This updated Study Proposal for Unit 2 should be read alongside my original Study Proposal https://terencemquinn91.org/2016/10/19/ma-fine-art-digital-unit-1-project-proposal-original/ and together with a comprehensive review of progress to date https://terencemquinn91.org/2016/10/02/review-of-my-project-proposal/. This review also includes reflections on my personal artistic journey since starting my MA, and explains why I have updated my Study Proposal for Unit 2.
Highlighted in bold are achievements and changes from the Original Study Proposal.
How technological innovation can provide new opportunities for the artistic presentation of the human form
Aims and Objectives:
My aims are to explore how far digital methods can extend the artistic presentation of the human form beyond traditional life drawing and to demonstrate this by producing distinctive and differentiated artworks in both physical and digital form.
My objectives are:
- To research how’ artists use technology in their practice, specifically:
- The history of how artists have adopted new technology
- How contemporary artists have taken advantage of digital today, in particular in the presentation of the human figure
- To research recent technology developments and how these might be employed in my own practice, specifically:
- The use of digital devices to further express the model’s character in the artwork
- 3D scanning and sculpting
- 3D drawing and display including holography
- 3D animation of the drawn and painted figure
- Viewer interaction with the presented image
- To use this research to contextualise my own life drawing practice.
- To produce distinctive artworks to support my research.
With the exception of the highlighted objectives above, all have been achieved in UNIT 1. Other objectives remain, as I see them as ongoing, but my focus for UNIT 2 will be those highlighted above. If there is time I will also make another foundry bronze.
My success criteria are:
- To have understood the attitudes of artists towards the adoption of new technology in their practice and how that enables them to produce new valued works of artistic expression. I have interviewed several well-known artists and these interviews are recorded in my blogs.
- To name the contemporary artists I wish to be judged against. To date they include Antony Gormley, William Kentridge, and Lorenzo Quinn, who all make digital to physical artworks. I expect to add others who inspire me from my work in UNIT 2.
- To produce distinctive and differentiated works of which I am proud, and that are well received in the fine art community I feel that I have achieved this for my digital to physical artworks, which are described in my blogs. I now aim to produce distinctive works that are immateral in their final form.
This has altered very little from my original Project Proposal for Unit 1. I have highlighted significant changes in bold.
A life drawing, painting, or analogue photograph is a two dimensional image of the model seen from a fixed viewpoint. Due to the limitations of the medium used, this is a necessary abstraction of what the artist actually observes.
In a lecture given by Professor Stephen Farthing, RA (‘Drawing Large Amounts of Information into a Manageable Form’, University of London, 13 October 2015) he describes drawing as “a two dimensional image of a three dimensional event”. In his book ‘Art as Experience‘ John Dewey’ states “the very attempt to present three-dimensional objects on a two dimensional plane demands abstraction from the usual conditions in which they exist” (1934, The Expressive Object, Ch.5, p.98).
Artists, when creating an image from the human figure, can be viewed as falling into two genres: Those who wish to make the work as realistic as possible and those who prefer to create ‘abstract art’. I aim to explore how digital means offer new opportunities for artistic expression for both approaches. However, as my own taste is for a realistic or semi-realistic outcome, my research and works will necessarily lean in this direction.
From cave drawings onward, artists have continuously experimented with new ways to give a sense of visual depth and three dimensionality to something that is naturally flat. A major development in this respect was the use of Perspective. ‘The system of perspective we take for granted today is a relatively recent discovery in art history. Before the 14th Century little to no attempts were made to realistically depict the three dimensional world in art in which we are now accustomed to seeing it’ (Op-art.co.uk, Op Art History Part 1: A History of Perspective in Art – Art Before Perspective). An example of an artwork painted just before the use of perspective is ‘The Calling of the Apostles’, c1308-1311, Duccio di Buoninsegna.
Historically, the desire to achieve realism is evident from the works of many artists, who attempted to overcome the limitations of the available mediums of their time, some using the technology of their day to help them achieve this.
An early example of using perspective in painting can be seen in the work of Jan Van Eyck, a Netherlandish painter. The Arnolfini Portrait is an oil painting on an oak panel dated 1434, painted in Brugge and displayed in the National Gallery, London. It is unusual for its time in its use of orthogonal perspective, that is the use of imaginary lines
disappearing to the vanishing point. This gives a sense of depth to the work even in the faces of the man and woman in the picture as well as in the room they occupy.
