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Drench
A novice’s play in alcohol inks,
alcohol markers, India inks, pencils,
and whatnot,
(non)synthetic papers,
light compositing,
and digital image editing… Shalin Hai-Jew
Mar. 2022
2
Bird on Branch
3
Delight
4
Gnarled
5
Tree to Mountain
6
Sharpened Leaves
7
Snow Glisten
8
Tornado Alley
Drench
• “Drench” is the current “slideshow sketchbook” of alcohol ink and
other “common art” artworks as a way to distract and amuse to
relieve stress, during the pandemic.
• The stresses now are less of the potential mortal and illness kind but more
about engaging a world with topsy-turvy geopolitics and economic
challenges.
9
Drench(cont.)
• One very cool recent discovery is how to actually apply custom style
transfer by harnessing the neural filter (AI) by using my own alcohol ink
paintings as seeding images (can apply one or several to a work). In other
words, the software learns from a seeding image or several and
deconstructs one or several into a style, which can then be applied to a
focal digital visual as a style. This is a real superpower…
• “Welcome Spring” (on the cover) is such a “morph” (used loosely) or “meld” (used
loosely, too) of an original photo and an original alcohol ink artwork. (An ANN—with
its attendant mysteries—is used to create this, I think.)
• The style transfer is not just color, which comes to the fore in human attention, but
also lines and textures and other aspects.
• I’ve noticed that if there is an alpha channel, the neural filters cannot apply to the
transparency, so one has to add some background to put the full visual into play.
10
Drench(cont.)
• I am learning that some “style transfer” neural filters are telltale ones
that may be a little over-powering. These enable a full “takeover” of
the original digital visual.
• Neural filters can be strengthened in effect based on a parameter
defined by a slider. (There is not a direct concomitant weakening of
an effect, no slider that goes into the negative space.)
11
Drench(cont.)
• There are a few ways to mute these styles (from AI), such as by using the
original image’s color palette and / or desaturating or making other
changes during the style application. And there’s always follow-on effects
that can be applied (hue/saturation changes, for example, or adjusting
curves, or changing contrast, and others).
• The other issue is that neural filters apply to the whole visual globally. One
cannot select a segment of a visual and apply the neural filters just to that
part (the way you can with other deterministic filters). This has
implications for the work pipeline. (There are a few extra steps to select
out something that has been changed and reintegrate amalgamates with
part of the original visual, for example.)
• My preference is more for a “hidden hand” or more subtle effect where
possible but with sufficient change to trigger interest in the human visual
system.
12
Drench(cont.)
• The neural filters and other digital image editing capabilities feel like
an artful partner in making new works.
• I am exploring to find rules, but I’m finding that they’re fairly
provisional. There are no “always” rules.
• Practically, there is an infinitude of options in the neural filters and other
image editing tools. It is maybe helpful to have a human constraining hand
and vision and time.
• The digital image editing can make sense of odds-and-ends.
• The reward systems in my brain are triggered with curiosity and
anticipatory excitement.
13
Drench(cont.)
• Per the prior slideshow (“Runnel”), and on closer inspection, alcohol
inks on synthetic papers are “fugitive colors” like all other analog or
material pigments. They fade over time. They escape. Their true
colors dull over time and exposures to the world.
• Digital colors are not “fugitive” but may be prone to various technological
“slow fires.” Clearly, preservationists are interested in protecting human
creations, and they will protect what humanity cares about.
• There is always inspiration from what others do. One line-art piece
with a gradient inspired one work in this slideshow. If you’ve gotten
this far, you’ve already seen it.
14
Drench(cont.)
• I have been on some daytrips for photography. Some of the photos
look furtive to me because I mostly shoot from the road.
• If things felt friendlier, I might step out and ask permission and take closeups
from close up. But where technology allows, it’s easier just to use a long lens
(and post production). It’s easier to drive and shoot over the left shoulder
(rarely), with blur and lens flare and all.
• In general, I like to be a purist and use only what I’ve created (keep it
all in the newbie / noob wheelhouse).
• However, in this slideshow, I have one image that I derived from an open-
source visual, which I found online. It has been changed globally sufficiently
that I doubt it can be reidentified to the source.
