UNIVERSITY OF THE BASQUE COUNTRY

Creative Processes: A Method for Developing Creative Paintings with

Open-Ended Messages by Combining Digital and Traditional
Techniques
A Masters Thesis in the Faculty of Fine Arts: Creation as Investigation in Art
by Colin Hoisington
iii
UNIVERSITY OF THE BASQUE COUNTRY
Creative Processes: A Method for Developing Creative Paintings with
Open-Ended Messages by Combining Digital and Traditional Techniques
Line: Creation as Investigation
Faculty of Fine Arts
Project of Research Suffciency Presented by: Colin Hoisington
Project Director:
Bilbao Delgado Ignacio
Faculty of Fine Arts
UPV/EHU
Bilbao, August, 2014
iv
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0
International License. To view a copy of this license, visit http://creativecommons.
org/licenses/by-sa/4.0/.
v
Abstract of the Investigation
Creative Processes: A Method for Developing Creative Paintings with
Open-Ended Messages by Combining Digital and Traditional Techniques
by
Colin Hoisington
University of the Basque Country, 2014
This investigation arose from dissatisfaction with the current state of
paintings and a desire to produce and stimulate works that combine the following
four concepts, creativity, open-ended messaging, and the use of traditional and
digital painting techniques. The frst part of this document assesses the present
understanding of the terminology and their defning characteristics. The second
part develops a procedural method for creating paintings that embody the ter-
minology examined. The third part documents in detail the process of creating a
painting that follows the procedural model. The conclusions section challenges
the common misconception that creativity is an act of a sole individual who cre-
ates a genuinely unprecedented image. This misconception may have detrimen-
tal consequences to creativity as artists strive to attain an unachievable goal. We
argue, based on the literature reviewed, that creativity is a social event built upon
knowledge accumulated over time and by various contributors. The evolution of
sampling and remixing in music has called into question the validity of authorship
and have developed creative processes that are applicable to the visual arts.
While much of the visual arts migrate toward digital techniques, we illustrate the
remaining advantages available to traditional practice, primarily through the mod-
eling of surface topography.
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Resumen de la Investigacion
Procesos creativos, una metodologa para el desarrollo de pinturas
creativas con mensajes abiertos mediante la combinacin de tcnicas
tradicionales y digitales.
Por Colin Hoisington
Unniversidad de Pais Vasco, 2014
Esta investigacin surge de la insatisfaccin en la prctica pictrica y del deseo de
producir y estimular obras que combinen los siguientes cuatro elementos; creatividad,
mensajes abiertos, tcnicas tradicionales y uso de herramientas digitales. La primera
parte de este documento evala el entendimiento actual de los trminos y sus car-
actersticas determinantes, en la segunda se desarrolla una metodologa para crear
pinturas que materializan los trminos analizados, y la tercera parte documenta en
detalle el proceso de desarrollo de una pintura que sigue el mtodo de procedimiento.
En las conclusiones, argumentamos que la creatividad no es un acto individual, que no
existe la creacin de una imagen legtima sin precedentes y que su bsqueda puede
perjudicar al propio proceso creativo, centrando la atencin en un objetivo imposible y
bloqueando la misma. Basndonos en la literatura analizada, el argumento principal es
que la creatividad es un evento social, que crece por la acumulacin de conocimientos
de varias personas en el tiempo. La evolucin de sampling y del remix en la msica,
han puesto en duda la validez de un autor singular y han desarrollado nuevos procesos
creativos que son aplicables a las artes visuales. Si bien gran parte de las artes visuales
migran hacia tcnicas digitales, hemos reconocido -y utilizado- las ventajas que an
dominan en la prctica tradicional, mediante la modelacin de la superfcie de la obra.
vii
DEDICATION
This is dedicated to the people that have supported my artistic endeavors over
the years.
Diane Tax
Dean Hoisington
Ryan Harrington
Kyle Haakenson
Christian Johnsen
Garrett Hurley
Thank You
viii
TABLE OF CONTENTS
Abstract............................................................................
Resumen (Espaol).........................................................
Dedication........................................................................
Table of Contents.............................................................
Acknowledgments..........................................................
1.- Introduction...............................................................
1.1. Objectives..........................................................
1.2. Methodology........................................................
2.- Assessment of Terminology....................................
2.1. Creativity in Contemporary Painting...................
2.1.1. The Act of Bringing New Ideas and
Concepts into Reality or Through the
Combination of Ideas in Ways that
Form New Connections .................................
2.1.1.1 Translation..........................................
2.1.2. Mastery over the domain of painting as a
requirement ...................................................
2.1.3. The result of a process, a series of actions
or steps directed towards a desired end .......
2.2. Open-Ended Messages......................................
2.3. Digital and Traditional Painting Techniques........
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4
4
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12
15
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2.3.1. Concept Development................................
2.3.1.1. Online access....................................
2.3.1.2. Image editing Programs....................
2.3.1.3. Remix.................................................
2.3.2. Surface Topography....................................
3.- Procedural Method for Developing Creative
Paintings with Open-Ended Messages Through
the Combination of Traditional and Digital
Techniques ..........................................................
3.1. Preparation............................................................
3.1.1. Inspiration...................................................
3.1.2. Research.....................................................
3.2. Incubation............................................................
3.2.1. Insight.........................................................
3.3. Evaluation............................................................
3.4. Elaboration..........................................................
3.5. Refection.........................................................
4.- Development of Personal Work Through the
Procedural Method.............................................
5.- Conclusions..............................................................
6.- Works Cited...............................................................
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1
1. INTRODUCTION
We strive to conceive creative images with open-ended messages that
permit the viewer to complete the work by projecting their own interpretation and
meaning. Paintings greatest advantage as an artistic medium is that it allows
for fexible version of reality, and changes how we experience and perceive the
world. We pursue manipulation of realistic depiction not as a means to control in-
terpretations, but rather as a way to free them of typical, mundane limitations and
to magnify alternative perspectives. We explore the expressive qualities of color
and the form of the material in order to directly affect the emotions and feelings of
the viewer.
We want to demonstrate to painters various alternative production meth-
ods based on combining digital and traditional media. There exists a common
belief that creativity and originality are limited to those who are blessed or consid-
ered genius. We, on the other hand, believe it to be a process and one in need of
clarifcation.
In this investigation we aspire to design a fexible procedure for creat-
ing artwork that meets our desires as mentioned above. We hope it serves as
a moldable model that artists may use as an example or template for their own
endeavors.
1.2 OBJECTIVES
The objective of this investigation is to design a method for developing
2
creative paintings with open-ended messages through the combination of tradi-
tional and digital techniques. Great potential exists in combining these mediums
and concepts but unfortunately we fnd few exemplary models that embody and
fuse together each of the criteria. We recognize that many artists in felds such as
graphic design and mass marketing are extremely creative in combining tradi-
tional and digital techniques, but it is the opposite of work with open-ended mes-
sages since their main goal is to eliminate dissident variations and push a single
clear message that is designed to sell their product. Western culture is over-
whelmingly surrounded by this type of design and we aim to promote alternative
visual creations.
