Digitally Editing Photographs of Paintings

In my previous article, I explained how I photograph my paintings, recording high enough quality jpg's to reproduce well to at least 7 inches square in high-resolution print. In this article, I explain the digital editing process I use in Adobe Photoshop 7.0, once I have downloaded the images to my computer. The aim is to have a final high-resolution file ready for print, and also some lower resolution files suitable for use on a website. Whether or not freeware is as good as Photoshop, I wouldn't know, but if you don't have Photoshop already, I would research this before buying a copy.

This article is not a Photoshop or computer tutorial. It lists what I do, but doesn't give instructions. This article is for readers that already have a reasonable knowledge of Photoshop, and other computer skills. I only have basic skills myself, so nothing too advanced is needed. Before you do anything, you will need to ensure your computer screen is properly calibrated. If you type "PC monitor calibration" into your internet search, there are plenty of websites that will take you through this.

Let's assume I've just finished photographing my latest painting, and have just downloaded the images into my "Source Images" folder on my computer. I keep all my source files in this folder, and keep a regular backup of this, and all my other images folders, safely hidden in another location. I back-up to CD or DVD, as it's non-volatile memory. You might want to consider backing up to an external hard drive too. Any editing I do to the source file is saved as a different file, in a different folder.

Firstly, you may remember from my previous article, I take several versions of each shot. I preview them carefully, and delete all but the best one of each.

Opening the file in Photoshop 7.0, I crop, rotate and zoom out so that I have the largest view possible on my screen of the whole image. Then, with the painting next to me for visual reference, I adjust the Levels accordingly.

Then the Colour Balance. My source files are usually too blue, so I move the pointers slightly away from Blue and Cyan. Then, I adjust the Saturation. With my photos, the red is often very over saturated. I sometimes have to move the red saturation down to around minus 15. That's usually enough to get the colours and tones right. Tweak around if necessary. I occasionally use the Brightness/ Contrast too.

Stand back and look at both the painting and the PC screen together. Take a break, then look again with fresh eyes. If there's someone else around, ask them for a second opinion. Getting this right is important, especially if you are going to be uploading a version of this image on-line for a potential buyer to look at. Then, I zoom in to 100%, and use the Unsharp Mask to bring it crisp into focus. Don't overdo it. I always find the image needs a bit of sharpening, and always leave the sharpening till last. I Save As jpg to my "High Res Edited" folder, (image quality maximum).You may want to save to a lossless file type instead, but high-res jpgs have always been fine for my purposes.

Now for making images suitable for my website. I reduce the Image Size, so the longest dimension is 850 pixels. Zoom in to 100%, and use the Unsharp Mask to focus. I then Save For Web at a quality setting I'm happy with in the preview screen. I tend to save them at very, perhaps unnecessarily, high quality. The file size is usually around 200k. If you're worried about people downloading useful versions of your images, you may want to reduce the longest dimension and/or image quality.

I then create the thumbnail image, using the same Save For Web process as before, but making the longest dimension 157 pixels.

Note: I always sharpen in 100% view.

This next part is VERY IMPORTANT. When you close Photoshop after having done all this, and it asks you if you want to save the changes, click NO. You've already saved the web version's. You don't want to reduce your high-res edited version to 157 pixels long! If you click Yes by mistake, like I regularly do, it's not disaster. You still have the Source Image in the source folder. It just means you have to do all the digital editing again.

Edgeworth Johnstone is a contemporary artist from Muswell Hill, North London, UK. He specialises in expressionist figurative paintings, but also makes other art work such as drawings and block prints. Browse the online gallery on his website for affordable original art work.

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Taking a Digital Photograph of a Painting for Amateurs

This article explains how I take digital photographs of paintings that are high enough quality to be reproduced to at least 7 inches square in high-resolution print format, using affordable equipment, and little technical knowledge. I suspect, without having tried it, these images would also print well at much larger sizes.

The equipment I use:
A mid-range digital SLR camera. (I think I paid about ?250 for it.) It records JPGS at around 5MB.
A sturdy camera tripod. If not, you will need something else stable for the camera to sit on.
Two wooden boards, the second of which is at least the size of your painting

Procedure:

Wait for the painting to dry properly.

Set your camera to record at its highest quality setting. Mine records JPGS at around 5 MB. Turn the flash off.

Take your painting (no frame or glass), equipment, and preferably an assistant outdoors.

If it's an overcast day, that's ideal. If it's sunny, don't put the painting or the camera directly in the sun light. Find a shady area, but not too dark or you won't have enough light. If it's even slightly windy, be extra careful. Even a small gust can take hold of a painting if caught at the wrong angle. If it's raining, wait for it to stop. I've given up trying to photograph paintings indoors.

Weather permitting, put the first wooden board on the ground, and stand the painting upright on top of it. The first board protects the painting from the ground.

Stand the second wooden board, that is at least the size of the painting, directly behind the painting. This double ensures no light shines through the back of the canvas. Have the second board resting against something solid like a wall or fence.

Ensure the painting is standing straight. Don't let it tip back. If you have a steady-handed assistant, they can support the painting to ensure it doesn't topple over. Otherwise you will have to tie it with string, or something. A tipping back painting in my garden, always gets horrible glare on it. If anything, I have it tipping slightly forward, but I'm sure this isn't recommended by the professionals. You will probably want it straight to ensure equal focusing, if nothing else.
Ensure the camera is parallel to the painting, so that when you look through the camera, the edges of the painting are parallel with the edges of your viewfinder.

Of course, assuming your painting is either square or rectangular.

I use the following camera settings:

a. View finder: Adjust the position of the camera so the painting fills as much of the view finder as possible. This maximises the level of detail.

b. ISO: 100, if not 200. No higher, or the image is too grainy.

c. Shutter speed: No slower than 1/80, to allow for slight unintentional movement without blurring.

d. Aperture: F4, or a higher number. Don't use a number lower that 4 if possible. With the lower numbers (wider apertures) I tend to get focusing problems.

e. Auto-focus. I'm hopeless at manual focusing.

f. Check that a wasp, or something similar, isn't sat on your painting.

g. Use the timer. Don't take the picture with your finger, it can cause slight movement, and therefore blur.

h. After you've taken the photo. Refocus the auto-focus on something else, then return to the painting, and take another shot. I do this 4 times. Just so I have a choice of images.

i. If you get a short preview of the recorded image on the back of the camera after you've taken the picture, look at it. It's always slightly different from what I see in the view-finder.

Note: If I have to compensate some of the camera settings in order to get enough light, I widen the aperture to an F number lower than 4. Maybe, I will use a shutter speed slower that 1/80, but I don't compensate on the ISO. 200 really is the highest I would use. Otherwise, wait for the light to improve.

Lastly: Take additional shots of the painting from other angles. Don't worry so much about the image quality, or camera settings on these ones.

Take a few of the painting leaned up against a wall. Take a few of the back of the painting. These are useful to have on file, especially if you are sending images to a potential buyer, or listing the painting on eBay. Take some close-ups of the artist's signature, and any other notable details. Take close up shots of any damage to the painting that you may need to declare. Buyers like to see photos that give more of an indication of what the painting looks like in the flesh. They may want to see if good quality stretchers have been used, or if any of the paint has seeped through the primer and is visible from the back. I also take a few shots of the painting next to a milk bottle, to give an indication of scale. Even if the potential buyer knows the dimensions, it's helpful for them to see visually what the scale is. If it's a very small painting, a 50p coin might be better.

Always take several of each shot. The preview screen on the camera may look ok, but I often find when I upload the images to my computer afterwards, that some of the shots are too out of focus to use, or have something else wrong with them that I didn't realise when taking them.

Edgeworth Johnstone is a contemporary artist from Muswell Hill, North London, UK. He specialises in expressionist figurative paintings, but also makes other art work such as drawings and block prints. Browse the online gallery on his website for affordable original art work. http://www.edgeworthjohnstone.co.uk/

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History and Aesthetics of Painter Art

The art of painting is as old as humanity. From the prolific artists of the Lascaux caves in France to the eternal masterpieces of Renaissance artists of Monet and van Gogh, art has played an aesthetic role through the ages. With a variety of different schools of art forms coming up, the painter art was launched into classical societies with frescoes and murals. The different forms of art of painters were developed into several styles including historical, religious, allegorical, landscape and still life over the years.

Coming to the aspect of Israeli painter art, it came into prominence at the time of Cezannian rebellion and is marked by rapid stylistic changes. Reuven Rubin, one of the leading artists in Israel began his career at the time when Israeli art was beginning to flourish and develop. The history of the country and the unrest is depicted well within the paintings of that era. The world renowned Cezannesque landscapes of Rubin of 1920s have a distinct style and the amalgamation of both modern and native styles. They portray the inhabitants and landscape of Israel in an elegant style.

Israeli art was given impetus with the success of Reuyen Rubin and the recurring themes of the paintings included Arabs and Jews while the sunny depictions of Jerusalem were one of the main themes. Other themes included folklore, biblical landscapes and people carrying on with their daily tasks. In 1924, he was the pioneer artists to hold a solo exhibition in Jerusalem at the Tower of David. Experts have linked his style to that of Rousseau and the intense exposure to Byzantine art of Romania, where he was a native of. His much read biography, 'My life- My Art' was published in 1969 and most of his paintings were donated to the city of Tel Aviv.

