what size canvas should i use for digital artists similarweb extension

what size canvas should i use for digital artists similarweb extension

It’s easy to walk into an art store, see a canvas that will fit on that empty spot of the wall and know it’s the canvas you need. But, what about digital art? The canvas looks like it’s the size of my screen, whether it’s small or large. It’s so easy to choose the wrong sizing and make a mistake. So, the question is, what’s a good canvas size for digital art?

For printed work, your digital art canvas should be the same size as your desired final print. Use an inch to pixel converter to find your dimensions in pixels. The size of your canvas designed for the web depends on the platform you plan to display it on. The DPI of your canvas should be at least 150 for web work and 300 for print work.

 - What Size Canvas Should I Use For Digital Artists Similarweb Extension

If you plan to print your work, it really is as simple as choosing a canvas that’s the size of your desired final product. So, if you eventually want to print an 8×10 print, make your canvas 8×10.

The Best Canvas Size And Resolution For Digital Art

If I’m unsure what size I want my final print to be, I take some time and figure it out. That’s how much I care about choosing the right canvas size from the get-go.

To be fair, there have been a few times when I’ve jumped into a piece of art without knowing the exact sizing first. In those case, I aim for a larger canvas than I think I’ll need. Generally, I find it easier to scale my work down when printing, than scaling it up.

This is not always the case so, again, try to figure out your ideal canvas size ahead of time before you get started.

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Also, it’s important that you DON’T resize your canvas after you’ve created it. This can cause issues with quality, sizing, and overall results. So, again, decide on your canvas size from the get-go before you get started.

We have to think about DPI, which will change the size of your canvas, even if you’re still aiming for an 8×10 print at the end of the day.

Not to mention that it becomes more complicated when thinking about digitally displaying your work. How the heck do we know the size of Instagram posts?

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Later in this post, we’ll talk about what you need to consider when choosing a DPI for your canvas and how it impacts its size. That said, if you couldn’t care less about how all of this works and just want a clear answer on what size canvas you should pick for your digital art, I totally get it.

Here’s a chart you can use. These dimensions are based on 300 DPI, which is generally considered to be the minimum DPI for print work. And, as we’ll talk about more in depth in the next section, choose a larger size if you’re not exactly sure what size you’ll want or need.

You’ll notice more quality loss when you scale a small image to a larger size than when you scale a large image to a smaller size. You still want to be in the ballpark, but be in the larger end of the ballpark.

The Benefits Of Printing Digital Art On Canvas

Ok, another thing that’s important to understand is DPI. It’s really easy to get confused by DPI since it seems to magically balloon your canvas size. There’s a reason for it though and it doesn’t actually impact your canvas size in the way you would think.

DPI stands for dots per inch. As the name suggests, it tells you how many dots can fit into an inch of printed work (source). So, the larger the DPI, the more dots of ink will be in each inch of your printed final product.

In general, all printed work should be a minimum of 300 DPI, but you can go higher if you plan to print posters and larger pieces of work.

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If you change your DPI after you’ve entered in your pixels, it will change your pixel number. The reason for this is because DPI (or PPI) measures your dots per inch. So, if you increase it, your canvas will need more pixels to get the job done.

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As long as you know the desired size of your final product and maintain a minimum of 300 DPI, you can let your design program decide what your pixel x pixel resolution will be. As you saw in the chart above, your inch x inch size relates to a specific pixel x pixel size, so you’ll be fine as long as you know one or the other.

Pixels and inches are just two different ways to measure something. One will always translate to the other as long as the DPI remains consistent.

What Canvas Size Should I Use In Digital Painting?

It’s much easier to know that you want a 8 x 10” print than a 2400 x 300 pixel canvas. As long as you have your DPI set correctly, your design program will pick the appropriate amount of pixels for the inches you need.

The reverse works as well. If you only know the pixels you need, your design program will turn it into the proper inches.

Personally, I just set my design to 300 DPI and just go with whatever number I already know. If I’m designing for the web, I use the pixels that are appropriate for a website. If I’m designing for print, I use the inches that I’ll be printing at. The rest just works itself out.

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Unless you’re designing a billboard, you probably won’t have to worry about creating a canvas so big that your design program can’t handle it. That said, it’s an important thing to keep in mind, since the maximum size for a design varies from iPad to iPad.

It’s hard to say what the max canvas sizes for varying programs are because it will depend on the DPI . In general, many programs can tolerate a certain number of pixels per design. Remember that the higher your DPI, the more pixels you’ll need. This means that you’ll get fewer inches of canvas space the higher your DPI is.

 - What Size Canvas Should I Use For Digital Artists Similarweb Extension

It’s more likely you’ll run into this issue with an iPad or tablet program because there is only so much that these small devices can support. For example, if you’re using Procreate, you might struggle to get a 24 x 36” poster size at 300 DPI.