1.3 METHODOLOGY
This investigation is divided into 4 parts.
I. The frst part gives an overview of the terminology. We will examine the
current state of understanding within the feld of fne art painting by sur-
rounding the concepts of creativity and works with open ended messag-
es. We will focus on the current distinguishing factors between digital
and traditional painting methods.
II. The second part develops a procedural method for creating paintings
that embody the terminology examined in part one.
III. The third part documents the development of a painting that follows the
procedural model.
3
IV. The fourth part is a conclusion to the investigation.
4
2. Assessment of Terminology
2.1 Creativity in Contemporary Painting
Creativity is a complicated concept that takes on many forms, making
it diffcult to defne and challenging to analyze (Kandel 452). We can simplify
matters by confning our defnition within the context of contemporary painting.
It is not our objective to analyze its meaning to great depth, but rather to defne
it clearly enough so that we can design a procedural model that fts within the
confnes of that defnition.
We defne Creativity in three parts:
I. Creativity is the act of bringing new ideas and concepts into
reality or the combination of ideas in ways that form new
connections (Csikszentmihalyi, ch.4) (Kandel 497).
II. It requires mastery over the domain, in our case, of fne art
painting (Csikszentmihalyi, ch.4).
III. It is the result of a process, a series of actions or steps di-
rected towards a desired end (Csikszentmihalyi, ch.4).
2.1.1 The act of bringing new ideas and concepts into reality or through the
combination of ideas in ways that form new connections.
The majority of our current understanding of creativity comes from the re-
search of Mihaly Csikszentmihalyi. His key premise is that the creation of new
ideas is a social event. Creativity emerges from individuals who contribute some-
thing new to preexisting knowledge. This preexisting knowledge is the accumula-
5
tion of efforts by many people over time. This is in direct contrast with the modern
understanding of originality as the product of a sole inventor (Storr). We support
the idea that originality may not exist at all. Ideas tend to evolve through interpre-
tation, recombination, and recognition of fortuitous mistakes. Essentially all ideas
are previously owned, both on a conscious and unconscious level, which are
experienced or introduced to a person at some point throughout ones life (Let-
hem 15). We aim to deconstruct the common belief that creativity is a divine act
restricted to those that are considered genius. The creative act only exists thanks
to groundwork laid out over time by culture (Csikszentmihalyi, ch.4).
As far as individuals are concerned, Csikszentmihalyi defnes two types of
creativity. He states, we need to distinguish between what I call creativity with a
small c-creativity that serves your own personal satisfaction and fulfllment and
what I call creativity with a capital C, which implies some sort of acceptance
(Creative Dialogue 3).
Csikszentmihalyi differentiates those individuals whose impact changed
culture. Their success is contingent upon society understanding, recognizing
and implementing their idea. It is characterized as Creativity with a capital C
(Csikszentmihalyi, ch.4). Being that this type of creativity is not something that an
individual artist can control, and has more to do with chance, and the acceptance
of society, we will not concern ourselves with it in this investigation.
The other type which will focus upon is creativity with a lowercase c, com-
mon amongst individuals whose perceptions are fresh, whose judgments are
insightful, who make important discoveries that only they know about (ch.4). This
6
is the type of creativity this investigation aims to understand and utilize. Being
that it is more independent of outside factors, it is the type of creativity that can
be directly enhanced through better understanding.
Throughout the history of painting, the act of bringing newness, or novelty,
into reality has largely emanated through the formation of new connections be-
tween preexisting ideas and works. Another way we refer to this is translation.
2.1.1.1 Translation of Preexisting work
Websters Dictionary defnes translation as,
i : to turn into ones own or another language
ii : to transfer or turn from one set of symbols into another.
We identify with the term translation for its positive connotations. On the
other hand, there are many other words to describe the same action with more
controversial associations such as appropriation, copying, stealing, pirating,
plagiarism and so on. The concept of translation has been and continues to
be fundamental to the evolution of creativity in painting. It also stands in direct
opposition to the modern understanding of originality.
According to art critic and academic at Yale, Rob Storr, the term originality
as it is popularly known today is something that was manufactured as a socio-
logical ideology after WW2 during the period of abstract expressionism. Storr
7
explains, at this time America was determined to contribute something categor-
ically new. In art terms modernism was about breaking free of the academy, its
control and standards. Rather than follow the convention of copying the masters,
they wanted to create paintings that had never been seen before. Newness was
valued to such an extent that, Artists were judged by the degree which they
could be even remotely traced back to a source. Storr supports his claim by
quoting Richard Serra while speaking to Chuck Close, You are only as good as
the obscurity of your sources. Serra, perhaps the most infuential living sculptor,
apparently has done a very good job in hiding his infuences. The abstract ex-
pressionist movement, and the goals which they represented were so infuential
that it became quintessential to deny the existence of inspiration, creating an
environment of mysticism that gave the illusion of originality.
The idea of the original object, of the unique artwork, vested in one per-
son in one creative event is a myth, purely and totally, claims Storr. Harold
Rosenberg was one of the leading advocates of this myth, proclaiming that a
creative painter is one that, approaches a canvas with a material in hand and
out of oneself and the material, create a totally unprecedented image, a genuine
act of creation. Storr emphatically declares that this is not only false but a
misconception that may be detrimental to aspiring painters in their quest to reach
an invented and perhaps unattainable ideal.
The traditional method for learning through the entire history of painting
has been through copying, continues Storr. It was the standard way of learning,
experiencing and transmitting culture. Before modern reproduction devices,
replicas were made by the hands of apprentices. It is false that masters only
8
made unique autographed works. Painters often times had multiple clients
for whom they would reproduce their most popular works. Storr comments on
instances where the copies made by apprentices on behalf of the masters were
so similar in style that verifying the actual artist continues to be under dispute to
this day.
Throughout history, spanning across all genres of art, appropriation has
been prolifc. In literature Vladimir Nabokovs Lolita was inspired by Heinz von
Lichberg version of Lolita published 40 years earlier (Lethem 1). In flm, Walt Dis-
ney plagiarized, which was perfectly legal at the time, from various authors, and
never compensated them. Examples are Buster Keatons Steamboat Bill, Jr, later
becoming Mickey Mouse, and the brothers Grimm stories including:
Snow White (1937), Fantasia (1940), Pinocchio (1940), Dumbo
(1941), Bambi (1942), Song of the South (1946), Cinderella (1950),
Alice in Wonderland (1951), Robin Hood (1952), Peter Pan (1953),
Lady and the Tramp (1955), Mulan (1998), Sleeping Beauty
(1959), 101 Dalmatians (1961), The Sword in the Stone (1963),
and The Jungle Book (1967), (Lessig 22-25). In beatnick writing,
William S. Burroughs used his cut-up method to borrow from
American science fction novels of the 40s and 50s (Lethem 3).