In order to gain perspective Van Gogh employed the use of a wooden Perspective Frame which he wrote about in his letters, and justified its use by saying that earlier masters had
employed it (VanGoghReproductions.com, Perspective Frame). J.M.W. Turner used a different device. David Blaney Brown’s book J.M.W. Turner: Sketchbooks, Drawings and Watercolours (2012, Penguin) refers to Turner’s own ‘Diagram and Notes Relating to Perspective’ in which he describes a clapperboard type device which he used for the same purpose.
Conversely, at the beginning of the twentieth century artists such as Henry Matisse chose to move in a different direction, towards ‘abstract art’, placing a greater emphasis on visual sensation than the realistic depiction of objects. This approach was more recently endorsed by Henry Moore who said “Art is the expression of imagination and not the imitation of life” (bbc.co.uk Archive of British Sculptures) and depicted in his semi-abstract monumental bronze sculpture ‘Two Piece Reclining Figure No.5’. John Dewey meanwhile has concluded “The conception that objects have fixed and unalterable values is precisely the prejudice from which art emancipates us” (1934, Art as Experience, The Expressive Object, Ch.5, P.99).
Latter day artists from both abstract and realistic genres also use other approaches to bring life to their work as can be seen in representations of movement. Examples include Marcel Duchcamp’s abstract painting ‘Nude’, 1912 and Gjon Mili’s realistic photographic rework of it in 1950. Both show overlapping images of a nude descending a staircase.
The digital age has exploded the opportunities to make images both more lifelike and dynamic as well as more abstract. Digital photography, video, and photo-realistic digital painting, together with the use of micro-processors or digital devices, can be used to bring our senses into the artwork, enable the viewer to interact with it, or create abstract art from data. Sound and visual special effects, or video projection on a huge scale, plus the transmission of created images and sounds to far away locations, can also be employed to great effect.
An example that combines digital with traditional drawing is an installation I saw recently at the Marian Goodman Gallery in Soho. This was a dedicated exhibition of William Kentridge (24 October 2015 ‘More Sweetly Play the Dance’) and the keynote work is of the same name. An African tribal caravan is presented moving continuously around the walls of a room in a large gallery. Connected multi-display screens are filled with movement, energy, and emotion. For the viewer this is an immersive experience, with individual animated videoed figures against a drawn landscape, each holding, pulling or interacting with a drawn object moving continuously around the walls to the sound of a marching band.
James Alliban’s installation ‘BiPolar’ (1992), uses a Kinect and a microprocessor to detect and manipulate a person’s image in a mirror. A person’s reflection is distorted by the sounds in the room, including a haunting track of his chosen music, and the proximity of the person’s body or body parts. Spikes all over the body project outward towards the person looking into the mirror, at various rates and intensity dependent upon the closeness of the person to the mirror and the beat and rhythm of the music.
I am interested in exploring the niche of artistic representation of the life model because most work of this type remains in the domain of the traditional artist. An artist draws in pastel or charcoal, paints in water colours or oils, or sculpts in clay or stone. The modelsits still and silent in a studio, and the viewer remains a distant observer of the finished piece. Excluding sculpture, the drawing or painting still remains a two dimensional image from a fixed viewpoint. In all cases the model is a still object in the finished piece and not an integral participant in it. Personality can only be suggested, because the model has novoice and no movement. The viewer of a drawing or painting cannot see the three dimensional reality observed by the artist, only the suggestion of it. This also applies to both analogue and digital photography.
Until quite recently, technology was not available, affordable or within the technical reach of artists to draw or paint in a traditional way from life in three dimensions or to animate their work. Even digital 3D figures are usually painted in a 2D snapshot of the character because of limitations to most available software, which often takes years to master. 3D animation is also employed in the film and computer gaming industries on expensive and technically challenging projects that are either photo-realistic or involve fantasy semi-human characters.
I can see an opportunity to change this by using more established digital techniques not usually employed in the artistic representation of the life model and other figures of the human form, and by deploying recent advances in hardware and software.
My concerns are finding exemplars, mentors, technical support and facilities, as well as the limits of my own financial resource, and the time it takes to become competent in the various digital programs to enable me to achieve my desired outcomes.
Through my research I aim to overcome my concerns and deploy feasible digital advances in my practice. This will enable me to achieve my aim of producing distinctive and differentiated artistic representations of the life model.