The trend of painter art in Israel has caught the fancy of people worldwide and as more art galleries present the work of talented artist, the art market has visibly grown in the nation. In 2007, at the art auction of Sotheby in New York, Rubin's work was in the top ten slots of artists. That is the true value of painter art in the realm of art connoisseurs. The appreciation of painter art has grown in demand not only in Israel but all over the world and more artists are holding solo exhibitions with larger audience appreciation. If you are interested in buying or viewing painter art, there are numerous websites that showcase the great talent of artists online.

Anita Satin Choudhary writes for Painter Art Gallery. Browse the gallery for unique collection of paintings and art gallery online. Check out Painter art.

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Leonardo Da Vinci, A Many-Sided Genius

Leonardo da Vinci, the genius of the Italian Renaissance was born in the town of Vinci; his birth is not known with accuracy but it is assumed he was born in 1452.

Leonardo's achievements in so many different areas made him an outstanding human being: scientist, painter, philosopher, draughtsman, writer, botanist, inventor; there is hardly a branch of human learning to which he did not at one time or another give his eager attention. He was also interested in architecture, art-sculpture, mathematics, engineering and music; he was in fact a many-sided genius.

Considered one of the greatest painters of all time and definitely the most talented person ever to have lived; in this article we will be mainly focus on two of his greatest masterpieces: "The Last Supper" and the "Mona Lisa".

The Last Supper: Between 1496 and 1498 Leonardo painted this masterpiece, however it was originally executed in tempera on a badly prepared stucco ground and began to deteriorate a few years after its completion; it was restored on several occasions but it was not until 1908 that Professor Cavenaghi has, in opinion of experts, preserved it from further injury.

The Painting represents the last meal that Jesus had with the Apostles before he was betrayed, captured and killed. Leonardo successfully captured the betray effect in the painting and the gestures of the disciples reveal their temperaments, passions and shock by the realisation that there is a traitor in the group.

The Mona Lisa: Once back in Florence, Leonardo started working on the Portrait of Mona Lisa or La Joconde by which the portrait is officially known in the Louvre Museum. It is assumed that he started working on the portrait in 1501 and it was finally completed in 1504; even when the completion of the most famous painting in the world took around four years, Leonardo did not paint it for Francesco and Lisa del Giocondo (They commissioned the painting); he painted it for the posterity; the enigmatic Mona Lisa looks like if she is alive and observing us from any angle you look at the painting.

An extract of Vasari's eulogy of this portrait clearly reflects the admiration of this work: "...The nose, with its beautiful and delicately roseate nostrils, might be easily believed to be alive; the mouth, admirable in its outline, the rose-tints of their colour with those of the face, in the utmost perfection, and the carnation of the cheek does not appear to be painted, but truly flesh and blood..."

A peck of pigment near the left elbow was damaged in 1956 when a young Bolivian named Ugo Unganza Villegas threw a rock at it.

On the 22 May 1519, Leonardo da Vinci died, leaving us with an astonishing legacy of art and invention; he will leave forever as the Universal genius of all time.

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Finding Out How to Paint With Oils Easily

Imaginative natural talent isn't automatically a feature which everybody is born with, and may indeed be learned and above all improved. In determining to pursue oil painting as well as know about painting techniques, you will have without a doubt taken the initial step in achieving this particular hidden natural talent.

As with every activity or past time, it genuinely comes down to whether you are keen about your theme or task. Coupled with this sort of readiness and aim will be the choice to spend your excess energy into getting to grips with and also building the abilities that will be necessary for your art painting abilities.

Ponder for just one minute about the proficient sportsman or golf enthusiast; the time they had placed in their interest because of rehearsing, doing exercises and improving their experience is just what establishes them away from the ordinary player. Likewise in oil painting, you will practice these skills in which boost your objectives in achieving your abilities.

You might have other sorts of obligations and duties, and hence struggle to commit you to ultimately achieving your skills in a full time basis. In that particular event, you should prepare a step by step method in addition to aims for your self to realize these art painting aims.

The virtue of patience ought to be implemented, as a few of the oil painting abilities you will likely study require a large amount of training to perfect it. While you perfect your skills, you will observe the steps relating to growth. This routine of determination, perseverance and patience will all result in a much more self-assured and master artist within you.

It really is imperative that you take time to get your foundation connected with painting skills as well as similar concerns right from the very beginning steps - simply because this will definitely enable you to commence on a reliable foundation and move on after that. Despite the fact that there's a chance you're enticed to attempt elaborate pictures, or self-portraits, doing this could lead to you getting disappointed because you are not ready yet.

Your complete art painting expertise learning process really should be considered as the 'understand how to walk before you run' saying. It is such a viewpoint that will allow a solid groundwork you'll be able to build on.

Summing up, start out with a far more simple topic and method. Review as much painting skillsets along with associated subject material as is possible, whilst getting to know the principles and practices utilized from this amazing past time. As time passes on, you will certainly find that getting a past-time in art can help you live a happy life and boost your creative imagination levels.

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How to Preserve Paintings - Top 3 Tips

Paintings are a very important piece of art and there are really very less things in this world which can add beauty to a room as fast as paintings can. Today, I see so many art lovers spending thousands of dollars for their favorite piece of art, but end up loosing it due to small but preventable mistakes. This is the reason I have written this article.

This article will discuss top 3 tips to preserve paintings and keep them the same year after year.

So here are the top three tips to preserve and care for paintings:

Temperature and humidity- To help your painting remain as beautiful as it was when you bought it, you must try to maintain the temperature and humidity as high variations in these two aspects are almost always responsible for ruining great pieces of art. Of course, it does also depend on which medium the painting has been made. As a note you must know high temperatures are always bad for paintings. Now don't start freaking about this stuff as small variations in temperature will not do anything to your paintings, all this stuff is to give you knowledge about exceptions so that you don't lose your favorite painting due to small mistakes.
Protection from ultraviolet rays- Exposure to ultraviolet rays can cause some real damage to your paintings. Ultra violet rays will greatly decrease the richness and make your paintings look dull and old, this is the reason you don't see very high intensity light in museums and other paintings exhibitions. So you must take care where you place your painting, it is obvious that you want to display your newly bought paintings but make sure you don't hang them near windows or other area which gets heavily exposed to sun light.
Get them framed- This one is obvious and it kind of goes without saying, but still I can't count how many people I see don't get their expensive paintings framed and let them get spoiled.

Particles like dust and dirt can make your paintings look untidy and dirty, which is certainly a no-no for any art lover.

There are many cheap wooden and plastic frames available in the market, but if you are a real art lover and really want to increase the effect of the painting then get a good frame, it makes the painting look beautiful than you can ever imagine.

f you are an art lover and want to see beautiful Indian paintings click here --> Ganesha paintings. If you want to see traditional paintings from Rajasthan click here --> Rajasthani paintings.

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A Guide to Revamping Old Shoes

Like a lot of women, I love shoes and have a sizeable collection. As a single mother I rarely have the money to go out and buy a nice new pair of shoes, especially since a lot of the time I will only wear them once and put them away at the back of a cupboard. I decided to combine my love of crafting with my shoe obsession and came up with a way to revamp your old shoes for under ?20! Painting your shoes is a great hobby and it gives you beautiful, unique shoes that will be the envy of all your friends.

What you will need:

· An old pair of canvas or leather shoes (or a pair from a thrift shop or some super cheap ones, it doesn't matter if they look boring, as long as you like the shape of them. Fake leather also works well.)

· Nail polish remover and cotton wool balls

· A cheap set of acrylic paints, can be found in craft stores for ?10

· A bottle of clear acrylic varnish, also found in craft stores

· Paint brushes, if like me you are on a budget you can use make up brushes. Liquid eyeliner brushes are great for painting details.

· A fine tipped permanent marker to outline details (optional)

1. Make sure you are in a well ventilated area before you start. Lay down some old newspaper on your work surface before you start and make sure you wear old clothes as acrylic paint does not wash out.

2. Soak a cotton wool ball in nail varnish remover and begin to rub it all over the material of your shoe. This will clean off all dirt and also strip away the waxy protective layer. You may want to repeat this step a few times, it is very important that you get all of the top layers off so that the paint will stay. Make sure that you get in to all the creases, the shoe should look dull once the wax has been taken off.

3. Now it's time to decide what you want the base colour of your shoe to be, you could leave it the original colour, paint it a whole new colour or maybe even get adventurous with stripes or another pattern. Whatever you decide to do, you need to remember to use more than one coat of paint, this will ensure that there are no gaps or lighter areas where the paint has been spread thin. Make sure the paint is fully dried before starting the next step.

4. If you are good at drawing you can paint all sorts of designs and pictures on to your shoes, this is where a clean liquid eyeliner brush can come in handy. It can also be useful to carefully trace your design on to each shoe with a pencil first. It is important to look for where the most creases are on your shoes and avoid painting designs there, these are places where your shoe bends while you walk and designs painted there can easily be ruined. Be sure to let each layer of paint dry before starting a new one, you don't want to smudge your gorgeous new creations! You can use the fine tipped marker to outline any drawings, it's much easier than trying to paint a thin black line.

5. Once your artwork is finished and has had time to fully dry, you need to coat the shoe in clear varnish to stop any damage being done to the paint. Your new shoes will need two separate coats of varnish, usually leaving 24 hours in between each coat to give the layers a chance to dry. Once the second coat is dry, your new shoes will be ready to show off to the world!

