![]() Especially in the early part of the period, works in the so-called "minor arts" or decorative arts, such as metalwork, ivory carving, vitreous enamel and embroidery using precious metals, were probably more highly valued than paintings or monumental sculpture. Medieval art was produced in many media, and works survive in large numbers in sculpture, illuminated manuscripts, stained glass, metalwork and mosaics, all of which have had a higher survival rate than other media such as fresco wall-paintings, work in precious metals or textiles, including tapestry. In addition, each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or Viking art. A generally accepted scheme includes the later phases of Early Christian art, Migration Period art, Byzantine art, Insular art, Pre-Romanesque, Romanesque art, and Gothic art, as well as many other periods within these central styles. It includes major art movements and periods, national and regional art, genres, revivals, the artists' crafts, and the artists themselves.Īrt historians attempt to classify medieval art into major periods and styles, often with some difficulty. I’m finding them quite hypnotic.The medieval art of the Western world covers a vast scope of time and place, over 1000 years of art in Europe, and at certain periods in Western Asia and Northern Africa. The 3D digital animation movement is creating a 2D and 3D visualization. ![]() ![]() The moment the animation stops, the image flattens. I find it fascinating to see how essential movement is to display the 3D quality of the image. As Vera Molnar (a pioneer of computer art) said `with computers you can first open the entire spectrum, then let intuition select.’ Observation is the root of all of my artwork and I want to retain the patination of the pebbles, a sense of their texture when held in the hand, their shared geomorphology. The clarity of the transparent pebble distorting the line worked, but further observation takes me back to the texture of the pebble. I can see there are a number of missing permutations but `virtual glass’ can be a difficult and complex material. I enjoy being able to see the pattern behind the pattern (if you see what I mean) so I make the pebble visible again but this time it is transparent. My main interest is making the 3D doodle but what if I make the pebble invisible? This knot has lots of meanings attached to it, many with common threads… I like that. I draw Trinity Knots (Triquetra) onto the virtual pebble. I make a virtual pebble and around it doodle Celtic Knot patterns. Repetition, variation and permutation are an essential part of doodling: the pleasure of the familiar. I have also made them in Tilt-brush which is a VR app but I think that Blender gives a better range of editing tools. I am doodling in Blender using Grease Pencil (this is a free-hand tablet drawing tool) with the intention of moving them into Unity. Considering how long people have been making them, it’s possibly an exploration of the fourth dimension too?Īnd I did spend some time on the beach in September collecting pebbles… ![]() They are, however they are made, an exploration of three-dimensional space. Celtic Knot patterns have fascinated me since I first saw them in books and carved in stone in cemeteries and churches. Why Celtic Knots on pebbles? Why not? It’s doodling. I think it’s wrong when too much work gets in the way of doodling. I took some time during September to do some digital doodling on virtual 3D pebbles.
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