Buyer's Guide To Creating The Best Canvas Prints — Mixbook Inspiration

If you run into issues with maxing out your design program’s capacity, lower the DPI as much as you feel comfortable lowering it. While 300 DPI is recommended for print, anything above 150 DPI tends to print well. Talk with your printer and do a test print to see how low you can get your DPI while still getting the best print results.

If you plan to post your art on social media platforms, it can be good to review their image guidelines prior to deciding on your canvas size.

Choosing the right canvas size for your digital art is more complicated than walking into an art store and picking the canvas that will fill the blank spot on your wall. With some practice though, it will come easily and naturally.

Hey Digital Art Artists! Uhhh... What Size Canvas And Brush Do You Use?

Simply choose your DPI and then size your canvas based upon what you’ll need as a final product. Luckily, with the magic of technology, our design programs will take it from there and deliver you the digital canvas that you need.

Diana has been an artist for over 26 years and has training in drawing, painting, digital drawing and graphic design. Diana’s latest obsession is digitally drawing with Procreate and creating t-shirt designs with Canva. Diana has experience selling her art across a number of platforms and loves helping other artists learn how to make money from their art as well.

Adventures with Art is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com. We also participate in other affiliate programs which compensate us for referring traffic.

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Basic Mistakes In Digital Painting And How To Fix Them

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“Embrace the sun II” by Ron Deri – A bright and complex abstract artwork for bedroom wall decor featuring hand drawn emojis

If you’re looking to mix things up and give your bedroom into a more lively and dynamic vibe, We would suggest a bold, Bright and colorful art piece.

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If it is important for you to keep your bed room as a calm quiet place, A simple and elegant artwork may do the trick.

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If you do choose an artwork that follows the same color patterns as the rest of the bed room design, Make sure there are other elements in the room that draw visual focus.

As for the art frame, The optimal art frame for you would be a frame that is visually close to the frame of the bed.

While hanging art above the bed is a well know and beautiful interior design pattern, Do not limit yourself to that alone.

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While it is not the master bedroom it is a room that offers you the opportunity to expose a piece of yourself to your guests.

We highly recommend you put a lot of thought into decorating this room if you’re lucky enough to have one in your home.

The guest bedroom is a great place to experiment with a slightly bolder style of art that you may have not consider to place in the master bedroom.

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The art you choose will say something about who you are and about how you would like your guests to feel while staying at your home.

As the guest bedroom will always serve as a temporary resident, a bit more bold and playful art could be a better fit for it.

While most bed rooms are designed in a rather space efficient manner, A large art piece could make the room feel bigger and more spacious.

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In the case of a master bedroom we fill like a big work of art is a better fit than a collage of small artworks.

“DNA” by Ron Deri – A bold and powerful abstract art piece that would set the tone in any bedroom wall decor. Art featuring hand drawn fall leaves

If it is important for you to own a one of kind unique work of art, Original art may be the best solution for you.

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Instead of trying to mimic visual reality, An abstract artist attempts to achieve this effect while using abstracted shapes, forms, tones and textures.

“After the storm II” by Ron Deri – A bright and vivid red abstract art piece that will light up any bedroom

Although a common visual aspect between the artworks is important, It is perfectly fine to choose artworks that feature different tones of color.

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“The Lion – Panthera Leo” by Noam Shaked – An incredibly vibrant and bold art piece that will bring new life to any decor

Notice how the vibrant tones and pitch black background of the artwork contrast nicely with the lighter shades used in the rest of the room.

This high contrast is what gives the artwork the visual focus it needs and deserves, Making it the visual center point of the design.

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Moreover, While the artwork’s tones are similar to the tones of the other elements in the room, It has enough white space around it for it to stand out.

This is an incredible example of placing art in the bedroom yet not in its most obvious place – above the bed.

While the artwork blends in well with the rest of the room it also stands out and draws the visual focus it deserves.is no longer supporting older versions of your web browser in order to ensure that user data remains secure. Please update to the latest version.

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Gallery Wrap: Is a method of stretching an artist’s canvas so that the canvas wraps completely around the sides of the stretcher bar and is secured to the back of the wooden frame. Identified as THE premier method of framing for any and all high-quality art pieces. Canvas Freaks brings this option to you at an incredibly affordable price.

Floating Frame: Floater frames mimic the look of fine art displayed in a gallery, where these types of frames are the preferred way to display art. They enable galleries to mount a piece of artwork in a frame without the surface of the art touching the frame itself, preserving the image from potential contact or damage. The depth of a floater frame creates a greater three-dimensionality to a piece of art

Please note that due to differences in monitor color settings, the color you see on your computer or mobile device may be slightly different than the print you receive. We print colors that are true to the artist's specifications and cannot alter the original artwork.

