Category: Artworks

Musicality of Drawing

Digital Media Art Project: The Musicality of Drawing

The concept “Musicality of Drawing” explores how to express music using hybrid immersive drawings, and how visitors perceive the musicality of a spherical perspective. A/r/cographic recap: within the previous entries, I completed the following steps of the a/r/cographic methodology: Inspiration, in this and this article Trigger Intention The next definition is concept, for which I developed a first part here. Hence, the aim of this entry is to complete such a development: Background Methodological definitions Previous artistic experiences Musicality Here and now The Musicality of Drawing Conclusion References Musicality of Drawing – Drawing at the Godot Art Bistrot during the concert of Mary Ocher © Lufo Art, 2017 Background Firstly, and according to the previous entry, the definition of the concept should consider, first, methodological definitions, and second, previous artistic experiences. Therefore, let’s try to develop a bit further these two points, so to understand their connection with the concept. Methodological definitions Within the module MIPA (Metodologia de Investigação e Produção Artística) of the DMAD PhD program, I developed a short article. I called that article “Definiciones metodológicas para una investigación basada en la práctica artística con Modelos Híbridos Inmersivos” (in English: “Methodological definitions for practice-based research with Immersive Hybrid Models”). You can peek the essay right below this paragraph or download it here. In that article, I explained a couple of useful things that structure the methodological approach. For example, I talked about the connection of the current digital media art project with a previous ongoing research. In that regard, the previous research developed the so-called “Hybrid Immersive Models” (HIM) and their application using the cubical perspective (Olivero, 2021). Furthermore, I also considered the advantages and disadvantages of following the already known approaches for social and natural sciences, i.e., the positivist and the interpretative approaches. Also, I summarised how these more classical approaches do not fully fit for an art-practice based research.  Indeed, the art-practice based research field has developed in the last years its own methodologies (Sullivan, 2005). Within them, Patricia Leavy (2020) structured some criteria for understanding if an approach is valid or not, from which I rescued strategic points to consider, such as Question-method Fit, Translation, Holistic Approach, Data Analysis, Usefulness, Audience Response, Artfulness and Multiple Meanings. Previous artistic experiences On the other hand, this second part is connected with the real situations that I have dealt with as an artist. Indeed, as explained within this entry I gathered experiences and important reference points while creating handmade VR drawings in equirectangular format and listening to live music. Therefore, the concept should consider these aspects from a more focused point of view: when I had those experiences I was not really aware about what I was doing. So, I would like to explore them specifically now: how do I see music? What is the effect of music on my graphical output? Do I have a sound/graphic alphabet? How does a HIM collaborate on expressing that connection? Musicality According to Düchting (2013), one of the strongest elements stimulating Kandinsky’s artistic sensibility was music. For example, he had a strong visual experience during the representation of the opera “Lohengrin” of Wagner: “I felt that I had all my colours in front of me. Disorderly and almost absurd lines were forming in front of me” (p.10). Thanks to his synaesthetic ability, Kandinsky perceived the power of music and at the same time sensed the forces of painting, which had yet to be discovered. The relationship between colours and sounds, which for him was not only supposed but actually existed, captivated him to such an extent that this secret correspondence of the arts became one of the pillars of his artistic convictions, even the starting point of his painting (Düchting, 2013, p.10).  Now, when I look back to my own experience in 2017, I notice that the visual expression on my drawings is not connected in the same way with “what was happening” while I drew them.  CamposGodot (left) Lo Schifo Moop (right) © Lufo Art 2017

