UNIVERSITY OF MAKATI

HIGHER SCHOOL NG UMAK

The Comparative Study of the Differences and Effectiveness of Digital and

Traditional Arts in G12-01 VAMA of Higher School of UMAK

CHAPTER 2
REVIEW OF RELATED LITERATURE AND STUDIES

This chapter presents the relevant literature and studies that the researcher
considered in strengthening the importance of the present study. It discusses the
various researches and other literature from foreign sources that have a significant
impact on the variables studied. It focuses on a number of factors that will aid in
the development of this research. The study is generally concentrating on the
students of G12-01VAMA about Digital and Traditional Arts. This study's literature
is drawn from journals, articles, electronic materials such as PDF or E-Books, and
other existing theses and dissertations.

Related Literature

According to Inspirational Art Zone (n.d.), The creation of art on a digital

platform is known as digital art. This means it employs computer-generated images
as well as other technical and software-based artistic creations. It's a step forward
for the traditional art form. Traditional art, on the other hand, is any piece of
artwork that is not digitally generated; it was the first type of art to be created, and
it was from it that digital art originated. They stated that when it comes to digital
and traditional art, there are significant variations. To begin, traditional art is
frequently created by hand using paper, pencils, ink, paint, and a variety of other
materials. This suggests that traditional art has value since it can be sold in its
natural form, but digital art is created using computers and specially software
applications. Digital art offers an erase option, it allows you to make mistakes and
redo your artistic work without much effort. This makes work less cluttered
because the tools aren't in their actual form, and the task appears neater. On the
other hand, Traditional art costs the artist much every time they make a mistake.
This is due to the fact that the work is physically demanding, and restarting it might
be tough at times. Working with paints creates a filthy and stinky environment. Art
created using the digital method is easier to preserve because it is saved within the
computer and takes up less space. The similar problem exists when it comes to
delivering the item to the client. It's a lot simpler because the delivery option is as
simple as clicking a button and the item will deliver right away while the traditional
art is more difficult to store because the artistic work takes up more space. The
delivery of the item is also a struggle, both in terms of time and means of delivery
(Inspirational Art Zone[APA], n.d.). They added that traditional art methods need
patience, discipline, and a fundamental understanding of art in general. Many
times in the past, painters who used the traditional method had to go to school or
have someone with the knowledge pass it on to them over long periods of time in
order to master the art. It's no different with digital art. The abilities required to
execute the software, as well as a basic understanding of computer usage, are
required. It is also self-evident that someone with no prior artistic experience will
be unable to effectively use the digital art method (Inspirational Art Zone[APA],
n.d.).

Some people believe that technology is a threat to creativity and that it is

attempting to replace traditional art making. For art teachers, this concept can be
extremely concerning. However, studies show that using digital tools in art
education helps students enhance their artistic skills and creativity. Art teachers,
more than ever, feel it is necessary to advocate for their programs in the digital age.
A strong advocacy tool might be a digital arts curriculum (Schukei, 2019). She
emphasize that there are certain advantages in teaching Digital Arts, such as
expanding access because not every student has access to a set of art materials at
home, but many students do have access to a digital device such as an iPad or
Smartphones. She claimed that devices aren't affordable at first, but when
compared to all the consumable oil paint tubes an artist might buy in a year, the
one-time technology investment makes sense. Yes, technology breaks and needs
replacing, but so do paintbrushes and canvases. It's also easy in terms of taking
around the art supplies you'll need to produce as you'd like, which isn't always
possible. Carrying a plain air painting set up or a water cup for watercolor painting
isn't always practical, it can be inconvenient. Using a digital medium to create is
rather painless. You can take your gadget practically everywhere with you, and it’s
always easy to get when you are ready to create (Schukei,2019). Another
advantages of digital art creation is instant shareability. Because digital art is
already stored on a digital device, it is easier for artists to share their work in its
best form. Work may be rapidly shared digitally on websites and via social media.
Sure, a snapshot of a painting doesn't always do the painting's physical features
justice, but it can convey the overall concept. Finally, because creating digitally
saved time, it boosted productivity. You can simply use the undo button to start
again if you make a mistake on a digital drawing or painting. You can erase without
leaving a trace in a digital composition, change colors quickly, and move or resize
things in just a few seconds. "You are not limited by the physical features of the
material world" (Schukei,2019). What is the difference between traditional and
digital art? According to Dehart (2018) The simple answer to that is traditional art
uses traditional mediums that have existed and been developed and improved over
time. While digital art uses digital technologies to produce art. There are a variety
of factors you will take into consideration when determining what will work best
for you. There are some advantages and disadvantages of each art format. First of
all the advantages of Traditional Art is the original physical artwork: an original
piece of art is often considered worth more than a print or digital file. And last but
not the least is imperfection: the flaws of art created by hand have a unique
authentic value. Meanwhile there are also disadvantages in traditional art such as
mistakes of hard to remove: mistakes can’t be undone, only embraced or covered
up. Next one is difficult reproduction process: requires a scanner or digital camera.
And lastly is equipment or materials: when you run out of something you need to
buy more. As well as Traditional Art, The Digital Art form also has advantages
including the efficiency: it is easier to get started and work quickly. More forgiving;
nothing is permanent when you have the undo button. Second is more exploration:
it has unlimited experimental possibilities it also duplicate easily, it is ideal for
working with clients. And last is about equipment and materials: after you buy your
computer, software, and tablet you’re all set, while the disadvantages of digital arts
are unlimited possibilities: limitless possibilities can lead to creative paralysis. No
original physical copy because it can be printed on textured paper but it’s not the
same as an original painting. Another one is digital art is too easy to use. Some say
that the undo button makes digital art too easy but I believe that’s a misconception.
It still takes a great level of skill in the fundamentals of art to produce good digital
work (Dehart,2018).