In music, Lee Scratch Perry recognized the potency in deconstructing
recorded music by turning down the voices on a mixing board, and replacing the
lyrics. This idea then lead to an explosion of exploration through manipulation,
beginning with reverbs, echoes and amplifed bass lines, then giving birth
to Dub music and eventually spawning into electronic music (Navas 37). In
sculpture/ installation work Felix Gonzales Torres was questioned if he stole his
idea for the paper stacks series and replied, its not who did it frst, its who did it
best (Storr). In painting, Picasso made his frst Pastiche in 1914, art about art,
outright appropriation and combination of others works. Picasso had a polemic
9
reputation for borrowing others ideas, supported by his statement, minor artists
borrow, great artists steal(Storr).
Rob Storr tells a story that while the abstract expressionists ideal of
purity and originality dominated the modernist manifesto, one of the founders
of modernism, Arschile Gorky took an opposing stance. His own name being a
double plagiarism, was taken from a Russian Writer, who in turn also took his
name from another. Gorky, an initiator of abstract expressionism was a mentor
for de Kooning and supposedly, taught De Kooning how to paint like de Koon-
ing. Storr claims that Gorky did not want to make new paintings. He wanted to
translate his understanding of other peoples work, and openly criticized those
who maintained the illusion of originality. He used the visual language of other
artists to express his own message, advocating that modern art is actually the
act of translation rather than an act of invention
2.1.2 Mastery over the domain of painting is a prerequisite.
Domain is, as defned by David Feldmen, any organized activity in
society, where an individual can be ranked in terms of expertise. Feldmen
simplifes it as any occupation, any art or craft or sport (Gardner 4). All
domains have their own system, a set of symbolic rules and procedures
(Csikszentmihalyi, ch.4). To understand this idea better, Csikzentmihalyi
describes them by making comparisons of creative development within different
domains. He states:
10
Different domains are structured in different ways. The symbolic
system of mathematics is organized relatively tightly; the internal
logic is strict; there is a high degree of clarity and lack of redundan-
cy. Therefore, it is easy for a young person to assimilate the rules
quickly and jump to the cutting edge of the domain in a few years.
For the same reasons, when a novelty is proposed, it is immediate-
ly recognized and if viable, accepted. By contrast, it takes decades
for social scientists or philosophers to master their domains, and
if they produce a new idea, it takes the feld many years to assess
whether it is an idea worth adding to the knowledge base. No
wonder, economists win the Nobel prize several years after they
develop a new model or theory (Csikszentmihalyi, ch.4).
It normally takes several years, even decades, of commitment and focus
to master a domain and even more so to contribute to it.
The time necessary to dominate the particular, symbols, maneuvers, and
logic of implications of a domain, tends to confne creativity from one individual
to one specifc domain (Gardner 14). Creativity is not a general talent that a
person can apply to any given discipline (Kandel 457). This is because creativity
in one domain functions differently to creativity of another (Gardner 6). For
example, a theoretician in quantum physics, although recognizably creative in
his own feld, would most likely not produce novel ideas in poetry or psychology
(Gardner 6).
D.H. Feldman, author of Beyond Universals in Cognitive Development,
states that creative individuals frequently alter the structure of their domain. If the
domain is thought of as a framework of recognized rules and limitations, creativity
happens when the organization and alignment of the framework is reconfgured.
It is fundamental to learn the rules and limitations of a domain in order to be able
to bend them, break them, or push them in a new direction.
One cannot be creative without learning what others know, but
11
then one cannot be creative without becoming dissatisfed with that
knowledge and rejecting it (or some of it) for a better way (Csiksz-
entmihalyi, ch.4).
In the domain of painting the artist has to understand intuitively the brains
rules for perception, color, emotion, and empathy (Kandel 450). While these
factors have been basic prerequisites for painters for hundreds of years, modern
developments have further complicated matters. With contemporary art and
painting, the domains are particularly unique in that the conceptual rules and
limitations have been radically blurred and deconstructed, possibly contributing
to the exaggerated time necessary to master the domain as compared to others.
This may also account for the reason that many artists dont fully develop until
later in life, and are not appreciated until long after their death. Of course this has
been the case for many of the greatest creators in history such as Copernicus,
Galileo, and Darwin himself (Creative Dialogue 2).
Csikszentmihalyi points out that a common point of inspiration in
introducing novelty into a domain arises when a person is dissatisfed with the
status-quo. It has been said that Einstein explained why he spent so much time
developing a new physics by saying that he could not understand the old physics.
Greater sensitivity, naivety, arrogance, impatience, and higher intellectual
standards have all been adduced as reasons why some people are unable to
accept the conventional wisdom in a domain and feel the need to break out of it
(Csikszentmihalyi 3).
Much of innovation in art has come by painters resisting the existing laws
and forming new ones. Kandel lays out for us the evolution of art movements
12
through successive modifcations from the accepted models of their time period.
Post impressionists separated themselves from impressionists because they
were tired of representing naturalistic depiction which could be done by the
camera. They searched for new ways to express what the camera could not.
They began changing the system of painting which at the time were symbols
based on realistic portraits. They created new symbols by deconstructing form
and using color to express emotion (215).
The desire to represent what the camera could not led to further
experimentation by Cezanne. He decreased the illusion of depth and began
breaking down images into more basic forms. Georges Braque took this
concept further with cubism by completely fracturing space into jagged forms
and also broke free of the static image by constantly changing his point of
perspective while depicting a painting. Wassily Kandinsky then began exploring
more aggressive abstraction until he progressively abandoned fgurative
representation. This lead to Malevich and the constructivists to explore non-
objective painting eventually rejecting the representation of forms from nature
and concentrated on expressing the creative processes of the mind (215-219).
2.1.3. Creativity is the result of a process, a series of actions or steps di-
rected towards a desired end.
The classic model for the creative process is categorized into fve steps
(Csikszentmihalyi, ch.4).
First of all is preparation. This is the stage when the mind is consciously
13
working on solving a problem or towards a desired goal (Kandel 458). Here, a
person is immersed in the quest to fnd a solution to a body of unsettled issues or
goals (Csikszentmihalyi, ch.4).
Second is incubation. This is when the brain is relieved of thinking about
the problem or goal leaving the conscious mind free to operate (Kandel 458).
Sigmund Freud brought to light the idea that much of mental life is unconscious
(Kandel 461). Today, neuroscience increasingly supports that human decision
making is partly unconscious, supporting the idea that it is also linked to creativity
(Csikszentmihalyi, ch.4)(Kandel 461). Csikszentmihalyi reasons that unusual
connections of previously unrelated ideas happen here because the unconscious
mind is not as inhibited by linear logical process as the conscious mind (ch.4).
