e%te e*trem
pa%ionat de calculator i care m-a ncurajat % e*ploreze utilizarea
calculatorului pentru munca mea. M
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Prin urmare
din ace%t
punct
picturile lui
#ae ncep% prezinte
%chim$ri
%u$tile dar
%emniicative n %tilul %i tehnica utilizate inclu%iv utilizarea %porit a
elementelor clar delimitate (%tnga) i o %tratiicare cromatic mai
e*tin% pe ntreag planul imaginii (de mai jo%).
Propria de%criere a ace%tei tranzi ii oer o per%pectiv a%cinant n
utilizarea de in%trumente de editare a imaginii ntr-o practic pictural
alt el tradi ional0
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M/n 2 am nceput % olo%e%c on turi contemporane ... ca orme
geometrice n picturile mele. Oolo%ind Photo%hop-ul am planiicat
amploarea i alctuirea i am adugat apoi eecte %peciale i %im$oluri
graice pe care le-am putut reproduce apoi n ulei i vop%ea acrilic pe
panz. M
Ee i #ae a %u$l iniat de a%emenea (n u oar contradic ie cu
declara ia de mai %u%) c ea nu a olo%it calculatorul cu %copul M... de a
olo%i mrcile tu e de%en %au orice altceva ge%tual %au picturalM ea
crediteaz Photo%hop-ul cu un rol major ca un teren de te%tare pentru
%chemele de culori0 M'i %e pare c e%te ntr-adevr util - am luat demulte ori o imagine digital a unui ta$lou init i am e*perimentat o
mul ime de ver%iuni de culori pentru a vedea ce altceva ar putea i
po%i$il.M
"%te o acil i tate pe care a a cum vom vedea al i art i t i o vor g%i la el
de indi%pen%a$il.
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Tomory Dodge
Pen%ula Fomor Eodge ragmentat - o ma% de %emne groa%e den%
grupate - are ntotdeauna ntr-o anumit m%ur mai multe culori n
aceea i actur.
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nceput din apro*imativ 2R acea%t tendin %e rezolv n
adoptarea complet a liniei de multi-cromatic o caracteri%tic care a
devenit %emntur n mod con%tant mai accentuat pe parcur%ul evolu iei
operei %ale.
/ntr-o declara ie 2Q Eodge i-a e*p rimat intere%ul de a realiza M. .. un
el de antezie apocaliptic care pare % relecte p%ihicul americanM i
continu % e*plice c MSna dintre modalit ile la ncerca % ac
reerire ace%t lucru e%te de a implica un un el de atmo%er
$olnvicioa% n cazul e*tazului %au deliruluiM.
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+cadelele de vop%ea multi-colora te oer o manie%tare perect a
atmo%erei M$olnvicio% de entuzia%teM pe care el ncearc % o evoce.
/n ultimii ani Eodge a trecut pe u ri de la aproape-igura ie la pictura
a$%tract ace%ta provocnd de multe ori compara ii cu picture lui
Lerhard #ichter.
Ear de i inluen a lui #ichter e%te cu %iguran plauzi$i l prin vi$ra ia
%triat non-reprezentativ. Eodge oer o e*ten%ie perect logic a
practicii %ale anterioare n timp ce tehnica %a de a aplica com$ina ii de
culori direct cu pen%ula %au cu itul - mai degra$ apropiat ca lucrul cu
%tripe-ul - dier enorm de metodele de ame%tecare proprii lui #ichter.
Eac e*i%t o legtur concret aici pentru interpretri computerizate %unt
cu reeri te la al i art i t i cum ar i Ter%t in !rat%ch %au Llenn !roKn dar a
cror implicare concret cu utilizarea computerului nu poate i certiicat
cu certitudine dar la el ca n cazul lui !ernard Orize %i Oiona #ae aluziile
lui Eodge la tehnicile digitale-%til i%tice %-au dovedit a i mai rele*ive la
tendin ele actuale dect la mul i dintre colegi i %i .