The best part about this whole project is that once you have bought the paints and other items needed, you can use them over and over, producing up to ten newly spruced up shoes. Why not try experimenting? You can use glitter on your shoes before applying the varnish, you could use metallic paints, stick on jewels or even use a hot glue gun to apply small items such as fake flowers or other decorative pieces. Whatever you choose to do, painting your shoes in a fun, addictive hobby with the best reward - new shoes!

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Gallery Wraps - Art With No Boundaries

Art has always been subjective, so too is how art should be viewed. We have always relied on the expertise of Custom Picture Framers to suggest the perfect frame, or to select the best color combination of mat-board to enhance the art rather than to detract from it.

Selecting the right glass, or glazing, is even more challenging than you might think; non-glare, U.V. protective and clear glass are only a few choices. It may be common knowledge that exposing art to direct light will eventually cause fading, but perhaps a little less know fact is that in-direct light will also degrade artwork.

Recently, over the course of a few years, the concept of stretching printed art on canvas emerged. Printed art on canvas is referred to as a "giclee" print, which loosely translates to tiny droplets of ink. Almost immediately someone, origin unknown, created the concept of wrapping the printed image around a wooden frame while stretching it. This process is referred to as "gallery wrapping" and it is quickly changing the way we view art.

The artwork is stretched on a wooden frame and it is hung on a wall without the traditional wood or metal molding around it. Choosing the correct glass, decorative molding or coordinating the color of matting is a thing of the past. Custom Frame Shops are now faced with the decision failing miserably and have had to resort to other streams of revenue; "Gallery Wraps" have changed all of that.

The process starts with reproducing the artwork; this in itself has allowed artists the chance to re-create their original art at will. The original art is scanned with a high-resolution scanner, color-corrected and digitally "stitched" to allow for enlarging at a later date. The image is then archived and can be printed to almost any size when the artist wants.

The artwork would typically be signed, numbered and limited to a specific run. The original art, in most cases, would not be sold and the artist would issue a number of "artist's proofs" which tend to have slightly more value than the other prints. The artwork is printed on archival canvas that resists fading caused by U.V light, it also has low acid content.

These archival inks actually allow the reproduction to outlast the original. The image is printed so that the image either wraps around the stretcher bar, or it is "mirrored" along the edge of the image. The mirrored edge is slightly more popular, but it can be a little more challenging to align the artwork during the stretching process.

After the image is wrapped around the stretcher bar, the canvas is held in-place with staples. The staples are not visible from the front or side, in this manner the artwork can be viewed as it should be, with no detractions. With no costly wooden frame, no glazing and no mat board, the artwork is but a fraction of the cost of the traditional frame and glass.

The concept of printing art on canvas and stretching it over a wooden frame is relatively new, but the concept of "wrapping" the image around the frame is very new and very popular. Clearly, this is the way artwork should be viewed and it is changing the industry.

Alan is a retired chef that took a keen interest in the art of stretching canvas. He realized that very few artists stretched their own canvas and that custom frame shops charged too much for this service. His current interest is improving on the methods for stretching canvas, perfecting the folds and improving on existing designs of wooden stretcher bar profiles.

Please visit Alan's Corner for more information:

http://web.me.com/gallerystretcher/Alans-Corner/Welcome.html

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Choosing A Subject To Paint

In learning to paint, what kind of subject one might choose to paint depends on a number of factors: the kind of medium to be used, the degree of complexity one can reasonably handle, the size and kind of support one has in mind, and so forth. Clearly, subject matter which will appeal to one person may not do so to another.

That seems obvious, but we do need to progress in our art, and the development of skills and insight will not be furthered by restricting oneself to a limited range of subjects. For example, while there is an infinite variety of still life forms, always painting still life subjects will have a relatively limited effect on our development to the extent that a wider range of matter will not.

So it is useful, on at least some occasions, to discipline one's self to attempt other forms of subject matter, which might not immediately be attractive. It is also instructive to ask oneself why this or that kind of subject is not attractive. Very often the answer will revolve around certain kinds of difficulties we have. If we always avoid such problems, these things are always going to form constraints of greater or less severity on our artistic capabilities. In some cases, even if there is a subject, which does attract us, we may be put off because it involves one of those areas which we have difficulty with.

One way round this kind of problem is, of course, to force oneself to do exercises on those subjects, so that a whole painting, and perhaps much time and effort, does not depend on its outcome.

SIMPLIFYING COMPLEXITY
A major problem can center on the complexity of a subject. This obviously depends to some degree on what kind of approach you take to painting and the extent to which, say, a realistic representation matters. Inevitably, even in the latter case, the majority of paintings, for example, leave something out. At least in the early stages, it is advisable to omit some parts of a potential image. For instance, a group of flowers may look very attractive, but when one gets down to the detail of recording individual flowers, their stalks and leaves, the picture can become incredibly complex.

So start with just one or two flowers and their leaves, etc. very effective paintings can be produced in that way and it is by no means necessary to have masses of things in a picture. Similarly, flowers in a vase will be easier to reproduce if the latter is a simple vessel rather than, say cut glass or one with complex curves. Outdoors, focus on just a single flower, whether a plant or part of a bush. And don't worry about detailing the background; use one or two colours to merge together in a kind of out-of-focus way.

EXCLUSIONS
Certainly, in a quite complex subject one can choose to leave certain things out and simplify others. There is a good deal of skill and judgment involved in selecting what to include and exclude. Make the wrong choices and the painting may look unbalanced or unconvincing. Do not be worried if you make mistakes in this respect - we probable learn more from paintings we throw away than those we keep! So again, it is better to start with a simple composition and even exclude elements of that before trying to reduce complexity in an intricate subject.

Take a landscape for example. It may be advantageous at first not to include details of trees, bushes, fields, etc. Instead, start by drawing a line for the horizon. The try to represent a cloudy sky: include some blue but then clouds of varying degrees of darkness. When that looks something like, try to produce an area of land which is no more than grass or heath. Do not divide the picture exactly in two. Some really excellent paintings have been accomplished where there is almost nothing but sky.

One of the easier aspects in which to reduce complexity is in the background. Photographers often do this by selecting speeds and aperture values, at which to shoot which will sharpen the focal area of a picture while blurring the background - sometimes to a degree where it is impossible to see what the background consists of. In a painting, the same is accomplished by selecting colours and tones for a particular background, which enhance the subject matter we are really interested in. Thus colour and tone may be all the background consists of, nothing actual. A white flower, for example, may be placed against a very dark background of deep reds and/or browns, according to ones choice. Complexity in itself is not a necessary condition for a quality painting, so start by keeping everything simple.

AUTHOR: A K Whitehead
WEB SITE: http://www.paintingsinoil.co.uk/
This article is copyright but may be reproduced providing that all this information is included.

A K Whitehead paints in a traditional manner, making especial use of glazing and impasto techniques. His work covers landscapes, waterscapes, snowscapes and seascapes. Original images are for sale at realistic prices which include frames and delivery.

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Eight Interesting Facts About Cafe Terrace At Night

One of the most tragic celebrities in the world art history is Vincent Van Gogh. Though he was not very famous in his lifetime, he and his paintings got immense fame soon after his death-the time when he was no more to feel his fame! Today, his paintings are on peak demand and sold on record prices.

He painted a lot of night scene paintings in his lifetime. But his famous most painting on nightlife is Cafe Terrace at Night, which completed sometime around mid September 1888. This painting has a special charm in it. With that charm, the painting has a lot of interesting facts attached to it that we are discussing hereunder:

1. Van Gogh's Cafe Terrace at Night is an ideal example of the artist's imagination and superb dealing with light. This painting captures the colors of light at night. 'Light' and 'night' seem contradictory words as this combination is hardly found in any scene.

2. In this painting, artificial gas lanterns lighten the night sky with a glimpse of exterior of a Parisian cafe. The cafe is still there and has been a famous destination for all Gogh's fans.

3. When this painting completed, Gogh wrote a letter to his sister mentioning that he has completed a night scene without using black.

4. Gogh painted this popular painting on the spot than painting it in daytime after preparing a sketch.

5. Though this painting is not signed by Gogh, his letters prove that this is his own work.

6. The painting is at the Kroller-Muller Museum in Netherlands now.

7. On its first official display in 1892, Coffee house in the evening was the name given to this painting. The title was later replaced by cafe Terrace at Night.

8. This is the first painting by Gogh with starry backgrounds.

Brief About The Painting

The painting represents the scene of night cafe. The terrace painted in this work has small figures of people drinking. A bright yellow lantern light up the terrace, frontage and side-walk. The rooftops of houses painted seem to have been a fading road under the blue sky with stars and a green tree nearby. This beautiful painting is trying to distinguish the usual darkness of night with this green and blue night, thus contradicting conventional night scenes.

Gogh has perseverance to propinquity and his keen ability to depict moment with so beautiful and bright colors made him one of the greatest colorist till date.

