Game: Sunset Overdrive Artist: Julien Renoult Developer: Insomniac Games Publisher: Microsoft
Instead of trotting out the cliché question, “Are games art?,” an exhibit at the Electronic Entertainment Expo aims to explore the actual artwork from upcoming and recently announced video games.
Long gone are the pixellated abstracts of yesteryear: these are fully realized, gorgeous works of art in various styles, hung for all to see in the Los Angeles Convention Center, where the Expo takes place this week.
Developing today’s graphics-rich video games –mobile, console, or PC — takes a lot of time, talent, and passion, and the images above show the kind of artistic energy that is put into them. From the painterly styles of artwork from Assassin’s Creed Unity and Destiny to the poster illustration of The Banner Saga and Sunset Overdrive, there’s a lot to like in the images above.
From 1993 until 1997, Apple’s rainbow logo smiled down from the east-facing side of Infinite Loop’s Building 3 as drivers sped north on Highway 280.
Now these Styrofoam and fiberglass signs are treated like fine art being peddled by one of the world’s oldest and most prestigious auctioneers.
Two rainbow Apple logos from the company’s original offices will be put up for auction next month at Bonhams and even though they come with some wear and tear, these Apple logos will cost you more than all your previous Apple purchases combined.
All you comic lovers and designers out there…get ready. Cult of Mac Deals has some software on sale that takes your designs, characters and stories and puts them in motion to create the story you have been visualizing.
We all love having plenty of space to work and learning time-saving cool techniques. With Motion Artist you can layout comic panels and image layers in any way possible using a large, user-friendly workspace and with its dynamic camera action automatically creates a cinematic experience. And Cult of Mac Deals has this killer application for 66% off – just $19.99 – during this limited time offer.
Artwork by Matisse (left) inspired the Mac Picasso graphics.
The famous Macintosh “Picasso” trademark logo was developed for the introduction of the original 128k Mac back in 1984. A minimalist line drawing reminiscent of the style of Pablo Picasso, this whimsical graphic implied the whole of a computer in a few simple strokes. It was an icon of what was inside the box, and became as famous as the computer it represented.
The logo was designed by Tom Hughes and John Casado, art directors on the Macintosh development team. Originally the logo was to be a different concept by artist Jean-Michel Folon, but before launch it was replaced by the colorful line drawing. It’s been famous ever since, and the style has endured across decades.
Casado recently attended the 30th Anniversary of the Mac celebration, and emailed Cult of Mac to shed some light on the history of this famous graphic. It turns out Picasso was not the primary inspiration for this after all – rather, it was Henri Matisse!
Procreate is pretty much my favorite drawing and painting app for the iPad, and v2.0 blows the metaphorical, Cockney-accented doors off the previous version. Yes, it’s now iOS 7-ready, but it’s also now an absurdly powerful images editor, with a whole new interface design to boot.
Ever wondered what your house would look like if you added an extra room? What about a new set of furniture? Stop wondering and start building the home of your dreams right on your Mac.
Whether you’re a casual user looking to redesign your home or a professional designer preparing a mockup for clients, Live Interior 3D is a powerful and intuitive home and interior design application that will help you get the job done no matter your skill level. And Cult of Mac Deals has it for only $19.99 – a savings of 50%!
It’s easy to think of David Scott Leibowitz, whose work fronts this week’s magazine cover, as kind of a renaissance man 2.0: the artist, app developer and author is a tireless champion of the new when it comes to visual arts.