"%te de a%emenea cert c lucrrile mai recente cum ar i cele prezentate la %tnga
i de jo% (28 i 21) par % a$ordeze oarte direct digitalizarea prin angajarea de
diver%e alte proceduri tipice de inluen tot mai mare a tehnologiei a%upra picturii.
+ce%tea includ %traturi evidente gradient de umple i oglindirea.
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Yago Hortal
Pictorul emergent Uago Vortal %e delecteaz n utilizarea de culori
vi$rante topite n linii multi-cromatice i orme.
Fehnica %a %e apropie %trn% de eectele digitale i e%te ca o
remini%cen a iltrelor de licheiere ale Photo%hop-ului ca %imulacru a
t ipului de pen%ula (de a%emenea el olo%e te e*ten%ive gradientul de
umplere).
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/n plu% accentu l pe pigmentu l inten% lumino% de ulei pare a i o
ncercare de a emula com$ina ii de culori #L! ca ecran pe $aza de0
randri pline de lumin din care rezult armonizarea n vop%ea.
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Cu toate ace%tea de i activitatea lui Vortal ilu%treaz pe oarte $un
dreptate identiicarea pen%ulei multi-cromatice n pictura recent %e
e*ecut n mod clar ri%cul de a prea n e%en decorativ- un pericol
care e%te deo%e$it de inerent n traducerea de eecte digitale n vop%ea.
/n lucrri mai recente cum ar i TH7Q (211 %tnga) i THI8 (211 de
mai jo%) %unt ncercri ale lui Vortal pentru a rezolva acea%t dilem
printr-o concentrare mai mare a%upra te*turii i ormei la care %e
adaug elii groa%e de vop%ea Impasto la %upraa a plan.
+ce%te di%poziti ve elimin oarte $ru%c lucrrile de pe t rmurile de
vop%ea digital %imulate la care %e datoreaz de$utul lor ini ial.
Linia multi-cromatic: lucrari de al i pictori
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0or&a %ohamed
'ndre olmuist
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3ebastian 0ogel
#rendan 3mith
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igel Coo&e
5ie ors&er
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3ophie #ird %oeller
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Revenirea a gradientului
Gradientul - att de u or de produs cu ajutorul software-ul de astzi - a
devenit rapid o constant a designului grafic contemporan.
Utilizarea sa on-line este deosebit de rspndit, n cazul n care
capacitatea de a sugera trei forme dimensionale i ciar i efecte de
umbr a fcut un standard de butoane, tab-uri etc.
!u toate acestea, ea s-a infiltrat pe n furi practica artei contemporane, nu
doar n pictur, ci n mai multe discipline.
6eft: /obias %adison) Photoshop study
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Bervind n mare parte ca o caracteri%tic decorativ %au ge%tual
ncarnarea actual a gradientu l dier %u$%tan ial de la ultima %a
manie%tare e*trem de inluent ca o igur de %til moderni%t care a
o%t utilizat n mare parte ca un mijloc de deinire accentuat a ormei.
#ena terea lui n %cena artei de azi %e pare mult mai greu de e*plicat -
cu e*cep ia cazului de%igur dac avem n vedere acea%t
predominan pur i %implu ca o relectare a prezen ei %ale la el de
a$undent n voca$ulare moderne de proiectare.
"%te demn de remarcat aptul c un a%pect important al gradientului
moderni%t a o%t aluzia %a metaoric de precizie mecanizat a vr%tei
ma inii (a %e vedea Fomoo LoJita de mai jo%) i gradientul de azi
ndepline te cu %iguran o unc ie %imilar em$lematic a e*perien ei
digitale care a%tel ptrunde complet n via a noa%tr.
+rti%tul japonez Fomoo LoJita creeaz opere care par a re lua
tratamente moderni%te ale gradientului (chiar dac el a negat orice
a%imilare con tient) i %unt de multe ori pu%e n rela ie mai ale% cu
Oernand Hger.
/n con%ecin ele par % relecte ceva care ca i n preocuprile lui
Heger legate de tehnologie %e manie%t n ipo%taza de igura uman
redat ca un el de hi$r id de co mar de om - ma in.