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Hostilis Root Bark Natural Pigments

Mimosa hostilis, also known as mimosa tenuiflora for those who are scientifically inclined, is an evergreen shrub that is native to the areas between southern Mexico along the coast of Chiapas down to the north-eastern regions of Brazil near Rio Grande de Norte and Pernambuco. For millennia the natives of Central and South America have used mimosa hostilis root bark to treat a wide variety of medical symptoms ranging from skin lesions to infections, since the powdered bark contains a high amount of tannins that keep the skin from bleeding and thus bind the wound and protect it against future damage. Plus, with three types of steroids it can be used as an anti-inflammatory, not to mention it is packed full of antioxidant flavonoids, vitally important for staving off a variety of aging issues. And while it is perhaps the use of mimosa hostilis root bark as an entheogen substance for various religious, shamanic and spiritual ceremonies that has created such a buzz in Western communities, there is another use that most media outlets pass over when talking about the plant: its non-medical uses.

While its high tannin content makes it useful for protecting wood construction due to the fact that it prevents the wood from rotting, the tannin also makes this a powerful leather and textile dye. Known by art lovers around the world for being one of the most powerful all-natural pigments in the world, especially for creating the tie dye behind the eponymous t-shirts and other articles of clothing, mimosa hostilis root bark has also become popular given its all-natural, non-chemical base. Best of all, it is also completely sustainable, since the plant will grow a new layer of bark to replace whatever is harvested from the adult root.

Mimosa hostilis root bark is completely chemical free and 100 percent biodegradable, making it one of the safest tie dyes available on the natural market. The bark can be used to create a wide variety of pigments based upon your needs, and when compared against the traditional dyes used in a commercial setting with their synthetic ingredients, provide a healthy and all-natural way of tie dying and decorating any of your projects. Mostly earthy in color, the natural shades provided by mimosa hostilis root bark are deep purples and pinks, along with dark reds and browns, although how dark you want your dye to be depends on how much of the root you use and your personal preference.

Click here to buy premium quality organic mimosa hostilis direct from the source.

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Colour - Using the Wheel

The painting shows a sunny day in the countryside where two women and their children wander through an open field. A summery sky filled with fluffy white clouds is bordered by a row of dark trees that almost hide a distant farmhouse. The grassy field, scattered with wild poppies, fills the entire foreground. What do we see in terms of colour scheme in this painting?

Dominant hue: Yellow-Green. As the Impressionists were well aware, a bright landscape looks mainly yellow. So, the Yellow-Green grass nearly fills the canvas.

Adjacent hues: Yellow tips the grasses and makes the straw hats of the small figures; a soft Yellow tints the walls of the farmhouse. Green makes a bold line of trees at the horizon and the shadows in the field.

Complement: Purple. The small figure of the woman in the foreground wears a dress of this shade.

Discord hues: Red poppies are clumped in the immediate foreground, softening in intensity of colour as they recede up the grassy slope. Blue sky shows between the clouds and is echoed in the parasol carried by the nearer woman.

Neutral hues: A number of extremely subtle blends of the colours used throughout the painting. To check how this works, study both models of The Colour Wheel, shown on my website for you to copy.

Earlier, I mentioned Chroma. This is the intensity of a colour, which can be altered - lowered - by adding small amounts of the colour's Complement.

Value refers to the darkness or lightness of a colour. Some hues can never be as deep in Value as others. Looking at the Wheel, you will see that for instance, Yellow can never be as deep in Value as is Purple, even at its greatest intensity, or Chroma.

So, how do you use this knowledge to match a particular colour? For instance, you might need to match a strong, greyish-blue of storm clouds in a landscape.

Squeeze from the tube a bit of the blue closest to what you see in the clouds, probably Cobalt Blue. You will modify this with a bit of its complement, which you know is orange. (If you must, you can use Cadmium Orange, but why not mix it yourself from Cadmium Yellow and Cadmium Red?)

It will not look quite right yet. When comparing your mixture with those clouds, try to see whether the difference lies in chroma or value. If the chroma is too intense, add a little more orange. If the value is too dark, add some white.

When you have gone overboard with the white, do not be tempted to add black to darken the mixture. Add a bit more Cobalt Blue instead. Keep adjusting until your match is right.

At first, you will need a lot of stick-at-it-ness but believe me, it will soon seem easy as pie when the principles have become second nature to you.

When you make it a habit to plan your work by choosing that 'slice of pie' from The Colour Wheel before you start painting, you will never have another failure caused by a poor colour scheme. © Dorothy Gauvin

Dorothy Gauvin is an internationally acclaimed Australian painter in oils who specialises in an epic theme of Australia's pioneers. See images of her 'Life-Story' portraits, an ABC of homemade tools for painters with arthritis, plus tips and advice for aspiring artists and collectors on her website at http://www.artgallerygauvin.com/

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Acrylic Paint

Acrylic paint is a relatively new art material, having only become commercially available in the 1950's following Dr. Otto Rohm's development of acrylic resin, which formed the basis for the paint. Despite being only used at first as a house paint for interior decorating, acrylic paint was very soon adapted to become water-soluble and started becoming widely used by artists.

The beauty of this art material is that it is water-soluble and can therefore be mixed with water and reduced down to something similar almost to watercolour paints. Equally it can also be used in its standard form and applied very thickly to the canvas or medium for a very intense, rich effect. Acrylic paint will blend well whilst wet, allowing the artist to manipulate their work, correcting mistakes or simply layering the paint. When dry however, it becomes water-resistant and will not bleed or change easily. Thanks to developments in technology and manufacturing, acrylic paint also now benefits from very high levels of viscosity, giving it a great solid texture when used in artwork.

Acrylic paint also possesses the characteristic of being able to bond well to a wide variety of surfaces. This means that it's a more flexible art material, allowing the artist a greater range of applications and ways to express themselves. This paint is commonly on a variety of other mediums other than canvas and paper, which includes natural materials such as stone and wood. Due to its density, it can also be used literally as a solid material when dry. By layering the paint up to create relief features and textures, an artist's creation can quite literally extend beyond the surface of the canvas, reaching out to the viewer and becoming a three-dimensional sculpture.

In addition to being versatile enough to be applied to range of surfaces, acrylic paint can also be used very successfully with other art materials such as pencil, chalk, pastel, charcoal and may more. Following this, derivatives of acrylic paint have been developed for all types of application including face painting, fabric painting, screen printing, and airbrushing to name a few.

The use of this paint requires somewhat different techniques than those used with watercolour and oil paints due to its unique physical properties, and can include the following:

Flat painting - the process of layering paint without tonal distinctions, resulting in a very two-dimensional aesthetic

Spattering and spraying - flicking and spraying paint onto the canvas or medium to help add atmosphere and mood to the work. It can also help with suggesting more complex textures.

Scraping and rubbing - using flat, blunt objects such as plastic cards, rulers or an artist's spatula, you can scrape paint across the canvas resulting in some truly beautiful and unique 'distressed' and broken textures.

iArtSupplies are established suppliers of high quality acrylic paint and art materials.

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Inspired Designs for Painting on Fabric

The fact of the matter is not all artists have the complete look in mind when they set out to create their beautiful designs for painting on fabric. In many instances the art just grows and develops. You may know the basic colors you wish to use, but a true artist is not held down by that either. One's thoughts must be open and creativity should be allowed to flow when painting fabrics.

An artist who is hard and fast on a certain design usually limits their creativity immensely and will soon find themselves feeling frustrated; as though they've hit a wall. Some of the most brilliant works of art were spun out of massive mistakes. That's one of the reasons I don't believe that we can really make a mistake in art. There is always something you can do to enhance, transform or minimize what you have done.

Art is often a reflection of what you feel on the inside. If you approach your work after a wonderful day of swimming and doing the things you just love to do your art will take on a more upbeat, positive form. Approaching it after a heated argument or experiencing a tragedy can produce a totally different outcome.

Your creativity is generally an expression of what is on the inside. Even that can change from day-to-day depending on your environment. So in contemplating your designs for painting on fabric consider what you would like to see in a general sense. If it is floral and spring time colors, then visit a flower shop or take a walk in the pasture. Maybe it's easier to go online and do a search on flowers and floral scenes.

Whatever you wish to create, do your homework; absorb the beauty and the elements of what you wish to convey. Research what colors your object may come in and how you may wish to present them. Realism is not the only way to design, perhaps abstract is a better approach for what you have in mind.

With all the research under your belt just go for it. You may be inspired to create something totally different from what you had in mind midway through the design but guess what, there's no law against that.

Teri M. Bethel specializes in creating painted fabrics for designers as well as teaching do-it-yourselfers how to paint fabrics with texture. Teri has been involved in manufacturing painted garments, handbags and fashion accessories for over two decades. She is the designer of Teri Monique Handbags, a line of custom made art purses for ladies.

Sign up for Teri's free "Designing Fabrics With Dimensional Paints Mini-Course" today.

Visit us at: http://www.paintwithtexture.com/how-to-paint-with-texture-painting-on-fabric/

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Abstract Canvas Art

Many people try to understand abstract art and walk away frustrated at the attempt. It will help to understand something about the history of abstract canvas art and how it first began, thus gaining a perspective of its philosophical and cultural origins. Abstract art has also been referred to as non-objective art.

Beginning at the time of the Post Impressionists, Gauguin and Van Gogh and other painters were endeavoring to put their inner world, as well as nature, on canvas. Since the time of the Renaissance, artist had expressed visible reality and linear perspective in painting. With the advance of technology and changes in science and philosophical views, at the end of the 19th century artists were now seeking a new way to express these changes in their art.