Third is insight. This is the moment when unforeseen connections are
made between previously isolated ideas (Csikszentmihalyi, ch.4)(Kandel 458).
Jonathon Schooler psychologist at University of California Santa Barbara
describes it as letting the mind wander. He claims that the peak moments
of creative insight happen when people are not consciously thinking about
a problem, but doing a physical activity, relaxing or thinking of other things.
Creative endeavors often lead to a block, or an impasse- a state in which the
person does not know what steps to take next...such problems are quite likely to
lead to a sustained effort that is rewarded with a sudden insight that breaks the
impasse and clearly reveals the solution(Kandel 458).
At this stage of the creative process, the linear progression of the steps
fades away and often times giving way to dispersed moments of incubation,
14
evaluation or elaboration (Csikszentmihalyi, ch.4). Creative problem solving
involves continuous experimentation and revision (ch.4).
Fourth is evaluation. This is the auto-refexive step where one questions
the validity of the new idea, whether its actually new or recognizable (Csikszent-
mihalyi, ch.4). Here the person chooses which ideas are worthy of elaborating
and which are to be discarded (ch.4).
Fifth is elaboration. This is when the individual is actively engaged in
understanding and working through the idea (Kandel 459). It is generally the
most time consuming step (Csikszentmihalyi, ch.4). Most ideas that have made
it this far quickly become discarded in the initial phases of realization (ch.4).
Obvious weakness materializes when the mental image is transferred to a visible
image.
Procedural models which outline creative processes for problem solving
are plentiful but are generally ineffective for artistic creative expression. Csiksz-
entmihalyi suggest that this happens when the fve stages are taken too
literally. He explains that creative ideas are generally refned and paused during
intermittent periods of incubation then modifed through new insights and often
return to other steps in a roundabout way (ch.4).
One distinguishing factor for the creative process in art, when compared
to other disciplines, is that the end product has no requirement to be functional
or solve a problem. The Dadaist for example emphasized this idea, purposely
degrading their work in order to ensure its uselessness (Benjamin 12). Where
15
some artists may see this as a hindrance, others see it as freedom and embrace
it as a cornerstone of their process.
2.2 Open-Ended Messages
Art stripped of necessary and foreseeable conclusions. - Umberto
Eco
The term open-work, coined by Umberto Eco, resists clear defnition
because it is a concept that evolves with time. Its meaning continually transforms
as each period changes its view of reality, intentions and purposes (Kandel 189).
According to some theoreticians, all works of art fall under the category of open-
work. Although we can agree with this to some extent, we can also argue that
there are varying degrees of its effect and intensity. Rather than attempt to place
clear defnition we will instead elaborate on its defning characteristics.
To begin, open-work is similar in nature to an open-ended question, in
that it has no set answer. Lacking a clear answer the brain naturally engages
in fnding possible explanations. The viewer is presented with a range of pos-
sibilities where each is equally valid and leading to different conclusions (Zeki
87). The opposite, being closed-works, are those that portray one dominant
way to understand the meaning of a piece. This is typical of mass marketing
in popular culture. Marketing intends to funnel perception down to a narrow
pathway by fltering dissident variations of thought until one, single, clear
message is transmitted.
The message of any artwork falls somewhere on the spectrum between
total clarity and no discernible message at all. Umberto describes this as an oscil-
16
lation between communicable, for example a stop sign, and non communica-
ble messages, such as static noise. When designing work the artist decides
to what extent to sacrifce his/her freedom of expression in order to guide the
viewer by offering some hint of direction towards understanding the intentions.
Shopenhauer recommends, Through the work of art, everything must not be
given directly to the senses, but rather only so much as is demanded to lead
the fancy on the right path. Websters dictionary defnes the ambiguous fgure
as a picture of a subject which the viewer may see as two different subjects or
as the same subject from either of two different viewpoints depending on how
the total confguration is interpreted. The key here is not to confuse ambiguity
with chaos, but instead to see it as a range of possibilities. Semir Zeki describes
ambiguity from a neurobiological point for view claiming that the visual part of the
brain has been developing for far more time than the linguistic part. Much of what
we see or imagine cant be explained with words. He states It is not ambiguity
itself, therefore that is aesthetically pleasing, even though some artists such as
Arcimboldo and salvador Dali deliberately made ambiguity an artistic artform. It
is rather the capacity to project multiple concepts and experiences onto a work
(92).
Artwork that allows for multiple meanings also offers new understandings
and meanings over time. As the viewer evolves through his or her own expe-
riences so will the possibilities for new understandings (Eco 37-38). Newness is
important because of the way the brain selects what it deems to be important to
store memory and disregard what is not (kandel 313).
The concept of openness breaks away from conservative conventions
as the artist sacrifces the traditional sense of control over the perceived
17
message (Eco ix-xi). This puts much of the responsibility into the viewers hands,
demanding their participation for it to function, and lessening the authority of
the author. This loss of control, while embraced by many contemporary artists,
is what mass marketing attempts to avoid at all costs. Today the overwhelming
control of mass production and marketing over culture make them the standard
convention. According to Eco Umberto Traditional art confrms traditional views
of the world, whereas the modern open-work implicitly denies them. Given
todays situation, we fnd it necessary to reject this form of representation in order
to fulfll our open-ended desires when creating artwork. Breaking away from
status-quo is one characteristic that nearly all great artworks have captured.
2.3 DIGITAL AND TRADITIONAL PAINTING TECHNIQUES
A painter chooses his tools, whether it is a mouse, digital tablet, or wet
brush, and uses his/her hands to control a medium, be it software or physical
substances. Even with purely digital painting the same basic types of skills are
developed through training and practice (Towse 13-14). Traditional concepts of
composition, depth, brush strokes, color theory, etc, continue to transcend the
growth of new technologies. Today, in face of new capabilities and technological
advancements, the painting process continues to be intensely artisanal (Towse
13).
Websters Dictionary describes artisanal as :
i. a worker who practices a trade or handicraft.
ii. one that produces something (as cheese or wine) in
limited quantities often using traditional methods.
18
Obviously, differences between digital and traditional painting do exist
which artists can take advantage of as they see ft. Digital tools have their own
inherent characteristics with each pertaining to certain expressive qualities.
The subtly of difference between the two mediums is generally as similar as the
difference between acrylic paint and oil. For example, a painter may choose to
apply paint to a certain area using a spatula vs. a soft brush because he prefers
the protruding texture and harder edges as a result. Of all the variances, we fnd
two factors that are clearly dominant in differentiating the two mediums. They are
concept development and surface topography.
2.3.1 Concept Development
Concept development in painting has fundamentally changed with digital
technologies due to two main factors. First is online access to image references
which then leads to digital image editing programs and lastly is the concept of
remix.
2.3.1.1 Online Access to Image Banks
Today, image databases of contemporary and historical images offer
instant access for use as source material at increasingly higher resolutions
(Towse 13). Previously, artists were generally limited to images from popular
printed material and books. Now the ease of which someone can cut, copy,
paste source material has fundamentally changed the research process (Storke).
