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How does technology shape and influence your own research and practice?

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How does technology shape and influence your own research and practice?

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The impact of the rapid spread of information on painting: Why galleries remain essential in the art world. Distinction Gallery. (n.d.). https://distinctionart.com/blog/2023/03/23/the-impact-of-the-rapid-spread-of-information-on-painting-why-galleries-remain-essential-in-the-art-world/

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The Impact of the Rapid Spread of Information on Painting: Why Galleries Remain Essential in the Art World.

The last decade has seen a tremendous change in how information is disseminated and consumed. The advent of the internet and social media has made it possible to share information at an unprecedented speed and scale. This has had a profound impact on various industries, including the art world. In this article, we will examine how the rapid spread of information over the last 10 years has affected painting.

Before the internet age, information about art was disseminated slowly and through limited channels. Art lovers had to rely on traditional media such as books, art journals, and museum exhibits to learn about new styles and movements in painting. This meant that artists and art enthusiasts were limited in their exposure to different kinds of art.

However, with the rise of the internet and social media, artists and art enthusiasts now have access to a much wider range of art than ever before. This has led to the emergence of new painting styles and movements as artists can learn about and be inspired by a wider range of art. They can blend different styles and techniques to create something new and exciting. This has led to the emergence of new art movements, such as the New Contemporary art movement, which is characterized by a mix of traditional painting techniques and contemporary subject matter.

The rapid spread of information has also enabled artists to connect with each other and collaborate more easily. Artists can now share their work with a global audience through social media and online galleries. This has led to a more inclusive and diverse art world, with a wider range of voices and perspectives represented. Artists from all over the world can now connect and collaborate with each other, leading to the emergence of new styles and techniques.

Another significant impact of the rapid spread of information on painting has been the democratization of the art world. With the internet, artists no longer have to rely on traditional gatekeepers, such as galleries and museums, to showcase their work. They can easily share their work with a global audience through social media and online galleries. This has led to a more diverse and inclusive art world, with a wider range of voices and perspectives represented.

However, this rapid spread of information has also had some negative effects on painting. With so much information available, it can be challenging for artists to stand out from the crowd. The internet is saturated with images of artwork, and it can be difficult for artists to gain recognition and attention for their work. Additionally, the emphasis on quick consumption and instant gratification can discourage deeper engagement with artwork, leading to a surface-level appreciation of art.

The rise of social media has also led to a change in how art is consumed. Many people now view art primarily through social media platforms, such as Instagram and Pinterest. While these platforms have made it possible for more people to view art, they have also led to a shift in how art is experienced. Many people now view art primarily as images on a screen rather than as physical objects. This can lead to a devaluation of the physical presence of art and a focus on the image itself.

Another impact of the rapid spread of information on painting has been the rise of online art sales. Online art sales have grown rapidly over the last decade, with many people now buying art online. This has made it possible for artists to reach a wider audience and sell their work directly to collectors without the need for a traditional gallery. However, online art sales can also lead to a focus on the commercial aspects of art, with a greater emphasis on marketability and sales potential.

One potential area of growth for the art world is the use of virtual and augmented reality. These technologies have the potential to revolutionize how art is experienced, allowing viewers to interact with artwork in new and exciting ways. Virtual and augmented reality can also create new opportunities for artists to showcase their work and reach a wider audience.

Another area of growth that is gaining attention in the art world is the use of AI-generated art. Artificial intelligence has the ability to create artwork that is both unique and innovative, blurring the line between what is considered "art" and what is considered "technology." Some argue that AI-generated art challenges traditional notions of authorship and creativity, as the role of the artist is shifted from creator to curator or programmer. However, others see it as a new and exciting way to push the boundaries of what is possible in the art world. As AI technology continues to develop, it will be interesting to see how it is incorporated into the art world and how it impacts the creation and consumption of art.

Potential area of growth is the use of blockchain technology to authenticate and track the ownership of artwork. Blockchain technology can provide a secure and transparent way of tracking the ownership of artwork, which can help to reduce fraud and ensure that artists are properly compensated for their work.

Ultimately, the impact of the rapid spread of information on painting will continue to evolve as technology advances and the art world adapts. While there are certainly challenges associated with this new landscape, there are also many opportunities for artists to connect with each other and share their work with a global audience. As technology continues to evolve, it will be fascinating to see how the art world continues to evolve along with it.

