Contemporary Nostalgia-a Process

I am always asked about my working methods, so for this blog, I have chosen a to break a recent piece down to demonstrate how I take an idea I have bouncing around in my head and finalize it using my photography, textures, and digital hand painting techniques to create a photobased digital fine art piece.

However, before I begin, I would like to say that as both a digital artist who has worked in the commercial world as an illustrator and concept designer for the last 12 years and as a photographer, who has studied photography since 1998 in art schools ( Hartford Art School and The Maryland Institute of Art, aquiring my BFA/MAT/MFA) I am passionate about defending both as separate "art forms". I will label all my works accordingly, so as not to take away from either field, nor contribute in anyway to the mass of confusion that exists between those two "worlds."

In my opinion, "Fine Art Photography" should be, photography that is created utilizing methods that mirror what we have been able to do in the darkroom and outside of the darkroom during the film days. The reason being is that the digital arts have been, for the last 20 or so years incorporating elements of the photographic picture within various processes used by digital artists. These techniques have been firmly established as digital art techniques and are recognized as such in the commercial/editorial realm and now within the "fine art world"(as slow as this later recognition has been among the upper echelons of the fine art world, who on the broad spectrum still view digital art with an err of caution and a touch of hokem.)

The fact that we have photographers utilizing extreme techniques that are conventionally used in the commercial/editorial world labeling their work as fine art photography, is adding to the confusion of what digital art is and what fine art photography is. Having said all this, those of us who have been trained in the digital arts world, can instantly recognize a doctored photo. Especially those photographers labeling their work as SOOC or done with "minimal" processing. We know who you are!

Nothing gets me so heated as seeing someone using their Photoshop skills to create a photo manipulated image and passing it off as a SOOC image to the general "gullible" public. Or using digital extremes to elevate a photo into the world of "digital art" but labeling it as "fine art photography."  I also have a major issue with a digital painter using a photo as a base and smudging the crap out of it, doing this doesn't make it a "DIGITAL PAINTING". That is still a photo based digital art piece. A true digital painting is, from start to finish, an image that begins as sketch, as in the traditional form, and is then painted digitally.

There are many shows and galleries now, requesting to see the digital working files and the references used  before accepting images, whether they be digital art or photographic art. Which is WONDERFUL news to me, as I do not want to see either art form lost to each other.

There will be new technology on the market that embeds, like a digital thumbprint, a strand of hexidecimal code into photographic and digital works that will in a sense, store all the information of that image. Meaning any digital art creations, will carry the code of ALL pieces of photography, web found images, and copyrighted images, etc within it! I am waiting patiently for this creation to come to fruition as such technology will greatly help in copyright issues.

The image that I am demonstrating with here, is what I would personally label as Photo based Digital Fine Art and not Fine Art Photography due to the amont of digital processing I used to create it.I created this one quickly, so I don't consider it to be at its best where technical skill is concerned. I created this for this blog.

 

 

The image above, is the main piece I am using for the final photo based digital art piece. My computers are custom built with the best processors I can have (or afford at this point and time in my career), as the only way to truly create print ready digital fine art, is to work as LARGE as possible, scaling and reduction apply to digital art just as it would with illustration and art created by traditional media. If I am creating a piece of work for a 10x10 print size, I generally work with 20"x20" at a MINIMUM of 300dpi, sometimes higher and sometimes larger. The final digital image resulting here, will be 80"x80", roughly over 6.5 feet, because I want the print to be 3.5' by 3.5'!

 

I use Wacom Tablets (Cintiq and Intuous), for final editing and proofing, I use a HDMI cord attached to my large screen TV to go over my image wtih a fine tooth comb. I just have to make sure the color calibration of that screen is similar to  what my computers are set at.  The large screen TV works nice and to be honest, I don't want to shell out 10k or more for a computer monitor that size, I am not a large scale commercial studio, so I have no need for that equipment, but if anyone wants to give me one, I will gladly accept it! On a side note, some of James Cameron's computer screens for the creation of  Avatar cost in excess of 400k.

 

People with limited processing capabilities may work at the 3.5'x3.5' size at 300dpi or more and hope for the best. Or they may work as large as they can at 72dpi 110"x110" or larger. But I have generally found that the larger I work both in DPI and actually image size, the better, tighter, cleaner, the final image is when reduced down to the actual print size.

