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PUBLISHED DATE: - 08-10-2024
DOI: -
https://doi.org/10.37547/tajssei/Volume06Issue10-03
PAGE NO.: - 18-35
THE AESTHETICS OF DESIGN
CONSTRUCTION IN THE WORKS OF ARTISTS
GRAPHICS
Lect. Dr. Haider Addam Hamza
Ministry of Education, Babylon Education Directorate, Iraq
INTRODUCTION
The computer is one of the machine arts that
opened a wide field for experimentation. In
contemporary art, "the discovery of the computer
as a new technical tool used for experimentation in
creative activity resulted in computer art. The
results of this art began as a sophisticated tool of
artistic forms. Still, the new developments in
thhave ese devices and their methods foretells new
foretellthat distinguish this modern technical
medium" (Tarabia, 1981, p. 34). The computer also
"contains broader capabilities that differ from
human skills. Still, it cannot draw a painting on its
own and cannot express itself. The artist is the one
who leads the computer and entrusts it with
specific tasks because the computer cannot think
except through pre-prepared programs. It lacks
will, self-initiative, desire, renewal, and doubt. It
cannot
deal
with
emergencies,
sudden
coincidences, free application, and open and
absolute choice of expressive solutions. At the
same time, the artist's thought can move in all
directions and guess what will happen" (Fahmy,
2004, p. 150). • Research Problem: How can we
benefit from studying structural systems and
intellectual aspects through selected works by
contemporary graphic artists and benefit from
their artistic methods and performance techniques
in employing the computer to enrich structural
systems and design aesthetics in the artwork and
in the field of teaching graphic design?• Research
Objectives Study and analyze selected works by
graphic artists to reach technical performances
and their relationship to intellectual aspects and
their impact on structural design.• Research
Imposition By studying and analyzing the works of
RESEARCH ARTICLE
Open Access
Abstract
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contemporary graphic artists, new analyses can be
extracted that enrich the field of contemporary
designs and support the structural aspect of
design.• Research Importance
- Revealing the
diversity of different structural systems in the
works of graphic artists.- Benefiting from the
capabilities available to the computer in the ability
to produce artistic works characterized by
accuracy that are difficult and impossible to form
manually, as well as providing multiple solutions
for a single design.• Research Limits Study and
analyze structural systems of design through
selected works by contemporary graphic artists.
•
Research Methodology The researcher follows the
descriptive analytical method: • Research Terms
Graphics:- "The Graphic" came in English from the
two words Graphics, Graphium in Latin. They
correspond to the word Graphikas in modern
Greek, which corresponds in both languages to
"Writing Style," and its counterpart in German
gives us a similar concept where Graphisch means
"specializing in the art of writing or drawing and
photography" (Afifi, 2010, p. 32), which is almost
the same meaning in Italian where the word
Graphico means "presenting works using a drawn
line" and from it the art of graphic art graphic
meaning "specializing in printing, lithography,
engraving and the like. It is possible to come with a
suffix with the same meaning, such as Monograph
"something drawn or written," Chronograph
"writes," then Photograph "draws or depicts," and
the same previous source gives us various
synonyms for the same meaning, while another
adds different concepts, including "the art or
science of representing three-dimensional objects
on a two-dimensional surface" according to
particular laws of projection. The Encyclopedia
Britannica did not stop at placing all branches of
the faculties of fine and applied arts and others
under graphic arts. Still, it also linked it to the
letters and technical methods used in both.
Graphic design:
Computer graphic design is considered one of the
fields of design in its contemporary concept, as the
idea of graphic design has recently changed from
before, after it meant a condition for types of
printing and translating the artwork through
printing surfaces. Still, graphic design in the
modern era has come to play a fundamental role in
communication and media. It is not limited to
printing and newspapers but has extended to all
aspects of human life, as well as the design of
goods, tools, and various devices (Tarabia, 1981, p.
36).
- Construction
The linguistic meaning of construction is
"composing complex molecules from simple
molecules" (Gharbal, 1965, p. 406).
Construction means "translating the idea into an
artistic form by building with materials such as
wood, stone, metal, or clay... It is the way in which
materials and parts come together in order to build
a specific thing that performs a specific function,"
as it is the general system of an idea or several
ideas linked to each other according to the
elements that make it up.
The structure "does not exist on the outer surface
of phenomena, but is discovered mentally. It is a
logical, organized process to solve the problem
with the aim of presenting a new vision for
something. By creating a formal form based on an
organized structural structure, design is the
complete process of planning a form and creating
or assembling it in an integrated and harmonious
manner with aesthetic lines and relationships"
(Zakaria, 1980, p. 11).
The design structure means the foundations of
building formative relationships by distributing
the primary axes and their direction patterns, the
foundations of formulating formative elements
and their connection to ideological and intellectual
contents, and the foundations of implementing
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various techniques and their connection to
materials.
Thought
It is applied to every mental activity that replaces
things with their symbols, i.e., their alternatives. In
this sense, it includes perception, imagination,
memory,
understanding,
discrimination,
abstraction, generalization, inference, and other
mental processes that lead to knowledge and
judgment.
• Related studies
1. Study of Muhammad Ali Abdul Ibrahim: The
computer and its role in developing artistic
creativity in designing decorative panels
This research addressed the role of the computer
in artistic creativity and its relationship to the
design of decorative panels. It also addressed the
role of the artist in using the computer through his
innovative ideas, as the computer is a tool that
facilitates the artist's implementation of his ideas
easily and conveniently and saves him time and
effort in practical experimentation. This study also
clarified the most important technical capabilities
of the computer and its role in the design process.
This study contributes to the current research by
emphasizing the role of the computer as a tool that
helps the designer be creative and innovative in
implementing his ideas, as well as save time and
effort in practical experimentation. It also
discusses what this device provides in terms of
graphic capabilities and various artistic programs
that contribute to the design process.
2. Study of Mona Salah Makhlouf Muhammad:
Computer methods and programs in graphic works
The research deals with studying the impact of the
computer on graphic works by exposing the basic
alphabets for building the artwork, and these
alphabets are subject to design foundations with
standardized controls served by multiple artistic
programs. Through the basic alphabet for building
the artwork. Artistic influences and their
influential role in graphic art. The Internet is a
means of rapid dissemination of graphic art
services. The researcher benefits from this study
by identifying modern programs and systems for
implementing artwork, new computer programs in
graphic art, and construction skills for
implementing artistic panels starting from the
stages of building the artwork through the artist's
needs for artistic software techniques, in addition
to artistic influences and their influential role in
graphic art.
Chapter One Graphic Design Construction 1.
Graphic Design Graphic Design is the specialty that
is concerned with using new creative ideas and
implementing them through the computer using a
set of programs that are concerned with entering
texts and images (components of any design) and
then processing and coordinating them, and then
outputting them in a way that is consistent with the
final form of the work (Bahnassi, 2009, p. 10).
"Development has prevailed in all different aspects
of life, and graphic design has developed
remarkably and was one of the most important
events of the twentieth century. New concepts
have emerged related to graphic design and this
field has become a science in its own right, studied
in many universities and institutes around the
world. The graphic designer has become of great
importance because he can convey a certain image
to people and convince them of it, using visual
communication methods and creating attractive
and convincing visual relationships" (Al-Daraisa,
2010, p. 145). The smart designer is fully aware
and realizes that satisfying different tastes is not
simple. A good designer can design products with
different types in a way that keeps pace with
development. The nature of the surrounding
society promotes it from the aesthetic, practical,
intellectual, and educational point of view; the
more the product is eye-catching, the more
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successful the design is. Thus, the demand for it is
greater. Also, the successful graphic designer is
fully aware that his mission is to satisfy the largest
number of tastes, which is not an easy task, as he
knows that he has to deal with many segments of
people and ideas that differ from one place to
another and from one person to another, on the
other hand, the graphic designer is skilled in
psychology as he is aware of the effect of shapes
and colors on viewers, and he is skilled in
developing
solutions.
2.
Design
and
experimentation Design is one of the fertile
materials that help the artist to experiment freely
with its elements and structural foundations by
dealing with the available combinations and
exchanges. Hence, the artist expresses his ideas
using shapes, lines, and colors. In addition to the
fact that design is one of the fields of artistic
activity and is a series of decisions taken by the
creative artist, he decides to use the type of colors
and shapes and test the materials and performance
means that help him in that expression and
develop them, as well as the visual vision of the art
in addition to the artist's skills.Arts in general and
design in particular do not develop except through
experimental processes, as the Bauhaus was based
on the principle of experimentation. The
educational curricula allowed students to deal
with materials and materials in a way that allowed
them to discover new things, even for the simplest
materials, such as paper, bending or wrinkling...
