Painter’s Hub

So i hope you would have read the past article on digital art.

I gave a brief introduction about this new art medium. In this issue lets us see how a digital art is produced. Their are a many ways that can be followed to complete a digital art. Each artist has his/her own method. But the most common method is described here. Either you take a photo or you compose a theme. This is the starting point. Once you have designed the composition. see if the composition works and make a list of points a that attracts the viewer.

Now start building up the base layer with a rough sketch. Slowly add the details. Now and then make sure that you are not disturbing the composition. The process of applying the colors and fine tuning the details will be done till you are happy with the application of colors. Many people apply colors to the primary subject and then to the secondary subjects. This is one method, the other method is to complete the primary subject while working on the secondary subjects parallel. Which is the best method is a good question…. It depends on the artists needs and the demand created by the composition.

But some time to get excellent digital paintings depending upon the needs you can incorporate 3D elements in you paintings. Use any good 3D application and model the required elements, these elements can be mountains or buildings or vegetation. These elements can be either in the foreground or in the middle ground or in the background in the paintings. Once you have modeled the elements you need to add texture or the materials.  Export the final render in high resolution jpeg or png file format. Import these into you painting applications and proceed to the next step.
 
But here lies a small problem, you painting application can be either a  2D raster application or a 2D vector application. But while you bring the 3D element into your 2D application you will have to think about the lighting be applied in the 3D model. For example in your painting composition the lighting is from left to right then in the 3D model the same lighting arrangement should be followed. else you will see two sun or two source of light in your painting.
 
There are many application that can help you in composing art. But you should always remember that these software uses the most advanced algorithms and technologies, the real feel of live in your paintings can be given only by you, as an artist you need to incorporate a comedy element if required and the most important aesthetic elements. Study art work of other artists and you will learn more. Study the work of Andrew loomis, he is a real master in illustration and composition.
 
Try a google search on digital art and digital artists. Study other artists work and improve.

The more you study and practice this art more people will be will encouraged to enter into this industry. Many jobs are in hign demand in the cinema and other allied fields.

There are a set of people who think that digital art is less when compared to traditional art. Do not get discouraged by this. Any art when introduced there is always some negative feedback. Once the art movement is established then these kinds of negative feedback will reduce. Once I meet a gallery curator we were discussing about digital art and at the end of the discussion she said these are cheap paintings because you can take a print out for a few dollars.

What is more important here is how well you are able to compose a painting and use the technology for your advantage. This is the most vital issue. If you can do the same composition well in an oil painting then why use digital art as a new medium.

The main point is use the technology and compose an excellent painting.
In the next issue we will see about a few tools used by digital artists and an demo.

Do visit the site again…

Continuing our quest at Sathyamangalam, let us dig further…

Further down, I was mislead by thinking the structures were river bunds, in reality they were the other side of the fort walls. The fort is very close to the Bhavani, during monsoon almost touching the walls. One can visualize by imagining a long wall close to the river, with a thickness of about 5 to 6 feet, filled with mud and other construction materials. I am not sure what was the reason, recent land activity or the British, the land facing part of the walls are not present, hence my initial confusion with river bunds. However, one should say thanks to them, since some pottery shreds were found lying embedded in the mud layer sticking out, which I presume to be quite outdated. Not of any importance, but still was happy to be a part of that time.

Figure 3: River bunds or fort wall?

Figure 4: Embedded layer of soil (read as history) in the middle.

Huge granite boulders have been used to fortify the walls with the mixture of lime as a binder that was in vogue in those days. I think the walls run for one and a half kilometer in length, close to the river.

Figure 5: Side profile of the wall

Figure 6: Panoramic shot of the existing wall of Tippu’s fort at Sathyamangalam. On the left most side is the bridge to reach Sathyamangalam on the Bhavani River. The temple next to it is “Bhavanieswarar” Temple. Notice the close proximity of the residences. CLICK ON THE PICTURE TO SEE THE FULL IMAGE, WILL OPEN IN NEW WINDOW

We came to another section of the wall, where there is a small passage made to the river bank, from the outside or from the other bank, this passage is quite hidden from view, looks like a usual wall protrusion.

Figure 7: Passage to river, which is quite invisible from the exterior. (Compare it with Figure 6 and guess where this could have been.)