For My Artwork
To achieve my aim of seeing how far digital methods can extend the artistic presentation of the human form beyond what you usually find today, I will start with one of my existing traditional life drawings in charcoal and contrast that with other pieces or installations that progressively extend into the digital arena. I would like to find an approach that nobody has used before and which perhaps may be adopted or adapted by other digitally inquisitive artists.
By using methods already demonstrated by other artists as a starting point, but combining them in a different way, I hope to introduce some innovation from the outset. I will then move into approaches practiced by different areas of the visually creative industry that as far as I can determine have not been applied (or hardly applied) to life drawing before. Finally, I will attempt to use leading edge technology in the presentation of my work.
I know these aims are ambitious, particularly in the time available, so I will travel as far as I can along this path. I may not get to the end, indeed this is quite likely, particularly as I wish to present a continuum of work to demonstrate the progressive use of digital in my practice, rather than just one piece for my final exhibition.
Essential to this objective is my use of whatever technological shortcuts are available. I will only learn and practice elements of new software and techniques that are directly relevant to the pieces of art I aim to produce.
If there are examples I can borrow and change for my purpose I will do so, if to start from scratch is impossible in the two-year timeframe of my MA. This approach is supported by a quotation made by Jonathan Letham ‘’All art exists in a continuum of borrowing’’ from an article he wrote in Harper’s Magazine, February 2007 ‘The Ecstasy of Influence – a Plagiarism’ and presented at a recent lecture I attended at the V&A on the topic ‘Friction and Fiction: IP, Copyright and Digital Futures’ given by a keynote speaker Dr JR Carpenter (Writing on the Cusp of Becoming Something Else, 26 September 2015).
I will make a prototype for each outcome, which will be a fraction of the desired result but sufficient to test whether the outcome is realistic and practical in the time I have allowed. Only if it is will I continue with it. In the prototype, I need to check the quality of each outcome. Only if it is of high quality will I proceed to the finished result.
For me this is a journey of experimentation and discovery extending my life drawing practice into areas employing digital means that I have not undertaken before, and which others may find innovative and full of ‘life’ and ‘truth’ in its artistic expression.
For My Research
There is practically no limit to my research if I start with all forms of visual art directed at life study of the human body. So I must set strict boundaries. I will therefore focus on artists who have directed their work away from that of their contemporaries to take advantage of technology changes, in particular those who have focused on work representing the human form.
I will begin with a study of the different art movements where innovation in materials or approaches pushed the boundaries of common practice of their time.
I will research past and present artists who have used digital methods in their practice to produce different forms of visual art primarily using the life model as the focus of their work.
I will examine how artists are currently deploying the latest technologies in my artistic territory, and examine the possibilities that are opening up today. In particular, I will look at the work of some current day artists who have been immersed in more traditional practice
but are now leading the way in ‘digital art’. I aim to conduct some of this research through interview with the artists concerned.
I will document my research in my WordPress blogs.
Jonathan expressed concerns over my Original Project Proposal, commenting “Terry you have 5 MA’s there”. These concerns proved to be unfounded, as even more substantial projects were completed than originally planned. Most were brought forward from Unit 2, and others were added.
Project 0 Completed
An existing traditional life drawing of my model, Vanessa in charcoal taken Completed from my current completed works (Vanessa reclining, charcoal)
Project 1 Completed
A life sized painting in a minimalistic style where narratives spoken by the model are heard when the viewer touches different parts of the body in the artwork (Unrequited Love)
Project 2 Completed
A large sculpture in angled slices of MDF (Vanessa, in 244 pieces of laser cut MDF 1m tall)
Project 3 Completed
My MA Show Display Metamorphosis consisted of a work in three connected parts representing Vanessa’s metamorphosis from an injured professional contemporary dancer and choreographer to a life model at the Royal Drawing School, Buckingham Palace:
A 3D scanned and 3D printed (laser sintered) plaster sculpture of Vanessa in life pose 75cm tall, to represent ‘perfection’.
A foundry bronze of Vanessa’s head morphed to represent ‘stress’.
A Book entitled Metamorphosis, which when touched triggered Vanessa’s story in her own words. This deployed conductive materials, remote sensing, and Arduino.
Project 4 Completed
A triptych showing Vanessa in three morphed poses with her face looking at them. Total artwork size 3m x 75 cm on digitally printed canvas. It will be exhibited at the Fine Art Digital Pop Up Show this November.
