sign for artistry 1 and 2 page

Not a prerequisite to creating fractals but certainly to furthering one's involvement in establishing their skill: Ultra Fractal Artistry 1 and 2 Course(s) avail to do this for the student of fractal art. There isn't anything to compare to taking lessons. They have you focused, coordinated and dutiful. Furthermore, doing extra work from these course lessons as seen in this Artistry 1 and 2 Online Journal adds a quasi-composure (and, hopefully this state will assist me in maintaining momentum after the courses have concluded).

Fractals are repeating patterns of self-similarity which have a venue.
And, to that end is my interest, quid alo, to extrapolate from the mean which is to deduce one's foothold in assent.

In contemplating my fractal art or any piece of art, I view it in this way...can I live with that piece on a day to day basis? Can I reflect on it and feel good about the content and color scheme? Does it have place in my home or business?
And, in answering yes, I have endeared it to me and I am in the moment. The artist has brought to front, a time when their art piece was conceived.

PSP Pattern
        (PSP Pattern)
As I've been accustomed to writing in algebraic expression and using my left brain in binary code/identity mapping on a daily basis, circumventing the right brain to work in Ultra Fractal has been a struggle. In a notebook journal I'm keeping along with this web page are the ever enduring math logic expressions which attest to a functional composition. Working through the creative aspect of a mathematically oriented software program is like being on a retreat.
The above pattern was composed within an index of symbols using paint brush and run through the pattern effects of Paint Shop Pro. The result, though not specific to the Ultra Fractal 4.04 Software Program is an image that looks like the self-similar and repeating patterns of fractals.

I have read these books from the recommended reading list:
  • Blank Canvas Inviting the Muse by Anna Held Audette
  • Art and Fear by David Bayles and Ted Orland
  • Creative Authenticity 16 Principles to Clarify and Deepen Your Artistic Vision by Ian Roberts

In so doing, I've developed a sort of 'mindset' from the content. The meaning of acquiring style and artistic persuasion through self-expression is in making one's own art whereas the defining of art remains illusive.

These books have helped me with intuition where I would be making a comparison.

I am content to have my digital art posted on web pages not only because it is computer formatted art, it's home. Clip-art Link to Valery Warren's Table of Contents. I don't expect that I will become a contemporary artist, famous for my works and able to make a living from them. What I do know is that through self-expression, I'm being creative which is mind expanding on the conscious, subconscious and/or higher conscious level. Creativity is formidable to evolutionary stride.

Wikipedia Links:

'Artistry and Journaling'
"My Creativity and My Thoughts"

(click on the fractal thumbnail to view full size image)

Julia Selection: Asymmetrical Fractal Form. The objective was to create a fractal in asymmetrical form which is determined by mapping for transform kaleidoscope and symmetry in Ultra Fractal. The three kaleidoscope layers done with the Doodads' Parameter Formula are in reflective symmetry mode. The single symmetry layer done with the GraftColor's Parameter Formula is in the symmetry mode: horizontal+vertical and is exhibited by the capitol letters~HIOX.
Inspired by UF Artistry 1 Course Lesson 1
Azi-Arto was created on 3/07/08.

Julia Selection: Rhythmical Fractal Form. The objective was to create a fractal that had balance to it's form and rhythm to that balance. From a forest background did rise a bezier curve fractal unique to this background. Four layers construct the background and play host to clipping transform, inside. These layers are: 2 Painters Trap(s), Truchet for Penrose Tilings and Orbits. Four more layers construct the clipping transform, outside and these are: Cluster, Bezier Curve, Rose Range Lite and Gaussian Integer. The 3 frames are Orbit Trap/Rectangle Traps providing emphasis to the layers.
Inspired by UF Artistry 1 Course Lesson 1
Forest of Bezier Curve was created on 3/09/08.

Julia Selection: Symmetry with Paremeter Layers. The objective was to create a fractal which viewed multiple layers of the same transform and parameter layer formula(s). One masking layer along with five layers in gradient opacity/transparency allow for gradient editing for fractal imagery emphasis. Mapping uses symmetry and kaleidoscope transform layers with Doodads, Gaussian Integer, Orbit Trap Parameter Formula Layers. S.F.B.M.II texture and Orbit Trap/Trap Only Rectangle Parameter Layers add dimension.
Oftentimes, one does not know the potential of their fractal and it's during tweaking that this potential presents itself.
Inspired by UF Artistry 1 Course Lesson 1
Emergence was created on 3/14/08.

