The image in this Studio Visit was drawn by hand in my computer. Using a program called Corel Painter IX and a digitizing tablet and stylus, I create a blank piece of virtual paper in the computer. I make it the right size and resolution to yield the final image when printed and then select a virtual paper texture and a virtual stick of charcoal. As I draw, the tablet translates the motion of my stylus into digital pencil strokes that I can see on my monitor.
  |
1) My right hand is holding the stylus (electronic pen) with its point resting on the pressure- and angle-sensitive digitizing tablet. I can load the pen to draw with a fine pencil or a huge stick of charcoal. I can select any color.
Here I have chosen to draw with black and white. I can load up different paper textures to evoke the actual textures of objects. I can also create masks around objects so that I can draw freely without losing my edges. If I make a mark that I don't like, I can "Undo." 2) The monitor shows a section of the drawing. I can zoom in to work on fine details or zoom out to see the entire image. 3) This is a full-size (45 x 30") proof of the drawing made from 8 1/2 x 11" sections taped together. When I am satisfied with the drawing, I copy the file to a CD and take it to Jonathan Singer Editions for the actual printing with archival inks on fine art rag paper. These are not reproductions; each print from this edition is a multiple (as opposed to unique) piece of original art. 4) My proofing printer, an Epson Stylus Photo 1280 inkjet. 5) I use a Dell XPS 630i with an Intel Core 2 Quad and EVGA GeForce GTX 280 video board with extra ram memory (4 Gb) to handle 130 or greater MB files under Windows XP Professional SP3 (with 2 x 600 Gb VelociRaptor SATA hard drives, CDRW, DVD+RW and external 2 TB eSATA drives). 6) A proof of one 8 1/2 x 11" section of the drawing. I correct and proof each section before moving on to the next. If I want to try an effect that I'm not sure will work, I can save the file as a copy of itself, where I can try out my idea. Then I choose which version to keep. |
7) The 35 mm slide that I originally took of the scene. I had it scanned onto a photo CD so that I can refer to it in the computer without bothering with a projector. I use it to guide my composition and to refresh my memory of the details. The finished drawing is not a manipulated photograph or a copy of a photograph.
The entire image is drawn by hand and many reinterpretations of the photograph are introduced: cropping, perspective, objects added or deleted to improve the composition; a great deal of invented detail is added; and most of all the lighting is enhanced to bring out the psychological atmosphere of the piece.
The reason my drawings are hyper-realistic is that they are meant to give form to the intangible spiritual quality of the physical world.
The entire image is drawn by hand and many reinterpretations of the photograph are introduced: cropping, perspective, objects added or deleted to improve the composition; a great deal of invented detail is added; and most of all the lighting is enhanced to bring out the psychological atmosphere of the piece.
The reason my drawings are hyper-realistic is that they are meant to give form to the intangible spiritual quality of the physical world.
 |
8) Artist's eye view: This picture shows a section of the work in progress ("Pink Colonnade") along with my digitizing tablet and stylus. |
Printing at Jonathan Singer Editions:
Iris prints of my drawings done in a computer are comparable to lithographic prints of drawings done on a litho stone or plate. Like fine art lithographs, they are multiple originals, not reproductions of originals.
Iris prints of my drawings done in a computer are comparable to lithographic prints of drawings done on a litho stone or plate. Like fine art lithographs, they are multiple originals, not reproductions of originals.
    |
Abby Rubenstein downloads the file from my portable drive into her computer, makes all the corrections necessary to get the Iris printer to match my Epson proof, and exports the file to the computer that drives the Iris printer. Whitney Bemis checks a print in progress on the Iris inkjet printer. A large sheet of fine art paper is taped to the stainless steel drum, which spins as the printhead assembly travels from left to right, spraying ink droplets onto the paper. A 30 x 45" image takes the machine about an hour to print. The print in this image is about 1/3 complete. A close-up of the four Iris printheads. The first nozzle sprays cyan ink, the second magenta, the third yellow, and the fourth black. Even a black and white image is made up of four colors. Jonathan Singer inspects a proof of my drawing "Meridiem." This drawing took six proofs and many months to get it to print correctly because of a difference in calibration between my equipment and the Iris. |
