Visual Alchemy The Fine Art Of Digital Montage

Catherine McIntyre, like many fine artists, created traditional art for decades before encountering the versatility of digital imaging technology. Free of her Rotring pens and scalpel, she now uses Photoshop to create her montages. Visual Alchemy explores McIntyre’s sources of inspiration as well as her methods, offering an aesthetic guide to composition, color, texture and all of the other means of communication that artists have at their disposal. While these concepts and techniques make use of Photoshop, they will apply to any digital imaging program and indeed to any medium, whether traditional or digital. Featuring McIntyre’s own art as well as that of artists around the globe, Visual Alchemy is an invitation to discover the artistic possibilities of picture making through digital montage.

Catherine McIntyre, like many fine artists, created traditional art for decades before encountering the versatility of digital imaging technology. Free of her Rotring pens and scalpel, she now uses Photoshop to create her montages. Visual Alchemy explores McIntyre’s sources of inspiration as well as her methods, offering an aesthetic guide to composition, color, texture and all of the other means of communication that artists have at their disposal. While these concepts and techniques make use of Photoshop, they will apply to any digital imaging program and indeed to any medium, whether traditional or digital. Featuring McIntyre’s own art as well as that of artists around the globe, Visual Alchemy is an invitation to discover the artistic possibilities of picture making through digital montage.

The sixteen-volume set comprising the LNCS volumes 11205-11220 constitutes the refereed proceedings of the 15th European Conference on Computer Vision, ECCV 2018, held in Munich, Germany, in September 2018.The 776 revised papers presented were carefully reviewed and selected from 2439 submissions. The papers are organized in topical sections on learning for vision; computational photography; human analysis; human sensing; stereo and reconstruction; optimization; matching and recognition; video attention; and poster sessions.

This book walks readers through the process of creating unique works of art combining classic printmaking techniques with modern technology. * *Author is famous for innovative digital transfer techniques and products and she invented all of the techniques demonstrated in the book. *The author's previous book on digital printing techniques sold more than 20,000 copies in five years. *The processes in the book can be completed using affordable desktop printing technology. Leveraging her training as a traditional painter and printmaker, Bonny Lhotka brings new innovations and inventions that combine the best of centuries of printmaking techniques with modern technology to create unique works of art and photography. After years of experimentation and development, these new processes allow alternative photographers, traditional printmakers, and 21st century digital artists to express their creative voice in ways never before possible. Both by adding digital images to their traditional prints and taking their digital works into the tactile world, photographers, printmakers, and artists will find that they can easily add these processes to their studios. The book covers the basic processes and materials to transfer images to a variety of surfaces, including wood, plaster, stone, and plastic. It moves on to allow the creation of images on metal through either direct printing or transfers using affordable printers. More advanced processes include the creation of decals, skins, and complex mixed media compositions that are truly unique. For each of the more than 20 individual projects and processes, the book provides step-by-step instructions and tips suitable for professional photographers and artists, interested students, and enthusiastic hobbyists.

A brilliant, clear-eyed consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects. Considered one of the greatest critics of her generation, Susan Sontag followed up her monumental On Photography with an extended study of human violence, reflecting on a question first posed by Virginia Woolf in Three Guineas: How in your opinion are we to prevent war? "For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness, the insanity of war." One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. But are viewers inured—or incited—to violence by the depiction of cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of others far away? First published more than twenty years after her now classic book On Photography, which changed how we understand the very condition of being modern, Regarding the Pain of Others challenges our thinking not only about the uses and means of images, but about how war itself is waged (and understood) in our time, the limits of sympathy, and the obligations of conscience.

Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse. In this revised and updated edition, Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from Cézanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts. The new edition includes a review of current scholarship in avant-garde film history and includes updated reading and viewing lists. It also features a new introduction and concluding chapter, which assess the rise of video projection in the gallery since the millennium, and describe new work by the latest generation of experimental film-makers. The new edition is richly illustrated with images of the art works discussed.