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digital art tips paralyzed by hand

digital art tips paralyzed by hand

Did you hear about the AI artwork made with Midjourney that won an art prize? This begs a few questions: Is the creator really a digital artist? Or is he a curator? Perhaps he's just a guy who wrote prompts for an AI image machine and entered an art competition?

Whatever you think of an AI-generated image winning a digital art prize, it's undeniable that artificial intelligence is making an impact on the art world.

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But AI is only one facet of the digital art scene, which is growing and becoming increasingly populated with creators from all walks of life (and artificial life, as we've seen above). We’re investigating how AI affects artists, the true value of NFTs, the potential for 3D and holographic art in the 21st century, and other technologies for creative work.

Digital Vs. Drawing On Paper

Artists have embraced computer technology ever since it became available in the 1950s, and upon taking a closer look, you'll realize that computer art is not as new as you might think.

A few notable creative technologies preceded the digital age and impacted the trajectory of artistic work. It's interesting how artists have used these pre-digital technologies to make artwork, and how many of these analog technologies were later translated into a digital format.

Technological advancements have invariably led to new developments in art and design. Throughout the ages, artists have always been interested in new ways to make images and express how they see the world. New technologies also help artists to be more productive and accurate image makers.

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Three of the earliest analog optical devices used by artists are the camera obscura, camera lucida, and phenakistoscope, which are predecessors to photography and animation.

A device used since classical times (as far back as the 4th century), the camera obscura was a pinhole camera that could take up an entire room. It was used to project a scene onto a surface so the artist could copy it. Later, photography introduced a mechanical way for the artist to capture images in a box (sounds a lot like a computer, right?).

The camera lucida was a device with either a mirror or a prism inside that enabled the artist to look down on their drawing surface and see the scene in front of them simultaneously. It allowed the artist to draw perspective and proportions more accurately. Camera lucidas are still available today but are less popular than in the early 1800s when the device was first patented.

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Phenakistoscopes and related optical devices, such as stroboscopes and zoetropes, were invented in the 1830s to create the illusion of movement through the rotation of a series of drawings. Stereoscopes, the early versions of 3D imaging, were also invented in the 1830s.

We should also not forget the printing press, a paradigm-shifting pre-digital technology that made the mass reproduction and dissemination of text and images more accessible (sounds a lot like the internet, right?). Printing led to new modes of artistic expression, such as printmaking, illustration, book design, and graphic design.

Even though these are all analog technologies, it's clear that they paved the way for later digital devices that would solve the same "Jobs To Be Done" using computer chips and software programs.

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Live-action movies have existed since before animated feature films. A live-action film is one where camera footage is mixed with animation to tell a story.

A key concern or technique in twentieth-century Modern and Conceptual Art was the "removal of the artist's hand, " which is the concept of removing the traces of authorship and originality that make artworks so valuable and exclusive. Marcel Duchamp was one of the first artists who displayed "readymade" objects as artworks.

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Many mid-twentieth-century art movements, such as Pop Art, became obsessed with the mass production and consumption of products, either completely rejecting this socio-economic crisis or buying into it.

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In both cases, the use of new technologies for making contemporary art was explored and led to artists increasingly using machines and manufactured products to make art.

Two of the earliest examples of pre-digital computer art are the computer-generated motion graphics that John Whitney Sr. made with old WWII Turing machines in the 1950s and the "machine drawings" that artist Desmond Paul Henry produced using WWII bombsight analog computers. Whitney became a film and advertising motion graphics pioneer, and Henry's machine-made drawings won him an art prize in 1961 that launched his artistic career.

Digital art defines a broad field of activity, such as digital photography, digital imaging, digital animation, and computer interactivity. Digital art is variably referred to as electronic art, computer art, computational art, new media art, multimedia art, internet art, digital installation art or immersive art, CGI (computer-generated graphics), and digital illustration.

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Let's discuss some of the most important developments in digital art history that have brought us to where we are today. It's awe-inspiring to see how digital art and design have changed how we create, experience, share, and buy artwork.

One field that has become synonymous with digital art is graphic design. Before the advent of design software, graphic designers worked with printing presses, type-setting machines, paper, ink, glue, and paint.

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One of the first recorded instances of vector art drawn on a screen was seen in a surprising and top-secret place in the mid-1950s: a diagnostic program developed by IBM and MIT for SAGE (Semi-Automatic Ground Environment) - a multi-billion dollar US Air Force computer system that was developed to intercept potential Soviet attacks. When the diagnostic ran successfully, a line drawing of a pin-up girl would display on the CRT screen.

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However, the first complete design software was a program called Sketchpad, written by pioneering computer scientist Ivan Sutherland in 1963. Sutherland was inspired by the Memex concept described by Vannevar Bush in 1945, a digital file-sharing system that we now know as the Internet.

Sketchpad formed part of Sutherland's PhD at MIT and showed how human-computer interaction (HCI) could be used for digital art and technological purposes. The user could draw on the computer interface using a light pen - yep, digital pens came before computer mice!