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Tomoo Gokita
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Bunt an*ietati %imilare e*primate n portretele lui LoJita
/n cele din urm punctul de vedere LoJita e%te aproape impo%i$il de a evalua0
el e%te un arti%t %iha%tru care dezvaluie putine lucruri de%pre impul%urile din
%patele operei %ale.
i ca un de%igner graic i ilu%trator de odinioar e%te oarte pro$a$il ca
utilizarea %a a gradientului e%te motivat n principal de a%cina ia pentru orma
%a poten ialul pictural al traducerii digitalizate.
Ceea ce e%te cu %iguran adevrat e%te c lucrarea lui LoJita pare a in%tala o
gama de in%pira ie generat de computer de la Photo%hop-%til M$ru%hmarJ%M
multi-ton pentru oarte ragmentate care aminte%c i de de%enele ractale.
/n ocazionalele %ale lucrri complet a$%tracte (de mai jo%) revendicrile unor
pattern%-uri de prelucrare algoritmic %unt deo%e$it de evident.
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onrad !yre"eck
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Ha el ca Fomoo LoJita arti%tul emergent Tonrad 5re$eJ produce de
multe ori portrete care %e $azeaz oarte mult pe eecte de gradiente de
nuan e de gr i.
Bpre deo%e$ire de LoJita el ace recvent uz de grada ii ull-color
%copul lor nu e%te de a deini orma (care %e realizeaz prin intermediul
unor contururi ale igurii) ci dar pentru a energiza %pa iul cu ceea ce el
nume te culori Mhiper-realeM.
Pentru a %u$linia m$r i area tehnicilor digitale 5re$eJ n mod
con%tant %e reer la practica %a ca model de MneK mediaM (care n
adevr e%te departe de caz de i lucrarea %a imprimat (de mai jo%)
e%te produ%a integral in Photo%hop.
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"%te intere%ant de o$%ervat c 5re$eJ preia M... imagini ireale de
editoriale de moda %i pu$licitate ca un punct de plecareM pentru munca
%a. +trac ia lui evident pentru elementelor de de%ign graic indic
aptul c a%pectele tehnicile de produc ie ale revi%tei e*ercita o
in luen la el de mare ca i con inut otogra ic n %ine.
#ecent 5re$eJ a nceput % e*ploreze pe deplin gradientul prin
imagini video de eecte de lumin am$iental i picturi gradient radiale
care aminte%c de pnze %imilare ale arti%tului elve ian Sgo #ondinone.
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Tau"a #uer"ac$
Fau$a +uer$ach i% a%cinated $ vi%ual med iaW% tran%ition rom pre-
digital to digital orm% an intere%t evidenced $ her ocu% on a%pect% o
interruption Kithin image-maJing it%el.
Fhi% theme encompa%%e% although i% ar rom conined to WoldW
painting% C-print% o %creen-$a%ed %tatic ac%imile% o hal-tonereproduction and depiction% o moir and reXuenc me%he%.
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+lthough the KorJ% in her Fold%erie% $ear remarJa$le re%em$lance to
photographic %ource% digitall overlaid Kith gradient $lend% the are in
act entirel painted $ hand - %u$%tituting an apparent reliance on
computeri%ed techniXue or WtraditionalW production mode%.
Created $ ir%t crumpling clo th +uer$ach then delineate% the old% and
applie% gradient eect% u%ing air$ru%hed colour - a painting techniXue
that linJ% her KorJ to that o Yule% &li t%Ji and hi% mid 16R% di u%ion o
the colour ield.
Fhe canva% i% inall %tretched lat.
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Fhe KorJ% compri%ing +uer$achW%Shatter%erie% (let and $eloK) are
again produced u%ing paint rather than the computeri%ed proce%%e%
the emulate.
Oor the%e KorJ% gre%cale or coloured gradient% are painted directl
onto ragment% o gla%% $eore their eventual a%%em$l on canva%.(4ote the %triJing %imilari t o the gre%cale ver%ion to Fomoo LoJitaW%
eXuall ractal-liJe de%ign%).
