Archive for the ‘art – tm’ Category
drawn with GIMP (trying out photographically "soft" brushes in pencil mode, where they are crunched down to pixel art)
Made with Linux MyPaint.
Thanks to all for the nice feedback I've been getting on these Linux experiments.
I recently installed another program called Krita (hat tip HMK) and have been playing around with it. The brushes are a bit more exotic but I'm still working through brush properties and combinations in MyPaint and GIMP.
Studio notes: I printed this out at 16 x 21 inches on 100% rag paper (full bleed, i.e., no border). The hard edges and solid colors of the curving pixel art lines give the printed image a certain "pop," as an object hanging on a wall, owing to the contrast between those sharply defined areas and the softer, photographic parts. It feels complete to me, not needing additional cutting or collaging. Possibly because so many of the texture decisions are worked out on the screen, and the printer is reproducing them faithfully.
Conceptually was probably influenced by Reneabythe's photo-comparison Cecily Brown vs Garbage Pix. Yes, there's a bit of "my kid could do that" sneering in those pairings but Cecily Brown kind of deserves it (her earliest work looked like copulating rabbit entrails but I'm not sure what it's supposed to be now -- bee yoo tee ful painting?). The art and technology website Rhizome.org is having a panel this week on "digital painting" (props to andrej and mirrrroring) but two topics they probably won't be discussing are (i) Cecily Brown vs Garbage (could this be the "new abstraction" they are talking about?) and (ii) Artists Who Have Finally Said F.U. to Apple and Windows and Are Switching to Linux. Those would be my salon des refusés topics.
Drawn with Linux MyPaint and GIMP. As noted previously, if you use the "pencil" tool in GIMP it doesn't anti-alias. Interestingly you can stay in pencil mode and use some of the other brushes, which behave kind of like pixel art. This pile is a tangle of brush experiments, as well as some things you can do with tinting layers via airbrush (in non-pencil mode).
drawn using cloudpaint (online MacPaint clone), Linux MyPaint and GIMP
drawn with Linux MyPaint
Posted this earlier and took it down because it was meshing poorly with the surrounding imagery (no pun intended). This is an ongoing problem with the blog format.
The high contrast rough weave background is a MyPaint default so I'm treating it as a found image. It's kind of nuts -- the "natural" fiber is almost pure pixel art when you inspect it closely. The watercolor effects of the paint program don't so much soak into this weave as hover in front of it. All this puts it into "so bad it's good" territory, at least conceptually.
Drawn with Linux MyPaint.
I still haven't found a brush I like as much as the Chibi Paint "watercolor" brush.
There is a kind of a fine balance where a digital brush pulls the paint and where it is just smearing or blurring it.
The ideal brush for me would simultaneously be loading color and pulling it away from an adjacent mark, and actually looking like a brushstroke without obviously or self-consciously imitating physical media.
Most of the "blend" brushes in MyPaint just dissolve, so everything resembles the Photoshop smudge tool, an effect I dislike.
Here I am compensating by crosshatching, so a volume is built up with fine lines of gradually lightening or darkening color.
The Microsoft Paint brushes in the Windows 7+ versions don't have any dissolve function at all -- they are all very "scratchy." I ended up getting my best results with the "colored pencil," which had a softer, semi-transparent line.
It's hard being a primadonna in a world where the digital tools are conceived by engineers. "Hey ottist I made a brush for ya!"
Above: more thumbnails of paintings I've been doing using Linux MyPaint.
Was looking at Peter Halley's portfolio pages -- you click through dozens of his cell-and-conduit paintings, all roughly the same size thumbnails. It's an intriguing design exercise -- after so many years of production, there are hundreds of variations on the colors and basic shapes he employs. Halley wrote an essay in the '80s about Frank Stella and the simulacrum, arguing that Stella was neither the last formalist nor a "bureaucrat" but a post-modernist emerging early, in the 1960s. Halley's own career continued the logic of ironic serial production. He could even be said himself to have anticipated 3D printed canvases, since the actual objects he makes have a kind of chalky, plastic perfection. All those coats of acrylic could be passes of the print head, over and over until the surface is built up.
The ultimate logic of postmodern simulation would be to bypass the objects altogether and just have the digital archive of patterns. The art becomes more easily transmissible, gets out to more people, and doesn't add bulk matter to the universe.
Drawn with Linux MyPaint and GIMP.
So far these tools are looking and handling similarly to the Chibi Paint plugin used by Computers Club Drawing Society (among other plugins).
Haven't figured out how to use the hard-edged black and white fill patterns as a brush, yet. I had to make an underlayer in GIMP with that stripe pattern and use the eraser in the top layer to pull it up.
MyPaint has more brushes and effects, a few of which aren't horrible.
Addendum: Am thinking I would like to see this Epson-printed at 17 x 22 inches on some kind of hand-crafted paper resembling a rumpled, brown grocery store bag.
Addendum 2: Added an off-white background.