NFT art gallery at OpenSea

Introducing Lufo’s NFT art gallery

Today is a wonderful day: I “inaugurated” my NFT art gallery at OpenSea by loading my first artwork on it. So, are you curious? Let me tell you how did I arrive until here. The NFT community of Proof of Humanity Since January 2022 I’m participating within the community of Proof of Humanity. This project seeks to promote a Universal Basic Income as a way of combating against poverty and inequality. To do so, the project uses cryptocurrencies, and the powerfulness of the blockchain technology running on the net of Ethereum. Within Proof of Humanity, there is a growing community of NFT artists and collectors. Their work is currently expanding to the whole metaverse, promoting artworks and collaborations that help the project. Consequently, these collaborations help to increase the value of the UBI token (the “coin” of the project). You can join or just peek the Telegram chat of the community here. How does this work? Well, basically, there is a collection at OpenSea called $UBI pyromaniac items. The artists collaborating within this collection burn the 50% of the artworks’ profit using the UBI burner. As a consequence, the burn of tokens help increasing the value of the token. POAPs Within the NFT community of Proof of Humanity, I proposed to use Instant as the background motive of a POAP (Proof of Attendance Protocol). Luckily, the community took very well the idea and released the first POAP today, announcing it with this twit. These POAPs will be distributed for free to attendees of the community talks in Spanish, which hold every week on the official group of Telegram. Here is how the first POAP looks like: The first POAP for Proof of Humanity using “Instant” © Lufo Art, 2013 Instant as NFT It has been a while since I wanted to create my NFT art gallery at OpenSea. Nevertheless, even if my profile was created on November 2021 I just uploaded my first artwork today… for one reason or another I couldn’t find the time or the space do it ????????‍♂️.  Helping $UBI and Proof of Humanity was a wonderful and nice motivation to do it. However, I must confess that I also have got some help and “a push” forward from the PoH NFT community. Thanks therefore to all of them, and specially to Laura Leticia Lopez (AKA Lety) who will help with the distribution and the promotion of the NFTs.  The idea behind the POAP is to promote the NFT the artwork Instant and to sell it as part of the $UBI pyromaniac items ???? ????. Furthermore, Instant is also the first item of the collection with the concept Memories of the Humanity that I have proposed as a way of gathering artworks. I defined the concept as “an artistic point of view about our human side within the digital world, and about the digital side within the physical world“.  No more words, here the NFT goes! Lufo’s NFT art gallery With the NFT of Instant, I have no more excuses, so now you can visit my NFT art gallery at OpenSea:  I’m very very glad to have started my NFT art gallery. Indeed, I think that as a contemporary and a digital artist this is something not just necessary but almost basic within our days. Hopefully, I will add more artworks soon now that I have a “real excuse” to keep it updated. Finally, if you are interested into participating within the community of PoH, joining the project or knowing more about it, then I recommend you to do three things: First, join the official Telegram groups in English and Spanish. Second, watch these videos from Pablo who explains thoroughly well and step by step all about how to start with crypto, how to join the project and much more. Third, to take a lot of care about scammers! Do never and ever give your seed phrase or follow links that ask you to connect your wallet, and remember that no admin will ever talk you first on private messages. What do you think about NFT art, and the UBI pyromaniac collection? Leave me a comment below, I’m reading you! ???? Have the best day of your life! Tschüss Dr. Luquitas

