When I started this class, I had little to no experience with Photoshop. I’ve definetely noticed the advances I’ve made in my Photoshop skills, and I firmly believe that it’s a useful skill to have, especially when you want to draw attention to yourself or something else (Marketing, album covers, portraits, etc).

My most significant accomplishment has definitely been my Final project, as it is my best display of technique, in addition to being an enjoyable project. It’s not the strongest in terms of its meaning, but I think it’s my best work to date.

Retouching was the hardest part for me in this class. It seemed tedious and difficult at first, but if you look at my Quiz 3, you’ll see that I got somewhat of a hold on it. Retouching is probably the most applicable part of Photoshop, as you’d be retouching photos of your family, friends, coworkers, etc.

In comparing my Midterm and Final, I’d say that my Midterm was a bit stronger in terms of the meaning behind it, but it did not compare to the visual technique of my final. This was mainly due to the fact that the Midterm was a two-part project, that required artworks with corresponding meanings. For the final I could just focus on my one piece, and so it turned out much better.

All in all I’ve enjoyed this class very much, and I’ve gained invaluable skills I’ll be able to use in the future.

My “Big Idea” will revolve around a mythical landscape, and will include in it an artist who has died (Jimi Hendrix) and entered this new, surreal world.  It is to be a homage to the artist, and will be influenced by 60’s psychedelic art. The main visual strategy I used were bright, flowing light effects which draw attention to different parts of the artwork. The artwork gives a spiritual feeling, highlighted by the blending and lights. I suppose this piece of art could be used as part of a Hendrix tribute. Being a musician, Hendrix definetely influenced the artwork, along with the fantastical artworks that we normally think of when we think of 60’s art. I was also very inspired by the visual strategies of artist Peter Jaworowski (See Last Post). The main Photoshop technique that helped me with the project was trying out various blending modes on duplicated layers, and then overlaying them on each other.

Peter Jaworowski

http://www.hejz.com/

Peter Jaworowski is a well-known artist of photoshop who does commercial advertising as personal pieces of art. His work is appealing to me in that seems very expansive and draws a lot of attention to different parts of the artwork. I am interested to learn how he achieves the flowing effect in the first artwork, as it seems difficult to achieve by computer. His work looks like a combination between computer and handwork. They achieve a sense of scope that is aesthetically pleasing. Clearly, businesses have taken a liking to Jaworowski’s style and find it appropriate for their marketing campaigns (I find that to be pretty inspiring). I would like to emulate the flowing, fractal-like parts of his art.

 

Jerico Santander

www.behance.net/Jerico/

Jerico Santander is a computer artist who likes to combine elements of the natural world and the modern technological world into his artpieces. It forms the basis of his “big idea”. His works are strange and surreal but invite us to think about its subject matter. I would like to try to emulate his ability to use layers and blending modes to create coherent pieces of art (i.e. not “collage”-like). His work has substance from both an aesthetic standpoint and a “meaning” standpoint. I like his work because it’s smooth, mentality stimulating, and has deep value.

After spending some time browsing the worth1000 website, I came across one tutorial that caught my eye and looked manageable.

http://www.worth1000.com/tutorials/162910/bubble-shrek

This tutorial managed to take an image of Shrek and render his head a bubble.

Here is my attempt, using Shrek’s beloved sidekick, Donkey.

Here are the two source images I used.

                                      

The trick then was to take the Bubble image and Transform it, using Scale and Warp, to cover each part of Donkey’s head. I started with the eyes.

I then moved onto the muzzle/nose, which was probably the most difficult part and ended up not looking that great.

I finally bubbled the rest of Donkey’s face and refined the edges with the eraser tool.

For the final product, I put the Donkey bubble into the original bubble image, and added a few more bubbles for good measure.

One of the pioneers of computer in the visual arts is Ohio’s own Lillian Schwartz. Born in Cincinnati in 1927, Lillian Schwartz began her career in computer art in the 1960’s, working at AT&T’s Bell Labs and advancing the field of digital art. Highly interested in this newly available medium, she was impressed by the ability of computer programs to manipulate images with fairly little execution. She has garnered much acclaim from the art world, academia, and the media (including nominations for Emmy’s and Academy Awards). Her work has often been displayed at OSU. For an in-depth biography of Lillian Schwartz, read here at http://library.osu.edu/finding-aids/lillian-schwartz/inventory/lillianschwartz.php.

             She also has a fondness for comically large glasses…

“Night Scene” Computer-generated etched aluminum plate. Copyright © 1975/2004 Lillian F. Schwartz courtesy of the Lillian Feldman Schwartz  Collection, Ohio State University Library and Foundation. All rights reserved.

(http://www.atariarchives.org/artist/sec31.php)

Here is an example of Schwartz’s work a few years after her introduction to computer art (1975). The artwork, called “Night Scene”, displays an image of an urban environment at night, complete with large buildings, lights, and a single star in the sky. Schwartz displays the ability of a computer to achieve a level of refinement in artmaking that humans cannot readily emulate.

 

“Mona Leo” by Lillian Schwartz

(http://en.wikipedia.org/wiki/File:DaVinci_MonaLisa1b.jpg)

This is perhaps Lillian Schwartz’s most recognizable artwork, “Mona Leo,” in which an image of Leonardo da Vinci’s self-portrait sketch is superimposed over his classic Mona Lisa painting. While this piece probably did not require much execution (a simple cut and paste, really), it invites us to think about the Mona Lisa in relation to its creator, Leonardo da Vinci. The facial structure of the sketch and the painting are similar, with da Vinci’s face fitting squarely upon Mona Lisa’s. This piece of art reveals something about da Vinci as an artist, and places a new perspective upon the renaissance man’s timeless painting.

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