The great art form is created by life's ongoing accumulations; rather than
pure creativity, it requires generalization and refinement. All we have to do now is
absorb and combine the benefits of diverse art forms in order to create more
remarkable works of art that are easier to accept and recognize by the public. As a
result, if digital and traditional art are integrated and learn from one another, they
will grow more rapidly. It should be open-minded to the traditional art of learning,
especially as a type of digital art, in order to maintain their creative energy (Du, Li,
Gao, 2010). This study also focuses on the experiences of pioneering Digital Atelier
artists, Dorothy Simpson Krause, Bonny Lhotka and Karin Schminke from their
residency at the Smithsonian American Art Museum in 1997 to the publication of
their best-selling book, Digital Art Studio. Krause explores how her work as an artist
has changed and evolved and how she and the other Digital Atelier artists have
obtained access to the tools necessary for making their cutting-edge art, art that
could have been produced at no other time in history. Their most recent work with
UV-cured flatbed printers provides a glimpse into the future for artists using digital
technologies. From their residency at the Smithsonian American Art Museum in
1997 until the publishing of their best-selling book, Digital Art Studio, this
presentation focuses on the experiences of pioneering Digital Atelier artists
Dorothy Simpson Krause, Bonny Lhotka, and Karin Schminke. Krause looks at how
her work as an artist has developed and progressed through time, as well as how
she and the other Digital Atelier artists were able to gain the tools they needed to
create cutting edge art that could not have been created at any other point in
history. Their most recent work with UV-cured flatbed printers gives artists working
with digital technologies a glimpse into the future (Krause,2006).

