Output options: Post print painting
Now it's time for a change of pace it's a first get up into shake a bit on dino we've brought the camera for a moment. Don't worry, I'm still here. I'm still here. Okay, so I need to know what I'm gonna do is we are now changing pace. We have covered a lot with digital paint on we're getting towards the end of the class and it's time to think big it's time to think where we going to go with all this stuff? You know? Ok, we've started with that, you know, foundation that was good. That was good is like, now I feel like, you know, paint it doesn't frighten me anymore. Good. Then we went through that work flow that's interesting. Now I've got a structure which I can at least play with you try out and play with and produce some results. And then today, you know, wave pushed the expression on dh looked that way that you can now like maybe take a bit more risk, be a little bolder and do stuff that's a little bit outside the box. Maybe so all of this is great. And then we end up with these di...
gital files all over our computer, and we say, what are we going to do with them? Do we just want them to sit in that computer in the digital world by the way nothing wrong with that in fact with all the trees and stuff that disappearing maybe that's what we should do because then you know don't put things on paper so much and substrates that use up resource is so nothing wrong with leaving it digital and of course a lot of people live in the digital world and you can put these lovely paintings on your online portfolios on your facebook and all that great stuff so that's all one option for dealing with what are we gonna do with all this wonderful art that we create but there is a pleasure I think in just seeing a physical artwork on andi enjoying the tactile surface and having something that you can touch and feel that you can hang on the wall or not hang on the wall it's just something nice about it on dh that doesn't have a shiny you know smooth glass surface or maybe it does it doesn't really matter there's just something nice but so what I want to talk about in the final segment of this part of the course is output and now outputs such a funny word so we've done all this creative stuff you know we've bean night the artist at the easel the digital easel painting away and painter you know working with a ll this color and texture and ideas on being creative and then suddenly book we've got a little set of zeros and ones what are we going to do with it and then you know this output sound so antiseptic and mechanical and it's like where the art where the art but you know we are artists using tools and tools involved sometimes a lot of mechanics and chemistry and physics so let's talk about some options for output and some ideas because really what I want to share and I think the most valuable service I can offer to you out there is just sharing ideas and giving you thoughts about possibilities that you can then explore and manifest so let's talk about different ideas the output so I mentioned trees on dh obviously paper is very old pirates and stuff like that on it's a great substrate for holding things onda of course comeback to photography fixing images so what about if we fix a digital image on paper on dh you know now we have these incredible durable archival pickman thinks that all these inkjet printers use when I first started doing digital in ninety one ninety two I was using iris you know prince going to a service bureau on dh these were fugitive dies they weren't pigment inks and I still have iris prince but you know if they're in the sun they fade now we're very fortunate we're at an age when printing technology's amazing ink technology is amazing we have very durable artwork so what I'd like to do is first of all show you an artwork printed in a wide format inject printer on paper and may I ask kate my wonderful uh what's your title here my wonderful line producer I love the titles on if you could come out here and bring this and let's just holed up together andi you don't mind being on camera so I promise I won't do any lindy hop right now. Okay? Okay. So let's see which camera that camera okay, so what I want to do is show you this piece of artwork this actually is a little demo piece I did that if you any of you home or here want to see how I made this artwork it's actually old I was demonstrating layers and it was a very recent video tutorial on paint box tv. So any of you who get on paint box tv you can see this tutorial, but what I wanted to show you is it was a style very different to what you've seen me do with the jazz musician and very different to the flamenco dancer this's more something that you would print on paper it feels good on paper although ironically it's got a campus grain in it but that's ok by the way some of you I don't know how close the camera can zoom but I was I was stimulated by yesterday's sort of demo especially on that pixel started dripping on me there that I actually went along the bottom with a whole bunch of melted flow map and you can see it was started dripping down but this is why if you paint on white with painter when you want to print on paper you can get wonderful edge effects like this which make it look like the watercolor is flowing into the