His program is seen as the ground-breaking predecessor of CAD software and object-oriented programming. Even in 1987, the computer scientist and Apple Fellow Alan Kay (formerly Xerox PARC and Atari, later Walt Disney Imagineering and HP) said Sutherland's work was probably the most important thesis ever done. At that time (25 years later), Kay said it was still impossible to find something as good as Sketchpad on the market.

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Sutherland's work also impacted another important invention, the On-Line System (NLS), a collaborative computer system developed by Douglas Engelbart at Stanford University's Augmentation Research Center with support from the US Air Force and NASA. It was famously presented at "The Mother of All Demos" video conference in 1968.

Kay and his teams saw the development of the first font editor, painting programs, easy-to-use desktop computers, animations that were precursors to video games, multiple windows GUI (graphical user interface), and simple object-based programming languages. The most remarkable part about Kay's research and work is that his teams tested and created their computers with the help of children, teaching them to code their programs in the Smalltalk coding language he created.

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Richard Williams, an electrical engineering faculty member at the University of New Mexico, created a computer program he called ART1 in the same year Engelbart presented the NLS (1968). His computer program was specifically made for artists to create artworks using computers and dot-matrix printers without needing to code. One of the artists that used ART1 (and later co-developed ART2) was Katherine Nash.

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. The Paintbox was a drawing surface that enabled the user to draw computer graphics directly onto the television screen without transferring it to another medium, such as film. Hockney has continued making the most of digital technology for his art, later using a Wacom tablet and an iPad to create digital paintings.

"There is no distance between you and the mark being made... It doesn't exist in any other form... that's the medium you're drawing with essentially: light on glass."

Quantel Paintbox was also used in combination with the Bosch FGS-4000 hardware and 3D animation graphics program to create innovative computer-generated graphics for the music video of

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The researchers at Bell Telephone Laboratories (Bell Labs for short) made many discoveries that led to the increased use of computers for communication and art. One of these researchers, A. Michael Noll, was already experimenting with making digital images and animations in 1962. He exhibited his computer artwork alongside fellow Bell Labs researcher Bela Julesz in 1965.

At the intersection of science, maths, philosophy, and art, Frieder Nake and Georg Nees also held an exhibition of their computer art in 1965. Credited as two of the first artists to create algorithmic art, Nake and Nees produced automatic computer-generated drawings using programming and flatbed plotters. Plotters were large drawing machines that could accurately create maps and technical drawings.

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(1968), an important show in the UK and USA that helped spread ideas and images of computer art in the 1960s. The exhibition, curated by art critic Jasia Reichardt, led to the formation of the Computer Arts Society in Britain and

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Title: One and Three Chairs • Author: Joseph Kosuth • Date: 1965 • Medium Category: Photography, Conceptual Art • Medium: wooden folding chair, photographic copy of a chair and photographic enlargement of a dictionary definition of a chair 1. Kosuth belongs to a generation of conceptual artists that began to emerge in the mid-1960s, stripping art of personal emotion, reducing it to nearly pure information or idea and greatly playing down the art object. 2. One in Three Chairs is one of his most famous artworks. 3. It's a visual expression of Plato's theory of forms. 4. The piece features a physical chair, a photograph of that chair, and the text of a dictionary definition of the word "chair".

Every Building on the Sunset Strip Ed Ruscha, 1966 Ed Ruscha took photographs of Sunset Strip with a motorized Nikon camera mounted to the back of a pick-up truck. This allowed him to photograph every building while driving - first down one side of the street and then the other.

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Flashcard •Title: New Portraits •Author: Richard Prince •Date: 2014 •Medium Category: Photography •Medium: Inkjet print on canvas •Size: 48 x 56 inches each 1.38 screenshots of Instagram photos and comments that were then inkjetprinted on 48-inch by 56-inch" canvas 2.Reportedly going for $100, 000 each

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Title: Putto 2x2x4 • Creators: Michael Rees • Creation Date: 2005 • Media Category: 3D, 3Dprint • Medium: LuminOre iron on fiberglass over polystyrene foam and steel and animation on LED screen • Size: Sculpture is 18 feet tall, animation is 1:30 • Current Location: Kemper Museum of Contemporary Art, Kansas City, Missouri 1. Putto 2x2x4 continues Rees' investigation into unusual life forms, their animation, and their subsequent reification as a sculptural object from a single animation frame. 2. Putto (plural putti) is a representation of a naked child, especially a cherub or a cupid in Renaissance art. In the Baroque era, they came to represent the omnipresence of God in Christian artworks