Project 5 Completed
3D Scanning, 3D Printing, and Digital Printing Workshop for CCW Digital Pop Up Show, Chelsea earlier this year.
The following are my planned projects for the rest of UNIT 2
Import a rotating or animated 3D file of Vanessa into Google Tilt Brush, to be displayed holographically on a plinth, supported by a large projected video in the background, of Vanessa in her professional life as a dancer. A 3D Holographic Display is on order for delivery in Q1, as is a Microsoft Hololens development edition.
For Tate Exchange at the Switch Building, Tate Modern in Feb/Mar 2017:
Alice Through the Looking Glass
Essentially, a 3D video and interactive painting in VR/AR.
A collaborative project with Aurelie Freoua, Vanessa Abreu, and possibly Double Me, the London based AR research arm of a San Francisco company, undertaking AR Research at Ravensbourne, which has said it will work with me to produce a 3D video in Virtual Reality.
An intervention/interactive series of works using Google Tilt Brush in VR with the VIVE, Microsoft Hololens Augmented Reality, Holus Plus Holographic Display, and Google Cardboard with Kinect tracking.
A continuation of work in CSM Digital Fabrication and the Camberwell Foundry. To make a morphed scanned face sculpture in foundry bronze directly from a 3D Scan and 3D printed in castable PLA. This will be a bust of myself using the Veronica Scanner recently exhibited at the Royal Academy of Art
Project 9 MA Show Project
A selection or combination of work done above to represent an artistic idea. I am continuing my tutorials with Prof. Stephen Farthing to ensure that the result is a meaningful piece of art, and not a demonstration of technology in art.
My original work plan for terms 1-4 to date has been completed or substantially exceeded, with projects originally planned for Unit 2 being brought forward.
To date, I have less blogs than previously planned, but the ones I have are very substantial, and currently total in excess of 50,000 words plus recordings of artist interviews. I have completely revised my work plan for terms 4 to 6 as below.
Terms 1-3 Please refer to my work plan in my original Project Proposal.
Read one book from Bibliography every few weeks
Visit one relevant Exhibition or attend one External Lecture every few weeks
Carry out set assignments
Attend Tutorials and Lectures
Publish WordPress Blogs
Research for Research Paper including artist interviews
Write and submit Research Paper
Complete rest of work for Unit 1 Assessment
Complete rest of work for Unit 1 Assessment
Project 7- Practice VR using Tilt Brush, Vive and Google Cardboard
Visit Double Me/Ravensborne for AR Hololens
Visit Waddesdon Manor for Veronica Scanning
Project 6 – Finish making for Pop-Up show
Project 6 – Pop Up Show
Project 8 – Make morphed castable 3D print of own bust from Veronica scan
Holiday in Koh Samui & Sydney – 4 weeks over Xmas and New Year with my son and his family.
Read one book from Bibliography every few weeks except low residency and Exchange. Visit one relevant Exhibition or attend one External Lecture every few weeks
Carry out set assignments
Attend Tutorials and Lectures
Publish WordPress Blogs
Project 7- If available, test H+ Holographic Projector by displaying the same VR/AR images created for Vive and Hololens
Visit Double Me/Ravensbourne to record 3D AR Video of Vanessa dancing
Project 7- Preparation for Tate Exchange
Project 7- Final preparation for Tate Exchange
Exhibit at Tate Exchange
Attend low residency
Weeks 7-8 Attend low residency
Project 8 – Prepare castable 3D print to make foundry bronze
Project 7- Exhibit at Tate Exchange
Project 8 – Prepare castable 3D print to make foundry bronze
Project 8 – Make foundry bronze
Finish & Publish WordPress Blogs for Completed Work
Reflection and catch up on uncompleted tasks
Formulate idea for Final MA Show
Read one book from Bibliography every few weeks except MA Show.
Visit one relevant Exhibition or attend one external Lecture every few weeks
Carry out set assignments
Attend Tutorials and Lectures
Publish WordPress Blogs
Project 9 – Make final MA Show exhibit including finishing foundry bronze
Transport projects to Camberwell and test
Set up final projects for MA Show
MA Show – Final Exhibition
Tear Down of Final Exhibition Projects
End of MA
Below is a list of references used for my early research. Additional references were added for my Research Paper, https://terencemquinn91.org/2016/07/27/research-paper-proposed-research/ , and are not included here.