Painters have used photographs as references to paint since its invention but
today with image editing software, artists have far more options than merely
19
mimicking them.
2.3.1.2 Image Editing Programs
Rather than be limited to copying a photograph, painters can create
their own source material for a painting by designing digital compositions and
collages. Digital editing software, which can be found as free applications, allow
for non-linear editing and manipulation of images. Non-linear editing, a concept
designed for video editing, fundamentally changes the process of realizing
mental images. Every step of a digital painting process can be recorded with the
ability to undo any mistake. Furthermore, there is non-destructive image editing
where the original data is not changed. Adobe explains various ways how this
is achieved. First of all by working with layers changes can be made that alter
the appearance of the image which can be reversed at any moment. Smart
objects, smart flters, adjustment of variations and masking are all more recent
nondestructive tools. They allow for unprecedented freedom in experimentation
as artists can refect upon and review how an image has changed over time,
select any phase of development and introduce a new and different variation.
Digital editing programs such as Photoshop were originally designed to
simulate traditional techniques such as those found in a darkroom. Today, the
same programs are being used to remix existing work. Remix (the activity of
taking samples from pre-existing materials to combine them into new forms
according to personal taste) is ubiquitous in art and music; it plays a vital role in
mass communication, especially in new media (Navas 65). Contemporary art is
largely a conceptual collage built upon the discoveries of previous artists, artistic
20
movements, histories and ideologies (Navas 167).
2.3.1.3 Remix
Remix, as detailed by the author of Remix Culture, Eduardo Navas, came
about as the result of a long process of experimentation with diverse forms of
mechanical recording and reproduction that reached a meta-level in sampling,
which in the past relied on direct copying and pasting (5)(22). Before the term
was coined other terms were used such as appropriation, replay, repetition, or
recycling (167). The basic building block of remix is sampling. Sampling consists
of a sample, normally a relatively small portion rather than a whole, from an origi-
nated source (12). Navas elaborates,
Sampling as an act is basically what takes place in any form of
mechanical recordingwhether one copies, by taking a photo-
graph, or cuts, by taking a part of an object or subject, such as
cutting part of a leaf to study under a microscope(11-12).
In other words, it is the act of citing pre-existing text or cultural products.
In academic writing, for example, citations are strictly monitored and enforced
(133). Today, cut, copy, paste through software and applications is the most com-
mon form of sampling (4), making the computer the ultimate sampling machine
(4)(15).
In the 70s djs manipulated and repeated (looped) disco music with turn-
tables (4). Remix was born when Djs moved past simply copying and pasting
and began creating their own composition through experimenting with sound
reproduction equipment (6)(19). Navara traces how principles found in the act
of remixing in music become conceptual strategies used in different forms in art,
21
media, and culture (6). Remix culture, frst defned by Lawrence Lessig, and
further modifed by Navara, is the recombination of material which extends be-
yond music to culture at large (169).
Navaras book describes how principles found in the act of remixing in
music become conceptual strategies used in different forms in art, media, and
culture (6). He begins by laying out the three stages of mechanical reproduction.
In the 1830s photography was the frst device dedicated to sampling (13). In
the beginning samples were taken from nature by the camera, then the phono-
graph, and then developed into the second stage of sampling other peoples
material once enough had been collected (15). Collages and photomontages
where the primary forms of recycling material based on physically cutting and
pasting with adhesive (17). The third stage when remix enters mainstream
culture challenges the myth of the individual as genius and sole creator (130).
Remixes tends to be more successful when the source is not easily
identifable because its too similar to the origin people will dismiss it as
derivative (168). Remix culture calls this phenomenon into question, confronting
the myth of the artistic genius (36). He claims that contemporary artwork, as well
as any media product, is a conceptual and formal collage of previous ideologies,
critical philosophies, and formal artistic investigations extended to new media
(65). Roland Barthes, while speaking about the domain of literature, advocates
A text is made of multiple writings, drawn from many cultures and
entering into relations of dialogue, parody and contestation, but
there is one place where this multiplicity is focused and that place
is the reader, not... the author (131).
Anyone can mix, especially with the development of apps specifcally de-
22
signed for ease of use, but how someone mixes and what they mix becomes the
distinguishing factor. Manovich suggests that remix is the aesthetic developed
out of selectivity (154). Navas continues on the idea stating average users and
experts utilize the same tools to create remixes thus Choice and intention, then,
become the crucial defning elements in new media; digital tools can be used to
support all types of agendaswhich fall between commerce and culture (31).
All technological advancements are in the end tools that individuals can develop
and expand upon by use of a critical conscience (165). For an artistic example,
Duchamps Ready mades are direct citations taken from the real world. His work
emphasizes the idea that arts true power is selectivity (133).
2.3.2 Surface Topography
Texture is the result of the interaction between a support, the use of
the material and how it is applied. It can be analyzed by describing its use of
materials and tools used to construct it. We can distinguish for example textures
over rough canvas or plastic sheets; texture from thick oil paint, acrylic thinned
with water or encaustic with pumice; and textures or patterns made by airbrush,
soft brushes, spatula, bleach, rags or paint-roller. Each variation, in combination
with its composition and color, speaks its own message.
In painting the artist recognizes that each brush, application device,
support, medium and painting surface has its own physical characteristics which
translate into visual effects. The traditional painting medium amplifes the artists
gesture, whereas the digital painting ignores it (Lewis 1). The topography of
paintings is often forgotten or neglected in part because the texture can be quite
23
slight, but also because most paintings are normally viewed as fat reproductions
on screens. To fully experience all of the intricacies a painting may offer, which
has traditional characteristics, it should be seen directly.
One of the biggest obstacles in digital painting arises from the desire to
produce an authentic original, which does not exist in the traditional sense. One
solution is to transfer the image from data onto a physical structure. The resulting
problem here comes from diffculty in synthesizing texture (Lewis 1). Digital
paintings are often designed for digital output, and those that are chosen to be
materialized by printing or projection lose certain on-screen qualities such as
color, brilliance or luminance. Current image synthesizing technology is incapable
of managing the complexity of reproducing true color value and image resolution.
Digital paintings use geometrical patterns to simulate visual complexity, while in
other cases the jaggie, low resolution appearance in an attempt to compensate
for the loss of information by transfer (Lewis 1).
As of 2013, the latest developments in image synthesis technology were
aimed at reproducing exact copies including the brushstrokes of masterpieces.
The Van Gogh Museum in Amsterdam along with Fujiflm in Japan presented the
frst 3-D reproductions of Rembrandts 1667 Jewish Bride. Also, Delft University
of Technology in the Netherlands working along with Oce revealed 3-D copies
of Rembrandts 1667 Jewish Bride, Van Goghs 1889 sunfowers and Almond
Blossom. While these replicas were promoted in a New York Times article
as having exact color match to the original, and it has the exact same brush
strokes as the original, it may be exaggerated (Siegal 1). Tim Zaman, one of
the members of the delft team responsible for scanning the images, tells a more
24
detailed analysis.
