Digital Fine Art

By Von Glitschka / Illustrator & Designer

www.artbackwash.com, www.glitschka.com

Edition compiled and edited by AxleDust

Over the past several years the line of demarcation between

illustration and fine art has been forever changed. Historically
speaking illustration has always been viewed by the fine art snobs
as a lesser form of artwork. This has to do with the commercial
aspects of being an illustrator rather then merely creating art for
art sake.

Norman Rockwell had to deal with this type of elitism when he

was a successful commercial illustrator. Much of the problem
however has nothing to do with the art itself but rather it's
individuals who tend to be jealous of others success and their
failure to market themselves in a commercial sense. If an
illustrator can be successful in both arenas it makes art snobs feel
threatened so the best defense is to talk down illustration as if it
cannot apply to the fine arts market.

This has all changed now. An illustrator working digitally can

repurpose their art easily to adapt to a fine art context. This
tutorial will show you how I took my art and created some very
nice fine art pieces for a gallery showing and for hanging in my
home.

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 Digital Fine Art Illustration / Total Time:
Approx. 4 hrs (Not including dry time etc.)

Final Art File Specs

- RGB Jpeg or Tiff

- Size: 8x8 Inches
- Resolution: 300 dpi
- Burn file onto CD for vendor

Budget Break down

- Large Format Print Out & Framing: Approx. $200 (48x48 Inches)
- Custom Gallery Framing: Approx. $120
- Acrylic Gel and Sealer: Approx. $50
- 1 Package of Hercules Hooks: $9.95

Total production cost: Approx. $400

Mark up and sales price: $900 (Limited run of 30/30)

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 01_Final_Vector_Art,

The digital art I am going to use for this fine art piece is one called "Temporal
Infestation." I documented the creation of this art in another tutorial which you can
download here: http://snipurl.com/2ghk2

I won't be going through how I created this art but I will cover the texturing part of it
because that adds a rich depth of organic flair to your final piece and really improves the
final product. It helps to move the art further away from being vector and more towards
a hand done look of sorts. It also gives the art more character too.

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The texture I'll be using is one called "Industrial Scar Tissue" it comes from my texture
book "Crumble. Crackle. Burn" and you can see more about that and download a free
set of sample textures at: http://snipurl.com/2ghnr

02_Industrial_Scar_Tissue,

I took my vector art into Photoshop then experimented with various levels and blend
modes to achieve the desired look I wanted. The other tutorial goes into this in more

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detail BTW. Once my art is texturized I am ready to begin.

03_Texturized_Art

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04_Texturize_Detail1

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05_Texturize_Detail2:

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06_Large_Format_Printer,

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07_Variety_Of_Substrates

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Once I have my art ready to go I just port it out based on the final art specs listed above
and provide it to the print vendor on CD.

I chose to run it out on a nice matte finish canvas substrate and allowed for an inch wide
wrap around so the canvas could be stretched onto a wooden frame once it was printed
out. Not all printers offer this but the one I use did and it was cheaper then taking my
canvas to the frame shop and having them do it.

I may be specifically wrong but I think this large format printer is an Epson Stylus Pro
9880? If not it's in the same line of printers. Either way it's not important for you the
artist, just find a good large format service in your area and ask to see samples before
you commit.

08_CloseUp_Canvas_Print

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09_Canvas_Framed

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10_Spray_Clear_Coat1

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11_Spray_Clear_Coat2

When I first did this, I was pleasantly surprised by the quality of the print out. I didn't
realize they could get so precise and to see the final product and the nice canvas
texturing showing through was awesome.

The final canvas print had a nice continuous tone to it and the colors were spot on too.

This shows the back of the print out and how it was stapled to a wooden frame. The
print vendor as part of their service seals the final print out to prevent the ink colors from
fading due to UV light. But to be safe I like to do my own coat of sealing on the artwork
as well.

I use an archival quality clear coat sealer. This will ensure the colors stay vibrant and
will not fade over time. Fading is more of risk when displayed in an out door
environment so in doors it shouldn't be a problem at all.