The water tank used by the people in the fort is also in dilapidated condition. New steps have been constructed and water is pumped using a modern pump. A house owner had tried excavating a part of the tank at the periphery to check for new springs, which has been a futile effort. The bricks used for constructing the tank and the older steps are also visible, but left to nature. My friend was telling me at this point that a siphon kind of system was used from the river so as to have continuous circulation of fresh water, so the level of the tank and the river were at par.

Figure 8: Water tank with the old steps and bricks still visible. Currently used by a motorized water pump for construction and household activities.

Apart from these three places, the temple, the wall, the water tank, none of the other structures remain for us to see. I certainly believe that the recent constructions around this area would have certainly brought out some artifacts (I am not thinking gold or money) associated with this place, while laying foundations and digging wells. How much and what are anyone’s guess. We would never know.

Few years back The Hindu had carried an article about Tippu Sultan and His connection with Sathyamangalam. Mr. S.R.Krishnaswamy had appealed the bridge at Gajjalhatti pass, used for moving the forces of Tippu, for conservation. Since this place is out of town area, and unknown to me before my visit, I couldn’t see it this time. Here’s the link for the article.

http://www.hindu.com/2005/03/01/stories/2005030105690600.htm

After we winded up the visit to the fort I actually started thinking whether people do these kinds of activities with the knowledge of little importance attached to it? Don’t they have the slightest feeling that these are treasures of our next generation, which we have to give back to them with a very big interest accumulated?

Figure 9: Enchanting view of the Bhavani River in the evening, with the Murugan temple in the background on a hillock.
With a heavy heart we proceeded to Shri Venugopalaswamy temple otherwise called as “Periya kovil” by the locals. This has been built in Vijayanagara period and history has it that Tippu’s official money was used to build this temple. Its unique in the way that there is a 100-pillared mandapam before the garbha graham and in one of the pillars the portrait of Tippu sultan has been carved. Again quoting Mr. S. R. Krishnaswamy’s words “”Tipu is depicted with a bare-chested tunic and holds a parrot on his right hand. His left hand folded at the waist and is supported by a staff. The characteristic moustache and turban signify his identity. A local Muslim prays every morning in this temple. Religious harmony of Tipu’s domain has not been found wanting here”. His description fits the figure below:

Figure 10: Tippu Sultan’s relief at the Shri Venugopalaswamy temple.

Even in Tippu sultan’s time, he had donated money for its renovation [Reference 2]. There is an interesting story associated with this temple and the image of Tippu. Rangayya, an officer appointed by Tippu Sultan, utilised the tax money collected for the renovation of the temple without remitting it into the treasury. Fearing punishment, the officer committed suicide by swallowing the diamond from his ring.
However, realising that the money of Tippu Sultan was used for the renovation of the shrine, he arranged to carve the image of the Sultan, as a token of gratitude.
I was informed that the temple was recently renovated, which was clearly seen in many places. I was very deeply saddened to see the blunders in the name of renovation.

Figure 11: Notice the bottom portion of the two pillars, surprisingly with Shiva -linga motif on both of them.

Figure 12: 100-pillared mandapam before the deity

We found two images of Chieftains on the same pillars. However, there was nothing to ascertain whether the relief belongs to the same Rangayya or not.

Figure 13: Relief of chieftains. With their costumes and other details the social status can be judged.

I have no words to describe it. One major blunder was the surya chakram, depicting the Uttarayana and Dakshayana, placed on the floor rather then in the roof. This panel is a bas-relief showing two huge snakes facing each other with a two layered lotus motif in the middle. The first layer has 12 petals denoting the twelve months and the second layer with six petals denoting the six seasons.

The moola murthy is a very charming and pleasing deity of Krishna playing the flute. Right in front of the deity is a small metal door on the floor. Local legend says that this is a door to a secret tunnel that runs from this temple to another Murugan temple situated on a hillock nearby. The purpose of which is not easily understood.

Figure 13: Tunnel entrance

At the end of the day, I had lemon rice as prasadam much sought after by all of us after this brain storming session with history of Sathyamangalam with Tippu Sultan [Reference 3].

Reference:
1. Tipu sultan’s sathyamangalam connection, The Hindu, March 1, 2005
2. The Tipu factor, The Hindu, July 29, 2005
3. Tipu-Biography

About The Author:
Ragothaman M. Yennamalli is a research scholar, completed his Ph.D in Computational Biology and Bioinformatics from Jawaharlal Nehru University, New Delhi. Apart from Scientific interests, he is a student of bharatanatyam in kalakshetra bani. He also paints occasionally in his free time. He is currently enjoying his stay at Chennai before his next venture at Iowa State University, Iowa.

