Digital painting is an emerging art form in which traditional painting techniques (such as watercolor, oils,

impasto, etc.) are applied by means of a computer, a digitizing tablet and stylus, and software.
http://www.turningpointarts.com/what-is-digital-painting/

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A Short History of Digital Art: Between New Technologies & Innovative Artistic Practices
Interactive exhibition of digital art
MORI Digital Art Museum. CC BY 2.0
By Lucija Bravic

In today¡¯s world defined by technology, what does the term ¡®Digital Art¡¯ mean? We take a look at what
the term actually refers to; how it differs from other contemporary art movements; who are the notable
artists that have left a mark in the field and some of today¡¯s most experimental digital mediums and
innovative projects.

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What is Digital Art?
Placed under the larger category of new media art, digital art is defined as any creative practice that uses
digital technology as an essential part of the artistic process. Just like traditional fine art, digital art offers
multiple mediums and styles that artists can use to express themselves, from digital photography, computer
graphics and pixel art to more experimental mediums such as AI-generated art and AR art, everything goes
in the spectrum of digital art.
Involving techniques that are not distinctive of creative expression only, digital art is ever-evolving and
radical in the way it is produced, distributed, and viewed.

But not only does digital art employ different electronic technologies, it also results in a digital final
product, be it a vector image, an Adobe Photoshop collage, a virtual environment, or an NFT, just to
mention a few. As digital technology has become inextricably intertwined with everyday existence and
continues to advance, new artistic avenues open up and the artist¡¯s toolbox is today wider than ever.

Bitcoin Bull by Trevor Jones, one of many examples of NFT art pieces sold at record prices.
Bitcoin Bull, 2020. NFT drop by Trevor Jones
A Short History of Digital Art
Although the first digital art experiences date back to the 1980s, its roots can be traced back to the 1960s
with artists such as Frieder Nake, the group EAT (Experiments in Art and Technology), and Allan Kaprow
exploring the relationship of man and machine in the artistic realm and, especially the latter, envisioning a
world of unbounded communication and interconnectedness. Similarly, in the 1970s pioneering video artist
Nam June Paik envisioned a future of boundaryless communication and coined the iconic expression
¡°electronic superhighway.¡± It was in the early 1980s, however, that an artist Harald Cohen with a group
of engineerings invented a paint program named AARON: a robotic machine designed to make large
drawings on the sheet of paper placed on the floor. Initially, the machine was creating abstract drawings,
then those turned more representational over time and the machine was able to imitate shapes from nature.
In the ¡¯90s, AARON also started to implement color to the drawings. Even though Cohen was always very
careful not to claim AARON¡¯s creativity but rather his own, considering the machine just as a tool for his
own expression, his program is now considered as a harbinger of what we know today as Artificial
Intelligence.

In the 1990s, with the introduction of the personal computer, the improvements in digital technology, and
the emergence of the internet, not only did these developments provide artists with further creative freedom
but also offered new ways to experience art with a growing interest in the interactive nature of their creative
output.

AARON digital painting, a breakthrough element in the history of digital art.

AARON digital painting
¡°When I realized the quality that could be achieved and experienced in AR, I was immediately drawn to its
potential¡ I have been creating objects and exhibiting works in public spaces throughout my career, and this
allows me to expand on that in a whole new arena. The possibilities of locations and scale are endless, and
I¡¯m excited to start a new dialogue in this medium.¡±

Kaws
Artificial Intelligence
Compared to Cohen¡¯s early creation, today¡¯s new developments incorporate AI and machine learning
technologies. To create AI art, the artist chooses a set of images to feed the algorithm. The algorithm then
imitates the visual inputs producing a number of output images, which are ultimately selected and approved
by the artist. The algorithms used to produce art with this process are called GAN¡¯s (Generative
Adversarial Networks), whereas the class of algorithms called AICAN (Artificial Intelligence Creative
Adversarial Network) ¨C one that is nearly autonomous in the creative process ¨C works on two opposite
forces: on the one end, the algorithm is taught existing styles by memorizing their recognizable aesthetics;
on the other, it gets penalized if, when producing a new artwork, too closely imitates an existing piece of
art. This principle ensures that the final result will be innovative without going too far from what we
already know. This class of algorithms is likely to build off more recent trends in art history.

AI Artists
Mario Klingemann is one of the most well-known names in the AI art genre. In 2017, he created a series of
six prints using AI models, where he experimented with the inputs that feed the algorithm. For this work,
the artist focused on the human body, training his AI models to explore posture by turning stick figures into
paintings. For his painting The Butcher¡¯s Son, Klingemann was awarded the Lumen Prize as the best art
created with technology.

The Butcher's Son, an AI-generated painting by Mario Klingemann

Mario Klingemann, The Butcher¡¯s Son, 2017.
In 2018, a work of art created by Edmond de Belamie with the help of an autonomous AI algorithm was
auctioned for $432,500 at Christie¡¯s Auction House. It was a human portrait generated by an algorithm
that was fed with famous portraits from the history of art.

Another notable name in the spectrum of digital and AI art is Refk Andadol. He is a Turkish-American
artist known for his projects that consist of data-driven algorithms that create abstract and dream-like
environments. His latest project called Machine Hallucinations: Nature Dreams is an ongoing exploration
of data aesthetics based on collective visual memories of space, nature, and urban environments. Anadol
and his team collect data from digital archives and publicly available resources, then process the millions of
photographic memories with machine learning models. The sorted images are then clustered into thematic
categories to better understand the semantic context of the data universe.

Artwork Preview | Refik Anadol, Machine Hallucinations: Nature Dreams, 2021 | Part 2
Augumented Reality
Augmented Reality (AR) is another popular digital medium that contemporary artists are using to express
their creativity. Augmented reality involves an experience where the real-life world and the digital world
interact with each other. Real-world objects are enhanced by computer-generated perceptual information
that is affecting sense. The primary value of augmented reality is the manner in which components of the
digital world blend into a person¡¯s perception of the real world.

Digital Art, example of AR artwork in Hong Kong.

AR sculpture of Kaws¡¯ Companion in Hong Kong, 2020
AR artists
Big names of the art scene incorporate AR in their practice. Just to mention a few, Olafur Elisson was using
AR to bring rare natural objects into people¡¯s homes through the screen. Kaws exhibited 25 AR sculptures
of his famous character Companion in metropolitan areas around the world during 2020, each piece was
selling for approximately $10,000. Trevor Jones is a traditional painter using oil and canvas who started
exploring digital layers to his paintings, firstly with painting QR codes and later by exploring AR. The
artistic duo Tin&Ed has been using AR to animate their recognizable inflatable spatial installations in order
to further explore the relation of physical and digital and human and the non-human, which is at the core of
their artistic inspiration.

Kaleidoscopic Home, a digital art exhibition by Tin&Ed

Tin&Ed, Kaleidoscopic Home, 2021
The Market of Digital Art
Digital technology is continually opening up new perspectives for artistic experimentation. For artists who
are willing to explore and play with new mediums, possibilities for creative expression are endless.
Moreover, digital art has radically changed the way of viewing, enjoying, and sharing art as it can be easily
transported and seen via different kinds of digital devices. The potential of a new, enlarged audience has
also empowered artists to build their own careers and make their work known without the necessity of
representation. But there is another recent layer to digital art, one that explains the rising attention towards
this kind of artistic practice in the media more and more often with titles such as ¡°Digital artwork sells for
record price¡± or ¡°The Most Expensive Digital Image Ever¡±. This has something to do with the monetary
value and the ownership of digital art.

The development of blockchain technology, cryptocurrencies, and non-fungible tokens has allowed
ownership over something that would otherwise be impossible to own. That¡¯s how the market for NFT¡¯s
grew by nearly 300% in 2020 alone. NFT sales of crypto art and collectibles have already hit an estimated
$3.5 billion in 2021 as reported in the Hiscox Art trade. Compared to the traditional art market, the NFT
market is offering certain benefits such as viability for digital works as art and assets, authenticity and
transparency, more accurate, cheaper and quicker authentication, and royalties for future sales ¨C a context
that sees artists in a much better position compared to the traditional system where they earn no money
from secondary market sales. However, the biggest revolution of NFT¡¯s in the art industry is related to the
ownership of digital art. Even though many would argue that owning a piece of digital art is senseless with
so many copies around, accessible to everyone, when it comes to the market, owning an original piece of
art, be it physical or digital, is associated with monetary and social value. After all, having a print of a
Picasso¡¯s painting is not quite the same as owning the original painting. That is ultimately what makes the
NFT art market so valuable.

Relevant sources to learn more

Hiscox Online Art Trade Report (2021)
Read more on Net Art and How The Internet Has Created A New Medium

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HomeArtThe Rise of Digital Painting: A Contemporary Phenomenon
The Rise of Digital Painting: A Contemporary Phenomenon
Digital painting has been on the rise since the 1960s; today more artists than ever combine the languages of
printers, photocopiers, and computer screens with the visceral matter of paint.

Oct 27, 2020 • By Rosie Lesso, MA Contemporary Art Theory, BA Fine Art
digital painting
In My Time of Dying by Glenn Brown, 2014 (left); with Black-Light, Stuart Shave installation view in
London by Jacqueline Humphries, 2014 (right)

Digital painting is a marriage of opposites, uniting the gooey mess of paint with technology’s clean,
polished veneer. With information technology at the tip of our fingers and screens lighting up our daily
lives it is perhaps little surprise to see painters examining how they can be embedded into their artistic
practice. From rudimentary printers and photocopiers to the latest computer coding, animation programs, or
fluorescent paint, today’s digital paintings are ingeniously inventive, exploring the many ways
computerized effects can be incorporated into a painted surface. Combining these digital techniques with an
expressive, painterly language is a trope many of these artists have adopted, to remind us that beneath the
glowing aura of digital light we are still messy, imperfect humans after all.
The History Of Digital Painting

brushstrokes roy lichtenstein

Brushstrokes by Roy Lichtenstein, 1965 via Christie’s

Since the invention of photography in the late 19th century, painting has held a tricky relationship with
technology. Expressive and abstract painting styles first emerged as an antidote to photography, proving
paint could have an identity that was entirely separate from the shackles of representation, one that was
innately tied to the subjective human experience. It wasn’t until the 1960s, with the advent of Pop Art and
Photorealism that artists began to explore the concept of digital painting. One of the first to embrace a
digital aesthetic was the Pop artist Roy Lichtenstein, who introduced the ink-saving ‘Ben-day’ dots of
comic books into his art, enlarging them into dizzying patterns of color and light. His cool, detached
language of mechanical dots appeared entirely machine-made but was in fact painstakingly hand-painted
with flat magna paint through a metal stencil.

In the painting Brushstrokes, 1965 Lichtenstein enlarges the fragment of a comic book story titled ‘The
Painting’, by Dick Giordano. The abstract design of his composition resembles that of New York’s Abstract
Expressionist painters of the 1950s, but Lichtenstein deliberately parodies their supposed originality by
rendering his abstract composition and dripping paint entirely synthetic.

untitled figure sigmar polke

Untitled (figure) by Sigmar Polke, 1983, via Sotheby’s

In the wake of American Pop Art, an alternate group of artists who called themselves Capitalist Realists
emerged in West Berlin, heralding themselves as “Germany’s first Pop artists.” One of the most prominent
members to emerge was Sigmar Polke, who mined the worlds of media, advertising and popular culture for
subject matter. But in contrast with the clean languages of American Pop, Capitalist Realists took a grittier
and messier approach, combining the Expressionism of Germany’s past with elements of mass media
imagery to create their own brand of digital painting.

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Like Lichtenstein, Polke loved dots because they represented the printed page, but he took his from the
deliberately cheap, messy process of enlarged photocopying. Polke pasted, printed, and painted these dots
into many of his paintings, turning them into his own cheeky trademark style, as demonstrated in the
painting Untitled (figure), 1963.
abstract painting 439 gerhard richter
Abstract Painting No. 439 by Gerhard Richter, 1978, via Tate, London

German painter Gerhard Richter was closely associated with Polke and the Capitalist Realist movement,
sharing with Polke a mutual fascination in how the printed surface could be incorporated into painting.
Richter is perhaps best known for his trademark blurred, photoreal paintings that mimic the softly focused
lens of photography so well it is often hard to tell if they are really painted at all. His work was closely
aligned with the American Photorealists of the 1960s and 1970s, who sought ways of painstakingly
rendering the sharp realism of photography in painting.

But Richter took a more experimental approach, mixing photographic and painterly effects together to
express his admiration for both mass media and the tactility of paint. In the 1970s, Richter began taking
photographs of his own expressive, abstract paintings and making new paintings based on these
photographs. As can be seen in Abstract Painting No. 439, 1978, the liquid fluidity of paint is merged with
the glossy, pristine surface of the photograph to create a truly digital painting. Both Richter and Polke have
had a particularly profound impact on today’s contemporary painters, who continue to expand on their
playful, experimental approaches.

Found Imagery And Photography

bay of pigs dexter dalwood

Bay of Pigs by Dexter Dalwood, 2004, via Christie’s

Many of today’s painters take their subject matter from found photographic sources rather than direct
observation, an attitude that reflects the infiltration of printed media into our daily lives. Some of today’s
most adventurous painters deliberately highlight the digital nature of their source material, emphasizing the
textures and surfaces of the original printed image and its cut or torn edges.

British artist Dexter Dalwood makes paintings that are based on his own small collages, deliberately
reproducing sharply cut scissor lines or jagged rips with paint on canvas. Although his paintings often
depict strange, illusionary places, as seen in Bay of Pigs, 2004, the jumbled up, cut and paste language of
collage that constructs them reminds us that painting is still essentially a flat, two-dimensional object.

nail gall seen and not seen

Seen and Not Seen by Neil Gall, 2013, via David Nolan Gallery, New York

Like Dalwood, British artist Neil Gall enjoys rooting through the visual ephemera of daily life and working
out how it can be incorporated into painting. His photoreal canvases are an eclectic and confusing mix of
references, but we can often identify the crumpled pages of a glossy magazine nestled in amongst other
random detritus from his studio. In Seen and Not Seen, 2013, magazine excerpts featuring women’s faces
are almost visible, while he painstakingly copies in paint the sharp crumples of paper onto his photoreal
surface.
Computers, Printers, And Photocopiers

untitled wade guyton

Untitled by Wade Guyton, 2010, via Art in Print

Since Polke’s pioneering use of messy photocopies in the 1960s and 1970s, artists have continued to
experiment with the playful dichotomy between digital printing and painting. American artist Wade Guyton
makes works that typify the term digital painting, printing onto sheets of canvas with a large format Epson
Stylus Pro 9600 inkjet printer. His trademark geometric designs of squares, x’s and grids are planned on a
computer before being printed onto canvas, but what he enjoys most are the technical glitches that happen
with the printer beyond his control, when the canvas gets stuck and has to be pulled out, or ink bleeds and
overruns. These surprisingly painterly accidents reveal the creative, improvisatory possibilities within the
supposedly clean, perfected language of inkjet printing.

untitled charline von heyl

Untitled by Charline von Heyl, 2003, via Christie’s

Contemporary German painter Charline von Heyl works from found images, which she then obscures and
abstracts through the process of painting. Since 2001, she has been experimenting with photocopiers and
how they can distort and transform pre-existing imagery and provide her with an endless array of new
material to work from to create her own brand of digital painting. She sometimes generates new images by
painting on top of photocopies, as seen in the painting on paper, Untitled, 2003, which is an energized
flurry of activity that seems part digital, part painted.

Screens And Moving Imagery

jacqueline humphries digital painting

jHΩ1:) by Jacqueline Humphries, 2018, via Mousse Magazine

One of the most exciting artists making digital painting today is the American painter Jacqueline
Humphries, whose paintings illustrate the digital languages of captcha codes, emojis, and computer
programs. Her intricate repeat patterns of dots, dashes, x’s, and emoticons are painted through an industrial
stencil cutter, which she then interweaves with expressionistic streaks of paint, marrying together digital
painting with the unpredictable strokes of her hand. She compares this process of layering with the multi-
screen activity of a computer, where we can view several pages simultaneously together, one on top of the
other.

jacqueline humprheis black light stuart shave

Black-Light, Stuart Shave installation view in London by Jacqueline Humphries, 2014, via Greene Naftali
Gallery, New York
Her famous series of ‘black-light’ paintings further mime the aesthetic of glowing computer screens,
painted with ultraviolet paint onto huge canvases that can only be seen in a darkened room lit by ultraviolet
bulbs, lending her paintings what she calls a “cinematic quality.”

amy sillman 13 possible futures

13 Possible Futures by Amy Sillman, 2012, via This is Tomorrow Magazine

American abstract painter Amy Sillman is perhaps best known for her loose, improvisatory canvases made
from networks of layered lines, shapes, and vividly hued colors, but she has also made spirited animations
that bring her visual language to life. The animation work, Thirteen Possible Futures: Cartoon for a
Painting, 2012 was made using an iPad drawing app, tracking the many different directions one of her
paintings might take with a playfully humorous language. Sillman then printed out each frame of the
animation and made them into a huge installation, allowing us to peek behind-the-scenes at the extensive
decision making that goes into producing a single work of art.

The Future Of Digital Painting

glenn brown in my time of dying

In My Time of Dying by Glenn Brown, 2014, via Glenn Brown’s Website

As we move into a future of increasing technological development, there is little doubt that the scope of
digital painting will continue to expand in new and exciting directions. British artist Glenn Brown sees the
future role of painting as one that recycles and rehashes the art history of the past, remolding it into
something new. His paintings copy and rework previous paintings old and new by a wide array of artists
from Rembrandt van Rijn to Frank Auerbach, but he filters them through a digital screen, lending them an
eerie atmosphere of digital light. He asks us to consider what the future function of painting can be in the
post-digital age when we are so entirely surrounded by screens, but still have so much to gain from
experiencing the raw physicality of a real painting.

READ NEXT:
POP Art Artists And Their Famous Artworks

Author Image
By Rosie Lesso
MA Contemporary Art Theory, BA Fine Art
Rosie is a contributing writer and artist based in Scotland. She has produced writing for a wide range of arts
organizations including Tate Modern, The National Galleries of Scotland, Art Monthly, and Scottish Art
News, with a focus on modern and contemporary art. She holds an MA in Contemporary Art Theory from
the University of Edinburgh and a BA in Fine Art from Edinburgh College of Art. Previously she has
worked in both curatorial and educational roles, discovering how stories and history can really enrich our
experience of art.

Read more by Rosie Lesso

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Konstantin
Mar 18, 2020
6 min

4 Types Of Digital Painting And Whether They Are Real Art Or Not
Updated: Oct 18, 2020

As an aspiring artist, I've often come across digital artist already but I've also spoken to traditional artists
that think, digital art can't be considered art. They say drawing or painting with the help of a computer was
cheating.

Is digital art a legitimate art form?

Digital art is in no way cheating and can definitely be considered real art. Digital art also takes time and
effort and creative skills to be created. Digital art is a real type of art and digital artists deserve
acknowledgment.
What are different types of digital art, is digital drawing/painting easier? What do you need to pay attention
to before starting off with digital painting (this link leads to a free and professional online course)? Let's
answer all of these questions in this article.

I. 4 Types Of Digital Painting

Digital art can not only also be referred to as real art but it even opens a lot of completely new doors for
artists to enter. Let's take a look at four different types of digital painting.

What are the types of digital painting?

1. 2D Digital Painting

2. Media Hybrid Painting

3. Manual Vector Drawing

4. Dynamic Painting

Yes, all of these types can be considered real art just to clear that out right at the beginning. Well, even
before actually diving into the first one. Let's go.

1. 2D Digital Painting

If you simply want to step up your regular/traditional drawing game, 2D digital painting is the way to go
for you. This is the simplest way to start off with digital art when you've already gained a little bit of
experience in traditional drawing or painting.

The technical knowledge you need to acquire for 2D digital painting is so small that you don't even need to
have drawn traditionally before. You can be an utter, bloody drawing beginner and still manage to get
directly into digital painting.

Traditional drawing or painting experience is, of course, always recommended before venturing into this
different artistic world. After a little bit of time, you will need to get comfortable with the digital drawing
environment on your screen you are good to go.

You can easily learn how to draw in Photoshop, for example, by simply following the instruction of
Youtube tutorials. One of the best videos I have seen on painting 2D digitally in Photoshop is this one
below. Check it out in case you're interested.
The nice teacher goes over basic Photoshop knowledge in every step and I find it very easy to follow, so it's
perfectly suited for beginners. If you're now or after watching this video extremely excited and want to get
Photoshop immediately don't do it.

Don't purchase any digital art program without checking your computer specs before. I'll talk about this
topic more detailed in the fourth section of today's article. Check it out before making a devastating and
discouraging mistake.

2. Media Hybrid Painting

Have you ever heard of this drawing and painting technique? If you have you're probably thinking about
the drawing technique where you're mixing different subjects or drawing techniques to create an abstract
artwork on your paper like the one below, for example.

That drawing technique is solely called hybrid drawing but now we're talking about a digital painting
discipline that combines different art media. The best-known media hybrid painting type you can create
digitally is a mixture of photographs and paintings.

This method is also known as interdisciplinary art and it's all about crossing different types of art with each
other. As I already mentioned digital artists often mix photography with their painting and drawing skills.

They store their photos on their computer or use other artists' photos and create something beautiful around
them. It's most common this way around but if you're a passionate photographer you are also able to use
paintings and mix them with you're photographs.

Maybe you're even interested in both artistic disciplines. In that case, you can clearly use your own photos
and painting/drawing skills to create a media hybrid artwork completely on your own.

3. Manual Vector Drawing

This is something I personally haven't heard of for a long time until I talked to a logo designer whom I'm
working with sporadically. He told me that he is almost only using this method to create logos. So I asked
him:

What is manual vector drawing?

Manual vector drawing is a type of digital art and is about creating art with basic shapes such as squares,
triangles, and circles. This is being achieved with mathematical equations transforming and connecting
shapes and lines.
You can see vector drawings mostly in any kind of digital line art or in logos. This method is also used to
create fonts for word processing software.

This Youtube tutorial shows exactly what vector drawing is and how a beginner can do it easily step-by-
step for him- or herself. Here the teacher gives you instructions on how to create a logo from a traditional
drawing using manual vector drawing.

The program being used is called Adobe Illustrator and everyone can follow the instructions in this video.
Again, it doesn't matter whether you have any digital painting experience or not. Check it out, it's fun.

4. Dynamic Painting

What is dynamic painting?

This type of digital art is a very modern way of painting. This type of art is created by an artist setting up a
computer algorithm that is then creating art on its own without further human interference.

Once again, I have a cool tutorial from Youtube that shows how dynamic painting basically works in the
digital art program Blender. Take a look at what the teacher is showing in this video.

There is another unique type of dynamic painting that isn't really subject to much debate and until to this
point of writing, I have never heard of that myself. Nevertheless, it is truly fascinating what is possible in
our modern times.

Check out the video beneath this paragraph to see what I mean. A completely new kind of art that I think
will get more attention in the next years to come.

II. Is Digital Art Easier Than Traditional?

Frankly, there isn't simply one right answer to this question.

Yes and No...

It completely depends on the aspects you're looking at. Do you need less artistic skills than with traditional
art? Is the process itself, for example, erasing or shading easier digitally than when you're drawing
traditionally?
To each of these questions, the answer is different.

1. Do you need fewer artistic skills for digital art?

There are not fewer artistic skills needed in digital art compared to traditional art. The same number of
skills that an artist needs for traditional drawing is needed in digital drawing and even more. A certain
technical understanding is also required.

2. Is shading easier in digital art?

Shading isn't easier digitally than traditionally. In fact, shading is more complicated in a digital art program
because of all the settings and different tools an artist needs to understand to successfully use a digital art
program.

3. Is erasing easier in digital art?

Erasing in digital art programs is a lot easier than on paper. One doesn't need to exert any kind of pressure,
whereas erasing on paper always needs pressure but also caution to not tear the paper apart. Digitally, an
artist can undo an action by pressing one button.

Now, you hopefully have an idea of what is easier in digital art and what is exactly the same compared to
traditional drawing and painting. Digital art is a very impressive and revolutionary kind of artistic
expression in my personal opinion.

It has opened many doors to us as artists to express our creativity. Therefore, I think digital art should never
be compromised for being easier in certain areas. Art is a subjective phenomenon just as beauty or taste.
Please, appreciate every artist.

If you're interested in learning the basics of digital painting from a professional completely for free, I
highly recommend checking out this free online course.

III. Check Your Computer Specs

To draw digitally on a computer it is mandatory to know about your own specs. By this, you avoid
extremely annoying lags when drawing or painting in Photoshop, for example.

If you only have a Laptop/notebook from 2010 you'll most likely have severe problems with your digital art
program. Everyone who wants to get into digital art has to make sure he or she has sufficient RAM et
cetera in their computer before buying expensive programs that eventually don't work in the end.

What are the minimum requirements for digital art?

RAM: 8 GB

CPU Speed: 2 GHz

GPU Memory: 4 GB

Hard Drive Space: 256 GB

Remember that this data merely represents the minimum requirements. More of each specification is
always better in any case. The future will bring more and more complex programs constantly so being up to
date in terms of PC specs is very important.

Most important of all of these specs for digital art is RAM. It is responsible for the effortlessness of the
number of tasks the computer has to deal with simultaneously.

IV. Related Questions

1. Does Digital Art Replace Traditional Art?

Digital art is often seen as an enemy of the traditional way of creating art. This is an unsubstantiated fear. In
fact, digital art is responsible for providing artists everywhere with a variety of new opportunities to
express their creativity. Digital art is a supplement and not an endangerment of traditional art.

2. What Is The Difference Between Digital Art And Traditional Art?

Traditional art is based on non-technological tools and material, whereas digital art is the creation of
artworks using a computer such as a desktop PC or a tablet.

3. When Did Digital Art Start?

Around 1965 the first experimental digital artworks produced with a computer have been published. Since
then digital art has gained a large amount of popularity among artists of all ages. It is a groundbreaking and
revolutionary type of art that tremendously extends already existing art media.

Digital Drawing

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affiliate programs with Clickbank and other sites. Konstantin Mach is compensated for referring traffic and
business to these companies.

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