Although such a print might fool the regular observer, anyone with
knowledge of paintings will immediately see that this is not painted
with a brush. (Anyone with a microscope will see its drops painted
mechanically with a nozzle.) If you consider such a print light-
years ahead of a common poster reproduction, it is still light-years
away from the original. We noticed that things like glossiness and
transparency that are in each painting are very distinguishing in the
original, and we are not yet able to reproduce it. (Zaman Web)
Although updates to such technology will certainly bring reproductions to
a point that the difference will be unnoticeable to the naked eye. Zaman goes on
to point out,
What we learned so far is that there are many more elements that
make the painting look the way it does, a part from the color and
topography, that have an importance that we did not anticipate
(Zaman Web).
25
3. Procedural Model for Constructing Creative, Open Ended Work
The following is a procedural model for constructing creative open-work
based on the assessment of the terminology in part two of the investigation. The
procedure is designed to guide conceptual and visual development independent-
ly or simultaneously.
The core of the model is founded by the fve stages of the creative process
presented by Csikszentmihalyi. Creative process models such as this may be
oversimplifed and misleading, but it does offer a relatively valid and simple way
to organize the complexities involved explains Csikszentmihalyi (ch. 4).
The procedural process is divided into fve principal stages including some
sub-divisions. Stages may be omitted and are not intended to be linear. In fact
they are designed to be fexible and repeated in a loop like process until the de-
sired result is achieved.
26
The creative process consists of the following phases:
3.1 Preparation: Consists of two parts.
3.1.1 Inspiration:
Description:
Here the artist recognizes the motivation, desire, or wish. Often times this
phase may be nothing more than an unconscious impulse, or indescribable men-
tal concept which is also a perfectly acceptable starting point. This initial phase
should be free from limitations and expectations. Whether or not the inspiration
is valid or worthy of pursuit will be determined in later phases. What is necessary
is that the desire eventually becomes clear enough so that it may be consciously
explored which in turn stimulates the unconscious mind to participate.
PREPARATION
INSPIRATION
INCUBATION
REFLECTION
ELABORATION
ASSESSMENT
INSIGHT
RESEARCH
Scheme 1: Procedural method
27
Csikszentmihalyi points out major sources of inspiration which often times
are intertwined. They come from conficts of life, infuence of past knowledge
(Domain), pressures of human environment (the gatekeepers of a Domain, i.e.,
teachers, colleagues, investors), and discovery of unrecognized problems (ch.4).
Csikszentmihalyi advises that,
...the creative process starts with a sense that there
is a puzzle somewhere, or a task to be accomplished. Perhaps
something is not right, somewhere there is a confict, a tension,
a need to be satisfed. The problematic issue can be triggered
by a personal experience, by a lack of ft in the symbolic system,
by the stimulation of colleagues, or by public needs. In any case,
without such a felt tension that attracts the psychic energy of the
person, there is no need for a new response. Therefore, without
a stimulus of this sort, the creative process is unlikely to start
(ch.4).
Not all creativity is based on solving a problem. This is perhaps more true
in art than other domains.
...there are also situations in which nobody has asked
the question yet, nobody even knows that there is a problem...
Einstein, among others, believed that the really important break-
throughs in science come as a result of reformulating old prob-
lems or discovering new ones, rather than by just solving existing
problems (Csikszentmihalyi, ch.4).
Critical Questions:
Where has the inspiration come from? What type of confict is the inspi-
ration stemming from?
Is this something that deeply provokes my curiosity?
Why am I interested in this?
28
3.1.2 Research
Description:
In order to fall within the restrictions of our defnition of creativity, one must
understand the current state of affairs surrounding their inspiration, question or
idea, so that new connections may be explored, and redundancy avoided. By de-
termining what has already been done, the artist may focus on alternatives, vari-
ations, and tangents of the idea. During this phase the artist builds a database
of previous knowledge, paths of explorations, criticisms and questions that arose
as a result. In this sense, the creative process is similar to the scientifc method,
where it builds itself based on previous knowledge.
Critical Questions
Who are my sources?
Do I have profound knowledge about the work, process and intentions
of my sources?
How and where could I fnd out more?
How could I elaborate upon the visual language of the source material
that interests me? How could it be improved?
What is the current state of affairs regarding the idea, and what infor-
mation or knowledge is lacking?
What is the traditional view of the idea or concept, and how can I pres-
ent a modifed perspective?
Where can I collect visual samples related to the idea?
What textures could express the emotions I experience while research-
ing?
29
3.2 Incubation
Description:
Incubation is when conscious work on developing an idea is dormant, al-
lowing the unconscious mind to work. The idea that much of human life is uncon-
scious was frst declared by Sigmund Freud and has been increasingly supported
ever since (Kandel 461). There are two proposed reasons for this. First, that
the cognitive unconscious can handle a greater number of operations than the
conscious processes that occur at the same time. Second, it may have easier
access to what Freud called dynamic unconscious- our conficts, sexual striving,
and repressed thoughts and actions- and can therefore make creative use of
those processes (Kandel 472)
Critical Questions:
This phase is unconscious, thus independent of consciously critical
thought.
It may be helpful to ask oneself is the mind being provided the optimal
conditions for stimulating unconscious problem solving?
3.2.1 Insight
Description:
Insight is a moment that generally occurs during the incubation process.
It is the phenomenon of the aha, or eureka when the mind left to wander. It
is often time accompanied by a state of mental relaxation while walking, eating
a meal, watching a modern dance performance, watching a sunset, exercises,
brushing ones teeth, or simply thinking about something else. Ideas that were
fragments or incomplete seem to suddenly come together and make sense (Kan-
30
del 458-459). One thing to keep in mind is that ...people who keep themselves
busy all of the time are generally not creative (Csikszentmihalyi, ch.4). Setting
aside time for the mind to be at more of a state of peace appears to be essential
for creativity.
3.3 Assessment
Description:
Within the context of teaching and learning, evaluation and assessment
have distinct defnitions. Evaluation focuses more on assigning value to a fnal
product.
3
Assessment is an ongoing process used for improving learning by iden-
tifying areas for improvement.
Although Csikszentmihalyi uses the term evaluation for the process of
developing creative ideas, we fnd assessment to be a better ft because of the
greater attention towards learning, progression, and building upon ideas and the
development of creative work.
This is the moment to ask oneself critical questions about the idea or work.
As an artist that places value on the concept of his/her work this may be one of
the most important stages. It may also be the most helpful in breaking through a
block in creativity or imagination. Clarifcation is putting order to chaos. It is taking
a complex idea with many variables and whittling it down- progressively exposing
the core desire.