Title: Payphone • Creator: Robert Lazzarini • Creation Date: 2000 • Media Category: 3D, 3Dprinting • Medium: Anodized Aluminum, Stainless Steel, Plexiglas, SilkScreened Graphics • Size: n/a 1. Robert Lazzarini's "Payphone used CAD (computer-aided design software) and RP (rapid-prototyping or 3D printing to evolve distortions of recognizable objects. 2. One of his best known works 3. Premiered at the 2002 Whitney Biennial in a room by itself 4. Payphone is made from the exact materials a New York City pay phone was made out of: Steel, aluminum, Plexi, gunk, materials and processes requiring 45 fabricators. The work's distortion gives it a futuristic feel — even as pay phones are increasingly out-of-date. 5. Makes the familiar unfamiliar

• Title: The Free Universal Constructor Kit • Creator: Golan Levin and his former student Shawn Sims • Creation Date: 2012 • Media Category: 3D, 3Dprinting • Medium: Digital blueprints to print 3D objects • Size: n/a 1. Trailer: https://vimeo.com/37778172 2. Developed at the STUDIO for Creative Inquiry, Carnegie Mellon University, Pittsburgh, PA 3. Free, downloadable 3D printer files of nearly 80 adapter bricks that enable complete interoperability between ten popular children's construction toys 4. From Thingiverse.com and other sharing sites, print on Makerbot and other affordable 3D printers 5. By allowing any piece to join to any other, the Kit encourages totally new forms of dialog between otherwise closed systems — enabling radically hybrid constructive play, the creation of previously impossible designs, and ultimately, more creative opportunities for kids

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Title: Three Transitions • Creator: Peter Campus • Creation Date: 1973 • Media Category: Video • Medium: Video (color, sound) • Size: 4:56 1. One of the most famous examples of early video art using feedback loops 2. Heavily influenced by his experiences in documentary filmmaking and his interest in Minimal Art 3. In 3 short videos, Campus uses basic techniques of video technology and his own image to create "succinct, almost philosophical metaphors for the psychology of the self."

• Title: Vertical Roll • Creator: Joan Jonas • Creation Date: 1972 • Media Category: Video • Medium: Video (black and white, sound) • Size: 19:38 1. Shot in her New York City studio, Vertical Roll features Jonas' alter-ego Organic Honey performing a series of actions in a series of costumes, mediated by the intentional use of a common televisual malfunction for which the piece is titled, the vertical roll. 2. Her intentional de-synchronization of the monitor's receiving and transmitting frequencies results in the on-screen image's repeated vertical descent.

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•Title: TV Buddha •Creator: Nam June Paik •Creation Date: 1974 •Media Category: Video •Medium: Buddha, camera, tv •Size: Continuously running feedback loop 1.Often described as the father of video art 2.Born in Seoul in 1932, left Korea during the Korean War...went to Hong Kong, then Japan, trained as a classical pianist...then went to Munich where he met John Cage and other avant-garde musicians. In Germany he met Joseph Beuys and Wolf Vostell, and he moved to New York in 1964. 3.Buddha watching himself be video taped. What else? 4.Multiple versions of self 5.Questions about how oneself is defined within a mediated environment... 6.He would later go on to create sculptures with many TV's, but in his earlier work, he did a lot of free form exploration with TV feeds like...

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• Title: Color Panel v1.0 • Author: John F. Simon, Jr. • Date: 1999(1990s) • Medium: Software, Macintosh 280c, and plastic acrylic • Size: Runs Continuously, Never Repeats 1. "a time based color study... 1. Influenced by the Bauhaus movement, ... 2. Color Panel interprets color 'rules' into software. ... 3. The software iterates through color possibilities explored in theories proposed by Bauhaus artists including Klee and Kandinsky. ... 4. The activation of these studies results in a dynamic composition of changing color palettes that never repeat."