While the rapid spread of information has had a significant impact on painting, it is still important for galleries to exist. Galleries provide a physical space where viewers can experience artwork in person. They offer a unique opportunity to engage with art on a deeper level, to see the texture, color, and scale of artwork in person. This physical experience of art is essential for understanding and appreciating artwork on a deeper level.

Galleries also play an important role in the art world as gatekeepers and curators. While the internet has made it possible for artists to reach a wider audience, galleries still play an essential role in curating and showcasing the best artwork. Galleries have the expertise to identify emerging artists and new movements, and they can provide the context and background information that is necessary for fully appreciating artwork.

In addition, galleries provide a space for artists to connect with collectors and buyers. While online art sales have grown rapidly over the last decade, many collectors still prefer to see artwork in person before making a purchase. Galleries provide a space where collectors can view artwork in person and make informed purchasing decisions.

Furthermore, galleries provide an important social function in the art world. They offer a space for artists, collectors, and art enthusiasts to come together and engage with each other. This social aspect of galleries is important for building relationships within the art world and for creating a sense of community.

In conclusion, while the rapid spread of information has had a significant impact on painting, galleries still play an essential role in the art world. They provide a physical space where viewers can experience artwork in person, they act as gatekeepers and curators, they provide a space for artists to connect with buyers, and they offer an important social function in the art world. While the art world will continue to evolve and adapt to new technologies and trends, galleries will remain an important part of the art world for years to come.

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The Impact of the Rapid Spread of Information on Painting: Why Galleries Remain Essential in the Art World. - Distinction Gallery

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The last decade has seen a tremendous change in how information is disseminated and consumed. The advent of the internet and social media has made it possible to share information at an unprecedented speed and scale. This has had a profound impact on various industries, including the art world.

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Paper Folding Pattern 'The Waveform' Easy Steps

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Shibori is a Japanese manual tie-dyeing technique, which produces a number of different patterns on fabric.

Some discussion exists as to the origin of shibori as a technique within Japan, and indeed, the exact country of origin of some of the earliest surviving examples. Much of the debate surrounds the technical capacities within Japan at the time to produce the variety of fabrics seen in some of the earliest shibori examples.

One of the earliest written descriptions of shibori dates to 238 CE, where it was recorded in the Chinese document Chronicles of the Clans of Wei ( Wei chih) that Queen Himiko gifted the Emperor of the Wei dynasty over 200 yards (180 m) of "spotted cloth" - potentially describing a form of wax-resist decoration on the fabric.

The earliest surviving examples of shibori-dyed cloth date back to the mid-8th century, donated to the Tōdai-ji Buddhist temple in Nara in 756 CE, as part of the goods donated by the Emperor Shōmu upon his death. The techniques seen on these earliest fragments show bound resists, wax resists and folded and clamped resists. However, at least some of the shibori-dyed fabric in this collection is Chinese in origin.

Surviving examples of resist-dyeing in China (known as jiao-xie) date to a much earlier time period; the earliest surviving examples dating to 418 CE.

There are many ways to create shibori, with techniques generally grouped into three categories: kōkechi, tied or bound resists; rōkechi, wax resists; and kyōkechi, resists where the fabric is folded and clamped between two carved wooden blocks. Most techniques recognised within these three categories have names and a number of varieties of technique.

The technique chosen and the resulting dyed fabric depends upon both the type of fabric and the dyestuff used; shibori demands a pliant and easy-to-handle fabric, with some historic dyeing techniques - such as the original technique of tsujigahana - now impossible to recreate entirely due to the fact that the fabric necessary for the technique is no longer produced.

The desired end result for shibori may be to create a larger pictographic or geometric design (as seen on many full- shibori kimono), or simply to display the shibori on its own. Differing techniques may be combined in some cases to achieve increasingly more elaborate results.

Kanoko shibori is what is commonly thought of in the West as tie-dye. It involves binding certain sections of the cloth using thread - traditionally a type of untwisted thread known as shike-ito - to achieve the desired pattern. The pattern achieved depends on how tightly the cloth is bound and where the cloth is bound. If random sections of the cloth are bound, the result will be a pattern of random circles. If the cloth is first folded then bound, the resulting circles will be in a pattern depending on the fold used.

Miura shibori is also known as looped binding. It involves taking a hooked needle and plucking sections of the cloth. Then a thread is looped around each section twice. The thread is not knotted; tension is the only thing that holds the sections in place. The resulting dyed cloth is a water-like design. Because no knot is used, miura shibori is very easy to bind and unbind, making this technique commonly used.

Kumo shibori is a pleated and bound resist. This technique involves pleating sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This specific design requires very precise technique.