Artwork Instant © Lufo Art, 2013

Instant, the snapshot of a dream

Instant © Lufo Art, 2013 The artwork Instant was born in 2013 as a proposal for the contest Skywards Future Artists. According to the contest’s jury, the artwork did not match the requirements, so it was never took in consideration as a candidate. I was sure to have matched all the specifications, and ask them to clarify what was the problem about… but they never replied me back 🥹. Artwork’s concept With Instant I tried to made possible an impossible vision: the shadows reflected on the other side of where they are supposed to be, the hand ¿opening? ¿closing? around that… ¿building? ¿Device? that is ¿falling? ¿raising?… The artwork is the snapshot of a dream, where everything is confusing and surrealistic, but at the same time totally possible and understandable (for who dreams it).  Instant (process) © Lufo Art, 2013 Context and curiosities When I painted Instant, I was living in a university residence at the very centre of Córdoba, Argentina. The place was simply horrible: I shared room with three more persons, the “bedroom” was very small, maybe even less than 10 m2… The kitchen was something impossible to use and I don’t want to recall the traumatising memories in the bathrooms…. I remember there was the space for two bunk beds and a tiny corridor in the middle, nothing else. To one side, there was a window from which the beautiful eyes of L used to appear for some time… To the other side of the room, there was the door to a bathroom with  double door, shared with another similar room with even more people…. … who knows, maybe when I drew Instant I was wishing just to get out of that place. René Magritte’s artwork In 2017, got such a big surprise when I visited the Musée Magritte in Bruxelles. I was walking among René’s wonderful paintings and enjoying his work when I found a poster project from 1938 that brought me back (or forward?) to 2013 and to Instant. Such a curious coincide, isn’t? Poster project for the Belgian textile workers’ union (La centrale des ouvriers textiles de Belgique) © René Magritte, 1938 What have you done with you artwork Luquitas? The original drawing finished at the hands of a person that used to do my days happier: A. I remember that I knew that she was going to pass through Córdoba’s bus main station for some and stop there before heading to her city again. When I knew it, I ran to the station to meet her, and I brought the drawing with me. Without even thinking it, I gave her the drawing, feeling that she was going to be someone who would appreciated it. I hope that I was not wrong although I never knew what was the final fate of Instant. In another occasions (after and before 2013), I drew spots from the city with A., sharing beautiful moments of expression and silence with her. I saw her a couple of years ago again, but sadly after that last meeting our connection “vanished” up to the point that we never talked again… Well, at least I have a wonderful digital version of Instant.  Closing The artwork Instant has had many interpretations from friends and art lovers. There are no few persons that see explicit sexual components on it: a vagina, even a penis in the place of the thumb. Honestly, I never had the will to include such expressions but, in the end, how to be sure? Does it matter? I know that I wanted to mix several words: the reminiscences of the Sagrada Familia that I saw for the first time two years before this painting, the vernacular architecture of the Amalfi Coast from Italy, the expression of the eyes that enjoy what the mind is creating… What do you see in Instant? Write me below, don’t be shy! 🥰 Have the best day of your life! Tschüss Dr. Luquitas

Image for a digital media art project: drawings result from the live painting session at the Godot Art Bistrot, Avellino, Italy © Lucas Fabian Olivero, 2017