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Title: Abstract Browsing • Author: Rafaël Rozendaal • Date: 2014 (2010s) • Medium: Chrome extension 1. http://www.abstractbrowsing.net/ 2. Rozendaal, who uses the plugin every day and keeps an archive of his favorite screenshots, sifted through his collection and selected six compositions to turn into Jacquard woven tapestries, each nearly 5 x 9 feet. https://creators.vice.com/en_us/article/bmy3k4/abstract-browsertapestries-reimagine-surfing-the-net 3. Also one of the first to sell URLs• Title: How Not To Be Seen. A ****ing Didactic Educational .Mov File • Author: Hito Stereyl • Date: 2013 (2010s) • Medium Category: Film • Size: 16:00 1. Focus: what is on the grid, what is off the grid, and the political implications for those ideas 2. Discussed in the exhibition Art Post-Internet at the Ullens Center for Contemporary Art in Beijing, PR China under the theme "Distribution" 3. From MOMA's website on the artwork: http://www.moma.org/explore/inside_out/2014/06/18/hito-steyerls-hownot-to-be-seen-a-****ing-didactic-educational-mov-file • Considers the state of the world where many people have digital objects that are practically an extension of their body • [Hito] argues that images have ceased to function as representation or index of any a priori truth, and have instead taken a more powerful seat in constructing reality 4. For the quiz, you can also simply describe scenes within the film and their implicationsTitle: Catso Red Creator: James Turrell Creation Date: 1967 (1994) Media Category: film, installation Medium: Drywall, paint, xenon projector Size: Not known (from experience, about 2-3 x 4-5 ft) Current Location: Mattress Factory, Pittsburgh 1. What seems like a red cube floating in the room is a projector emitting a light through a template towards a corner of a room 2. About Turrell 1. Light and Space movement, which began in Southern California in the mid-1960s 2. Building on his early research into sensory deprivation (particularly the Ganzfeld effect, in which viewers experience disorienting, unmodulated fields of color), his art encourages a state of reflexive vision that he calls "seeing yourself seeing"Title: Weather Project Creators: Olafur Eliasson Creation Date: 2003 Media Category: light, installation Medium: Installation Size: Filled the Turbine Hall, Tate Modern, London 1. A Danish-Icelandic artist, studio based in Berlin, Germany 2. Eliasson used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a circular disc made up of hundreds of monochromatic lamps which radiated yellow light. 3. The ceiling of the hall was covered with a huge mirror, in which visitors could see themselves as tiny black shadows against a mass of orange light.Title: Under Scan Creator: Rafael Lozano-Hemmer Creation Date: 2005 (2000s) Media Category: film, installation Medium: Robotic projectors, media servers, Pani 12kW projectors, scissor lifts, computerized surveillance system, custom software Size: Dimensions variable 1. Interactive video art installation for public space 2. Visitors are detected computerized tracking system, which activates video-portraits projected within their shadow 3. Videos are of local people by local filmmakers. 4. Over 1, 000 videos recorded. 5. They could do whatever they wanted. 6. Only asked to "wake up" and make eye contact with the visitor as soon as the visitor's shadow "reveals" them 7. Resets every 7 minutesTitle: H.M. Creators: Kerry Tribe Creation Date: 2009 Media Category: film, installation Medium: Double projection of a single 16mm film Size: 18:30 looped 1. At the 2010 Whitney Biennial. 2. A two-channel presentation of a single film looping through two

• Title: Color Panel v1.0 • Author: John F. Simon, Jr. • Date: 1999(1990s) • Medium: Software, Macintosh 280c, and plastic acrylic • Size: Runs Continuously, Never Repeats 1. "a time based color study... 1. Influenced by the Bauhaus movement, ... 2. Color Panel interprets color 'rules' into software. ... 3. The software iterates through color possibilities explored in theories proposed by Bauhaus artists including Klee and Kandinsky. ... 4. The activation of these studies results in a dynamic composition of changing color palettes that never repeat."

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Title: Abstract Browsing • Author: Rafaël Rozendaal • Date: 2014 (2010s) • Medium: Chrome extension 1. http://www.abstractbrowsing.net/ 2. Rozendaal, who uses the plugin every day and keeps an archive of his favorite screenshots, sifted through his collection and selected six compositions to turn into Jacquard woven tapestries, each nearly 5 x 9 feet. https://creators.vice.com/en_us/article/bmy3k4/abstract-browsertapestries-reimagine-surfing-the-net 3. Also one of the first to sell URLs• Title: How Not To Be Seen. A ****ing Didactic Educational .Mov File • Author: Hito Stereyl • Date: 2013 (2010s) • Medium Category: Film • Size: 16:00 1. Focus: what is on the grid, what is off the grid, and the political implications for those ideas 2. Discussed in the exhibition Art Post-Internet at the Ullens Center for Contemporary Art in Beijing, PR China under the theme "Distribution" 3. From MOMA's website on the artwork: http://www.moma.org/explore/inside_out/2014/06/18/hito-steyerls-hownot-to-be-seen-a-****ing-didactic-educational-mov-file • Considers the state of the world where many people have digital objects that are practically an extension of their body • [Hito] argues that images have ceased to function as representation or index of any a priori truth, and have instead taken a more powerful seat in constructing reality 4. For the quiz, you can also simply describe scenes within the film and their implicationsTitle: Catso Red Creator: James Turrell Creation Date: 1967 (1994) Media Category: film, installation Medium: Drywall, paint, xenon projector Size: Not known (from experience, about 2-3 x 4-5 ft) Current Location: Mattress Factory, Pittsburgh 1. What seems like a red cube floating in the room is a projector emitting a light through a template towards a corner of a room 2. About Turrell 1. Light and Space movement, which began in Southern California in the mid-1960s 2. Building on his early research into sensory deprivation (particularly the Ganzfeld effect, in which viewers experience disorienting, unmodulated fields of color), his art encourages a state of reflexive vision that he calls "seeing yourself seeing"Title: Weather Project Creators: Olafur Eliasson Creation Date: 2003 Media Category: light, installation Medium: Installation Size: Filled the Turbine Hall, Tate Modern, London 1. A Danish-Icelandic artist, studio based in Berlin, Germany 2. Eliasson used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a circular disc made up of hundreds of monochromatic lamps which radiated yellow light. 3. The ceiling of the hall was covered with a huge mirror, in which visitors could see themselves as tiny black shadows against a mass of orange light.Title: Under Scan Creator: Rafael Lozano-Hemmer Creation Date: 2005 (2000s) Media Category: film, installation Medium: Robotic projectors, media servers, Pani 12kW projectors, scissor lifts, computerized surveillance system, custom software Size: Dimensions variable 1. Interactive video art installation for public space 2. Visitors are detected computerized tracking system, which activates video-portraits projected within their shadow 3. Videos are of local people by local filmmakers. 4. Over 1, 000 videos recorded. 5. They could do whatever they wanted. 6. Only asked to "wake up" and make eye contact with the visitor as soon as the visitor's shadow "reveals" them 7. Resets every 7 minutesTitle: H.M. Creators: Kerry Tribe Creation Date: 2009 Media Category: film, installation Medium: Double projection of a single 16mm film Size: 18:30 looped 1. At the 2010 Whitney Biennial. 2. A two-channel presentation of a single film looping through two

