Stylus or a brush ? quality or a plot?
First it would be desirable to agree about borders of investigated concepts, it is natural, that having come to any general conclusions we will have also some special cases. The unique rule of exceptions says - all rules have exceptions. Exception at all does not belittle existence of a rule and on the contrary. I talk about that because if during the decision of the problems mentioned here you will get the facts contradicting conditions which is necessary to solve on a place a rule it is or an exception.
For example, the hand made picture and a picture made on the printer will be compared. Comparison can be from the point of view of such requirements as the shortest way from a plan up to an embodiment (is available in view of drawn on a graphic tablet then unpacked), availability, a colour rendition. It is possible to argue long after what way the future will choose, technical progress has undertaken "prints" and will foresee its scope difficultly.
You cant say for sure weather it is impossible to tell if the part of individuality digital painteer is precisely transferred the canvas which is getting out of the printer and any atom not adjoined with artist or a tool of drawing of last. It is unlike, that the complex electronic system between stylus and printing heads inclusive can be named “ art accessories ”. Is it possible the “revolt of electronic device " in occasion of authorship? But, in general, artists will always be on a step ahead always because it is them who are copied not they.
Exceptions are possible when people try to duplicate after the mechanism, - for example counterfeiters, but I doubt, that they now do it manually. In ñonnection with such comparison arises something else-artists will try to protect their "currency" as picturesque canvases, in different ways from being faked.
Even now it is technically possible to create a mechanism that will imitate the strokes, created during the work of an artist, but the price of it will be really high at least for the first time. It is for sure that artists would try to invent new ways os putting strokes in order not to be replaced by the mechanisms but the progress is very fast moving.
The title of that article consists of two different “or” it is not a coincidence. Their Axioms are general so it will be better to apply them to both cases at a time. The plot/quality in general can be broken into some gradation. Before we will produce theorems we shall estimate from what it all begins:
The primitive person has returned from hunting. Very successful hunting. He looks at meat fried on fire and experiences that recent of the last pursuit still lives in him. Suddenly he sees a crack on a wall of his cave, outlines looking like an animal which he had been hunting all day long which silhouette looked out in a dense bush, in heaps of stones.
He approaches closer and concerns with a hand in this place, the fingers soiled by ashes leave a trace. The person leads round the contours, adds details, let everyone see and remember it for many days. So the person has learned how to draw.
Next day he returned with nothing, the thrown spear has only slightly wounded an animal. He took a burnt stick and began to draw now on other wall, direct near the fire. He deduced outlines of the missed extraction already more skillfully, but the result has not satisfy him. He drew another silhouette, bigger, more malicious and with huge horns, tomorrow he will kill it also.
So the person has learned to represent nonexistent.
But the next day some guests came to him from the neighbor cave they wanted the same pictures on the walls of their cave. In exchange they offered just killed animal. Among fresh wounds on the body of the animal the person saw dried blood it was the animal wounded by him yesterday. So the person has learned how to benefit by drawing.
At first we will define with axioms. What exactly will we consider as the image, a product of creativity? It should be something visually perceived. For cleanliness of that experiment we will stop only on flat images, the sculpture and three-dimensional modeling are not taken in account. Also the text and though hieroglyphs sometimes remind the described object, nevertheless we will write down it in exceptions. We will defined with a method, by means of, which and the image is created, on the one hand there are winchester, the monitor, stylus, a graphic tablet, every possible printers, the telescreen, from other there are brush, a paint, thinners, a canvas.
As for narrowing a circle every possible felt-tip pens, pencils, other means of drawing and deduction of the image like a cardboard, a tree, a projector are fine also, stampings, etc are rejected. The vector image will not be considered against enamel miniatures, for example, as our theorem of computer and oil painting as the most generalized and typical.
Round first-monitor and printers against canvases.
Prints in general that on and " on a canvas " too, but here they will be "deserters", depending on what party will get the best. A picturesque canvas with observance of all technologies of painting in the further will be called "picture" has tremendous family tree, is checked up by time, has gone through global wars, recipes of its preparation have been perfected by centuries, the picture is an individual subject even if it is copied from another, having a canvas and oil paint it is possible to create durable multicolored image, which is possible to store in usual room conditions if the picture is more valuable, skilled restorers will restore it in hundred years even if you will put on it a hot frying pan (scientific and technical progress the main ally of digital painting, nevertheless develops both opportunities of restoration and structure of materials used in painting).
The picture basically is used as itself, in the form of rare cases it is created for the subsequent numbering, but anywhere at this converting does not disappear. Still plus - quantity of colors and shades while (RESEARCH Progress) surpasses even the newest monitors with pixel illumination.
Monitors and printers: if we will count up quantity of screens and pictures in the world the number of the first it is much bigger, it is no t a fact, that they all are used to watch digital pictures, but digital images are limited only by distribution of computers and other digital devices.
Popularization pixel pictures allows to distribute digital images with speed unattainable for pictures. While in the world there is an electric power and different devices of reproduction/storage information-no pixel will not change the initial value without intervention of the person.