Julia Selection: Rule of Thirds-Right Intersection-Finding the Focal Point. Julia Selection: Rule of Thirds-Right Intersection-Finding the Focal Point. Julia Selection: Golden Ratio-Left-Finding the Focal Point.
The objective was to create a fractal(s) wherein using the Golden Ratio and the Rule of Thirds, for a focal point.
This coloring algorithm, Kerry Mitchell writes is relative to established rules of artistic composition.
Above, the fractals exhibit a focal point, each in measure of this coloring algorithm. These are interesting and necessary deciphering tools, The Golden Ratio and Rule of Thirds, based on mathematical equations. Proportion, a key word, here, in the making of art and it's assessment.
Inspired by UF Artistry 1 Course Lesson 2
Fractals posted on 3/16/08

Julia Selection: Movement and Mood. The objective was to create a fractal which demonstrated movement and mood in it's selection of parameter formulas. Through zooming, panning and stretching, fractal bits were selected that gave this impression.
In referring to Janet Parke's comment that fractal art is abstract art, fractal composition is a condition of it's venue.
Inspired by UF Artistry 1 Course Lesson 2
AH was created on 3/18/08.

Julia Selection: Eye Flow. The objective was to create a fractal that related to eye flow. As noted, the bulk of the fractal is on the upper right with a string on the lower left. This would indicate a left to right eye flow. A background slanted to the left gives the fractal an aerial view.
Inspired by UF Artistry 1 Course Lesson 2
Aerial was created on 3/18/08.

Julia Selection: Movement and Selection. The objective was to create a fractal from a parameter formula that reaffirms and establishes the technique of selection.
At this point in my artistic development, it takes some time to locate the right fractal bits that permit further coloring algorithm(s), masking techniques and layering. Zooming and panning into a parameter formula is an unknown that can be frustrating as well as fulfilling. Though the spirals are readily available for gradient editing, the fractal bits are not evident to the eye.
I used the Golden Ratio in centering this fractal.
Inspired by UF Artistry 1 Course Lesson 2
Duet was created on 3/19/08.

Julia Selection: Atmosphere and Mood. The objective was to create a fractal, ideally, for atmosphere and mood.
The Mandelbrot Set is a Divergent Theory, wherein, a medial axis and through posting, one is in their persona.
One could create an 'impact statement' in their choice(s) of parameter formulas, herein, suggesting that the actual and implied lines as beset of variables are metaphorical.
Advancing this thought, then: 'Iconoclasm is residential within fractal imagery.'
I used the Rule of Thirds for this fractal.
Inspired by UF Artistry 1 Course Lesson 2
Terrain (camouflage) was created on 3/21/08.

Julia Selection: A Still Life. The objective was to create a Still Life fractal.
Locating a fractal with many bits but with little particularity, I composed this abstract theme.
Fractal bits from 'Still' were used to add shadow to the fractal, 'Terrain'.
Still (stationary) was created on 3/21/08.

I am finding in making fractal art that formula layers have an affinity for convergence. In merge mode, the parameter set is convergent and only a tenth from each layer goes towards a completed fractal.
Less is Better when adding parameter formula(s) layers.

Julia Selection: Tonality~EEL. The objective in creating this fractal was to work in contrast and emphasis or tonality. Specific host/mask technique was made to the background area for tonality.
After rendering this fractal to disk and in Paint Shop Pro, I applied tonality of absolute adjustment method: shadow 6, midtone 50 and highlight 75.
The PSP effect did brighten and add depth to this piece of fractal art.
Upon further analysis, a light field exhibited between left and right brain admits to a tonality variance.
Inspired by UF Artistry 1 Course Lesson 3~3D
EEL was created on 3/30/08.

Julia Selection: Equal Time. In creating this fractal from a black, white and gray layer(s) host/mask technique, my objective was to propose a dimensional perspective in tonality. The star accents were added for theme appeal.
In Paint Shop Pro, I reviewed my histogram levels but did not use this program to make any tonal adjustments. My tonal adjustments were made in Ultra Fractal and rendered to disk.
Inspired by UF Artistry 1 Course Lesson 3~3D templates
Equal Time was created on 4/01/08.

