The diversity of digital drawing
Photo (left to right): Wacom One (running Krita 4.4.5) on Mac w/ Staedtler Noris Digital Jumbo, Asus CT-100 Chromebook, Samsung Galaxy Note 11, iPhone 12 (running Tayasui Sketches), iPad Pro 12.9”.
Art has always been intertwined with technology. Whether it is the chemistry behind paint or pigment, the manufacturing techniques of pens or other creative instruments, or the incredible process of paper-making, artists have benefited from the propagation of such inventions to produce all manner of visual art.
The history of traditional media goes as far back as our prehistoric ancestors, but the use of computers for digital art has unfolded in recent memory. The advances in computer graphics, however, have gone well beyond the emulation of paint, pen and paper. We live in an age where hyper-real immersive experiences can be rendered in real-time. Yet, even with such sophisticated capabilities at our finger-tips, there is an undeniable and insatiable attraction to 2D digital drawing and painting.
Today there's a wealth of applications out there. The sheer number of dedicated art apps, even when you exclude the very capable image editors, offer creators plenty to choose from. Of course, not all of these are designed with the fidelity or functionality to serve the most demanding of artists, but on virtually every platform, there is the gift of choice.
I believe this is an important indicator of ‘creative health’. After spending so many years using and making digital art applications, I’ve come to appreciate the ecosystem of tools, the art of developers and the wizardly of their craft.
First and foremost, no single developer is able to satisfy all needs for all people. Akin to traditional tools, it's great that there is diversity and specialization that serves different niches and workflows. I love it when I’m in an art store and it is packed with endless aisles of stuff. Creative types lavish in this discovery and they use the tools that meet their own particular tastes and nuanced requirements.
Every paint engine is unique. This is why I have so many apps. When developers write code for a brush , they are defining all of its properties, attributes and behaviour – from how the final pixels look and blend, to the interpretation of the stylus inputs. These implementation details are what make each solution distinct. Similar to paint from different manufacturers, even when the chemistry and the process used to produce them is similar, how each tube fits in to a drawer, the feel of application, or how the end-results look when they dry, have subtle and meaningful differences.
Everyone will have their own favourites - and that is the way it is supposed to be. Creating is a very personal and intimate experience. Back in the day, when the average paint app was far more expensive and complex to learn, artists may have stuck with the package they could afford or learned first. Much has changed since then and app-mashing is abound. With a better general UX design literacy and access to good libraries and SDKs, developers can produce more quickly, and easily distribute their wares. Even better, the devices we CAN draw on have become ubiquitous, so the barrier of entry starts with a phone, a device many people already have-at-hand, and doesn’t require a dedicated investment.
All of this makes for an incredible time for everyone who loves to draw, whether it be traditionally or digitally. As much as developers are often pitted as competitors, the reality is many of us are friends or former colleagues. Ultimately, it is only through the bounty of offerings we collectively bring to market, that the medium moves forward.