The truth is that the majority of monitors "is not correctly calibrated" and is not present guarantees, that your colors everywhere will be precisely reproduced. The monitor does not require additional illumination, the image on it is visible in darkness. That however, too means the power supply even in the afternoon, that for pictures it is not required. Printers can reproduce digital images in unimaginable circulations, but working life of color press is low in comparison with pictures. There is a number of expensive printers capable to print on a special paper and an invariance of color more than 60 years, and besides RESEARCH Progress it is not necessary to forget. One more minus - storage pixel data requires arrangements of storage and processing. To concern to pluss "in fashion" computer charts and a greater demand. This industry grows, highly paid(theoretically) and requires new experts.
Actually these ways of demonstration of your images detatched to each other-let us recall "prints" and also many artists digitize the works for reception of advantages mentioned above.
Since such theme is mentioned, it would be desirable to compare such characteristics of product as a plot and quality. In overwhelming majority of cases in a picture all over again it is estimated actually, that is represented, and then already as it is made. It is clear, that there is a certain threshold below which these parameters mean " botched work and about what ", hope, we should not consider examples therefrom. In the certain parities the supernatural still-life can compete on a degree of admiration to a picture for example about fascinating tank battle, but technically executed superficially. Whether it means, what excellent quality can ruin a bright plot being presented on one picture?or they will be in resonance or make each other better?
It is necessary to dose them so that will make each other stronger, if we will draw the diagram of that formula of painted resonance, we will see a curve: before the limit the admiration dergree will be a bit higher than ziro point, then it will start to grow, but getting to the point of nor proper plot dose and quality it will go down nearly to the middle hight of the previous highest point of the last jump, then it comes a more steep curve to the general resonance it is the highest In theory that curve captures all possible rippling
In theory that curve captures all possible rippling complications of the painting and its technic fullfilment.
On an axis x parameters of some variable which designates value of least of parameters of quality and a plot are counted, in comparison between themselves. And on an axis y we have values of that degree of admiration. Here we receive the schedule.
It is possible even to adapt the similar formula for definition of dependence between alternative concepts of a plot and quality. In sense as it sees to the spectator.
The plot and composition of a picture to the extraneous observer characterize the painter in a degree of its (artist) of mind, wit, intuition, and can is simple luck in a casual successful plot, supernatural abilities, in general, all that can increase or, at absence of those, lower authority of the artist, as well as any person.
Workmanship it is basically signs of such reasons as diligence (excessive diligence harms the following concept), selective detailed elaboration. The Last it like painting in the intelligent detailed elaboration as it is also considered by the spectator. It happens so because of searching for a plot and sense subconsciously, having found a plot in operation and compositions the person tries to find a subject line and as and technics of execution of a picture.
It is, having found discrepancy in predominance of detailed elaboration over a plot, and the plot here means still originality of a composition, a colour score, the spectator does a conclusion, that there is the plan, but frail, and the painter has not noticed that and presents its excessively important through detailed elaboration, consequently, and spent on it hours ( the color doesn’t mean only realistic colors of things)
The authority of the artist thus on some divisions goes down, being and so low from a weak basic plot. It is possible that there is one more limit by which the lowest weight oh meaning of quality and plot pretend to achieve the weight and began to conflict with another There is better not striking or absent parameter as a plot or quality, that in fault to the artist is not set off, and points are not removed, than one of them underdeveloped.
Nevertheless, at the subsequent increase this disagreement vanishes and passes in resonance.
And there is such interrelation that two hours of any work of authority are automatically equated to many days of similar work by a person with no indexed or small authority in that area.I will mention, that others branches of the importance as PR, in calculation we do not accept feature of character and behaviour, here we analyze hand made pictures. With a view of experiment we have taken the "ideal" pictures having initially a difference only in a plot and quality, authority of artists, their drawn, is originally equal to zero.
Now I will tell you about the ways and tools of drawing. For convenience we will watch two artists, both equally well paint onewith the help of stylus, the other with a squirrel brush . The first way requires availability of a computer, the graphic tablet, there is no present account materials, the second more cumbersome, almost all materials are spent, availability of hands growing not from an ass, facility, absence of an allergy on components is also necessary.
On the other hand this bulkiness operates as a certain filter, eliminates both artists, and represented. If artists were adhered weights to their hands before a writing of pictures they would draw less nonsense.. Program difficulties are not considered, all digitals there are for the fan.But we can give them a plus due to the amount of different brushes and facilities especially ñonnected with stylus pressure and italic.
And here are at especially burning theme- demand for these two artists. We do not knowwhat customer demands from them, but for certain he does not wish to be deceived. It is easy To deceive in digital, even some masters of computer schedules have been exposed in cases when pieces of images of foreign pros undertook, rotated, "reflected", the color scale, etc. changed.
It was then packed and the work was finished in time.,In general nothing terrible, but doubtedly the customer wishes to be involved in scandal. There is less possibility In painting to receive a surprise, meanwhile "prints" and special image the pasted illustrations on a canvas, even modified by oil can be certain easily and quickly enough..
Works " for yourself", not for the customer, executed in any way are too good, and not discussed. In a view of the aforesaid digital on many positions it is more preferable than the schedule, and if behind oil painting the great past but there is a great future in front of its computer heritage therefore I choose oil painting.
Foma Tuturov 2008