Fractals are design elements of self-similarity and repetition, riposte´. To say they act in reciprocity with our routine activities is circumspect their formula flavor.

Julia Selection: Black White Tablet. In creating this black, white and gray host/mask with texture fractal, I added three pseudo-embossed layers.
What is a flat image with little line definition is intoned with a pseudo-embossing technique.
Inspired by UF Artistry 1 Course Lesson 3
Tablet was created on 4/11/08.

Julia Selection: Color Snail. In creating this fractal, I zoomed out of the 'Tablet' fractal for a selection. I removed the pseudo-embossed layers and kept the black and white host/mask and texture layers from the original fractal.
A continuity of form or unity is implied with lost edges. As the origins of this fractal had little definition, I thought it had this reference to lost edges within it.
I worked with the gradient editor to reach a determination of lost edges but the hard edges of my layers made this improbable. There is one gray layer with host/mask texture that blends into the larger lighter gray area. Immediate to the borders of my fractal, the color seems to trail back and forth from it's regions.
Inspired by UF Artistry 1 Course Lesson 3
Snail was created on 4/12/08.

Julia Selection: LKM Revisited. This is a fractal for which revisits a formula written by Kerry Mitchell. To achieve the dimensional image within this fractal, I used Rose Range Lite(ang/mag) Parameter, as well as, General Tent Julia Formula.
Multiple layers were used with alternative merge modes in postulation of Kerry Mitchell's Coloring Algorithm.
Janet Parke's comment on the VAA Bulletin Board: "This is your most striking image -- lighting-wise -- for this lesson. I think it's the place in the petals where the lightest and darkest areas are next to each other that makes this images pop! But I also like the layer of thin white lines and the fact that the background texture is so linear contrasting with all the curves of the main figure."
Taken from UF Artistry 1 Course Lesson 3
LKM Revisited was created on 4/13/08.

Julia Selection: Lost Edges. Harley Brown created a value concept known as lost edges. This fractal sees that value concept in lost edges where the colors or values blend into the surrounding shadows. This concept is effective in creating mood.
This fractal, unlike 'Tablet or Snail' and having a different formula composition allows for a coloring algorithm that sees Brown's value concept.
Inspired by UF Artistry 1 Course Lesson 3
Lost Edges was created on 4/13/08.

Julia Selection: CW Beans. In creating this two layer fractal, I referred to the analogous palette starting with Yellow (60), Green (90), Cyan (180) and Magenta (270).
In Color Theory made easy by Jim Ames is a reference to the additive spectrum and the electromagnetic radiation of wavelengths in nanometers (nm). The shortest wavelength light ray is purple to blue, medium wavelength is green to yellow and longest wavelength is orange to red.
My fractal had a look of a wispy flower and so, I proceeded to apply a color range from yellow to blue to green then magenta that would interpret wavelength light ray's progression. My wavelength color wheel selection, yellow to blue for the flower and green to magenta for the background began to take on a chopped appearance.
I cropped and panned into my fractal for something more pleasing and possibly easier to manage. I changed the color scheme to yellow with grades of green and magenta. This change brought into focus a green bean fractal image.
In Paint Shop Pro, I made some histogram level adjustments, as well.
Inspired by UF Artistry 2 Course Lesson 4
CW Beans was created on 4/22/08.

Julia Selection: Vicky-01. For this fractal, I consulted the analogous palette for the warm color palette: red, yellow and green.
My fractal is from lesson 3 where the idea of sculpting, highlighting and shadowing through host/mask in black, white and gray layers with texture layers was developed.
Through my analysis, layers have merge mode convergence and adding color is like adding another host/mask layer(s). Also, working within the host/mask texture layer's black, white and gray color selection, my results were succinct.
The challenge is to make the appropriate merge mode adjustments in accordance with the palette.
Inspired by UF Artistry 2 Course Lesson 4
Vicky-01 was created on 4/26/08.

