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is it possible to change/control what pallets appear in the Grad Tab?
Read more…Nü Müzak
"Nü Müzak" video made with MSGs. The muzak (haha) was made with Bespoke Synth (cool free modular music program). https://www.youtube.com/watch?v=zRSzm1-QBMI&t=305s&ab_channel=Thorrific
Read more…I am looking for an Art Deco type effect
I am looking for an Art Deco type effect, does anyone have that type of effect...?
Read more…Is anybody making a copy of all the material in the Tutorials Forum
Since the Forum is going away in June, has anyone started to make a copy of all the stuff in the Tutorials forum?I've made copies of some of the tutorial material on the main site, but haven't looked at the Tutorial Forum yet.I'm going to continue copying as much as I can for my own personal use anyway, but if anyone else is doing it, or has already started doing it, please let me know.Maybe we can co-ordinate our efforts. ps can't ..... believe John, would let this happen without so much as a…
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I realize now that the core of my topic may not be clearly communicated so I will try to provide a better explanation tomorrow.
be
So much great art is misunderstood because viewers (who are often artists themselves) praise the intelligence, the control, the skills, while they ought to "praise" the abandon, the "little deaths!"
Much of the better art work is done by artists who, occasionally, arrive at a point at which they no longer know what they are doing, but proceed anyway (by way of "little deaths").
So often, one can tell, at a glance, that an image's underlying structure is canned, that the "improvisation" is actually mere surface "fluff," mannerism, and that in the process, nothing was ventured, nothing was gained.
This is an essential question though, and it does indeed go way beyond technical matters, way way beyond them.
My take on this is to work on one's willingness to lose the structure in the process, to allow it to come and go just as our consciousness does, from "Where is it?" to "Aha, there it is!", and back, and forth, and back, and forth, for as long as one can sustain it.
There is a marvelous little book, "A Giacometti Portrait," by James Lord, in which the author sits for Giacometti and records what he is experiencing, including taking photos, of the evolution of the portrait for a period of several weeks.
In it, he becomes aware of the process of "birth - death" Giacometti's work undergoes, so much so that he actually manages to stop it all (the author that is) at a stage when the image was somehow set, just before Giacometti was about to destroy/undo it again.
When working that way, the piece then becomes no longer the result of an intentional composition, it becomes the leftovers of a battle, the corpses, the ashes, in the true sense of the word, a "gift."
And the issues of work become much more issues of attitude and strategies for making possible that battle, rather than issues of plotting a sure path to a predictable result!
There are a lot of fakes out there, people who "know" enough about this to mimic it, but very few who can actually live and do it.
But again, how many Cézanne or Giacometti can we be granted in the course of a generation?
I love your descriptions of this point in the creative process where the artist more or less loses control and then if you are lucky (or 'save as' often), amazing art occurs. These moments are God-like in their wonder, and yet for me they seem to happen often with Studio Artist, that the application seems like an engine for accidental fusions of beauty amongst the infinite nodal points of possible arrangements. I may never succeed in selling anything I've created, but at those moments, I truly do not care. They are worth every misery that has accompanied me to this point.
To me one of the prime drawbacks of intentional composition is that the thing you compose seems more likely to be layered on the sum total of everything you've ever seen or learned. Whereas letting go of all that opens the doors wider to more original art, if we could only recognize it as such.
Thanks for the book reference, I'm going to check it out.
be
That for me is the essence of a superior macro view.
My opinion is the most interesting artwork rewards the viewer with the initial delight at macro level, and then again upon closer examination, and possibly a third time upon micro-level observation.
Edward Tufte devotes a chapter to micro/macro readings (with relation to information design) in his book Envisioning Information. A few Tufte quotes: Micro/macro designs enforce both local and global comparisons and, at the same time, avoid the disruption of context switching.“
“The deepest reasons for displays that portray complexity and intricacy is that the worlds we seek to understand are complex and intricate. ‘God is in the details’ said Mies can der Rohe, capturing the essential quality of micro/macro performances. “
It may seem like a stretch to invoke Edward Tufte, but the connection I see is this: in many of the best artworks, the artist succeeds in creating an alternate reality or vision, one that is so compelling that the viewer wants to delve into it and explore it more. So while Tufte is referring to designing authentic information displays about the real world, the same macro/micro principles might be applicable for drawing people into an imagined world.
be
Where does one draw the line between "real" and "imagined" world(s)?
Especially when painting?
To be an artist is to totally, passionately, be willing to be "confused" by, to dive in, any world that makes itself visible "through" us/me.
Whether one looks at an "imagined" or "real" world, one is perceiving it, and it is precisely in perception itself that lies a key, it is "constitutive!" Again, that constant switch between the large and the small, the whole and the parts, the "Where is it?" and the "Aha, there it is!" is a key.)
I am convinced that the paintings that work best for us are the ones that were experienced, by their maker, as "real" (in the sense of being totally credible, believable).
And the intensity of that experience, the presence of that belief, is what is given to the viewer,through the viewing of piece, over and above techniques and such.
One has to see a Vermeer, Rembrandt, Cézanne or Giacometti "in the flesh" to realize how magical those things can be, so unsettling, so threatening to our notion of "reality."
So many great painters have talked well about this, this moment of grace when the painting ceases to be ("only") a painting, and becomes ("also") a "real world," while one remains conscious of it being a painting (which may be what keeps us fro going totally insane?).
But that's beyond the sphere of words, this is something to experience, to go through and recognize.
You're possibly looking for a "how to" where there is none? (This is a genuine question.)
The artists that succeed in doing what you talk above do not "create" that world as much as they "allow" themselves to experience it, while working.
When I have more time, I'll grapple with the other excellent questions you bring up.
be
This seems like a good workaround, but what do you all think of this approach?
be
Invariably, those were the best sections, in my, or anybody else's work.
It took me several decades to be able to find/create, in my work as a whole, that which my teacher had given me a glimpse of in sections of the work I did as a student.
Here's my point: if you find that a section of your work "looks better" to you than the piece as a whole (that happens a lot with thumbnails), strive so that, eventually, subsequent pieces will work like that section.
The question could then be: how does one do that?
;-)