INTRODUCTION

An eye-catching novel digital photographic artform called Photomosaics[TM] was born in 1996 by Robert Silvers, then a 26 year-old student at MIT who founded Runaway Technology in 1998, a commercial enterprise providing patent protection for his process, proprietary software and the source of stock and assignment images for sale. He was inspired by Ken Knowlton, a gifted pioneer artist who explored computer creation of mosaic-like images. Silvers was able to refine the innovation by drafting an algorithm for a supercomputer to access extensive photographic archives.

Merriam-Webster’s College Dictionary, 10th Edition, 1997, defines the word photomosaic, vintage 1942, as “a photographic mosaic; especially one composed of aerial or orbital photographs.” The closest germane word was photomontage, vintage 1931, describing a montage using photographic images. Going further, montage describes the “process of making a composite picture by bringing together into a single composition a number of different pictures or parts of pictures and arranging these … so they form a blended whole while remaining distinct.” But, the word mosaic is apropos and describes “the process of making pictures … by inlaying small bits … in mortar.”

PHOTOMOSAIC ARTISTRY

DTG defines photo mosaics as photographic images or pictures made up of many, usually hundreds, of smaller photographic images. Viewed very closely, the small tile images can be recognized as individual photos, but at a distance, the composite of these images make up an entirely different image.

This exciting branch of art has been going on for quite some time now and has gained a wide interest from all over the world. The meaning of these artworks has a profound effect on anyone who sees it. It can be a powerful medium of expression that conveys strong emotions. I myself was very moved upon seeing a photo mosaic of US president George Bush made up of all the servicemen that have died in Iraq. Just imagine the many soldiers making up that picture and you’ll see why it brought out a lot of emotions for all who’ve seen it.

This type of art is a very effective tool to convey different types of meaning whatever the artist likes. It allows you to make the viewer make connections and this connections will serve as the medium where you communicate to them whatever it is that you want them to know.

PRINCIPLES that are essential to create good photo mosaics:

1)The large image MUST look good without too much jaggedness or color distortion. To achieve this use more and smaller tiles, use duplicates, modify the tile images or add another photo collection.

(2) The small tile images should be sufficiently large to view comfortably in the renderings final form. If this is a display on a computer monitor or a 8×10 print, you will need to use as few tiles as possible and still satisfy rule(1). If it is a poster size printout you can get by with over a thousand tiles.

(3) If duplicate use of the small tiles is needed, they must not be placed near to each other.

(4) If the small tile images need to be modified to achieve 1-3, it should be as little as possible.

(5) The target image and the small tile pictures should as much as possible have some coherent theme or connection.

Leonardo was born in Vinci, Italy on April 15th, 1452, the illegitimate son of a young notary. Leonardo grew up in an environment rich with scholarly texts and art, provided by his father, who himself taught Leonardo how to paint, and by his father’s family. When he was in his late teens, Leonardo was sent to Florence to be an apprentice in the studio of famous renaissance sculptor Andrea del Verrocchio, where he met with other Renaissance artists Botticelli and Ghirlandaio, and continued honing his skills, which were proving to be greater than his teacher’s…

Leonardo’s first moment in the sun came when Verroccio asked him to help paint an angel in his “Baptism of Christ” piece. Leonardo so impressed his master that Verrochio himself decided he would never paint again. Leonardo continued working with Verrochio for a few years, and then the two parted ways.

Leonardo went on to be in the service of the Duke Ludovico Sforza of Milan, where he remained for 16 years. Leonardo didn’t only paint for the Duke, but he also designed machinery, weapons, and a fair bit of architecture. Science and art were merged in an unending output of impressive works and studies. Leonardo’s designs were so ahead of their time, that they even included plans for various assault vehicles, flying machines, and even a submarine.

Duke Sforza died shortly after the completion of one of Leonardo’s most famous work, The Last Supper; Leonardo who had now lost his patron, and decided to leave Milan. He eventually returned to Florence after having traveled, lived, and worked for various patrons throughout Italy.

Shortly after his return to Florence, he and Michelangelo were commissioned to paint frescos on the walls of the new city hall. While he was working on his mural depicting the battle of Anghiari, which had been commissioned in part by Niccolo Machiavelli, Leonardo also painted his most famous work, the Mona Lisa.

A short while later, Leonardo’s father passed away, leaving his family to fight over the distribution of his assets, of which none went to Leonardo. It was only later and following the death of his uncle that Leonardo would inherit land and money.