Most recently, he’s also author of the eye-popping compendium “Mobile Digital Art: Using the iPad and iPhone as Creative Tools.” At over 300-pages, the tome features dozens of artists from around the globe whose work spans painting, photography, collage, photomontage and abstract works. They talk about their work, and trade tips, offer how-tos and share which apps they use — thankfully, there’s also a glossary for that. He talked to us about the evolution of digital art, the crazy artist stereotype, his favorite tools — and, perhaps the most important quality for any artist: persistence. Cult of Mac: How did your book come about? David Scott Leibowitz: In the summer of 2009, I emailed an app developer (and Mac developer for 30 years), Andrew C. Stone with an idea. I wanted to build an app that created a visual correlation between iPhone artworks and the apps used to create them. I contacted Andrew because his app “Gesture” contained functionality that I wanted for my app and for Andrew, there would be no learning curve, kind of a no-brainer. Andrew immediately agreed to code it and gave me a list of elements he needed from me to start the build. We went back and forth exchanging data and ideas for five days and on the sixth day, Andrew submitted the finished app, “iCreated” to Apple for approval. A few months later, I was contacted by Manning Publications to write a book on the subject. They saw “iCreated” and wanted a book that did the same thing, create a visual correlation between iPhone art and apps. Seventeen months of writing and many, many editorial revisions later, Manning killed the book and released the manuscript to me, saying their chain of distribution didn’t see any future for the book… I printed three, 100-page sample books on Shutterfly and shopped the manuscript around for 10 months, unsuccessfully. Then, in Oct. 2011, I went to PhotoExpo in NYC as I do every year and met Emily McCloskey at the Focal Press booth and told her about my book. Less than three months later, I had a contract, and with Emily’s help, was back to work revising the manuscript. Design in the UK, lead by Alfred Symons, took my material and fashioned it into a very, very beautiful thing. This past April, after almost four years, I got to hold it in my hands. You know the saying, “everything happens for a reason?” The book from Manning, the original publisher, would have been 8’ x 8’ at around 250 pages, making it look like a pamphlet compared to what Focal Press published. In addition, my whole philosophy and artist-centric approach to the material was embraced by Focal Press who recognized my desire to make inspiration as important here as education. CoM: What did you learn when putting it together (either a new perspective or new tools)? DSL: I learned that anyone who willingly works on a project with a hundred artists from all over the world MUST be nuts! I could write a very entertaining book about writing this book. The general population has 30-40% nut-jobs. Within the artist population, that percentage goes straight up. At 100%, I’d have to include myself. CoM: Any more publishing projects in the works? DSL: YES!!!! I have an amazing idea for a book, but unfortunately, right now, I have to work very hard at marketing this book. I believe getting a great publisher for my next book will be a lot easier if this book achieves even a modest level of success. Can’t talk a lot about the project just yet, but it involves iPads, Art and my redemption. CoM: What kind of feedback have you had on it so far? DSL: 100% positive feedback from silent pleasure to screaming and jumping around. I took a booth at Macworld in San Francisco this past January, armed with 4 pre-production copies of the book to do some market research. The biggest reaction came from middle and high school educators who held the book in their hands as if it was the holy grail. I really didn’t understand their intense positive reaction until one told me, “This is the book that will get students to put down their iPhones.” The next kind of feedback I got at Macworld was from some of those students themselves. They walked into my booth looking for SOMETHING to grab them in this packed Moscone center and walked out inspired, feeling like they had found it…The looks on their faces said “epiphany” and I got to experience the true joy a teacher must feel every time they know they’ve reached a young person. That tells me that education is probably where this book will do well and that my rewards might be less about book sales and more about inspiration given. Both would be awesome. CoM: What are the biggest obstacles facing more widespread acceptance of mobile art now? DSL: Like anything new, mindsets need to be changed. It helps that David Hockney has been extremely visible with his iPad art. It also helps we live in a very small world where creative genius finds it’s way to the top without going through the normal channels, or being David Hockney. Create some art and publish it worldwide that day. That is a new paradigm for artists who throughout human history created art in total obscurity, except for the .0001%. To be honest, with the web as the glue and the fuel for this art movement, I don’t see any obstacles, only massive opportunities. CoM: Any works you want to highlight from the book – what’s significant and why? DSL: I wrote the book so that each chapter will have a different significance for each reader, depending on their taste and aspirations. I included over 40 styles of painting so there are chapters for every painter to project themselves into. I found photographers who combined style and substance, so their work had clarity, unity and purpose. I added collage and photomontage artists who do “mash-ups,” using many apps to get where they’re going. Chapter three is all about abstraction, so artists who dwell there can see the possibilities. After that, trying super hard not to play favorites, I love David Stern’s thought-provoking opening treatise, Michael Highmead’s “Zen and the Art of iPhoneography” and Ethan Ham’s “The Small Glass.” All out-of-the-box thinkers, their chapters extend the scope of the subject matter in wonderful ways I could have only hoped and dreamed. The biggest reaction I get from readers is from Michael Garofalo’s chapter on cartooning, hands down. I would not be surprised to see a generation of cartoonists inspired by Mike’s chapter.