 

I also want to note, I DO NOT ADVOCATE the usage of ANY commercial print company for the creation of true giclee prints etc, (as in meets the standard for archival and collectible insurance requirements). I use FAA to offer general customers an affordable option to true Giclee prints while offering published prints directly from my studio or if the job is too large, from my favorite fine art printer to the collectors who want a piece that can be registered, insured and handed down for generations. If you are wondering why the upper echelon collectors of the art world don't waste their time on FAA, Cafepress, Zazzle, etc, it is due entirely to the print quality etc. You can look for a blog about how to print true giclees and will be listing some wonderful fine art printers that I recommend for their quality of published prints in the future!

 

will be using the foreground of this image

 

will be using the background area of this image

merged backgrounds but not blended...see the line across the bottom

 

playing with color balance, shadow, of the subject image

still playing and tweaking

 

starting to blend the the two background images together

 

still blending and playing with colors and levels in the photo

I moved the subject image to the created background and decide I didn't like the background

 

I have taken out the distant portion of the background

I added more foreground to play with depth of field

I decided to add hounds from another image I had, what's a Master Hunter without a few of his hounds?



Added more to the sky with cloning and digital hand painting. Also decided to make the sky more "moody".

Tweaked the sky a little more with blue and the photomanipulation part is "done".

Prepping the final photomanipulation to get it ready for the digital art processing with textures and such. Basically playing with color, sharpness, shadow/highlight, grain, etc.

 

I am playing with four textures on top of this image after placing an ochre overlay set at 45%

 

I ran my dream blur action over the piece and applied three more textures to give it a vintage look and tone down the piece. This step is done to personal taste level as some may like the look of the above piece better, especially if they like saturated colors and a sharper look.

Slightly more tweaking of color which you may or may not be able to tell on your screen at this size, watermarked and done! Well, done for now. So in short, this was a rather "quick" example of a photo based digital art piece, which I entitled Contemporary Nostalgia. Centuries old sport and a Master Hunter Checking his Iphone :)



The beginning

Well, I am making an effort to actively blog and keep people in the loop when it comes to what I have going on in the studio. I have become rather efficient with juggling motherhood and a career, however I am still in search of a part time babysitter/nanny for 2-3 days out of the week. The search has been rather exhausting, and despite living about a hour outside of DC, I am located in the middle of "nowhere" Loudoun County Virginia.

It is hard to find someone who is near by to me or willing to make the drive out this way to watch a 16 month old for a few hours a couple times a week. But regardless, I am managing and I think I am doing quite well with it.

This week I begin working on a large commission of a chestnut warmblood with a little girl for a client located in New England. She sent the following pics;

 



I am creating a larger 16"x20" colored pencil piece and have been brainstorming ideas in my head over and over. Since the reference shots are not ideal for compositional planning but still serve as a means to study my subjects' likelinesses, I sought out to take my own quick reference shots. Typically when I receive images from clients for fine art pieces and or illustrative/commercial work, I always end up shooting my own references or purchasing stock etc. In the end I want the best piece possible, one that the client will thoroughly enjoy forever!

I brainstormed a bit with the client over ideas/musings I had. I want to create an image that tells a story, in this case a bond between a human child and a horse. A moment captured! My mind envisions a young girl out in a scenic field with her chestnut gelding interacting in a very gently loving way. I feel having the horse depicted in the stall is too limiting and being able to see him entirely is a key goal. In my mind the image is mostly about the horse so I want him to play the larger role in the artwork and be the central/dominant subject.

My colored pencil work has been collected quietly by many clients over the years and as far as I know I am the only person who works with colored pencils they way that I do. I haven't met anyone who utilizes the methods entirely the way I do yet. Its been a process of trial an error until I perfected the technique that I have come to use. I will be sharing those techniques here!

I haven't a name for my technique yet and everyone is always shocked after seeing my works to learn that it is colored pencil I am using. Most people think its either oil pastel or acrylic until I tell them otherwise. I will be documenting my step by step progression on this piece here on my blog. I am really trying to make a valid attempt at documenting everything and showing everyone what I do.

Since leaving the teaching world I have been able to focus entirely on my art and photography and for the first time ever I am doing what I love and loving every minute of it. While I was teaching I was rather quiet about my art career as I didn't want to create a "conflict of interest" especially since in the commercial realm some of the subjects I work with  are adult natured, I didn't want to ruffle feathers or draw an unnecessary attention my way.

Now, however, I have free reign to create and lately I feel like the artsy Mad Hatter who has just stepped forth in an explosion of artistic fury and I am liking it! Ah, I digress, now back to the reference shots I took.

A new boarder at my friend's barn has two little girls, Karlee and Emma and a big chestnut mare. I asked her if she would be willing to allow me to use her girls and her mare Porcia as reference for my artistic endeavors. She was very excited and agreed.

