This manual provides easy to follow, step-by-step instruction in the use of various graphic, animation and video production software for the Commodore Amiga personal computer. The manual assumes that the user knows nothing about computers so each step and its consequences are explained completely from turning on the computer to saving a disk and printing the screen image. Many excellent programs have been designed for the Amiga which are compatible with each other sharing the IFF format. They may be used to create art by computer without prior computer experience or any knowledge of programming. This manual introduces some of these programs and present applications for their use. In addition various hardware peripherals are described which allow multi-media and video production. The book should be used with the various programs operating as their own illustrations on the monitor screen. The final chapter is a gallery of computer generated images.
John Warren Oakes is an exhibiting artist and
Professor of Art at Western Kentucky University,
Bowling Green, Kentucky.
In 1962, Oakes received an Albert Dorne Scholarship to attend the
Art Students League of New York where he studied with Arnold Blanch,
Edward Chavez, Doris Lee, and Edward Millman. Oakes was an Ogden
Scholar, graduating cum laude from Western Kentucky University in 1964.
He received an M.A. degree in 1966 from the University of Iowa
studying with Mauricio Lasansky, Eugene Ludens, James Lechay
and John Schulze. In 1973, he received the M.F.A. degree
from Iowa studying with Byron Burford, Joseph Patrick,
Michael Tyzack and Tony Underhill.
He continued his post graduate work at Harvard University
receiving the C. A. A. in 1975.
Oakes has exhibited in 445 exhibitions and had 47 one-man shows.
He has won 35 prizes for his paintings, prints, drawings
and creative photography.
Works in public or private collections in
Alabama, Arizona, California, Colorado, Florida,
Georgia, Indiana, Illinois, Iowa,
Kentucky, Maine, Maryland, Massachusetts,
Michigan, Mississippi, Nevada, New Jersey,
New York, New Hampshire, Rhode Island,
South Dakota, Tennessee, Texas,
Virginia and Washington,
Argentina, Belgium, Brazil,
Canada, Czechoslovakia,
England, Germany, Ireland, Italy, Japan,
Netherlands, Norway, Poland, Romania,
Spain, and the West Indies.
He is a member of
Encaustic Artists International
Encaustic Art Institute
International Encaustic Artists
Sedona Visual Artists Coalition
ArtWorks Coalition
These meditation cards are reproductions of paintings from his "Meditations on the Holy Cross" series - 2008-2011.
Oakes described the series:
"I am interested in depicting the life energy that emanates from the dead body and the androgynous figure left on the cross. The challenge of painting a crucifixion that is not sentimental in the traditional sense but emotionally charged in a contemporary fashion interests me. These are not about self-expression but I am acting as channel for these images which are created in the process of working."
He has included shapes and forms that suggest the subject without detailing. He uses value and color contrast to emphasize the feeling of internal light emanating from the figure surrounded by ambiguous space and darkness. His personal mark making and brushstrokes will add texture by over-painting in a scumbling fashion. His color is triadically harmonized and limited to warm darks with yellows and orange tints chromatically making value shifts. He employs complimentary cool blues and violets which contrast with the warm colors.
The composition is basically symmetrical with movement of forms emphasized. Figure elements are be repeated in various positions to create movement, rhythm and a repetition of form. Some gradation is used to reveal form contrasting with flat areas of tone. Often he uses a mannered proportion and exaggeration. An expression of respect for the subject and the feeling of life of the spirit emanating after the death of the body contributes to the emotional impact of Oakes art.
Oakes expresses this content by combining multiple visions of the crucifixion integrated with abstract forms and transparent layers to suggest rather than depict the event. Often hints of traditional images will be barely visible. The viewer will contribute memories of the historical subject upon this framework completing the image.
His style is expressionism. An element of abstraction, mannerism and surrealism is evident. Multiple exposures and transparency layers of photography and combined views of Cubism contributed to his style.
