Do any Tildes artists work in an unusual medium? If so what's your medium / process?
I am always interested in how creative people express themselves. There is something very I find very relaxing about creating large scale ephemeral art. Every summer I create temporary beach art / typography with seaweed collected from the shoreline.
Couple of examples:
https://imgur.com/gallery/m7xZIvy
https://imgur.com/gallery/vBrlpBz
https://imgur.com/gallery/zYCpDuo
https://imgur.com/gallery/Mw5NIr2
Generally the process involves sketching out the design in the sand, then collecting 3-5, 39 gallon yard bags worth of seaweed. I then slowly trace the design and weave the seaweed into itself and the sand. These projects take about 4 - 8 hours depending on the scarcity of the seaweed and the size of the design. They disappear with in just a few days due to weather and human and animal activity.
So tell me, artists of tildes, what weird stuff do you create?
Edit: words
I am an amateur digital artist that used to bang out a lackluster picture or two in Krita if I felt like it, so nothing of note here.
The most special thing I did was film photography when I was still school. They pass out these cameras and rolls of film, and I remember having to fill up a roll of film and get them washed the day before those pictures were due, and it was both exciting and nerve-racking. One of the pictures I took during that crunch time actually got me an award, maybe the stress helped?
I had to google Krita as I'm not familiar with it, but I really like their philosophy about creating affordable art tools for everyone. I have been locked into the adobe suite for many many years now. I also really like Procreate for digital painting.
I have no experience with traditional photography but that sounds like a really fun project. What is the washing process for? Were you worried your film would get damaged? What was your award winning photo of? What award did you win?
Yeah, I think it is open-source and was originally created as a Paint alternative for GNU/Linux. It surpasses Paint tenfold, in my opinion.
I think you take the film into a dark room, cut the film into manageable strips at the photo borders, inspect them, place the images that you want to render on photo paper in this machine that lets light through the film and cast onto photo sensitive paper, and then dip the paper into various chemicals. After the paper dry, there's your photo. The photos were black and white, and quality may vary depending on exposure/washing/luck.
Award is a pat on the back and display of said photo in some hallway of school; photo was a shot of a huge chandelier at a friend's house from underneath. Apparently the radial symmetry was good or something. It was certainly unique, comparatively speaking.
I'm going to download and mess with it a bit. Maybe it has a place in my workflow.
This does seem a bit complex and stressful. There is still something extremely appealing in the vintage look of film photography. I find myself trying to replicate the style from time to time. Do you still experiment with photography? Either digital or traditional?
Sure some awards feel like a pat on the back, and most of them are in some respects, but being recognized and awarded for having a natural eye for photography and symmetry is still very cool.
If you're interested in Krita, I would highly recommend taking a look at David Revoy's tutorials on YouTube. He's an amazing artist and an open-source advocate and he made a ton of tutorials for Krita. As someone attempting to learn to draw, he's been a blessing...
Also take a look at the Krita-Artists forum for more guides and a lot of plugins that can make your life easier. Notably, I'd recommend getting the Pigment.O plugin, because I feel like the default color selector dockers in Krita kind of stink!
I just watched one of his comic panel painting tutorials. Absolutely a talented artist. Its really nice that he shares his whole process, not only showcasing how to use the tools, but also his artistic tips. Do we ever stop learning to draw? haha.
I will do that. Im sure there are a number of worthwhile plugins to explore. The interface is very reminiscent of photoshop at first glance.
Krita is best if you also have a drawing tablet, I recommend those Wacom ones in the $100-300 range, they're nice without being excessively so.
I don't do photography anymore purely because I am overwhelmed by lots of other stuff in life (mostly work). I also find myself thinking more about digital art than photography as well... Maybe I should start again? Photography requires a different mindset for me, one that lends to finding art in my surroundings instead of in myself.
And thank you for your comment on the award. I was surprised but nonetheless pleased about it. My photography teacher was a sympathetic and mild man, hope he is doing well these days.