digital art wikipedia speedrun musical instruments

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Anne Vallayer-Coster, Attributes of Music, 1770. This still life painting depicts a variety of Frch Baroque musical instrumts, such as a natural horn, transverse flute, musette, pardessus de viole, and lute.

A musical instrumt is a device created or adapted to make musical sounds. In principle, any object that produces sound can be considered a musical instrumt—it is through purpose that the object becomes a musical instrumt. A person who plays a musical instrumt is known as an instrumtalist. The history of musical instrumts dates to the beginnings of human culture. Early musical instrumts may have be used for rituals, such as a horn to signal success on the hunt, or a drum in a religious ceremony. Cultures evtually developed composition and performance of melodies for tertainmt. Musical instrumts evolved in step with changing applications and technologies.

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The date and origin of the first device considered a musical instrumt is disputed. The oldest object that some scholars refer to as a musical instrumt, a simple flute, dates back as far as 50, 000 - 60, 000 years. Some conssus dates early flutes to about 40, 000 years ago. However, most historians believe that determining a specific time of musical instrumt invtion is impossible, as many early musical instrumts were made from animal skins, bone, wood, and other non-durable materials.

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Musical instrumts developed indepdtly in many populated regions of the world. However, contact among civilizations caused rapid spread and adaptation of most instrumts in places far from their origin. By the post-classical era, instrumts from Mesopotamia were in maritime Southeast Asia, and Europeans played instrumts originating from North Africa. Developmt in the Americas occurred at a slower pace, but cultures of North, Ctral, and South America shared musical instrumts.

By 1400, musical instrumt developmt slowed in many areas and was dominated by the Occidt. During the Classical and Romantic periods of music, lasting from roughly 1750 to 1900, many new musical instrumts were developed. While the evolution of traditional musical instrumts slowed beginning in the 20th ctury, the proliferation of electricity led to the invtion of new electric instrumts, such as electric guitars, synthesizers and the theremin.

Musical instrumt classification is a discipline in its own right, and many systems of classification have be used over the years. Instrumts can be classified by their effective range, material composition, size, role, etc. However, the most common academic method, Hornbostel–Sachs, uses the means by which they produce sound. The academic study of musical instrumts is called organology.

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A musical instrumt is used to make musical sounds. Once humans moved from making sounds with their bodies — for example, by clapping—to using objects to create music from sounds, musical instrumts were born.

The concept of melody and the artistic pursuit of musical composition were probably unknown to early players of musical instrumts. A person sounding a bone flute to signal the start of a hunt does so without thought of the modern notion of "making music".

Musical instrumts are constructed in a broad array of styles and shapes, using many differt materials. Early musical instrumts were made from "found objects" such as shells and plant parts.

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As instrumts evolved, so did the selection and quality of materials. Virtually every material in nature has be used by at least one culture to make musical instrumts.

One plays a musical instrumt by interacting with it in some way — for example, by plucking the strings on a string instrumt, striking the surface of a drum, or blowing into an animal horn.

Researchers have discovered archaeological evidce of musical instrumts in many parts of the world. Some artifacts have be dated to 67, 000 years old, while critics oft dispute the findings. Conssus solidifying about artifacts dated back to around 37, 000 years old and later. Artifacts made from durable materials, or constructed using durable methods, have be found to survive. As such, the specims found cannot be irrefutably placed as the earliest musical instrumts.

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In July 1995, Slovian archaeologist Ivan Turk discovered a bone carving in the northwest region of Slovia. The carving, named the Divje Babe Flute, features four holes that Canadian musicologist Bob Fink determined could have be used to play four notes of a diatonic scale. Researchers estimate the flute's age at betwe 43, 400 and 67, 000 years old, making it the possible oldest known musical instrumt and the only musical instrumt associated with Neanderthal culture.

