The Horn Book has published a balanced and interesting article about digital and traditional artwork found in modern picturebooks, in which case some reviewers and enthusiasts are keen to know exactly how a piece of art has been created. The article wisely advises in its title: Just Enjoy The Pictures.
However, something from the following paragraph pulls me up short:
While many people embrace the notion that the computer is merely another tool in an artist’s toolbox, there also exists a disdain for art that tries to be something it isn’t, such as digitally created artwork that attempts to look like it was rendered in oils. Why go through the trouble to fake it when you can do the real thing? Why slap a filter on it to make it look like oils instead of taking the messy risk of working with actual paint?
I can’t work out from the article whether the writer realises that no (published) digital artist is simply ‘slapping on filters’.
So I’d like to make it clear here: Filters are about as useful as tits on a bull. There’s no ‘slapping one on’ to achieve any artwork with soul. Indeed, I don’t even know why Photoshop ships with filters. I haven’t yet noticed a picturebook artist who has found a use for a single one.
However, some artists may be making judicious use of filters. Judiciously. Maybe. With lots of mods.
Which leads me to my next point, a response to the clip from a new (niche) documentary called Making It, in which illustrators talk about their work. I haven’t seen the film. There’s a clip on video in which an illustrator called Anthony Francis Moorman talks about various things illustration related — how he enjoys drawing boobs and skulls and not buildings — then he goes on to say that he takes great pride in the fact that his drawings are done by hand. He says that because of all the art software out there now, a lot of young illustrators are doing their work entirely on computer, and ‘it has no soul’.
As usual, I tend to question cause and effect.
1. ‘Soul’ and ‘spirit’ etc. are religious terms, which are trying to describe something else. ‘Soul’ is such a nebulous term that I wonder what it really refers to in relation to art. Does it mean, perhaps, that the slightly shaky lines, imperfectly coloured, are more attractive than the dead-straight lines which have been auto-filled in a program such as Adobe Illustrator? Does the ability to make perfect perspective with the guides in the latest versions of Adobe Photoshop take something away from the slightly skewed, morphed, unnatural perspective achieved by hand-illustrators?
2. Assuming that this is what is meant by ‘no soul’, is there no soul because the drawings have been done on a computer, or are the drawings soulless because they are being done by people who’ve had no real training in the art of perspective, shading and colour theory? In this case, the computer is not the problem; rather, computers may be standing in the way of a broad art education.
3. ‘By hand’ is an interesting term to those of us who paint digitally using a Wacom tablet. Because when I’m drawing on paper I’m using a pen-like tool. Similarly, when I’m drawing via computer, I’m using a pen-like tool. The degree to which I am able to replicate the experience of drawing on paper is determined by the amount of practice I’ve had: It takes several years to become really comfortable working with a Wacom pen, looking at the screen while drawing onto the desk. But I am still using my ‘hand’.
Moorman’s excerpt is interesting because his thoughts are representative of many attitudes towards the inferiority of digital art and the superiority of non-computer based art. It will be interesting to see if and how these attitudes evolve as illustrators move even further into an era in which it’s impossible to make a living without involving computers at some stage of the development process.