Studio Artist is the award winning graphics synthesizer created by Synthetik Software

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THE DANGERS OF DIGITAL: BRIAN ENO ON TECHNOLOGY AND MODERN MUSIC 3 Replies

What Brian Eno says in the following interview is very similar to what I have been saying about digital art, his “gloss over substance” is akin to my accusing most digital images/videos of being mere…Continue

Started by Jean Detheux. Last reply by Bernard Bunner 16 minutes ago.

what are the best parameters for airbrush stencil? 3 Replies

For making a good Airbrush stencil and cut it you must Make sure there aren't that many little islands otherwise you'll have to remember where they go and it'll be pretty annoying. I found studio…Continue

Started by smm samm. Last reply by liveart yesterday.

Color Relationships Tutorial 17 Replies

I wanted to pass on some information from a Color Relationships workshop that is happening in Hawaii this fall. It's based on the teachings of the artist Joseph Albers as re-interpreted by Dick…Continue

Tags: colorization

Started by John Dalton Synthetik Software. Last reply by John Dalton Synthetik Software yesterday.

Create a color gradiant map to use with Paint Synthesizer 9 Replies

Hi, Is it possible to create a gradient map to use with Paint Synth?I have some B&Ws and low contrast images I want to use as my source but I want to paint with a palette I can define.As an…Continue

Tags: map, Gardient, Synthesizer, Paint, MSG

Started by Tony Bouttell. Last reply by John Dalton Synthetik Software on Saturday.

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Otto Laske's Algorithmic Visual Composition

Studio Artist user Otto Laske has a long personal history of exploring different aspects of what he calls digital "algorithmic composition" to create fine art. First in the diverse realms of electronic music composition and computational poetry. Then expanding over time to include the creation of visual music animations. And finally extending to digitally generated visual drawings, paintings, and manipulated digital photography.

Otto has this to say about the development of his algorithmic approach to creating visual artwork and animations.

"The 'algorithmic' thinking that I have adopted in my art making is detailed in two new downloadable pdf documents. An Ebook called 'Fifty Years of Algorithmic Composition' and an essay on 'Permeable Boundaries.' Both texts shed light on a creative process in the strict sense that, in my thinking, transcends conventional boundaries between the arts."

The origin of Otto's movement from music to visual artwork initially formulated in animations he made to visualize his electro-acoustic compositions. They were all 'visual music' animations in the sense that their backbone was the musical score that underlies them. But over time, he expanded his algorithmic visual creativity to encompass the creation of digital still art imagery.

"My process in creating an image is one of fitting together a drawing and a painting based on an animation still. This is a process I have been experimenting with in my Studio Artist software where I continuously find new ways of thinking visually. What elates me when creating an image is the improvisational nature of my process, the spontaneity that my knowledge of the software I use makes possible.

For me esthetic boundaries are entirely permeable, and this is particularly true for the art forms that used to be called photography and painting. I may use animation tools to make a single image rather than a whole series of images as I do when composing a lengthy animation."

Otto's thoughts on algorithmic compositions and expanding focus on techniques for digital painting and drawing continued to expand over time.  A significant step beyond following the source image occurred when he began using animation stills as mere color-shape templates for 'free' painting. Here, the animation still itself is no longer identifiable as the source of the painting.

"Recently, of particular interest to me has been the merger of painting and drawing.

Since I am working with software, after settling for one set of colors, I could theoretically try different color schemes before I settle down for a particular one as the definitive one. But I surmise that the colors I decided to use at the beginning of my creative process have an intimate connection with the drawing that developed, however hard it may be to verbalize this connection.

Technically, what interests me in this work is the possibility of working spontaneously and improvisationally in two dimensions at the same time, such that the drawing influences how colors are used and the colors influence how the drawing develops."

Otto makes heavy use of Studio Artist to create his visual compositions. When asked what he particularly likes about working with Studio Artist, he had this to say.

"Studio Artist is a real gold mine for serious professional compositional explorations in the visual domain. It encourages experimentation and leads to unbelievable serendipity. I really like the ability to work with controlled randomization, a process i first learned in music composition. Paint synthesizer evolution allows one to export hybridized presets, which can then be hybridized further. Paint and image operations can also be mixed together to create more powerful compositional effects."