Julia Selection: Ty-edges. Ultra Fractal's analogous palette color wheel has six overlapping ranges of 120 hues each, starting with red, 0 to green, 120.
This fractal is from Lesson 3, identified for it's edges and adapted to the black, white and gray host/mask layer(s) with texture.
I made from a monochromatic color wheel provided by Janet Parke for Lesson 4, an analogous color wheel palette of green, 120 to blue, 240 tone ramp. From this tone ramp, I could use my gradient editor's eyedropper for color to apply to the texture layers of my fractal. For the checkerboard texture layers, I duplicated and rotated one layer, horizontally and added yellow, 60 with intensity to both layers.
Inspired by UF Artistry 2 Course Lesson 4
Ty-edges was created on 5/06/08 and tweaked on 5/08/08.

My approach in making fractal art is to fully appreciate the composition of a fractal.
In question of color flow, the embedded parts of a fractal cannot be separated from the whole fractal:
all inclusive, self-similar repeating patterns.
Only through parameter layers can host/mask color congruency be obtained for embedded parts. For a fractal image, color charting for embedded parts within congruent parameter layer(s) becomes a decoded color spectrum matter or art form.
This is my understanding of the application, interaction and decoding of wavelength light rays or the color spectrum as sited in the book, Color Theory made easy by Jim Ames.

Julia Selection: Cool Stripes. Using the analogous palette color wheel developed by Janet Parke for Ultra Fractal, cyan 180 to blue 240 and magenta 300 range, I sought to make cool palette fractal image.
Fractal selection is in measure of the Mandelbrot Coastline where a Julia, coastline dust resides. As a process, iterations with zooming see a fractal take shape.
From a Thingamajig's Parameter Formula, I located fractal bits from the larger fractal selection that I found suitable to color chart for this cool palette. These 'bits' of the self-similar repeating pattern(s) embedded in the larger fractal selection are a product of iterations with zooming, panning and stretching.
I made three host/mask layers, one in black, one in white and one in gray. Each of these layers has a texture host/mask layer with three gradient points in black, white and gray hue intensity. I made a second host/mask texture layer for cool palette color charting.
Inspired by UF Artistry 2 Course Lesson 4
Cool Stripes was created on 5/13/08.

Julia Selection: Cool Stripes 2. From the color wheel developed by Janet Parke for Lesson 5, I added complimentary warm hues known as a discord to the cool hues of my Cool Stripes Fractal.
It is advisable to add a warm hue discord to a cool hue palette and vise versa to achieve tonal contrast. In this fractal, I worked into my layers, a triadic (triad) combination of complimentary (opposite) hues from the original cool palette selection of cyan to blue and magenta. In Cool Stripes 2, I added a warm hue discord range and intensity to the background as well as the accents of orange 30, yellow 60 and lime green, 90 with a subtle lighting layer of orange 30, overall.
Inspired by UF Artistry 2 Course Lesson 5
Cool Stripes 2 was created on 5/15/08.

Julia Selection: Woodwind. For this fractal, I used a discordant and complementary blue hue in a warm palette to stave the focus of the oblong object in the upper left of the fractal.
Before, there was a lone flower fractal shape in the enchanted forest. After, the black, white and gray host/mask layers were established with texture, this lone flower shape with it's potential was no longer a single object of focus in the enchanted forest. To bring the lone flower shape back into focus and retain the origin of the fractal, a discordant and complimentary blue hue was added to this lone flower shape.
Inspired by UF Artistry 2 Course Lesson 5
Woodwind was created on 5/22/08.

Julia Selection: Spiral Composition. This fractal is a composition of that learned from previous exercises in host/mask with texture layers, the color wheel and tonality.
Harley Brown says, "Get the values right and the eye will accept the unlikeliest colors."
Embedded details from this fractal's spiral host/mask composition are poignant to the texture and hue selections. The hues chosen for this fractal are orange, yellow with blue and/or purple. Without sounding too presumptuous, my thought is that from these layers and hues, proportionately, is the notion of our emotions and/or a sixth sense. Namely, this fractal is reticent in it's p's and q's.
Inspired by UF Artistry 2 Course Lesson 5
Spiral Composition was created on 5/28/08.

This space being reserved for Lesson 6 is the final exercise of this Course in Artistry 1 and 2.
Janet Parke asked that we make as many fractals within two weeks as we could and post the best of them on the Visual Arts Academy Bulletin Board after this time. During this time, we were asked to revisit our fractals and reevaluate them based on a criterion within Lesson 6. No posting was to be done and all images were to be kept to ourselves until after this posting date on the bulletin board. I have made a total of 12 fractal images for this exercise.
Not all of these fractal images in the opinion of Janet Parke were acceptable. The gradation scale ranged from lost, to the best of them, and nice.
Another part of this course aside from journaling was in critiquing and Janet Parke's comment was:
But I don't think it's appropriate for me to judge your opinions with my opinions.

