Digital painting or any art produced with the aid of a computer is not everyone’s “cup of tea”. It’s new technology for many artists and technology they would rather ignore. It’s not as “personal” as traditional art processes, being less hands-on. There’s the chance to “cheat” and trace, to work from “borrowed images” and to not always be “original” in thought.

But isn’t this the case with (some) traditional artists too? I am not a fan of tracing, but I see evidence of this occurring on a regular basis. Many artists directly copy photos, and in some instances ignore copyright laws. Why is drafting film so popular with some artists? Why the need for so much detail and realism? As for originality, well, I’ll let you sort that out!

What’s then the problem?

Maybe it’s about attitude resulting in non-acceptance from some quarters.

How do you think the Impressionists felt when they first revealed their “new” painting style?

I’ve decided to head down the digital path as well as continue my coloured pencil painting. I believe the two can co-exist and I hope feed off each other.

My digital paintings will be eventually printed as single editions. I want them to be unique, special and collectable. My choice of subjects will vary greatly. It’s all about the original image and what I do with it, that counts. Some of my paintings will be quite abstract, while others will be more recognisable. My cp work is highly researched and planned, my digital painting will be more spontaneous.

I have already identified some themes and I have work ready to print. Now I’m ready to source someone who can produce digital work that is of archival quality. I am even considering buying my own printer and sourcing suitable paper. Epson and Canon have A3 printers that would suit my requirements. One has to deal with the reality of economics in situations like this. If the cost is right and the quality is up to my expectations then I will pay to have them printed.

Today’s featured digital paintings are quite different, and deliberately so.

  1. Late Afternoon Storm Near Bateman’s Bay – I wanted a “wet feel” and a “painterly” look. It’s late in the day and the failing light and rough sea adds a touch of drama to the composition.
  2. Foamscape – a composition featuring waves hitting Flynn’s Beach at Port Macquarie. This is more graphic and abstract than the top image and deliberately so. I see much potential for abstract work with this medium.

Each painting is 30 x 20 cm, and will be printed on A3 paper. They will be offered for sale either fully framed under glass, mounted or simply the artwork itself. Each work will be signed and guaranteed as a one-off.

Monday: Meet Tasmanian artist Robyn McNeil.



About artkleko

artist, art curator, art teacher, art judge, art critic
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  1. So many issues surrounding what we paint, how, why, etc. It is always interesting but sometimes when the head swims with too much analysing I want to get the art stuff out simply because I feel like art “play”.

    • artkleko says:

      How true, Evelyn. Art process is often underrated. No process, no product!

      • I am interested that you use the word “process” and identify that while this is an intergral part of the product it is also valuable in its own right.. In our product/ tangible result oriented society it can be overlooked. One of my art experience passions is Sumi E or Chinese brush painting/ Japanese ink painting. Apart from the fluidity of the brush strokes there is the meditative experience…. a Zen influence. One of the associated quotes I often present at my workshops on this style of painting is
        “the process is paramount”.

      • artkleko says:

        I have fond memories of a course I did many years ago of making traditional Japanese paper. The process was quite meditative. I still have some of the paper I made!

      • Wow. I would love to know more. I have made paper at the Creative Paper (old site) and have enjoyed making my own paper for many years even before that (use in my handmade books sometimes, also for sumi E style work. Too soft for some other purposes).
        How is Japanese paper making different from what we do with paper “soup” and a deckle and mould?
        I actually have a paper making and book making (from the paper) workshop coming up (June I think) with Leven Regional Arts, Ulverstone .

      • artkleko says:

        Traditional Japanese paper is made from the Koso plant and other fibrous plants such as corn stalks. The process is the same, except one needs to break down the plants by fermentation and then soaking. Size is added as well. I love all forms of paper making, Evelyn.

      • Thanks Richard. Yes some people here also start their paper making from scratch breaking down the cellulose in plant material to make their pulp. I take the easy way out and start with a previously broken down stock. I do however sometimes add a size to make the paper less soft. I also like adding some organic fibres such as seaweed to the pulp and have been experimenting with incorporating silk fibres from lustrous silk tops.

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