Topic 1 – The Life Model
Vanessa: An Interview with a life model – Terence Quinn, Nov 2015
Model and Supermodel: The Artist’s Model in British Art and Culture (Critical Perspectives in Art History), Jane Desmarais, Manchester University Press, Dec 2006
Modeling Life: Art Models Speak about Nudity, Sexuality, and the Creative Process, Sarah R. Phillips, State University of New York Press, Oct 2006
Topic 2 – Defining ‘Fine Art Digital’
Digital Art, Christiane Paul, Thames and Hudson, June 2015
New Media in the White Cube and Beyond – Curatorial Models for Digital Art, Christiane Paul, University of California Press, Jan 2009
New Media in Art, Michael Rush, Thames and Hudson, June 2005
Understanding Media, Marshall McLuhan, Routledge, May 2001
Understanding New Media: Extending Marshall McLuhan, Robert K. Logan, Oct 2010
Art, Time and Technology (Culture Machine), Charlie Gere, Berg Publishers, May 2006
Digital Culture, Charlie Gere, Reaktion Books, June 2011
Art as Experience, John Dewey, Penguin, 1980 and reprinted Aug 2005
Topic 3 – Creating the illusion of Reality – including the use of Perspective
Historia Timelines: History of Art, HistoriaTimelinesCom, Nov 2015
Vanishing Point: The Perspective Drawings of J.M.W. Turner, Andrea Fredericksen, Tate Publishing, June 2004The Rhetoric of perspective: Realism and Illusion in Seventeenth- Century Dutch Still-life Painting, University of Chicago Press, Oct 2006
A History of Perspective in Art, Op-art.co.uk, Nov 2015
Dali’s Optical Illusions, Dawn Ades, Yale University Press, Feb 2000
Masters of Deception: Escher, Dali and the Artists of Optical Illusion, Douglas R.Hofstadter, Sterling, Oct 2007
3DJoeandMax, 3Djoeandmax.com, Pavement artist specialists in 3D representation, Nov 2015
Topic 4 – Art Movements – including The Futurists
100 artists’ Manifestos: From the Futurists to the Stuckists, Marshall Berman, Penguin Classics Jan 2011
Futurist Art and Theory 1909-15, Marianne W. Martin, Hacker Art Books, Sept 1978
Topic 5 – Historical uses of Technology in Art
A Brief History of Drawing Machines Since 1425 | MIT Architecture, The Creators Project, The return of Drawing Machines, Lauren Leibowitz, April 2011
The Drawing Machine, National Portrait Gallery, npg.org.uk/learning/digital/portraiture/perspective-seeing-where-you-stand/the-drawing-machine.php , Nov 2015
drawingmachines.org , Nov 2015
The Letters of Vincent Van Gogh, Vincent Van Gogh, Penguin Classics, July 1997
Eadweard Muybridge, the complete Locomotion Photographs, Dr Hans Christian Adams, Taschen, Sept 2009
Murder in Motion: The Strange Life of Photographer (and Murderer) Eadweard Muybridge, Jennifer Warner, CreateSpace Independent Publishing Platform, May 2015
Micromundi: Museum of miniatures and micro-miniatures of Besalu, Spain, museumminiaturesbesalu.com, Visited Oct 2015
Sol LeWitt: The founding artist for conceptual art who later created sculptures using architectural computer software: ‘Sol LeWitt: Structures 1962-1993’, MOMA New York, Jan 1993
Topic 6 – Art Technology in the 21st Century
Art by Machine: Taitographs Programmable Analogue Drawing Machines, Jack Tait, Bronydd Press, Oct 2013
Computer Algorithm recreates Van Gogh painting in one hour: thegaurdian.com/technology/2015/sep/02/computer-algorithm-recreates-van-gogh-painting-picasso, Leon Gatys, Sept 2015
Turning Van Gogh’s The Night Cafe into Virtual Reality, Mac Cauley, bbc.co.uk/news/technology-32751392, 27 Sept 2015
Digital Visions for Fashion + Textiles: Made in Code, Sarah E. Braddock Clarke, Thames & Hudson, Sept 2012
Material Alchemy: Redefining Materiality Within The 21st Century, Jenny Lee, Bis Publishing, Feb 2015
Alexander McQueen, Savage Beauty at V&A, Peppers Ghost Holographic Illusion of Kate Moss, m.youtube.com/watch?v=q-38BdFGAho , March-August 2015
Conran Holographic Display: engageeldn.engageworks.com/work-and-client/conran-partners, Nov 2015
H+ Technologies, Holus: The Future of Interactivity | GetConnected, YouTube, Hplustech.com, July 2015
BareConductive.com: The use of conductive paint and the Arduino microprocessor for education and art, Nov 2015
http://projection-mapping.org/blurred-lines-digital-artists-studio-becomes-art/, Bart Kresa, Projection Mapping Central, Nov 2015
3D Technology in Fine Art and Craft: Exploring 3D Printing, Scanning, Sculpting and Milling, Bridgette Mongeon, Sept 2015
Figures, Characters and Avatars: The Official Guide to Using DAZ Studio to Create Beautiful Art, Les Pardue, Delmar Cengage Learning, May 2012
Digital Women: A Tutorial to Create Amazing Images with DAZ 3D Studio, Richard Luschke, RCMP, May 2015
Digital Women II: A Guide to DAZ Studio 4.8 Iradium, Richard Luschke, Ricardo Portella, RCMP, July 2015
Topic 7 – Selected Contemporary Artists using Digital Media in their work
William Kentridge – For his installations combining drawing, video, and animation.
