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Humans have been creating visual art since the dawn of our species, beginning with powerful depictions of game animals found in caves ranging from France to Indonesia. Art is interpretive, reflecting an inner vision of the creator intended to resonate with the viewer’s senses, emotions, and intellect. This is partly why there are so many art styles. Good art always inspires. When used in marketing, striking imagery can enhance brand identity and motivate people to make purchases.
Visual art is always evolving. For example, there was a time when oil easel painting was a new, transformational medium. In the coming years, we’ll be unleashing the artistic potential of Virtual Reality.
Digital art slowly emerged in the late 1980s with the introduction of personal computers. Thirty years later we have a screen-dominated world with the average person spending ten hours a day on digital devices. At the same time, there’s been a radical decline in the cost of digital art software with the exponential growth of chip power and bandwidth. This has made creating digital art affordable for artists and other creative individuals wanting to explore this medium’s potential.
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Digital art is contemporary art that uses the methods of mass production via digital media. It has had an enormous impact not only on painting and drawing but also sculpture, music, and video. –We find digital art in advertising (websites, logos, brochures; roadside billboards); illustrations (books, comics, and websites); 3D models (movies, animations and video games); and, digital photo artwork (advertisements and posters).
Digital technology and artistic expression are now inextricably intertwined. This exciting integration of art, computers, and design has been made possible by a brilliant synergy between art, math, science, and technology. The main challenge for digital artists and digital designers, especially vs traditional art, is to utilize digital tools to create memorable images that genuinely touch the viewer’s feelings and intrigue their intellect.
Most online images have been aesthetically enhanced one way or another. Many online images were originally created by an artist working in a different medium but are now widely disseminated online. Original online imagery, by contrast, is generated by computer graphics software that uses a virtual canvas and a ‘painting box’ of brushes, colors, and other tools. Many of these instruments only exist in the digital realm, giving computer-generated artwork a potential multi-layered complexity that is relatively easy to achieve with experience.
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Bottom line: there are art forms created with digital tech tools (e.g., computer-generated images and video) – while others are enhanced by or made more accessible with computer technology (e.g., new, expanded distribution media for music, e-books, and performing arts).
Art is considered digital when created by software on a computer platform. The result may be indistinguishable from non-digital paintings, but the process is entirely different, with distinctive challenges and rewards. Choosing the tools best adapted to creating a piece of digital art requires expertise and ingenuity. Many artists are intrigued by the fact that the final version of digital artwork can be hard to predict when the process includes multiple software applications. Variations from the original conception can range from awesome to terrible. Fortunately, the digital creation process can be reversed, step-by-step, if the product doesn’t meet expectations.
Digital video is gaining ground over standard film production because it allows better workflow, is cheaper and more easily reproduced. Also, video can be reversed to alter images, sound, color, and integrated with special effects (e.g., CGI–computer-generated imagery).
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Adding to this complexity, interactive art is becoming increasingly interactive, allowing the user various degrees of control over final images. For example, standard Windows software (as well as free drawing apps) makes it easy to crop images, adjust their color, and fine-tune their brightness/contrast. Much more sophisticated image-generating software includes paid options like Adobe Photoshop and Adobe Illustrator. Free options include Autodesk Sketchbook, MyPaint, Krita, and Misschief.
People enjoy interactive arts experiences. It’s only a matter of time before interactivity will expand to other mediums, including film. For example, many expect that in the future we’ll be able to choose among three or four optional movie endings.
Not long ago, advertising imagery was consistent across a company’s demographic targets. In recent years, increasingly sophisticated algorithms have succeeded in deriving subgroup specific information from big data. This means that both the written content and imagery we see on social media are tailored—to a significant degree–to match our demographic and psychographic profiles. This is a welcome development because niche marketing results in higher conversion rates than mass marketing.
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Many argue that everything on the internet should be free and accessible. Digital artists who need to earn a living from their creations don’t agree. Unfortunately, it’s difficult to protect copyrighted work. If ‘secure’ government and corporate systems can be hacked, any digital product accessible on the internet can be stolen. –This includes films, music, and TV programs. Many viewers are to one degree or another complicit.
Individuals often download internet art without crediting the artist, even claiming the work as their own. Often, ‘violators’ don’t even know they have taken copyrighted creations.
Lack of security is impairing the digital art market. For minimal protection from theft, a digital artist needs to leave watermarks, signatures, and copyright information on their art.
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Persuading people to pay for online art will necessitate guarantees of rare or exclusive content, uniform quality, and unquestioned legitimacy. Some sources report that certificates of authenticity have encouraged some international collectors to make purchases.
They hope digital art gains acceptance and eventually becomes accessible using platforms modeled after music venues like Spotify and iTunes. Finally, digital arts will inevitably advance and improve in the years to come, creating stronger demand.
The hearts of those working for , a web design company, are dripping with art. We live art. We breath it. We put it in our cereal. Nothing leaves our doors without being reviewed by our art directors. Let our team work its artistic magic on your company’s products and services.
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These series of insight articles offer a window into the world of our experiences and our dedicated staff who are constantly defying the limits of technologies, design, management, and marketing.During the pandemic, many of us art lovers have had to consume – and create – culture from our homes; virtual audiences have replaced real ones and private views have morphed into guided tours on Zoom. Museums, art fairs, galleries and artists have had to migrate to digital channels to try to maintain attention and generate sales, and this has had a profound impact on the way we interact with art. An industry used to operating in an analogue world has had to fast track into a digital space almost overnight. So how has it risen to the challenge?
In March 2020, faced with a cancelled fair, Art Basel Hong Kong unveiled its first Online Viewing Rooms, granting VIP access to collectors and talks and tours for visitors. Other fairs have followed suit, including Frieze London. For Hauser & Wirth, which has art galleries worldwide including in St. Moritz, the UK art fair proved to be the most successful yet in terms of online first-day sales. In part this was thanks to its virtual reality (VR) presentation, which enabled collectors to explore its booth in 3D.
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“Technology can bring exciting new ways to engage collectors, and the response to our digital innovations has been overwhelmingly positive, ” explains Iwan Wirth, the Swiss art dealer and president and co-founder of Hauser & Wirth.
Hauser & Wirth began to explore new ways of presenting its art in April 2020 when it launched its new ArtLab division to focus on digital innovation. Its first initiative was HWVR, a software it developed and used for its debut VR-based exhibition ‘set’ in the soon-to-be-opened Hauser & Wirth Menorca gallery.
“Over the past eight months, we have launched 29 shows online, seen traffic to our website double and noticed that 80 per cent of our online visitors are new, ” explains Wirth. In December 2020, the Hauser & Wirth gallery in St. Moritz, located a stone’s throw from Badrutt’s Palace Hotel, will host a real-life show of works by the late American artist Philip Guston alongside an online iteration and a film that sheds greater insight into the artist’s work. Next up? “Using AR [augmented reality] to visualise a work of art in viewers’ own homes, ” he adds.
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People are spending more quality time looking at art, says Monica De Cardenas, who owns a gallery in Zuoz in the Engadin, Galleria Monica De Cardenas
“So far, galleries are ahead of the fairs in terms of digital innovation so the focus has shifted to gallery exhibitions, ” Wirth says. To this end, physical gallery spaces, too, are seeing something of a renaissance. Monica De Cardenas, who has spaces in Milan, Lugano and the village of Zuoz in the Engadin Valley, observes: “When they can, visitors are coming back to the gallery and
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