Nui shibori includes stitched shibori. A simple running stitch is used on the cloth then pulled tight to gather the cloth. The thread must be pulled very tight to work, and a wooden dowel must often be used to pull it tight enough. Each thread is secured by knotting before being dyed. This technique allows for greater control of the pattern and greater variety of pattern, but it is much more time consuming.

Arashi shibori is also known as pole-wrapping shibori. The cloth is wrapped on a diagonal around a pole. Then the cloth is very tightly bound by wrapping thread up and down the pole. Next, the cloth is scrunched on the pole. The result is a pleated cloth with a design on a diagonal. " Arashi" is the Japanese word for storm. The patterns are always on a diagonal in arashi shibori which suggest the driving rain of a heavy storm.

Itajime shibori is a shaped-resist technique. Traditionally, the cloth is sandwiched between two pieces of wood, which are held in place with string. The fabric is typically folded more than once, creating a repeating pattern of resists throughout the fabric when unfolded.

One of the traditional forms of itajime shibori textiles is beni itajime (lit. " beni (red safflower) squeezed board shibori"), also known as beni ita or Kyo beni. Beni itajime textiles were lining-weight fabrics dyed with pictorial patterns using red safflower ( beni) dye, and were used for underlayers or linings as recently as the early Shōwa period (1926-1989), with production centred around Kyoto and Takasaki, Gunma Prefecture, a city known for the production of fine, lightweight silks.

The last beni itajime dyeworks, the Yoshimura dyeworks of Takasaki, closed in 1932, and the technique of dyeing was relatively unknown until investigation into it was undertaken in 2010 by Yoshiko Iwamoto Wada and Masanao Arai, with the assistance of the Yoshimura dyeworks archive and the Takasaki-Beni-no-Kai research group. The research discovered that the boards used in the beni itajime process were lacquered on all but the sides and centre to resist the dye, and were soaked in water for 2 weeks before dyeing, as dry boards would warp and distort the resist. The low-quality, slightly coarse texture of the silk traditionally used in the process was important to the takeup of the dye and the ability to layer the fabric within the dye process, as the fabric would be folded eight times, with the ideal fabric weighing no more than 100 g (3.5 oz) per 23 cm × 38 cm (9.1 in × 15.0 in) piece. The fabric was folded using the maki tatami technique, before a thin starch paste was applied to the faces of the boards to aid in the adhesion of the silk to its surface. The block was clamped tightly and hot dye was poured over the dye block - whilst rotating it to bathe every side in the dye - for three hours. This resulted in a perfect recreation of the crisp red-and-white pictorial designs of older beni itajime fabrics.

Modern textile artists, instead of using carved or uncarved wooden boards painted with lacquer, often use shapes cut from acrylic or plexiglass and holding the shapes with C-clamps. The shapes prevent the dye from penetrating the fabric they cover.

The front edge of a shibori haori, showing the loop for the haori himo ( haori ties) and crane-print lining fabric

Kumo shibori being tied with shike-ito thread.

A full- shibori furisode dyed entirely in kanoko shibori.

Dubrawsky, Malka. Optical illusion: combining itajime with commercial fabrics. Quilting Arts. Dec/Jan 2009, pages 46-50

Yoshiko Iwamoto Wada, Mary Kellogg Rice, and Jane Barton. Shibori: the inventive art of Japanese shaped resist dyeing. Tokyo: Kodansha International, 1983.

Galli, Andrew and Yoshiko Iwamoto Wada. "Arimatsu, Narumi shibori celebrating 400 years of Japanese artisan design". (DVD) produced by Arimatsu Shibori Mutsumi-kai (Japan) ; Studio Galli Productions (USA) Fremont, Calif. 2007

Southan, Mandy. Shibori Designs & Techniques. Tunbridge Wells, Kent, UK: Search Press, 2009.

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Shibori is a Japanese manual tie-dyeing technique, which produces a number of different patterns on fabric. Some discussion exists as to the origin of shibori as a technique within Japan, and indeed, the exact country of origin of some of the earliest surviving examples.

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Concept Design and Illustration, the official artworks of Airi Pan

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Haussmann (or Haussmannian) architecture refers to the quintessential Parisian style of 19th-century architecture that still defines Paris and whose enduring appeal has made Paris one of the most visited and well loved cities in the world.

