Digital More Prints

Digital print on canvas. Edition 1 of 5.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

Signed and editioned on reverse. This print is a surreal depiction of an aerial view of a planned building development or subdivision. Developed in the imagination of the artist, th...

Represented by George Billis Gallery, NYC & LA -- Working with images he personally photographs, Magsig looks for crucial details in both the highlights and the shadows, in the brightness and obscurity of each scene. The artist says, "I get caught up in the mix of organic and non-organic human signs: the color of loaves of bread in an Italian bakery window, the reflections of facades in the car’s windshield, the abstracted angles of cornices and architectural detail." Stephen Magsig, Spring Street...

Represented by George Billis Gallery, NYC & LA -- Working with images he personally photographs, Magsig looks for crucial details in both the highlight...

Represented by George Billis Gallery, NYC & LA -- Working with images he personally photographs, Magsig looks for crucial details in both the highlight...

Represented by George Billis Gallery, NYC & LA -- Working with images he personally photographs, Magsig looks for crucial details in both the highlight...

Union Jack Inkjet print in colours, 2011, signed in pencil, numbered 18/50, on wove paper (unframed) image: 32 by 52cm. sheet: 47 by 64cm. Sir Peter Blake CBE RDI RA is an English p...

TECHNICAL INFORMATION: Derrick Adams Side Part - Style Variation 4 2023 Screenprint and archival inkjet 27 x 20 in. Edition of 50 Pencil signed and numbered

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...

A superb impression of this inkjet print in bright colors on Somerset Satin paper. Signed and numbered 34/35 by Miller. Acquired directly from the publisher, Other Criteria, New York...

Artist: Let et Steph Title: Kidcup Botticelli Dimension: 35.4 x 23.6 in. / 90 x 60 cm Available in small, large and giant size. This work is unique in each size.

Digital print on canvas. Edition 1 of 5. The frame is for illustrative purposes only.