Making Art No. 10: Trends that shape the Future of Artistic Design Expression in 2025

Art is not, obviously, that ephemeral and often conflictive relationship of a search for love based on ending up all beaten up after provoking angers to strangers for internet content (Johnny Somalí), but it is truly the need to know ourselves, find ourselves, and even make visible what is not always so through authentic connections whose panorama is being transformed even now more with the popular use of artificial intelligence, challenging us to find meaning in the everyday such as collaborative projects that are booming in particular because brands seek to reach a wider variety of audience groups by adopting styles in their campaigns driven by increasingly advanced targeted digital advertising, which allows brands to serve audiences with images that will appeal to their specific tastes of familiarity and visible comfort through creations of 3D textures visible on image generation pages with artificial intelligence, but in a professional way and that transcends other arts style yameii online, apoki or digital humans like Mave's kpop offering; In turn, driving the making of 3D modeling more accessible and with a greater workflow for 2D artists based on platforms such as *WOMP*, *Adobe Project Neo* and *Kaedim*.

Design will also delve deeper into the pursuit of futures with roots in trends such as the retro-futurism based on stylized interpretations of the vintage and retro Moons of Darsalon style, steampunk, cybergothic and representations of the past and present, trends that unleash the imagination of artists and are expected to be applied more widely to comic art, conceptual art and fantasy illustration. After all, the trend will be totally clear during 2025 with the return of vintage magazine brands such as *Heavy Metal* and *Metal Hurlant*. Also we will also see a lot of psychedelia inspired by nature, spiritual feelings, hallucinatory patterns, vintage futuristic landscapes, funny and relatable everyday moments, satire, wordplay and the quirky; with a timeless sense of humor.

   

Additionally, all hand-made stop motion animation will be popular like already *Wallace & Gromit: Vengeance Most Fowl* on Netflix, *Dog Man* by DreamWorks or *Wildwood* produced by Laika, and there will be a lot of attention to all immersive experiences such as the collaborations made by artists like DJ Anyma (Matteo Millei) who has managed to combine electronic music with projections created by the team behind the duo Alessio De Vecchi (co-creative visual director) and Ian Spriggs (character artist), during the events of Tomorrowland and Afterlife, similar to those presented in the structure of The Sphere in Las Vegas, a site where popular shows of the same style will continue to be performed, and whose trend is repeated with *Starscape* presented at Genesis House in New York City; *Immersive Journey* by ROM in Toronto; *Invisible Worlds* at the Natural History Museum of America; *TeamLab Planets* and *TeamLab Borderless* presented in Tokyo; the moving version of *Rembrandt's The Storm on the Sea of Galilee for Frameless* made by Cinesite in London; As well as immersive, interactive experiences such as *Super Nintendo World* at Universal Studios Hollywood and Universal Orlando Resort; *Disney's Star Wars: Galaxy's Edge*, located at Disneyland; or *Pac-Man Live Experience* at the Arcade Arena in Manchester

And that's how we've already started to explore the concept of "Real Time Immersive Experience" using Unreal Engine, this powerful dynamic rendering engine allows the creation of complex environments, using cloners and effectors that can handle tens of thousands of meshes in real time, whose capabilities include Dynamic Visual Definition that allows adjusting the visual resolution of particles and colors on material surfaces instantly, and Advanced Visual Physics that offers realistic simulations of particles and collisions, enriching the immersive experience; Features that are essential in large visual effects and animation productions, both in film and television series, as is the case of visual effects and film production companies such as DNEG.

In conclusion, the evolving landscape of art and design is being dynamically reshaped by technological advancements, particularly with the integration of artificial intelligence and real-time immersive experiences. The convergence of these elements not only expands the boundaries of creativity but also offers new avenues for artists and designers to connect with audiences in profound and meaningful ways. As we continue to explore and embrace these innovations, the potential for collaborative and transformative artistic endeavors will undoubtedly grow, enriching our cultural tapestry and paving the way for future generations of creators.

Making Art no. 4: "Between make anything and the artistic value".

Must art have some kind of strategy? History seems to show a distance between the ways of understanding the artistic study in different countries; It causes us to accept that any final product sometimes has consequences due to minute details, or almost unreliable philological bases, however, one does not intend any textual criticism or classical ecdotic since art can only be based on its meaning and the management of its economic preparation with diachronic processes like Greco-Latin, romantic and pagan precedents. Art, then, does not aim for social brilliance or indirect symbolic rewards since it mixes the cultured with the popular as a desire for self-representation beyond any style, whose most common procedure will be the provision of work done, the evaluation, or possible external help for the leading author of the artistic system, but not for the simple creative.

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So how should it be presented? How to differentiate a poetic language from prosaic language? Does it belong to some biocultural analytical puzzle? Should your subjective and / or objective perception be specified? On average, no art offers any advantage over productive means, in addition, if art did not offer benefits and only demanded time, energy and resources, its cognitive patterns would not feed the hunger for information that leads to the meaningful matrices from which we can make valuable inferences. Therefore we like bright, null and distinct colors, sharp contours, complex shapes, designs and materials on surfaces; And the more flexible minds are to handle multiple patterns on multiple levels, and the more open their mastery of the information that surrounds them, the better they can predict and act in the face of the nonsense of a complex world not built for the art itself that concentrates the profusion of symbolic perception of visual, auditory and social behavior patterns.

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And since emotional intensity helps to consolidate memory, the more attention is drawn to one or another X art, and the more it elicits responses, the more it can reconfigure our minds for its advantages over its purpose, identification, adaptation, and its continuity by allowing inferred meaning both at global anthropological levels, as well as at local historical, political, economic, technological, cultural, intellectual, and artistic levels. Works created by and for the flow of economic attention framed between a space, the media and forms that constitute it, pay for it and provide feedback just as its consumer does, who makes an appropriation of their choices making then uniques from which the product gains power over the repressed recreational subversion in the specialization of a defined exercise in the mercantile characteristics generated by its consumption with evolutionary exchange patterns understood as historical preferences and economic capacities. Taking us by the hand to the context of production defined by the economic, emotional, political, religious, social and cultural circumstances in which an artist is immersed when producing a work, which will demand time, energy and resources, and where their cognitive patterns will not be able to feed the hunger for the information that leads to the meaningful matrices of the final product from which it is possible to make valuable inferences; However, the work can reaffirm itself as a communicative manifesto depending on what is implicit in it.

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Thus we get to the point where the artist must create art and not a market, and where the marketer will create a market but never an art. A situation almost similar to creating a currency available for a market that requires a transnational historical trend and be significantly flexible, and that may or may not be compared with some investment in real estate or with a simple collection of sports cards so, to offer anything is enough? Should art impress and make the viewer uncomfortable? Is 'Sonata for pepáphone and voice, opus 140' a good example? Are we talkig only about hunger? Have we reached the limit of making any kind of item a product? If I intend to relate a writing with a murderous look, should I care? The only sound that the air pump produces directly to the vagina is noise added to the immediate need to create a melody for such accompaniment, which in the end becomes the same thing: Noise. Which at the same time makes one wonder if everything about composing can be summed up to believing and getting involved in an idea or, if perhaps all the studies that one should or could have carried out were once without context before the idea of ​​perhaps the artist or producer in question only produces uninteresting, unnecessary works or products or around related definitions. Are the different kind of performances known? Is the presentation of an "Opus" more valuable to human sculptures like "Rushing man" or people like Estevan Mortensen? What kind of difference is on presenting yourself with agility and creativity as Dan Menendez "The piano juggler"? Do people understand or know the different examples that exist?

   

   

   

Video link: https://www.youtube.com/watch?v=ZJQvHSZW3eg