History of Haussmann Architecture

The history of Haussmannian architecture began with Napoleon III's desire to take Paris from a ramshackle medieval city plagued with overcrowding and disease to a cohesive modern city full of light and air. He appointed Georges-Eugène Haussmann, a city prefect but not an architect, who oversaw this radical reimagining of Paris from 1853 to 1870, causing a massive social and civic upheaval and making Haussmann one of the most famous and controversial urban planners in history.

To realize Napoleon's vision, Haussmann bulldozed cramped winding streets lined with snug medieval buildings and created straight broad boulevards and avenues lined with block after block of sober, elegant stone apartment buildings that redefined and unified the look of Paris. The renovation also included new parks and squares, kiosks, street lamps, the opulent Palais Garnier opera house, and the modernization of the city's water and sewer system.

Haussmann was ousted after 17 years. He was criticized largely for turning Paris into a giant and expensive construction site, disregarding its history, and destroying the medieval charm of old Paris (which has never completely disappeared, chiefly in the heart of the Marais district). But his work had already transformed Paris and his influence carried on through around 1910, to what is called the post-Haussmannian period, when many of his stone buildings were embellished with the kind of decorative stone and wrought iron work that are most prized today.

Many Haussmann buildings were torn down in the 1970s to make way for contemporary tower blocks. Nevertheless, Haussmann's legacy endures in Paris, where 40,000 Haussmann buildings represent 60 percent of the city's housing stock. Apartments in Haussmann buildings are still sought after by locals and foreigners alike. And you can find pockets of Haussmann-style architecture in various places around the world, from the Upper West Side of Manhattan to Buenos Aires and modern day China.

Key Characteristics of Haussmann Architecture

Large, elegant, imposing buildings that vary slightly in size and details but share common characteristics

Stone facades

Plain or ornamental black wrought iron window grills and balconies, especially on the 2nd floor

Gray zinc Mansard roofs angled at 45 degrees to allow maximum sunlight on city streets below

Chimneys that were originally used for heating and now symbolize the iconic rooftops of Paris

Dormer windows on top floor attic rooms that sometimes include tiny balconies and offer some of the best views across Paris

French double windows

Large single or double wooden entry doors with bronze or iron doorknobs

In many buildings, stone paved carriage entrances that lead to a central courtyard

Traditional interiors with hardwood herringbone pattern or straight plank oak floors, intricate moldings and millwork, marble fireplaces, inlaid fireplace mirrors, and French doors and windows

Haussmann Interiors

Haussmann architecture may have a reputation as a classically beautiful, crowd-pleasing building style that remains popular today and gives Paris a timeless appeal, but Haussmann apartments were built for another century.

In today's real estate market, apartments on upper floors generally command more money and are considered more desirable. In large part because Haussmann apartments were built before elevators became the norm, upper floors were less desirable, with lower ceilings and rents. (Today, some buildings have retro-fit elevators that may start one floor up or end one floor before the top, depending on the building layout.)

The ground floors of Haussmann buildings were designed to accommodate shops and commerce. The first floor (second, in the U.S.) was usually reserved for the shopkeeper and often used for storage. The second (third, in the U.S.) floor was known as the noble floor, reserved for the elite, with the highest ceilings and grandest proportions. The top (6th) floor was generally reserved for household staff. Miniature rooms sometimes included fireplaces for heating and tiny balconies. Not all had water hook ups, and even today top floors of upscale Haussmann buildings may contain converted maids rooms as small as 50-150 square feet that have no access to water and shared toilets in the hallway. It's not uncommon for people to buy out the top floor and combine them to create larger apartments with prized views.

While Paris's buildings still look unified on the outside, many homeowners have chosen to make modifications to existing interior floorplans to make them more in line with modern lifestyles. Many people choose to knock down walls to create more open plan spaces, chiefly between what would have been a formal dining and living rooms.

One of the most crucial modifications is in regards to kitchen placement. In the 19th century, kitchens were cramped quarters located far from main living spaces and close to service stairways, so that staff could prepare food out of sight. Today most people want a big, open-plan kitchen that's connected to dining and living spaces, and many current homeowners are fine with knocking down walls and tearing down original woodwork in order to create floorplans suited to current lifestyles, often balancing historic features with contemporary kitchen designs.

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Haussmann (or Haussmannian) architecture refers to the quintessential Parisian style of 19th-century architecture that still defines Paris and whose enduring appeal has made Paris one of the most visited and well loved cities in the world.

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This is an art tutorial by Arne Niklas Jansson.

