Page seven
The PRINT & POSTER Galleries
Prints
Signed & certificated. Sizes, Prices vary.
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Posters
Signed & certificated. Sizes vary.
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Character Posters
Signed & certificated. Prices vary.
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Fig. 1.
D R A G O N O M I C O N
The Print & Poster Galleries
About The Art
FAQ
Q1. Are any of the gallery images adapted from photographs, either in part or whole?
A1. No. Each dragon character whether a hybrid or what I call a Trueblood, is an original work realized entirely on a computer. The are only two exceptions which include Terra, the hummingbird, and the one, well known image of Earth as seen space.
Q2. How much time did the additional computer enhancements require in order to complete the images as displayed?
A2. More than fifteen years were required to create a selection of finished files suitable for producing art prints, posters, and a variety of experimental renderings whereby the computer was used to “push” the limits of what was possible in the form of enhancements and manipulations.
Q3. How does computer art compare to more traditional, hand-rendered paintings and drawings?
A3. Graphics and photo-management software range from simple to complex. From those intended for use by kids, to more expensive, increasingly sophisticated programs designed for average users, to skilled professionals. Squarely in the middle between these extremes are the Micrografx Picture Publisher programs, offering a wide range of features, ease-of-use, and affordability. Originally less than half the cost of its more complicated rivals, Picture Publisher enables both the casual user and talented professional to get fast, exceptional results. With its large assortment of tools, numerous wizards that both demonstrate and instruct, plus virtually unlimited special effects only a mouse click away, Micrografx software can take an artist to creative realms never before possible. Although the Micrografx company has since gone out of business some time ago, its programs continue to work well, especially when powered by computers whose abilities were unimagined at the time Micrografx first came on the scene. Speed of use, along with rapid results are probably the most dramatic benefits derived from a computer, especially when compared to the painstaking process of brushes and pigment.
The answer to this particular question is never complete without at least a brief acknowledgement of how there will always be a profound difference between anything rendered entirely by human hands, versus anything that could otherwise be described as "machine assisted." In terms of pure aesthetics, however, the finished product rarely matches (or exceeds) an artist's original mental picture of what he or she intended. For this reason alone, computer assistance has the ability to more closely realize, via trial and error, what had previously existed as inspiration only.
One must ask the question whether astrophysicist Stephen Hawking's work and writings are any the less significant because his mind must rely entirely on machines to communicate with the outside world. Likewise, are the visions of an artist any less visionary because he used a mouse or stylus, and a keyboard instead of brush and palette? There is something very human, intimately tied to our emotions, that tends to treasure a piece of art where blood vessels, skin, nerve endings, hand and eye coordination all came together and produced a thing of beauty. But why is this so different from music, for example? Music lovers don't routinely scramble about wanting to own and frame the sheet music of their favorite musician, orchestra, or composer. It may be little more than a somewhat morbid appreciation of our own fragile existence that makes us want to covet something of lasting beauty that was created by someone of fleeting mortality. I'll end this discussion with a quick take of my own that may or may not be relevant.
My wife and I like the quality of Hallmark Christmas ornaments, and have bought them over the years whenever we had a few bucks to spare. A couple of decades ago, give or take a decade, all such ornaments were hand-painted and the quality of a finished piece could vary wildly depending on the mood (and sobriety maybe) of the decorator. As an artist, I paid attention to, and marveled at the steady increase in craftsmanship that gradually turned what were once crude, foreign-made novelties, into present-day masterpieces of the art form. No molded detail is today too small or intricate that it cannot be painted with near microscopic precision. All thanks, of course, to computer assisted rendering. The modern Christmas ornament, whether through Hallmark or others, is a true wonder to behold. They appear like super-miniature sculptures whose creation defies explanation and sometimes belief. But is it art? We tend to believe the hand-carved, hand-painted, one-of-a-kind ornament certainly is. Whether we like it or not, or would buy it or not.