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+uer$achW% reXuent recour%e to la$our-inten%ive trompe lWoeil in order
to emulate eect% ea%il achieved Kith the clicJ o a $utton (a
procedure archl reerenced in Cor +rcangelW% purpo%el pede%trian
gradient% ($eloK) conve% %omething o the comple*it o todaW%
arti%tic arena poi%ed a% it i% $etKeen va%tl diering method% o
production.
5hile acJnoKledging the pre%ence and indeed $eaut o digitall
reali%ed imager +uer$ach %el-con%ciou%l pur%ue% antithe%e% to it%
ca%ual u$iXuit through une*pected method% o mimicr0 manual
preparation and %eriali%ed %tudio la$our.
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er%tin Br&t%c$ and #dele R'der - Da% (n%titut
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+lthough Ter%tin !rZt%chW% %triJing a$%tract KorJ% are produced in oil%
the oKe clear allegiance to digital WpaintW reXuentl eaturing de%ign%
Khich are generated entirel in Photo%hop $ colla$orator +dele #[der.
!rZt%chW% %Kirling gradient line% - Khich clo%el re%em$le the multi,
chromatic brushstro&e - almo%t e*actl duplicate their digitall
generated eXuivalent% $ut are al%o highl painterl their creation
dependent on e*pert control o medium.
HiJe man o the ounger arti%t% eatured in thi% article !rZt%chW%
approach to digital technologie% i% ar rom %traightorKard.
+lthough the compute r i% a$%olute l Je to man a%pect% o her practice
(%o much %o that KeWve included e*ample% o her KorJ in variou%
%ection% o thi% e%%a) it i% al%o reXuentl u%urped $ ultimate recour%e
to traditional painting method%.
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Fhi% accent on the hand-made increa%ingl appear% part o todaW%
painter%W compromi%e Kith digiti%ation0 reerencing it% po%%i$ilitie% $ut
oten choo%ing to do %o via age-old method% o reproduction.
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Gart$ !ei%er
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Larth 5ei%erW% con%tantl evolving con%i%tentl impre%%ive output
encompa%%e% inluence% and techniXue% ranging rom 'oderni%m to
recent e*periment% Kith moi r patterning. + uniing actor throughout
hi% KorJ hoKever i% con%i%tent allu%ion to the preci%e coniguration% o
graphic de%ign and it% variou% methodologie%.
5ei%erW% oKn intere%t in the gradient taJe% an unu%ual direction $
replacing %mooth $lend% Kith $ar% o near-contiguou% colour.
Buch eect% not onl linJ hi% KorJ to the preci%e plane-liJe orm% o
hi%torical movement% %uch a% Con%tructivi%m and +rt Eeco the al%o
magni and highlight the mechani%m through Khich digital gradient%
are actuall rendered a% progre%%ive $and% o colour-gradated pi*el%.
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4eKer piece% eaturing comple* mo ir eect% (let) are liJe Fau$a
+uer$achW% digita l-%eeming KorJ% (a$ove) meticulou%l handcrated
e*hi$iting a %imilar a%cination Kith proce%%e% o interruption
intererence and analogue re%pon%e to the virtual image.
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Cor$ 'rcangel
+rcangel i% not a painter and technolog lie% irml at the heart ratherthan the peripherie% o hi% practice.
Uet hi% %erie% o Photoshop radient !emonstrations (28) - each
titled according to the %peciic data reXuired or it% recreation - provide%
a itting adjunct to an di%cu%%ion o the iniltration o digital techniXue%
into the ield o painting it%el.
5orJ% %uch a% Photoshop "S# $% by && inches' ()) !PI' *+' square
pi,els ' default gradient Spectrum ' mousedo.n y/001)) ,/1%)2)'
mouseup y/134)) ,/1$))(let) ocu% on the a$%olute ea%e o Wone-clicJW production u%ing the %imple%t o Photo%hopW% pre-%et gradient
tool%.
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5hile e*hi$iting a veneer o di%tanced neutralit the%e digital Wread-
made%W are inherentl polemic %erving $oth a% potential cele$ration and
indictment o the digital artKorJ.
