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abstract world viewed close -mountains from a distance

Madras Mountains - digital painting / art prints - Dan Beck 2004

We are both at a slight disadvantage with this piece. This is intended to be quite large - large enough to be on a large wall and viewed from a distance and large enough to be able to see the abstract and pleasing art style up close.

I have the advantage of having seen sections while painting it and even seeing a print with a 12.5 x 16 inch image.

However, I have not printed this large - I have deferred to other pieces which are also more interesting small - figuring they are better pieces.

But I know this to be quite cool - and perhaps someday I will get the opportunity to place the piece in a setting which will do it justice and allow for the size print it warrants.

See Also

• Madras Mountains
  See what a big original art print would cost - for the giant wall aching for some Madras Mountains
• Understanding Abstract Art
  Sometimes artist does a good job at explaining abstract art - good selection of pieces to illustrate - his own work is generally about feeling - color - texture -and no or little form

texture, color, and quality of ink are unique to these art form

Two Pick - digital painting / art prints - Dan Beck 2006

This like many of my more recent works fills the 13×19″ watercolor page. It looks complete at that size, but should also enlarge nicely beyond that.

Apart from the two figures and the story behind them is this incredible texture found though out the digital painting. Computer art has such a wide range and can be painterly to futuristic.

I am almost always thrilled after printing one of my digital art images. There is this quality to the color and texture which is fluid like a watercolor, but rich more like acrylic or oil paint.

This is really a unique arena. It is a shame that the only way to see these in person, is to see them in a show or buy one. I suppose that is no different than a painting vs online, but until you see how these look printed - there is no real frame of reference.

For art prints of the above digital painting, please email specialorders@outhousestudios.net.

See Also

• Hoe Dance
  Two figured painting from an earlier time
• Frames of Reference
  Perhaps a little heady - but it is all about how we see

Development of Matting and Framing

Framed Art Print - Composite Twilight

It took me a long time to develop the way I wanted to frame the 13×19″ prints. When they are formatted to have an image approximately 12×16″, I felt they should fit inside a 16×20″ frame.

As you will notice above, this does not leave a huge border. In addition, you might notice that the print has a small paper edge around it. I wanted the print nature to be clear.

I also wanted it to be simple enough to fit in with any decor, but allow me the use of some color to bring out the image more. The sliver of color - dusk grey above - is all it takes to accent the art print.

There is also enough room so the print itself can be signed on the paper border - rather than the matt board to possibly be lost years later.

Most importantly, it has a unique feeling - almost like a stamp. You can feel the image almost push out against the frame strengthening the power of the piece itself.

See Also

• Composite Twilight
  Options for Art Prints for above piece
• Printmaking - Wikipedia, the free encyclopedia
  Nice resource on various types of printmaking
• Print Design vs. Web Design (Alertbox)
  Found this and thought it worth sharing - how opposite printing is from web images - hmm

digital image size and art prints results - specific to piece

Day Scene - digital painting and art prints - 2006 - Dan Beck

Yesterday’s article discussed tackling of similar problems in new ways and the general creation of this piece above.

Today, I hope to talk about it from a different angle. But like the previous article, I will be looking to take on a topic I have touched on before.

The art prints from this digital painting are special in several ways:

1. they fill the 13×19" sheet of watercolor paper - leaving a very tiny margin of white
2. they look complete at the 13×19" size, but also look enhanced when printed larger
3. they are printed with archival pigment inks and will last for generations
4. each print is an original - as it is not practical to frame the digital image
5. each print has color, depth, and texture which surpasses the digital image.

If you have interest in this piece or any others on the blogsite, please email specialorders@outhousestudios.net and indicate the artwork of interest.  Thanks.

See Also

• Experimental Fields
  Options for art prints - would be similar to work above
• PCWorld.com - A Photo Printer for Generations
  Admittedly an old article, but ink longevity has not been surpassed - results compare to newer ultra-chrome inks

Like lithograph, serigraph and etchings but no degradation

Below is the "Returned Response" to the email question below or found at Digital Art Question.

Hi Roger,

Thank you for the note.

There is original as in the case of a monoprint and then there is original as in the case of a lithograph, serigraph, etching or I suppose even an artist guided giclée (even though it wasn’t necessarily designed with that intent).

Digital art prints fall into the latter category. I do know one person who does digital work and prints without saving - but to me that is a waste of the medium.

Part of the beauty for me is that it is a way of potentially mass producing original works.

Having said that, I do limit my larger sizes to just 10 pieces - following the fine art photography guidelines which I got from a gallery in San Francisco - but somehow I think this is new territory and there are no real rules yet.

There are definitely difficulties in the language in a lot of areas; for instance I don’t view my work as being generated by a computer in any fashion - powered perhaps.

But I think a lot of this is semantics - finding the right way to explain what one is doing takes practice and experimentation.

I hope what I have said is of some help. Thanks again for your interest.

All the best,

Dan Beck
danbeck@outhousestudios.net
http://www.outhousestudios.net

See Also

• Poster Art Prints Evolve - innovative, digital, original
  Outhouse Studios explanation of original digital art prints
• The True Story of Giclée
  History and different take - slightly commercial but explanative

April Fool’s Email - Original Print?

I received this email today and April Fool’s - the return address did not work - and since the response was pertinent and I couldn’t actually give it after I had written it, I thought I would go ahead and print both.

Sent: Saturday, April 01, 2006 12:59 PM
To: info@outhousestudios.net
Subject: Digital Art

Hello Dan

I was most interested in your site and what you have to say about your work and to pass on this brief note to say how much I enjoyed it.

I am often asked by the general public what is an original print? I am sure you get asked a similar question about your original computer generated printed work. I find such questions difficult to reply to even if the work is hand drawn.

I wonder if when you print one of your pieces if you destroy the file so that image is also offered as unique or is each painting printed as an edition of say 50 or so?

With regards

Roger

See Also

• Digital Art Discussion at Outhouse Studios
  Not so much definition as expectations and semantics
• Digital Art - Wikipedia
  A Linking Cornicopia of Digital Art Related Topics
• Article: Life - ‘Original prints’ makes quality art affordable
  Though article is more on lines of giclee - good intro discussion

Concept Development & Aesthetic Balance

A different description - see Animated Version

In yesterday’s article or below I discussed going back to my original Logo/Flag for a number of reasons. But being the person I am, I couldn’t help myself playing around with a different concept describing Outhouse Studios.

The above image has a hand on a stringed instrument and a hand on a mouse and color pouring out of what represents a simplistic monitor. When animated it becomes more obvious - but it would not surprise me in the least if the image were not well understood.

For instance, why is the hand on an egg?  I could have done the image a few times until it was clearer - and probably would have if it were for someone else; but I liked it as is.  I liked the oddly shaped unequal sized hands;  and I liked it with just this amount of color - for aesthetic balance and for how much truer the works become once they are printed.

These images (below and on my site) are very close to intended viewed over a monitor. That is the way they were created, but it seems they truly become real when printed. I don’t know if that is our conditioning to art or the way the pieces actually look. But as I have alluded to in many different aspects of art and life - either way it is the reality.

See Also

• Writing Consistenly Across Media: Ten Proofreeding Tips
  Touches on yesterday’s Branding discussion and today’s need for Printing
• Reality Cracking: the most difficult reversing art
  Touched only the surface of site - but discusses conditioning vs reality in many different essays and ways