An early reaction to the Impressionists art movement was Expressionism, the bold use of painting in distorted imagery with intense color and often shocking forms of known objects. Examples of this art can be found in the paintings of Edvard Munch in "The Scream" painted in 1893 or in the art of James Ensor. Although a mostly German movement in the beginning, some artists influenced by Expressionism were Van Gogh, Oscar Koskoschka, Mark Chagall, Henri Matisse and Pablo Picasso. Also in the late 19th century, Mysticism and the beginnings of modern religious thought had a profound influence on painters who later turned to abstracting images.

At the beginning of the 20th century and with the advent of World War I, artists were beginning to express emotions and the violence around them. The language of painting began using lines that were exaggerated, colors that were violent and forms that were distorted and thus the beginnings of abstract canvas art. George Braques began painting images that were faceted in order to paint the essence of an object. Picasso also joined in geometric shaping, and Piet Mondrian painted almost pure abstraction using line and geometric shapes. Leger, Kandinsky, Chagall and others added emotion to create abstracted work that was only partially based on reality, and the abstracted image became the source of art. Later, Picasso went somewhat further in abstracting with shapes and line and paintings such as "Guernica" contained an abstracted world of violence and chaos in war ravaged Europe.

Abstract canvas art, after World War II, was further popularized through the Abstract Expressionists. Artists such as Jackson Pollack went beyond just expressing emotion through images, by painting freely without control, as evidenced in his splatter paintings. Art started to express the spiritual as well, and artists began to paint color relationships and movement and depth, as the act of painting in itself became the theme of Pollack and Franz Kline. Mark Rothko began as a Surrealist and later painted compositions of squares in color relationships. In the late 20th and early 21st centuries, color, lyrical movement, the transcendental and the timeless have been ongoing themes in abstract canvas art. Line, shape, color, and brush stroke define abstract art and make it the pleasure or pain of the viewer to interpret.

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Advantages of Canvas Wall Art Over Lithographs and Photos Printed On Paper

Canvas wall art are becoming more popular because of their durability and ability to maintain vibrant colors over decades. Traditionally, pictures are printed on photo paper or printed as lithographs that are used as wall art. Here are some advantages of canvas paintings over other types of wall art:

Lithography is an old method of printing large photos. They require framing and placing glass over the picture to protect the lithograph from harmful elements in the air which include humidity, moisture, and dust. Images on canvas are protected with varnish top of the image that prevents moisture damage, UV damage and dust from collecting on the surface. These days, lithographs are now more ideal for printing business cards and invitations rather than for wall decor.

Art on canvas are more durable than photos printed on paper. Lithographs need a lot of care and are sensitive to rough handling. Canvas wall art are durable and can last for decades and sometimes centuries. Lithographs will fade and discolor over time. Exposing lithographs to sunlight or UV rays can hasten deterioration too. Although canvas wall art should be kept away from direct sunlight also, they are more resistant to UV damage.

Paintings on canvas are stretched on gallery wrapped canvas and can cost about $100 to $200. They often come ready-to-hang and do not need frames or glass for protection. Lithographs and ordinary pictures on paper will have to be framed and protected with glass. Although Lithographs can cost $100 or lower, the cost of the frame and glass can go well over $100.

Aesthetically, large canvas paintings look very impressive on one's wall. The gallery wrapped canvas make them look very suitable for either classy and sophisticated interiors or casual homes. Like the name suggests, they can make your home look like a modern art gallery. Framing artwork can be tricky and will involve using various types of frames and mats unless you have all your artwork framed and matted at the same time.

If you are thinking of convenience, many galleries or online art stores can offer countless canvas wall art in any size or shape you want. Photos printed on paper are typically printed on standard sized photo paper that don't usually go over 8" x 11". Large canvas art sets can be as large as windows.

Large art sets consist of 2 to over 6 pieces and is a convenient way to decorate a big empty wall. If you were to use small framed pictures, you would have to gather, mat, frame, and mount dozens of photos to cover a big wall.

Find a wide collection of canvas wall art at EverythingWallArt.com and discoverer countless choices of wall art, in different painting styles.

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How to Get the Glossiest Shine

Some of us have felt the sting of rejection. In some cases, it comes cold and fast. It is like pulling a band aid off of a wound. This method hurts but once you have gotten past the initial pain you are much better for it.

This kind of pain is something I can live with. The pain that really hurts is the kind that feels like it will last forever. This is the kind of pain you feel when you get passed up by a beautiful girl. Imagine if you get passed up by every girl in school.

You would think that things would have improved when you bought that car. You can finally drive these pretty girls around. Then, there is that problem again. This time the girls are riding the fancier shinier cars the other students are bringing.

You can try all you want but it is hard to win these girls over. However, you can rest assured that you can have the best finish in your car. You can have that shine you have always dreamed of.

When you want to blow any other guy's car out of the water, you would still need to have a car that is heads over heels better than anything else out there. Some cars may be more expensive. Some cars may have more powerful engines. If you are working with a limited budget, the best way to compete would be to have the glossiest shine.

The glossiest shine however does not come as easily as you would think. It does not mean that if you have bought the most expensive paints the results will be astounding. The key to a great surface finish is preparation, and skill in painting.

To prepare a surface, you must first rid it of corrosion because corrosion can break down the surface. Hence the glossy finish would not last very long. In a matter of a few months or even weeks you will see bubbles in the paint job.

You can deal with metal surfaces with anti-corrosive treatments. Wood also has several treatment methods that can be employed that can help protect against moisture and boring insects. This will not only protect the surface for a longer lasting shine but it will also protect the structure from being destroyed.

After removing or minimizing the chances of corrosion and damage from the surface, the next step would be to make sure that there is already a smooth base before the paint is placed on top of it. Metal, for example, might have some small dents and dings. It needs to be pounded in or fixed to the point where it is flat and smooth.

However, no amount pounding will get the surface smooth enough to get that glossy finish you want. First, you must put in a layer of body filler to even out the surface and fill in deep dents that cannot be hammered out. A thin layer of putty would then be used to clean up the rest.

The last part, of course, is the paint itself. Without the paint, you would be looking at dull gray putty. To get the glossy shine you want, you need several thin layers of paint. Adding the remaining layers of clear coating can seal the deal and get you want. And, what you want is a the glossiest finish of them all.

John F Black writes about a wide range of topics.Click on the links to learn more about industrial coating Perth and Painting Maintenance Perth.

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Life Drawing With Cecil Collins

Cecil Collins (1908-1989) was best known as a painter and had established his reputation in the 1930s to the extent of being included in the 1936 International Surrealist Exhibition in London, at the invitation of the eminent art critic Herbert Read.

Surrealist influences can certainly be seen in Cecil Collins' earlier work but in later years he developed his own unique imagery based on the iconic archetypes of the Fool and the Angel. The unreservedly spiritual content of his later work revealed his true nature as a deeply spiritual man whose beliefs and principles were basically incompatible with the atheist existentialism of the Surrealists.

Cecil Collins is now generally seen as a 'visionary' or 'metaphysical' painter, and has been described by some historians as the most important visionary artist since William Blake. However, for me, and I believe many other artists, his greatest influence was as a teacher, in particular through the methods employed in his life drawing classes, which I describe in my book 'Archetypal Postures, in the Process of Creativity'.

When I began the classes in 1979, one still had a reasonable chance of getting on the course but by 1985 it had become so popular with students that one had to queue all night during the enrollment week. The students themselves were the proof of his worth as a teacher; amongst them he became in the end almost a cult figure. Through his teaching he was able to show the artist how to 'abandon control' through the process of life drawing. This of course sounds absurd if not impossible, but when one has experienced it, it is less so. We spend our lives striving to gain control, to avoid letting affairs get out of control. The idea of abandoning control would appear to be the height of folly; but the 'Fool' was one of Cecil Collins' most significant icons.

When we have surrendered control we are vulnerable, at the mercy of others, in danger, our only resource is our basic intuition. Control operates through the intellect, which has to be prevented from dominating for good art to result. This I believe was the primary message in Cecil Collins' teaching. For the artist, allowing the intellect to dominate produces dead art. To give life to art it is necessary to by-pass the intellect and allow the expression of emotional spontaneity to operate. This idea is of course nothing new. For generations art teachers and critics have enjoined artists to 'loosen up', to 'express themselves', to 'be spontaneous', but few of them know how to bring it about. Cecil Collins knew! His great achievement was in being able to draw out of his students the ability to freely express themselves through the vehicle of life drawing. This is why he was a great teacher, and his students recognised that fact.

Although the purpose of the classes was to achieve spontaneity by abandoning control, the techniques he employed were paradoxically very structured and carefully orchestrated. The drawings were done very rapidly in black or sepia using Chinese ink or gouache. One was expected to have seven small pots of tones ranging from black to the lightest grey. The basic implements comprised a range of Chinese brushes, reed pens, a quill pen, soft pencils and red and black conte crayons.

The sessions began with short poses, but even the longest pose was rarely more than five minutes. From the outset he imposed his control. He would dictate precisely which tone of ink and which implement to use in which hand, for one was expected to use both hands together. After a certain time, sometimes no more than seconds, he would say 'change', the model would alter the pose and the students would lay down another sheet of paper and start another drawing according to his instructions, one of which was to look only at the model, rather tan the drawing. Drawing was initially done at great speed and the turnover was rapid.