CoM: I noticed on your website that people can order prints – what’s most popular?
DSL: My personal art has never been easy on the viewer, with my methods always challenging the conception of “what is art?” Video art in the mid-70s, Polaroid SX-70 art in the 70s, 80s, digital art in the 90s and then iPhone/iPad art since 2008 have challenged the viewer. My most popular works in terms of print sales are from one days SX-70 work, done at Monet’s Garden on May 24th, 1989. Sales of limited edition prints from work created that day are almost sold out. Kinda crazy….
CoM: Any advice on what printing works best with mobile art?
DSL: I print on a Canon 9000 at home. The blacks are amazing! I’ve had work printed on silk and recently on metal with looks spectacular.
CoM: How would you suggest a new digital artist – either one with a more classical background or complete newbie – get involved with the online community?
DSL: One word, Flickr. It’s free, so you can upload some your best images and now you have a URL and your own portal to display your art. It has tons of groups so you can find tons of like-minded artists to bounce your work off. I met 90% of the artist’s in the book on Flickr and the best part has been watching their work grow over the years. We are friends in cyberspace but have met in the real world many times now to hug each other, show art together and make art together. iAMDA, The International Association of Mobile Digital Artists was created in 2009 and has sponsored two conferences at the prestigious NYU ITP facility in New York City.
CoM: What’s next for you?
DSL: I’m launching my fourth website, all coded by my webmaster, Mark Ostroth, called artnphotoapps.com. It’s designed to function as an addendum to the book, constantly updating new apps, new artists, new Mobile Digital Art. Because publishing a book has a significant time lag by the time it’s available, this site brings the information right up to date, keeping the book relevant. I’m starting my sixth simultaneous career soon teaching two classes at the grassynoel Gallery & Studio in Teaneck, New Jersey. A beginners class called Appology 101 for anyone interested in exploring the Mobile Digital Art possibilities.
The second class is advanced, for artists of different persuasions to get together and collaborate once a week and see what transpires. I’d also like to promote a great event at Tekserve in New York. The original Apple store since 1986, Tekserve sponsors educational events to promote Apple technology a few times a month. Monday, November 11 at 6 pm, I’ll be doing a book signing event there, with many Mobile Digital Artists in attendance, embedded in the audience making live art. The idea is to demonstrate the power of mobile digital art. It should be a fun evening and I’d like to invite any Mobile Digital Artist who sees this to come and play. You can order his book here and see more of his work on Flickr or his website.
Roz Hall is a UK-based artist who employs his iPad as a canvas to create some stunning portraits.
Hall wasn’t always a painter with pixels: he studied Fine Art at the Winchester School of art and is currently at work on a Master’s of Fine Art at the University of Chichester.
He’s worked as a filmmaker and in video production, but his main love since 2010 has been painting, at first on the iPhone, and now on the iPad.
This father, student and self-described beard enthusiast told Cult of Mac about his artwork, the perks of tablet painting and why naked Apple devices are best.
“Self Portrait In Yellow Glasses” @Roz Hall
Cult of Mac: What apps do you use, and why? Any apps you started using but don’t anymore? What’s the evolution of your process?
