WIN THE DONNIE 2016 CONTEST|
The Donnie 2016 Contest continues apace and will conclude Sunday, January 31 at 11:59 p.m. It is MOCA's sixteenth annual digital art contest. It is international in scope and open to all digital artists and photographers. Up to six images accepted per artist. Fee is $45.00 per image (same as last two years).
MOCA will publisher a full-color catalog of the contest (at extra charge). MOCA has published 16 Donnie catalogs, one for each of the yearly contests, in collaboration with Blurb.com, the online publisher. All catalogs are elegant publications, with each image reproduced in full color on its own page.
To view our catalogs, go to:
Contest will offer eight awards: first, second and third prizes plus five honorable mentions. Winning images are given year-long exposure on the MOCA site.
For further information on the Donnie 2016, go to:
H. GAY ALLEN, THE DONNIE 2016 CONTEST JUDGE
H. Gay Allen, an Atlanta-based digital artist, photographer, curator and commentator on the arts is Donnie 2016 judge. She has provided the following commentary on her role as judge and addresses the entrants as follows:
What am I looking for as the judge of the 16th Annual International Donnie Awards Contest?
I'm looking forward to your entries this year and am excited with the opportunity I have to experience them. I thought you might like a few hints as to what this judge is looking for:
In the process of creating and reviewing/judging thousands of pieces of computer art from artists worldwide, I have found there are some basic guidelines which, if followed, will produce the best, most interesting pieces. Regardless of what equipment or software you use, what subject matter you are portraying, or what your preferences are for style, you will improve your result by paying attention to these fundamentals.
To begin, you must adhere to the best technical and artistic principles of art.
Know your tools and use them well; and do not overuse a specific tool, script, function or filter.
Know your own capabilities and use only those that you have honed or perfected.
If you use repetition make sure that the sum is greater than the parts.
Brush up on your knowledge of color psychology. Over-saturation is the most frequent mistake I am seeing lately. Just as difficult to "like" is the juxtaposition or overuse of colors that create mixed messages. Colors evoke responses in humans and so will your use of them.
Ask yourself these questions:
What story am I telling here and have I expressed it well?
What responses do I want from my viewer and will I get them? Will the viewer see and feel some approximation of what I was/am thinking about this subject?
What is the relationship between my main subject matter and every other thing in the work of art? Is there affinity? Does each object contribute to the whole?
Have I created movement and depth for the viewer to explore?
Is there too much or too little of any one thing?
Have I enticed the viewer with a bit of mystery?
I was born in 1952 at Nadiad, Gujarat, India. From my very child hood philosophy, paintings, poems, and literature would delight my inner elements like mind, sense, ego and heart. Even in those days I always tried to express my views, dreams and ideas with the help of forms, colors and words. This process gradually led me to be a self thought painter and writer.
I graduated in commerce in 1972. After doing a job for good 18 years I started my own academy for education in Ahmedabad.
I did my first show of compu-paintings in 2000 at Contemporary Art Gallery, Ahmedabad. Bansilal dalal, the art critic had mentioned that it was the first of a kind one man show in Gujarat. After that I did few more one man shows of paintings in India. I had participated in painting exhibitions and competitions and had achieved quite a few awards. My work and new experiments of compu -paintings were recognized by many news papers, magazines, artists, TV channels and art lovers. Besides these I arranged art competitions for schools for children up to 16 years through my academy.
I have been in MA, USA since April 2013. I had submitted 8 paintings to the museum of computer art and had also participated in Donnie 2015 art competition. One of my paintings was selected as a director's choice.
With my other hobby of literature a novel author emerged in me and wrote a book of 723 pages named "SHRIMAD BHAGWAT JIVAN PARAG" based on Indian mythology and philosophy in traditional Indian Gujarati language. I firmly believe that the new methods, modern means and wide and deep sight of the new generation will lead the computer art to the world of dreams and images. This digital art will give the shape, forms and colors to the fiction wonderfully and scientifically.
I congratulate to Don Archer and appreciate the services for this modern digital art and art lovers.
MUSEUMS, COMMUNITIES, GALLERIES|
Digital Art Gallery Online
Digital gallery of best pictures and photos from portfolios of digital artists.
Digital Art Served
Soho Arthouse (Soho Gallery For Digital Art)
DAM - Digital Art Museum
Los Angeles Center for Digital Art
Museum of Computer Art
Digital Art Online
Museum of Digital Fine Arts
Digital Arts: California
A wise man once said, "Beauty is in the eye of the beholder".
My interpretation of this statement goes beyond the attractiveness which we may find within others that draws us to them. I see this affecting my perception of everything. I can find "beauty" in everything from the most delicate flower, to the most mundane street sign. And it is with this approach to viewing the world around me that I approach my art.
About the Artist
James D. Kramer was born July 17, 1964 in Encino, California. He was raised in the San Fernando Valley, and received his bachelor of science degree in graphic design from Woodbury University in 1986. In 1992, Kramer served as President of the Santa Clarita Valley Artists' Association, located 10 miles north of the San Fernando Valley. As a member of the SCVAA, Kramer received numerous awards for his paintings, including Best of Show, and Best in Category.
The first thing to note about any of my images, is that I rarely have any sort of objective in mind when beginning the creative journey. I might have a vague notion of color palette, or symmetry. But any details beyond this, are secondary (or non-existant). The reason for this is that I generally prefer working entirely through the inspiration of the moment.
I work in three general processes of image creation:
Adobe Photoshop composition: These works are assembled entirely in Adobe Photoshop, although some components may also be created in Adobe Illustrator, or, may even be scanned in from other sources. Working in this process tends to result in more colorful pieces, although the creative solutions are more geometric in nature. When beginning a Photoshop composition, I frequently will begin working with basic shapes in one area of the canvas, working out from that location, creating layers, and achieving variation through use of transparency, highlight, and shadow.
3D rendering: These are pieces are created by utilizing a variety of applications, such as DAZ 3D, Hexagon, and Carrera. Additionally, most images will have further touch-up work in Adobe Photoshop. When working with 3D images, I concentrate on the interplay of transparency, reflectivity, and lighting against geometric forms. Investigating ways to bend light that may not seem obvious provides a particular challenge for me.
Work from photographic original: Such pieces are nearly always inspired on the spur of the moment. Having the good fortune of living in one of the most picturesque regions in the country, Puget Sound, opportunities for dramatic landscapes are around every turn. My technique of turning these wonderful vistas into abstractions begins with the digital camera. The images, which are usually a collage of several images combined, are traced and recolored in Adobe Illustrator to apply a high-resolution posterization effect to the image. Final image editing takes place in Photoshop where the completed work is produced.
Sweet Spot No 3
Untitled 2014 No 2
Untitled 2016 No 1
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