BomeKhat poorl received $ critic% mo%t %eemed to have mi%%ed thi%
point entirel. 5hile +rcangel maJe% it clear that anone can produce
identical piece% %impl $ olloKing the in%truction% em$edded in their
title% the implication i% that near-automation can %tile creativit a%
readil a% it oer% neK arti%tic opportuni t.
#outine gli$ production i% e*actl the Jind o trap oered $ the
Wanone can do itW promi%e o the digital art arena and +rcangel ha%
urther de%cri$ed the%e KorJ% a% repre%entative o techniXue% XuicJl
%uperceded $ neKer technologie% tool% and trend%.
+rcangelW% con%ciou%l pede%tr ian (though nonethele%% $eguiling)
gradient% e*empli the danger o a%%uming that the allure o digital
tool% and canned eect% - hoKever e*traordinar in their oKn right - can
ever taJe the place o thoughtull crated practice. 5ith digiti%ation thepitall% o %tle over %u$%tance are more pronounced than ever.
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/he digital influence on contemporar$ painting: ne7t 8
T$e gradient a% contemporary ge%ture: ot$er arti%t%
Liven the %tartling currenc o the gradient in todaW% art %cene KeWve
decided to %hoKca%e it% u%e not onl $ painter% $ut arti%t% KorJing in
additional di%cipline%.
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'nders Clausen
E*an olloa$
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-ago ortal
6utz #acher
'ndreas 3lomins&i
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9go ondinone
'rtie ;ier&ant
#ernard 5rize
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Darren
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/obias %adison
%atthe Darb$shire
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%atthe Da$ =ac&son
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(lafur Eliasson
=ames reland
0abriel >uri
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(laf icolai
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Layered: )$oto%$op and ne* contemporary painting
Fhe u%e o laering i% a% undamental to digital imaging a% it i% to
painting it%el - Kith the dierence that the virtual laer in Photo%hop or
llu%trator can $e created re%ized reordered and otherKi%e adju%ted in
a matter o %econd% alloKing or relativel %traightorKard generation o
comple* multi-level graphic%.
n the la%t decade or %o groKing reerence to multiple laering
techniXue% appear% to have %teadil iniltrated contemporar painting
Kith recent a$%traction in particular revealing logic-$ending
manipulation o the laering concept.
#l"ert +e$len
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HiJe Oiona #ae and %everal other arti%t% eatured here +l$ert &ehlenW%
career %pan% the digitalanalogue divide.
Vaving e%ta$li%hed a name or him%el in the 168% Kith neo-
e*pre%%ioni%t KorJ% %uch a% 56tzen (1681 let) &ehlen Ka% one o the
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ir%t major painter% to adopt computer technolog commencing in 166
Kith a %erie% o $lacJ and Khite Mcomputer painting%M (a$ove).
Orom thi% point onKard% digital technolog radicall inluenced the
direction and appearance o &ehlenW% practice it% po%%i$ilitie%
reerenced in Ka% ranging rom the %el-evident to the more %u$tle.
*aucher(1666) or e*ample (let) i% a direct tran%lat ion into oil% o
Khat i% clearl a digital %ource ileG other KorJ% com$ine inJjet printing
Kith paint or even reject pain t a% a medium altogether.
Fhe mo%t proound eect o digiti%ation on &ehlenW% practice hoKever
lie% in an empha%i% on the laer.
Buch %tli%tic tran%ition can clearl $e traced $ comparing &ehlenW%
earl neo-e*pre%%ioni%t inlected KorJ% and their ocu% on ge%tural%urace to mounting concern% Kith multiple %trata o %uperimpo%ed
moti.
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#ndre* Holm,ui%t
Oor mo%t ounger arti%t% the Jind o pictorial %pace made po%%i$le $
computer technolog i% %impl a givenG et another vi%ual reerence
al$eit a highl in luential one. +nd in man ca%e% it appear% that the
concept o the laer ha% permeated their KorJ to a con%picuou% degree
Kith recent a$%traction in particular characteri%ed $ almo%t
unprecedented degree% o planar comple*it.
n man %uch KorJ% paint%troJe% and orm% inter%ect old around eachother and are W%tacJedW in Ka% Khich Khile relativel ea% to achieve
in %otKare %uch a% Photo%hop reXuire $ravura technical %Jill to
actuall produce in paint.