Digital Media Art Project: The Starting Point

This is the first entry aim to document the evolution of my digital media art project. This project is part of the PhD program in Digital Media Art “DMAD” that I’m currently following. Consequently, I will use this digital journal to collect milestones, inspirations, concepts, intentions, advancements, technologies, improvements, etc.  The entries will go forward and back, diving through key concepts. However, they will do it not in a crazy and uncontrolled path, but following the art and communication based research methodology a/r/cography (da Veiga, 2019, p. 335). So, I start explaining the research background and the very first inspiration for the project development. Background My research in the field of Digital Art is very new. However, I have previously researched in the field of drawing, focusing in immersive perspectives with applications in design, architecture and engineering (check here a list with my full research). In fact, between 2017 and 2021 I completed a first research PhD in which I developed techniques for handmade immersive drawings. Such drawings have the particularity that can be converted into VR environments. Important milestones of this research were the first systematic definitions of cubical perspective (Olivero et al., 2019, Araújo et al., 2020). The goal was achieved with the help of my advisors Adriana Rossi and António Bandeira Araújo. Although it keeps going ahead, the investigation settled a transition point almost one year ago with the issuing of “Hybrid Immersive Models from Cubical Perspective Drawings” on March 2021 (Olivero, 2021) (Figure 1). Figure 1: Studies about immersive perspective a) Cubical perspective b) Equirectangular perspective c) Geometrical proportions of the project (c) Immersive navigation (e, f) © Lucas Fabian Olivero On the artistic practice My interest for immersive drawings started during 2017. Back then, I shared classroom giving lessons with Bruno Sucurado in Italy. Meanwhile, Bruno was already practicing these kind of illustrations and introduced me to the equirectangular perspective (Olivero & Sucurado, 2019). So, I got interested in the technique, learned some basic principles, and started to practice it. After that, I was invited to a cycle of live music presentations at the Godot Art Bistrot, Avellino, Italy (Olivero, 2017). As a result, I started to test spherical anamorphosis within live drawing sessions: I attended a total of four events and produced one equirectangular drawing for each of them (Figure 2). https://lufo.art/wp-content/uploads/2022/03/WhatsApp-Video-2017-09-22-at-01.14.31.mp4 Preparing for the drawing session © Lucas Fabian Olivero, 2017 The exhibition of Hybrid Immersive Models Visitors watching the VR results Figure 3: “HIMmaterial: exploring new hybrid media for immersive drawing and collage” at ARTECH 2019, Braga, Portugal, 2019 Closing Currently, the use of spherical anamorphosis within digital art exhibitions requires a big intellectual effort (both from the artist and the visitors), great oral communication skills, and the presence of the artist for a peer-to-peer communication. Consequently, such a setup limits both the artist and the artworks. However, with the current theoretical developments existing for spherical perspectives in the field of drawing it should possible to find a straightforward way for appreciating these exhibitions. In other words, this digital media art project should bring a new way of experimenting spherical anamorphosis that might release the artist and the audience and, therefore, improve the artworks, the exhibition, and the experience of the audience. Bibliography Araújo, A. B., Olivero, L. F., & Antinozzi, S. (2019). HIMmaterial: Exploring new hybrid media for immersive drawing and collage. In P. Arantes, V. J. Sá, P. A. Da Veiga, & F. M. Adérito (Eds.), Proceedings of ACM ARTECH conference (ARTECH2019) (pp. 247–251). ACM Press. https://www.doi.org/10.1145/3359852.3359950   Araújo, A. B., Olivero, L. F., & Rossi, A. (2020). A Descriptive Geometry Construction of VR panoramas in Cubical Spherical Perspective. Diségno, 6, 35–46. https://doi.org/10.26375/disegno.6.2020.06   da Veiga, P. A. (2019). A/r/Cography: Art, Research and Communication. In Proceedings of the 9th International Conference on Digital and Interactive Arts. Association for Computing Machinery. https://doi.org/10.1145/3359852.3359859   Olivero, L. F. (2017, October 3). Live art painting sessions [Art Exhibition]. Godot Bistrot, Avellino Italy.   Olivero, L. F. (2018a, January 21). 360 Points of View [Art Exhibition]. Eco Bistrot, Salerno, Italy.   Olivero, L. F. (2018b, October 3). 360 Points of View [Art Exhibition]. Passo Duomo, Salerno, Italy.   Olivero, L. F. (2021). Hybrid Immersive Models from Cubical Perspective Drawings—Modelli Ibridi Immersivi da Disegni in Prospettiva Cubica [PhD Thesis]. University of Campania “Luigi Vanvitelli.”   Olivero, L. F., Rossi, A., & Barba, S. (2019). A codification of cubical projection for the generation of immersive models. Diségno, 4, 53–63. https://www.doi.org/10.26375/disegno.4.2019.07   Olivero, L. F., & Sucurado, B. (2019). Analogical immersion: Discovering spherical sketches between subjectivity and objectivity. ESTOA. Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca, 8(16), 47–59. https://www.doi.org/10.18537/est.v008.n016.a04

Image for a digital media art project: HIMmaterial, art exhibition at ARTECH 2019, Braga, Portugal