etc., to reach new artistic results and
experiences.Many artists have also discovered new
art methods for experimentation, and Picasso
created many paintings while he was in the
experimental stages. The experimentation process
is not separate from the creative process; it is
adjacent and accompanying. "Hoda Zaki" states
that experimentation is a method of artistic
performance and creative activity that may be in a
group of plans that precede the completion of the
artwork in search of different aspects or new
artistic creations as a result of seeing the form. It
may be in showing different aesthetic visions of the
subject, which prepares the mind and sense for
creative artistic practice in search of multiple and
different solutions, either within the framework of
the artist's present experience or as a result of the
artist's passage through previous artistic
experiences, so he presents new solutions for new
formations" (Younes, 2015, p. 107). "The twentieth
century witnessed a revolution in art
characterized by diversity and experimentation on
a wide scale, which enabled many artists to
discover more expressive methods and modern
artistic trends, in complete freedom from the old,
despite what sparked controversy for some of
those methods and their strangeness, such as
"Dadaism" and the lack of a specific aesthetic logic
for that trend other than experimentation.
Likewise, post-modern artistic trends are based on
many experimental processes through modern
technologies
(such
as
computers)
that
undoubtedly helped artists in experimental
processes. In addition to saving time and effort in
traditional experimental processes, they provided
a greater opportunity for creativity and discovery
(Afifi, 2010, p. 89). Experimentation in the field of
visual arts, in general, and graphic design, in
particular, has occupied a position of great
importance due to its connection to the philosophy
of this era. The contemporary artist has adopted
the method of research and experimentation as a
starting point for understanding new formative
concepts that develop an awareness of the logic of
artistic formation that relies primarily on
technological media, which differs from the logic of
formation in nature, which led to the emergence of
many artistic trends and schools in pursuit of
finding new artistic visions. The computer is
considered the device that allows the designer to
cancel many steps of his work or redo them again
by simply pressing a button or icon, which depends
on experimentalism (Graphic Art) and digital arts,
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which depend on technological developments that
are in themselves in A state of continuous
development through which art can create
innovations, as in Figure (1).
Figure (1)
The painting “POLLUTION” –
by the artist “Thomas Brechler” –
using Adobe
Illustrator and Adobe Photoshop
1. Design and Nature:
Nature is the primary source of inspiration for the
designer or artist because it contains various
elements of different design elements such as
points, lines, spaces, shapes, textures, and colors.
These elements are characterized by a constant
change in their visual appearance according to the
changes that occur in nature. Birds, animals,
insects, fish, shells, snails, coral reefs, sea waves,
flowers, plants, etc., are governed by nature with a
balanced law that reflects an integrated visual
system. In addition to what man has reached over
the ages by contemplating the various aspects of
nature to the basics of various sciences and the
developments that have occurred later, which have
brought us to the scientific revolution of the
current century.
The role of the designer comes in extracting what
he wants from that visual system to achieve what
he wants to express with his own vision and with
his various performance means; The creative eye
can see in nature diverse designs with a great
degree of order and precision, and the designer has
an important role in addressing the various
aspects of nature with a careful vision and a
conscious ability to discover the artistic values in
them. Here, the designer must choose from among
them what achieves his expressive goal, and thus
puts forth the most appropriate solutions to design
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problems. "The artwork is a product of seeing
nature through the artist's self, and in a broader
sense, art, as Franz Bacon says: "is the artist added
to nature, and the artist here means the artist with
his view, vision, thought, experience, feelings,
culture, belief, and environment, and even with all
his components and human components" (Younes,
2015, p. 267).
2. Diversity of design sources:
By the artist-designer contemplating the various
elements and aspects of nature and discovering the
artistic values in them and the different
relationships between them, and to the extent that
the artist is aware of these relationships and the
possibility of benefiting from them and
reformulating them, and that the designer chooses
from among them what achieves his expressive
goal, this helps him in finding good innovative
design solutions and then succeeding in
performing his mission.
3. Design and system:
Man draws inspiration from nature for system as
he uses his innovative abilities to understand the
different relationships of the cosmic phenomena
around him, thus acquiring the habits of
arrangement, arrangement, and coordination in
various aspects of his life.
The process of organization is a creative process,
which he senses Man is a result of the regularity of
relationships in nature, which are governed by
cosmic systems. Nature abounds with phenomena
that indicate order, represented in its rhythms and
harmonies..., and the artist benefits from the
essence of the laws of nature and the cosmic
systems that govern it, so his artistic works and
forms bear relationships and systems derived from
those laws. And they have an important role in
achieving the organic unity of design structures.