15
On white synth paper
16
17
Flaring
18
Sky Earth
On translucent synth paper
19
20
Diffuse Sun
21
Heat Dome
22
Conical
On digital variants
(from born-analog works)
23
24
Ice
25
Cold Sense
26
Warm Morning
27
Frozen Roots
28
Process
29
Mushroom Soup
30
Carbonation
31
Dying Fires
32
Gray Bird
33
Weave
34
Cutting across Grain
35
Welcome Spring
36
Tilling
37
Cotton
38
Embers in Night Sky
39
Painted Tree
On born-digital variants
40
41
Arterials
42
Home
43
Faraway Mountains
44
Social Freeze
45
Pines
46
Park Shelter
47
Rolling Hills
48
Dormancy
49
Barn in Primary Colors
50
Sun-Bleached Tree
51
Dawn Sky
52
Entangling
53
Horizon Water
54
Village Life
55
Pink Pinwheel
56
Melting
57
Sundried Clusters
58
Days of Ordnance
59
Bone White
60
Padlocked Church Doors
61
Owl Takeoff
62
Padlocked Church Doors 2
63
Morning Drive
64
Storehouse
65
Night Day
66
Hidden Barn
67
Leaning Church Tower
68
Bird in Tree
69
A Day in Morning Noon Night
70
Owl Takeoff 2
71
Tornado Alley 2

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Drench

  • 1. Drench A novice’s play in alcohol inks, alcohol markers, India inks, pencils, and whatnot, (non)synthetic papers, light compositing, and digital image editing… Shalin Hai-Jew Mar. 2022
  • 9. Drench • “Drench” is the current “slideshow sketchbook” of alcohol ink and other “common art” artworks as a way to distract and amuse to relieve stress, during the pandemic. • The stresses now are less of the potential mortal and illness kind but more about engaging a world with topsy-turvy geopolitics and economic challenges. 9
  • 10. Drench(cont.) • One very cool recent discovery is how to actually apply custom style transfer by harnessing the neural filter (AI) by using my own alcohol ink paintings as seeding images (can apply one or several to a work). In other words, the software learns from a seeding image or several and deconstructs one or several into a style, which can then be applied to a focal digital visual as a style. This is a real superpower… • “Welcome Spring” (on the cover) is such a “morph” (used loosely) or “meld” (used loosely, too) of an original photo and an original alcohol ink artwork. (An ANN—with its attendant mysteries—is used to create this, I think.) • The style transfer is not just color, which comes to the fore in human attention, but also lines and textures and other aspects. • I’ve noticed that if there is an alpha channel, the neural filters cannot apply to the transparency, so one has to add some background to put the full visual into play. 10
  • 11. Drench(cont.) • I am learning that some “style transfer” neural filters are telltale ones that may be a little over-powering. These enable a full “takeover” of the original digital visual. • Neural filters can be strengthened in effect based on a parameter defined by a slider. (There is not a direct concomitant weakening of an effect, no slider that goes into the negative space.) 11
  • 12. Drench(cont.) • There are a few ways to mute these styles (from AI), such as by using the original image’s color palette and / or desaturating or making other changes during the style application. And there’s always follow-on effects that can be applied (hue/saturation changes, for example, or adjusting curves, or changing contrast, and others). • The other issue is that neural filters apply to the whole visual globally. One cannot select a segment of a visual and apply the neural filters just to that part (the way you can with other deterministic filters). This has implications for the work pipeline. (There are a few extra steps to select out something that has been changed and reintegrate amalgamates with part of the original visual, for example.) • My preference is more for a “hidden hand” or more subtle effect where possible but with sufficient change to trigger interest in the human visual system. 12
  • 13. Drench(cont.) • The neural filters and other digital image editing capabilities feel like an artful partner in making new works. • I am exploring to find rules, but I’m finding that they’re fairly provisional. There are no “always” rules. • Practically, there is an infinitude of options in the neural filters and other image editing tools. It is maybe helpful to have a human constraining hand and vision and time. • The digital image editing can make sense of odds-and-ends. • The reward systems in my brain are triggered with curiosity and anticipatory excitement. 13
  • 14. Drench(cont.) • Per the prior slideshow (“Runnel”), and on closer inspection, alcohol inks on synthetic papers are “fugitive colors” like all other analog or material pigments. They fade over time. They escape. Their true colors dull over time and exposures to the world. • Digital colors are not “fugitive” but may be prone to various technological “slow fires.” Clearly, preservationists are interested in protecting human creations, and they will protect what humanity cares about. • There is always inspiration from what others do. One line-art piece with a gradient inspired one work in this slideshow. If you’ve gotten this far, you’ve already seen it. 14
  • 15. Drench(cont.) • I have been on some daytrips for photography. Some of the photos look furtive to me because I mostly shoot from the road. • If things felt friendlier, I might step out and ask permission and take closeups from close up. But where technology allows, it’s easier just to use a long lens (and post production). It’s easier to drive and shoot over the left shoulder (rarely), with blur and lens flare and all. • In general, I like to be a purist and use only what I’ve created (keep it all in the newbie / noob wheelhouse). • However, in this slideshow, I have one image that I derived from an open- source visual, which I found online. It has been changed globally sufficiently that I doubt it can be reidentified to the source. 15
  • 16. On white synth paper 16
  • 23. On digital variants (from born-analog works) 23
  • 69. 69 A Day in Morning Noon Night