Otto has been very active participating in a number of fine art exhibition shows over the last few years. Including a solo show at the Newburyport Firehouse Gallery, and the Beaumont Texas Art League. In 2014 he curated his first exhibition, called 'Pixel Revolution', at Rocky Neck Art Colony in Gloucester MA. In this show, he brought together 20 abstract works, half of which were either animation stills or based on animation stills as their source. This show included work by additional Studio Artist users, including Arlene Rabinowitz and Scott Smith.

You can learn more about Otto's artwork, visual music animations, and creative process at his web site. The two pdf documents mentioned above that detail Otto's investigations into digital algorithmic composition for generating artwork are available for download here.

12 x 30, Blind

Studio Artist animator Jean Detheux has a new film called "12 x 30, Blind" that will be in competition in the Arts and Experimentaiton category at the RVCQ festival in Montreal Canada. It will screen at the Cinémathèque québécoise, Salle Claude-Jutra, between 2:35 p.m. and 3:31 p.m. on the 22nd of February (a Sunday). If you can't make it to the screening, the film is available online for viewing here.

Jean worked with composer Don Meyer to create the film. Jean had this to say about their collaborative process.

I proposed to send Don a 6-minute silent movie, for which he would compose the music, but sent to him only one 30-second segment at a time, in chronological order (hence "12 x 30"). My idea was to apply, to the music composition, the process Philip Guston called "inherent composition." This process or, more precisely, this "faith," presupposes that we don't have to have a view of the whole when we create a composition, be it music, painting or movie. It posits that there is "something" at work that "composes" the piece even if (especially if) we do not try to get an overall view of the project.

Jean also has another animated film called "Destination" that will soon be at the California State University Fullerton as part of the World Electroacoustic Listening Room Project (WEALR), part of the 2015 New Music Festival. And a third new film called "Evolution of Song_Y" with music by Wilfried Jentzsch will be appearing at another film festival later in the year. 

For more information on Jean Detheux's work with Studio Artist, check out his web site.
 
 
 

Latest Activity

Bernard Bunner replied to Jean Detheux's discussion THE DANGERS OF DIGITAL: BRIAN ENO ON TECHNOLOGY AND MODERN MUSIC
"Vous lire est aussi ennuyeux que tout ce que vous avez posté ! Mais il est vrai que l'artiste c'est vous. C'est donc vous qui avez raison.."
16 minutes ago
Jean Detheux replied to Jean Detheux's discussion THE DANGERS OF DIGITAL: BRIAN ENO ON TECHNOLOGY AND MODERN MUSIC
"Touché? Mais soyons sérieux, ce problème de techniciens qui se prennent pour des artistes dépassent de beaucoup votre simple personne, il se retrouve un peu partout, et ce n’est même pas nouveau, c’est…"
36 minutes ago
Bernard Bunner replied to Jean Detheux's discussion THE DANGERS OF DIGITAL: BRIAN ENO ON TECHNOLOGY AND MODERN MUSIC
"Monsieur, Vous êtes libre de quitter le forum si ce que vous qualifiez de Karaoké visuel vous exaspère tant. Ce n'est pas la première fois d'ailleurs que vous cherchez à provoquer. Il est clair, que…"
1 hour ago
David Buckle posted a photo
2 hours ago
Kai T. (Yuya Takeda) posted a photo

SideTrip : The Theory of Everything and Nothing

Finally got to finishing this one! From the SideTrip series: The moment when Azure (the traveler) and Alex the god of Hiding discover the cave where somebody lived thousands of years ago who studied Everything and Nothing.Artmatic Voyager is the…
2 hours ago
Jean Detheux posted a discussion

THE DANGERS OF DIGITAL: BRIAN ENO ON TECHNOLOGY AND MODERN MUSIC

What Brian Eno says in the following interview is very similar to what I have been saying about digital art, his “gloss over substance” is akin to my accusing most digital images/videos of being mere “Visual Karaoke” done by way of “techno-plumbing,” and to be caught in “Entertainment Dependency”.…See More
3 hours ago
Bernard Bunner commented on Bernard Bunner's photo
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Formes

"not easy to do. How can I create this ? When you create an eps file to import in a 3D software, you don't have the volume. You have to extrude it manually. These unregular volumes are impossible to extrude like in this picture. Perhaps with a…"
3 hours ago
Bernard Bunner commented on Bernard Bunner's photo
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Portrait 738

"lady sleeping in balls.... "
3 hours ago

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