I think we need to ask another, different question. What was it really that we wished to hold, admire, touch, even own as a personal possession? What was the goal involved? To have something purely hand-crafted that approximated an artist's notion of Santa Claus or an elf? Or was the ultimate goal, previously unachievable, to always have as authentic and realistic a piece as possible? And we simply settled for what we got, always amazed by the steady hand of the artist who did a decent job of painting the eyes on a face. In my particular case, I want the most beautifully painted ornament I can get my hands on, and I couldn't care less whose hands, or lack of same, were or were not involved in making the final product. I also don't care how many others were made, exactly the same as mine. The intrinsic beauty of something should never be measured by how many of the same thing exist. Who cares? I have mine and I love it. Isn't that a little to do with what art is supposed to be all about?
I imagine the future of art will continue to speed towards artificial intelligence augmenting human intelligence. Or will that be vice versa? Now there's an interesting question. What kind of paintings will robot minds (computers) produce once they can do so autonomously? Will it be considered art? Or must chauvinistic humans always define "real" art as strictly human in nature? Will artificially created prose be considered literature? Aside from "old fashioned" orchestras, music today is almost entirely digital, produced by computerized instruments of one form or another. Once the robot guitar player comes along, I think the concerts will be over for good, so to speak. A Mick Jagger robotic clone? Perish the thought.
So is a computer-enhanced piece of my work worth owning? Is it art or just another type of Christmas ornament? Will the personal touches I include with each print make the work collectible, sought-after, worth more someday than what was originally paid for it? While I might claim to know a little about a lot of things, and a lot about precious few things, I haven't a clue on this one. And although I value my own work, I've priced all my prints accordingly. According, that is, to my own appraisal of circumstances that are nearly impossible to calculate. On the off chance, however, that I become somebody when I grow up, it might be a shrewd move to take advantage of what's available before I know better.
Q4. Are the prints, posters, and other artworks available for sale in DRAGONOPOLIS, the same as standard reproductions sold elsewhere? Are they of comparable quality and value?
A4. All artworks sold out of the DRAGONOPOLIS Mall are in the form of POD (Print-On-Demand). One order at a time. One customer/patron at a time. I do not sell limited editions of my work. Nor do I make available or outsource large numbers of open-edition reproductions peddled out of one or more independent companies. My patrons work directly with me, the artist. Each is hand-signed and numbered according to how many copies of any particular print have already been made (sold) and not according to how many pieces remain as part of a closed edition. Also unique and different is the fact that each and every print is identified (via its own stamp) as a product of the DRAGONOPOLIS website. Most prints can and will be customized in such ways as to render them as close to a one-of-a-kind product as possible. Similar features and handling of art prints via the POD process are rare if not altogether unheard-of among my competitors. Therefore a clear difference and distinction exists between the low-overhead art sold directly out of my several galleries, and the more expensive, generally haphazard manner in which prints and posters are dispensed by other POD service companies.
Q5. The prints and posters are sold and priced according to size and other criteria. Are special orders and sizes available?
A5. Yes. Special orders are very welcome. Since patrons deal directly with the artist, a variety of special-order options are available and encouraged. Please use any of the contact forms which are scattered throughout the site in order to inquire about an order, special or not. I'll then get right back to you asap with all the pertinent details. Including the outrageously affordable, unbelievably low purchase prices that accompany special orders. Really. In some cases the shipping cost is more than the print itself. Would I lie to you? Never. Will my prints always be this cheap? God, I hope not.
Special Note: Since the decision was recently made not to include a shopping cart at this time, all sales and marketing information is for future use only. No prints or other merchandise is currently available except by special arrangement with the artist (me). Please drop me a quick note for additional details. Thanks.
A1. No. Each dragon character whether a hybrid or what I call a Trueblood, is an original work realized entirely on a computer. The are only two exceptions which include Terra, the hummingbird, and the one, well known image of Earth as seen space.
Q2. How much time did the additional computer enhancements require in order to complete the images as displayed?
A2. More than fifteen years were required to create a selection of finished files suitable for producing art prints, posters, and a variety of experimental renderings whereby the computer was used to “push” the limits of what was possible in the form of enhancements and manipulations.
Q3. How does computer art compare to more traditional, hand-rendered paintings and drawings?