Also, "the word design has two different
meanings", as it means first the purpose or intent,
and then it means second the organization or
method of construction (Dewey, 1967, p. 197).
Design "in this sense is linked to the concept of the
system", as the system is the integrated entity that
consists of interconnected parts and elements that
have reciprocal relationships between them for the
sake of functions and activities, the final result of
which is the product achieved by the entire
system" (Al-Salmi, 1982, p. 73). Johnson indicates
that the concept of the system is "the organized or
complex whole entity that includes a collection of
things or parts that make up an integrated unit".
The system "is the artwork as a whole and
composed of a group of elements that have their
functions and have intertwined reciprocal
relationships that are achieved within specific
laws, and this whole that makes up the artwork
exists in a spatial dimension and another temporal
dimension" (Shawqi, 2007, p. 127). It is clear from
what was mentioned that design includes the
meaning of organization and aims to achieve an
aesthetic or functional value, as design is an
organizational process for a group of elements
through some media, which in turn are subject to a
special methodological process that controls the
relationships of the elements, their meanings, and
how they are perceived in a manner that is
consistent with the functional and aesthetic goal of
the design, especially since the artist tries to
benefit from that system in the design process,
often drawing inspiration from its symbols and
elements From nature, and the more his
knowledge and culture increases, it helps him
organize the design, meaning that the design is
orderly and does not contain randomness, and
replaces chaos with order and order.
4. Design between chaos and order:
"Chaos" is explained by the lack of a clear system,
and it also means confusion for the artist. With the
emergence of modern movements in the visual
arts, the commitment that a certain school believes
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in has become non-binding for another school, and
a philosophy with different foundations is based
on it, which may reach the opposite, and it may be
difficult to identify the threads of agreement
between schools. There is no agreement on unified
principles among modern visual artists, despite
their different materials, subjects, techniques, and
schools.
The truth is that what is called "chaos" is not an
absolute matter, and the artist, with his discovered
eye, transforms the pile of apparent chaos into a
system, but it is not a recognized system, it is a
system of disorder, with its own abstract visual
logic. Figure (2) is by the artist "Jackson Pollock"
1952, in which at first glance a group of irregular
brutes is hinted, but upon contemplating it a little,
order begins to appear in the shapes heading right
and left, down and up. Although there is no clear
law that can be relied upon to justify the creative
unity of that artwork, the artist's sense, which is
unconsciously linked to the sense of connoisseurs,
is what led this creativity until it reached those
distinctive rhythms, which may seem at first glance
to be chaos, but are in reality governed by irregular
order" (Bassiouni, 2006, p. 17). "The apparent
chaos may carry within it a stable, and revealing
this type of order requires training from the artist,
who can perceive the signs of order in chaos, and
with creative effort he can highlight this order, so
that people can enjoy it.
Figure (2)
(Meeting Point) by the American artist
“
Jackson Pollock
”, 1952
.
Chapter Two
Factors Influencing Graphic Design
Factors Influencing Graphic Design
The formative formulations of graphic designs are
linked to social and cultural contents, and other
aesthetic and formative contents, as each artistic
school has a thought and philosophy that is
reflected in the formulation of the designed
artwork, in terms of design and implementation in
the aspects of formulations and techniques. The
cultural and social dimensions also play an
important role in this process because graphic art
is a popular art that depends on the extent of
communication between the artist, the audience
and society. The process of building the artwork
designed through the computer requires the artist-
designer to be aware and cognizant of the
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intellectual and aesthetic contents, and the
technical performances of the artistic programs, as
well as paying attention to lights, shadows, space,
proportions, areas, colors, materials, and the
features of the frame that includes all these
elements, as it is necessary for them to be
compatible with the space they occupy, whether
these elements are flat or elements that suggest a
third dimension. That is, they are based on the
structural planning of the painting as a whole, and
not just a process of assembling several parts.