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+dd to th i% a marJed empha%i% on ma%Jing to reveal laer% Ki th in
laer% and the inluence o digital compo%ition %eem% to radiate through
even the mo%t painterl practice% Kith an a% et unacJnoKledged orce.
Fhe KorJ o emerging Chicago native +ndreK VolmXui%t di%pla% man
o the Je attri$ute% KeWre a%%ociating here Kith an identiia$l
Wdigiti%edW language o contemporar a$%traction0 prominent multi,
chromatic brushmar&s G clear u%e o ma%Jing eect%G and an empha%i%
on pro$lem-%olving in term% o man-laered comple*itie% o
compo%ition.
4ote hoK in the painting a$ove highl liXuid %troJe% inter%ect in Ka%
Khich in act de the logic o their apparentl %pontaneou% application.
Fhe ri$$on-liJe upright louri%h to the right o the canva% or e*ample
appear% to have $een e*ecuted in one continuou% movement $ut i%
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capped Kith a %eXuence o three %harp directional Wold%W Khich are
actuall impo%%i$le to achieve u%ing a %ingle paint%troJe0 the inal
multi-chromatic tKi%t ha% $een added a% a later laer.
Fhe %ame line al%o appear% to to Krap under then around a %taggered
gri%aille $ru%hmarJ Kithout an merging o paint0 again an impo%%i$ilit
i Ke a%%ume - a% VolmXui%tW% techniXue here lead% u% to $elieve - that
the entire compo%ition Ka% e*ecuted in a %ingle %e%%ion Kithout dring
time.
Fhe luid directional line %o evident in VolmXui%tW% paintKorJ - a% Kell
a% that o variou% contempora rie% ($eloK) - emerge% a% a Jind o ru%e
provoJing the $elie that impo%%i$le manoeuvre% have $een perormed
via %ingle %Keep% o the $ru%h rather than a% a %erie% o %eparate
laer% and inill%.
Buch ge%ture% appear to oKe %ome de$t to the inluential KorJ
o #ernard 5rize Kho%e canva%e% emplo eXuall in%cruta$le
choreographie% (oten created u%ing a team o painter% to ena$le the%imultaneou% production o marJ% impo%%i$le to achieve $ an
individual).
Uet the are eXuall o cour%e product% o e*po%ure to a digiti%ed
picture plane in Khich once-inconceiva$le comple*itie% o %tacJing and
laering have $ecome commonplace.
n the other KorJ% pictured apparentl overt reerence% to digital
editing - %uch a% the hard-edged graphic moti% in asp(211 $eloK)
or the comple* ma%J% Kithin ma%J% o one 7ith 8he 7ind(212
$ottom) - are paired Kith highl painterl manoeuvre that $oth reute%
and counterpoint% an internal rigidit o %tructure.
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Le%ley ance
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H+ arti%t He%le \anceW% rich a$%or$ing painting% e*empli the %patiallcomple* pro$lem-%olving a$%traction that i% increa%ingl evident in
contemporar practice.
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Fpiied $ ge%tural luid paint applica tion (\ance u%e% $oth $ru%he%
and a palette Jnie) multiple laer% are com$ined Kith ma%Jing - or an
appro*imation o the techniXue - to reveal a den%e mille-euille-liJe
compo%ition.
+ u%e o heavi l %tr iated $ru%h%troJe% or th inned-doKn paint clearl
indicate% dierent directional movement the comple*it o thi% eect
verging on a Jind o conundrum due to the apparent overlap o oppo%ing
deinition% o orm and plane.
n later KorJ% ($eloK) the introduction o drop-%hadoK% add% urther
implication% o crptic multi-laered depth.
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Gregor Glei*itz
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Fhe comple* partial a$%traction% o emerging Poli%h arti%t LregorLleiKitz could hardl appear more painterl in e*ecution et aptl
illu%trate the e*tent to Khich digital procedure% have permeated and
inluenced the voca$ular o todaW% painter%.