Almost all would be familiar with the serial that came many years back on Doordarshan called “The sword of Tipu sultan”. It was a very nicely conceptualized and executed one, which had its own share of controversies. Although the present generation might have watched it or read about Tippu sultan in their history books. Very few know that Tippu sultan has a connection with the present Tamilnadu also. Here’s where the sleepy town of Sathyamangalam comes into picture.

Whenever I mention the name Sathyamangalam to anybody, the next word that spits out of his or her mouths is Veerappan. I am quite bemused by that, though he is responsible for making this place quite famous. At the moment he is history, but there is more history attached to Sathyamangalam then Veerappan. That’s the purpose of this travelogue.

I had an opportunity to visit Mr. Dhamodaran, my friend from JNU, at his home in Sathyamangalam in 2007. On the way, while crossing the Bhavani River, I asked him what those ruins are and he answered me that these were the ruins of Tippu Sultan’s fort. It caught my attention immediately and was very curious to visit this place. I got the moment only now in 2009 when I visited this place again, to meet my friend and his family before I leave for the US.

This time I already requested him to take me this place. His family also came with us as an escape from the torture of power cut at home. At the behest, I would like to say that I was not expecting much from this visit. There are no entrances remaining as of now. So we took the road that lead us to our destination and was surprised to see many newly constructed houses throughout the area. My host’s dad mentioned that the fort complex is about 25 acres in area. In which almost 90% of the place are currently in private hands as residences. We visited a small temple within this complex called “Kotai Muneeswaran” temple for the deity protecting the fort. It is basically under a huge (my extended wide angle was not enough to capture it from a normal distance) peepal (Arasa maram) tree and quite well maintained. A remnant of the fort has been incorporated at one part of the complex. A roof beam having two damsels holding creepers, which has been heavily whitewashed and the subtle features have all been disappeared.

Figure 1a: Supposedly a roof panel heavily plastered with lime, still showing the elegant beauty of the damsels facing each other.

Figure 1b: The big “Arasa maram” under which is the Kotai Munneswaran temple.

From there we proceeded to what was supposed to be the entrance for the fort on the eastern direction. I was quite disappointed to see nothing but fields. The “Kodimaram” spot has been converted into a field at the moment. According to Mr. S.R.Krishnaswamy, a Tippu sultan chronicler, the British had destroyed the establishments of Tippu sultan once he was defeated. Quoting him “After the fall of Srirangapatna in May 1799, the Britishers destroyed the vital forts of Sathyamangalam, Danaickenkottai and Gajalhatti to wreck the nerve-line of provisions to and from Mysore” [Reference 1]. We saw a room that was used for storing gunpowder, which the locals call as “Poora Koondu” or pigeon cage. One can still see the small bricks used for the construction.

Figure 2: Poora Koondu. Notice the recent construction just behind it.

The Next part on the same series we will dig more about this place…

About The Author:
Ragothaman M. Yennamalli is a research scholar, completed his Ph.D in Computational Biology and Bioinformatics from Jawaharlal Nehru University, New Delhi. Apart from Scientific interests, he is a student of bharatanatyam in kalakshetra bani. He also paints occasionally in his free time. He is currently enjoying his stay at Chennai before his next venture at Iowa State University, Iowa.

Over the last few years my wife and I have been working diligently to create international awareness toward the plight of endangered species through the arts.

Figure 1 : Artist Sketching in the field

Figure 2:’In the land of the Cross River Gorilla- Lebialem Highlands’

As an accomplished high realist artist I participated in an expedition deep into the heartland of Cameroon’s highland rainforests in search of the MOST endangered great ape on the planet, the Cross River Gorilla (250-300 alive).

Exploring its habitat with two directors of the African Conservation Foundation, Arend de Haas, my wife Ginette and local conservationist Louis Nkembi, we had to climb straight down into a valley, along a treacherous trail, carrying a heavy load on our back in the unrelenting rains. We lived in gorilla’s habitat to study and sketch this near extinct primate, gathering information for the first ever painting of this elusive, intelligent primate. Goal is to bring international awareness toward its dire plight.

This expedition required surviving upon one month food supplies. Following one of the long and arduous journeys, on heavily eroded red soiled roads, we met at a place with a great assembly of chiefs and a local Fon (King) asking permission to pass through their village land in search of the gorillas. The local villages are very deprived of basic living needs. We explained the mission of our expedition and what the project could offer in return toward the survival of both the gorillas and the villagers. The project’s strategy is to assist the local people with alternative income generating opportunities, such as wildlife farming, beekeeping and eco-tourism, which will reduce the demand for bushmeat.