Graphic design is affected by important factors
outside the artistic structure itself, as the artist
designer does not express his artistic feelings in a
vacuum, but uses different materials and tools in
that expression, and the aim of that design is to fill
certain human or social needs, as each design has a
function that it performs and affects the artistic
production process, and those factors can be
identified as follows:
Factors related to the content and subject of the
design:
"The content is the main meaning and aesthetic
values of the design, and it goes back to the
emotional,
subjective,
psychological
characteristics that we sense in the work before
our appreciation of its descriptive aspects, and the
contents are categories and coordinated forms of
information that a person is able to distinguish"
(Ahmed, 2007, p. 164), and the artwork includes a
specific content "which is the summary of what is
expressed or what the artwork includes of
imagination, feelings and thought, as the artwork
may express emotions or perceptions and ideas or
imaginary images, and the content is often mixed
with the subject in the artwork, but the subject is
something that lies outside the artwork, and yet
the artwork refers to it and includes it but does not
enter As an element of the artwork, the subject
may remain the same for a number of artists, but
the content changes from one artist to another
according to his own vision and his reaction to the
subject. How many works have taken war and
peace as their subject, while their content differs
greatly (Muhammad, 1994, p. 124). The artistic
subject should not be mixed with the formal
composition created by the artist because the
artistic subject is something that lies outside the
artwork, and the artistic forms are among the
artist’s creations because they respond to his own
desires. An example of this is that the artist
“Matisse” spoke about one of his works and its
subject was women, and a woman had commented
on him saying, “But I do not see a woman,” so the
artist “Matisse” replied by saying, “This is not a
woman, my lady, it is a work of art.” The subje
ct of
the artwork affects the design and makes it rich,
because it suggests to him shapes, colors and
superficial values related to the same subject. It is
also noted that the best and most successful
subjects in inspiring the artist are those that he has
lived and been affected by because of the
meanings, colors and forms they carry that allow
him to extract artistic features from the subject and
analyze it into artistic elements such as line and
color, choosing from them what is most important
and appropriate for his design and what expresses
his feelings. The design subject in graphic design
also affects the designer's choice of shapes and
artistic elements such as line, color, and surface
values that relate to the subject itself and which he
can implement via computer using appropriate
drawing programs for the subject, whether they
are programs for two-dimensional (2D) formation,
or programs for three-dimensional (3D) shapes, or
programs for animation (animation). It is worth
noting that the best and most successful topics in
inspiring the artist are those that he has lived,
interacted with, and gained experience about, and
thus he has extracted the artistic features of the
subject, and has the ability to analyze it into artistic
elements such as line, color, and surface values,
and chooses from them what is most important
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and appropriate for his design and what expresses
his feelings. In this case, the subject is not
restricted to the artist, but rather a source of his
inspiration. Regardless of the topics covered by the
work, the sensory and intellectual dimensions
resulting from it are subject to the cultural and
social level of the era in which it is produced. The
formative
formulations
and
technical
performances of graphic design are linked to
intellectual content, as expressing a specific topic
requires the designer to choose special artistic
programs that achieve the implementation of
those formative and technical performances,
which he achieves easily and without complexity,
while choosing formative elements that express
the topic and suit the nature of the goal of the
designed artwork.
Factors related to techniques, tools and
performance skills:
They are related to the performance methods and
implementation methods used by the designer,
tools and materials as an expressive medium
through which intellectual contents are embodied,
as the designer's choice of the type of material and
appropriate programs for drawing, including the
techniques and tools they contain, is one of the
most important steps leading to a successful
graphic design. The successful choice of tools and
programs helps solve many problems related to
building the design, and experience with the
nature of the artistic programs and their formative
capabilities affects the achievement of the artistic
values of the design.
There are many materials and tools used by the
artist, and the nature of these materials affects the
artist's ability to innovate. The more the artist's
knowledge of the capabilities of the material and
methods of processing it expands, the more his
ideas and ability to create increase. The material
also imposes its control over the type of shapes
produced from it, as each material has its own
limits and capabilities.
The materials and artistic programs for drawing,
with what they arouse of imagination for
expression because they contain endless details,
tools and structures, are an endless source of
inspiration for the sensitive artist. The artistic
programs may provide the graphic designer with a
new vision for some materials found in nature in a
sensual form, as they save the designer from
obtaining them in tangible reality, and even save
the time and effort required to form them in
reality. The colors of the materials, their surface
value and other qualities may suggest many
innovations in design, and in this process the
materials do not have restrictions imposed on the
artist in graphic design. The difference and
diversity of artistic programs and materials also
affect the multiplicity of performance skills and the
determination of the necessary tools for them. As
for the graphic designer, determining the
materials, tools and performance skills is
determined by determining the drawing program
for implementing them in the graphic design
process. Each program has its own tools that allow
the designer to demonstrate his performance and
technical skills, which oblige the designer to be
familiar with these capabilities and tools and to
recognize them so that the design through them is
not difficult to implement. The technical methods
used in implementing graphic design have a great
impact on the design output and its general
appearance. The visual results differ according to
the technical methods. Each method has a clear
impact on the shape. Each method also has visual
results that vary in the surface appearances, which
have an influential role in the design. Determining
the technical methods helps to visualize the final
features of the shape. Of course, the technical
methods require their own tools to give the best
results, and this is only affected by observation,
practice, and experimentation. All of these factors
require the designer to develop a plan or
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systematic system that helps him implement the
design. This system carries a vision for thinking
and a sufficient amount of solutions to reach good
implementation. Factors related to the design
function: Most of the different artistic formations
are designed to serve a specific function, so that
they are considered the nucleus from which the
process of creativity and design begins. The
material and shape differ depending on the
function, so the artist must study the requirements
of the function of the required thing to ensure the
success of the design or the artwork to be
produced and choose the appropriate materials
with full awareness so that they achieve their goal.