Warning: Make sure to do this in a well ventilated room, and don't bring inside until the

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sealer is completely dry either. Otherwise you'll get a bit loopy from the fumes which
happened to me. I did my spraying in our garage on top of an old cardboard box I
flattened out to avoid staining the floor.

12_Acrylic_Gel

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13_Acrylic_Gel_Application1

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14_Acrylic_Gel_Application2

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15_Acrylic_Gel_Drying

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16_Gel_Dries_Clear1

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17_Gel_Dries_Clear2

The only clear downside of creating fine art digitally is the lack of the painted surface
texture from brush strokes when painting. The next few steps will show you how to add
this to your art and get a nice authentic painted surface texture going.

I use a product called Golden Gel Medium. Think of it as regular acrylic paint without
any pigment in it. I like to use semi-gloss so as to avoid the glare you run into when you
use high-gloss. The medium paints on white and you want to apply it liberally and don't
think too much when you start pushing it around with the brush. It's OK to be a little
sloppy and allow areas to clump up because that is what will give the final product it's
authentic character.

The acrylic gel dries clear and what you're left with is a natural looking painted surface
texture to your artwork.

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18_Another_Painting1

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19_Another_Painting2

This shows another piece of artwork I had run out and how I painted the same acrylic
gel on it as well to create my painted surface texture.

After painting the first one in my studio my wife suggested I do that in the garage as well
so as to avoid getting acrylic gel all over our wood floor. Oops.

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20_Ready_To_Frame

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My daughter Savannah holds the final with all the sealing and hand painted surface
texture finished.

21_Frame_Shop

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22_Picking_A_Frame

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23_Black_Minimal_Frame

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24_Frame_Backing

I take the art to a local frame shop and start exploring possible frame choices for it. I
end up selecting a nice minimal black frame which really makes the artwork come alive
now.

The frame shop gallery set the back of the art for me which makes for a nice clean
presentation and protects the back side of the print out as well. It's now ready to hang!

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25_My_Inspiration

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One of the biggest inspirations for me in my own creative growth has been the work of
Jim Flora a 1950's art director for RCA records. I loved his art when I was kid and my
parents owned the LP's and I collect the LP cover art now.

This shows three of my favorites in my collection and you can see how his work
influenced my own style and approach. If you'd like to see more of Jim Floras art you
can view it here: http://snipurl.com/2gji9

26_Hercule_Hooks

OK I admit it I am a sucker for infomercials. I remember years ago seeing the "Juiceman
Juicer" late one night and I ordered it. I think I only used that thing two times. My wife
wasn't happy about that purchase. LOL

Well the master pitch man Billy Mays suckered me in again and I ordered a package of
"Hercules Hooks" and I have to say they work great and make hanging stuff easy. And

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that is what I used to hang all the art seen in this tutorial.

27_Hanging_In_My_Studio

This are is now hanging in two locations. Shown is the one hanging in my own art studio
next to more art from my Jim Flora collection. The other copy is hanging in a local art
gallery then once that ends it'll be shipped to my buddy in Phoenix to permanently hang
in his design firm meeting room.

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28_Other_Art1

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29_Other_Art2

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30_Other_Art3

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Descriptions for each of the three additional samples shown are below

Other Art 1: I created this art originally for a Microsoft project. I retained the rights and
used it for a gallery showing locally.

Other Art 2: This was an illustration I did for my texture book. It also appeared in
Communication Arts Illustration Annual, Society of Illustrators NY Book and Gallery
Showing, American Illustration Book and several other awards. I was inspired by an
Animal Planet episode on owls.

Other Art 3: This was more art I created for the gallery showing locally.

FYI: The textures used in all four pieces of artwork come from my book "Crumble.
Crackle. Burn" and you can see more about that and download a free set of sample
textures at: http://snipurl.com/2ghnr

I hope this encourages you to pursue creating fine art from your illustration. It's about
time we put the art snobs in their place and show the world that illustration is just as
artsy as anything else you find in a gallery. Go forth and create!

Note: These tutorials are meant to help you discover, enhance and facilitate your own
creative growth and skills. So don't feel obligated to take my comments or examples as
gospel. Use them as spring boards to explore, experiment and have fun developing
your own creative process. That is how you'll benefit most from these downloads.

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