Gallery: How David Hockney Became the World's Foremost iPad Painter
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Before the advent of the iPad, Hockney used Adobe Photoshop with a stylus and touch sensitive pad to create digital works. Here: *Matelot Kevin Druez 2*, which was printed on paper using an inkjet.
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*Yosemite I, October 16th 2012*. Hockney's famously bright aesthetic translates well to the iPad, which allows him to match colors and tones faster than ever before.
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*Yosemite II, October 5th, 2011*. Hockney favors the portability of Apple's touch devices, which lets him capture entire landscapes, as they appear, in one sitting.
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*Woldgate After the Rain* (2013). While Hockey's use of technology is notable, analog mediums prove useful as well: here, he relies on Charcoal to emphasize winter's lifelessness. Photo: Richard Schmidt
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*The Massacre and the Problems of Depiction* (2003). Hockney challenges traditional ideas of perspective throughout A Bigger Exhibition, often questioning the value of a single viewpoint. Here, Hockney mashes up two masterpieces of perspectival shift: Picasso's *Les Demoiselles d'Avignon* and Goya's *The Shootings of May 3rd, 1808*. Photo: Richard Schmidt
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*Woldgate Woods, 26th, 27th, & 30th July 2006*. Hockney features Woldgate Woods, the forested area surrounding his Bridlington, England home, not only in oil, as it's seen here, but also in iPad drawings, charcoal, watercolor, and multi-perspective cubist movies. Photo: Richard Schmidt