Therefore, the function is an element that affects
the expressive aspect of the design. We can say that
each work has its own function that plays a
utilitarian or vital role in the visual artwork. To
achieve the design function, the designer must take
into account a number of matters, including the
size of the design, its area, its color, its final shape,
and how to use it in order to be consistent with the
purpose for which it was designed. The function
must not restrict the artist to the point of
submission to it and forgetting the aesthetic
aspect. This functional solution must be an
aesthetic solution that satisfies the artist's
aesthetic need, as in Figure (3).
Figure (3) The mechanical mirror designed by Daniel Rosen
.
Factors related to the public culture and the
environment surrounding the design: The
designer must be familiar with the nature of the
public taste of the society, and its economic and
psychological characteristics to confront the
requirements of public taste and meet its needs. It
may be difficult to accomplish the design without
knowledge of the society from which it originates,
and understanding the social ideas and concepts
that the publi
c embraces. “This requires the
designer to be familiar with the sciences, culture
and literature that coincide with the designer’s
work. From this comprehensive view, the aesthetic
view begins, far from the emotional experiences
related to the work, whether for the artist or the
recipient. The structure of the aesthetic subject is
not far from the experiences of the recipient who
re-establishes the work as an aesthetic subject
through understanding and feeling. This issue
depends on the extent of maturity of his previous
emotional experiences and his conscience that
allows him to understand and feel the art” (Ahmed,
2007, p. 164). Among the technical problems
facing the designer is the necessity of achieving
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organic unity between the design, the environment
and the surrounding environment, as the artwork
often draws inspiration from the vocabulary of the
environment and its visual components, as well as
the necessity of taking into account the cultural
and social dimension and compatibility with
environmental data as in Figure (4).
Figure (4)
Typographic work "PolkaCore" using Illustrator and Photoshop
Descriptive Analytical
1. Artist Martin Grohs:
The thinker and creator, the German artist and
painter "Martin Grohs", 28 years old, a graphic
artist and designer from Germany, was attracted to
digital art since he was young and from an early
age his talents began to appear, and his journey
began with photographs which in turn led him to
the design programs Photoshop and Illustrator.
Since then, he has specialized in the art of photo
manipulation, Photoshop and Illustrator, and he
also entered the world of Cinema4D to deepen the
artistic sense and the science of angles and
compositions. He works for commercial agencies
in the United States of America, Brazil, Greece,
Singapore and India. He is also a member of a
number of major art galleries such as: Intrinsic
Nature, Heartsurge, Espadon 21 and the Revuh
Network.
"Martin" works as a freelance graphic designer,
and a photographer on the national and
international levels, and is the CEO of the German
art group "Euterpia". He has excelled in a work that
combines photo manipulation and 3D. Over the
past four years, Martin has created distinctive and
prominent digital art, which has appeared several
times in Photoshop magazines and is part of the
Natural Art Essentials group. Martin's greatest
inspiration is the work of Salvador Dali, one of the
most effective and inspiring influences for him
since childhood. Dali's surrealism has inspired
Martin to create and innovate his artistic direction.
Martin has been interested in developing his style,
experimenting with new and different techniques
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in both traditional and digital directions while
improving his skills, finding the best way to
express himself, and visualizing his idea and the
concept behind it. In his opinion, this concept is the
most important thing to create a new artwork. He
always wants to show the subject in a completely
different way and not just create a cold image, but
rather create an image and individual innovative
works that will force the viewer to think about the
subject. Martin's attempts to convey the subject
matter are always important to make the viewer
start thinking and forming their own opinions. The
artist's comparison of images and issues reminds
us of the future of our planet with personal
contemplation. His works are loaded with
emotions that have the great and powerful ability
to make the viewer's focus mainly on the main
subject of his artwork.