A3. Graphics and photo-management software range from simple to complex. From those intended for use by kids, to more expensive, increasingly sophisticated programs designed for average users, to skilled professionals. Squarely in the middle between these extremes are the Micrografx Picture Publisher programs, offering a wide range of features, ease-of-use, and affordability. Originally less than half the cost of its more complicated rivals, Picture Publisher enables both the casual user and talented professional to get fast, exceptional results. With its large assortment of tools, numerous wizards that both demonstrate and instruct, plus virtually unlimited special effects only a mouse click away, Micrografx software can take an artist to creative realms never before possible. Although the Micrografx company has since gone out of business some time ago, its programs continue to work well, especially when powered by computers whose abilities were unimagined at the time Micrografx first came on the scene. Speed of use, along with rapid results are probably the most dramatic benefits derived from a computer, especially when compared to the painstaking process of brushes and pigment.
The answer to this particular question is never complete without at least a brief acknowledgement of how there will always be a profound difference between anything rendered entirely by human hands, versus anything that could otherwise be described as "machine assisted." In terms of pure aesthetics, however, the finished product rarely matches (or exceeds) an artist's original mental picture of what he or she intended. For this reason alone, computer assistance has the ability to more closely realize, via trial and error, what had previously existed as inspiration only.
One must ask the question whether astrophysicist Stephen Hawking's work and writings are any the less significant because his mind must rely entirely on machines to communicate with the outside world. Likewise, are the visions of an artist any less visionary because he used a mouse or stylus, and a keyboard instead of brush and palette? There is something very human, intimately tied to our emotions, that tends to treasure a piece of art where blood vessels, skin, nerve endings, hand and eye coordination all came together and produced a thing of beauty. But why is this so different from music, for example? Music lovers don't routinely scramble about wanting to own and frame the sheet music of their favorite musician, orchestra, or composer. It may be little more than a somewhat morbid appreciation of our own fragile existence that makes us want to covet something of lasting beauty that was created by someone of fleeting mortality. I'll end this discussion with a quick take of my own that may or may not be relevant.
My wife and I like the quality of Hallmark Christmas ornaments, and have bought them over the years whenever we had a few bucks to spare. A couple of decades ago, give or take a decade, all such ornaments were hand-painted and the quality of a finished piece could vary wildly depending on the mood (and sobriety maybe) of the decorator. As an artist, I paid attention to, and marveled at the steady increase in craftsmanship that gradually turned what were once crude, foreign-made novelties, into present-day masterpieces of the art form. No molded detail is today too small or intricate that it cannot be painted with near microscopic precision. All thanks, of course, to computer assisted rendering. The modern Christmas ornament, whether through Hallmark or others, is a true wonder to behold. They appear like super-miniature sculptures whose creation defies explanation and sometimes belief. But is it art? We tend to believe the hand-carved, hand-painted, one-of-a-kind ornament certainly is. Whether we like it or not, or would buy it or not.
I think we need to ask another, different question. What was it really that we wished to hold, admire, touch, even own as a personal possession? What was the goal involved? To have something purely hand-crafted that approximated an artist's notion of Santa Claus or an elf? Or was the ultimate goal, previously unachievable, to always have as authentic and realistic a piece as possible? And we simply settled for what we got, always amazed by the steady hand of the artist who did a decent job of painting the eyes on a face. In my particular case, I want the most beautifully painted ornament I can get my hands on, and I couldn't care less whose hands, or lack of same, were or were not involved in making the final product. I also don't care how many others were made, exactly the same as mine. The intrinsic beauty of something should never be measured by how many of the same thing exist. Who cares? I have mine and I love it. Isn't that a little to do with what art is supposed to be all about?
I imagine the future of art will continue to speed towards artificial intelligence augmenting human intelligence. Or will that be vice versa? Now there's an interesting question. What kind of paintings will robot minds (computers) produce once they can do so autonomously? Will it be considered art? Or must chauvinistic humans always define "real" art as strictly human in nature? Will artificially created prose be considered literature? Aside from "old fashioned" orchestras, music today is almost entirely digital, produced by computerized instruments of one form or another. Once the robot guitar player comes along, I think the concerts will be over for good, so to speak. A Mick Jagger robotic clone? Perish the thought.
