Before the advent of the iPad, Hockney used Adobe Photoshop with a stylus and touch sensitive pad to create digital works. Here is a detail of Matelot Kevin Druez 2, which was printed on paper using an inkjet.
Hockney's tools of creation —
Before the advent of the iPad, Hockney used Adobe Photoshop with a stylus and touch sensitive pad to create digital works. Here is a detail of Matelot Kevin Druez 2, which was printed on paper using an inkjet.
Richard Schmidt
A detail of Yosemite II. Hockney favors the portability of Apple's touch devices, which lets him capture entire landscapes, as they appear, in one sitting.
Hockney's tools of creation —
A detail of Yosemite II. Hockney favors the portability of Apple's touch devices, which lets him capture entire landscapes, as they appear, in one sitting.
Detail of The Jugglers. The work was created using 18 digital video cameras, and is played back in the gallery on 18 different screens. The variations in perspective lend the work an almost cubist feel.
Hockney's tools of creation —
Detail of The Jugglers. The work was created using 18 digital video cameras, and is played back in the gallery on 18 different screens. The variations in perspective lend the work an almost cubist feel.
The Massacre and the Problems of Depiction. Hockney challenges traditional ideas of perspective throughout A Bigger Exhibition, often questioning the value of a single viewpoint. Here, Hockney mashes up two masterpieces of perspectival shift: Picasso's Les Demoiselles d'Avignon and Goya's The Shootings of May 3rd.
Hockney's tools of creation —
The Massacre and the Problems of Depiction. Hockney challenges traditional ideas of perspective throughout A Bigger Exhibition, often questioning the value of a single viewpoint. Here, Hockney mashes up two masterpieces of perspectival shift: Picasso's Les Demoiselles d'Avignon and Goya's The Shootings of May 3rd.
Richard Schmidt
Hockney features Woldgate Woods, the forested area surrounding his Bridlington, England home, not only in oil, as it's seen here, but also in iPad drawings, charcoal, watercolor, and multi-perspective cubist movies.
Hockney's tools of creation —
Hockney features Woldgate Woods, the forested area surrounding his Bridlington, England home, not only in oil, as it's seen here, but also in iPad drawings, charcoal, watercolor, and multi-perspective cubist movies.
Richard Schmidt
A detail of Yosemite I. Hockney's famously bright aesthetic translates well to the iPad, which allows him to match colors and tones faster than ever before.
Hockney's tools of creation —
A detail of Yosemite I. Hockney's famously bright aesthetic translates well to the iPad, which allows him to match colors and tones faster than ever before.
Richard Schmidt
Detail of Woldgate After the Rain. While Hockney's use of technology is notable, analog mediums prove useful as well: here, he relies on charcoal to emphasize winter's lifelessness.
Hockney's tools of creation —
Detail of Woldgate After the Rain. While Hockney's use of technology is notable, analog mediums prove useful as well: here, he relies on charcoal to emphasize winter's lifelessness.
Richard Schmidt