Roz Hall: My two favorite apps are Procreate and Inkpad, and I use them both for two very different things. Procreate is great for recreating that paint or ink feel as it has some wonderful brushes, which are completely customizable if you wish. Inkpad is a vector app, like a stripped down version of Illustrator, but very intuitive to use and awesome if you want to print off something really large! I used to use Sketchbook Pro as it’s a very advanced app and lovely to use, but I feel like the brushes are a little small and I like to start out with a large brush to block in shapes. I prefer to stick to a single brush type for each painting and just adjust the size and opacity, this probably comes from my background as a traditional artist.
CoM: What device do you use? Why? Any covers, cases, or peripherals you prefer?
RH: I started painting on my iPhone 3G but upgraded to the iPad and am now on the 3rd Generation iPad. The screen size is perfect, small enough to paint with on the train without drawing too much attention, and large enough to not feel restricted. I mainly just use my finger but have used a few different styluses.
My current favourite is the Sensu Brush, which has a small rubber tip on one side and an actual brush on the other. I was genuinely surprised at how natural that would feel, as I’d thought it sounded like a gimmick. I have played with a couple that offer pressure sensitivity but couldn’t get on with them, although the new JOT Touch looks promising. I like to have my Apple gear fairly naked as it feels criminal to cover them up, so I just have my iPad in its Smart Cover.
“Emma in blue top” @Roz Hall
CoM: How do you sell you art work? What are the unique challenges of creating commercially viable artwork on a digital device? The unique rewards?
RH: I have sold a few postcards on Zazzle and have painted a couple of commissions, but apart from that I don’t see it as a hugely commercial venture. I won’t be quitting my day job quite yet. Companies have send hardware to me to use and blog about, including tablets, which is a huge perk.
I was recently flown to New York to attend the launch of the Microsoft Surface 2 and to demonstrate to the press. So if you’re reading this, Apple, I’m available! The art community is getting less suspicious of digital art with artists such as Tracey Emin and David Hockney producing work on the iPad, which is making it easier to get work into serious galleries.
CoM: How do you exhibit your work?
RH: I am fortunate enough to have had work exhibited across the globe but the format changes depending on the gallery requirements. Some like to have your work printed and framed traditionally, where as others like to project or display using LCD screens. The Saatchi Gallery in London exhibited some of my portraits on a large LCD screen but had it in landscape mode, which didn’t look good at all. I have just started to get pieces printed onto perspex glass, it looks gorgeous as the colors are really strong and the glossy look mimics that of the iPad screen.
“The Beast” @Roz Hall
CoM: What kind of community to you belong to or facilitate for digital artists? Is there an “I make art on an iPad” group you hang out with?
RH: When I started out painting on the iPhone, I got myself a Flickr account and posted them up there. The reaction was incredible and immediate!
That’s what I love about creating work digitally. I have oil paintings which have been seen by maybe five or six people and now just sit in my attic, but when I paint on the iPad, I post up to Flickr and can get 500-600 views in a day. Flickr has a strong community of mobile digital artists, who mainly share their work in groups dedicated to different hardware and apps.
Good ones to check out are iAMDA (The International Association of Mobile Digital Artists), iPad Creative, iPad Art and Fingerpainted. Facebook has iPad Artists and iPad painters Groups, which are great places to share tips and comment on each others work.
CoM: Any advice for artists looking to work on the iPad or other devices? Would you recommend it to new artists?
RH: Painting is a hobby of mine. I have a full-time job, a growing family and I’m studying part time, so if I get an opportunity to paint, I have to be quick. Using the iPad means that I can paint wherever I am and whenever I have a free few minutes. You don’t need to have a room set up with canvases and an easel permanently taking up space. It’s inexpensive too, after the initial hit of the hardware itself, you can realistically paint for as long as you like without having to order in new paint…