The process of digital printmaking often starts with a variety of both electronic image sources (digital photographs, 2D and 3D vector graphics, digital paintings, web images,) and non-digital image sources (everyday objects, drawings, prints, paintings, sculptures, analog photography). Analog sources are translated into a digital format through digital photography or scanning. Although images may be converted from traditional media into digital form, the intent of digital printmaking is not merely to reproduce analog artwork. Once all source materials are formatted, artists introduce their digitized material into an image editing application to be manipulated, composited or both. The resulting artwork is a completely new image.

After creating a digital work, the artist uses a large-format inkjet printer to reproduce the image on any variety of media. At the BCC print lab, students can print on glossy photo paper, matte papers, and canvas. Outside professional printers may also use fabrics, aluminium, dibond, and other materials as printing surfaces. Subsequent to printing, some artists go on to layer their pigment inkjet artwork with non-digital materials, adding stitching, textiles, paint, pencil, ink, charcoal, collage, or sculptural elements.

Another dimension of digital printmaking that adds to the art form’s considerable breadth is scalability. Artists can recreate their image at almost any desired size. In light of the flexibility that digital imaging offers with regard to scale and media, many of the artists in this catalog have chosen not to include their piece’s dimensions or medium.

Reflecting the immense stylistic range of digital art, this website includes a broad spectrum of aesthetic interests within the Digital Artists Collective. Members’ work ranges from abstract to representational, from photographic to illustrative, from realistic to fantastic, ornate to minimal, decorative to philosophical and political.