grain of the paper another thing I did is I went round the edge with something called the diffuser number two you saw me use that on day one I think on the game you can see that I've got these soft edges defusing into the paper so this is a sort of thing that you can do with your art on dh whether you have a printer at home or you send it out to a service bureau doesn't matter on dh there is many great service bureaus we have to mention bay photo it's a wonderful company in santa cruz I've used they are very generously sponsoring gifts for this workshop which I really appreciate on dh thank you debbie there at a photo and they do a great job so that's one option I got some other things listed on my web page for links but you know there's great options out there if you want large prints you can get any size print so your imagination is your only limit, and I'm not kidding like they're a billboard printers I mentioned right vitek princeton, you can still get prince down of almost any size bill edge of buildings if you own a skyscraper and you want your artwork hanging down the entire wall of your skyscraper, then you could do that, but anyway, so thank you so much on for those who are curious. Well, I'm going to do is just go back through jan on dh this is the web page where you will find the video on you'll see it if you just gotta paint box tv dot com, you'll see it there, but that's the video explaining how I made that painting on this is going backwards in time, so your cease brushstrokes disappearing on each of these things I was doing on a layer, I was demonstrating brushes that work in layers so you can see it going down to the spare bare bones on again so that they started off. This is a quick, still life sketch, by the way, since we've got it appearing. This is summer afternoon it's a painting I did several years ago the great gatsby summer afternoon in dan's warehouse oakland, where I teach a workshop every year called the great gatsby oppression is workshop on what I wanted to share this because we've been having this ongoing discussion during you know, the last couple of days with people saying, what about tracing people? You know what about this? What about that? I just want to share this was actually, you know, obviously inspired by impressionism, but this was actually painted over a photo, so I wanted to show you an example different to what I have been showing so far. What happens when you paint over a photo, you can still have something very painterly. This is a halfway stage. Well, if you look kathleen, I don't. If the camera can zoom in, um, if you look carefully, you'll see that there's actually lots of bits of photos showing through now, as long as you're really, really good going over the whole picture and covering order photo that's another way to do it, and that maybe is a way that would be really good, especially I see even better than tracing paper because you're painting over it, you see what you're painting on? Dh this was the original photo. There we go, so that just gives you some ideas. So we've looked at paper one of the options, if you do in that wonderful contest, the quote contest is that bay photo also off a metal prince, as do many other vendors on dh, so I wonder, kate, do you have that metal printer hand you know there's so many different substrates that you can output your work on and it's fun you know why I'm not experiment glass metal, wood and a ll these service bureau's come out put on nowadays with these incredible print technologies they can output on all of these, so if you look at this this is a metal print now I should add this was not done in painter extra e this was done in sketch club on my ipad, so when I was actually on an aeroplane coming back from southwest southwest having demonstratively motion I just did a quick sketch of the person next to me. Andi, I don't think he quite knew what was happening, but he's ended up at the de young museum because I took this with me when I did my ipad performance and if you go on my website paint books, tv talk home forward slash ipad dash odd you'll see a video of this drawing unfolding sketch club has a wonderful video recorder playback that you can export with music its really cool anyway that's that's another class I would love to teachers I've had painting it's so fun but the point is you could not put your paintwork on metal and it's you know, depending on the images it can be pretty need um yeah come in while you are what you're showing me michelle in richmond, virginia asked if you ever embellish the printed piece with non digital media hopes can I just have to wonder fortunes? Oh thank you oh wow does she read my mind or what? Maybe I'll just wait a minute I've got another one then can I ask you any from arizona mentioned that you go back into photoshopped to print and she's asking if you could elaborate on that just briefly yeah, I mean, generally speaking I'm printing out of photo shop with profiles that a mat jj to my printer rather than printing out of painter now having said that, you know I do live performance on, so I get hired by corporations I was just the oracle world and I do digital painting as entertainment on dh I sometimes I just connect my laptop to a printer and I print right out of a painter and it works