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digigraphs
Eynsham is the home of digigraphs. they are being developed by two Eynsham artists, Sue Raikes and Adrian Moyes.

what are digigraphs ?
Digigraphs may, but need not, use photographs - as inspiration, texture or shape. Many digigraphs are abstract images; some of them are hand drawings on a computer - some originated (often a long way back) in photographs.

Digigraphs are artwork generated by computers (as opposed to photographs, which are images generated by light). It's not yet clear exactly what the definition of a digigraph is, nor where the boundaries are with graphic art, digital art and so on. Maybe digigraphy is, or will become over time, a separate category of art , or maybe it won't. For the moment though, the term digigraph is used to describe the sort of art on this page (and the next). Eynsham is the UK centre for such work.

These pages show some images where the artists are experimenting with different styles - a spectrum running from quite photographic photo-montages at one end, to more abstract computer drawings at the other.

a note on the artists

Sue Raikes' development of digigraphs arose out of her experience with the process of etching; if you change your mind with an etching, you can't go back and undo what you've already done. With Photoshop on a computer, you can use Layers, in the same way as in etching, to build up depth and composition, and you can delete them (temporarily or permanently) as you change your mind or develop your ideas.

Adrian Moyes' enthusiasm came from his delight at being able to by-pass drawing (a low skill area for him) and paint with photographs, enabling him to build up an image very different from a photograph - more like a painting perhaps, but different from a painting too.
Allotment, Sue Raikes, 2006 - hand drawing using a computer Tablet.
Bamako2, Adrian Moyes, 2006 - using photographs as a basis.
Two views of Bamako, the capital of Mali, dirty, dusty, concrete, ugly; some of it crowded, some surprisingly open, thus the football.
Bamako 1 (on right) is more of a photomontage; the people are everywhere, even though the concrete buildings dominate. In Bamako 2 (on left), the buildings have won.
Bamako1, Adrian Moyes, 2000
Lemourountoumou, Sue Raikes, 2006 - using photographs as a basis.
Udaipur on left captures the colour and warmth and shape of the Indian city of Udaipur; it originated from an etching she did way back.

Lemourountoumou, above, uses photographs as a basis to capture the arid browns of southern Mali, and the dazzling swirls of colour of the women's dress.
Udaipur, Sue Raikes, 2006 - developed from one of her etchings of long ago.
Kababougou, Adrian Moyes, 2006 - a more abstract version
Pottery Village, Adrian Moyes, 2006 - using photographs as a basis.
Two views of the potting village of Kababougou in Mali. On the left a photo-montage shows the decorated pots and the wood used to fire them. Kababougou on the right uses the same photos as a starting point, but produces a much more abstract version.
Tug o'war, Adrian Moyes, 2006 - using photographs as a basis.
In Angkor Wat, Cambodia, a huge stone fresco depicts the epic struggle of gods and demons as a tug of war using a giant naga (snake) as a rope.
It looks quaint enough now, but the scene it shows must have been quite violent and bloody. So here it is as an Asian film poster, and incorporating what's meant to be a thought-provoking haiku.
Sonata, Sue Raikes, 2006 - hand drawing incorporating various images.
more digigraphs