ciber-crom.doc

7/25/2019 ciber-crom.doc

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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.

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