Critiquing is as easy as knowing what appeals to you or I and using this knowledge with discretion.
View and decide for is a useful tool.

(click to view full size)

Julia Selection: Threefold.
Julia Selection: LKM Layers Revisited.
LKM Layers Revisited~a compromise?
Julia Selection: LKM Edges.
LKM Edges~lost?
Julia Selection: Avatar Revisited.
Avatar Revisited~anti-aliasing?
Julia Selection: Kaleidoscope.
Julia Selection: New Lost Edges.
New Lost Edges~good?
Curly Q
(zoomify giga pixel image)
Julia Selection: New Movement.
New Movement~color regularity?
Julia Selection: New 012 Crop.
New 012 Crop~well liked?
Julia Selection: New Airy Things.
New Airy Things~nice?
Julia Selection: Septer Julia.
Septer Julia~only the ribbon?
Julia Selection New Spiral 2.
New Spiral~tonality

Personal Comments
Found in the recommended reading literature are references to and ideas about the conditions for which see our creativity when applying ourselves. In some part, creativity is a self- expressed desire to work through the obstacles and delve into our life-styles than bring to the public an end product known as a/our composition.
In Artistry Course, these ideas were also expressed by our instructor and by some students.
In referencing one idea on the bulletin board, this was expressed:
'I felt that there was more to be gained from taking this course and configuring for fractal patterns.'
Identifying with this statement, one could call it, style which is the development of technique over time.

What I've learned from attending Artistry Course Semesters 1 and 2 that I feel is important concerns cohesion. Without the cohesion of parts, the art form takes on an amusing antidote. I think this can be applied to life-styles, as well as, to comedic skits.
Salvador Dali's clocks, for instance, leave me giggling when extrapolated by life-styles.

Link: S. Dali Clock

VAA Bulletin Board Favorite Fractals
These fractal images from lesson exercises were submitted for bulletin board evaluation.
(click to view full size)

Julia Selection: Green Beans.
Lesson 1~Movement
Green Beans
Julia Selection: Black and White.
Lesson 3~LKM Revisited
Black and White
Julia Selection: Island.
Lesson 4~Warm Hues
Julia Selection: Gel.
Lesson 5~Use of color
Julia Selection: Wool.
Lesson 5~Use of color
Julia Selection: Peas.
Lesson 5~Use of Color

'Notebook Fractal'

Upon completion of the two semester Course in Artistry, I wrote in symbols, a notebook fractal formula I've called, 'Droit'. In the first page, I identify the self-similar and repeating pattern(s) of a fractal. I did so using axiology and was able to work my way around a fractal. In the second page, I wrote a formula particular to the understanding of my fractal draft. In the third page, I applied my formula and in referencing Ultra Fractal 4.04, used a locations tabulation for my Mandelbrot selection and Julia iteration. I was able to create a fractal image from my composition.

'Intrinsic Thoughts'

Logging a relationship to fractal art and the mathematics within fractals are the notions of transcendence, ascension and libration. As this is denominational within our cortical matter then, mathematics as a part of our transverse furrows remits in kind to an id. From this id formalism, a relationship of an ovoid is deduced as a level 8 and surmised by the loop of a figure 8 allowing for oblique and mirage to be self-similar and repeating fugue pattern(s) found in nature at intervals for tachometry.
The propagation and diffusion of color in nature correlates with likeness from the stand point of a figure 8.

Janet Parke, Visual Arts Academy Instructor writes: Fractal Art is created on a computer using specialized mathematical formulas. Every element of my work – shape, color, texture, and lighting – is controlled by these mathematical formulas, and I, in turn, control the formulas by manipulating their parameters.
Each image is a collage of many layers that are merged together to create the final work, then printed to the highest archival standards on photographic paper, watercolor paper, or canvas.

Certificate Of Achievement ~ Artistry

Gnarly Piece Background Tile taken from Specks Gnarly Fractal and run through Redfield Seamless Effects in PSP.
Fractal~Gnarly Piece
(background tile)


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