I don't have a Wacom anymore unfortunately. Ive been doing most of my illustration work recently on an ipad with procreate. Im sure I could get work to pony up for one though.
That overwhelming feeling seems to be ever present in life. Yes you absolutely should start doing digital art again, especially if photography requires extra effort. You should use this digital painting I just learned about called Krita... Haha.
Absolutely. Obviously you have an eye for photography, I'm sure a lot of those skills translate to digital painting.
Not quite, that would be GIMP (more or less). Krita is based on GIMP and is targeted towards digital painters ; although I think it easily outclasses GIMP for general use as well.
Krita is awesome!
Ah, I didn't know that GIMP is the paint replacement. Thanks for correcting me. And yes, Krita is comfy!
I am not a "true" artist in that I can't make anything anymore due to carpal tunnel pain, and when I could, I don't think I finished anything beyond a few knitted dish cloths. But I do want to let you know that your work is not only really gorgeous, but I love your use of natural items to create such gorgeous work.
Thank you so much. I'd argue we never stop being true artists, even if our ability to create is diminished. Your comment made me think of something one of the developers of Midjourney (Midjourney generates images from natural language descriptions, called "prompts") said during an office hours talk about how a large part of their philosophy as a research lab is about creation, imagination and specifically accessibility. What interested me is their goal of providing a creative platform for users who may not be traditionally talented in art, or who have accessibility issues that want to explore their imaginations unconstrained. It might be a fun creative outlet to explore!
I digitize my own machine embroidery designs. It’s not particularly unusual, but it does have a steep learning curve. This is my most recent design. I haven’t had a chance to actually stitch it out yet, so that’s just the computer rendering. It’s a very belated Christmas present for my younger brother that I’m going to put on a sweatshirt for him.
I like the design. Feels like something out of a fantasy game. I have very little experience designing for embroidery but I do know the process is quite difficult and requires special files. Even with properly designed artwork. What is the process typically like? How big will the final piece be? How long will it take to embroider?
This is the most complicated design I’ve ever done, so with this one there was quite a bit of trial and error trying to get it to look how I wanted and there’s the added complexity of limiting the number of jump stitches as much as possible. This design will be about 5”x7”, and I don’t know how long it will take to stitch.
Did you design the original image? When I was designing specifically for an embroidery project I remember having to convert my work using auto digitizer software and then having to specifically think about the embroidery process. The machine stitching angles, density, and the underlay etc. What auto digitizer do you use?
I did not design the original image. It’s from one of my brother’s favorite mugs, actually. Luckily I was able to find it online because the image on the mug is severely faded. I don’t use an autodigitizer.
Awesome. Do you find that its easier to convert designs without the use of software? I don't often design specifically for embroidery, although sometimes my work is converted. Either with my help or by a 3rd party. I am interested in being able to confidently convert my own designs without the help of software though.
So, technically an autodigitizer is a program (or a feature of a program) that will take a vector file and automatically digitize it using the nodes of the vector. When I say I don’t use an autodigitizer I don’t mean I don’t use a computer, I just mean I digitize from an image creating all the stitch objects manually. I don’t know if that makes sense or not.
I don’t have a lot of experience with autodigitizers. I know they have a bad reputation because unless they’re properly edited for stitch angle and pull compensation the design doesn’t turn out right. They also tend to create more jump stitches and color changes than might otherwise be needed.
There are online classes available and free YT tutorials on various programs, but I’ve found that one of the most helpful things is actually just watching good designs stitch out. Watching it stitch on a machine is ideal, but if you’ve seen the design and just want to see how something is accomplished watching a simulation is almost as good. (Most embroidery software has a stitch simulation function.)
What program are you using to design that?
I kind of like the concept of machine embroidery but I don't know where to start.
An embroidery machine is a good starting place. I’ve been seeing quite a few on FB marketplace, probably because people bought them during lockdown and down have the time or interest any more now that it’s over.
I use a software called Embird for digitizing, but I use Embrilliance for picking colors, merging designs, layouts and most text. I could use Embird for everything, but just don’t for some reason.