So is a computer-enhanced piece of my work worth owning? Is it art or just another type of Christmas ornament? Will the personal touches I include with each print make the work collectible, sought-after, worth more someday than what was originally paid for it? While I might claim to know a little about a lot of things, and a lot about precious few things, I haven't a clue on this one. And although I value my own work, I've priced all my prints accordingly. According, that is, to my own appraisal of circumstances that are nearly impossible to calculate. On the off chance, however, that I become somebody when I grow up, it might be a shrewd move to take advantage of what's available before I know better.
Q4. Are the prints, posters, and other artworks available for sale in DRAGONOPOLIS, the same as standard reproductions sold elsewhere? Are they of comparable quality and value?
A4. All artworks sold out of the DRAGONOPOLIS Mall are in the form of POD (Print-On-Demand). One order at a time. One customer/patron at a time. I do not sell limited editions of my work. Nor do I make available or outsource large numbers of open-edition reproductions peddled out of one or more independent companies. My patrons work directly with me, the artist. Each is hand-signed and numbered according to how many copies of any particular print have already been made (sold) and not according to how many pieces remain as part of a closed edition. Also unique and different is the fact that each and every print is identified (via its own stamp) as a product of the DRAGONOPOLIS website. Most prints can and will be customized in such ways as to render them as close to a one-of-a-kind product as possible. Similar features and handling of art prints via the POD process are rare if not altogether unheard-of among my competitors. Therefore a clear difference and distinction exists between the low-overhead art sold directly out of my several galleries, and the more expensive, generally haphazard manner in which prints and posters are dispensed by other POD service companies.
Q5. The prints and posters are sold and priced according to size and other criteria. Are special orders and sizes available?
A5. Yes. Special orders are very welcome. Since patrons deal directly with the artist, a variety of special-order options are available and encouraged. Please use any of the contact forms which are scattered throughout the site in order to inquire about an order, special or not. I'll then get right back to you asap with all the pertinent details. Including the outrageously affordable, unbelievably low purchase prices that accompany special orders. Really. In some cases the shipping cost is more than the print itself. Would I lie to you? Never. Will my prints always be this cheap? God, I hope not.
Special Note: Since the decision was recently made not to include a shopping cart at this time, all sales and marketing information is for future use only. No prints or other merchandise is currently available except by special arrangement with the artist (me). Please drop me a quick note for additional details. Thanks.
Fig. 2.
THE BIG PICTURE
Dragalleries. And the dragreatures who inhabit them.
Welcome to the galleries of DRAGONOMICON, an exclusive collection of original posters, prints, and other artworks designed to celebrate the charm, humor, and drama of the DRAGONIA Trilogy. I call them dragallery and dragalleries because it's fun to combine the word dragon with other words, especially when they seem to fit well. As you may have already noticed, instead of a glossary, DRAGONOMICON sports a draglossary. So when you see a term that looks a bit outlandish (literally) it's likely me just having my way with the language. I did a lot that in the books themselves. One must be careful, however. There's nothing funny about being silly if no one understands what you're saying. But I digress.
As I was saying, all my art is printed on a set selection of papers, with gloss and mat finishes. All works are sold individually or as custom "suites" chosen by my patrons. Each is shipped in a heavy cardboard tube container, is suitable for framing, and includes a signed, dated, and numbered Certificate Of Authenticity issued specifically for the print ordered. These certificates are therefore nontransferable, which is a good thing.
Many of the “plates” displayed in the dragalleries were (are) intended as informal works that might further convey the mood and spirit of DRAGONIA, but exist separate from the prose that surrounds them. In a desire to create artworks that might exist as independent, stand alone images, the pieces displayed here reveal the journey of exploration and experimentation that resulted from a pursuit of the many variations possible.
One of the few artistic drawbacks in a modern world where technology and talent are so intimately joined, arises from the virtually limitless possibilities that lay at an artist’s disposal and discretion. Potentials that obey his or her every conceivable whim. Similar to scientists working at the molecular level, a hitherto unimaginable ability exists to make changes, erase errors, and refine images a single pixel at a time. Such a near omnipotent power is, however, both a curse and a blessing. In my endeavor to exploit the potentials in question, I hope audiences will appreciate the brevity of my self-control. Difficult as it may be at times, to discern.