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Introducing Keira Santoso, a previous student at New3dge and now a self-studying Illustrator and Concept Artist who discovered her passion for the creative industries during her high school years. Driven by her love for artistic processes and challenges, Keira dedicated her post-secondary education to honing her skills in this field. We really enjoyed the work we saw in her Rookies portfolio and asked her to share more about her style of concept art.

Introduction

Hello, my name is Keira, and I'm currently studying illustration and concept art. In the past, I often used to stress about creating personal projects that were fit for a portfolio. However, I later realized that personal projects can be very enjoyable, and the hardest part was simply getting started. Today I'm excited to show my process on both starting and managing a personal project.

Process

Research, Context and Goals

Regardless of whether it's personal or not, it never hurts to start a project with research. When I'm feeling uninspired, even looking at various images is enough to spark an idea. That being said, I try to limit how many references to use, otherwise it gets confusing referring to too many ideas. Once I have a solid idea on what to create, I establish my goals.

For this project, my goal was to create an interior concept using 2D and 3D techniques. If I were to pitch the concept in one sentence, it would be as follows:

"A cluttered, private botanical cartography studio, located in a Mediterranean forest."

Time taken: ~ 3.5 weeks

Programs used: Blender, Photoshop

With a solid endpoint in mind, I assembled a moodboard and gathered references from Pinterest and Unsplash. ArtStation is great for artistic reference as well.

Ideation

Usually, I sketch iterations in Photoshop. This time, I went analog in my sketchbook between school breaks or on transit. These were for myself only, so I didn't focus on developing clean iterations.

I did some composition thumbnails, loose design sketches, and a few prop studies. I also included floor plans and an exterior elevation of the design.

3D modelling

After finishing the design, I moved on to 3D modelling in Blender. It's important to keep the 3D proportions accurate to reality to avoid hitches in scale.

I started with blocking out the structural details such as the floor, walls, roof, rafter beams, windows and supporting pillars. This is where the design sketches came in handy to reference while modelling. I also established the focal point of the design, which is the spherical atlas in the center.

A tip for modelling decorative windows is to use the skin modifier. By using a skeletal mesh with the skin modifier, you can quickly adjust the object's thickness.

Once the base structure was finished, I moved on to furniture. I used some assets from previous projects, as well as modelled new assets such as the chairs and tables.

The last step in the modelling was smaller assets such as books, vegetation and trinkets. Most of these assets were from previous projects. For the vegetation, I imported some assets from Quixel Bridge.

At this stage storytelling became crucial: Who is using the space? Are they organised or scatter-brained? I wanted the space to be a cluttered, owned by botanical cartographers. Hence, I focused on haphazard placement of books, papers and plants. I also kept a library in the scene--this kept the file organized and allowed me to easily duplicate objects.

Lighting and Texturing

For texturing, I wanted to make something that was easy to paint over and that didn't look too "3D." I painted some flat textures, as well as modified some photo textures in Photoshop to achieve this.

I referred back to my moodboard for lighting. I had some lights to boost the skylight, an HDRI, lamp lights, and a large area light for the main overcast above the building.

Paint-over

Once the render was complete, I moved the image into Photoshop to do a full paint-over. I started with the Camera Raw filter to set the atmosphere and match my reference's lighting a little more.

When it comes to painting, I generally use both the round brush with full opacity, and use textured brushes like a "stamp" for textured painting. The lasso tool is also a great tool for painting clear shapes. At this point, I focused on simplifying detail from the 3D base, value grouping, as well as adding life to the image through brushwork and colour.

For composition, a friend gave some feedback to include more C-curve action leading to the focal point. To do this, I painted in some foreground vegetation. I also used overlay and hard light layers to make the painting more colourful.

Alternate Shots

Via the same process, I moved my camera around in Blender to create a secondary shot of the interior. I tweaked the lighting to best showcase the new angle.

Conclusion

While it can be difficult to manage time or find motivation, a personal project can be born from something as simple as an in-class doodle. It's important not to forget that personal work should be fun and an expression of what you like to do!

For me, the most difficult part about this project was time management. As a university student, it's difficult to commit time to personal projects while juggling school assignments. As mentioned earlier, the hardest part is starting. Once the idea is there, finding time becomes much easier.

Thank you for reading, and I hope this project inspires you in some way.

See more of Keira's work or contact her via her Rookies profile here.

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Developing a Personal Project: Interior Design in Concept Art

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Keira Santoso, a self-studying illustrator and concept artist, previously at New3dge, shares her unique style of concept art showcased in her Rookies portfolio.

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Creating Worlds: The Secrets of Animation Production Designers