This is where the accumulated ideas surrounding the inspiration, and all
its variables are reviewed . During research many ideas both good and bad come
31
pouring out and all of the ideas should be recorded indeterminately. Through
evaluation the weakest ideas are discarded in order to facilitate future phases
and to focus energy where it is deserved. Think of it as a flter so only the best
ideas are chosen for further development or combined into even better ideas.
The key element here is choosing ideas with the most potential for growth or ca-
pability to be built upon, rather than complete solutions. A suggestion for effective
distillation is to utilize it intermittently with periods of incubation, which tends to
naturally shed light on previously unseen fatal faws of ideas.
Critical Questions:
What exactly do I want to do?
The more exact answer to this question the better, but ultimately not
necessary.
What messages or concepts would I like to suggest?
Why do I want to say this? There are varying degrees of validity to the
type answer that may come from this. Because I want to is the weak-
est answer as possible. Here the important factor is that the artist can
defend him/herself intelligently.
Does the idea offer something new or expand upon a preexisting idea?
Recognize strengths.
How can they be capitalized?
Recognize weaknesses.
How can they be minimized?
What would I like the fnished work to look like? Is it probable that the
mental image could be effectively translated into a visible reality in the
elaboration stage?
32
How does the idea challenge the status quo?
How could the image relate to past and future time periods?
Why is paint the appropriate medium to express this idea?
Is the idea obvious, common, or stimulating?
How does or could the idea present something new to the associated
domain or to the domain of painting?
How could the idea or inspiration be visualized? How has the idea been
represented in other domains?
How could this idea evolve, or be built upon in the future? What other
ideas or issues stem from the idea?
Concerning ideas that are to be eliminated, have I sampled or extracted
the more interesting parts of the whole?
3.4 Elaboration
Description:
The mental image must be translated into a visible reality. This stage may
be revisited many times as rough drafts as images are created and evaluated.
This part of the process is defned by physical work rather than conscious ques-
tioning. Many combine this step with incubation as they may fnd the hands-on
production of their work to be meditative.

Critical Questions:
Questions that arise during this time should be recorded so that they
are not disregarded, but this is the time for focusing energy through the
body to make work.
33
3.5 Refection
Description:
Assessment of the results is the fnal and often over-looked part in the
creative painting process. The purpose of this stage is to determine how well
the actions taken have accomplished the artists intentions. It is also a critical
moment where the artist can determine how the work or idea can be evolved in
future works.
Critical Questions:
Is there a single, clear or dominant message?
If yes, then how can this be changed?
What major concepts or messages does the image suggest?
How could unwanted messages be lessened?
What questions or problems have been left unresolved?
How can the work could be improved?
How have I contributed something new to the current state of the idea
or concept?
In what way have I combined ideas to create something new?
Does my creation refect a certain mastery over the domain?
How have I challenged traditional views of the subject?
How has the mixing of my sources or samples promoted or enhanced
my intentions?
How has the medium of paint affected the end result?
Have I received constructive criticism by valued peers surrounding the
feld of painting: instructors, artists, critics, etc?
34
4.- Development of personal work through the procedural model
This portion documents the development of a painting by the artist Col-
in Hoisington. It is organized as an atlas of images collected during research
phases. It includes notes taken which respond to some of the critical questions
proposed by the procedural model. The notes are labeled by their corresponding
stage of the procedural model developed in section 3. Incubation stage is omitted
as it takes part repeatedly and at indeterminable times throughout the creative
process.
INSPIRATION
I want to create a painting that refects the current phenomenon of mass
migrations of under-developed societies due to environmental and
economic pressures. I am intrigued by a metaphor that describes the
migration of people to the action of the cutting of their roots. I have
PREPARATION
INSPIRATION
INCUBATION
REFLECTION
ELABORATION
ASSESSMENT
INSIGHT
RESEARCH
Scheme 1: Procedural method
35
chosen to design the painting with the goal of confronting an audience
that fnds the particular subject repulsive.
The typical imagery surrounding the issue generally depicts sadness
and negativity of poor, dark skinned people crossing borders, jumping
fences, breaking laws and begging. This imagery is conditioned and
expected by Western mass-culture thus offering no new information. It
would only contribute to the common reaction of ignoring such imag-
ery and the reality of the situation. In order to make a creative painting
based on this subject matter, an alternative visual presentation must be
offered.
My solution is to create two pictorial planes or levels of interest. The frst
is the superfcial story meant to captivate the viewers initial response,
which utilizes traditional aesthetic ideals and illusionary devices. This
entertainment portion is designed to target an audience of mass culture
and hopefully will maintain their attention long enough to discover other
levels of understanding.
The deeper message is about the current condition of mans connection
to earth, and the pain, sense of loss, and general hardship that is too
horrible for popular culture to face directly. The viewer must be present-
ed this reality gradually, or they will simply and immediately reject it due
to its uncomfortable and unpleasant nature. The real story should be
fused into the background as projected metaphors, not always in focus
yet always present as an alternative option for interpretation.
36
I begin by visualizing the idea of roots by searching image databases and
photographing them.
Figure 1: Photographs of root-like structure, by Colin Hoisington
RESEARCH
37
ASSESSMENT

From the images collected I recognize strengths in the entanglement of
root structures that offer positive connotations of a network, disorgani-
zation and organic complexity.
Weaknesses are that the composition is fat and there is no connection
to the earth.
Work can be improved by fnding images of roots in earth.
Will search for less homogeneous images.
Will fnd images that combine a pleasing composition with roots
Remove weakness by removing fatness, search for multiple points of
focus, varying sizes and shapes, and by separating the roots.
Capitalizing on its strengths by continuing research for intertwining,
dirty, varying types of roots.
Photograph exposed roots in their natural state of being connected to
the earth.
Search for roots connected to earth and showing options for composi-
tions which include depth.
Search for natural compositions where roots may or may not be ex-
posed.
RESEARCH
Search for earth textures, earth with human-like form, and human inter-
action.
38
Figure 2: Collection of images with roots in earth.
39
Figure 3: Collection of earth textures.
40
Figure 4: Collection of photographs of termite mounds, structures of earth with human-like form.
41
Figure 5: Photograph, Somoto Canyon, Nicaragua, by Colin Hoisington.
42
Figure 6: Photographs of Somoto Canyon, Nicaragua, by Colin Hoisington.
43
RESEARCH
ASSESSMENT
In recognizing strengths, earth-like structures such as the termite hills
take on a somewhat human fgure sometimes, other times more root-
like, a seemingly perfect fusion.
Exposed sedimentary layers lead to the idea of fossils and ancient
times.
The reddish earth tones seem to personify the earth, as part of its com-
position was of blood.
Visual connotations from the canyon photographs are seen to have in-
teresting parallels with the subject matter. The canyon walls can repre-
sent hierarchy, with tall steep walls deep hollow base, seemingly impos-
sible to climb, a large gap between the higher prosperous levels where
light and vegetation represent hope comes from above.