Martin considers his greatest success, when he
collaborated with Adobe agency for the 25th
anniversary of Adobe Photoshop. Two of his works
were used in part of a promotional video for
Adobe's anniversary, in addition to that one of his
works is on Adobe's website.
Model No. (1)
Model No. (1) The work “Future Blind”
-
Artist “Martin Grohs”
- using Adobe
Photoshop
The idea of the work in the words of "Martin":
What will the world look like in 2050, a future
without oil! Just no oil, no place, everyone fighting
for survival. War. Each against everyone. Shouldn't
we devote much more time, effort and money to
searching for an alternative? So don't stand there
without any solution in 2050.
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Model No. (1), (A) shows a
detailed line drawing of the
board
.
Model No. (1), (b) illustrates
the design structure of the
work
.
Analysis of model No. (1) rectangular in horizontal
position. This painting consists of a group of the
artist's elements with a metaphorical meaning
represented by the veiled woman leading the work
as a basic element of the painting and the direct
meaning represented by the shape of the drilling
rigs for oil exploration. The artist used a group of
neutral colors (black, gray and white) in addition
to yellow and brown. The artist used a group of soft
and curved lines represented in the shape of the
woman and in the shape of the cloth covering her
head, in addition to a group of sharp and geometric
intersecting lines formed in the shape of the
architectural buildings in the background. The
artist also used dark and neutral colors. The artist
used black and gray tones abundantly in the work.
The black color was in the clouds in the
background of the work and in the shapes and
elements and as shadows for some elements with
the use of white and yellow to highlight the lighting
in the painting. In the middle part of the painting
were colors saturated with light, next to brown,
and brown saturated with yellow. The use of the
computer in the gradation of colors appears in a
smooth and realistic manner, and some color
effects specific to the Photoshop program. 2- Artist
"Mark Joseph Paje": The Filipino artist "Mark
Joseph Paje" or known as "huMAC" in the art
circles. He was born in the Hundred Islands,
Philippines. He started with some modest works,
and logos in the gaming forum (DotA) in an earlier
style in 2003. Then he started expanding his
artistic field in 2005, and learning about how to do
it, and his artwork consists mostly of different
shapes that flow with some vibrant colors. He
always uses colors that attract the eye. His works
are colorful vector art and are actually distinctive
because of their smoothness, and despite the
contrast of shapes, the abundance of elements and
colors give a real dynamism to his work, "Mark"
participated in several exhibitions, including the
19th "Cosmosys" exhibition, in which he
participated with the work "Peace", as the idea of
the work revolves around what is happening
around the world at the present time. And "Mark's"
desire to emdiv something about it. Speaking
about this work, Mark said, “I hope people just
embrace what they have now, or what they could
have without passing others over. Let’s have peace
within ourselves first so we can have peace with
the other. About ‘me and who I am’, but about
people in general with different beliefs and
religions. Just respect them for wh
o they are, don’t
judge them by appearance only. Get to know them
first. And respect each other. Make yourself feel at
peace. And everything around you makes you feel
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at home.”
Model No. (2)
The work "Peace" - Artist "Mark Joseph Paje" -
Using Adobe Photoshop and Illustrator - Designed
for the 19th "Cosmosys" Exhibition
The idea of the work: World peace must develop
from inner peace. Peace is not the absence of
violence; peace is a manifestation of human
compassion.
Model No. (2), (A) shows a detailed line of the work
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Analysis of model No. (2) A rectangular work in a
vertical position. This painting consists of a group
of the artist's elements with a metaphorical
meaning represented by the heart and the portrait
at the forefront of the work as a basic element and
in the middle of the painting, and the direct
meaning represented by the shapes of bombs,
missiles and warplanes. In the special landmarks
that distinguish each country, and the world map
represented in the upper part of the painting, the
artist used a group of hot colors (red, orange and
yellow in their shades) with a group of cold colors
(turquoise, burgundy and blue in their shades).
The artist also used a group of soft lines
represented in the organic shapes that overlap in
the shape of the portrait and a group of elements
and shapes that enter into the construction of the
shape (heart). He also used geometric lines in some
of the elements that make up the distinctive
landmarks of each country, in addition to the
geometric lines that took the form of squares
represented in the world map and some of the
elements inside the heart. The artist used a group
of hot colors represented in the part of the
continent of Asia and the continent of South
America on the world map, and in the shapes and
elements inside the heart, and in parts of the
background, so the colors were saturated with
light surrounding the shape of the heart. He also
used cold colors (blue and purple in their shades)
in the continents on the world map, the shapes and
elements inside the heart, and in the background.
