I am currently reviewing the Gimp assets in anticipation of the 3.0 release. I thus find some aesthetic considerations of using ready-to-use assets for painting and drawing appropriate.
These arguments, which follow, are based on logical reasoning as to how the assets are made and who makes them.
By this, I simply mean that my concern is to improve the assets but at the same time try to impart a more generic and classical vision.
Throughout the years I have been able to glimpse mainly two different ways of using Gimp: one âtraditionalâ based on ready-to-use tools and another highly âcustomisableâ using painting tools, dynamics and presets.
Traditional
Many graphic artists, such as painters, illustrators, concept artists, game illustrators and graphic designers are accustomed to using painting applications with the conventional tools. Many times, these artists use, mainly, only the classical tools to paint, such as paintbrush, pencil, airbrush, ink, smudge and eraser⊠without tool presets.
These artists have found a way to use the standard options to resolve any part of their style and tasks.
In some cases, because the style of painting is classical and well-formed these tools and features present on Tool Options are sufficient to render easily and efficiently this style or this way of painting.
GIMP is an excellent application for digital painting mainly to havenât need presets or an asset library large, and in this sense, it is the reason that I consider GIMP ready for many artists with a traditional painting or rather well-formed style.
Style & GIMP
GIMP can adapt very well to many styles and ways of painting from well-formed to personal and/or customized styles.
When I talk with many digital artists, is evident that each artist is doing paintings with our styles (or unawares are considered as theirs) or using some traditional manner of the painting. So, any kind of software for digital painting has a UI that creates the conditions, many times not specifically and/or purposely, to superpose the âits inner styleâ to our style. This is more common when the apps are deeply based upon tool presets⊠and where the application is viewed more as presets ready for the painting.
To explain it better I think this metaphor:
- All languageâs a kind UIâs software, which is the feature that permits us to exchange experiences between us;
- As any language or any UIâs software, it has a strong relationship with the environment where is moulded;
- The âstyleâ or âour own wayâ of expressing sensations and ideas in the art form is moulded by the UI;
- The language is moulded by the influences and relations with UI;
- So, different languages or UIâs software imprinting to our styles in an unaware way;
- If we have languages or UIâs software where the capabilities are related to a âstyleâ, that is not our own⊠all things that we will do also will be influenced by this in a certain way and different modes/weights.
When we are using a tool preset to paint anything, is important to know the designer of the preset and his style⊠so, then it is likely that this preset reflects more the technique and style of the producer rather than the user.
These concerns might sound a bit excessive and in a way they are for the extra large majority of what I consider mainstream digital painting⊠has anyone wondered yet why this digital painting seems to be so similar?
In this sense it is important to distinguish technique from art⊠âArt begins where technique endsâ, Octavio Paz said very well.
Tool Preset as PrĂȘt-Ă -porter Style
Since it introduced the Tool Presets on GIMP (when I began to utilize them, on 2.6+ release, they were already present), it has become an application capable to record our way painting style⊠and is possible also to share them with other painters and common users.
In this sense, the French term PrĂȘt-Ă -porter (Ready-to-use) from the fashion is significant to understanding why reason the presets have a way of understanding the painting and therefore have their style.
In many situations, the user can, if he wants, customize a prĂȘt-a-porter the tool preset, but it all depends if the application has an easier way to do this⊠many times the approach is very complex and hard to understand for the artists.
Is possible that certain rules these presets could cause in our styles⊠mainly if this fact is not clear to the users, in this sense, I think very important to know well these aspects during the design of presets, mainly if we have the intention to share them. So, is very important for the default presets on the painting applications, to have an approach more classical for the painting techniques, which must be more possibly âbasicsâ. As advice, I read today a quote very interesting wrote by Brian Eno that is useful in this issue about Tool Presets as PrĂȘt-Ă -porter:
âStop thinking about artworks as objects, and start thinking about them as triggers for experiences.â