Archive for the ‘mspaint*’ Category
jpeg of MSPaint rendering, 2014
The Windows 7 Paint has a colored pencil tool that's not bad for shading -- I used it quite a bit here in the "gradated" areas.
That "improved" MSPaint now has intriguing contradictions: the new brush-like, pen-like, and crayon-like tools can still be used with old legacy pixel lines.
What I've been thinking of as a creative clash of visual rhetorics may be the endgame or death-throes of a certain type of digital imaging, if Jon Williams is prescient in his call to "End Raster Art Now."
In 25 words or less, web imaging is moving towards a vector model, where angles and curves draw mathematically, as opposed to the raster model, where art is a function of pixels and grain.
Adobe Illustrator is vector, Photoshop is raster. Vector has a tendency to reduce images to smooth gradients, without bite, tooth, or grit. Also, screens are still pixel-based, so vector is ultimately converted back to pixel. That is not efficient or minimal. So I think it's permissible to keep exploring contradictions within raster, using familiar forms from painting (Cubist faceting of space) and pixel art (lines and loops).
detail from un-cropped, drastically shrunk image (from 2006)
modification of an earlier-posted drawing
MSPaintbrush and MSPaint drawing filtered/echoed in Chris Shier web app thing.
Not made in the Microsoft Store.
The source photo is a webcam posted to dump.fm by Lena; this drawing was done in Paint (as in Microsoft). Am interested in the point where the self-portrait becomes a portrait and some third, fictional being comes into existence.
And no, this is not supposed to be Lena D*nham, the celebrity artist offspring of the moment. This is the interesting Lena.
...is I guess what you'd call this. Based on a photo of some food stylist insanity that became a minor dump.fm meme.
The objective here was to try some old-school painting using the "improved," Windows 7, Paint program.
You can't blend worth a damn so the only way to build up any volume is with scratchy strokes where the slight transparency of the edges overlaps. In physical media it's probably analogous to the crosshatching with egg tempera glazes famously practiced by Paul Cadmus. The result is a little uncomfortably close to illustration for me (as opposed to "photorealism," if that term has any meaning when making a computer rendering eyeballing a photo).
Hand of famous woman convicted of murder by the shrieking harpies of the press, then acquitted when actually tried.
Essentially a local story that wouldn't have been a national cause had the woman not been -- what's the word -- hot.
jpeg of MSPaintbrush drawing
the original (larger) GIF: 840 x 720 is more dramatic, I think, but too wide for the blog. Resizing as a GIF creates artifacts so I went with (ugh) jpeg
An earlier, more "abstract" version of this drawing.
MSPaintbrush, MSPaint (Windows 7), some lousy Photoshop brushes.
This started as a netbook drawing made in MSPaint7 while sitting in a Starbucks in Soho waiting for E.P.; I kept adding to it.
Put the word abstract in scare quotes because these brushes and textures are pure representation at this point. Someone's digital picture of what airbrush or crayon look like and how those behave on certain pictures of surfaces.
We could really use some more theory starting from where we left off with "the whole abstraction/representation thing" in painting (as one gallery art critic sneeringly put it near the end of that cycle) and what's been happening with revived abstract painting on phones, blogs, etc. People are drifting around without a rudder on a sea of these brainless tech-y symbols. We don't particularly need help from anyone who starts from the premise that painting is a culture of bourgeois decoration, so no thank you to some of the critics coming out of SAIC recently. Ry David Bradley, in an essay examining the role of novelty in contemporary art, finds a useful (as in problem-rich) model in three German painters (Polke, Oehlen, Berresheim) who collectively make a transition from paint to pixels:
Each uses painting as a method of creating an image to mimic or incorporate other more commercial or industrial methods as a way of critiquing them, even historicizing them – by orchestrating the clash so that each method of image creation plays off against its other, exposing novelty whilst espousing history. If anything changed at all between the works of these artists, it was not far from the model. Each remained broadly concerned with paint against industry, with the tradition of making pictures against the industrial way of making them.
MSPaint country, though, is a quagmire of irony, ignorance and misunderstanding. How much is real? A joke? Intentional ineptness? Kitsch? What is good: Tension? Contradiction? Using one program to investigate another? This leads to other clashes: Apple vs Windows, "old school" bitmap imagery vs FX bells and whistles, geeks vs Greeks. Do we need bridges from Polke, et al to people working with almost no reference to the showing physical objects in galleries? Are there any good reasons for continuing to refer to painted abstraction as opposed to "machine abstraction"?
modified and enlarged version of sketch_d4