D]4 P]02y/cock P]20y/Heritage P]18y/India P]22y/Italy P]04y/OldWom P]06y/OtherBotti P]11y/MEDUSA P]12y/ikons.br 5]___________________________________________________________________________ ] ]P02 00]14 ]21]P02 05 ] ]P02 01]14 ART COURSE ]21]P02 06 ] ]P02 02]F4 WHAT TO PAINT: Part 5 ]21]P02 07 ] ]P02 03]F4 © by Lewis Tilley ]21]P02 08 ] ]P02 04]10 ]21]P02 09 __________________Our HERITAGE, the arts of all the world________________________ ] ]P20 00 ] ]P20 01 ] ]P20 02 ] ]P20 03 ] ]P20 04 ] ]P20 05 ] ]P20 06 ] ]P20 07 ] ]P20 08 ] ]P20 09 ] ]P20 10 ] ]P20 11 ] ]P20 12 ] ]P20 13 ] ]P20 14 ] ]P20 15 ] ]P20 16 ] ]P20 17 ] ]P20 18 ] ]P20 19 ] ]P20 20 ________________________________________________________________________ 1] FINDING A WAY 3] All artists must find their own ways in image selection. The images that 3]follow are examples chosen from my portfolio which illustrate some of the 3]ways I have looked for sources to which I am sympathetic. I will try to 3]describe some of the rules I have followed in my search, in hope they may 3]point a way for you to start your search. 3]________________________________________________________________________ The picture above symbolizes one of the many places to go for inspiration when you are seeking an idea for an image. Andre Malraux, a French critic (among other things) wrote a book on the idea of the world as an art museum from which, today, the artist can take ideas. Although art museums are a major source for artists, there are other museums to explore. Museums of natural history open the world of environments to you. So does a walk in the woods or along the sea shore. NATURE AS A SOURCE ]]P18 00 A cartoon of the artist ]]P18 01 carrying his Amiga out ]]P18 02 to paint a sunset may ]]P18 03 be funny, but it is much ]]P18 04 easier to take a photo ]]P18 05 and bring it back to the ]]P18 06 computer where you may ]]P18 07 then modify that image as ]]P18 08 you choose. The girl among ]]P18 09 flowers was originally digi- ]]P18 10 tized in HAM. LIREPIC wants ]]P18 11 images in 16 color 600 by 200 ]]P18 12 so all the illustrations here ]]P18 13 have been modified to that format. THE VERNACULAR John Kouwenhoven in his book, "Made In America" uses the term VERNACULAR to identify "street design" of ordinary people and/or artisans. The new "graffiti" in the subways of New York, indigenous American buildings like "Lace Gothic" Victorian houses, barns and pressed tin ceilings are examples. Hand-done signs and other communication images are further places to explore in this classification. SYMBOLS: Numbers, letters and playing cards I am especially fond of numbers. It was fortuitous the British publisher of "Your Amiga" also published a Commodore magazine called, simply, "64" and required a cover to symbolize new ways to put more color into your Commodore 64. I came up with an illustration (not shown) of a rainbow "paintfall" filling the interior of the numbers. Try an ALPHABET series to test your skills in making images from the shape of each letter. A child's ABC book is open to any object series that suits you. Play around with the images on a deck of cards. THEN, THERE IS ALWAYS "FINE" ART (a joke made at the expense of great Italian art) ] Away from my Amiga for ]P22 00 ]three months as an artist- ]P22 01 ]in-residence with the Univ. ]P22 02 ]of Georgia's art program ]P22 03 ]in Cortona, Italy, I was ]P22 04 ]forced to return to the ]P22 05 ]more traditional materials ]P22 06 ]art. A large interchange- ]P22 07 ]able panels painting of ]P22 08 ]the symbols of Renaissance ]P22 09 ]art grew out of this ex- ]P22 10 ]perience. I've cleaned up ]P22 11 ]the more raucous parts, but ]P22 12 it will still be good for some laughs if you play the old game of "head, body and legs" with it. HUMAN INTEREST "..babies, dogs, children, beautiful women and old people": Just watch any TV commercial to see them do their job of attracting and holding interest. ]People