Mark Lawrence Art
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Voronwë the Faithful
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WampusCat
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Whister, The Cross Triumphant is breathtaking. It is the sort of painting I could look at for hours and be drawn deeper and deeper into the mystery it touches. Do you sell prints of it? I can think of a couple of people I might want to give it to, in addition to purchasing it myself.
(And I'm glad your power has returned.)
(And I'm glad your power has returned.)
Wampus: the picture is sized 40” x 48”, but it can be enlarged to as much as (roughly) nine by twelve feet without losing detail. And of course it can be reduced to any size, though it ought to be kept as large as possible for proper effect: it must absolutely dominate its environment.
If you want a large digital copy, I will send you one on CD if you send me your home address. If you really want one stretched on canvas, I will check on the price and have it printed, stretched and mailed to you.
I am now selling art to an online service, and I have submitted this one for review. If they decide to sell it, it will be available (and affordable) to anyone who wants it, albeit in a small size.
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As to the question of digital versus traditional art…well, of course there is much about traditional art that we all love, and that we are always sorry to see taken away. Artists trained in traditional media (as I am) respond emotionally to the textures and smells of real paint and paper and canvas. There’s an almost Pavlovian response to it. Digital art lacks this dimension; all it offers is line, value and color.
Well, I think that would have been enough for most of the great masters. The impressionists sought to simulate the effects of pure light; with a computer they could actually have painted with it. And don’t you think Van Gogh would have given up his other ear for the miraculous experience of painting his sunflowers with yellow from God’s own palette, instead of with a glob of oil and chemicals?
You gain something, you lose something. That’s the way of the world. Your family bible is a pale shadow of a hand-lettered, hand-drawn, gold-tipped medieval tome; but in surrendering those features to the mechanical printing press the average individual gained private ownership of a book previously accessible only to a handful of priests and noblemen.
In the same way a digital picture, because it doesn’t exist in the literal sense, can be made to exist for the whole world. Joe Average can now collect the world’s greatest digital art. I don’t think we have yet begun to realize how extraordinary this fact is.
As to the value of the digital image as opposed to the “real” image…I don’t think there is much difference. If you don’t have a firm sense of color and design you will not produce a good digital painting any more than you will produce a good painting in oils. For me, the advantages are purely practical. A digital painting (once you have your computer and programs) can be created for free; an infinite number of changes can be made without damaging the image; size is irrelevant, so it is no more difficult to produce a large mural than a desktop image; and the “busy work” of waiting for paint to dry, etc. is eliminated.
I can come home after a ten-hour workday and complete a six-foot painting in two or three hours––a painting which, in traditional media, would have made a horrid mess in my studio and occupied a month of full-time labor. Would it really be sensible to reject digital methods out of some misguided devotion to artistic integrity––whatever that means?
Well, I am quite busy with hurricane cleanup and have simply jotted a few notes together. Later I will try to clarify, if necessary.
If you want a large digital copy, I will send you one on CD if you send me your home address. If you really want one stretched on canvas, I will check on the price and have it printed, stretched and mailed to you.
I am now selling art to an online service, and I have submitted this one for review. If they decide to sell it, it will be available (and affordable) to anyone who wants it, albeit in a small size.
•••••
As to the question of digital versus traditional art…well, of course there is much about traditional art that we all love, and that we are always sorry to see taken away. Artists trained in traditional media (as I am) respond emotionally to the textures and smells of real paint and paper and canvas. There’s an almost Pavlovian response to it. Digital art lacks this dimension; all it offers is line, value and color.
Well, I think that would have been enough for most of the great masters. The impressionists sought to simulate the effects of pure light; with a computer they could actually have painted with it. And don’t you think Van Gogh would have given up his other ear for the miraculous experience of painting his sunflowers with yellow from God’s own palette, instead of with a glob of oil and chemicals?
You gain something, you lose something. That’s the way of the world. Your family bible is a pale shadow of a hand-lettered, hand-drawn, gold-tipped medieval tome; but in surrendering those features to the mechanical printing press the average individual gained private ownership of a book previously accessible only to a handful of priests and noblemen.
In the same way a digital picture, because it doesn’t exist in the literal sense, can be made to exist for the whole world. Joe Average can now collect the world’s greatest digital art. I don’t think we have yet begun to realize how extraordinary this fact is.
As to the value of the digital image as opposed to the “real” image…I don’t think there is much difference. If you don’t have a firm sense of color and design you will not produce a good digital painting any more than you will produce a good painting in oils. For me, the advantages are purely practical. A digital painting (once you have your computer and programs) can be created for free; an infinite number of changes can be made without damaging the image; size is irrelevant, so it is no more difficult to produce a large mural than a desktop image; and the “busy work” of waiting for paint to dry, etc. is eliminated.
I can come home after a ten-hour workday and complete a six-foot painting in two or three hours––a painting which, in traditional media, would have made a horrid mess in my studio and occupied a month of full-time labor. Would it really be sensible to reject digital methods out of some misguided devotion to artistic integrity––whatever that means?
Well, I am quite busy with hurricane cleanup and have simply jotted a few notes together. Later I will try to clarify, if necessary.
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Primula Baggins
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I wonder if in time it will seem as silly to deplore computers for making painting "easier" as it would be to deplore them for making writing "easier." Certainly Dickens and Austen scratching away with quill pens had a more "organic" experience of writing, but I wouldn't try to claim that their works were better because of that one factor.
“There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.”
― J.R.R. Tolkien, The Return of the King
― J.R.R. Tolkien, The Return of the King
Will you please let us know when that print is available online?
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Primula Baggins
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Yes, please do!
“There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.”
― J.R.R. Tolkien, The Return of the King
― J.R.R. Tolkien, The Return of the King
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Voronwë the Faithful
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axordil
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There are still people who swear that any ms. that doesn't start as pen/pencil on paper is morally deficient. I tell them to get back to me when their mud and straw bricks have dried.Primula Baggins wrote:I wonder if in time it will seem as silly to deplore computers for making painting "easier" as it would be to deplore them for making writing "easier." Certainly Dickens and Austen scratching away with quill pens had a more "organic" experience of writing, but I wouldn't try to claim that their works were better because of that one factor.
I feel the same way, yov. It's part of our nature to want things to be "real." That's why so many people, in these days of perfect cinematic CGI, still prefer to see miniature models and people in costumes. Ask around, and you'll find that most people liked Yoda better as a Muppet.
That thinking will probably change, over time. But it may be many years.
That thinking will probably change, over time. But it may be many years.
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Voronwë the Faithful
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Primula Baggins
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Unbelievable. 
“There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.”
― J.R.R. Tolkien, The Return of the King
― J.R.R. Tolkien, The Return of the King
What is that photo being approved for, concrete sales ads?-
Voronwë the Faithful
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Lacks impact? LACKS INPACT? LACKS IMPACT?
Sorry to shout, but that's just wrong. Forgive my cynicism, but I suspect that what they are really saying is "too Christian."
Sorry to shout, but that's just wrong. Forgive my cynicism, but I suspect that what they are really saying is "too Christian."
"Spirits in the shape of hawks and eagles flew ever to and from his halls; and their eyes could see to the depths of the seas, and pierce the hidden caverns beneath the world."