fine but seriously for anything that's big on campus, I just have a lot more control in photo shop and that's definitely thie engine that you know, the I print out of. So so we've talked about paper was talked about metal we've mentioned would we mentioned bloch's mentioned this we mentioned that but you know, my favorite is cameras and I should add you probably saw with the paper we were having to hold it so delicately paper is very fragile very fragile it's easily bent a month you bend fold paper you you never get rid of the bend. It's also usually mounted behind glass expensive and heavy it's just how it is paper prince usually mounted behind glass and metal. Even medal is delicate and you saw me trying to hold that carefully. So what I have here is my favorite generate for the style of painting I do, which is out putting on canvas. Canvas is tough canvas you can really it's light canvas is it is cheap to frame, you know, are much cheaper than equivalent size work on paper because you could just put a frame around it. You could leave it unframed just stretched. Um just so that you can see I stretch this last night on dh just, you know, went to flack's a local store, got some stretcher bars stapled around so I can oh, okay, I forget about stuff like that. Okay, so oh, and you might note I've put night oh, creative live there. No, this actually is what I do with my art. I mean, I didn't just do this because I wanted to show I actually forgot. I'd written that, but but I do recommend if you do canvas prints and then you're going to paint on them you know, put your conduct info, put your art his name I mean, you know, you might become a really famous artist and later on who did that oh, that was by someone so okay, you know plus it's good few just to know the year that you did things and stuff like that so can ra's so uh for me this was of course you were all recognizes painting from last from yesterday haha but it looks a bit flat so the funny thing is I had done this in paint on it look, I was all excited, you know, without texture and detail then I printed in this eye looks a bit flat so what I'm going to share with you is some ways to the way that I then approach michael post print painting on that relevant to that questions or yes, I do paint on my my prince and so what we're going to do is we're going way came out of the printer and I fixed it with a spray fixative andi I'm using little prince shield and I I usually just get all this stuff from digital art supplies in san diego many places you can get that but you do want to spray your print because that ink will come off if you paint on it andi uh so you want to make sure it's fixed jeremy are you ready? Tio show us what you've got going on over here, so what I'm here to do, and in the meantime, uh um and god is a bit messy, isn't it? You can tell I do print making lots of ink here is raw, so what I'm going to put on is a golden joe medium first. Now I use lots of different deal mediums from regular to heavy, sometimes extra heavy, so there's no rules here, but I sometimes glass sometimes semi gloss, I would say not matt, because the colloidal suspension involved in mats gives it a much mill here consistency, which I wanted to dry really transparent, so what I do is basically coat my surface as a beginning and sometimes an ending point with brush strokes that a consistent with what I've done in painter. So just because I'm now transferring my painting action to the physical world doesn't mean suddenly that it becomes mindless or thoughtless. So mechanical it's just a cz much painting, even if you're putting transparent gel um, as it is what you do in painter on dh so what I tend to do is I tend to work into my campus in zones and blocks on dh I have to admit I probably doing my studio is I have my campus flat or pinto wall, but not yet stretch that's okay, I can work with it stretch for this demo, but that way I can push it a bit more, and I get a bit more resistance brush wise, it depends on the size of the painting, I'm using a sort of number twelve e type brush, but again, you know, it's it's very much just dependent on, uh, what sort of effect you want. So let me just go here. So what I'm going to do is work around the head here, so we're sort of in this zone up here and then just to demonstrate how I would work into a figure. So I happen to know that that figure is that and what I wanted to show you was that to really do this properly, you really need to have some visual reference here. And so what I do it is I print out the actual photo how? See how long that stays it? Does anyone have any tape? I could take that? Thank you to see a very important to still have the observation, even when I'm doing jelly is like, uh, it can make a difference on, so I'm gonna look here with shapes, and I'm going to use my brush strokes to reflect those shapes ah, in danny's head on, then we have the base and then it comes round up here so I'm trying to reflect all the structure in the brush strokes and I tend to work pretty quickly on dh just sort of not worry about details I'm not really working on any details here but I'm just allowing myself to amplify the structure that's already there so on the side of the base you'll notice that my brushstrokes suddenly went along