Further Along Tree 1 – Dan Beck – digital art painting 2008

This digital painting was finished over a month ago. The previous article showing the version of this painting which felt finished, balanced, and worth saving, – based upon the piece itself and not the original vision; was written over two weeks ago.

I guess it is rather apparent that my writing is not keeping up with my creating. Actually I find everything takes longer than expected – my head is generally way ahead of my physical world – but then that makes sense. How could matter move as fast as thought?

And why do we expect things to take the time we think things will take – even if we have done something before – it might take more or less time – circumstances are always different.

But most of us, including myself, have expectations about how long even things we have never done will take.

The finished painting above matched my concept and vision more closely as well as my expected timeline for doing a painting – there is more texture, more depth, more visual confusion – and more what I had in mind to begin with -

What is wonderful about art and life – is that sometimes the head gets to follow the body – follow the physical world – and sometimes the timetable of the physical world is smarter than the head.

See Also

• Timing Innovative Music – previous article about time and timing and sharing my own creativity
• Time Expectations – though I do not completely share the capitalistic sentiments, I whole-heartedly concur that our expectations affect the timeline of completing a project
• Digital Art Prints – about art prints, digital painting, and what it means for outhouse studios to produce original prints

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

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

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