Leonardo later went to Rome, and was given living quarters in the Vatican by Pope Leo X, so that he could further explore the arts while working on commissioned pieces for the Church. Leonardo did not create many new paintings during this period, concentrating on his drawings instead; it was quite difficult for Leonardo to pursue his studies of scientific subjects and anatomy while in the employ of the Pope, as the Church frowned upon the dissection of human cadavers.

But Leonardo who had had many patrons ranging from Duke Sforza, to the evil Cesare Borgia, was one who had no trouble adapting to his surroundings, and he did create several drawings including The Deluge, in which he portrayed the cataclysmic biblical event.

Source: http://www.famouspainter.com/leonardo.htm

Oil painting is the process of painting with pigments that are bound with a medium of drying oil — especially in early modern Europe, linseed oil. Often an oil such as linseed was boiled with a resin such as pine resin or even frankincense; these were called ‘varnishes’ and were prized for their body and gloss. Other oils occasionally used include poppyseed oil, walnut oil, and safflower oil. These oils confer various properties to the oil paint, such as less yellowing or different drying times. Certain differences are also visible in the sheen of the paints depending on the oil. Painters often use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular feel depending on the medium.

Oil paint Although oil paint was first used in western Afghanistan sometime between the 5th and 9th Centuries, it did not gain popularity until the 15th century. Its practice likely migrated westward during the Middle Ages. Oil paint eventally became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in northern Europe, and by the height of the Rennaisance oil painting techniques had almost completely replaced tempera paints in the majority of Europe.

TECHNIQUES

Traditional oil painting techniques often begin with the artist sketching the figure onto the canvas with charcoal or a “clean”, which is thinned paint. Oil paint can be mixed with turpentine, linseed oil, artist grade mineral spirits or other solvents to create a thinner, faster drying paint. Then the artist builds the figure in layers. A basic rule of oil paint application is ‘fat over lean.’ This means that each additional layer of paint should be a bit oilier than the layer below, to allow proper drying. As a painting gets additional layers, the paint must get oilier (leaner to fatter) or the final painting will crack and peel. There are many other painting media that can be used in oil painting, including cold wax, resins, and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or ‘body’ of the paint, and the ability of the paint to hold or conceal the brushstroke. These variables are closely related to the expressive capacity of oil paint. When looking at original oil paintings, the various traits of oil paint allow one to sense the choices the artist made as they applied the paint. For the viewer, the paint is still, but for the artist, the oil paint is a liquid or semi-liquid and must be moved ‘onto’ the painting

Traditionally, paint was transferred to the painting surface using paint brushes, but there are other methods, including using palette knives, rags, etc. Oil paint remains wet longer than many other types of artists’ materials, enabling the artist to change the color, texture or form of the figure. At times, the painter might even remove an entire layer of paint and begin anew. This can be done with a rag and some turpentine for a certain time while the paint is wet, but after a while, the hardened layer must be scraped. Scraping may also be used to smooth a portrait before scumbling and glazing. Many oil paintings reveal evidence of scraping on close inspection, particularly when the surface itself is examined. Oil paint dries by oxidation, not evaporation, and is usually dry to the touch in a day to two weeks. It is generally dry enough to be varnished in six months to a year. Art conservators do not consider an oil painting completely dry until it is 60 to 80 years old.

Source: http://en.wikipedia.org/wiki/Oil_painting

Winslow Homer (February 24, 1836 – September 29, 1910) was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art.

Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.

Early Life
Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders. His mother was a gifted amateur watercolorist and Homer’s first teacher, and she and her son had a close relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature; her dry sense of humor; and her artistic talent. Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was an average student, but his art talent was on display early.

Homer’s father was a volatile, restless businessman who was always looking to “make a killing”. When Homer was thirteen, Charles gave up the hardware store business to seek a fortune in the California gold rush. When that failed, Charles left his family and went to Europe to raise capital for other get-rich-quick schemes that didn’t materialize.

After Homer’s high school graduation, his father saw an ad in the newspaper and arranged for an apprenticeship. Homer’s apprenticeship to a Boston commercial lithographer at the age of 19, was a formative but “treadmill experience”. He worked repetitively on sheet music covers and other commercial work for two years. By 1857, his freelance career was underway after he turned down an offer to join the staff of Harper’s Weekly. “From the time I took my nose off that lithographic stone”, Homer later stated, “I have had no master, and never shall have any.”

Homer’s career as an illustrator lasted nearly twenty years. He contributed to magazines such as Ballou’s Pictorial and Harper’s Weekly, at a time when the market for illustrations was growing rapidly, and when fads and fashions were changing quickly. His early works, mostly commercial engravings of urban and country social scenes, are characterized by clean outlines, simplified forms, dramatic contrast of light and dark, and lively figure groupings — qualities that remained important throughout his career. His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving.