The Norman Transcript

N-town Q/A

June 13, 2014

Q&A: Stuart Whitis finds balance between classical and digital art



I’ll take original images, wherever I can find them online, since it’s such old paintings the images themselves are in the public domain, for the most part. I’ll usually fuse one or two in Photoshop. I’ll do a little bit of repainting, integrate multiple pieces. It’s a lot of repainting and re-coloring to try and make it look like a digital nightmare basically — push all the colors as much as I can.

Then what I’ll do is I’ll take a lot of the meta data from each piece and open up the file. Any Photoshop file, you can open up the file in a text editor and then take that meta data, push some code around, do some original coding. What that does — there’s no better way to describe it besides it totally f***s up the file.

Usually if you do it wrong it’ll just be a blank pink screen, so I try to get just the right amount of code shifted so it’s still aesthetically pleasing. I’ll do that a couple times, get a bunch of revisions of those and I’ll then combine those. I basically do that over and over until I reach something that is fully pleasing to me...

I’ll take that file that’s finished and will set it up for painting. ... It looks like a weird grid work. With the painting, you never know what it’s going to look like until the very last layer, which can be frustrating. I want to know how it’s going to pan out. I’ve been doing it so long now, at this point I’m pretty sure I’ll know what I’m going to get. Then I take my sweet time going all over, layer by layer, until the painting is done.

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