Recently, one image of mine was selected to be a part of Photomedia Center’s 2010 Open Juried Exhibition. As an emerging photographer, I am very thrilled and honored to be included in such a fine body of work. Organization like this gives us, emerging photographers, a chance to fulfill one of the most exciting aspects of being an artist… Having your work displayed and seen by others.
“Cabo in the Summer” by Maggie Percell, www.maggiemaephoto.com
I was recently running a test in ToonIt and rendered out about half of the 70 presets that ship with ToonIt. For something that’s _just_ supposed to produce cartoon’d images, you can get a surprising number of different illustrated and painterly looks. Anyways, judge for yourself… here are 35 or so of the presets (not all of them are exactly flattering on this photo, but they can produce interesting results on other images):
I recently spoke with William Branson III surrounding our exciting new product release of Beauty Box Photo and were reminded of how much I love his artwork. He is an amazing Portrait Artist and his images really push the limits of photograph vs painting. Check out his work here: http://www.wbranson.com/
(Both images © William Branson III)
While performing as a musician for the Fashion Week in Delhi, artist Nick Cattermole took a lot of photographs around the McLeod Ganj area of India. Nick’s two primary subjects in this photo series are monkeys and monks. These are subjects whose relationship to each other — in my eyes — is bound only by their English spelling and co-existence in a geographic region. But Nick has put together an interesting body of work that combines the inhabitants of both temples and forests in McLeod Ganj.
I love that Nick uses our ToonIt! Photo plugin to transform his photographs into delicate illustrations. Many people use ToonIt! for more ‘aggressive’ images, which is what cartoons typically look like, all thick black lines and bold heavy color fields. Nick’s illustrations are instead turned into soft, thin lines over a jeweled, geometric pattern of color.
Monk walking in the village, post-ToonIt! treatment:
While writing a post about how my little iThing takes great digital photos, I did some news surfing about the shrinking size of technology. The two articles listed below caught my eye. Their topics are different but the underlying theme is similar.
First, on Computerworld.com, an article called ‘Future shock: The PC of 2019‘ talks how personal computers will look in a decade: Small.
Just yesterday, I took this photo of a charming chalk stamp on the pavement. Seems to fit the topic of this post because ‘Thylacine’ is a generally extinct, but still sighted and possibly mythological creature. Just like technology can be. See this Bizzare & Extinct site for images.
In my mind, digital art first became looked upon as a medium in the early 90’s. I remember my art teachers in undergraduate school being grumbly and divided in terms of their acceptance of computer generated art being ‘real’ art. The old-time painters in particular hated computer graphics. Illustration teachers seemed more accepting because many were digitally generating their references or switching to a computer/hand rendered hybrid.
Those days are certainly very, very far behind us. I just read about a retrospective of Tim Burton, the well-known director and all-media artist, opening for five months at the New York Modern Museum of Art. Many painters and other traditional media artists have to wait for a posthumous show!
I love digital artwork — and it’s what pays the bills! — but it’s always wonderful to seek out non-digital artwork. Through Digital Anarchy, I look at a lot of artist websites and portfolios. They trickle in as email addresses attached to sales receipts or support requests, and I often click through to look at the URL.
This week I stumbled upon photos of some very unique and beautiful artwork. I don’t quite recall what series of clicks brought me here, but the artist is Jason de Caires Taylor and the site is www.underwatersculpture.com.
Images from the site:
Site description: “Jason de Caires Taylor’s underwater sculptures create a unique, absorbing and expansive visual seascape. Highlighting natural ecological processes Taylor’s interventions explore the intricate relationships that exist between art and environment. His works become artificial reefs, attracting marine life, while offering the viewer privileged temporal encounters, as the shifting sand of the ocean floor, and the works change from moment to moment.”
I volunteer with an arts organization called Burning Man, and this imagery reminds me of a wonderful artist who shows at the annual event. This artist’s work is shown above water; in a desert, in fact. But the texture and color palette, his blend of synthetic and natural media, and the repetition of figures within most compositions all make me think of Peter Hudson, www.hudzo.com.
Hudson makes zoetropes, which are rotating sculptures that produce an illusion of action from a rapid succession of static pictures. Some of them are half above ground, others are suspended. My favorite one is the first piece that Hudson showed in 2004, called the Swimmers. Another great one is Homouroboros, nicknamed ‘The Monkeys’, from 2007. During the day, the swimmers are motionless and you can examine the individual figures. At night, the zoetropes spin and flickering light makes the figures appear to be swimming or the monkeys jumping.
From Hudson’s Flickr group, donated by user Wgewe:
From the Black Rock Arts site, a sponsor of Hudson’s post-Burning Man shows:
What I find especially interesting about Taylor and Hudson’s sculptural pieces is how beautifully they each function as a photography pieces. In particular, in the case of Taylor’s underwater sculptures, the art can’t _really_ be shown in its natural environment because of, errr, breathing considerations, so the documentation is important in promoting the work. The underwater sculptures are designed to be seen from land, but like most public art, many people will see them only in photos. The composition and angle of the photo is very important to expressing and promoting the work.
Once again, it is not just the art that is important. It is also the lens that captures it for the rest of the world to see.
regards -Debbie