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5hile itW% unJnoKn Khether Lle iKitz (or indeed \ance or VolmXui%t)
actuall produce preparator KorJ o an Jind in Photo%hop their
compo%itional modelling i% con%picuou%l laer-$a%ed dependent on
multiple %uperimpo%ition and comple* interaction $etKeen painted
%trata.
Oor LleiKitz the multi,chromatic or hea*il$ striated brushstro&e i%
an eXuall important eature o %uch planar deinition %erving to deine
orm in a Ka that dierentiate% hi% oKn u%e o the trope rom a ar
more decorative application $ arti%t% %uch a% -ago ortal and Ter%tin
!rZt%ch ($eloK).
n%tead %triation% o colour are u%ed to demarcate %peciic laered
plane% the oten contradictor direction o (apparentl) Ket on Ket$ru%hKorJ e%ta$li%hing technical comple*itie% and conundrum% %uch a%
tho%e emploed $ +ndreK VolmXui%t or He%le \ance (a$ove).
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+l%o liJe VolmXui%t LleiKi tz oten emplo% a Jind o Wo ldedW %el-
inter%ecting $ru%h%troJe the movement o Khich i% again made evidentthrough multi-coloured %treaJing or thin paint applied Kith %ti $ru%he%
to reveal either the canva% or underling paintKorJ ($eloK).
Plane% and %Korl% o pigment are %uperimpo%ed in Ka% Khich - de%pite
an appearance o a$%olute overall %pontaneit - Kould %impl end up a%
a muddied me%% o colour Kithout careul Kiping aKa dring and
repainting.
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er%tin Br&t%c$
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Oor Ter%tin !rZt%ch Photo%hop not onl provide% vi%ual reerent% in
term% o it% $ru%h tool% and ilter% (a$ove) it% laering %%tem i% al%o
tran%lated directl into her practice.
5orJ% produced on %heet% o paper or ilm are liJe digital ile% highlporta$le Kith the a$ilit to $e temporaril e*hi$ited then rolled up and
removed to neK location%. +nd in her mo%t recent %erie%
oInterchangeable Paintings (let) three %heet% o tran%parent 'lar
each eaturing an individual painted moti can $e reconigured to
provide a Kide num$er o alternative image%.
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!rZt%chW% colla$orative KorJ Kith +dele #[der under the au%pice%
o !as Institutallocate% eXuall central - though le%% immediatel
apparent - role% to man other a%pect% o digital technolog.
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Fhe computer %erve% a% a principal communicative channel $etKeen the
tKo arti%t% Kith !rZt%chW% painting% oten repri%ing #[derW% digitall
prepared a$%traction% (let).
Uet it al%o acilitate% man o the other orm% o output Kith Khich Ea%
n%titut a% a Jind o er%atz creative agenc concern% it%el.
Fe*tile de%ign% ma ind them%elve% modiied into po%ter% or zine% or
e*ample or moti% rom painting% re-di%per%ed a% %ticJer% or pacJaging.
n thi% re%pect Ea% n%titutW% em$race o technolog clo%el emulate%
the Jind o digitall-ena$led KorJloK undertaJen $ genuine marJeting
agencie%.
4everthele%% itW% important to note that !rZt%ch and #[derW% cautiou%
allegiance to the virtual KorJ%pace i% ar rom a$%olute Kith crat-$a%ed
production (paintingG JnittingG hand-a%%em$l) rigorou%l maintainedand largel priveleged over purel digital output. ote 1 .
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Layer% and ma%king: ot$er arti%t%
>ristin #a&er
/rud$ #enson
i&olas 0ambaroff
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#ernard 5rize
3ebasti?n 0arbrecht
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Corinne
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@ua$tman
3imon emmer
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'lbert (ehlen
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/omma 'bts
/homas 5alstad
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3ophie 3chama
+% mentioned th roughout th i% article the accent among a neK
generation o painter% %eem% to $e on deploment o technolog toacilitate and enhance traditional production method% rather than
eectivel replace tem.