are always a ]P04 00 ]favorite subject ]P04 01 ]for artists and ]P04 02 ]viewers. The old ]P04 03 ]woman with her ]P04 04 ]lined face reminds ]P04 05 ]us a little of the ]P04 06 ]portraits by Rem- ]P04 07 ]brandt. Maybe it is ]P04 08 ]the Mexican shawl, ]P04 09 ]called a "rebozo" ]P04 10 ]in Mexico. ]P04 11 The beginning of this image was not a photograph but a drawing in charcoal made from life. It was digitized, modified and, for this article, reduced in size and colors. THE OTHER BOTTICELLI GIRL ]]P06 00 It is only fair to pair the old ]]P06 01 woman above with one of the ]]P06 02 most beautiful images of a young ]]P06 03 woman that Botticelli painted. ]]P06 04 You may remember his head of ]]P06 05 Venus from the "Birth of Venus" ]]P06 06 was prominently featured at the ]]P06 07 introduction of the Amiga. Lesser ]]P06 08 known is this lovely head from ]]P06 09 "Primavera" or "Spring." ]]P06 10 The history of art offers more ]]P06 11 than any source other than nature ]]P06 12 for the artist to explore. 1]TODAY'S WORLD OF HI-TECH Moon walks, satellites, grids that guide space ships -- All are grist for the artist's imagination. Technology fills our minds with the planets seen through telescopes sending enhanced pictures. We watch humans in space and track their crafts on gridded monitors. If you need even more exciting images, you can tune in science fiction on TV and crib from graphics which may have been done on an Amiga in the first place. 6] A QUICK REVIEW OF ART COURSE'S LESSONS 6] (before the grand finale) 6] This ends the series of five small lessons that introduced a way to learn 6]about painting on the Amiga. Ahead is a recap of what came earlier, along 6]with the issue in which each appeared. ] ]P12 00 ] ]P12 01 July 1990 issue ] ]P12 02LESSON 1: Covered the predominant art program for the Amiga, ] ]P12 03 DPaint III, and how it relates to the principles of design. ] ]P12 04 ] ]P12 05 ] ]P12 06 August 1990 issue ] ]P12 07LESSON 2: Explained the "Golden Rectangle" through its use ] ]P12 08 as a means of composing images on a selected field. ] ]P12 09 ] ]P12 10 October 1990 issue ] ]P12 11LESSON 3: Explored theories of the painter's subtractive ] ]P12 12 palette and its application to the additive palette ] ]P12 13 of the light used by the Amiga on its red, green, blue ] ]P12 14 (RGB) monitor. ] ]P12 15 ] ]P12 16 December 1990 issue ] ]P12 17LESSON 4: Discussed ways to copy and/or create drawn ] ]P12 18 images onto the screen. Several approaches to learning ] ]P12 19 how to draw were defined. ] ]P12 20 ] ]P12 21LESSON 5: Has been an attempt to put it all together ] ]P12 22 so that you could see how at least one artist ] ]P12 23 goes about gathering ideas from different sources. In essence it is a scaled-down, 16-color portfolio of my work on the Amiga over the past few years. The original of the final image called "The Wedding of Medusa's Son Pegasus" is new. It was done with Deluxe Photolab in a screen size of 1280 x 400 in HAM. I used DigiPaint 3, Photon Paint 2 and DPaintIII. Technically, this is a 600 x 200 sketch looking forward to being a 24 bit image in a program designed for images as complex as this one. ] ]P11 00 ] ]P11 01 ] ]P11 02 ] ]P11 03 ] ]P11 04 ] ]P11 05 ] ]P11 06 ] ]P11 07 ] ]P11 08 ] ]P11 09 ] ]P11 10 ] ]P11 11 ] ]P11 12 ] ]P11 13 ] ]P11 14 ] ]P11 15 ] ]P11 16 ] ]P11 17 ] ]P11 18 ] ]P11 19 ] ]P11 20 ] ]P11 21 ] ]P11 22 ] ]P11 23 ] ]P11 24 _______________________________________________________________________ GREEK, ETRUSCAN & ROMAN MYTHOLOGY One of the most significant of all symbol sources is the one used in the image above. Sigmund Freud found these symbols so rich in human truth that he named many of our modern hangups for the stories which presented these characters. Pick any culture in the world, explore its religious symbols, and you will not only find images to keep you busy with Amiga graphics, but you will also learn about your own cultural heritage.