Weaknesses are found in images with human connection. They appear
obvious, stereotypical and uninteresting over the long-term.
They are only interesting for certain aspects and specifc parts.
How can the work could be improved? A collage should be made, taking
samples from the collected images.
Human fgures need to be collected to experiment with the fusion.


Search for images, several different types, of the nude fgure.
44
Figure 9: Photomontage of hundreds of nude human fgures, by Colin Hoisington.
45
Figure 10: Figures extracted from their original backgrounds and organized by pose.
46
Figure 11: Figures extracted from their original backgrounds and organized by shape.
47
Figure 12: Figures organized by body type.
Figure 13: Figures organized by body type and blurred.
48
Figure 14: First attempt to create a composition from the fgures.
49
Figure 15: Collage trial, attempt to create composition with multiple planes of focus.
50
Figure 16: Collage trial, attempt to create composition with multiple planes of focus.
51
Figure 17: Collage, attempt to organize fgures as if they are climbing or becoming roots.
52
Figure 18: Collage, attempt to create composition following forms of the body.
53
Figure 19: Collage, attempt to create composition following forms of the body.
54
ELABORATION
The nude fgures are organized in several ways: body type, pose and
gender. Each one is extracted from the background. Various collages
are made digitally placing each fgure on a separate layer allowing for
easy adjustments in composition and form.
The different colors of each image are found to be distracting so the
fgures are changed to gray-scale. None of the collages are satisfacto-
ry so the artist decides to research for examples of how to handle the
composition.
ASSESSMENT
RESEARCH
Search for paintings that fuse together many human fgures.
55
Figure 20: The Annunciation, El Greco 1597-1600, Oil in Canvas,
315 cm x 174 cm, Museo de Prado, Madrid, Spain.
56
Figure 21: The Burial of Count Orgaz, El Greco, 1586, Oil on Canvas, 460 cm x
369 cm, Santo Tom, Toledo, Spain.
57
Figure 22: The Virgin of the Immaculate Conception, El Greco,
1608-1613, Oil on Canvas, 348 cm x 174.5 cm, Museo de Santa
Cruz, Toledo, Spain.
58
Figure 23: The Last Judgment, Jacob Jordaens, 1653, Jacob Jordaens, Louvre Museum,
Paris, France. Photograph by Colin Hoisington.
59
Figure 24Les Orades, William Bouguereau, 1902, Oil on Canvas, 236 x 182 cm, Muse dOrsay,
Paris, France.
60
Figure 25: Medicine, Gustav Klimt, 1900-1907, Oil on Canvas, 400 x 300 cm, (De-
stroyed) University of Vienna Ceiling Paintings.
61
Figure 26: Philosophy, Gustav Klimt, 1900-1907, Oil on Canvas, 430 x 300 cm, (De-
stroyed) University of Vienna Ceiling Paintings.
62
Figure 27: Alegora Carlos Senz de Tejada, 1936-1939, Ink, Wash and Pencil in Paper, Mueso Na-
cional Centro de Arte, Reina Sofa, Madrid, Spain.
63
Through researching for compositional layout examples I found many
have religious messages that I want to avoid. The painting of Medicine
by Klimt is incredibly stimulating.
The manner by which Klimt paints the fgures fowing into each other in
a vertical manner will be utilized.
The canyon images could serve as the base for the background. The
fusion of roots, human fgures and earth textures inspired by the termite
hills could be combined. Make some drafts of this.
To remove weaknesses the human fgure will be suggested and or ab-
stracted rather than be photo-realistic, thus eliminating the focus upon a
specifc culture
A general idea of the composition begins to take place by combining
the strengths and eliminating weaknesses. The background will be the
appearance of a canyon. Human forms can become integrated into the
walls of the canyon, either as fossilized forms or combined as root-like
structures. The idea emerges of people stacked one on top of each
other climbing over each other to get to the top.
Colors should be adjusted to have lighter inviting feeling towards the
top and opposite towards the bottom.
ELABORATION
ASSESSMENT
64
Figure 28: Digital Collage, laying fgures over Gustav Klimts ,Medicine, in order to capture
the fusion and fow of the composition. By Colin Hoisington.
65
Figure 29: Digital Collage, using idea from fgure 28, placing it on top of canyon photograph,
from fgure 6. By Colin Hoisington.
66
Figure 30: Sampling rock formations from canyon photographs.
67
Figure 31: Eliminating shaded areas from roots structure, from fgure 1. To be used for superim-
posing over canyon photograph.
68
Figure 32: Step one, Canyon photograph.
Figure 34: Step 3, superimpose roots struc-
ture from fgure 31. Fog added to the center to
create depth.
Figure 33: Step 2, place sampled rock formations
from fgure 30 on top.
Figure 35: superimpose fgures with composi-
tion similar to fgure 28.
69
Figure 36: Final digital collage. Technique is established.
70
Figure 37: Using the technique established in fgure 36, a far more detailed and intricate digital
collage is designed to be printed in large format on canvas.
71
Figure 38: Digital collage printed on canvas and stretched over support structure. The preliminary
layers of paint are visible. Thickness of the paint is applied more heavily towards the left and right
sides and becomes smoother and fatter towards the center to enhance depth.
72
Figure 39: Texture is built up over 2 years. The painting is complete.
73
5. Conclusion
In this investigation we developed a method for developing creative paint-
ings with open-ended messages through the combination of traditional and digital
techniques. This was done by frst evaluating the present understanding and
defning characteristics of the terminology. Second, we designed a procedural
method for creating paintings that embody the terminology examined. Third, we
documented in detail the process of creating a painting that follows the procedur-
al method.
We fnd the common understanding for creativity to be misleading. The
misconception describes creativity as an act of a sole individual who creates a
genuinely unprecedented image. In contrast we defend creativity as a social act;
one that contributes something new to a domain which is built upon knowledge
accumulated over time and by various contributors. Throughout the evolution of
painting, the infuence of preexisting work upon other artists has been particularly
fundamental.
On a personal level, the clarifed understanding of creativity alleviates
many long established barriers in developing new work. Before this investigation,
my creative process was stifed by attempts to attain the unachievable goal of
designing a truly original image that was free of any sources. Since this may be
true for many other artists, we see value in furthering the common understanding
of creativity and originality. In the current state of digital advancements in the arts
music has already embraced digital technology, sharing, sampling, and remixing
helping to redefne the culture of creativity.
74
In the domain of painting we have found that digital technologies have
changed the conceptual development of images. On the other hand, painting with
a physical substance continues to have certain advantages primarily through the
modeling of surface topography. The resulting texture of painting gives certain
expressive qualities that digital technology currently cannot offer. Through com-
bining the two mediums the artist can choose where and how to implement their
subtle but distinct differences thus increasing the range of tools and possibilities
for creative expression.
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6.- Works Cited
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Towse, Ruth, and Christian Handke. Handbook on the Digital Creative Economy.
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