The growing number of digital works of art created today represents an

exciting development in the world of contemporary art but it is not without its
challenges for museums and archival organizations. When it comes to the
discussion of preservation, few preservation standards for physical objects are also
applicable to digital objects. In many respects, digital objects are far more complex
and it would be inappropriate to apply traditional documentation and preservation
methods to most forms of digital art. Instead, institutions need to develop
alternative approaches to the preservation of digital art. They must move beyond
the traditional art world with its physical objects and preservation. The increasing
quantity of digital works of art generated today is an exciting development in the
field of contemporary art, but it comes with its own set of issues for museums and
archival institutions. When it comes to preservation, only a handful of the
preservation rules that apply to physical artifacts also apply to digital objects.
Digital artifacts are significantly more complicated in many ways, and typical
documenting and preservation procedures would be inappropriate for most forms
of digital art. Institutions must instead devise new approaches to the preservation
of digital art. They need to look beyond the traditional art world of physical items
and produces the greatest good (Cowick, 2016). Art has taken on the responsibility
of generating the reality and lifestyle of society in the second part of the twentieth
century. During this time, visual art continued to function as a liberal art, passing
past subjective worlds and attempting to create new realities by opening to
alternative worlds.” (İpşiroğlu, 1993, p. 101). Taking refuge in indications instead
of the truth, according to Baudrillard, causes art to follow pictures rather than the
truth. According to Baudrillard, consumption is always about consuming symbols
and indicators, that new media art lacks a thread of meaning, and that meaning is
formed by indications and symbols. The aim of art has clearly changed as a result
of the media and advertising sectors. In 1994, Milgram and his colleagues
developed a definition for the virtual extended and mixed reality notions that
linked reality and virtual environment with continuity. The real setting on the left
is one that is made up of real people. Objects that we can view directly, such as via
a window or on a computer screen. If you move it to the right on a line of continuity,
you can see that there is a reality there that is based on the overlap of virtual
elements (e.g. information, 3-D presentations) and the real environment; in other
words, it is a reflection of a real world “enlarged” by virtual elements. The
technologies of virtual reality creates an experimental area. For the new media
artists. The viewer is forced to participate with an active role, in a game that
consists of mutual interaction between the natural and virtual world that consists
of immersion (International Balkan University, 2016). The studies on artistic
creation and production have revealed that artistic creation is not only produced
by a high ability, but also with randomization which is obtained through computer
programs and technical knowledge and skills. With this, the idea that artistic
creativity is only for those with high skills was replaced with an idea of democratic
right which says that anyone. Can be creative in terms of art Virtual reality
technologies provide an experimental space for new media artists. The viewer is
compelled to take an active role in a game that involves mutual interaction
between the natural and virtual worlds, resulting in immersion. Studies on artistic
creativity and production have found that artistic creation is aided not only by a
high level of ability, but also by randomness, which may be achieved using
computer programs and technical knowledge and skills. With this, the notion that
artistic creativity is only for individuals with advanced skills was replaced with the
notion of democratic right, which states that anybody can be artistically creative.
Digital art establishes and develops its own mode of expression in regards to the
future of digital art and contemporary art. The goal and investigated piece of digital
art is object, and as it approaches zero, so do the theories and meanings associated
with it. As a result, art is converted into a theoretically conscious object. A
comprehension of art, according to Baudrillard, continues as long as it loses itself
and its object (International Balkan University, 2016).

Related Studies

We look at how subjects, techniques, sizes, proportions, and other visual

features of photos have changed over time. We may also analyze whether the use
of digital technologies has had a substantial impact on the content and form of
artworks because these artworks are classed by their authors into two basic
categories: Traditional Art and Digital Art. Over a ten-year period, our analysis
demonstrates a number of slow and systematic changes in artworks belonging to
both groups (Yazdani,2017). Many humanities fields have titles that imply they are
interested in history. We have art history, architectural history, history of
photography, media history, media archeology, music history, literature history,
and so on, in addition to the discipline of “history” itself. Consider art history as an
example The three founders of academic art history, like the three founders of
sociology, were deeply interested with historical changes in the arts and crafts
(Chow,2017). While this Convolutional Neural Network is successful in recognizing
distinctive style features for particular artists, it does not address how such styles
change over time. Another study that is similar to this one creates measurements
of creativity in artworks as well as the impact of specific works. In a Convolutional
Neural Network, specific artists are identified from a massive corpus of data (over
100,000 artworks from over 6,000 artists) (Manovich,2017).

Reference
Inspirational Art Zone (n.d.) Digital Art vs. Traditional Art, Retrieved September
17, 2021 from https://inspirationalartzone.com/digital-art-vs-traditional-art/
Schukei, A. (2019) Digital vs. Traditional Art: Is One Better than the Other?
Retrieved September 17, 2021 from
https://theartofeducation.edu/2019/05/29/digital-vs-traditional-art-is-one-
better-than-the-other/
Dehart, B. (2018) Should You Do Traditional Art Or Digital Art? Retrieved
September 17, 2021 from https://blakedehart.com/blog/2018/3/14/should-you-
do-traditional-art-or-digital-art

Du, W., Li, Z., and Gao, Q. (2010) Analysis of the interaction between digital art
and traditional art, International Conference on Networking and Digital Society,
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https://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=5479462&isnumber
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Krause, D. (2006) Digital Art Studio: Techniques for Combining Inkjet Printing with
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Cowick, C. (2016) Beyond traditional art: Strategies for the preservation of digital
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