When we arrived at our base camp we were greeted by many children and 5 women soon to find that this large group are the wives and children of our guide, a kind and handsome man in his early 50’s.

Early next morning we got a wake up call at 5 am by a rooster right next to our tent. Quickly eating and readying our gear we soon started our immediate decent deep into the valley below, greatly anticipating what we are going to find.

The moss covered, weather-worn trail allowed for only one foot directly in front of the other. In addition to deforestation, the area suffers from serious forest degradation. We moved down through intensively used secondary forests and slash-and-burn agricultural plots, with crops such as plantains, cocoa and oil palm. Gradually the vegetation changed into ‘pristine’ but silent rainforest. It rained heavily during the afternoon, but we managed to reach our camp.

Figure 3: A remote school(and this is one of the better ones. Most have walls and roofs falling in)

As a result of negative experiences with hunters, the remaining Cross River gorillas in the area are extremely shy, adding to their enigma even further. We did not get a glimpse of the gorillas, but we are not sure whether they got a glimpse of us. We found many signs such as gorilla nest sites high up in the trees, trails and feeding signs.

In this part of Africa many forests are experiencing what is called the ‘Silent Forest Syndrome’. The forest is still there and no commercial logging has taken place, yet the forests are quiet in a strange way, seemingly devoid of life. All wildlife has been killed by poachers, either for subsistence or for the commercial bushmeat trade. This has serious consequences also for the survival of the forest itself, as there are no animals to disperse the seeds.

Figure 4: Illegally cut Mangrove Trees for fire wood

The next morning we woke up in a new world, with a dramatic view over the deep valley below. We could see a cool mist gently shrouding the mysterious hills in its lush hues of pastel greens and blues — the land of the Cross River Gorilla. Hard to catch in words, this almost mystical experience of seeing this completely wild area, and the smells and sounds of the early morning, makes all the hardship worthwhile and is all the motivation anyone could ask for to conserve these magnificent great apes.

We also lived within very remote villages, and gave conservation lessons to school children, using the arts as the educational tool. An exciting story in itself.

These beautiful people greatly pride themselves on cleanliness, accomplishments and what little possessions they have, inviting us into their homes.

As an artist, over the many years, I have always tried to utilize my work toward the benefit of important causes, so in keeping with this I created the painting of a ‘Cross River Gorilla’ whilst as the same time helping to bring education and awareness to the local villagers and schoolchildren. The project is now a global reality, a dream come, with so many people involved.

We have now joined hands with ‘The Year Of The Gorilla’ www.yog2009.org to bring international attention to these greatly threatened great apes.

Here is the painting in progress showing how the painting is developing, step by step.

Figure 5:Preparing my support

Figure 6:Blocking In

Figure 7:Detailing the fur and hands

Figure 8:Repeating The Process

Figure 9: The Finished Work

A few key points I keep in mind during creating a painting.

1) Creating a well conceived composition and to have a good image in mind before you start is very important toward your final satisfaction. This will make the painting flow toward its intended feel and look.
2) Reference materials are invaluable such as pencil sketches, simple ‘doodles’ and miniature ‘idea’ paintings, photos and background materials on the subject. I can not emphasize enough how important it is to study your intended subject, in the field when possible, well before beginning your work as this will certainly bring out the unique characteristics of the animal in your painting.
3) Patience is certainly a virtue as the trial, both good and bad, may be many, but all of them are an important part of the learning process.
4) The size of the canvas, to me, is not always as important as to what I want the image to say. Usually it is an instant choice of size so that I am free to express the mood I wish to convey toward the particular image.
5) For my work, the fine details are extremely important as well as the anatomical features and colouring of the subject rendered. It is crucial to create what you love as well as to enjoy the process of creating as every painting is a success, every painting is learning and every painting belongs to you.

About the artist and the author:
“An internationally renowned, accomplished Canadian painter and Conservationist, Daniel Taylor is currently involved in a unique project with the ‘African Conservation Foundation’ to raise awareness and funds for Africa’s most endangered species and UN acknowledged  ‘2009-The Year Of The Gorilla’
Daniel Taylor
For more information, please visit:
http://www.youtube.com/user/africonservation

www.art-for-africa.net
www.crossrivergorilla.org
www.yog2009.org
Copyright: ‘African Conservation Foundation’