William Kentridge ‘More Sweetly Play the Dance’, EYE Film Museum, nai010 publishers, Oct 2015
The Refusal of Time, William Kentridge, Editions Xavier Barral, Feb 2013
Six Drawing Lessons, William Kentridge, Harvard University Press, Sept 2014
The Soho Chronicles: 10 Films by William Kentridge, Matthew Kentridge, Seagull Books, Mar 2015
Cinematic Drawing in a Digital Age, Ed Krcma, Tate Papers no. 14, Autumn 2010
Marc Quinn – For his scans of very small objects such as a sea shell transformed them into huge sculptures in various materials and for his life model sculptures
The British Museum, Contemporary Sculptors at the British Museum.
Marc Quinn’s Siren (Philia) at the British Museum (Kate Moss)
Marc Quinn review – ‘He sells sea shells’, Jonathan Jones, The Guardian 13 July 2015
Bill Viola – For his digital art (said to be the inventor of video art)
Bill Viola, John G.Hanhardt, Thames & Hudson, November 2015
The Art of Bill Viola, Chris Townsend, Thames & Hudson, 2004
The Unspeakable Art of Bill Viola, Ronald R.Bernier, Pickwick Publications, May 2014
Three Women, 2008
Bill Viola: Bodies of Light, James Cohan Gallery, New York, December 2009
Inverted Birth, 2014 Video Projection
The Crossing, 1996 Video sound Installation
Iris Van Herpen – For her female fashion installations which blend laser cutting, hand weaving and 3-D printing and visited CERN Large Hadron Collider for inspiration for one of her works
A Magazine 13 – Iris Van Herpen, Iris Van Herpen, Flanders Fashion Institute, Mar 2014
Alex May – For his formative work in the area Projection Mapping and science based digital installations. Works with code, performance and creative technologies
Aesthetica Magazine, Kinetica Art Fair Artist Interview: Alex May, October 2014
Painting with Light, Alex May, Tate Modern Performance, April 2013
Grayson Perry – Now UAL Chancellor, a Potter who used digital means to produce his huge tapestries
Grayson Perry, Jacky Klein, Thompson & Hudson, 2013
Grayson Perry: The Vanity of Small differences, Grayson Perry, Hayward Publishing, June 2013
Jordan Wolfson BFA Sculpture – Who now works only with digital technology
Jordan Wolfson – Female Figure – The Artist’s Studio, Los Angeles, June 2014, Animatronic and Video Installation
David Hockney – A painter who has produced some of his works digitally for example
using the iPad
David Hockney: A Painter Enjoying New Technologies
David Hockney: A Bigger Picture, Royal Academy of Arts, Telegraph.co.uk/video’, Alastair Sooke and book from the exhibition of the same name
William Latham, MA (RCA), BFA (Oxon) – A traditional Painter who now works entirely digitally.