Thanks. A coworker said he'd lend me one buy I need to follow up with that.
Do they mostly all work with the same software or is that a fractured mess of proprietary bullshit?
They all work with the same software. Machines use different file types but the softwares can work with all of them.
Something entirely different, but a lot of the way I have historically worked is with algorithmic art. This is not AI art in anything like the way that is so common recently. I instead go through from an initial concept to define rules or constraints or processes that will manipulate an image or a system in predictable or unpredictable ways. Then once I've set up my little virtual workshop, I play with all the dials and the input to see what crazy things I can get out of it.
A lot of this stuff crosses over with my work as a data scientist, and recently I repurposed a project I originally made to convert famous paintings into their best emoji representations for use inside one of my research tools. It allows easy copyable plotting without having to send images, great if you're communicating with someone via a GPS.
If anyone is interested in this sort of thing, I'd definitely recommend either learning Python or looking into Processing. There's also a book called (I think) "The Nature of Code" which gives a lot of fun tutorials and examples of coding natural systems in Processing, and shows what wonderful emergent behaviours you can get out of very simple rulesets.
You've piqued my interest. This is indeed entirely different. Are you able to share examples of your work? I googled the term 'algorithmic art' and saw some general examples, but I'd be interested to see your take on the art form.
Now I have the need to know the best emoji representation of the Mona Lisa. I feel like this information could be extremely important one day.
not op but 😏
Apologies I only just got back to this. Seems like the code is mostly on my work computer which is currently not here. I'll see if I can get to it later today and give some examples!
This is mostly to let you know I haven't forgotten about your response :)
My art medium isn't super unusual, but I like to think it's pretty nifty.
I do tessellated origami art, and sometimes repurpose found objects and incorporate some natural-esque forms.
Please enjoy these pictures I apparently took on a potato.
https://imgur.com/qOoGHhl
https://imgur.com/H0Z9mEn
https://imgur.com/a/m6KvOHy
Very creative! I really like the combination of the tessellated paper and the damaged reflector. There's a very interesting contrast there between the perfect folds of the origami and the sort of destroyed object.
How long do these tale to make and what is the process like?
Have you ever installed one in a public space? These would be really neat to discover in interesting / unexpected places.
Thank you so much!
It can really vary, based on the type of unit, the size of the unit, and placement. The square units take a a couple minutes each, but the diamond shapes are really quick, especially if they are large.
Do you mean like a public showing, or places in the environment? I've shown my work once at a local art walk a couple years ago, but nothing recently.
As for in the environment, I live in a moist region, so anything I place would be destroyed fairly quickly and I haven't learned to kill my babies yet.
Something I've been wanting to experiment with is applying the units to photos or photos printed onto canvases, either portraits or of decayed found objects that would be hard to apply units to irl.
The relative speed is compelling. It makes me wonder what sort of large scales you could work at. Like could you make a "blanket" of them? What would it look like if you draped the blanket over a sculpture or other object?
The environment. It would be a fun project to make a bunch of these and go around placing them on interesting objects or places in a city or park for people to discover, and obviously to photograph and document.
In a lot of ways I haven't either, but there is something extremely satisfying about creating a piece and knowing its transient.
Yes. Those applications sound very visually appealing. and the added dimension to the canvas would be great. What sort of scale would you work at?
I really like this idea, and may combine this with photography in the future.
I like the idea of ephemerality (is that a word?), though the part that gives me pause is littering/"vandalism" so I would probably install in a grungier area of my city, if I do.
I would love to do a medium to large scale work, using a mix of scale of forms. Though I have a cat who would not leave it alone while in process, so I would either need studio space (expensive) or assemble in place (logistically nightmarish).
I love your beach art! I would be utterly thrilled if I came across one of those in the wild. Sort of reminds me a bit of a documentary I saw on Andy Goldsworthy a long time ago.
I love making things out of broken things. Mosaic, kintsugi, etc. I like the idea of taking something broken and making it into something beautiful.
Thank you so much! If you are ever wandering the beaches of the Outer Banks in North Carolina during August you just might find one.