His theory was that, 'at the fast speed the analytical mind cannot work'. Some time later he would introduce music, played prior to each pose, and the students and the model would be asked to stand and move in response in whatever manner they felt appropriate. At a certain moment he would say 'stop' at which point the model would freeze and the students would sit down and draw according to the new instructions. On occasions these instructions required one to draw with one's fingers, fist, heel of the hand, elbows, even the chin and the nose. Sometimes one was obliged to hold the instrument in the mouth (in which case three instruments were being used concurrently), or to place the paper on the floor and draw holding the instrument between the toes.

His secret weapon was a bundle of three foot long brushes which he would distribute once the students were sufficiently 'softened up'. One had to balance one end on the shoulder and make the best of it with the other. After two hours of suffering these indignities one was ready either to walk out or surrender. This was the critical moment; the overcoming of one's resistance, perhaps to being a fool? By this time most new students would probably be feeling quite bewildered, if not confused; but Cecil Collins knew what was happening; Art was happening. In the last hour there was a tangible atmosphere of calm intensity, the pace usually slowed down and some very good drawings were done; and that is all that matters in art; the end result, not the process of getting there, or the 'suffering' of the artist.

Cecil Collins understood that in the act of overcoming adversity, in this case one's resistance, a certain aesthetic power is released. I recollect that at some appropriate moment he commented that 'the manifestation of beauty is often accompanied by pain'. There was no doubt that for the duration of the class one was obliged to be in the present, giving one's attention only to the drawing process and not to the endless thoughts in the mind. With the whole class equally concentrated a powerful atmosphere arose which was almost tangible.

Cecil Collins had that rare ability to bring out of each student his or her own latent power of spontaneous expression which is a basic requirement of good art. It is this that made him a great teacher.

The book Archetypal Postures in the Process of Creativity by Ian Hopton is a record of a typical ceremony that took place during the life drawing classes of the visionary painter Cecil Collins in the 1980s. The ceremony symbolised creativity through a series of archetypal postures enacted by all the students and the model.

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Drawing, Painting, Design, and Sculptural Art Textures

We see textures all around us everyday. We know whether something is soft, smooth, rough or bumpy. Part of painting and drawing is the addition of texture, whether the piece is realistic or abstract. Seeing the interplay of each against the other makes for an interesting and attention-grabbing piece whether in decorative design or visual fine art.

There are various kinds of textures in art and design. Actual or real textures are those that can be touched such as the smooth surface of a metal sculpture or the spiky surface of a cactus. We can readily identify a material by its texture: glass is smooth and slick; sand is gritty and fine. In three-dimensional works, artists use actual texture to add a tactile quality to the work. On canvas, artists sometimes apply paint thickly (impasto) in order to achieve the desired texture. Other artists create a collage, which is added papers or fabric and other materials to create a textured surface.

Visual textures are those that can be created to look like real textures. They are the roughness of a rock in a photograph or the fluffiness of a cloud painted by an artist. In a two-dimensional work of art, texture gives a visual sense of how an object would feel in real life if touched

Invented textures are two-dimensional patterns created by the repetition of shapes and lines. The patterns do not represent real surface textures but the patterns of light and dark suggest texture. The purpose is to create decorated surfaces that evoke memories of unusual textures.

Artists have an arsenal at their disposal for creating textures in drawing media. Various methods include:

Irregular strokes with varied pressure

Unusual shapes

Cross-hatching

Scribble

Soft blended lines, dots, dashes, and irregular strokes

Contrasting different textures that work in opposition to each other like the smoothness of glass next to a rough piece of driftwood. Or soft blended strokes contrasted with finely drawn wisps of hair on a portrait.

Various media such as ink, charcoal, graphite, marker that render textural effects differently

Highlights, shadows and contrasting darks for reflective surfaces

Creation of texture will allow your drawing to come alive with visual interest. Instead of the same kinds of strokes, use unusual dots, dashes, scribbles, small shapes, or wavy and angular lines in order to define the beauty of textural surfaces. Suggest texture by inventing your own using patterns. Let yourself go and look at the subtle surfaces of objects to create the realism or the visual qualities you want.

Textures in painting are many and varied as well. In watercolor, using the dry brush method can describe very textured wood surfaces such as the side of a barn or an old roof. Using splatter is another method that works well in watercolor. The softness of a feather needs delicate handling in order to achieve the visual qualities of the feeling of the feather. Use of a sponge also creates interesting textures in watercolor or acrylic paint.

Abstract painting or sculpture benefits greatly with varied textural surfaces to hold the viewer's interest. Paint strokes can be made into real textural surfaces when applying very thickly with large bristle brushes. Clay has the benefits of easily applying a number of textures to the surface before adding glazes whether in pottery or sculpture.

Consider the addition of texture or patterns in your next painting or drawing. It will add heightened visual and tactile interest to any work of art.

Beth cook is an artist who loves to write about art. She suggests you also check out art classes McKinney, TX and Allen TX art classes.

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A Few Pointers For Approaching Art Galleries

Approaching art galleries for the first time can be quite intimidating for an artist. It is important to realize that although a gallery owner may have a passion for art, his or her main concern is making a profit for the business. There are a few tips you can follow, if you feel you are ready to approach an art gallery for the first time.

First of all, you don't have to have a degree, or be on the cover of ArtForum magazine, for your artwork to be valuable. Many people are simply born with a gift, and showcase that talent in their artwork. Others may be self-taught, and have a very unique way of expressing themselves on canvas. Regardless of your background, the one thing that really matters is whether or not your artwork is marketable.

It is important that you realize that art galleries are also businesses, and they are interested in making a profit. It is likely that you will have to endure a few rejections, before you get to a "yes". It is not personal. These owners are very aware of what sells, and what doesn't sell in their galleries. So, in many cases, it has more to do with the clientele than your artwork.

Another thing to think about is the type of gallery in which your artwork would be most successful. It is not a good idea to approach a gallery that specializes in modern art, if your pieces do not reflect this style. Do some research, and compile a list of galleries that best suit your style of work. Visit each gallery to see what type of art they are selling, and get a feel for the environment and client base.

Most dealers would rather schedule an appointment with the artist. If you find a gallery that you feel would be a good match, call the gallery to schedule a meeting with the owner or gallery dealer. Most dealers prefer meetings during the week, so keep this in mind if you are asked to suggest a day to meet.

Take some time to pick out some of your best samples to present at the appointment. If this is the first time your artwork will ever be displayed in an art gallery, you may want to ask the dealer to explain their policies and procedures at the beginning of the meeting. Many galleries have a standard commission range that they follow.

If the dealer feels that your artwork is a good fit for the gallery, he or she should present you with some type of contract. This should include the amount of time they will present your work; as well as, the amount of commission that will be kept by the gallery. If the dealer does not feel that you and the gallery are a good match, be sure to ask if he or she can recommend another gallery.

The most important thing to remember, when presenting your work to art galleries, is that you should not always take rejection as a critique. If the gallery has been in business for a long time, the dealer probably knows what the clientele will buy. Just keep trying, and you may eventually find the perfect gallery to hang your work.

The art galleries Toronto 's team of highly trained conservators have many years of experience and are able to skillfully remedy the more complicated Toronto art galleries issues of restoration art such as Group or Seven paintings.

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Learning How To Paint - Acrylic Painting Techniques and Materials

Everybody knows what painting is, which is the practice of applying paint to a medium. However, there are different painting techniques that one has to master doing on different materials in order to become proficient as a painter. It is important to realize that it is one thing to play around with paints and another to become a real artist. Although there are people who would claim that being an artist is an inborn talent, you can actually become one if you will only set your mind to it. Bear in mind that every person is an artist in his or her own way and you only have to learn how to express your potential through learning painting techniques.

Learning the various painting techniques is a lifetime effort. The process would be challenging but a very rewarding one. You can be a skillful painter in a reasonable amount of time but aim to start with the fundamentals, as it is the foundation where every skill and knowledge you will acquire later would be built on. Without a strong basic knowledge on the techniques, you will produce amateurish paintings even if you have a great talent. Thus, you must be able to understand perspective, lighting, composition toning, color combinations, color theory and other techniques that are essential in developing your artistic potential. In addition, you should also learn how to care for the materials you use, mix your paint on your palette, set up your studio, and effectively use your paintbrushes.

One of the most common kinds of paint used in painting is acrylic although it was first used only in the fifties. It became popular fast because it is versatile, very adaptable and you can create effects that are similar to watercolors or oil paints. Acrylic is water-soluble and water base but if you want to learn painting techniques for acrylic, you have to keep in mind that acrylic dries quickly so you must be able to paint fast, especially if you have to blend different colors.

The fast drying characteristic of acrylic can be a disadvantage or an advantage depending on the project you are working on. However, what is great about trying different painting techniques with acrylic is that you do not have to worry about allergies or bad odors, which you have to deal with when doing an oil painting. In addition, because acrylic is quick drying, you do not have to wait for almost an hour for your painting to dry. Once the paint is dry, it becomes resistant to water and you could paint over the first layer without color disturbance. You can find out more about acrylic painting online through specialized sites.

If you like to practice painting techniques by doing graffiti, you could make use of paint pens by Sharpie for lettering. The pens are available in various points, which range from extra fine to extra broad, both perfect for writing short messages with your paintings. You can find out more about the paint pens by searching online.