Evolutionary Art and Computers, with Stephen Todd, Academic Press. ISBN: 012437185X
New Media in Late 20th-Century Art? Michael Rush, Thames and Hudson
Digital Art, Christiane Paul, Thames and Hudson, 2008
Karin Sander – For her work using early versions of 3D printing
Karin Sander: Hybrid Encounters – Sculpture Magazine, Gregory Volk, Dec 1999
June Mendoza – A portrait painter in oils of royalty and public figures
Marilene Oliver MFA (RCA) – A Brazilian Artist who uses digital imaging/body CT scans in her work
Post Digital Artisans: Craftmanship with a new aesthetic in fashion, art, design and architecture’, Jonathan Openshaw, Frame publishers, May 2015
Hanging bodies, Dervishes: an installation at the Bristol Academy of Art by Marilene Oliver, 2007
Nam June Paik – Who works only with digital technology
TV Bra for Living Sculpture, Nam June Paik /Charlotte Moorman, YouTube, 1969
Michel Canetti MA – An Australian Artist for his fashion illustrations and large scale
minimalist paintings employing a digital art projector
Topic 8 – Interviews with Artists on their Attitudes to ‘Digital Art’
Artists who have agreed to be interviewed:
Prof Stephen Farthing RA, MA (RCA) – Former Professor of Drawing at Oxford University and now of UAL. For his work Drawing and Painting and his discomfort with digital art
‘Plan de Dessin, A Drawing of the Bigger picture of Drawing’, Autumn 2006
‘1001 Paintings You Must See Before You Die’, Stephen Farthing, Universe, September 2011
Prof Paul Coldwell, Artist and Professor of Fine Art at UAL
Kate MccGuire, MA (RCA) – Who creates feather sculptures based around parts of the human body
Kate MccGuire, Stolen Moments, Spine TV, 2011
Surface Design, Nature Bound , Unexpected Beauty, Spring 2014
Kate MccGuire: Nature Bound, Jessica Hemmings, SDA Journal, Spring 2014
Patrick Gibbs, BFA (Oxon) – A painter who uses digital photographs taken during his travels for inspiration
minstergallery.com Everyday lives, exotic lands at Mall Galleries London SW1, 29/4/14-3/5/14
Artist Profile – Patrick Gibbs – Out & About – Hampshire-Life.co.uk, 23/12/13
Richard Colson BFA , MA – A traditional painter and author of a book on digital art who
also leads the Computational Design MA at Ravensbourne University ‘The Fundamentals of Digital Art’, Richard Colson, Ava Academia Publishing, November 2007
Alex May Digital Artist and Resident Artist at the University of Hertfordshire
David Byers Brown, MFA (Oxon) – An artist whose forte is Drawing but switched to Painting and now teaches Animation at Kent University
Topic 9 – Key Hardware and Software proposed for my projects
MacBook Pro, Retina15-inch with Intel Core i7 Processor & Intel Iris Pro Graphics
iMac late 2009
Apple iPad Mini 2 for Photography and with attached Occipital Structure Sensor Scanner Wacom Intuos Pro Large Graphics Tablet and Pen
Autograph LED1000 Digital Art Projector
Bare Conductive Arduino MicroProcessor with SD Card Reader preprogrammed for MP3
Micca Speck G2 1080p Full-HD Ultra Portable Digital Media Player for SD Cards
Zoom H1 Handy Recorder and accessories including Lavalier Microphone
LG Hi-Fi Sound Bar
Laser Cutter (UAL Camberwell)
3D Printing – Laser Sintering (UAL CSM Digital Fabrication)
Foundry (UAL Camberwell)
H+ Technology Holus Pro Holographic Display
Vive Virtual Reality
Google Cardboard Virtual Reality
Hololens Augmented Reality
360-degree VR and AR Video
Itseez3D Scanning Application with processing in the Cloud for creating 3D models of the Human Figure from Life
Cinema4D Release17/Bodypaint3D for painting 3D models of the Human Figure in 3D
AutoDesk 123D MAKE for Laser Cutting Preparation and Input, and 123D CATCH for creating 3D Models of the Human Figure from Photographs
Painting With Light, Projection Mapping software by Alex May
DAZ3D Studio and MarketPlace for posing pre-made 3D Models of the Human Figure
Poser Pro 2014 advanced software for posing pre-made 3D Models of the Human Figure
Reallusion iClone6 and accessories, with Bootcamp (to run Windows 10 on MacBookPro) for 3D morphing, posing and animation of pre-made 3D models of the Human Figure
Turbosquid for very high quality pre-made 3D Models of the Human Figure (if necessary) Processing for programming of Arduino microprocessor (if necessary)