Q. I bought a new PC tablet to draw on because I'm an artist, and I've created a few drawings on it already. But when I look at them on my other laptop, the colors look really funky. Like I don't know how to pick and mix colors right or something. It looks fine on my tablet, but TERRIBLE on my laptop. I've tried messing with the colors on the monitor and using the color calibrator, but I just can't get the two screens to match colors. It's frustrating because I will work very hard on a digital painting and then it ends up looking like crap on my other monitor.
Is there any way I can sync both of the monitors color calibrations?
Is there any way I can sync both of the monitors color calibrations?
A. The best way is to use a hardware color sensor and software that does an automated calibration.
Maybe try this: http://spyder.datacolor.com/portfolio-view/spyder4pro/
That kit works with LCD and CRT monitors and iOS devices. I'm not sure about android or other types of tablets, though.
I used a Spyder a few years ago (for professional photography) and it worked great.
Maybe try this: http://spyder.datacolor.com/portfolio-view/spyder4pro/
That kit works with LCD and CRT monitors and iOS devices. I'm not sure about android or other types of tablets, though.
I used a Spyder a few years ago (for professional photography) and it worked great.
Is video art displayable at art galleries?
Q. Is this a form of art and how do artist get it to be displayed?
And how do artist make money from this, do they sell copies of the video?
And how do artist make money from this, do they sell copies of the video?
A. Yes. I've seen it. In fact, a museum (public) not far from here has a video piece on display.
For this piece, they've set up a large monitor (flat screen LCD television) and a speaker system, with a couple chairs. It's a brooding piece, pretty dark and relatively slow-moving, with more of a sound-effect than sound-track.
I've also seen video work, of all types, at major art shows, like Miami Basel (you should go to that, if you can) -- and it is generally similar to that with either a screen showing the work on a wall, or with a room dedicated to showing the video either in a loop or at specific intervals.
The sales of video art are very difficult. It is done, all the time, but there is always the question of value or pricing. This stems from the simple fact that a video project is dependent upon the means of display. If your video MUST be shown in a dark room, then it is as much an installation as it is a video project.
That is one possible direction. Some video art is integrated with physical art - a viewer or a specially constructed space that integrates with the concept of the video and vice versa. Projects like that are typically produced with a grant and sponsored by a museum or art patron for a period of exhibition. They're not typically "sold" since the way it is exhibited is fairly complicated.
The other direction that I've seen is when the video art is sold as media, a DVD or something with the video project, like a movie or any other media. This makes the question of editions central. With the large construct described above, you know (as a patron or the audience) that you're seeing the video under special circumstances that the artist controlled, and it's probably the only time and place where that can be seen. With a DVD, it could be shown anywhere, any number of times. As a person buying the art, you get no sense of owning an original. So, is the "art" that I am buying really just my support for it's creator, a form of patronage? Or, am I buying a DVD - does the copy of that work have some intrinsic value?
In between those two things would be selling the work with a monitor or something as a more limited installation piece - similar to a painting they can hang on the wall, but with a video (moving) image. Again, however, you've provided some intrinsic value - the monitor, obviously --but what of the video itself?
This is the problem photographers have always faced, but is even more acute now that so many photographic prints and processes are digital. A quality, archival, darkroom print had a high value. You could not easily produce them, and collectors would pay for the image and the integrity of a reproduction that was basically done by hand. Now most photographers don't even have a darkroom, and the prints they sell are created by pushing a button. Perhaps using a large format printer of some kind, but they could make 100 prints as easily as they could make one. The collectors know this, so the value of each print is much lower than true darkroom editions would be.
I believe video is like that. The more you control the exhibition of the work, the more valuable it will be, but you'll limit the opportunity for exposure and the "sale" of it. If you decide to put it on a DVD, you'll lose that control and lower the value of the work, but increase the opportunities to sell and show the work.
For this piece, they've set up a large monitor (flat screen LCD television) and a speaker system, with a couple chairs. It's a brooding piece, pretty dark and relatively slow-moving, with more of a sound-effect than sound-track.
I've also seen video work, of all types, at major art shows, like Miami Basel (you should go to that, if you can) -- and it is generally similar to that with either a screen showing the work on a wall, or with a room dedicated to showing the video either in a loop or at specific intervals.
The sales of video art are very difficult. It is done, all the time, but there is always the question of value or pricing. This stems from the simple fact that a video project is dependent upon the means of display. If your video MUST be shown in a dark room, then it is as much an installation as it is a video project.
That is one possible direction. Some video art is integrated with physical art - a viewer or a specially constructed space that integrates with the concept of the video and vice versa. Projects like that are typically produced with a grant and sponsored by a museum or art patron for a period of exhibition. They're not typically "sold" since the way it is exhibited is fairly complicated.
The other direction that I've seen is when the video art is sold as media, a DVD or something with the video project, like a movie or any other media. This makes the question of editions central. With the large construct described above, you know (as a patron or the audience) that you're seeing the video under special circumstances that the artist controlled, and it's probably the only time and place where that can be seen. With a DVD, it could be shown anywhere, any number of times. As a person buying the art, you get no sense of owning an original. So, is the "art" that I am buying really just my support for it's creator, a form of patronage? Or, am I buying a DVD - does the copy of that work have some intrinsic value?
In between those two things would be selling the work with a monitor or something as a more limited installation piece - similar to a painting they can hang on the wall, but with a video (moving) image. Again, however, you've provided some intrinsic value - the monitor, obviously --but what of the video itself?
This is the problem photographers have always faced, but is even more acute now that so many photographic prints and processes are digital. A quality, archival, darkroom print had a high value. You could not easily produce them, and collectors would pay for the image and the integrity of a reproduction that was basically done by hand. Now most photographers don't even have a darkroom, and the prints they sell are created by pushing a button. Perhaps using a large format printer of some kind, but they could make 100 prints as easily as they could make one. The collectors know this, so the value of each print is much lower than true darkroom editions would be.
I believe video is like that. The more you control the exhibition of the work, the more valuable it will be, but you'll limit the opportunity for exposure and the "sale" of it. If you decide to put it on a DVD, you'll lose that control and lower the value of the work, but increase the opportunities to sell and show the work.
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