Michael Dierson is an accomplished author, business promoter, and an early stage investor, writing about a variety of diverse topics such as acrylic painting techniques and sharpie paint pens for a variety of different industries.

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Keith Haring Biography: The Events That Shaped the Keith Haring Art That We Know Today

Keith Haring, born on May 4, 1958 in Pennsylvania, was a sensational artist during the 1980s with his works focusing on cartoon and graffiti. His interests towards art grew as his father fervidly showered his influence over the budding Haring artist. Moreover, his fascination of Walt Disney's and Charles Schultz's cartoon arts had contributed more to this growing interest over such type of pop art.

Haring developed his talent further by taking classes at Ivy School of Professional Art in Pittsburgh after he graduated high school. It was a commercial arts school which Haring left after realizing that being a commercial graphic artist is not of his interest. Later on, he decided to move to New York and continue his studies there. He enrolled in the School of Visual Arts. It was also in New York that he met other budding artists like Jean-Michel Basquiat and Kenny Scharf who were part of the then growing community of artists who were not confined in museums and galleries.

With the said community and the influences of other famous artists like Andy Warhol, he determined to create a type of Keith Haring art that the common public can see and enjoy. He experimentally made the walls of the New York substations as his canvas. This became his laboratory. Together with a co-artist, Jean-Michel Basquiat, he also organized gallery exhibitions in several locations. Their partnership earned them a considerable following. But it was in 1982 that he finally had his solo exhibition at Shafrazi Gallery, New York. These gallery exhibitions grew all the rage, and the Keith Haring art spread globally including countries such as Japan and Brazil.

In 1986, Keith Haring opened the Pop Shop at New York City to sell items imprinted with his designs. This started the Keith Haring t-shirts and other stuff infused with his artworks. The shop was his other means for exposure and for people to be able to avail his artworks at an agreeable cost. This entrepreneurial extension attracted criticisms, but he disregarded them all as he was determined to catch as much audience as possible, a feat which he was successful at. But that was not it alone; his drive to bring social messages enabled him to help children and create more than 50 public artworks.

1988 was not a good year for Keith Haring. He discovered that he had AIDS. Despite this, he created the Keith Haring Foundation the next year to continue his social causes, and this time to help AIDS-related organizations aside from aiding children programs. He died in 1990 as his condition became complicated.

Currently, Keith Haring paintings are exhibited in Chicago, Paris and New York. Even if new artworks from him can no longer be produced, his old paintings create a Haring-like sensation in the prestigious museums where they are exhibited.

Keith Haring is one of the famous pop artists that we know today. Check out his pop art works and enjoy the distinctive Keith Haring art. Don't miss the Haring edition prints and other Haring artworks available at Hamilton Selway Fine Art at West Hollywood, California.

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Choosing Paint for Shoes

Paint for shoes? Many people don't even know such a thing exists. Well doesn't the shoe come from the factory already printed? Uh, yes in many cases. But for the millions of people who would like to add their personal touch to their footwear there are numerous brands of shoe paints available on the market.

Now not just any old paint will do for your absolutely amazing new painted shoes. Did you know that the best paint is one made specifically for the type of fabric your shoe is made from? For instance, if your shoe is leather, then you need to check the paint label to see if your paint is suited for the material. There are some paint pens on the market that are developed specifically for leather while others are designed for use on fabric or canvas type shoes.

Some folks also choose to use fabric dyes, especially for uniformity when coloring shoes for a group function like a bridal party. But even this can get real jazzy if you want to take your shoe to another level of design by adding other paints to the design.

There are also some artists who experiment with different types of paint on a variety of surfaces but if you are new to the art of shoe painting then it is safer to stick to the paints that were specifically designed for shoes. These paints can be flat and smooth to touch or raised for a multi-dimensional look. They are also available in opaque or translucent finishes. In any event, fabulous designs can be created with either style paint.

In addition to the texture, the shoe paint which is essentially fabric paint, comes in a broad range of colors, shades and finishes. If you love soft colors, look for the pastel selection. There's also glossy for the vibrant in your face, bold designs; pearlized, glitter and even metallic for the little zing you want to add to your shoe.

These paints can be applied with just about any creative instrument you may have on hand. A sponge, a paint brush, sprayed, your fingers or even squeezed directly from the container. The effects are also numerous. What you do with your paint for shoes is limited only by your creativity or sense of adventure.

When painting on shoes keep in mind that it's only paint and if you don't like it, then when it dries paint over it again. Each time you paint you will learn something new and improve your techniques. If you are a little timid, that's okay too. Practice painting on a similar piece of fabric to your shoe.

Buy a bunch of inexpensive sneakers or paint or your old ones. Whatever ones you choose to paint on though, you should ensure that it is clean first. Not all paint completely covers stains or dirt. But in the event that you do need to cover a few unattractive spots, use an opaque white primer as a base coat for your design. Then paint your designs on top of that when it has completely dried.

Teri M. Bethel specializes in creating painted fabrics for designers as well as teaching do-it-yourselfers how to paint fabrics with texture. She is the designer of Teri Monique Handbags, a line of custom made art purses for ladies.

Visit us at: http://www.paintwithtexture.com/paint-on-shoes-paint-for-shoes/

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Hand Painted Tee-Shirts

Painting tee-shirts is really one of the most loved hobbies of all times. There's such satisfaction in creating something that's beautiful. To tell you the truth, I believe that there is even more satisfaction in sharing something that you enjoyed creating; whether it was for fun or profit. An essential key in designing hand painted tee-shirts is selecting the right paints for fabric.

The correct paints are pre-designed specifically for fabric paintings. These come in dimensional and non-dimensional formulations and have a wide variety of finishes. Once you have determined which finish you are using (and you may choose to use several of them) you are just about ready to dive in to a fun experience.

Here are a few key materials you will need:
Tee-shirt
Paints
Wax paper or a shirt board
Paint brushes
Water container
Hand towels

If you are just starting out, don't try to overwhelm yourself with an elaborate design. The truth of the matter is simple designs can be the more impactful designs. So, begin with a small section and develop your design from that point.

Depending on what type of paints you are using you should be strategic in where you place your artistry. Some paints for fabric are a bit abrasive when dried and limit your use of the garment if you have small children. On the other hand there are some paints that have an incredibly soft feel and would not be a problem if it were to cover the entire tee-shirt.

Fabric painting is not just limited to women although we more often than not see women and kids in elaborately painted tee-shirts. But quite the contrary, men have been wearing painted tees for many, many years. Scores of screen printed shirts for men are now ablaze with studs and sparkle. The more common form of tee-shirt painting for men however is air-brushing. This allows the men to express a more masculine look with strong and impactful designs.

Women on the other hand generally gravitate towards the floral or the abstract designs. Some fall in love with the glitz from the glitter paint or the sparkling gems that are now available to tee-shirt artists in a multiplicity of colors.

But whether it's for man, women or child, creating a hand painted tee-shirt can be a most rewarding pastime and a neat way to build a fun wardrobe for the entire family.

Teri M. Bethel specializes in creating painted fabrics for designers as well as teaching do-it-yourselfers how to paint fabrics with texture. Teri has been involved in manufacturing painted garments, handbags and fashion accessories for over two decades. She is the designer of Teri Monique Handbags, a line of custom made art purses for ladies.

Sign up for Teri's free "Designing Fabrics With Dimensional Paints Mini-Course" today.

Vist us at: http://www.paintwithtexture.com/paint-on-clothes-fabric-painting-how-to-paint-fabrics/

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Contemporary Indian Art and Its Development

The Contemporary Indian Art started off in the early 20th century. This sort of a renaissance took place under the leadership of the famous Tagore family. Some of the popular contemporary artists of the period were mostly inclined towards exploiting the great Indian heritage. The theme of their painting was mostly based on the great Indian epics, murals of Ajanta and Ellora, Mughal and Rajput, miniature paintings and so on.

With the advent of the British, the European painting style also crawled into India and so came along the concept of art gallery. The Indian art gallery of those times mostly comprised the works from the painters' group who focused on the horrors and pains of the World Wars and the resulted disillusion.

Some also expressed the tragedies of Indian partition through paintings. This piece of work proved to be a turning point in the Indian art scenario. Painters subsequently evolved their independent style setting aside all prejudices. This also influenced the thriving of innovative ideas which were displayed by the refreshing new art works. This was a predecessor of the times to come.

Every Indian Art Gallery today showcases traditional as well as the contemporary Indian art, some of which are vigorous and audacious sort of painting yet have sophistication and grace. They are a manifestation of the myriad art forms.

The pioneers in the contemporary Indian Art prior Independence was Abanindranath Tagore. He incorporated Japanese and Chinese styles into his paintings which were shortly followed by several other Indian painters, hence developing the contemporary style. Some of the renowned Indian painters prior Indian Independence were Rabindranath Tagore, Jamini Roy, Amrita Shergill, A.K. Haldar, Samarendranath Gupta, Nandlal Bose and Raja Ravi Verma.

The contemporary Indian art has a unique entity which reflects the intuitive and emotions of Indian culture. This has been employed with the soft touch of the Indian elegance.