German archaeologists have found mammoth bone and swan bone flutes dating back to 30, 000 to 37, 000 years old in the Swabian Alps. The flutes were made in the Upper Paleolithic age, and are more commonly accepted as being the oldest known musical instrumts.

Archaeological evidce of musical instrumts was discovered in excavations at the Royal Cemetery in the Sumerian city of Ur. These instrumts, one of the first sembles of instrumts yet discovered, include nine lyres ( the Lyres of Ur), two harps, a silver double flute, a sistrum and cymbals. A set of reed-sounded silver pipes discovered in Ur was the likely predecessor of modern bagpipes.

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These excavations, carried out by Leonard Woolley in the 1920s, uncovered non-degradable fragmts of instrumts and the voids left by the degraded segmts that, together, have be used to reconstruct them.

The graves these instrumts were buried in have be carbon dated to betwe 2600 and 2500 BC, providing evidce that these instrumts were used in Sumeria by this time.

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Archaeologists in the Jiahu site of ctral Han province of China have found flutes made of bones that date back 7, 000 to 9, 000 years,

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Scholars agree that there are no completely reliable methods of determining the exact chronology of musical instrumts across cultures. Comparing and organizing instrumts based on their complexity is misleading, since advancemts in musical instrumts have sometimes reduced complexity. For example, construction of early slit drums involved felling and hollowing out large trees; later slit drums were made by oping bamboo stalks, a much simpler task.

In modern times, argues that it is misleading to arrange the developmt of musical instrumts by workmanship, since cultures advance at differt rates and have access to differt raw materials. For example, contemporary anthropologists comparing musical instrumts from two cultures that existed at the same time but differed in organization, culture, and handicraft cannot determine which instrumts are more "primitive".

Ordering instrumts by geography is also not reliable, as it cannot always be determined wh and how cultures contacted one another and shared knowledge. Sachs proposed that a geographical chronology until approximately 1400 is preferable, however, due to its limited subjectivity.

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The scice of marking the order of musical instrumt developmt relies on archaeological artifacts, artistic depictions, and literary referces. Since data in one research path can be inconclusive, all three paths provide a better historical picture.

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Until the 19th ctury AD, European-writt music histories began with mythological accounts mingled with scripture of how musical instrumts were invted. Such accounts included Jubal, descdant of Cain and "father of all such as handle the harp and the organ" (Gesis 4:21) Pan, invtor of the pan pipes, and Mercury, who is said to have made a dried tortoise shell into the first lyre. Modern histories have replaced such mythology with anthropological speculation, occasionally informed by archeological evidce. Scholars agree that there was no definitive "invtion" of the musical instrumt since the term "musical instrumt" is subjective and hard to define.

Those cultures developed more complex percussion instrumts and other instrumts such as ribbon reeds, flutes, and trumpets. Some of these labels carry far differt connotations from those used in modern day; early flutes and trumpets are so-labeled for their basic operation and function rather than resemblance to modern instrumts.

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Among early cultures for whom drums developed ritual, ev sacred importance are the Chukchi people of the Russian Far East, the indigous people of Melanesia, and many cultures of Africa. In fact, drums were pervasive throughout every African culture.

One East African tribe, the Wahinda, believed it was so holy that seeing a drum would be fatal to any person other than the sultan.

Humans evtually developed the concept of using musical instrumts to produce melody, which was previously common only in singing. Similar to the process of reduplication in language, instrumt players first developed repetition and th arrangemt. An early form of melody was produced by pounding two stamping tubes of slightly differt sizes—one tube would produce a "clear" sound and the other would answer with a "darker" sound. Such instrumt pairs also included bullroarers, slit drums, shell trumpets, and skin drums. Cultures who used these instrumt pairs associated them with gder; the "father" was the bigger or more ergetic instrumt, while the "mother" was the smaller or duller instrumt. Musical instrumts existed in this form for thousands of years before patterns of three or more tones would evolve in the form of the earliest xylophone.

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Along with xylophones, which ranged from simple sets of three "leg bars" to carefully tuned sets of parallel bars, various cultures developed instrumts such as the ground harp, ground zither, musical bow, and jaw harp.

Rect research into usage wear and acoustics of stone artefacts has revealed a possible

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Keyboarding practice while schools are moving from the computer lab environment to integrating computers into the classroom many teachers do not consider teaching the art science of keyboarding teaching keyboarding is not fast and simple years ago many high school students took typing classes typically taught by a business education type

Rest on the k key ring rest on the s key rest on the l key little rest on the a key rest on the key using this ten fingers position you minimize the distance from all keys to your fingers so with a minimum effort and practice you will be able to type really fast this ten fingers technique is also named touch typing and it has been

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