Digital Art Vs Traditional Art

There is an undeniable urge for expression encoded in the genetics of humans; it’s evident from a very early stage of life as a baby desperately attempts to utter sounds in an effort to communicate needs. As one masters their native language, art becomes the ultimate medium for expressing thoughts and ideas that may not be adequately conveyed through speech. Artists seek out the physical world for ideas and tools to express their underlying urges, communicating deep conceptual ideas in new and profound ways.

As artists begin to experiment with tools that define individual art forms, such as drawing, painting, sketching, sculpting, and creating music, a new paradigm emerges: new media art.

New media art prompts an unprecedented shift in art's very core, moving away from traditional tools and techniques that define classical art. In this paper, I explore three critical questions: "Will this monumental deviation from traditional art to new media art provide an equivalent sense of satisfaction as great classical pieces like Leonardo da Vinci’s Mona Lisa, Michelangelo’s David, or The Last Judgment?” “What will be the outcome of abandoning the physicality of art creation or deviating from old techniques?” “Will new media art have an aura, given its digital nature allows for replication?”

Classical artists' work will forever supersede digital artists' work, even with the rise of technological advancements on their side. Classical artists have a greater connection with their tools; they are not confined to a mouse and computer screen while creating masterpieces that endure through time. Artists like Michelangelo, Leonardo da Vinci, Raphael, and Donatello used various instruments to create some of the greatest art pieces of all time. These artists, who solidified the foundation of art as we know it, had close relationships with the tools they used daily. By the 19th century, the rise of technology began to pose a significant threat to classical art. By the 21st century, the concept of what constitutes an artist had changed drastically. No longer did an artist need to know the skills traditionally associated with foundational arts, such as hand drawing, sculpting, painting, exhibition, music, theater, dance, and performance. Computer technologies revolutionized the very foundation of what we traditionally thought of as art, allowing artists and common folk to connect, communicate, and share ideas in unprecedented ways. This digital revolution forced us to see things from different perspectives and create new terms such as digital communication, video design, visual art, and performance art. At the same time, it steers new artists away from engaging with traditional physical tools that gave rise to art as we know it.

It is true that art is not defined or restricted by the specific tools an artist chooses to use, but understanding the fundamental nature of any given subject and the tools that carved its beginnings is crucial to mastering that specific field. Let’s take animation as an example; animators no longer need to draw every single frame to create the illusion of life we call animation. They no longer have to spend countless hours, days, or even years to create short animations that perfectly reflect motion. Nowadays, with programs like Autodesk Maya, Blender, Autodesk 3ds Max, and Adobe Animate, one can easily utilize these tools to replicate the illusion of motion with instant frames. As technology becomes more advanced, traditional methods of creating animations seem archaic or irrelevant. However, knowledge of 2D art allows artists to possess a greater appreciation for details and patience that they wouldn't attain solely through digital art or animation. With technological advancement, the younger generation may think they do not need to be informed about pioneers like Eadweard Muybridge, who used photography in 1878 to study horses' gaits to understand motion. Ignoring this history is a mistake, as it means failing to acknowledge the basis of animation.

Muybridge's discoveries remain a staple in the medium we know as motion pictures. His experiment was unprecedented and challenging to execute. He used 12 different cameras to take pictures in rapid succession, revealing a new reality of motion that the naked eye failed to see, solidifying the medium of motion pictures. Muybridge's ultimate aim was to determine whether a horse becomes fully airborne when galloping, a question that led to the twelve principles of animation and the illusion of motion as we know it. Animators who overlook the importance of knowing where animation started or the skills in drawing will be at a disadvantage in a competitive, skill-driven environment. It is imperative that digital artists inform themselves about the fundamentals of art and animation, such as the magic lantern in 1606, the Thaumatrope in 1824, the Phenakistoscope in 1801, and the Zoetrope in 1804.

There is an undeniable difference between classical and digital art. With this notion ingrained in our minds, can we say that one medium is better or more substantive than the other? In Walter Benjamin's influential 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” he describes something called Aura, stating, “in even the perfect reproduction, one thing is lacking: the here and now of the work of art—its unique existence in a particular place.” Essentially, Benjamin argued that in the digital age, art can no longer possess an aura due to its reproducible nature. An original painting exudes an essence that digital art fails to embody. Classical art exudes authenticity, originality, and rarity, existing in a specific time and space, whereas digital art tends to lose its value due to its reproducible nature, allowing it to be printed and possessed by any individual.

There is a saying that goes, “Before you can break the rules, you first have to master them.” Similarly, I believe that when digital artists fail to acknowledge the tools and knowledge used by classical artists who mastered and defined art itself, they are putting the cart before the horse. Classical art will forever remain the foundation of where art begins, and failing to acknowledge this fact will further distance digital artists' work from mastery. Despite the undeniable distinction between classical and digital art, the big question remains: will digital art ever achieve the same degree of satisfaction and aura for viewers, despite abandoning the links to what we associate with classical art forms?

In conclusion, both classical and digital art hold unique positions within the continuum of human expression. While digital art offers unprecedented opportunities for creativity and accessibility, it is crucial not to overlook the rich history and foundational techniques of classical art. As artists navigate this evolving landscape, they must strive for a balance that respects the past while embracing the future, ensuring that art continues to be a profound means of expressing the human experience.

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