The digital art portfolio of Terry Long. All images and articles by Terry Long are subject to copyright
Sometimes in life, certain things come together at a intersection and connect to make something greater than the parts. Hopefully, that is what I am doing with my MA project Digital Light. Up until I started my MA course in Digital Fine Art at the University of Art London in 2012, all of the different mediums and areas of art that I had been working with, drawing, painting, sculpture, graphic design, and photography, I had mostly kept separate, often switching from one to the other. The medium of light has enabled me to to bring all these other mediums together, along with the different skills required for them, to merge into the one medium of light.
Intersection 1 (section) / Prismography / 2014 / Terry Long
Intersection 1 was created by hand painting with crystal prisms and sunlight on white illustration board, and then editing with photoshop to include a watercolour filter to give the painterly effect.
The works and ideas of the Russian artist Wassily Kandinsky, 1866 – 1944, has been a strong influence on me since my art student days. I love the simplicity and purity of his colour studies, and admire the spiritual and musical qualities of his more complex paintings. Kandinsky regarded abstract painting as the key for transcendental expression, and a kind of visual music. He expresses his philosophical approach to painting and art in his book On the Spiritual in Art. Back to the Beginning was created by painting with crystal prisms and sunlight on white illustration board. The painting sequence was recorded on my Nikon D700 digital SLR camera, mounted with a Nikon 85mm 1.4 lens, and the post production was done with photoshop.
Colour Studies / Watercolour / Wassily Kandinsky / 1913
When I was a child, the notion of time always seemed odd to me, and my feeling and sense of time would change, relative to what situation I was in. Five minutes could feel like five hours, and vice versa. To me, time was just a man made measuring tool, like feet and inches, or the metric system. The idea of time travel which was a popular topic at the time was very exciting, but for me nonsense. My image Time Tunnel of Light was created with 24 LED lights in one photographic exposure, so we have 24 points of light traveling through time and space, captured on camera in a exposure period of 5 seconds. You could say that this photo proves that time exists, but I am sticking to my first childhood supposition! The camera I used was a Nikon D700 digital SLR, with a Tokina SD 17-35 f4 FX lens mounted on my trusty rusty tripod. The only post-production I used was to crop the photo.
If only Daedalus had used duct-tape, or duck-tape when attaching the wings to his son Icarus. The outcome may have been less disastrous, with maybe Icarus ending up with a very strong suntan! No duct -tape or wax was used in the making of Wings of Icarus, just a couple of LED lights to draw with, a Nikon D700 digital SLR , plus lens and tripod to record with, and good old photoshop to do the digital alchemy with. This is my 200th posting on my blog since starting it nearly two years ago, and I continue to explore and experiment with the exciting and fascinating medium of light.
Most of the streets in Los Angeles were designed on a grid layout with few exceptions. The West to East streets of LA have even numbers, the North to South have odd numbers, so it’s easer to find your way around the vast spread of the city of LA compared to London with it’s streets running in every direction. Sunset Boulevard does not conform to the regimented structure of LA, with some very curvy parts along the way to the Pacific Ocean. It was the inspiration for my painting above. The American artist Richard Diebenkorn, 1922-93 painted a large series of paintings inspired by another LA Boulevard, the ‘Ocean Park Series’.
Ocean Park No.79 / Oil on Canvas / 1975 / Richard Diebenkorn
It was only after completing Sunset Boulevard No.1 did I remember Diebenkorn’s paintings, which I admire. Unlike Diebenkorn, who painted mostly with oils, I paint with different kinds of light, but I do use his technique of using thin layers of colour to build up the composition with. For Boulevard Sunset No.1 I used morning sunlight and crystal prisms to paint with, and a Nikon D700 digital SLR camera to record the painting process. Photoshop was used for the post production, consisting of 16 digital layers and sections. There is a great balance between structure and pure painting in Diebenkorn’s charming and calming work, which I was able to see up close at the Palm Springs Art Museum here in California earlier this year. You can find more information about it at this link… http://www.huffingtonpost.com/james-scarborough/richard-diebenkorn-the-be_b_4600999.html
For this piece I tried to capture a 50s/60s feel. It looks like origami, although that was not what I intended. I used seven LED lights covered with coloured gels to paint with on white foamcore, which has a very flat and bright white surface. The painting process was recorded on my tripod mounted Nikon D700 digital SLR, using a 85mm f1.4 lens. I sliced up the painting digitally in photoshop to make my montage Whirligig Two.
I remember being fascinated by whirligigs when I was very young. They were both magical and mesmerizing to me. I created Whirligig One by drawing with twenty four LED lights in the air, and the design was used to make up the eight sections of the finished piece. The drawing stage was recorded on my tripod mounted Nikon D700 digital SLR camera, with a Tokina SD 17-35 f4 FX lens, and the post production was achieved with photoshop. Whirligigs still hold a fascination for me, and remind me of some of the mandalas that I have seen, plus I find them therapeutic to watch.