I use it to emulate old print techniques (eg.chromolithography) and to extend the boundaries of photography. My use of SA as a visual storytelling process remains to be explored as well.
My profession is graphics design and hand lettering. Initially I worked for Columbia Records during the Golden Age of Records. I have also had extensive experience in book design. Most of my work now is with magazine design. I also have taught design and typography for the past 20 years at the (formerly at School of Visual Arts & presently at the New York City College of Technology.)
The past few years I am much more interested in art/design for personal expression than in my commercial work. I have been taking drawing courses (academic style), sculpture, and Tibetan Thangka Painting with the idea of combining handwork with computer generated art.
Sorry for the delay in getting back to you. Thanks for your compliment. I have been working with Studio Artist for a year and half now. Except for the historical images, I take my own photos. Having a good image and preparing it before using it in SA helps a lot. I found an approach that I like and I just keep on trying different variations, sometimes adding a new brush here and there. Otherwise, like I felt at the beginning, I would be overwhelmed . There is so much to learn. I figure I would learn what I could at this level before venturing to film and animation. REpitition helps a lot as help. Keep up the good work. If you love it, your work will show it. Paul
I agree to Ben. I like your pictures too. Especially those who present that kind of irritating moment. Where one has to watch twice before figuring out that there is something wrong. That this is not a true photo, that there is something manipulated. Like in "Coney Island on My Mind" for example. How did you do that anyway? Is it done via image operation / simplify. Or did you overpaint it in a certain way?
Hi Paul, it seems like you were a little annoyed. I guess by exident I asked questions about the same picture twice. Sorry, my mistake. But don't worry I don't won't you to open your bag of tricks totaly.
But a little tip here and there can be so helpful, it is just, somehow you mentioned it yourself - hours and hours of trying things out. Help might save the one or the other hour. Anyway, except of the tutorials (which are really good) we just have this forum (by the way a good moment to say thanks to John who set it up and maintains it obviously every day). Thanks again to you too.
10. Variation 9
This is the tenth part of the Goldberg Variations, a music - images dialogue in 32 movements between Elisabetta Guglielmin (harpsichord) and Jean Detheux (images).
At first, the 32 videos will be posted on Vimeo, one at a time…
"Another approach to this kind of thing is to work with blocks of painted color that you then treat with water spread and water drip effects to get the fluid look. So rather then using a liquid paint, you emulate that mixing and spread effects by…"