I had to google Andy Goldsworthy, and now I'm in love with his work so thanks for that. We def share a similar love for transient and ephemeral art installations. His work is extremely inspiring. I think I have some leaves in the back yard...
I also very much like mosaics, I still have my tile clippers from highschool art class. I'm less familiar with kintsugi.
Do you have any examples of your work you can post?! I'd love to check it out.
I've already mentioned it in a couple of other threads (here and here), but I have been experimenting with painting with spirit-based wood stains. I have a vision for how I would like it to work, but getting there is proving to be quite the process. I know other people must have done this before me, but they have not left any information out there (that I have found, anyway).
So far, all I have found are instructions/demonstrations for padding on oil-based stains using a cloth or sponge (which creates something closer to an airbrushed effect than the watercolor effect I'm seeking) and a couple of vintage art pieces on Etsy that suggest that at least one person in the Netherlands was painting wood stain art in the 1930s (interestingly, using a method that I also independently settled on — pyrography outlines to help define the shapes and prevent the stain from wicking into the wrong areas).
In leatherworking I use resists a lot in odd ways to keep my stains from penetrating the leather. Im not sure if it would work, but you might be able to use diluted wood glue to resist stains. It would allow you to paint the negative spaces then stain around them. I think some light sanding is all the would be required to remove it.
That's a good idea! Do you use any particular dilution rate?
In the leather world I just buy premade stuff. The stuff I get is very wattery though, almost like a milk or cream. Leather resists require you to let it fully dry, I imagine in wood it would need to penetrate and dry as well, so I think wait time would be the biggest variable.
This is a very cool idea and technique. I like the texture that the wood grain adds to your artwork and the added colors as well. The way the candle lights the wall in the first example is a really delightful touch. It sucks the effect was washed away. Do you have other examples to share?
Quoting from your other post:
I just need to find a more stable thickener for the wood stain, and then I'll be in business.
Have you tried using cornstarch? Maybe dissolving a small amount in a cup of water and then mixing that into to your stain will help?
Those are the only three "final" images I've done (the rest are the equivalent of doodles in a sketchbook, just trying out different techniques on scrap plywood). I'm not too bummed about the last image getting washed out. I can just paint over it again once I figure out a good formula for the stain.
I did try cornstarch , but it didn't work very well for me. I'm not sure if I was mixing it improperly, but it seems like it caused the dye to separate from the alcohol, and it created a streaky, blotchy effect that still wicked aggressively. I think it might work better with water-based stains, but I have not tried that (I don't have any on hand).
I have ordered some fumed silica to try (which is apparently what they use to make gel stains?). Silica is a really bad thing to get into your lungs, but my hope is that I can pre-mix it into methanol and form a gel-like solution so that I don't have to wear an N95 mask while I paint. When I was using the hand sanitizer, I found it really handy to keep the stain and sanitizer separated and then mix them on an as-needed basis with the brush.
Excellent outlook. I often get hung up on details or hard to solve problems and refuse to just sacrifice a piece or move on.
I'm sure you'll find something that works correctly. Stain is meant to be soaked up by the wood so thickening it is sort of antithetical to it's purpose, but I'm sure there is a solution.
Yeah absolutely not cool to breathe in. I would mask up and try to work and mix outside too just incase.
Ooh this is neat! I haven't yet seen stains used in this way. I would assume at first that it was wholly pyrography rather than stain, with the shades of brown/burnt. It can also appear like a pseudo veneer wood/marquetry piece. I saw the kitchen panel one linked through your other post. I saw the faded one first and still loved how it came out.
I may or may not steal and apply this idea in the future :P
Please do steal! Maybe you'll discover some new ideas/techniques and share them!
So far, I have only worked with spirit-based stains because that's the only kind that I can get in small, cheap sample bottles. But I think it would be valuable to try water-based or oil-based stains as well. There would be more options for adjusting their viscosity.
I suspect that those Etsy pieces from the Great Depression were intended to serve as a sort of poor man's marquetry.