Lastly please note that few of the images as shown in any of the galleries, including those found in ASTRONOMICON, IMAGINOMICON, and NOUMENOMICON, display my signature, the DRAGONOPOLIS logo, a registration I.D., a small badge or other device that might be used to customize -- and personalize -- any individual print. Because so many combinations are possible and in some cases necessary, the basic (base) images only are presented for viewing. Once a print is ordered, I, as the artist, reserve the right to place my signature, badges and other "marks" in locations that (in my judgment) best suit a particular image. Since each piece is POD, however, everything is both negotiable and changeable upon request.
As I was saying, all my art is printed on a set selection of papers, with gloss and mat finishes. All works are sold individually or as custom "suites" chosen by my patrons. Each is shipped in a heavy cardboard tube container, is suitable for framing, and includes a signed, dated, and numbered Certificate Of Authenticity issued specifically for the print ordered. These certificates are therefore nontransferable, which is a good thing.
Many of the “plates” displayed in the dragalleries were (are) intended as informal works that might further convey the mood and spirit of DRAGONIA, but exist separate from the prose that surrounds them. In a desire to create artworks that might exist as independent, stand alone images, the pieces displayed here reveal the journey of exploration and experimentation that resulted from a pursuit of the many variations possible.
One of the few artistic drawbacks in a modern world where technology and talent are so intimately joined, arises from the virtually limitless possibilities that lay at an artist’s disposal and discretion. Potentials that obey his or her every conceivable whim. Similar to scientists working at the molecular level, a hitherto unimaginable ability exists to make changes, erase errors, and refine images a single pixel at a time. Such a near omnipotent power is, however, both a curse and a blessing. In my endeavor to exploit the potentials in question, I hope audiences will appreciate the brevity of my self-control. Difficult as it may be at times, to discern.
Lastly please note that few of the images as shown in any of the galleries, including those found in ASTRONOMICON, IMAGINOMICON, and NOUMENOMICON, display my signature, the DRAGONOPOLIS logo, a registration I.D., a small badge or other device that might be used to customize -- and personalize -- any individual print. Because so many combinations are possible and in some cases necessary, the basic (base) images only are presented for viewing. Once a print is ordered, I, as the artist, reserve the right to place my signature, badges and other "marks" in locations that (in my judgment) best suit a particular image. Since each piece is POD, however, everything is both negotiable and changeable upon request.
D r a g r o u p O n e
The BOOK-ENDS Bunch
Unused experimental ads and posters based on a singular theme. Which I guess is pretty obvious now that I see them all together.
DG1A-000
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DG1B-000
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DG1C-000
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G1D-000
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DG1E-000
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DG1F-000
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DG1G-000
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G1H-000
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DG1I-000
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DG1J-000
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Fig. 3. Concept art for magnetic car sign.
D r a g r o u p T w o
The INSERT-CARDS Collection
Originally designed as a small and affordable grouping (in size and number) these 5" x 7" cards were used one-at-a-time as inserts which were placed inside boxed sets of the DRAGONIA Trilogy. The intention was to encourage fans and enthusiasts to purchase the entire collection of twenty-four cards. The accompanying certificate would have been hand-signed and numbered. Individual cards were not sold separately. Because the further refined and edited third edition was never printed (yet) no complete sets were ever sold (or available). The current eBook versions of DRAGONIA available in the Kindle store @ Amazon.com are close approximations of the unpublished third edition. Though not likely anytime soon, the formally printed and bound POD version of the DRAGONIA Trilogy is slated for publication at some point in the future. In the meantime, this was and still is a decent little assemblage that I will print (on demand) for anyone interested. Complete sets only, thank you.
D r a g r o u p T h r e e
BOJA
Color is not a black and white matter.
D r a g r o u p F o u r
BOJA & SHELLDON
Miscellaneous line-art renderings designed for use in coloring books and other applications.
* * * *
You're currently on page DRA7
listed under DRAGONOMICON
The dragalleries continue on pages DRA8 thru DRA20
No more pictures, please. Just send me to
where I can examine the books themselves.