horizontally along the side of the base so everything I'm doing here with this gel it's still um sculpting just in case you know you wonder is it okay to do all this stuff on a flat campus and won't you damage it when you stretch it afterwards that is a question that comes up no andi uh so it basically you know there will be some stretch these these canvases the fabric so yes there will be a physical stretching but actually it's all okay and what acrylic is is basically plastic so it has a certain malleability with it and I think um so what I'll do is during the break I'm going to keep working at this but the main thing is you cover your whole area with gel you look for thie areas that you haven't covered by sort of usually getting out acute angle like that and we look for the good old bald patches they always show up and even if they show up later you can always add gel but one of the things that this approach does is it creates beautiful reflectivity when your artwork is sitting on the war with the window in a queue angle, you start too see structure and that's the sort of thing that I want tohave in a painting because one of my frustrations with digital is that I don't want it to end up a flat print, you know, I'm sculpting, I'm it's textural and tactile and then I end up with a flat print after all that work and then I end up with one, so I'm trying to sort of give, you know, give another level of of surface to print wait, go and also you might be looking at this single with white and saying who is not his knee ruin in his painting, he's covering it with white paint and let me make sure I'm not I have to go wider than from now I'm not covering it with white paint is a gel, so what will happen is and this will be interesting because we have a fifteen minute break and see ok, does it dry transplant? We will find out so but, you know, I have faith I have confidence that we will see a painting which where we will be out to see the color through one of the effects of jealousy was actually it's saturated a little bit the colors and it brings out the blacks a bit stronger so that could be really nice um I should add that and the classes I teach in my studio we always we always do this we print out we do post print painting it's really fun have ah painter creativity workshop coming up in generate january the twentieth to the twenty fourth we'll be doing going to a dance studio cannot be definitely a fun opportunity any questions coming in on the internet did have a question about parenting okay, we have quite a few questions actually faraway and theresa asks if you're going to order print on campus would you ask for them not to put a protective coating on it? Okay that's a great question no, I see actually if they can they would be good to have a protective coating now this is not this is acting as a protective coating, but I don't think that's what's being referred to me and we'll stick toe if you've already had that coded pride of putting on your gel well the jail have a bonding issues he's like I don't I don't think so always just tested out get a sample tested out and see, but I think actually it would be good for it to be coded so that you don't have any risk of damaging the mic wonders what printing device you used to print the canvas spaces I'm using an eps and ninety six hundred forty four inch wide format printer but that's an old one I mean there's a ll great printers from you know h p cannon absent and other manufacturers so the technology is fantastic and it's got much better great can we throw a few more yeah abso keep trying that way so maya was asking oh actually those michelle and michelle was asking for post print painting do you have a new order must've read their own do you have to order a particular angkor sophistry or is the fixed date enough? Um let's see supposed print painting do you have to order a particular ink or substrate that's what she's saying is if if they start embellishing over the top and everything starts running is it basically has it got enough structure in it that it wasn't run all over the place in it? Well, you know fix itself it's very important to fix your print when it comes out the printer on so you do need to fix print or you will take the pigment off the canvas okay? And so it shouldn't run it shouldn't come off and if it does they need to fix it on but that just means like a three coatings of a spray fixative that doesn't that's enough but they do does have to be fixed and beachcombers curious as to whether you ever add color to the joe mediums uh, that's, a great idea. So what they're really referring to is a glazing process, so what you're seeing me do isn't is I don't, because I'm adding a gel coding first, which is really focused on brushstroke texture. But there are great mediums for doing glazing, which is what that question is referring to on. I wouldn't you. First of all, you can use anything you could put pigment and that's what these were designed for, too thick and paint, and you mix with chronic pain, so you could do that. There's. No reason. Why not? I, uh, if I do a glazing our views of jack one hundred, which is a lot of the many, many, many, many great products from golden. Andi, you just it's, a very, very fluid medium. Put a tiny bit of pain, perfect glazing.