Some popular contemporary Indian artists are Satish Gujral, Maqbool Fida Hussian, Deepak Shinde, Laxman Shreshtha, Sanjay Bhattacharya, S.H. Raza, N.S. Bendre, Jatin Das, Prabhakar Barwe and Anjolie Ela Menon. The Indian Art gallery showcases the art works of most of these eminent artists and each show is likely to attract innumerable art lovers.

The art at the break of the 21st century is a lot varied and has some never before seen aspect. From adorning the houses of elitist businessmen and royal families, the art has entered the houses of the middle-class buyers and today it is also travelling from the domestic market to offshore fetching exorbitant prices.

As the contemporary artists of India continue drawing inspiration from numerous sources and styles, yet it still retains the distinct "Indianness". With the evolution of newer styles and never seen before styles the contemporary Indian art is reaching new heights.

Naina Sharma is an expert author on contemporary art and decorative interior accessories. She has a forte in writing excellent write-ups on art and home decor with art forms.

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Fabric Painting As A Career

Fabric painting is not the most conventional of careers to choose from; in fact most would relegate it to the hobbies listing, an obscure craft. Some would ask, "Who would want to spend their career with fabric paint?" But think about it; if the career were not a significant one, we would all be sitting on bland, colorless and design free furniture, we would probably all be dressed up in flour sacks and staring at blank walls. Of course that's a slight exaggeration, but you get the point, I'm sure.

As a career fabric painter, you have the opportunity to add creative and sometimes colorful value to the world we live in. Although fabric painting can be a laborious pursuit it has become thousands of times easier to reproduce fabric painting on numerous mediums. With the advent of digital art, reproduction artwork can be placed on cups, plates, textiles, shoes, wood and more.

The prospects are actually quite exciting when you think about it. Rather than designers buying that blase fabric for their fashion accessories project, you can now offer them custom fabrics, specially created for their specific use; something unique to their collection. Designers can now say bye, bye to boring; and hello to happy. Their clients will love you for it.

Artists can now create their masterpieces and have them duplicated for short run reproduction just as easy as or perhaps easier than it would have been to process the art through the traditional fabric mills. This is great but there are still some major manufacturing companies that hire artists to create hand painted designs for their new collections. They then take the artists designs and produce them on various types of fabrics.

One career that is easily integrated and is an offshoot of fabric painting is, screen printing, which in itself is a vast field. Traditionally, screen printing has been viewed as the answer to producing tee shirts for schools and casual wear. Today the screen printing industry is booming as artists are getting even more creative and adding flair to their designs.

The sizes of screens have grown from a little bitty square on the front of your shirt to a large format screen designed for all over tee shirt design. Still there are others who use this screen printing method to create custom yardage for sale and for creating their own line of goods.

Such artwork was initially painted on fabric and later printed on garments for toddlers and adults alike. Just as the original was embellished with studs, stones, sequins and glitter, so too are the creations of the silk screen artist. The beauty of course is once the original design has been developed on fabric and screens created, the design can be produced in unlimited colors, sizes and of course quantities.

On the flip side of the screen printing issue are the embellishers who are also fabric painters in their own right. These artists take a generally basic design and customize it, giving it the oomph it may have needed. This is done many times with fabric paint, rhinestones, mirrors, ribbons and a host of other accessories.

Teri M. Bethel specializes in creating hand painted fabrics for designers and teaches do-it-yourselfers how to paint fabrics with texture. She is the designer of Teri Monique Handbags, a line of custom made art purses for ladies.

Visit us at: http://www.paintwithtexture.com/paint-for-clothes-tulip-paint-paints-fabric/

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A Brief Norman Rockwell Biography

The famous American illustrator Norman Rockwell was born in New York City on February 3, 1894. As this Norman Rockwell biography reveals, he lived quite a full life before he died on November 8, 1978. For many years, his illustrations graced the cover of the Saturday Evening Post, depicting American life in all its glorious splendor. This is just one highlight of a very interesting career.

As a boy, Rockwell and his family summered at country farms. He attributes these pleasant times as being a large inspiration for his later paintings. At an early age, Rockwell discovered drawing and quickly determined that he would be an artist. When he was a freshman in high school, he studied art at the Chase School on Saturdays. During his sophomore year, he decided to attend art school full-time, enrolling at the National Academy School and then the Art Students League.

Teacher George Bridgeman helped him with drawing and Thomas Fogarty served as an inspiration for illustration. Mr. Fogarty sent Rockwell to a publisher while still in school, which resulted in a job doing illustrations for a children's book. His next assignment was working for Boys' Life magazine and the editor took a liking to him, providing him with additional work. Eventually, Rockwell was appointed art director for this magazine.

Additional regular work on other children's magazines led to a 1916 visit to Philadelphia to meet with the editor of the Saturday Evening Post. Rockwell had long dreamed of illustrating a cover of the magazine and made the journey without first securing an appointment. Upon arrival, he showed the art editor his work, who passed it to the magazine editor, George Horace Lorimer.

The rest is history, as two finished paintings were accepted for covers and three sketches were reserved for future covers. Based on his success with the Post, Rockwell was able to sell his work to Judge, Leslie's, and Life. Upon joining the Navy during World War I, he was assigned to work on the camp newspaper. When the war ended, he began doing illustrations for products like Jell-O.

For more than 50 years, Rockwell painted a picture for display in the Boy Scout calendar. By 1941, he had secured a one-man show at the Milwaukee Art Institute. No Norman Rockwell biography would be complete without mention of his paintings of the four human freedoms described by then-President Franklin D. Roosevelt, which were used to sell war bonds. Rockwell's paintings sell for an average of $20,000 and he created more than 4,000 original works during his lifetime.

Kenny Chan has been an avid collector of Norman Rockwell artwork. He has amassed thousands pieces of Rockwell artwork such as paintings and illustrations. Kenny Chan has even taken the extra miles by creating a blog called Norman Rockwell Paintings which is dedicated solely to Rockwell paintings. Find out more from his blog about Norman Rockwell and learn about one of Rockwell most famous paintings, Norman Rockwell Four Freedom Paintings, through his blog.

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Interesting Facts About Leonardo Da Vinci's Life

When Leonardo was young, Florence was one of the most prosperous and lively cities in Italy. It was a hub for trade and a huge exporter of cloth. All sorts of fabrics were manufactured in Florence- including silk, velvet, brightly colored wools, and shiny brocades of gold and silver. The city was also famous for its goldsmiths, who fastened jewels onto plates and other gold objects.

Leonardo must have been amazed by the busy city streets of Florence. Bustling city life was very different from the quiet countryside of Vinci. The young artist must have been nervous as he walked into Verrocchio's studio. As he passed through the door, he noticed a beautiful landscape painting in the window. Inside, the work benches were cluttered with knives and chisels for sculpting, and sketches and plans. Easels held blank wooden pieces ready to be painted, and half-shaped sculptures stood on turntables.

Leonardo closed his eyes and took a deep breath. He let the smell of paints, wood, and clay fill his lungs. For the first time, he felt like a real artist. He was excited to learn from his new teacher. Leonardo was not the only student at the studio. Some of his classmates-such as Sandro Botticelli, Pietro Vanucci, and Lorenzo di Credi-would also go on to become well-known artists. The studio was similar to a university; the art students could have discussions about ideas and techniques.

After Leonardo had been studying for a while, his father provided him with an opportunity to demonstrate what he had learned. A peasant came to Piero da Vinci's home carrying a large round piece of wood from a fig tree. He thought it would make a nice shield. Shields were painted, round plaques that people hung outside the door of their home.
The peasant approached Leonardo's father and asked if perhaps he knew of someone who could paint the shield for a fair price. Piero da Vinci promised to find someone, and he brought the piece of wood to 13-year-old Leonardo, encouraging his son to try to make something out of it.

Eager to impress his father, Leonardo went out into the wilderness. He captured and killed small animals and insects to be the subjects of his painting. As he worked, he was surrounded by lizards, snakes, bats, dragonflies, and crickets. He painted a different feature from each animal-the eyes of one creature and the jaw from another, for example. From all of them, he created a fire-breathing dragon.

When he was done, Leonardo covered up the window, leaving only a single beam of light to fall on the shield. Eager to unveil his masterpiece, Leonardo called to his father. Piero da Vinci was not accustomed to such realistic artwork. For a moment, he thought the dragon was real, and he turned away. Leonardo beamed with pride in the knowledge that his work could create such a strong emotion.

Piero da Vinci knew the work was valuable. Instead of selling it to the peasant, he bought another shield-one with a simple heart and arrow painted on it. He gave the simple shield to the peasant, who cherished it for the rest of his life. Piero da Vinci then sold Leonardo's shield to a wealthy man, for a good price. Eventually, it is believed, the shield was bought by the Duke of Milan for three times the amount that Piero da Vinci had originally sold it for.

Around this time, Piero's da Vinci's wife, Albiera, died. After 12 years of being unable to have children, she died during the birth of her first child. She was buried in June 1464. Piero da Vinci quickly remarried a 17-year-old woman named Francesca. She died 11 years later, and Piero da Vinci married again, this time to a woman named Margnerita. At the time, Piero da Vinci was 47 years old and Margnerita was just 17. Over ten years, the couple had four sons and two daughters. When Margnerita died, Piero da Vinci took a fouth bride-Lucrezia. In seven years of marriage, Lucrezia had one daughter and five sons. The last son was born when Piero da Vinci was in his 70s.

More Leonardo Da Vinci facts available at my blog!

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