The reference shots were just quick, nothing fancy, no pro photography work, to get concepts and ideas that I had in my head, hashed out somewhat visually so I had something to work from. Of course I did squeeze in a session with the little girls and took some nice pictures of them for their mom as a way of thanking her for allowing me to use them :)

BW version from above

There are still a lot more images from this session :)

 

I took several reference shots of the girls randomly and candidly interacting with their mom's mare Porcia. These shots are not fancy, they merely represent conceptual ideas that are dancing around in my head for this work of art. I am closely studying the horse and her body language a well as the girls'. I must be spot on when depicting emotion and capturing that "magic" moment. The girl's head in the image is going to be facing the horse so her body language and the way she is interacting with the horse has got to be perfect in order for me to tell the story I am wanting to tell.

 

Here are some of the shots (keep in mind that the horse will be the client's horse and not the horse pictured, I am only using her image as a reference source, same goes for the little girl). I have made notations by the images I favor.

 



This image is my favorite in terms of the horse reaching towards the little girl. I would depict the horse's entire body along with this reach if I choose to use this. The client is also currently looking over the images and will share with me the images here that speak to her the most.

I like the little girls legs and lower portion of her body here in this image

I like the girls upper body positioning and her gently touch on the horse's nose



Hoofbeats and Heartbeats First Annual Benefit Raffle

Giving back plays a very big part in my life and my artwork. I make a habit of donating to many animal rescues and rehabilitation programs. I have decided to start a new annual art raffle here at Shadow Horse Studios LLC that promotes a selected rescue/organization each February, just in time for Valentine’s Day!

The Hoofbeats & Heartbeats Benefit will be an online raffle where Shadow Horse Studios's Fans have the opportunity to win an original work of art while supporting a chosen rescue/organization. This year’s piece entitled, “True Gold, is a 6”x6”oil on canvas mounted Board. Each raffle entry costs $1.00 and you may enter as many times as you would like.

This past year I donated a few prints to the Second Wind Adoption program at Crossed Sabers Stables which brought new clients my way. I am very grateful for the clients as I am jumping back into my art/photography full time and have just started really utilizing my FB page and other social networks to promote myself. I don't like spending money on advertising as I have found word of mouth goes a long way and is the most beneficial for me and potential clients, yet, I do want to actively promote myself to reach other potential clients but in a way that helps others out. In lieu of paying out the ears for advertising I find that many of the social network platforms have a longer reach than most printed magazines and for now, it is free! Plus, I have the added benefit of knowing all money earned and items donated went to a cause that truly needs the support, especially in these hard economic times.

ALL MONEY raised goes towards Second Wind Adoptions at www.crossedsabers.com I will be posting further information about the Hoofbeat and Heartbeat in a few weeks. The raffle will go live via the Shadow Horse Studios LLC Facebook Fan Page on a secure page on the first of February that only fans will be able to access!
Stay Tuned...

To find out more about their program visit http://www.crossedsabers.com
If you are an animal rescue organization and would like to be considered for our art raffle in the future, please contact me directly at lwarren@shadowhorsestudios.com I am not limiting my raffle to horse related causes only, wildlife, rehabilitation efforts, all animal rescues and or organizations will be considered!

Facebook First Giveaway

I have a bone to pick with those contemporary art shows that do not hold digital art categories. These shows are to me, not only antiquated, but are demonstrating a closed-minded attitude -which is an incomprehensible abberrant behavior to be practicing in the world of art. Luckily such shows are becoming far a few between. Times are changing and all medias used to make art, should in fact, be allowed.

There are some of us who remember the times when artwork generated from photo references where "snubbed" and more recently the pictures taken with digital cameras. Computers are only the next step of progression in the art world and technology isn't going away any time soon. So let us all live in the present! For those of you who still do not understand digital art and painting created using such programs as Corel Painter or Adobe Photoshop, please just type in "digital" painting in your next google search and please do not confuse "photomanipulatoin" with digital painting.


I am also creating a new piece for the first ever Shadow Horse Studios LLC print giveaway. This piece is a digital equestrian themed piece but I will be offering wildlife, landscapes, seascapes, fantasy, as well as traditional made artworks in future giveaways as I realize that not all of my fans are here for my "horse art" or my digial art but my other art as well!

Like always, my print comes with a certificate of authenticity and all my Giclee prints are created on archival Somerset Velvet or Archival Canvas. My first giveaway will be on Somerset Velvet. I will be posting more information on this giveaway in the next couple of days but for now I will share the sequence development of the artwork! You must "like" my fan page to take part in my giveaway.

Here are the first few stages