The use of the computer appears in the color
gradation in a smooth and realistic way, and in the
degree of color purity and strength of its clarity
using the Illustrator program, and some color
effects specific to the Photoshop program.
3- Artist "Cyril Rolando":
The French digital designer "Cyril Rolando",
known as "AquaSixio". Born in the south of France,
he studied psychiatry and worked on practicing
digital art as a hobby. He started drawing on a
computer in late 2003. He has achieved fame for
being an artist as if he uses a brush but in a digital
way to create different embodiments of thought.
Cyril began to emdiv realism and then tried to
play with contrasts, changing colors, turning to
surrealism with the addition of an element of
imagination and changing the rules of materiality.
Cyril worked to rely on his intuition to compensate
for the lack of knowledge and adventure in colors.
He sees colors as the main way to translate his
feelings. His studies in psychiatry helped him focus
on highlighting the emotional side in his artwork
and art therapy. His works appeared as a parody of
reality, such as a series of photographs. It
highlights pain, joy and expectations. The sources
of inspiration for Cyril's works are creativity,
magical universes, surreal works, old Disney films,
and the works of some artists such as "Hayao
Miyazaki" and "Tim Burton". Cyril used Adobe
Photoshop in its various versions, and Wacom
Tablet to draw his digital illustrations. He did not
try the usual traditional drawing methods such as
(paper, pen, and brush) as he started drawing
directly on computer programs using digital
drawing tools Brushes on Photoshop, and Wacom
Tablet. Model No. (3)
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Model No. (3)
The work "Katharsis Catharsis" - Artist "Cyril
Rolando" - using Adobe Photoshop, and Wacom
Tablet. The idea of the work in the words of
"Rolando": "It starts when you open your diary, to
write the feeling of the day, with the ink of your
black thoughts. The pages are changed to boats,
transferring pains, fears and secrets, in an attempt
to cross the deep waters."
Design construction of model No. (3)
Analysis of model No. (3) A rectangular work in a
horizontal position. This painting consists of a
group of the artist’s elements with a metaphorical
meaning represented by the woman in the
forefront of the work as a basic element of the
painting and the direct meaning represented by
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the shape of the paper boats. The artist used a
group of brown, red, pink, turquoise and green
colors in addition to white and black. The artist
focused on a group of soft and curved lines
represented in the shape of the woman and in the
waves, mountains, birds and clouds, in addition to
a group of sharp and geometric lines formed in the
shape of the paper boats. The artist used the colors
represented by brown in its shades in the
mountains and boats and green in its shades in the
sky. He also used light colors represented by pink
represented in the colors of the sky and saturated
with yellow and white, as well as in the color of the
woman’s skin and the red found in the lips and
turquoise represented by water and saturated
with white. The colors were dark in the lower part
of the painting, as the artist used black to highlight
the shadows in the shapes. The use of the computer
in the gradation of colors appears in a smooth and
realistic manner, and some of the color effects
specific to the Photoshop program.
Chapter Four
RESULTS
1) What modern technology provides in terms of
new and continuous data in the field of graphic
design has opened a wide field for the visual artist
to develop his ideas and express his goals using
new means and innovative performance methods
that have multiple artistic visual capabilities,
which have allowed the designer to express
himself artistically in different and varied ways.
2) The basic performance methods such as the pen
or brush are no longer used to achieve artistic
values in modern design, but rather there are
modern performance methods characterized by
accuracy and speed in implementing the artwork
and with the least possible cost and effort for the
artist.
3) The use of artistic software technology has
added a change in the direction of visual creativity,
and in the artist's evocation of tools, means,
materials, textures, multiple and different
formation methods and various effects, all in one
program, and the difference in what each program
offers from the other capabilities. The artist is
given the opportunity to expand the scope of his
awareness and imagination in creativity and
artistic formation.
Recommendations
1) Qualifying a new generation of experienced
artists to implement their ideas, and benefit from
graphic programs, to cover the needs of work fields
that require artists specialized in the field of
graphic from academic and practical experience
research.
2) The researcher recommends that artists and
students in the field of art strengthen their
connection with the computer and benefit from it
with what it offers in terms of scientific and
innovative methods in the field of art so that they
can contribute to supporting artistic creativity.
3) The necessity of conducting various research
and studies to identify this distinctive type of
computer and technological arts in general and
graphic arts in particular, and delve into their
depths through experimentation and scientific
exchange.
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