VR art based on handmade drawings and their innovation

VR handmade drawings: enlarging the view I mentioned the VR art based on handmade drawings on my home page. But, what is it exactly a VR (or 360) drawing? Why am I so interested on them?  I’ll try to explain a bit about it in this article. Although, I must warn you: we will need more than one post! When we do a “classical perspective”, we use what we call a drawing plane. In that plane we re-present in 2D, the points and lines that compose a specific scene of a 3D environment. If we do a parallelism with photography, we always capture an image within the boundaries of the film or the sensor, right? In the same way, the drawing plane limits our composition.  But, what if we want to expand our vision and capture the full panorama around us?  Here is where VR drawings come to help us. A VR drawing represents all around the observer’s point of view. Not just a limited window. Digital VR art: a full 360-degree panorama made in ink and watercolour © Lufo Art, 2017 Photographic panoramas The representation of a full panorama is something well-known in the field of photography. The way to solve a wider picture is to stitch many individual pictures taken with different angles, thus covering a bigger field of view (FOV). The bigger is the angle that the camera captures, the less is the quantity of shots we need to cover a certain FOV. Currently, the technology gives us the possibility to take a 360º per 360º picture with just one shot. These cameras, such as the “Insta360” camera, use many “fisheye” lenses at once. Once the panorama has been generated, we can navigate it and perceive it in an immersive manner. We create such an immersion by putting a surface around the observer, and then covering it with the panorama. The two most used surfaces are the sphere and the cube. Therefore, we can say that in a full panoramic representation the drawing plane changes to a spherical or a cubical surface.  Equirectangular projection The equirectangular projection is one way of mapping the surface of a sphere. This means, it is a way of flattening a 3D shape into a 2D image.  We use the equirectangular format, for instance, to represent the world. In a world map, we can easily notice big distortions, specially in the poles. In fact, Antarctica, Russia and Canada have a shape more elongated in the map than in the reality. This deformation has been analysed and studied through indicators such as the Tissot’s indicatrix. Now, look closer to the equirectangular picture that I took in Lisbon. In this full panorama you can see odd curves and weird building shapes. Yet, if we build a sphere and cover it with the panorama, all lines will look as they should. An equirectangular photography from my ex room in Lisbon © Lufo Art, 2019 Cubical projection​ The cubical projection (AKA “cubemap”) is one way of mapping the surface of a cube. It is used, for instance, to generate scenes in video games (see skybox). In contrast with the equirectangular format, straight lines are represented as straight segments and not as curves anymore. Furthermore, although there is some kind of deformation, it is “more known” to our eye. Indeed, on each face of the cube we have a classical perspective. On another perspective, we could say they are six individual pictures framed in a squared sensor.  But, all that glitters is not gold they said. As everything in this world, the use of the cube has also some cons. For instance, it has the big disadvantage of being a discontinued map. Focus on the image of my ex room in the cubical format. You will notice that is not that intuitive to connect the upper part of the righter face with the upper part of the middle-up face.  Another disadvantage is the odd way that lines break when they cross from one face to another. Take for instance the buildings on the picture: they converge to some point on the righter face, they are more or less straight on the centre-right face, and then they converge again to some another point on the centre-left face… Still they are representing the same block of buildings!  Cubical panorama from my ex room in Lisbon © Lufo Art, 2019 On drawing practice So, we just saw that the equirectangular and the cubical projections are used for photographic panoramas.  But, what if we want to draw a building, show it through its outline, instead of using the billion colour points automatically captured by the camera?  What if we want to do a panorama of a surreal world that does not exist? Good news mate, we can do it!   We can generate our VR art by drawing either in the equirectangular or in the cubical format (further on we will explore other projections as well). Once the drawing is ready, we will fold it digitally onto the 3D sphere or cube, and then we will be able to navigate our artwork … from within! This way, we can create artworks reusing a technology mainly developed for photography and video games. We will use their tools to navigate and share our art, such as the VR plugin for panoramas embedded in Facebook. Anamorphosis​ We saw that both projections have either odd deformations or weird ways of breaking. In both cases, these particularities make all the sense once we cover the correspondent 3D shape with the drawing, and then we place the observer in the central point of it. From that point, you will see every represented shape perfectly reconstructed, and you will notice neither curves nor breaks.  In more rigorous terms, an anamorphosis is a set of two steps: a projection onto a sphere, and a cartographic operation of flattening that sphere. For a far better and more detailed explanation, you can check this work by António Araújo, who has been my mentor since 2018, PhD advisor and a wonderful friend. António has a large and very detailed research specifically dedicated to spherical anamorphosis that you can check here. Let’s use an example to understand better what an anamorphosis is. Pay attention to the original artwork “Elizabete, hat, fruit or flute“: Elizabete: Hat, Fruit or Flute? Equirectangular drawing in watercolours and ink ©…
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